1. Comodo
2. Allegro
3. Adagio
4. Presto

Rolf Dommisch – cello
Ruth Ristenpart – harpsichord

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CD1
1. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Sinfonia 
2. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Recitativo. Tra le angustie beate 
3. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Aria. Sono spirito immortale 
4. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Recitativo. Michele, il fianco antico 
5. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Aria. Se a un sì bel foco 
6. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Recitativo. Candido amato giglio 
7. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Aria. Morono le fenici 
8. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Recitativo. More alfine Giuseppe 	
9. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Aria. Appena spira 
10. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Recitativo. Morte, invidia gentil d'ogni altra vita... 	
11. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Aria. Gradite ferite 	
12. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Recitativo. Di morte no, d'amor è la ferita 	
13. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Aria. Non può chi tutto può 
14. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Recitativo. Ai dolcissimi affanni 	
15. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Aria. Pellegrin ch'in folto orror 		play
16. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Recitativo. Sposa... 
17. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Duetto. Il Signor vuol ch'a me solo 
18. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Recitativo. Ad accenti sì bei muto son io 
19. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 1. Aria. Dolce auretta ch'alletta, che piace

CD2
1. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 2. Recitativo. Vegg'io la morte, o sposa... 	
2. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 2. Aria. E può rinascere 	
3. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 2. Recitativo. Sposa, vegg'io la morte 	
4. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 2. Aria. Pastorello in mezzo ai fiori 	
5. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 2. Recitativo. Ed ora o quanto lieto... 	
6. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 2. Aria. Vola intorno al primo raggio 		play
7. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 2. Recitativo. Cedendo intanto a morte 
8. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 2. Trio. Intanto chiudi i lumi 	
9. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 2. Recitativo. Degne al par degl'incendi 	
10. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 2. Recitativo. Lungi da te, lungi dal caro bene 	
11. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 2. Aria. L'ardor che cresce in seno 
12. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 2. Recitativo. Reina, il tuo Giuseppe 	
13. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 2. Aria. Potessi esser mortale 	
14. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 2. Recitativo. Sacra Clizia amorosa 	
15. La finice sul rogo (La morte di San Giuseppe), oratorio in 2 acts: Part 2. Quartetto. Se 
Giuseppe così more

San Giuseppe - Michele Farrugia
Maria Santissima - Bernadette Manca Di Nissa
San Michele - Maria Amgeles Peters
Amor Divino - Patrizia Pace

Orchestra Alessandro Scarlatti di Napoli
della Rai - Radiotelevisione Italiana
Marcello Panni - conductor, 1990

La morte di San Giuseppe (The Death of St. Joseph) is a fascinating curiosity from the pen of Giovanni Battista Pergolesi, the Italian composer of La serva padrona -- the little intermezzo through which the irreverent breezes of Mozartian opera first blew. This recording is a world premiere of La morte di San Giuseppe, which was known to scholars through fragmentary manuscripts in European libraries but for which a full autograph manuscript only recently surfaced. Designated as an oratorio, the work depicts the death of Joseph, husband of Mary. It features three characters in addition to Joseph, a tenor; St. Michael and Divine Love, both sopranos; and Mary, a contralto. Very little happens other than Joseph's death; the work is something like a 90-minute cantata that meditates on death rather than an oratorio with implied action. Musically the work resembles the opera seria of the time; it consists of a long series of da capo (ABA-structured) arias with a few duets, all growing progressively more athletic as the oratorio proceeds. There is no chorus.

The work's fascination derives largely from the fact that Pergolesi, in part because of the libretto he was given to work with, did not devise a musical language specific to the sacred oratorio, as did Handel, for example. Instead, we are treated to a scene in the life of Christianity's first family, rendered in purely operatic musical and textual language. It is novel to hear St. Michael sing of the dying Joseph as "pleasantly restless in an ecstasy of love," to give one of the many operatic notions that occur throughout. The arias are elegantly fiery, and at its best (which is quite fine but not on the level of Pergolesi's similar but tighter Stabat mater) the work offers something of an Italian counterpart to the Italianate passion Bach applied to Lutheran texts. The work, in places, movingly depicts the feeling of what would in another time and place be called being half in love with easeful death.

