Theatre of Early Music, Emma Kirkby, Daniel Taylor - Vivaldi, Pergolesi, Bach: Stabat Mater (2009) [SACD]
![Theatre of Early Music, Emma Kirkby, Daniel Taylor - Vivaldi, Pergolesi, Bach: Stabat Mater (2009) [SACD]](https://www.dibpic.com/uploads/posts/2020-12/1609219672_front-cover.jpg)
BAND/ARTIST: Theatre of Early Music, Emma Kirkby, Daniel Taylor
- Title: Vivaldi, Pergolesi, Bach: Stabat Mater
- Year Of Release: 2009
- Label: BIS Records [BIS-1546 SACD]
- Genre: Classical, Baroque
- Quality: DSD64 image (*.iso) / 2.0 > 1-bit/2.8224 MHz
- Total Time: 01:14:50
- Total Size: 3,5 GB (+3%rec.)
- WebSite: Album Preview
Editor's Choice: “An absolutely gorgeous, contemplative disc." Gramophone; “Man kann nur staunen über den Grad and Harmonie, den beide Künstler in ihrer emotional bewegenden Interpretationen erreichen. Empfehlenswert!" Pizzicato; "Emma Kirkby at her most serene is matched by Taylor as if they were two facets of a single musical entity ... a disc not to be missed." BBC Music Magazine; "Deeply rewarding and often very moving performances." International Record Review; "Should on no account be overlooked." MusicWeb International
With a disc entitled Stabat Mater and featuring Pergolesi among the composers, it would be natural to expect his setting (surely the most famous of all) of this heartfelt meditation on the grief of the Virgin Mary to be included in the programme. Well, it isn’t – and it is! Only a few years after Pergolesi in 1736 had composed his Stabat Mater, Bach made an adaptation of it using a contemporary German version of the biblical Psalm 51. To suit the requirements of the new text Bach made certain alterations to Pergolesi’s vocal parts, but retained the scheme of solo arias and duets between a soprano and an alto voice. He also added a new, independent viola part to the score and rewrote the basso continuo, giving the work a new harmonic vitality.
It’s not only in the form of an arrangement that Pergolesi appears on this disc, however: Psalm 51 is preceded by his own Salve Regina, composed around the same time as the Stabat Mater, and of a similarly expressive, sorrowful character even though the text in question is a hymn of praise to the Virgin Mary. Of Pergolesi’s two settings of the text, the present one – originally in C minor – is the most well-known, and is here performed in the F minor version for alto.
Opening the disc is Vivaldi’s brief Sonata al Santo Sepolcro (‘at the Holy Grave’), an instrumental work probably intended for inclusion in an Easter church service. This is followed by – finally! – a Stabat Mater proper, also by Vivaldi and probably dating from 1711 or 1712. Vivaldi used just the first ten verses of the text, creating one of the most sombre of all settings, here performed by the Canadian ensemble Theatre of Early Music and its director, counter-tenor Daniel Taylor, who in Bach is joined by Emma Kirkby, taking on the soprano part.
Tracks:
1. Antonio Vivaldi (1678-1741)- Sonata à 4 al Santo Sepolcro, for 2 violins, viola & continuo in E flat major, RV 130 04:30
Antonio Vivaldi (1678-1741) – Stabat Mater, hymn for voice, strings & continuo in F minor, RV 621
2. 1. Stabat Mater. Largo 03:23
3. 2. Cuius animam. Adagissimo 02:00
4. 3. O quam tristis. Andante
5. 4. Quis est homo. Largo 03:16
6. 5. Quis non posset. Adagissimo 01:57
7. 6. Pro peccatis. Andante 01:43
8. 7. Eia Mater. Largo 02:31
9. 8. Fac ut ardeat. Lento 01:31
10. 9. Amen. Allegro 01:05
Giovanni Battista Pergolesi (1710-1736) – Salve regina, for countertenor & strings in F minor
11. 1. Salve Regina. Largo 04:11
12. 2. Ad te clamamus. Andante 00:43
13. 3. Ad te suspiramus. Largo 03:33
14. 4. Eia ergo advocata. Andante 01:25
15. 5. Et Jesum, benedictum. Amoroso 02:22
16. 6. O Clemens, o pia. Largo assai 01:36
Johann Sebastian Bach (1685–1750) – Tilge, Höchster, meine Sünden (Psalm 51), BWV 1083 (transcription of Pergolesi’s Stabat Mater)
17. Versus 1: Tilge, Höchster, meine Sünden 03:54
18. Versus 2: Ist mein Herz in Missetaten 02:07
19. Versus 3: Missetaten, die mich drücken 02:01
20. Versus 4: Dich erzürnt mein Tun und Lassen 02:06
21. Versus 5-6: Wer wird seine Schuld verneinen 02:15
22. Versus 7: Siehe! ich bin in Sünd empfanger 00:46
23. Versus 8: Sieh, du willst die Wahrheit haben 03:07
24. Versus 9: Wasche mich doch rein von Sünden 02:22
25. Versus 10: Lass mich Freud und Wonne spüren 02:09
26. Versus 11-15: Shaaue nicht auf meine Sünden 05:35
27. Versus 16: Öffne Lippen, Mund und Seele 03:38
28. Versus 17-18: Denn du willst kein Opfer haben 02:54
29. Versus 19-20: Lass dein Zion blühend dauern 02:01
Personnel:
Vivaldi, Pergolesi:
Theatre of Early Music
Daniel Taylor, counter-tenor
Adrian Butterfield & Cristina Zacharias, violins
Douglas McNabney, viola
Sarah MacMahon, violoncello
Reuven Rothman, double bass
Sylvain Bergeron, lute
Christopher Jackson, organ
Bach:
Emma Kirkby, soprano
Daniel Taylor, counter-tenor
Theatre of Early Music
Christine Moran & Cristina Zacharias, violins
David Miller, viola
Richard Campbell, violoncello
Reuven Rothman, double bass
Sylvain Bergeron, lute
Christopher Jackson, organ
![Theatre of Early Music, Emma Kirkby, Daniel Taylor - Vivaldi, Pergolesi, Bach: Stabat Mater (2009) [SACD]](https://www.dibpic.com/uploads/posts/2020-12/1609219734_back-cover.jpg)
With a disc entitled Stabat Mater and featuring Pergolesi among the composers, it would be natural to expect his setting (surely the most famous of all) of this heartfelt meditation on the grief of the Virgin Mary to be included in the programme. Well, it isn’t – and it is! Only a few years after Pergolesi in 1736 had composed his Stabat Mater, Bach made an adaptation of it using a contemporary German version of the biblical Psalm 51. To suit the requirements of the new text Bach made certain alterations to Pergolesi’s vocal parts, but retained the scheme of solo arias and duets between a soprano and an alto voice. He also added a new, independent viola part to the score and rewrote the basso continuo, giving the work a new harmonic vitality.
