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Giovanni Battista Pergolesi

Giovanni Battista Draghi (Italian: [dʒoˈvanni batˈtista ˈdraːɡi]; 4 January 1710 – 16 or 17 March 1736), usually referred to as Giovanni Battista Pergolesi (Italian: [perɡoˈleːzi; -eːsi]), was an Italian Baroque composer, violinist, and organist, leading exponent of the Baroque; he is considered one of the greatest Italian musicians of the first half of the 18th century and one of the most important representatives of the Neapolitan school.

Two caricatures by Pier Leone Ghezzi
("the only extant authentic portraits")[1]
"Pergolese music composer who came to Rome on 20 May 1734"
(The British Museum)
"Signor Pergolese, Neapolitan music composer, who is clever indeed and died in Naples on 7 February 1736, and had suffered greatly with his left leg which made him walk with a limp)."[4]
(Vatican Apostolic Library)
The two caricature sketches by Pier Leone Ghezzi (the latter evidently derived from the former) are "the only two authentic portraits of the musician that have come down to us. The marked features of the face are very far from subsequent idealizations: pronounced deformity[2] of the left leg is also shown, a sign of probable previous poliomyelitis [...]".[3]

Despite his short life and few years of activity (he died of tuberculosis at the age of 26), he managed to create works of high artistic value and historical importance, among which we remember La serva padrona (The Maid Turned Mistress), of the highest importance for the development and diffusion of the opera buffa in Europe, L'Olimpiade, considered one of the masterpieces of the opera seria of the first half of the eighteenth century,[5] and the Stabat Mater, among the most important works of sacred music of all time.[6][7][8]

Biography edit

 
Pergolesi

Born in Jesi in what is now the Province of Ancona (but was then part of the Papal States), he was commonly given the nickname "Pergolesi", a demonym indicating in Italian the residents of Pergola, Marche, the birthplace of his ancestors. He studied music in Jesi under a local musician, Francesco Santi, before going to Naples in 1725, where he studied under Gaetano Greco and Francesco Feo among others. On leaving the conservatory in 1731, he won some renown by performing the oratorio in two parts La fenice sul rogo, o vero La morte di San Giuseppe [it] ("The Phoenix on the Pyre, or The Death of Saint Joseph"), and the dramma sacro in three acts, Li prodigi della divina grazia nella conversione e morte di san Guglielmo duca d’Aquitania ("The Miracles of Divine Grace in the Conversion and Death of Saint William, Duke of Aquitaine"). He spent most of his brief life working for aristocratic patrons such as Ferdinando Colonna, Prince of Stigliano, and Domenico Marzio Carafa, Duke of Maddaloni.

Pergolesi was one of the most important early composers of opera buffa (comic opera). His opera seria, Il prigionier superbo, contained the two-act buffa intermezzo, La serva padrona (The Servant Mistress, 28 August 1733), which became a very popular work in its own right. When it was performed in Paris in 1752, it prompted the so-called Querelle des Bouffons ("quarrel of the comic actors") between supporters of serious French opera by the likes of Jean-Baptiste Lully and Jean-Philippe Rameau and supporters of new Italian comic opera. Pergolesi was held up as a model of the Italian style during this quarrel, which divided Paris's musical community for two years.

Among Pergolesi's other operatic works are his first opera seria La Salustia (1732), Lo frate 'nnamorato (The brother in love, 1732, to a text in the Neapolitan language), L'Olimpiade (January 1735) and Il Flaminio (1735, to a text in the Neapolitan language). All his operas were premiered in Naples, apart from L'Olimpiade, which was first given in Rome.