Unfortunately, this live recording is not the right one to introduce this oratorio to the world. The problem is not that the singers perform in modern rather than Baroque style; Pergolesi's music looks forward 50 years and can stand up to that. But the small orchestra, and a continuo group made up of historical instruments, makes it hard on the vocalists, who struggle unsuccessfully to scale their singing down to chamber size. They don't hit pitches squarely, and the quiet high notes Pergolesi writes in his demanding da capo arias often come out squeaky indeed. The Orchestra Alessandro Scarlatti di Napoli sounds good but is mismatched to the vocal forces, demonstrating once again that both modern and historically oriented performances of Baroque music are fine, but attempts to hybridize the two rarely succeed. A well-done performance of this work could carve out a place for it on concert stages and recordings.

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01. No. 1, "Stabat Mater"  
02. No. 2, "Cuius animam"  
03. No. 3, "O quam tristis"  
04. No. 4, "Quae moerebat"  
05. No. 5, "Quis est homo"  
06. No. 6, "Vidit suum dulcem Natum"  
07. No. 7, "Eia Mater"  
08. No. 8, "Fac ut ardeat"  
09. No. 9, "Sancta Mater"  
10. No. 10, "Fac ut portem"  
11. No. 11, "Inflammatus et accensus"  
12. No. 12,"Quando Corpus morietur"/No. 13, "Amen"  
13. No. 1, Salve Regina  
14. No. 2, Ad te clamamus  
15. No. 3, Eja ergo  
16. No. 4, Et Jesum  
17. No. 5, O clemens

Jörg Waschinski - soprano 
Michael Chance – countertenor
Cologne chamber Orchestra
Helmut Müller-Brühl – conductor

The Pergolesi setting was written in about 1735 and was first printed in London in 1749. It became the most frequently published single work of the 18th century. The Stabat Mater and Salve Regina were composed it at the end of his life which was spent at a Franciscan monastery in Pozzuoli, trying unsuccessfully to stengthen his weak constitution. It was commissioned by the Confraternita dei Cavalieri di San Luigi di Palazzo and was intended for use by the Brotherhood as music for Good Friday, to replace the Stabat Mater by Allesandro Scarlatti, which by then was rather old fashioned. Pergolesi died on 16th March 1736 aged just 26.

The text is based upon the prophecy of Simeon that a sword was to pierce the heart of Christ's mother Mary (Luke 2: 35). The concept of 'God' in Christianity is male, yet in the Stabat Mater and one other great religious text, the Magnificat, we find a unique feminine perspective.

This recording by Naxos completes a circle. Earlier recording feature female soprano and alto often in operatic renditions of this piece. Later we had female soprano and male alto (countertenor) in more subdued renditions. This new version features the British Counter Tenor Michael Chance and the German male Soprano (or Sopranist)Jorg Waschinski. What we therefore get is closer to the orginal performance and sound of Pergolesi's times. It is a fine, clear recording with wonderful singing, particularly in the Salve Regina. Some will miss the richness of earlier recordings but this is a real find not to be missed. ---Phillip Tolley

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Stabat mater in fa minore per soprano, contralto, archi e basso continuo

1. Stabat mater
2. Cujus animam
3. O quam tristis
4. Quae moerebat
5. Quis est homo
6. Vidit suum
7. Eja mater						play
8. Fac ut ardeat
9. Sancta mater
10. Fac ut portem
11. Inflammatus
12. Quando corpus - Amen

Salve Regina in fa maggiore per contralto, archi e basso continuo

13. Salve Regina
14. Ad te clamamus
15. Eja ergo
16. O clemens						play

Roberta Invernizzi - Soprano
Sonia Prina - Contralto
Accademia Bizantina
Ottavio Dantone - Maestro al cembalo

