Ensemble Resonanz / Riccardo Minasi - Pergolesi: Stabat Mater | RECORD STORE DAY

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1. Stabat Mater, P. 77: I. Stabat Mater dolorosa. Grave
2. Stabat Mater, P. 77: II. Cujus animam gementem. Andante amoroso
3. Stabat Mater, P. 77: III. O quam tristis et afflicta. Larghetto
4. Stabat Mater, P. 77: IV. Quae moerebat et dolebat. Allegro
5. Stabat Mater, P. 77: V. Quis est homo. Largo
6. Stabat Mater, P. 77: VI. Vidit suum dulcem natum. Tempo giusto
7. Stabat Mater, P. 77: VII. Eja mater fons amoris. Andantino
8. Stabat Mater, P. 77: VIII. Fac ut ardeat cor meum. Allegro
9. Stabat Mater, P. 77: IX. Sancta mater, istud agas. Tempo giusto
10. Stabat Mater, P. 77: X. Fac ut portem Christi mortem. Largo
11. Stabat Mater, P. 77: XI. Inflammatus et accensus. Allegro ma non troppo
12. Stabat Mater, P. 77: XII. Quando corpus morietur. Largo assai - Amen. Presto assai
13. Sonata a quattro in F Minor, Op. 1 No. 4 (Imitatio in Salve Regina, Mater Misericordiae): I. Andante
14. Sonata a quattro in F Minor, Op. 1 No. 4 (Imitatio in Salve Regina, Mater Misericordiae): II. Adagio
15. Sonata a quattro in F Minor, Op. 1 No. 4 (Imitatio in Salve Regina, Mater Misericordiae): III. Allegro
16. Salve a duo: I. Salve Regina. Largo
17. Salve a duo: II. Mater misericordiae. Andante
18. Salve a duo: III. Ad te clamamus. Largo
19. Salve a duo: IV. Eia ergo. Allegro
20. Salve a duo: V. Et Jesum. Andante
21. Salve a duo: VI. O Clemens. Largo

More Info:

Two of Bach's finest cantatas, both for solo alto, composed in Weimar (1714) and Leipzig (1726) respectively, are here coupled with Pergolesi's Stabat Mater of 1736, the eighteenth century's favourite sacred work. The gap between austere Lutheran piety and searing Mediterranean emotionalism might seem unbridgeable. Yet Bach so admired the composition of his Neapolitan colleague that he made his own 'parody' of it to a German text. On this recording, La Nuova Musica and it's two eminent soloists display equal mastery of both idioms.