Pergolesi also wrote sacred music, including a Mass in F and three Salve Regina settings. The Lenten Hymn 'God of Mercy and Compassion' by Redemptorist priest Edmund Vaughan is most commonly set to a tune adapted by Pergolesi.[9] It is his Stabat Mater (1736), however, for soprano, alto, string orchestra and basso continuo, which is his best-known sacred work. It was commissioned by the Confraternita dei Cavalieri di San Luigi di Palazzo, which presented an annual Good Friday meditation in honour of the Virgin Mary. Pergolesi's work replaced the one composed by Alessandro Scarlatti in 1724, but which was already perceived as "old-fashioned," so rapidly had public tastes changed. While classical in scope, the opening section of the setting demonstrates Pergolesi's mastery of the Italian baroque durezze e ligature style, characterized by numerous suspensions over a faster, conjunct bassline. The work remained popular, becoming the most frequently printed musical work of the 18th century,[10] and being arranged by a number of other composers, including Johann Sebastian Bach, who reorchestrated and adapted it for a non-Marian text in his cantata Tilge, Höchster, meine Sünden (Root out my sins, Highest One), BWV 1083.

Pergolesi wrote a number of secular instrumental works, including a violin sonata and a violin concerto. A considerable number of instrumental and sacred works once attributed to Pergolesi have since been shown to be misattributed. Many colourful anecdotes related by Pergolesi's 19th-century biographer Francesco Florimo were later revealed as hoaxes.

Pergolesi died on 16 or 17 March 1736 at the age of 26 in Pozzuoli from tuberculosis and was buried at the Franciscan monastery one day later.

Pergolesi was the subject of a 1932 Italian film biopic Pergolesi. It was directed by Guido Brignone with Elio Steiner playing the role of the composer.

Legend and posthumous fame edit

 
Purported portrait of Pergolesi donated by musicologist Francesco Florimo to the Naples Conservatory in 1874[11]

If in life, despite numerous awards, Pergolesi's fame was almost exclusively limited to the Neapolitan and Roman musical milieu, so it should come as no surprise that this figure of composer, who died very young with an artistic parable of only five years and yet able to leave a handful of unforgettable compositions, has been able to influence poets and artists who, during the 19th century, reinterpreted the figure in a romantic key.

As the historian and traveler Charles Burney wrote:

…from the moment his death became known, all Italy manifested a keen desire to hear and possess his works.

Indeed, the myth that was born throughout Europe around his life and work after his death represents an exceptional phenomenon in the history of music. Mozart will experience a similar phenomenon after his death. Thus, more than three hundred works have been attributed to him, of which only about thirty have been recognized by modern critics as true Pergolesi's compositions, a phenomenon which testifies the reputation of the composer.

However, already in the middle of the 18th century Pergolesi was immensely better known than he had been in life: as mentioned, the numerous prints of his compositions began to spread throughout Europe. Several years after Pergolesi's death, the performance in Paris, in 1752, of La Serva padrona by an Italian comic opera troupe, triggered the famous Querelle des Bouffons between the defenders of French music and the supporters of the opera buffa. For Jean-Jacques Rousseau, in particular, the freshness and the grace of his music was the dazzling demonstration of the superiority of Italian opera over French lyric tragedy. The French composer André Grétry said:

Pergolesi was born, and the truth was known!

Above all, the scarcity of tangible information about his life and works was fertile ground for the flourishing of imaginative anecdotes of all kinds. The doubt crept in that his tragic end was due not to natural causes but to poisoning by musicians envious of his talent.[12] Apollonian beauty and numerous tragic loves were attributed to him.

Because of this extraordinary posthumous fame, the catalog of his works had an unpredictable destiny: during the 18th century and 19th century spread in Europe the practice of publishing under his name, for the purpose of speculation, any score having the musical style of the Neapolitan school. By the end of the 19th century, this led to over five hundred compositions in the informal catalog of his works. Contemporary studies have reduced Pergolesi's compositions to less than fifty, and of these only twenty-eight are the works whose paternity is considered sure.