Giovanni Battista Pergolesi (1710 - 1736) was born in Jesi, Italy. His name became known thanks 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. --- stabatmater.info

Nicola (Antonio) Porpora, was born in Naples on Aug 17th 1686. During his lifetime he was famous for his vocal music compositions and operas and as a singing teacher. His sacred compositions were mostly written for three Venetian hospitals – the Incurabili, the Ospedaletto and the Pietà, many of these compositions are characterised by very intricate vocal writing and have an operatic quality. Indeed some of the solo Latin motets he wrote for favoured pupils require the same virtuouso ability as that found in a leading Opera Singer. --- saturdaychorale.com

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Disc: 1
1. Atto Primo: Sinfonia - Orch Dell'Op Da Camera Di Roma/Marcello Panni
2. Atto Primo: Recitiativo: 'Nel Di Che Roma Adora' - Jolanta Omilian/Ezio Di Cesare/Susanna Anselmi
3. Atto Primo: Aria: 'Dal Labbro, Che T'accende' - Susanna Anselmi
4. Atto Primo: Recitativo: 'Comprendesti, O Farnaspe' - Ezio Di Cesare
5. Atto Primo: Aria: 'Sprezza Il Furor Del Vento' - Ezio Di Cesare
6. Atto Primo: Recitativo: 'Ah, Se Con Qualche Inganno' - Lucia Mazzaria/Gloria Banditelli
7. Atto Primo: Aria: 'Sul Mio Cor So Ben Qual Sia' - Jolanta Omilian
8. Atto Primo: Recitativo: 'Signor...Che Fu?' - Lucia Mazzaria/Susanna Anselmi
9. Atto Primo: Aria: 'Prigioniera Abbandonata' - Gloria Banditelli
10. Atto Primo: Recitativo: 'Tentiam La Nostra Sorte' - Lucia Mazzaria/Daniela Dessi
11. Atto Primo: Aria: 'Vuoi Punir L'ingrato Amante' - Orch Dell'Op Da Camera Di Rom/Marcello Panni
12. Atto Primo: Recitativo: 'Io Piango' - Daniela Dessi
13. Atto Primo: Aria: 'Chi Soffre Senza Pianto' - Daniela Dessi
14. Atto Primo: Aria: 'Chi Soffre Senza Pianto' - Ezio Di Cesare/Jolanta Omilian
15. Atto Primo: Aria: 'A Un Semplice Istante' - Ezio Di Cesare
16. Atto Primo: Recitativo: 'Farnaspe! Principessa!' - Gloria Banditelli/Jolanta Omilian
17. Atto Primo: Aria: 'Sola Mi Lasci A Piangere' - Gloria Banditelli

Disc: 2
1. Atto Primo: Recitativo: 'Oh Cari Sdegni' - Jolanta Omilian
2. Atto Primo: Aria: 'Lieto Cosi Tal Volta' - Jolanta Omilian
3. Atto Secondo: Recitativo: 'Oh Dio, Sabina' - Gloria Banditelli/Daniela Dessi
4. Atto Secondo: Aria: 'Ah, Ingrato M'inganni' - Daniela Dessi
5. Atto Secondo:. Recitativo: 'Tolleranza, O Mio Cor' - Lucia Mazzaria
6. Atto Secondo: Aria: 'Saggio Guerriero Antico' - Lucia Mazzaria
7. Atto Secondo: Recitativo: 'Qui Sabina Non Veggo' - Gloria Banditelli/Daniela Dessi/Jolanta Omilian
8. Atto Secondo: Aria: 'Splenda Per Voi Sereno' - Daniela Dessi
9. Atto Secondo: Recitativo: 'Ed E Ver Che Sei Mia?' - Jolanta Omilian/Gloria Banditelli
10. Atto Secondo: Aria: 'Tutti Nemici E Rei' - Susanna Anselmi
11. Atto Secondo: Recitativo: 'Padre...Oh Dio!' - Gloria Banditelli/Ezio Di Cesare/Jolanta Omilian
12. Atto Secondo: Aria: 'Quell'amplesso E Quel Perdono' - Gloria Banditelli
13. Atto Secondo: Recitativo: 'Almen Tutto Il Mio Sangue' - Jolanta Omilian/Ezio Di Cesare
14. Atto Secondo: Aria: 'Leon Piagato A Morte' - Ezio Di Cesare
15. Atto Secondo: Recitativo: 'E Non Ti Struggi In Pianto' - Jolanta Omilian
16. Atto Secondo: Aria: 'Torbido In Volto E Nero' - Jolanta Omilian

