🎼Pergolesi 🙏 Stabat Mater 🙏
Talens Lyriques
Talens Lyriques
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Giovanni Batista Pergolesi
Stabat Mater
Les Talens Lyriques
Maria Espada soprano
Ann Hallenberg alto
Christophe Rousset harpsichord, organ, conductor
Stabat Mater
Les Talens Lyriques
Maria Espada soprano
Ann Hallenberg alto
Christophe Rousset harpsichord, organ, conductor
Recorded on Oct. 5, 2013, at the Ambronay Festival at the Abbatiale (Ambronay, France). Broadcast live on www.medici.tv and available in free replay until April 3rd, 2014.
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Stabat mater, for soprano & alto
Les Talens Lyriques
(Complete)
Les Talens Lyriques
(Complete)
This (complete) performance of Pergolesi's "Stabat Mater" is from a
concert given at Saint Denis on June 23rd 2009
Les Talens Lyriques
conducted by Christophe Rousset.
The soloists were Sabina Puertolas
(Soprano) and Vivica Genaux (Mezzosoprano).
Note on the second piece of music in this video.
The 'encore' is the the 'Fac me' from Pasquale Cafaro's setting of the Stabat Mater. A complete performance of which has very kindly been uploaded by Raimondo di Sangro, you can hear it here: http://www.youtube.com/watch?v=WpHhKF...
Giovanni Battista Draghi (Italian 4 January 1710 – 16 March 1736), best known as Pergolesi (Italian: [perɡoˈleːsi]) or Giovanni Battista Pergolesi, was an Italian composer, violinist and organist.
Biography
Born in Jesi in what is now the Province of Ancona (but was then the Papal States), he was commonly given the nickname "Pergolesi", a demonym indicating in Italian the residents of Pergola, Marche, the birthplace of his ancestors. He studied music in Iesi under a local musician, Francesco Santini, before going to Naples in 1725, where he studied under Gaetano Greco and Francesco Feo
among others. He spent most of his brief life working for aristocratic
patrons like the Colonna principe di Stigliano, and duca Marzio IV
Maddaloni Carafa.
Pergolesi was one of the most important early composers of opera buffa (comic opera). His opera seria, Il prigionier superbo, contained the two act buffa intermezzo, La serva padrona (The Servant Mistress, 28 August 1733), which became a very popular work in its own right. When it was performed in Paris in 1752, it prompted the so-called Querelle des Bouffons ("quarrel of the comic actors") between supporters of serious French opera by the likes of Jean-Baptiste Lully and Jean-Philippe Rameau and supporters of new Italian comic opera. Pergolesi was held up as a
model of the Italian style during this quarrel, which divided Paris's musical community for two years.
Among Pergolesi's other operatic works are his first opera La conversione e morte di San Guglielmo (1731), Lo frate 'nnamorato (The brother in love, 1732, to a text in the Neapolitan language), L'Olimpiade (31 January 1735) and Il Flaminio (1735). All his operas were premiered in Naples, apart from L'Olimpiade, which was first given in Rome.
Pergolesi also wrote sacred music, including a Mass in F and two Salve Regina settings. It is his Stabat Mater (1736), however, for soprano, alto, string orchestra and basso continuo, which is his best-known sacred work. It was commissioned by the Confraternità dei Cavalieri di San Luigi di Palazzo who presented an annual Good Friday meditation in honor of the Virgin Mary. Pergolesi's work replaced one composed by Alessandro Scarlatti only nine years before, but which was already perceived as "old-fashioned," so rapidly had public tastes changed.
While classical in scope, the opening section of the setting demonstrates Pergolesi's mastery of the Italian baroque durezze e ligature style, characterized by numerous suspensions over a faster, conjunct
bassline. The work remained popular, becoming the most frequently printed work of the 18th century,[1] and being arranged by a number of other composers, including Johann Sebastian Bach, who used it as the basis for his cantata Tilge, Höchster, meine Sünden (Root out my sins, Highest One), BWV 1083.
Pergolesi wrote a number of secular instrumental works, including a violin sonata and a violin concerto. A considerable number of instrumental and sacred works once attributed to Pergolesi have since been shown to be misattributed. Much of Igor Stravinsky's ballet Pulcinella, which ostensibly reworks pieces by Pergolesi, is actually based on works by other composers, especially Domenico Gallo. The Concerti Armonici are now known to have been composed by Unico Wilhelm van Wassenaer. Many colorful anecdotes related by Pergolesi's 19th-century biographer, Francesco Florimo, were later revealed as fabrication, though they furnished material for
two nineteenth-century operas broadly based on Pergolesi's career.
