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Stabat Mater - Pergolesi

For Luka Stefanovic's Master of Music Lecture Recital at Oberlin Conservatory on May 4th, 2023 at Fairchild Chapel. Performers Luka Stefanovic - Leader, Cello Delaney Fox - Soprano Ris Beddie - Alto Jake Balmuth, Jasper de Boor - violin Maureen Sheehan - Viola William Rehwinkel - Organ Nik Divall - Archlute Zach Wuorinen - viol 1. 00:11 Stabat Mater Dolorosa 2. 04:20 Cujus animam gementem 3. 06:21 O quam tristis et afflicta 4. 08:21 Quae moerebat et dolebat 5. 10:42 Quis est homo 6. 14:23 Vidit suum dulcem natum 7. 17:55 Eja mater fons amoris 8. 20:24 Fac ut ardeat cor meum 9. 23:07 Sancta mater, istud agas 10. 28:56 Fac ut portem Christi mortem 11. 32:33 Inflammatus et accensus 12. 35:01 Quando corpus morietur Transcript of part of Luka's lecture: The artistic concept of sentimentalism in Europe arose as something of an antithetical response to the pure rationalism and reason-based ideals spawned and spread by Enlightenment thinkers. Sentimentalism aims to emphasize feelings and emotion, as well as the inherent beauty of natural settings and art, through sensibility or compassion for others. With these characteristics becoming desirable traits, the effect of sentimental art and literature quickly became a middle-class phenomenon. These effects were only amplified as activism boomed around anti-slavery, child labor, prison reform, urban misery, and hospital issues, all of which have been brought on by exploitative labor practices from the massive growth of industrial capitalism. [...] On the Italian peninsula, Giovanni Battista Draghi, eventually known by the surname Pergolesi, was born and raised in the town of Jesi, part of the Eastern Papal States. It was in his ten years there, 1710 to 1720, that the young Giovanni began to study music, but he quickly outgrew his local instructor and was sent hundreds of miles south to Naples for an education at the Conservatorio dei Boveri. Pergolesi's learning of the violin and organ at a high level soon caught the attention of the area's most prolific opera composer, Francesco Feo, who became his teacher, mentor, and close friend. The two were working and composing at a time that could be considered the beginning of the craze around the Italian "opera seria" and "opera buffa" genres, and at just 22 and 24 years old respectively, it was in Pergolesi's appointments as maestro di cappella to the Neapolitan Prince of Stigliano and deputy maestro di cappella to the whole of Naples that he composed many very well-received works. The success of these works, as well as that of a mass and a comic intermezzo also composed in a two-year period, did not last long, though. Pergolesi's health took a turn for the worse as the effects of tuberculosis began to set in. It was in a Franciscan monastery just outside of the city that Pergolesi, now only 36 years old, composed and completed one final work before his death. This work was the "Stabat Mater", a setting of the 13th century Franciscan hymn on the theme of the crucifixion. [...] Pergolesi's work, scored for solo soprano and alto voices, two violins, viola and continuo, that's cello, archlute, viol and an organ in this case, chronicles the sorrows of grief of the Virgin Mary as her son lies dying on the cross. The 20 original stanzas are set into 12 movements, and although purely liturgical in the way of text and intended use, the "Stabat Mater" incorporates a great deal of operatic compositional style in its dramatic gestures, surely due to the composer's proximity to that genre during his brief life. The Stabat Mater's strength as a composition comes from the aforementioned sentimentalist style in which compassion reigns supreme. In this case, it makes good sense to frame the word "compassion" into its morphological makeup. Our English "compassion" is derived directly from the Latin "conpati", in which con means with, and "pati" means to suffer or endure. Richard Will, in his essay regarding the politics of feminine virtue around Stabat Mater, describes how Pergolesi's choice in text makes the piece a perfect candidate for slotting into the sentimental music genre. He says it contains, "an emphasis on feelings and their manifestation in bodily symptoms, especially obsession with the feelings of distraught women, and an appeal to sympathy as a means of inculcating virtue," and goes on to explain that "the suppliant of the prior is expected to internalize the heroine's qualities by partaking of her tribulations." [...] Amid immense continental popularity, and despite centuries of negative reactions from countless critics, composers, and musicologists, out of frustration over Pergola's non-traditional mixing of liturgical solemnity with passionate theatrics, the overwhelmingly positive reaction this Stabat Mater garnered with its thoughtful compositional traits has allowed it to truly stand the test of time. #pergolesi #stabatmater #stabat #mater #Oberlin #fullshow #studymusic #relaxing