 
Monument to Giovanni Battista Pergolesi in Jesi

There are still serious doubts about the attribution of various works, even among the best known, such as the Salve Regina in F minor. Several music and record editions perpetuate these uncertainties about the authorship of various compositions, publishing in his name compositions certainly produced by other authors, such as the arias Se tu m'ami (certainly composed by the musicologist Alessandro Parisotti in the second half of the 19th century and included in one of his collections of baroque arias under the name of Pergolesi) and Tre giorni son che Nina (attributed to Vincenzo Legrenzio Ciampi) or the Magnificat in D major, composed by his teacher Francesco Durante.

The situation of extreme uncertainty that distinguishes the catalog of Pergolesi's works can be easily described with the case of Pulcinella by Igor Stravinsky: composed in 1920 as a tribute to the style of the composer from Jesi, the most recent music critics have established that of the 21 pieces used for this composition, as many as 11 are to be attributed to other authors (mainly Domenico Gallo), two are of dubious attribution and only eight (mostly taken from his operas) can be attributed to Pergolesi.

Pergolesi's works on screen edit

Pergolesi's Salve Regina is a highlighted performance in the movie Farinelli (1994), in which Farinelli also performs Stabat Mater Dolorosa in the only duet. The first and last parts of Pergolesi's Stabat Mater were used in the soundtrack of the movie Jesus of Montreal (Jésus de Montréal) (1989); the fifth part ("Quis est homo") was used in the soundtrack of the movie Smilla's Sense of Snow (1997); the last part was also used in the movie Amadeus (1984) and in the movie The Mirror (1975) by Andrei Tarkovsky. The film Cactus (1986) by the Australian director Paul Cox also features Pergolesi's Stabat Mater on the soundtrack.[13] Nothing Left Unsaid, a 2016 documentary on Gloria Vanderbilt and Anderson Cooper, used the last movement ("Quando Corpus / Amen") of Pergolesi's Stabat Mater.

Works edit

The standard catalogue of Pergolesi's works was produced by Marvin Paymer in 1977, ascribing a unique P number to each item so that – for example – the well-known Stabat Mater is P.77.[14]

Sacred music edit

  • Antifona "In caelestibus regnis" (1731)
  • Confitebor tibi Domine (Psalm 111) in C for Soprano, Alto, Choir, Strings and Continuo (1732)
  • Dixit Dominus (Psalm 110) for Soprano, Bass, 2 Choirs and 2 Orchestras (1732)
  • Laudate pueri Dominum (Psalm 113) in D for Soprano, Mezzo, Choir and Orchestra (1734)
  • Mass in D (1732)
  • Mass in F "San Emidio" (Missa romana) for Soprano, Alto, 2 Choirs, 2 Orchestras and Continuo (1732)
  • Oratorio La fenice sul rogo, o vero La morte di San Giuseppe [it] (1731, atrium of the Chiesa dei Girolamini, Naples)
  • Dramma sacro Li prodigi della divina grazia nella conversione e morte di san Guglielmo duca d'Aquitania (1731, Monastery of Sant'Agnello Maggiore, Naples)
  • Salve regina in a for Soprano, Strings and Continuo (1731)
  • Salve regina in c for Soprano, Strings and Continuo (1735)
  • Salve regina in f for Alto, Strings and Continuo (1736, adapted from the Salve regina in c)
  • Stabat Mater in f (wr. 1735, pr. 1736, Naples)

Operas edit

Orchestral music edit

  • Sinfonia in B-flat major
  • Sinfonia in D major
  • Sinfonia in F major
  • Sinfonia in G major, P.35
  • Sinfonia in G minor, P.24c
  • Flute Concerto in G major, P.33 (very doubtful)
  • Concerto for Flute and 2 Violins in D major
  • Concerto for Flute and 2 Violins in G major
  • Concerto for 2 Harpsichords and Orchestra
  • Violin Concerto in B flat major

Spurious edit

  • 6 Concerti armonici for 4 violins, viola and continuo, long attributed to Pergolesi but in fact by Wassenaer

Keyboard works edit

  • Harpsichord Sonata in A major, P.1
  • Harpsichord Sonata in D major
  • Organ Sonata in F major
  • Organ Sonata in G major