It’s not only in the form of an arrangement that Pergolesi appears on this disc, however: Psalm 51 is preceded by his own Salve Regina, composed around the same time as the Stabat Mater, and of a similarly expressive, sorrowful character even though the text in question is a hymn of praise to the Virgin Mary. Of Pergolesi’s two settings of the text, the present one – originally in C minor – is the most well-known, and is here performed in the F minor version for alto.
Opening the disc is Vivaldi’s brief Sonata al Santo Sepolcro (‘at the Holy Grave’), an instrumental work probably intended for inclusion in an Easter church service. This is followed by – finally! – a Stabat Mater proper, also by Vivaldi and probably dating from 1711 or 1712. Vivaldi used just the first ten verses of the text, creating one of the most sombre of all settings, here performed by the Canadian ensemble Theatre of Early Music and its director, counter-tenor Daniel Taylor, who in Bach is joined by Emma Kirkby, taking on the soprano part.
Tracks:
1. Antonio Vivaldi (1678-1741)- Sonata à 4 al Santo Sepolcro, for 2 violins, viola & continuo in E flat major, RV 130 04:30
Antonio Vivaldi (1678-1741) – Stabat Mater, hymn for voice, strings & continuo in F minor, RV 621
2. 1. Stabat Mater. Largo 03:23
3. 2. Cuius animam. Adagissimo 02:00
4. 3. O quam tristis. Andante
5. 4. Quis est homo. Largo 03:16
6. 5. Quis non posset. Adagissimo 01:57
7. 6. Pro peccatis. Andante 01:43
8. 7. Eia Mater. Largo 02:31
9. 8. Fac ut ardeat. Lento 01:31
10. 9. Amen. Allegro 01:05
Giovanni Battista Pergolesi (1710-1736) – Salve regina, for countertenor & strings in F minor
11. 1. Salve Regina. Largo 04:11
12. 2. Ad te clamamus. Andante 00:43
13. 3. Ad te suspiramus. Largo 03:33
14. 4. Eia ergo advocata. Andante 01:25
15. 5. Et Jesum, benedictum. Amoroso 02:22
16. 6. O Clemens, o pia. Largo assai 01:36
Johann Sebastian Bach (1685–1750) – Tilge, Höchster, meine Sünden (Psalm 51), BWV 1083 (transcription of Pergolesi’s Stabat Mater)
17. Versus 1: Tilge, Höchster, meine Sünden 03:54
18. Versus 2: Ist mein Herz in Missetaten 02:07
19. Versus 3: Missetaten, die mich drücken 02:01
20. Versus 4: Dich erzürnt mein Tun und Lassen 02:06
21. Versus 5-6: Wer wird seine Schuld verneinen 02:15
22. Versus 7: Siehe! ich bin in Sünd empfanger 00:46
23. Versus 8: Sieh, du willst die Wahrheit haben 03:07
24. Versus 9: Wasche mich doch rein von Sünden 02:22
25. Versus 10: Lass mich Freud und Wonne spüren 02:09
26. Versus 11-15: Shaaue nicht auf meine Sünden 05:35
27. Versus 16: Öffne Lippen, Mund und Seele 03:38
28. Versus 17-18: Denn du willst kein Opfer haben 02:54
29. Versus 19-20: Lass dein Zion blühend dauern 02:01
Personnel:
Vivaldi, Pergolesi:
Theatre of Early Music
Daniel Taylor, counter-tenor
Adrian Butterfield & Cristina Zacharias, violins
Douglas McNabney, viola
Sarah MacMahon, violoncello
Reuven Rothman, double bass
Sylvain Bergeron, lute
Christopher Jackson, organ
Bach:
Emma Kirkby, soprano
Daniel Taylor, counter-tenor
Theatre of Early Music
Christine Moran & Cristina Zacharias, violins
David Miller, viola
Richard Campbell, violoncello
Reuven Rothman, double bass
Sylvain Bergeron, lute
Christopher Jackson, organ
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