Pergolesi stabat mater abaddon dota 2

Pergolesi stabat mater abaddon dota 2

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Marian Music from Naples
ANON Stabat mater (intonation) [2:35]
Tarantella napoletana [3:55]
Stabat mater dolorosa (plainchant, from manuscripts c.1715) [7:47]
Francesco DURANTE (1684-1755)
Concerto No.4 in e minor [10:08]
ANON Stabat mater dolorosa (plainchant, from Ostuni manuscript) [1:10]
Giovanni Battista PERGOLESI (1710-1736)
Stabat Mater dolorosa [34:05]
Patrizia Bovi (soprano), Pino de Vittorio (tenor), Bernard Arrieta (bass)
Les Pages et les Chantres de la Chapelle
Le Poиme Harmonique/Vincent Dumestre
rec. Paris, February 2000. DDD
Texts NOT included
ALPHA CLASSICS 308 [59:50]

The Outhere group, who have produced some very fine recordings of baroque music, have just reissued at budget price fourteen albums of what they call ‘seminal’ repertoire, some of them 2-CD sets, from their Alpha and Zig Zag Territoires labels. Though they come at an attractive price, the booklets have mostly not been skimped, with new sets of notes included. There are, however, no texts in this release; though that of the Stabat Mater is not hard to find online, it should have been provided. The recordings – all of fairly recent provenance – are good.

My other complaint is that whereas the Alpha originals offered artwork contemporary with the music, we now have garish modern covers instead. The CDs come in a cardboard bi-fold, into opposite sides of which the disc and booklet are slipped. If you prefer something less flimsy, it’s easy to keep the CD and booklet in a slim-line plastic case.

With plenty of very fine recordings of the Pergolesi Stabat Mater to choose, in order to be competitive any new or reissued version needs to have a special selling point. In this case it’s the fact that the Pergolesi is preceded by a number of other versions of Stabat mater, such as might have been sung in procession in Passiontide in Naples in his time. For these items, all taken from manuscripts roughly contemporary with Pergolesi, the singers use an open-throated folk style which contrasts with the much more refined approach to the main work.

With other recordings offering more music by Pergolesi, usually one or both of his settings of Salve Regina, or another composer’s setting of Stabat Mater, I don’t expect that I shall be playing the first part of this CD too often – perhaps just the Durante concerto as a prelude to the Pergolesi. The rest is a one-off experience, though you may feel otherwise.

For the Pergolesi setting one of my prime choices would be Anna Netrebko and Marianna Pizzolato with the Santa Cecilia Orchestra and Antonio Pappano (DG 4778877, prestige edition – review – or 4779337, standard edition). If in the mood for a more emotional ride through this and Alessandro Scarlatti’s Stabat Mater, the work which it was commissioned to supersede, the best option is Rinaldo Alessandrini with Gemma Bertagnolli, Sara Mingardo and Concerto Italiano (Naпve OP30441, budget price – review).

Vincent Dumestre and his Poиme Harmonique switch from Naples to Versailles for the Pergolesi, where it was performed continuously from before 1753 to 1790 employing the version found in the manuscript Les menus plaisirs du Roy.

They give a good, reasonably ‘straight’ performance – much less impassioned than the Alessandrini, though that doesn’t mean tame. If there were no comparisons to be made among similar interpretations, I might well have enjoyed it more. Most sections are actually faster than on the recordings by Alessandrini, Pappano or Hogwood (below), but the effect is more of emotion recollected in tranquillity than with the first two.

The problem for me lies with the soprano part. The various soloists from Le Poиme sing well, but somewhere in the back of my mind is the wonderful Dame Emma Kirkby whose recording with a splendid partner in James Bowman, the Academy of Ancient Music and Christopher Hogwood is also available at about the same price as the Alpha (Decca 4256992, with Salve Regina in c minor, around Ј8.50. Also in The Baroque Era, 4786753, 50 CDs for around Ј80). If Netrebko is a tad too operatic for you, Kirkby is your best choice. Her recording is also available on Decca Virtuoso for even less, around Ј7, with Andreas Scholl, Les Talens Lyriques and Christophe Rousset in the Pergolesi Salve Regina in f minor).

