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Stabat Mater

Capriola di Gioia

Stabat Mater

Format: CD
Label: Evil Penguin
UPC: 0608917722222
Catnr: EPRC 0035
Release date: 22 May 2020
1 CD
 
Label
Evil Penguin
UPC
0608917722222
Catalogue number
EPRC 0035
Release date
22 May 2020

"Capriola di Gioia makes stripped-down "Stabat Mater" shine in all simplicity"

De Gelderlander, 04-7-2020
Album
Artist(s)
Composer(s)
Press
EN
DE

About the album

The Stabat Mater by the Italian late baroque composer Giovanni Battista Pergolesi (1710- 1736) invariably holds the number one posi- tion in many western classical music charts. In Pergolesi’s own era, his composition received enormous acclaim and was fre- quently a source of inspiration for the many tone poets who wanted to follow in his foot- steps. Why has this pole position remained inviolable throughout the centuries and why is the Stabat Mater unanimously proclaimed as the ultimate composition of the classical repertoire by a hugely diverse and widely spread audience, year after year?

The fact that so many people are moved by this textbook example of simple, captivating sacred music has intrigued us for years and led us to study this work more closely in an attempt to find out what the ingredients of this special composition are.

Has Pergolesi found the perfect balance between reason and emotion? Is his work the nec plus ultra in terms of musical expe- rience and immersion? Or is the glory and widespread familiarity of the work mainly due to its mainstream exposure via movies and television?

As always, we wanted this quest to be as authentic as possible so we could rediscov- er the original intentions of the composer. To achieve this, we tried to distance our- selves from established choices regarding phrasing and dynamic, and from possibly standardised tempi. We let ourselves be inspired by a virginal score, stripped of all possible input and interpretations in order to be surprised again by the fundamental intentions of the composer. During this pro- cess, we constructed a contemporary inter- pretation of the original text in the universal – and very topical – theme of the helpless mother that sees her child suffering. All these elements led to this re-interpretation of Pergolesi’s masterpiece.

The content of this text is very emotional and compelling. Mary’s lament at the foot of the cross upon which her son has died,
is imbued with intense emotions. The fact that Pergolesi wrote this work in seclusion in a monastery during the last year of his life, when he knew he was dying – he died of tuberculosis at a very young age – un- doubtedly influenced his interpretation of this medieval poem. Through the mas-
terful melodies that flowed from his quill, combined with compelling tonalities and the clever use of numerous rhetorical devices, his music expresses the emotional truth of the narrative succinctly and completely immerses the listener in the story.

For this version, we brought together two wonderful vocalists who are symbiotic and complementary both in terms of personality and musical interpretation. To emphasise the intimate and personal character of the work we have deliberately chosen a string ensemble with solo instruments, supported by the most traditional line-up of basso continuo in sacred music (organ & theorbo), which was given all possible improvisational freedom. This resulted in a ‘new’, fresh inter- pretation of this well-known piece of music, while we searched for the primal emotions of this beautiful poem about Mary and the melody it inspired.

After Pergolesi’s intense musical interpre- tation of this enthralling poem, there can only be respectful silence: for the suffering of mother and son; and for the greatness of this baroque, inspirational composer and his sublime work.

However, we decided to juxtapose the moth- er’s suffering with Magdalene’s loss. The Venetian composer Antonio Caldara wrote an oratorio, Maddalena ai Piedi di Cristo, in which this more earthly love is beautifully set to music. His sacred music excels through its simplicity, transparency and endlessly creative melodic inventions. The wondrous melodies grow with limitless artistry out of a simple bass structure, with which Caldara manages to create an enormously expressive piece and – like Pergolesi – translate this text into music so well. We chose three arias from the oratorio sung by Magdalene, which reflect her loss while she stands at the feet of her beloved Jesus.

You can hear Mary and Mary Magdalene cry, sob and gasp for breath, weighed down by this intense sorrow, but sublimely set to music by Pergolesi and Caldara.

Das Stabat Mater des italienischen Spätbarockkomponisten Giovanni Battista Pergolesi (1710-1736) steht in vielen westlichen Klassik-Charts stets auf Platz eins. In Pergolesis eigener Ära erhielt seine Komposition enormen Beifall und war häufig eine Quelle der Inspiration für die vielen Tondichter, die ihm in die Fußstapfen treten wollten. Warum ist diese Spitzenposition über die Jahrhunderte hinweg unantastbar geblieben, und warum wird das Stabat Mater Jahr für Jahr von einem sehr unterschiedlichen und weit verbreiteten Publikum einstimmig als die ultimative Komposition des klassischen Repertoires proklamiert?