Disc: 3
1. Atto Secondo: Recitativo: 'Come! Ch'io Parta?' - Daniela Dessi/Lucia Mazzaria
2. Atto Secondo: Aria: 'Digli Ch'e Un Infedele' - Daniela Dessi
3. Atto Secondo: Recitativo: 'Io La Trama Dispongo' - Lucia Mazzaria
4. Atto Secondo: Aria: 'Contento Forse Vivere' - Lucia Mazzaria
5. Atto Secondo: Recitativo: 'Aquillo, Che Ottenesti?' - Susanna Anselmi/Lucia Mazzaria
6. Atto Secondo: Aria: 'Fra Poco Assiso In Trono' - Susanna Anselmi
7. Atto Secondo: Recitativo: 'Figlia, S'e Ver Che M'ami - Ezio Di Cesare/Gloria Banditelli
8. Atto Secondo: Aria: 'Ti Perdi E Ti Confondi' - Ezio Di Cesare
9. Atto Secondo: Recitativo: 'Misera, A Qual Consiglio' - Gloria Banditelli/Jolanta Omilian
10. Atto Secondo: Duetto: 'L'estremo Pegno Almeno' - Jolanta Omilian/Gloria Banditelli
11. Atto Secondo: Recitativo: 'Sabina, Ascolta' - Susanna Anselmi/Lucia Mazzaria/Daniela Dessi
12. Atto Secondo: Coro: 'S'oda Augusto' - Orch Dell'Op Da Camera Di Rom/Marcello Panni

>Gloria Banditelli (Mezzo Soprano)
>Jolanta Omilian (Soprano)
>Ezio Di Cesare (Tenor)
>Susanna Anselmi (Soprano)
>Daniela Dessi (Soprano)

>Rome Chamber Orchestra
>Marcello Panni - conductor

You are probably familiar with Pergolesi's sublime Stabat Mater, but you may not be familiar with his operatic works. Although he mainly wrote comic operas, Adriano in Siria is one of four opera he wrote in his short career. It is full of arresting melodies and contains one of the most beautiful baroque arias ever written, namely Farnaspe’s “Lieto cosi tal volta”, sung to an oboe obbligato accompaniment. ---mensa.org.uk

Metastasio’s original libretto was substantially re-written for Caffarelli, taking the role of Farnaspe. A distinguished cast was assembled to celebrate the birthday of the Spanish Queen Mother, whose son had just re-captured the Kingdom of Sicily with its capital Naples. Where else would the first performance take place but Naples itself, by then Pergolesi’s home.

So what of the plot? We are in Antioch circa 120AD. The Roman Emperor Hadrian (Adriano) has defeated the Parthians led by their king Osroa and captured Osroa’s daughter Emirena. This being opera, despite being betrothed to Sabina, Adriano has fallen for Emirena, who herself is betrothed to Farnaspe a Parthian prince or combatant. At which point the opera opens.