Chamber works edit

  • Trio Sonata in G major, P.12
  • Trio Sonata in G minor
  • Unspecified Andantino, for violin and piano
  • Violin Sonata in G major
  • Sonata No.1 in G major, for 2 violins
  • Sinfonia in F major, for cello and continuo

Notes edit

  1. ^ Toscani, Claudio (2015). "PERGOLESI, Giovanni Battista". Dizionario biografico degli italiani (in Italian). Rome: Istituto dell'Enciclopedia Italiana. Volume 82. Retrieved 10 August 2023.
  2. ^ In Italian "anchilosi" (ankylosis), not used in a technical sense.
  3. ^ Dorsi, Fabrizio; Rausa, Giuseppe (2000). Storia dell'opera italiana (in Italian). Turin: Bruno Mondadori. pp. 126–127. ISBN 88-424-9408-9.
  4. ^ Carrozzo, Mario; Cimagalli, Cristina (2001). Storia della musica occidentale (in Italian). Vol. II: Dal Barocco al Classicismo viennese. Rome: Armando. p. 326. ISBN 9788860811066.
  5. ^ "...one of the finest opere serie of the early eighteenth century": Donald Jay Grout e Hermine Weigel Williams, A Short History of Opera (quarta edizione), New York, Columbia University Press, 2003, p. 229, ISBN 978-0-231-11958-0.
  6. ^ Will, Richard (2004). (PDF). The Musical Quarterly. 87 (3): 570–614. doi:10.1093/musqtl/gdh021. Archived from the original (PDF) on 5 June 2010. Retrieved 18 January 2023.
  7. ^ Steinberg, Michael (2006). Choral Masterworks: A Listener's Guide. Oxford University Press, USA. p. 115. ISBN 9780198029212.
  8. ^ Brook, Barry S. (1983). Pergolesi: research, publication and performance. The present state of studies on Pergolesi and his times. November 18–19, 1983, Jesi, Italy. ISBN 9780918728791.
  9. ^ "Catholic Retreats". catholicretreats.net. Retrieved 16 June 2019.
  10. ^ Hucke, Helmut and Monson, Dale E. ""Pergolesi, Giovanni Battista". Grove Music Online (8th ed.). Oxford University Press. 2001. doi:10.1093/gmo/9781561592630.article.S21325. ISBN 978-1-56159-263-0.". The New Grove Dictionary of Music and Musicians. Oxford University Press.
  11. ^ This portrait has recently been sometimes attributed to Domenico Antonio Vaccaro (e.g. De Simone, Roberto (2010). Bauduin, Mariano; Mancusi, Franco (eds.). Omaggio a Giovan Battista Pergolesi 1710-2010. Naples: Grimaldi. p. 6. ISBN 978-88-89879-62-70), which would effectively date it back to Pergolesi's time. Thus far, however, this attribution has not been shared by the site of the Naples Conservatory Museum, where the painting is kept, and, as a portrait of Pergolesi, it appears scarcely compatible with the two caricatures by Ghezzi, which are certainly authentic.
  12. ^ Biografie e ritratti di uomini illustri piceni pubblicate per cura del conte Antonio Hercolani. 1839, p. 169
  13. ^ "Cactus (1986) – Full Credits". Turner Classic Movies. Retrieved 21 July 2015.
  14. ^ Giovanni Battista Pergolesi, 1710-1736: a thematic catalogue of the Opera Omnia, with an appendix listing omitted compositions. Marvin E. Paymer (New York: Pendragon Press, 1977).

