Stabat Mater a due Voci Soprano, e Contralto Con Violini, Viola, e Basso ... ad uso di Mrs. Earle. [Paymer 77]. [Manuscript full score]
- [?]Italy , 1750
[?]Italy, 1750. Oblong folio (222 x 287 mm). Contemporary marbled boards. [i] (title), 163, pp. Notated in brown ink on 11-stave rastrum-ruled paper with watermark of a shield. With text in Latin, "Laus deo" at conclusion.
Binding worn. Occasional light soiling to margins and small stains. Possibly produced in Italy for a visiting Englishwoman (the Mrs. Earle mentioned on the title), or in England by an Italian copyist.
"The Stabat mater, first published in London in 1749, became the most frequently printed single work in the 18th century. It was also circulated in many adaptations, including one by Bach (as Tilge, Höchster, meine Sünden). ...
For two solo voices and strings, [Pergolesi's] most famous work was evidently written in competition with Alessandro Scarlatti’s Stabat mater for the same voices and instruments. A comparison between the works shows Pergolesi’s new approach to the concertante vocal movement and his development of the ‘church aria’, as well as the earliest application to sacred music of the style of expressive sensibility. The work stirred considerable controversy at home and abroad for its religious propriety and musical style. Padre Martini’s traditional views towards counterpoint incited some to criticize Pergolesi’s setting, while others found it ‘galant’, expressive and new." Helmut Hucke, and Dale E. Monson in Grove Music Online
Pergolesi's most celebrated sacred work, rendered in a fluent and attractive professional copyist's hand.
Binding worn. Occasional light soiling to margins and small stains. Possibly produced in Italy for a visiting Englishwoman (the Mrs. Earle mentioned on the title), or in England by an Italian copyist.
"The Stabat mater, first published in London in 1749, became the most frequently printed single work in the 18th century. It was also circulated in many adaptations, including one by Bach (as Tilge, Höchster, meine Sünden). ...
For two solo voices and strings, [Pergolesi's] most famous work was evidently written in competition with Alessandro Scarlatti’s Stabat mater for the same voices and instruments. A comparison between the works shows Pergolesi’s new approach to the concertante vocal movement and his development of the ‘church aria’, as well as the earliest application to sacred music of the style of expressive sensibility. The work stirred considerable controversy at home and abroad for its religious propriety and musical style. Padre Martini’s traditional views towards counterpoint incited some to criticize Pergolesi’s setting, while others found it ‘galant’, expressive and new." Helmut Hucke, and Dale E. Monson in Grove Music Online
Pergolesi's most celebrated sacred work, rendered in a fluent and attractive professional copyist's hand.