To add the necessary ‘plot stirrer’, Adriano’s accompanying Tribune, Aquilio, is in love with Adriano’s betrothed Sabina. Aquilio encourages Adriano’s love for Emirena so leaving Sabina free for himself. Interspersed with that continuing theme, Osroa sets fire to the Roman camp, later mistakenly believes he has killed Adriano, and is captured. So all is set for a tragic end: but no, this is a birthday-celebration opera so all ends happily following Adriano’s self-revelatory moment. Couples are reconciled, treachery forgiven and lands restored to pardoned enemies. All this to lyrically melodic music with instrumentation to match. ---Robert McKechnie, musicweb-international.com

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1. Intermezzo I: Aria. Vi Sto Ben? - Nancy Argenta
2. Intermezzo I: Recitativo. Ma Lasciamo Gli Scherzi - Nancy Argenta
3. Intermezzo I: Aria. A Una Povera Polacca - Werner Van Mechelen
4. Intermezzo I: Recitativo. Ah! Voleur! - Nancy Argenta/Werner Van Mechelen
5. Intermezzo I: Aria. Sarebbe Bella Questa - Nancy Argenta
6. Intermezzo I: Recitativo. Ai Raggion Si Signore.. - Nancy Argenta/Werner Van Mechelen
7. Intermezzo I: Recitativo E Aria. Misero! - Werner Van Mechelen
8. Intermezzo I: Recitativo E Aria. Invano Ti Lusinghi - Nancy Argenta/Werner Van Mechelen
9. Intermezzo I: Duetto. Vado...Vado. Ed Avrai Core - Nancy Argenta/Werner Van Mechelen
10. Intermezzo II: Aria. Vedo L'Aria - Werner Van Mechelen
11. Intermezzo II: Recitativo. Par Ch'ioci Pigli Gusto! - Nancy Argenta/Werner Van Mechelen
12. Intermezzo II: Aria. Caro, Perdonami... - Nancy Argenta
13. Intermezzo II: Recitativo Acc. Gli Credo - Werner Van Mechelen/Nancy Argenta
14. Intermezzo II: Recitativo. Ah! Livietta Mia - Nancy Argenta/Werner Van Mechelen
15. Intermezzo II: Duetto. Sempre Attorno - Nancy Argenta/Werner Van Mechelen

Nancy Argenta (Soprano), 
Werner Van Mechelen (Bass)
La Petite Bande
Sigiswald Kuijken – conductor

Livietta e Tracollo counts among the most popular intermezzi of the 18th century and was performed on numerous Italian stages and in other European countries for over 20 years.

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Confitebor Tibi, Domine
01. I. Confitebor tibi Domine
02. II. Confessio et magnificentia opus ejus
03. III. Fidelia omnia mandata ejus
04. IV. Redemptionem misit populo suo
05. V. Sanctum et terribile nomen ejus
06. VI. Gloria Patri
07. VII. Sicut erat in principio

Domine, ad Adjuvandum
08. Domine, ad Adjuvandum
09. Gloria Patri
10. Sicut erat in principio

In Coelestibus Regnis
11. In Coelestibus Regnis
12. Alleluia

Laudate pueri Dominum
13. I. Laudate pueri Dominum
14. II. A solis ortu
15. III. Excelsus super omnes
16. IV. Quis sicut Dominus
17. V. Suscitans a terra
18. VI. Gloria Patri
19. VII. Sicut erat in principio

Caterina Trogu-Rohrich - soprano
Gloria Banditelli - contralto
Orchestra A. Scarlatti di Napoli della RAI
Rene Clemencic - conductor

His family name was Draghi, but, having moved to Jesi from Pergola, the family was called Pergolesi, meaning “of Pergola.” Sometime after 1720 he attended the Conservatorio dei Poveri at Naples, where he earned a high reputation as a violinist. In 1732 he was appointed maestro di cappella to the prince of Stigliano at Naples and produced a Neapolitan opera buffa, Lo frate ’nnammorato, and a mass (probably his Mass in D). Both were well received. In 1733 his opera seria Il prigionier superbo was produced. But it was the comic intermezzo La serva padrona, inserted between the acts of Il prigionier superbo, that achieved success. In 1734 Pergolesi was appointed deputy maestro di cappella of Naples, and in May he went to Rome to direct the performance of his Mass in F. His subsequent operas met with only occasional success. His health began to fail, and in 1736 he left Naples for the Franciscan monastery at Pozzuoli, near Naples, where he finished his last work, the celebrated Stabat Mater. He died in extreme poverty at age 26 and was buried at the cathedral at Pozzuoli.