External links edit

giovanni, battista, pergolesi, this, article, about, composer, 18th, century, decorative, artist, michael, angelo, pergolesi, giovanni, battista, draghi, italian, dʒoˈvanni, batˈtista, ˈdraːɡi, january, 1710, march, 1736, usually, referred, italian, perɡoˈleːz. This article is about the composer For the 18th century decorative artist see Michael Angelo Pergolesi Giovanni Battista Draghi Italian dʒoˈvanni batˈtista ˈdraːɡi 4 January 1710 16 or 17 March 1736 usually referred to as Giovanni Battista Pergolesi Italian perɡoˈleːzi eːsi was an Italian Baroque composer violinist and organist leading exponent of the Baroque he is considered one of the greatest Italian musicians of the first half of the 18th century and one of the most important representatives of the Neapolitan school Two caricatures by Pier Leone Ghezzi the only extant authentic portraits 1 Pergolese music composer who came to Rome on 20 May 1734 The British Museum Signor Pergolese Neapolitan music composer who is clever indeed and died in Naples on 7 February 1736 and had suffered greatly with his left leg which made him walk with a limp 4 Vatican Apostolic Library The two caricature sketches by Pier Leone Ghezzi the latter evidently derived from the former are the only two authentic portraits of the musician that have come down to us The marked features of the face are very far from subsequent idealizations pronounced deformity 2 of the left leg is also shown a sign of probable previous poliomyelitis 3 Despite his short life and few years of activity he died of tuberculosis at the age of 26 he managed to create works of high artistic value and historical importance among which we remember La serva padrona The Maid Turned Mistress of the highest importance for the development and diffusion of the opera buffa in Europe L Olimpiade considered one of the masterpieces of the opera seria of the first half of the eighteenth century 5 and the Stabat Mater among the most important works of sacred music of all time 6 7 8 Contents 1 Biography 2 Legend and posthumous fame 3 Pergolesi s works on screen 4 Works 4 1 Sacred music 4 2 Operas 4 3 Orchestral music 4 3 1 Spurious 4 4 Keyboard works 4 5 Chamber works 5 Notes 6 External linksBiography edit nbsp PergolesiBorn in Jesi in what is now the Province of Ancona but was then part of the Papal States he was commonly given the nickname Pergolesi a demonym indicating in Italian the residents of Pergola Marche the birthplace of his ancestors He studied music in Jesi under a local musician Francesco Santi before going to Naples in 1725 where he studied under Gaetano Greco and Francesco Feo among others On leaving the conservatory in 1731 he won some renown by performing the oratorio in two parts La fenice sul rogo o vero La morte di San Giuseppe it The Phoenix on the Pyre or The Death of Saint Joseph and the dramma sacro in three acts Li prodigi della divina grazia nella conversione e morte di san Guglielmo duca d Aquitania The Miracles of Divine Grace in the Conversion and Death of Saint William Duke of Aquitaine He spent most of his brief life working for aristocratic patrons such as Ferdinando Colonna Prince of Stigliano and Domenico Marzio Carafa Duke of Maddaloni Pergolesi was one of the most important early composers of opera buffa comic opera His opera seria Il prigionier superbo contained the two act buffa intermezzo La serva padrona The Servant Mistress 28 August 1733 which became a very popular work in its own right When it was performed in Paris in 1752 it prompted the so called Querelle des Bouffons quarrel of the comic actors between supporters of serious French opera by the likes of Jean Baptiste Lully and Jean Philippe Rameau and supporters of new Italian comic opera Pergolesi was held up as a model of the Italian style during this quarrel which divided Paris s musical community for two years Among Pergolesi s other operatic works are his first opera seria La Salustia 1732 Lo frate nnamorato The brother in love 1732 to a text in the Neapolitan language L Olimpiade January 1735 and Il Flaminio 1735 to a text in the Neapolitan language All his operas were premiered in Naples apart from L