Giovanni Battista Pergolesi  
Giovanni Battista Pergolesi
Giovanni Battista Pergolesi (4 January 1710 – 16 March 1736) was an Italian composer, violinist and organist.


Born in Jesi in what is now the Province of Ancona (but was then the Papal States), Pergolesi studied music there 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 his Magnificat in C major. 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, 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 spurious works. 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.
Pergolesi died at the age of 26 in Pozzuoli from tuberculosis.

From Wikipedia, the free encyclopedia

"Stabat Mater"
Stabat Mater is a musical setting of the Stabat Mater sequence, composed by Giovanni Battista Pergolesi in 1736. Composed in the final weeks of Pergolesi's life, it is scored for soprano and alto soloists, violin I and II, viola and basso continuo (cello and organ).


Many pieces which were said to have been composed by Pergolesi have been misattributed; the Stabat Mater is definitely by Pergolesi, as a manuscript in his handwriting has been preserved. The work was composed for an Neapolitan confraternity, the Confraternità dei Cavalieri di San Luigi di Palazzo, which had also commissioned a Stabat Mater from Alessandro Scarlatti. Pergolesi composed it during his final illness from tuberculosis in a Franciscan monastery in Pozzuoli, along with a Salve Regina setting.


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.


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.
"Stabat Mater Dolorosa" Grave, F minor, common time; duet
"Cujus animam gementem Andante amoroso, C minor, 3/8; soprano aria
"O quam tristis et afflicta" Larghetto, G minor, common time; duet
"Quae moerebat et dolebat" Allegro, E-flat major, 2/4; alto aria
"Quis est homo" Largo, C minor, common time; duet
—"Pro peccatis suae gentis..." Allegro, C minor, 6/8
"Vidit suum dulcem natum" Tempo giusto, F minor, common time; soprano aria
"Eja mater fons amoris" Andantino, C minor, 3/8; alto aria
"Fac ut ardeat cor meum" Allegro, G minor, cut common time; duet
"Sancta mater, istud agas" Tempo giusto, E-flat major, common time; duet
"Fac ut portem Christi mortem" Largo, G minor, common time; alto aria
"Inflammatus et accensus" Allegro ma non troppo, B-flat major, common time; duet
"Quando corpus morietur" Largo assai, F minor, common time; duet
—"Amen..." Presto assai, F minor, common time

From Wikipedia, the free encyclopedia

Pasion por Anna Netrebko por La Orquesta Estatal Sajona de Dresde
Pergolesi Stabat Mater R.Blaze, C.Sampson, King's Consort
Giovanni Battista Pergolesi: Stabat Mater - part I
from the concert "Musica Sacra di Napoli", recorded live at Cathedral Santuario de Guadalupe, Dallas, Texas, on October 13, 2009

Stabat Mater
(for soprano, alto, strings and basso continuo)

The musicians:
Vesselin Demirev - violin
Kurt Sprenger - violin
Norbert Gerl - viola
Francesco Mastromatteo - violoncello
Chris Pike - bass
Brian Bentley - portative organ

Soprano - Lucy Creech
Mezzo Soprano - Natalie Arduino

Pergolesi - Vivaldi - Stabat Mater - Alessandrini - Concerto Italiano - Mingardo - Bertagnolli
Giovanni Battista Pergolesi (1710 - 1736) - Stabat Mater
Antonio Vivaldi (1678 - 1741) - Stabat Mater

Concerto Italiano
Rinaldo Alessandrini

Sara Mingardo - contralto
Gemma Bertagnolli - soprano

Pergolesi Stabat Mater Claudio Abbado Katia Ricciarelli Lucia Valentini Terrani Solisti della Scala
Claudio Abbado conducts in 1979 soloists from La Scala of Milano
Katia Ricciarelli, Soprano
Lucia Valentini Terrani, Mezzo-Soprano
*****Tracks :
Stabat Mater Dolorosa 0:00
Cujus Animam Gementem 4:30
O quam Tristis et Afflicta 7:22
Quae moerabat et dolebat 9:49
Quis est homo, qui non fleret 12:45
Vidit Suum Dulcem Natum 15:52
Eia Mater Fons Amoris 19:36
Fac ut ardeat cor meum in amando Christum Deum 22:22
Sancta Mater istud Agas 25:04
Fac ut portem Christi Mortem 31:08
Inflammatus et accensus 35:02
Quando corpus morietur - Amen 37:52
SALVE REGINA I - in C minor - Giovanni Battista PERGOLESI
SALVE REGINA I - in C minor - Giovanni Battista PERGOLESI

Salve Regina - from 00:00 - 03:25
Ad te clamamus - from 03:25 - 07:11
Eja ergo , advocata nostra - from 07:12 - 08:46