When Pergolesi died, his fame had scarcely spread beyond Rome and Naples, but later in the century it grew enormously. The success of La serva padrona was largely posthumous, and it reached its peak after its performance in Paris in 1752. There it led to la guerre des bouffons (“the war of the buffoons”), with musical forgers vying to produce spurious works of Pergolesi, leaving some uncertainty about the authenticity of works attributed to him. Some of the works credited to Pergolesi by Igor Stravinsky in arrangements he made for his ballet Pulcinella (1920) are among those of doubtful authenticity. ---britannica.com

Krotko żyjący Giovanni Battista Pergolesi (1710-1736) był do pewnego wiosennego wieczora w 1919 roku prawie zapomnianą postacią. Wtedy to impresario, Sergiusz Diagilew, skłonił Igora Strawińskiego do skomponowania baletu opartego na muzyce tego kompozytora. Strawiński spojrzał ponoć na nuty i bez reszty zachwycił się tą muzyką. Jego inspiracja znalazła wyraz w muzyce do baletu Pulcinella, który, jak twierdził później Strawiński, „stał się symbolem narodzin całej mojej późniejszej muzyki”. Pergolesi należał do czołowych kompozytorów włoskiej opery komicznej pierwszej połowy XVIII wieku. Urodzony w rodzinie szewców, szybko zapadł na zdrowiu. Przez całe życie chorował na gruźlicę, miał również problemy z chodzeniem. Niedostatki zdrowotne rekompensowały jednak niecodzienne uzdolnienia muzyczne, które umożliwiły mu samodzielne utrzymywanie się w Neapolu podczas studiów w tamtejszym konserwatorium. Zaraz po ukończeniu szkoły w 1731 roku Pergolesi skomponował swoją pierwszą operę, La conversione e morte di San Guglielmo. Dzieło spotkało się wprawdzie tylko z częściowym sukcesem, jednak na tyle dużym, by Pergolesim zainteresował się książę Neapolu, Fernando Colonna Stigliano, który zatrudnił młodego kompozytora na swoim dworze jako maestro di capella. Trzęsienie ziemi, które dotknęło Neapol w 1732 roku, i związana z tym prośba arcybiskupa o skomponowanie przez Pergolesiego mszy pokutnej zaowocowało serią kompozycji religijnych na głosy solowe, chór i orkiestrę z głównym utworem – Stabat Mater powstałym w 1736 roku. Choć w świecie operowym nie dorobił się Pergolesi pełnego uznania i ponadczasowej sławy – podczas premiery opery L’Olimpiade w 1725 roku ponoć jeden ze słuchaczy rzucił w Pergolesiego pomarańczą – tak w muzyce kościelnej odniósł niezaprzeczalny sukces. Zmarł w marcu 1736 roku na gruźlicę. Pochowany został w kaplicy katedry Puzzuoli. ---rmfclassic.pl

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I. Concerto per Violino in si bemol maggiore
1. Allegro
2. Largo
3. Allegro
II. 4. Allegro per organo in fa maggiore
III. 5. Allegro per organo in sol maggiore
IV. 6. Sonata per Violino e b.c. in sol maggiore
V. 7. Trio per due violini, cello e cembalo in si bemol maggiore
VI. 8. Trio per due violini, cello e cembalo in sol minore
VII. 9. Trio per due violini, cello e cembalo in do maggiore
VIII. Sinfonia per violoncello e b.c. in fa maggiore
10. Comodo
11. Allegro
12. Adagio
13. Presto

I solisti di Milano: 
R. Bortoluzzi, A. Ephrikian & F. Fantini - violins 
G. Ghetti, A. Pocaterra - cellos 
E. Scotto - double bass 
F. Degrada - harpsichord, organ

Giovanni Battista Pergolesi only lived to be 26 years old. While he had gained some reputation after a six year career as a composer, the circle was still small. His fame spread posthumously and the demand for his compositions grew. The problem is that there are only a few dozen of them.