Olimpiade which was first given in Rome Pergolesi also wrote sacred music including a Mass in F and three Salve Regina settings The Lenten Hymn God of Mercy and Compassion by Redemptorist priest Edmund Vaughan is most commonly set to a tune adapted by Pergolesi 9 It is his Stabat Mater 1736 however for soprano alto string orchestra and basso continuo which is his best known sacred work It was commissioned by the Confraternita dei Cavalieri di San Luigi di Palazzo which presented an annual Good Friday meditation in honour of the Virgin Mary Pergolesi s work replaced the one composed by Alessandro Scarlatti in 1724 but which was already perceived as old fashioned so rapidly had public tastes changed While classical in scope the opening section of the setting demonstrates Pergolesi s mastery of the Italian baroque durezze e ligature style characterized by numerous suspensions over a faster conjunct bassline The work remained popular becoming the most frequently printed musical work of the 18th century 10 and being arranged by a number of other composers including Johann Sebastian Bach who reorchestrated and adapted it for a non Marian text in his cantata Tilge Hochster meine Sunden Root out my sins Highest One BWV 1083 Pergolesi wrote a number of secular instrumental works including a violin sonata and a violin concerto A considerable number of instrumental and sacred works once attributed to Pergolesi have since been shown to be misattributed Many colourful anecdotes related by Pergolesi s 19th century biographer Francesco Florimo were later revealed as hoaxes Pergolesi died on 16 or 17 March 1736 at the age of 26 in Pozzuoli from tuberculosis and was buried at the Franciscan monastery one day later Pergolesi was the subject of a 1932 Italian film biopic Pergolesi It was directed by Guido Brignone with Elio Steiner playing the role of the composer Legend and posthumous fame edit nbsp Purported portrait of Pergolesi donated by musicologist Francesco Florimo to the Naples Conservatory in 1874 11 If in life despite numerous awards Pergolesi s fame was almost exclusively limited to the Neapolitan and Roman musical milieu so it should come as no surprise that this figure of composer who died very young with an artistic parable of only five years and yet able to leave a handful of unforgettable compositions has been able to influence poets and artists who during the 19th century reinterpreted the figure in a romantic key As the historian and traveler Charles Burney wrote from the moment his death became known all Italy manifested a keen desire to hear and possess his works Indeed the myth that was born throughout Europe around his life and work after his death represents an exceptional phenomenon in the history of music Mozart will experience a similar phenomenon after his death Thus more than three hundred works have been attributed to him of which only about thirty have been recognized by modern critics as true Pergolesi s compositions a phenomenon which testifies the reputation of the composer However already in the middle of the 18th century Pergolesi was immensely better known than he had been in life as mentioned the numerous prints of his compositions began to spread throughout Europe Several years after Pergolesi s death the performance in Paris in 1752 of La Serva padrona by an Italian comic opera troupe triggered the famous Querelle des Bouffons between the defenders of French music and the supporters of the opera buffa For Jean Jacques Rousseau in particular the freshness and the grace of his music was the dazzling demonstration of the superiority of Italian opera over French lyric tragedy The French composer Andre Gretry said Pergolesi was born and the truth was known Above all the scarcity of tangible information about his life and works was fertile ground for the flourishing of imaginative anecdotes of all kinds The doubt crept in that his tragic end was due not to natural causes but to poisoning by musicians envious of his talent 12 Apollonian beauty and numerous tragic loves were attributed to him Because of this extraordinary posthumous fame the catalog of his works had an unpredictable destiny during the 18th