Angharad Gruffyd Jones, soprano
Lawence Zazzo, counter tenor

Julia Bishop, Joanna Parker, violin
Peter Whiskin, viola
Joanna Levine, cello
Mark Levy, violone

G. B. Pergolesi: Concerto for flute, 2 violins & b.c. in G major [doubtful] / Il Gardellino
Concerto for flute, two violins and basso continuo in G major

I. Spiritoso - 0:05
II. Adagio - 4:24
III. Allegro spiritoso - 8:34

Jan De Winne (traversiere)

Il Gardellino

"La Serva padrona"
La serva padrona (The Servant Turned Mistress) is an opera buffa by Pergolesi Giovanni Battista (1710 – 1736) to a libretto by Gennaro Antonio Federico, after the play by Jacopo Angello Nelli. The opera is only 45 minutes long and was originally performed as an intermezzo between the acts of a larger serious opera. (The same libretto was set by Giovanni Paisiello in 1781.)
Performance history

La serva padrona was originally an intermezzo to Pergolesi's opera seria, Il prigionier superbo (The Proud Prisoner). The two were premiered on 5 September 1733, the first performance after an earthquake in Naples had caused all theatres to be closed, and celebrated the birthday of the Empress of Habsburg.
Il prigioniero superbo was unsuccessful in its day and is not a recognized title in today’s operatic repertoire. Eventually the two pieces were separated, and La serva padrona went on to enjoy fame throughout Europe for years after its premiere. The importance of this intermezzo can hardly be overlooked in the history of opera. With a new finale, the French version played a large part in the Querelle des Bouffons. It was appealing because of its presentation of characters that were relatable to any audience, namely the cunning maid and her aging master. La serva padrona is often seen as the quintessential piece that bridges the gap from the Baroque to the Classical period. Owing to its importance, over time it came to be known as more than just an intermezzo and was performed as a stand-alone work.


Intermezzo 1
Dressing room
Uberto, an elderly bachelor, is angry and impatient with his maidservant, Serpina, because she has not brought him his chocolate today. Serpina has become so arrogant that she thinks she is the mistress of the household. Indeed, when Uberto calls for his hat, wig and coat, Serpina forbids him from leaving the house, adding that from then on he will have to obey her orders. Uberto thereupon orders Vespone to find him a woman to marry so that he can rid himself of Serpina.

Intermezzo 2
Same dressing room
Serpina convinces Vespone to trick Uberto into marrying her. She informs Uberto that she is to marry a military man named Tempesta. She will be leaving his home and apologizes for her behavior. Vespone, disguised as Tempesta, arrives and, without saying a word, demands 4,000 crowns for a dowry. Uberto refuses to pay such a sum. Tempesta threatens him to either pay the dowry or marry the girl himself. Uberto agrees to marry Serpina. Serpina and Vespone reveal their trick; but Uberto realizes that he has loved the girl all along. They will marry after all; and Serpina will now be the true mistress of the household.

From Wikipedia, the free encyclopedia


Catherine Nelidova as Serpina by Dmitry Levitzky, 1773
Pergolesi: La Serva Padrona, intermezzo in two parts | Diego Fasolis & Barocchisti
Giovanni Battista Pergolesi: La Serva Padrona, intermezzo in two parts

Part 1:

02:35 • Aria: Aspettare e non venire ~ Uberto
04:16 • Recitativo: Questa e per me disgrazia! ~ Uberto, Serpina
07:52 • Aria: Sempre in contrasti ~ Uberto
11:27 • Recitativo: In somma delle somme ~ Serpina, Uberto
13:02 • Aria: Stizzoso, mio stizzoso! ~ Serpina
16:29 • Recitativo: Benissimo! ~ Uberto, Serpina
18:38 • Duetto: Lo conosco ~ Serpina, Uberto

Part 2:

23:03 • Recitativo: Or che fatto ~ Serpina, Uberto
26:38 • Aria: A Serpina penserete ~ Serpina
29:50 • Recitativo: Ah, quanto mi fa male ~ Uberto, Serpina
31:52 • Aria: Son imbrogliato io gia ~ Uberto
36:03 • Recitativo: Favorisca, Signor ~ Serpina, Uberto
39:40 • Duetto: Per te io ho nel core ~ Serpina, Uberto
42:35 • Contento tu sarai! ~ Serpina, Uberto

• Umberto: Furio Zanasi
• Serpina: Sonya Yoncheva
• Vespone: Roberto Carlos Gerboles
• Tafano: Pablo Ariel Bursztin

I Barocchisti
Conducted by Diego Fasolis

Directed by Mando Bernardinello ® 2008 - Broadcast by HD Suisse

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