
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
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Stabat Mater, P. 77: IV. Quae moerebat et dolebat. Allegro
5
Stabat Mater, P. 77: V. Quis est homo. Largo
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Stabat Mater, P. 77: VI. Vidit suum dulcem natum. Tempo giusto
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Stabat Mater, P. 77: VII. Eja mater fons amoris. Andantino
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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
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Sonata a quattro in F Minor, Op. 1 No. 4 (Imitatio in Salve Regina, Mater Misericordiae): II. Adagio
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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
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Salve a duo: II. Mater misericordiae. Andante
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Salve a duo: III. Ad te clamamus. Largo
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Salve a duo: IV. Eia ergo. Allegro
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Salve a duo: V. Et Jesum. Andante
21
Salve a duo: VI. O Clemens. Largo
Item UPC: 3149020943052
Date First Available:
Label: HARMONIA MUNDI
ABOUT THE ALBUM
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.
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