century and 19th century spread in Europe the practice of publishing under his name for the purpose of speculation any score having the musical style of the Neapolitan school By the end of the 19th century this led to over five hundred compositions in the informal catalog of his works Contemporary studies have reduced Pergolesi s compositions to less than fifty and of these only twenty eight are the works whose paternity is considered sure nbsp Monument to Giovanni Battista Pergolesi in JesiThere are still serious doubts about the attribution of various works even among the best known such as the Salve Regina in F minor Several music and record editions perpetuate these uncertainties about the authorship of various compositions publishing in his name compositions certainly produced by other authors such as the arias Se tu m ami certainly composed by the musicologist Alessandro Parisotti in the second half of the 19th century and included in one of his collections of baroque arias under the name of Pergolesi and Tre giorni son che Nina attributed to Vincenzo Legrenzio Ciampi or the Magnificat in D major composed by his teacher Francesco Durante The situation of extreme uncertainty that distinguishes the catalog of Pergolesi s works can be easily described with the case of Pulcinella by Igor Stravinsky composed in 1920 as a tribute to the style of the composer from Jesi the most recent music critics have established that of the 21 pieces used for this composition as many as 11 are to be attributed to other authors mainly Domenico Gallo two are of dubious attribution and only eight mostly taken from his operas can be attributed to Pergolesi Pergolesi s works on screen editPergolesi s Salve Regina is a highlighted performance in the movie Farinelli 1994 in which Farinelli also performs Stabat Mater Dolorosa in the only duet The first and last parts of Pergolesi s Stabat Mater were used in the soundtrack of the movie Jesus of Montreal Jesus de Montreal 1989 the fifth part Quis est homo was used in the soundtrack of the movie Smilla s Sense of Snow 1997 the last part was also used in the movie Amadeus 1984 and in the movie The Mirror 1975 by Andrei Tarkovsky The film Cactus 1986 by the Australian director Paul Cox also features Pergolesi s Stabat Mater on the soundtrack 13 Nothing Left Unsaid a 2016 documentary on Gloria Vanderbilt and Anderson Cooper used the last movement Quando Corpus Amen of Pergolesi s Stabat Mater Works editThe standard catalogue of Pergolesi s works was produced by Marvin Paymer in 1977 ascribing a unique P number to each item so that for example the well known Stabat Mater is P 77 14 Sacred music edit Antifona In caelestibus regnis 1731 Confitebor tibi Domine Psalm 111 in C for Soprano Alto Choir Strings and Continuo 1732 Dixit Dominus Psalm 110 for Soprano Bass 2 Choirs and 2 Orchestras 1732 Laudate pueri Dominum Psalm 113 in D for Soprano Mezzo Choir and Orchestra 1734 Mass in D 1732 Mass in F San Emidio Missa romana for Soprano Alto 2 Choirs 2 Orchestras and Continuo 1732 Oratorio La fenice sul rogo o vero La morte di San Giuseppe it 1731 atrium of the Chiesa dei Girolamini Naples Dramma sacro Li prodigi della divina grazia nella conversione e morte di san Guglielmo duca d Aquitania 1731 Monastery of Sant Agnello Maggiore Naples Salve regina in a for Soprano Strings and Continuo 1731 Salve regina in c for Soprano Strings and Continuo 1735 Salve regina in f for Alto Strings and Continuo 1736 adapted from the Salve regina in c Stabat Mater in f wr 1735 pr 1736 Naples Operas edit La Salustia January 1732 Teatro San Bartolomeo Naples text possibly by Sebastiano Morelli after Alessandro Severo by Apostolo Zeno Lo frate nnamorato 27 September 1732 Teatro dei Fiorentini Naples Il prigionier superbo containing the intermezzo La serva padrona 28 August 1733 Teatro San Bartolomeo Naples Adriano in Siria containing the intermezzo Livietta e Tracollo 25 October 1734 Teatro San Bartolomeo Naples L Olimpiade January 1735 Teatro Tordinona Rome Il Flaminio autumn 1735 Teatro Nuovo NaplesOrchestral music edit Sinfonia in B flat major Sinfonia in D major Sinfonia in F major Sinfonia in G major P 35 Sinfonia in G