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BT 0150
PERGOLESI, G.B.: Stabat Mater / Salve Regina in C minor (Gruffydd Jones, Zazzo, Brown)

PERGOLESI, G.B.: Stabat Mater / Salve Regina in C minor (Gruffydd Jones, Zazzo, Brown)

The Classical Shop
release date: April 2014

Originally recorded in 2013

Artists:

Timothy Brown

Conductor

Angharad Gruffydd Jones

Soloist

Lawrence Zazzo

Soloist

Timothy Brown

Soloist

Zazzo Instrumental Ensemble

Chamber

Record Label
Brilliant Classics

Genre:

Vocal & Song


Classical

Total Time - 48:06
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PERGOLESI, G.B.: Stabat Mater / Salve Regina in C minor (Gruffydd Jones, Zazzo, Brown)

     
Select Complete Single Disc for
 

GIOVANNI BATTISTA PERGOLESI

     
 

Stabat mater

 
1 Stabat mater dolorosa 03:49
2 Cuius animam gementem 01:57
3 O quam tristis et afflicta 02:12
4 Quae moerebat et dolebat 02:03
5 Quis est homo qui non fleret 02:41
6 Vidit suum dulcem natum 03:02
7 Eia mater, fons amoris 02:29
8 Fac, ut ardeat cor meum 02:11
9 Sancta Mater, istud agas 05:22
10 Fac, ut portem Christi mortem 03:44
11 Inflammatus et accensus 01:58
12 Quando corpus morietur 03:55
 Lawrence Zazzo Soloist
     
 

Salve Regina in C Minor

 
13 Salve Regina 03:25
14 Ad te clamamus 03:46
15 Eia ergo advocata 01:32
16 Et Jesum, benedictum 02:15
17 O clemens, o pia 01:45
 Timothy Brown Soloist
     
 Angharad Gruffydd Jones Soloist
 Timothy Brown Conductor


 During his short life of 26 years, Giovanni Battista Pergolesi produced two works that have ensured his name lives on as one of the great Baroque composers: the comic opera La serva padrona (The Maid as Mistress) and the Stabat Mater recorded on this album. He wrote much more music – sadly the bulk of this is lost and after his death the heavy demand for his music lead to publishers passing off works by lesser composers as being by Pergolesi. Recent study has suggested that of the 150 works published in his name, only about one in five is a genuine Pergolesi.

 
The Stabat Mater was composed in the last two months of his life, in 1736 at the Franciscan monastery near Pozzuoli. Initially the work attracted criticism as it cast conventional religious musical styles aside, and, to many listeners, it sounded more like operatic music set to a religious text. It is possible to detect the world of opera in some of the numbers, but the critics were being unfair. The predominating minor key gives the work a serious character befitting the text. What Pergolesi achieved was to tie music and text together in an emotional bond that is both very effective and touching.
 
The work was published with many examples of the tampering that afflicted much of Pergolesi’s music. For example, oboes were added to the score. This recording is of the original version.
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