Giovanni Battista Pergolesi died on March 16, 1736 at the age of 26 in Pozzuoli from tuberculosis and was buried at the Franciscan monastery one day later.
Pergolesi's works on screen
Pergolesi's Salve Regina is a highlighted performance in the movie Farinelli (1994), in which Farinelli also performs Stabat Mater Dolorosa in the only duet. The first and last parts of Pergolesi's Stabat Mater were used in the soundtrack of the movie Jésus de Montréal (1989); the third part ("Quis est homo") was used in the soundtrack of the movie Smilla's Sense of Snow (1997); the last part was also used in the movie Amadeus (1984) and in the movie The Mirror (1975) by Andrei Tarkovsky. The film Cactus (1986) by the Australian director Paul Cox also features Pergolesi's Stabat Mater on the soundtrack.
Giovanni Battista Pergolesi: Stabat Mater Dolorosa
Certainly the somber beauty of Pergolesi's Stabat Mater for soprano, alto, and strings has a lot to do with its popularity. But it must be said that the story of the 26-year-old composer completing the work on his deathbed has always been too romantic for the public--or the music business--to resist. "The instant his death was known," wrote the famous 18th-century traveler Dr. Burney, "all Italy manifested an eager desire to hear and possess his productions." And so it's been ever since. In spite of the competition already on the market, it seems Decca just had to get its prize lyric soprano and hotshot young countertenor together to record the piece.
The result isn't bad as such: Barbara Bonney sings graciously and prettily, though with a sound better suited to Schumann or Strauss (for example, she lets her vibrato smudge the suspended dissonances that make the first movement so effective); Andreas Scholl gives a nicely judged, intelligent performance that would probably seem marvelous in another setting. But I can sense no spark at all: the whole recording feels as though it were made because Decca's marketing department thought it would be a good idea, not because the performers felt strongly about the music in any way. The two settings of the Salve Regina (one for each soloist; both share some material with the Stabat Mater) come off a bit better, but they aren't what you'd buy this disc for. Dedicated fans of Scholl and Bonney probably won't be (too) disappointed, but compared to the exemplary, elegant Gillian Fisher and Michael Chance or the thrilling, often surprising Concerto Italiano, this one is hard to recommend. --Matthew Westphal
Certainly the somber beauty of Pergolesi's Stabat Mater for soprano, alto, and strings has a lot to do with its popularity. But it must be said that the story of the 26-year-old composer completing the work on his deathbed has always been too romantic for the public--or the music business--to resist. "The instant his death was known," wrote the famous 18th-century traveler Dr. Burney, "all Italy manifested an eager desire to hear and possess his productions." And so it's been ever since. In spite of the competition already on the market, it seems Decca just had to get its prize lyric soprano and hotshot young countertenor together to record the piece.
The result isn't bad as such: Barbara Bonney sings graciously and prettily, though with a sound better suited to Schumann or Strauss (for example, she lets her vibrato smudge the suspended dissonances that make the first movement so effective); Andreas Scholl gives a nicely judged, intelligent performance that would probably seem marvelous in another setting. But I can sense no spark at all: the whole recording feels as though it were made because Decca's marketing department thought it would be a good idea, not because the performers felt strongly about the music in any way. The two settings of the Salve Regina (one for each soloist; both share some material with the Stabat Mater) come off a bit better, but they aren't what you'd buy this disc for. Dedicated fans of Scholl and Bonney probably won't be (too) disappointed, but compared to the exemplary, elegant Gillian Fisher and Michael Chance or the thrilling, often surprising Concerto Italiano, this one is hard to recommend. --Matthew Westphal
Conductor: Diego Fasolis
Ensemble: I Barocchisti
Soprano Vocals: Julia Lezhneva
Counter- Tenor Vocals: Philippe Jaroussky
Composer: Giovanni Battista Pergolesi
Ensemble: I Barocchisti
Soprano Vocals: Julia Lezhneva
Counter- Tenor Vocals: Philippe Jaroussky
Composer: Giovanni Battista Pergolesi
Pergolesi - Stabat Mater
Philippe Jaroussky and Emöke Barath
Philippe Jaroussky and Emöke Barath
From the Chapelle de la Trinité, Château de Fontainebleau,
13th-century Christian hymn to Mary "Stabat Mater" by Giovanni Battista Pergolesi
Emöke Barath - soprano
Philippe Jaroussky - contratenor
ORFEO 55
Nathalie Stutzmann - conductor
0:00 Stabat Mater
3:19 "Stabat Mater Dolorosa"
7:15 "Cujus animam gementem"
8:51 "O quam tristis et afflicta"
11:17 "Quae moerebat et dolebat"
13:37 "Quis est homo"—"Pro peccatis suae gentis..."