minor P 24c Flute Concerto in G major P 33 very doubtful Concerto for Flute and 2 Violins in D major Concerto for Flute and 2 Violins in G major Concerto for 2 Harpsichords and Orchestra Violin Concerto in B flat majorSpurious edit 6 Concerti armonici for 4 violins viola and continuo long attributed to Pergolesi but in fact by WassenaerKeyboard works edit Harpsichord Sonata in A major P 1 Harpsichord Sonata in D major Organ Sonata in F major Organ Sonata in G majorChamber works edit Trio Sonata in G major P 12 Trio Sonata in G minor Unspecified Andantino for violin and piano Violin Sonata in G major Sonata No 1 in G major for 2 violins Sinfonia in F major for cello and continuoNotes edit Toscani Claudio 2015 PERGOLESI Giovanni Battista Dizionario biografico degli italiani in Italian Rome Istituto dell Enciclopedia Italiana Volume 82 Retrieved 10 August 2023 In Italian anchilosi ankylosis not used in a technical sense Dorsi Fabrizio Rausa Giuseppe 2000 Storia dell opera italiana in Italian Turin Bruno Mondadori pp 126 127 ISBN 88 424 9408 9 Carrozzo Mario Cimagalli Cristina 2001 Storia della musica occidentale in Italian Vol II Dal Barocco al Classicismo viennese Rome Armando p 326 ISBN 9788860811066 one of the finest opere serie of the early eighteenth century Donald Jay Grout e Hermine Weigel Williams A Short History of Opera quarta edizione New York Columbia University Press 2003 p 229 ISBN 978 0 231 11958 0 Will Richard 2004 Pergolesi s Stabat Mater and the Politics of Feminine Virtue PDF The Musical Quarterly 87 3 570 614 doi 10 1093 musqtl gdh021 Archived from the original PDF on 5 June 2010 Retrieved 18 January 2023 Steinberg Michael 2006 Choral Masterworks A Listener s Guide Oxford University Press USA p 115 ISBN 9780198029212 Brook Barry S 1983 Pergolesi research publication and performance The present state of studies on Pergolesi and his times November 18 19 1983 Jesi Italy ISBN 9780918728791 Catholic Retreats catholicretreats net Retrieved 16 June 2019 Hucke Helmut and Monson Dale E Pergolesi Giovanni Battista Grove Music Online 8th ed Oxford University Press 2001 doi 10 1093 gmo 9781561592630 article S21325 ISBN 978 1 56159 263 0 The New Grove Dictionary of Music and Musicians Oxford University Press This portrait has recently been sometimes attributed to Domenico Antonio Vaccaro e g De Simone Roberto 2010 Bauduin Mariano Mancusi Franco eds Omaggio a Giovan Battista Pergolesi 1710 2010 Naples Grimaldi p 6 ISBN 978 88 89879 62 70 which would effectively date it back to Pergolesi s time Thus far however this attribution has not been shared by the site of the Naples Conservatory Museum where the painting is kept and as a portrait of Pergolesi it appears scarcely compatible with the two caricatures by Ghezzi which are certainly authentic Biografie e ritratti di uomini illustri piceni pubblicate per cura del conte Antonio Hercolani 1839 p 169 Cactus 1986 Full Credits Turner Classic Movies Retrieved 21 July 2015 Giovanni Battista Pergolesi 1710 1736 a thematic catalogue of the Opera Omnia with an appendix listing omitted compositions Marvin E Paymer New York Pendragon Press 1977 External links edit nbsp Wikimedia Commons has media related to Giovanni Battista Pergolesi nbsp Wikisource has the text of the 1911 Encyclopaedia Britannica article Pergolesi Giovanni Battista Herbermann Charles ed 1913 Giovanni Battista Pergolesi Catholic Encyclopedia New York Robert Appleton Company Works by or about Giovanni Battista Pergolesi at Internet Archive Free scores by Giovanni Battista Pergolesi in the Choral Public Domain Library ChoralWiki Free scores by Giovanni Battista Pergolesi at the International Music Score Library Project IMSLP The Mutopia Project has compositions by Giovanni Battista Pergolesi Fondazione Pergolesi Spontini of Iesi Istituto Internazionale per lo studio del 700 musicale napoletano at the Wayback Machine archived 15 February 2016 The Early Music ensemble Voices of Music performs Pergolesi s Stabat Mater Retrieved from https en wikipedia org w index php title Giovanni Battista Pergolesi amp oldid 1203664429, wikipedia, wiki, book, books, library,

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