Camerata - Pergolesi: Stabat Mater; Orfeo [CD]

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Giovanni Battista Pergolesi (1710 - 1736)Stabat Mater, C.xxvi, 1Stabat mater dolorosa (a due)Cujus animam gementem (canto solo) O quam tristis et afflicta (a due)Quae moerebat et dolebat (alto solo) Quis est homo (a due)Vidit suum dulcem natum (canto solo)Eja mater fons amoris (alto solo)Fac ut ardeat cor meum (a due)Sancta mater, istud agas (a due)Fac ut portem Christi mortem (alto solo)Inflammatus et accensus (a due)Quando corpus morietur (a due)Orfeo, cantata da camera, C.x.82Recitativo: Nel chiuso centroAria: Euridice, e dove, e dove sei?Recitativo: Si, che pieta non v'èAria: O, Euridice, n'andrò festosoGiovanni Battista Pergolesi, the family name by which he is generally known derived from his great-grandfather's place of origin, Pergola, was born at Iesi in 1710, the third child of a surveyor. Weak in health as a child, possibly with some deformity and a limp probably of tubercular origin, he seems to have had his first musical training in his native town. Aristocratic patronage enabled him to study in the early 1720s at the Conservatorio dei Poveri in Naples, where his composition teachers were Gaetano Greco, followed by Leonardo Vinci and Francesco Durante. At the conservatory he was a chorister and a violinist and apparently made his public début as a composer with a sacred drama, Li prodigi della divina grazia nella conversions di San Guglielmo Duca d'Aquitania, in 1731, performed at the monastery of S Agnello Maggiore. This marked the end of his period of study at the conservatory.Pergolesi's first commissioned opera, Salustia, was staged without significant success at the S Bartolomeo Theatre in Naples in January 1732 and in the same year he became maestro di cappella to Prince Ferdinando Colonna Stigliano, an aide to the Viceroy of Naples. In September his comedy Lo frate 'nnamorato was successfully mounted at the Teatro dei Fiorentird, to be revived in following years. His greatest operatic success, however, came in 1733 with La serva padrona, an intermezzo for his opera seria Il prigonier superbo. La serva padrona was to enjoy enormous success, its second staging in Paris in 1752 being at the root of the Querelle des Bouffons, the contention that divided Parisian factions into partisans of the Italian or the French operatic school.Meanwhile Pergolesi's position in the musical life of Naples seemed assured, with commissioned Mass and Vesper settings in honour of St Emedius, patron of the city and protector against earthquakes, and appointment, with right of succession, as deputy to the city maestro di cappella. Political disturbances, with the ousting of the Austrian viceroy and the re-establishment of the Kingdom of Naples under King Carlos of Bourbon, took Pergolesi briefly to Rome, where, in 1734, a Mass setting commissioned by a Neapolitan nobleman, the Duke of Maddaloni, created a sensation. Pergolesi returned to Naples as maestro di cappella to the Duke, whose family was closely associated with th

Stabat Mater, C.xxxvi,1: Stabat mater dolorosa (a due)

Stabat Mater, C.xxxvi,1: Cujus animam gementem (Canto solo)

Stabat Mater, C.xxxvi,1: O quam tristis et afflicta (a Due)

Stabat Mater, C.xxxvi,1: Quae moerebat et dolebat (Alto solo)

Stabat Mater, C.xxxvi,1: Quis est homo (a due)

Stabat Mater, C.xxxvi,1: Vidit suum dulcem natum (Canta solo)

Stabat Mater, C.xxxvi,1: Eja mater fons amoris (Alto solo)

Stabat Mater, C.xxxvi,1: Fac, ut ardeat cor meum (a due)

Stabat Mater, C.xxxvi,1: Sancta mater, istud agas (a due)

Stabat Mater, C.xxxvi,1: Fac ut portem Chriati mortem (Alto solo)

Stabat Mater, C.xxxvi,1: Inflammatus et accensus (a due)

Stabat Mater, C.xxxvi,1: Quando corpus morietur (a due)

Orfeo, cantata da camera, C.x.82: Reacitativo-Nel chiuso centro

Orfeo, cantata da camera, C.x.82: Aria-Euridice, e dove, e dove sei?

Orfeo, cantata da camera, C.x.82: Recitativo-Si, che pieta non v'e

Orfeo, cantata da camera, C.x.82: Aria-O, Euridice, n'andro festoso