16:23 "Vidit suum dulcem natum"
19:30 "Eja mater fons amoris"
21:31 "Fac ut ardeat cor meum"
24:13 "Sancta mater, istud agas"
29:42 "Fac ut portem Christi mortem"
33:03 "Inflammatus et accensus"
35:24 "Quando corpus morietur" — "Amen..."
13th-century Christian hymn to Mary "Stabat Mater" by Giovanni Battista Pergolesi
Emöke Barath - soprano
Philippe Jaroussky - contratenor
ORFEO 55
Nathalie Stutzmann - conductor
0:00 Stabat Mater
3:19 "Stabat Mater Dolorosa"
7:15 "Cujus animam gementem"
8:51 "O quam tristis et afflicta"
11:17 "Quae moerebat et dolebat"
13:37 "Quis est homo"—"Pro peccatis suae gentis..."
16:23 "Vidit suum dulcem natum"
19:30 "Eja mater fons amoris"
21:31 "Fac ut ardeat cor meum"
24:13 "Sancta mater, istud agas"
29:42 "Fac ut portem Christi mortem"
33:03 "Inflammatus et accensus"
35:24 "Quando corpus morietur" — "Amen..."
Also found in: Encyclopedia, Wikipedia.
Sta·bat Ma·ter (stä′bät mä′tər, stăb′ăt mā′tər)
n.
1. A medieval Latin hymn on the sorrows of the Virgin Mary at the Crucifixion.
2. A musical setting for this hymn.
[From Medieval Latin Stābat Māter (dolōrōsa), the Mother was standing (full of sorrow), the first words of the hymn : Latin stābat, third person sing. imperfect tense of stāre, to stand + Medieval Latin Māter, Mother (of God).]
2. A musical setting for this hymn.
[From Medieval Latin Stābat Māter (dolōrōsa), the Mother was standing (full of sorrow), the first words of the hymn : Latin stābat, third person sing. imperfect tense of stāre, to stand + Medieval Latin Māter, Mother (of God).]
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2011 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.
Stabat Mater (ˈstɑːbæt ˈmɑːtə)
n
1. (Ecclesiastical Terms) RC Church a Latin hymn, probably of the 13th century, commemorating the sorrows of the Virgin Mary at the crucifixion and used in the Mass and various other services
2. (Ecclesiastical Terms) a musical setting of this hymn
[from the opening words, literally: the mother was standing]
Collins English Dictionary – Complete and Unabridged © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003
Sta•bat Ma•ter (ˈstɑ bɑt ˈmɑ tɛr, ˈsteɪ bæt ˈmeɪ tər)
n.
1. a Latin hymn, composed in the 13th century, commemorating the sorrows of the Virgin Mary at the Cross.
2. a musical setting for this.
[literally, (His) mother was standing, the first words of the hymn]
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
n
1. (Ecclesiastical Terms) RC Church a Latin hymn, probably of the 13th century, commemorating the sorrows of the Virgin Mary at the crucifixion and used in the Mass and various other services
2. (Ecclesiastical Terms) a musical setting of this hymn
[from the opening words, literally: the mother was standing]
Collins English Dictionary – Complete and Unabridged © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003
Sta•bat Ma•ter (ˈstɑ bɑt ˈmɑ tɛr, ˈsteɪ bæt ˈmeɪ tər)
n.
1. a Latin hymn, composed in the 13th century, commemorating the sorrows of the Virgin Mary at the Cross.
2. a musical setting for this.
[literally, (His) mother was standing, the first words of the hymn]
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
Stabat Mater
A Latin phrase meaning the mother was standing, used to mean a Roman Catholic hymn that begins with these words.