Kirkby, Bowman and Hogwood steer a very effective middle course between the stylish merits of the Dumestre performance and the greater sense of emotional involvement of Alessandrini. The recording still sounds well and you have the option of obtaining it in various inexpensive formats: if your baroque library is still in gestation you could do much worse than obtain that 50-CD set, which is also available to download in two 25-CD parts, with the Pergolesi on the first half.

If you would like to make the comparison yourself, all four versions mentioned are available from Qobuz: the Dumestre is here – subscribers can stream whole works; others can sample.

If Le Poиme Harmonique and Vincent Dumestre appeal, they appear on another reissue in this series, in Mazzoli’s La Fiera di Farfa and Monteverdi’s Lamento della Ninfa and Combattimento di Tancredi e Clorinda (ALPHA306). More about that in my next Download News.

This is an attractive reissue, especially if the first part attracts you, but not one of the best in the series. The performance of the main work yields to several other recordings, some equally inexpensive.

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Giovanni Battista Pergolesi – Stabat Mater

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– Composer: Giovanni Battista Pergolesi (4 January 1710 — 16 March 1736)
– Ensemble: Ricercar Consort
– Conductor: Philippe Pierlot
– Soloists: Núria Rial (soprano), Carlos Mena (contratenor)
– Year of recording: 2006

Stabat mater, for soprano, alto, strings & organ in F major, written in 1736.

00:00 – 1. Stabat Mater dolorosa – Grave
04:37 – 2. Cujus animam gementem – Andante amoroso
06:41 – 3. O quam tristis et afflicta – Larghetto
08:53 – 4. Quae moerebat et dolebat – Allegro
10:33 – 5. Quis est homo – Largo
13:20 – 6. Vidit suum dulcem natum – A tempo giusto
16:48 – 7. Eja mater fons amoris – Andantino
19:06 – 8. Fac ut ardeat cor meum – Allegro
21:13 – 9. Sancta mater, istud agas – A tempo giusto
26:17 – 10. Fac ut portem Christi mortem – Largo
30:02 – 11. Inflammatus et accensus – Allegro
31:52 – 12. Quando corpus morietur – Largo assai

Pergolesi’s Stabat Mater is a musical setting of the Stabat Mater sequence, composed in 1736 in the final weeks of Pergolesi’s life. He actually wrote the final chorus on his deathbed.

Quis est homo? “Who is he that would not weep, to see the mother of Christ in such despair?” These words were first uttered in thirteenth century Italy in an affective and emotional Latin deovtional lyric; the obvious answer to its rhetorical question is that no true believer would not mourn with the Virgin over the dying Christ. The poem is the “Stabat mater,” thought to be the work of the great Lauda-poet Jacopone da Todi. Its plangent strophes affect an emotional connection between the meditating believer and the mother of the Crucified, and first emerged from the intense strains of popular devotion following the Black Plague. In the eighteenth century, however, the text took on new life in popular devotional practice through the influence of one musical setting: the Stabat mater dolorosa of Giovanni Battista Pergolesi.

The work is divided into twelve movements, each named after the incipit of the text. Much of the music is based on Pergolesi’s earlier setting of the Dies Irae sequence.

The Stabat Mater is one of Pergolesi’s most celebrated sacred works, achieving great popularity after the composer’s death. Jean-Jacques Rousseau showed appreciation for the work, praising the opening movement as “the most perfect and touching duet to come from the pen of any composer”. Many composers adapted the work, including Giovanni Paisiello, who extended the orchestral accompaniment, and Joseph Eybler, who added a choir to replace some of the duets. Bach’s “Tilge, Höchster, meine Sünden” is a parody cantata based on Pergolesi’s composition.

The work was not without its detractors. Padre Martini criticised its light, operatic style in 1774, and believed it was too similar to Pergolesi’s comic opera “La Serva Padrona” to adequately deliver the pathos of the text.