• BISSACD1546 Katalognummer
  • 7318599915463 EAN
  • 1SACD Format
  • 2009 Utgivelsesår

Kirkby, Emma (soprano) | Taylor, Daniel (counter-tenor) | Theatre of Early Music

Bach, Johann Sebastian | Pergolesi, Giovanni Battista | Vivaldi, Antonio

Theatre of Early Music



Vivaldi, Antonio

Sonata ‘al Santo Sepolcro’ in E flat major, RV130

Stabat Mater, RV621:
I. Stabat Mater. Largo
II. Cuius animam. Adagissimo
III. O quam tristis. Andante
IV. Quis est homo. Largo
V. Quis non posset. Adagissimo
VI. Pro peccatis. Andante
VII. Eia Mater. Largo
VIII. Fac ut ardeat. Lento
IX. Amen. Allegro

Pergolesi, Giovanni Battista
Salve Regina:
I. Salve Regina. Largo
II. Ad te clamamus. Andante
III. Ad te suspiramus. Largo
IV. Eia ergo advocata. Andante
V. Et Jesum, benedictum. Amoroso
VI. O Clemens, o pia. Largo assai

Bach, Johann Sebastian
Tilge, Höchster, meine Sünden (Psalm 51), BWV1083:
Versus 1: Tilge, Höchster, meine Sünden (Sopr., Alto)
Versus 2: Ist mein Herz in Missetaten (Soprano)
Versus 3: Missetaten, die mich drücken (Soprano, Alto)
Versus 4: Dich erzürnt mein Tun und Lassen (Alto)
Versus 5–6: Wer wird seine Schuld verneinen (Sopr., Alto)
Versus 7: Siehe! ich bin in Sünd empfangen (Soprano, Alto)
Versus 8: Sieh, du willst die Wahrheit haben (Soprano)
Versus 9: Wasche mich doch rein von Sünden (Alto)
Versus 10: Lass mich Freud und Wonne spüren (Sop., Alto)
Versus 11–15: Schaue nicht auf meine Sünden (Soprano, Alto)
Versus 16: Öffne Lippen, Mund und Seele (Alto)
Versus 17–18: Denn du willst kein Opfer haben (Soprano, Alto)
Versus 19–20: Lass dein Zion blühend dauern (Soprano, Alto)
Amen (Soprano, Alto)

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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.


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