Dictionary of Unfamiliar Words by Diagram Group Copyright © 2008 by Diagram Visual Information Limited
A Latin phrase meaning the mother was standing, used to mean a Roman Catholic hymn that begins with these words.
Dictionary of Unfamiliar Words by Diagram Group Copyright © 2008 by Diagram Visual Information Limited
Giovanni Battista Pergolesi
About the composer
Giovanni Battista Pergolesi (1710 - 1736) was born in Jesi, Italy. His name became knownt hanks to his comic opera La Serva Padrone. He was slightly handicapped and had a weak constitution. He probably died of tuberculosis. A lot of confusion exists about which works Pergolesi did or did not compose. As his work came more and more in demand, some publishers tried to make a little extra by taking an anonymous composition and attaching the name of Pergolesi to it. However, about the Stabat Mater there is no doubt. It is known that in his early years he composed a Stabat Mater in A minor.
Probably the Stabat Mater in C minor was Pergolesi's last composition. The commission for this work was given by the same Order in Naples for which Alessandro Scarlatti 20 years earlier had composed a Stabat Mater. Though the score of the compositions is almost identical, the melodic lines of Pergolesi are more sentimental and highly ornamented.The piece was widely acclaimed and it seems to have inspired many composers to imitate, paraphrase and adapt (see Brunetti, de Nardis and Paisiello). Joseph Eybler (1764 - 1846), who was a friend of Mozart and who became Court Kapellmeister in Vienna after Antonio Salieri, added a choir to replace some of the duets, and extended the orchestra. Others were John Adam Hiller/Johann Adam Hüller (1728 - 1804) and Alexy Fyodorovich L'vov (ca. 1830). The musical setting of Psalm 51 "Tilge, Höchster, meine Sünden" of the great Johann Sebastian is another example.
A completely different, and very curious adaptation is by a group called "Ophelia's Dream" (see CD 8). It seems that this kind of music is described as "Gothic".
The Victor Alcántara Trio recorded an extended (one hour!) jazz improvisation , in which all parts of the Stabat Mater are used as starting points (See CD 9)and another interesting one is by Jazz musician Enrico Rava for string quartet, trumpet, accordion, guitar, bass and percussion (See CD 10).
The well-known producer Frank Fitzpatrick, who also composed music for numerous movies, recently produced a CD in a kind of hip-hop style for the singer Sasha Lazard, with a Stabat Mater composition by him, based on Pergolesi (See CD 11).
Another quite different interpretation of the first part of Pergolesi's Stabat Mater can be found on a CD by "Le Quator" (See CD 12). This group is a string quartet, but they sing, too, playing all kinds of music, from Cole Porter to Mozart. Though they are a kind of musical clowns, their interpretation of the music comes close to being serious.
The soundtrack of the George Lukas movie "THX 1138" contains a small Stabat Mater, composed by Lalo Schifrin. It starts with a line from the first part of Pergolesi's work, but then develops into a gloomy orchestral work. It plays during the film titles. (See CD 13)
The first and last parts of Pergolesi's Stabat Mater have been used in the soundtrack of the movie "Jésus de Montréal"; the third part (Quis est homo) is used in the soundtrack of the movie "Smilla's Sense of Snow"; the last part is also used in the movie "Amadeus" and in the movie "Mirror" by Andrei Tarkovsky.
The film "Cactus" by the Australian director Paul Cox is also said to have Pergolesi's Stabat Mater on the soundtrack, but I do not know what parts are used.
About the Stabat Mater
Date 1736
Performers Soprano, alto, three violins, cello, organ
Length 41.44 minutes (CD 1), 41.30 minutes (CD 2), 37.27 minutes (CD 3), 40.03 minutes (CD 4), 34.58 minutes (CD 5), 39.38 minutes (CD 6), 33.12 (CD 7)
Particulars
The work is divided into twelve sections, varying from one to five stanzas. Very moving melodies, which led to some criticism because they were thought to be too cheerful. Interesting is the line "dum e-mi-sit" which is sung intermittently, as a musical picture of the last breaths of Jesus. This is found also with some other composers.
Some interpretations deviate from the composer's score, as a choir has been added to the two voices (see the second Colorbar, based on CD 2). This is probably based on the Eybler adaptation.
Textual variations
The "Analecta"-version of the text is used, with one change:
- Stanza 16, line 2: not "Passionis eius sortem" but "Passionis fac consortem"
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