Instrumental music traditionally attributed to Pergolesi makes up an imposing corpus: six small concertos for strings, six concertos and three sinfonie for various instruments, sixteen trio-sonatas, one sinfonia (sonata) for cello and bass, one sonata for violin and bass and over twenty sonatas for harps-ichord and organ.

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Verbum I: Pater, dimitte illis: non enim sciunt qui faciunt
1. Huc o dilecti filii (Rec, Christus)
2. En doceo diligere (Aria)
3. Quod iubes, magne Domine (Aria, Anima)
Verbum II: Amen dico tibi: hodie mecum eris in Paradiso
4. Venite, currite (Rec, Christus)
5. Latronem hunc aspicite (Aria)
6.Ah! peccatoris supplicis (Aria, Anima)
Verbum III: Mulier ecce filius tuus
7. Quo me, amor? (Rec, Christus)
8. Dilecta Genitrix (Aria)
9. Servator optime (Rec, Anima)
10. Quod iubes, magne Domine (Aria)
Verbum IV: Deus meus, deus meus, ut quid dereliquisti me?
11. Huc oculos (Aria, Christus)
12. fflicte, derelicte (Aria, Anima)
Verbum V: Sitio
13. O vos omnes, qui transitis (Aria, Christus)
14. Non nectar, non vinum, non undas (Aria, Anima)
Verbum VI: Consummatum est
15. Huc advolate mortales (Aria, Christus)
16. Sic consummasti omnia (Aria, Anima)
Verbum VII: Pater, in manus tuas commendo spiritum meum
17. Quotquot coram cruce statis (Rec, Christus)
18. In tuum, Pater, gremium (Aria)
19. Quid ultra peto vivere (Aria, Anima)

Sophie Karthäuser (soprano)
Christophe Dumaux (countertenor)
Julien Behr (tenor)
Konstantin Wolff (bass)

Akademie für Alte Musik
René Jacobs – conductor

When two 18th century manuscripts of the Seven Words of Christ came to light in 1930, attributed by copyists to “Sig. Pergolese”, a debate was sparked as to their authenticity. Was it indeed a work by Giovanni Battista Pergolesi, composer of the Stabat Mater? Or, had it simply been misattributed? No one could say for sure. The conductor Hermann Scherchen tried to shift the attention back to the quality of the work itself, calling it “one of the most heartfelt works of art, full of profound tenderness and an all-conquering sense of beauty”.

However, unattributed 18th-century works don't tend to rack up a great deal of performances, regardless of their profundity, and this one was no exception. Further sets of manuscript parts were found over the years. But still it wasn't until 2009, when musicologist Reinhard Fehling discovered a set of performance manuscripts, that the music could finally be traced back to Pergolesi without an actual autograph score.

Subsequently, the work was given its concert premiere at the Beaune Festival in July 2012, and this world-first recording was made a few days later. Listening to the work, it's hard to see what the authenticity hoo-hah was about. Certainly it's very different to Pergolesi's sublime Stabat Mater. But there are plenty of his stylistic thumbprints.

This “heartfelt work of art” is indeed as wonderful as Scherchen described. Scored for four solo vocalists, trumpet, two horns, harp, strings and basso continuo, the Seven Words of Christ is a cycle of seven cantatas, each consisting of two arias. Recitatives are kept to a minimum. Essentially a dialogue between Christ on the cross and the “Anima” (Faithful Soul), the tone is reverent, devotional, with some striking instrumental symbolism injecting some unusual colouring.

A solo horn denotes Christ's kingliness, muted trumpet symbolises his veiled divinity as he suffers on the cross, and a focus on the timbre of violas over violins adds further melancholy. Most of all, though, the work is beautiful, and its deeply spiritual loveliness has been realised in a fine period performance. Certainly, it won't be languishing in dusty libraries any more.

It is, in its own way, just as sublime as the Stabat Mater, and René Jacobs and his musicians have given it a comprehensive rehabilitation. --- Charlotte Gardner, bbc.co.uk

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1. Duet- Stabat Mater Dolorosa
2. Aria (Soprano) O Quam Tristis Et Dolebat
3. Duet- O Quam Tristis Et Afflicta
4. Aria (Alto) Quae Moerebat Et Dolebat
5. Duet- Quis Est Homo, Qui Non Fleret
6. Aria (Soprano)- Vidit Suum Dulcem Natum
7. Aria (Alto)- Eja, Mater, Fons Amoris
8. Duet- Fac, Ut Ardeat Cor Meum				play
9. Duet- Sancta Mater, Istud Agas
10. Aria (Alto)- Fac Ut Portem Christi Mortem
11. Duet- Inflammatus Et Accencus
12. Duet- Quando Corpus Morietur
13. Grave
14. Allegro
15. Largo
16. Allemanda- Allegro
17. Allegro Moderato
18. Grave
19. Minuet
20. Allegro
21. Largo
22. Allegro Ma Non Troppo
23. Largo
24. Allegro								play
25. Duet- Sabat Mater Dolorosa
26. Aria- Cuius Animam Gementem
27. Aria- O Quam Tristis Et Afflicta
28. Duet- Quae Moerebat Et Dolebat
29. Aria- Quis Est Homo Qui Non Fleret
30. Arai- Quis Non Posset
31. Aria- Pro Peccatis Suae Gentis
32. Coro Vidit Suum Dulcem Natum				play
33. Aria- Eja Mater Fons Amoris
34. Aria- Sancta Mater Istud Agas
35. Aria- Fac Ut Ardeat Cor Meum
36. Coro- Tui Nati Vulnerati
37. Aria- Luxta Crucem Tecum Stare
38. Aria- Virgo Virginum Praeclara
39. Arioso- Fac Ut Portem Christi Mortem
40. Aria- Inflammatus Et Accensus
41. Arioso- Fac Me Cruce Custodiri
42. Coro- Quando Corpus Morietur
43. I. Allegro Monon Toppo
44. 2. Grave
45. 3. Vivace
46. Concerto Grosso No. 5 In D Minor- 1. Allegro		play
47. 2. Grave
48. 3. Allegro
49. 4. Minuet
50. Concerto Grosso No. 6 In E Major- 1. Allegro
51. 2. Allegro
52. 3. Largo
53. 4. Affettuoso

Mirella Freni, Teresa Berganza

Naples Scarlatti Orchestra
Ettore Gracis – conductor

Paul Kuentz Chamber Orchestra
Sir Charles Mackerras – conductor

Pergolesi wrote sacred music, including a Mass in F and his Magnificat in C major. It is his Stabat Mater (1736), however, for male soprano, male 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--not an order of monks, as previously stated on this page and erroneously reprinted on hundreds of other pages--but rather a group of pious and charitable gentlemen such as existed in cities all over Italy. It was this group that presented an annual Good Friday meditation in honor of the Virgin Mary; Pergolesi's work replaced one composed for the same forces by Alessandro Scarlatti only nine years before, but which was already perceived as "old-fashioned," so rapidly had public tastes changed.

The Scarlatti work, more than Pergolesi's, is full of quasi-operatic devices -- pregnant pauses, dissonant "sighs," and, in the final "Amen," some heady vocal acrobatics. In this performance everything is kept to a very quiet level, which may seem inappropriate to Scarlatti's basically theatrical language.

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