Die Tatsache, dass so viele Menschen von diesem Lehrbuchbeispiel einfacher, fesselnder geistlicher Musik bewegt sind, fasziniert uns seit Jahren und hat uns dazu veranlasst, dieses Werk genauer zu studieren, um herauszufinden, was die Bestandteile dieser besonderen Komposition sind.

Hat Pergolesi die perfekte Balance zwischen Vernunft und Gefühl gefunden? Ist sein Werk das Nonplusultra in Bezug auf musikalische Erfahrung und Vertiefung? Oder ist der Ruhm und die weit verbreitete Bekanntheit des Werkes vor allem auf seine Mainstream-Exposition über Film und Fernsehen zurückzuführen?

Wie immer wollten wir, dass diese Suche so authentisch wie möglich ist, damit wir die ursprünglichen Absichten des Komponisten wiederentdecken können. Um dies zu erreichen, versuchten wir, uns von etablierten Entscheidungen bezüglich Phrasierung und Dynamik und von möglicherweise standardisierten Tempi zu distanzieren. Wir ließen uns von einer jungfräulichen Partitur inspirieren, die von allen möglichen Eingaben und Interpretationen befreit wurde, um uns erneut von den grundlegenden Intentionen des Komponisten überraschen zu lassen. Während dieses Prozesses konstruierten wir eine zeitgenössische Interpretation des Originaltextes in dem universellen - und sehr aktuellen - Thema der hilflosen Mutter, die ihr Kind leiden sieht. All diese Elemente führten zu dieser Neuinterpretation von Pergolesis Meisterwerk.

Der Inhalt dieses Textes ist sehr emotional und fesselnd. Marias Klage am Fuße des Kreuzes, an dem ihr Sohn gestorben ist, ist von intensiven Emotionen durchdrungen. Die Tatsache, dass Pergolesi dieses Werk in seinem letzten Lebensjahr, als er wusste, dass er im Sterben lag - er starb in sehr jungem Alter an Tuberkulose -, in einem Kloster in Abgeschiedenheit schrieb, beeinflusste zweifellos seine Interpretation dieses mittelalterlichen Gedichts.
Durch die meisterhaften Melodien, die aus seinem Federkiel flossen, kombiniert mit überzeugenden Tonalitäten und dem geschickten Einsatz zahlreicher rhetorischer Mittel drückt seine Musik die emotionale Wahrheit der Erzählung prägnant aus und lässt den Zuhörer vollständig in die Geschichte eintauchen.

Für diese Version haben wir zwei wunderbare Vokalisten zusammengebracht, die sowohl in Bezug auf die Persönlichkeit als auch auf die musikalische Interpretation eine Symbiose eingehen und sich ergänzen. Um den intimen und persönlichen Charakter des Werkes zu unterstreichen, haben wir bewusst ein Streicherensemble mit Soloinstrumenten gewählt, das von der traditionellsten Besetzung des Basso Continuo in der geistlichen Musik (Orgel & Theorbe) unterstützt wird und dem alle möglichen improvisatorischen Freiheiten eingeräumt wurden. Dies führte zu einer "neuen", frischen Interpretation dieses bekannten Musikstücks, während wir nach den ursprünglichen Emotionen dieses schönen Gedichts über Maria und die von ihr inspirierte Melodie suchten.

Nach Pergolesis intensiver musikalischer Interpretation dieses fesselnden Gedichtes kann es nur respektvolles Schweigen geben: für das Leiden von Mutter und Sohn; und für die Größe dieses barocken, inspirierenden Komponisten und seines erhabenen Werkes.

Wir haben uns jedoch entschlossen, das Leiden der Mutter dem Verlust von Magdalena gegenüberzustellen. Der venezianische Komponist Antonio Caldara schrieb ein Oratorium, Maddalena ai Piedi di Cristo, in dem diese eher irdische Liebe wunderbar vertont wird. Seine geistliche Musik zeichnet sich durch ihre Einfachheit, Transparenz und unendlich kreative melodische Erfindungen aus. Die wundersamen Melodien wachsen mit grenzenloser Kunstfertigkeit aus einer einfachen Bassstruktur, mit der Caldara ein enorm ausdrucksstarkes Stück schafft und - wie Pergolesi - diesen Text so gut in Musik umsetzt. Aus dem Oratorium, das Magdalena singt, haben wir drei Arien ausgewählt, die ihren Verlust widerspiegeln, während sie zu Füßen ihres geliebten Jesus steht.

Man kann Maria und Maria Magdalena weinen, schluchzen und nach Luft schnappen hören, die von dieser intensiven Trauer bedrückt sind, aber von Pergolesi und Caldara erhaben vertont wurden.

Artist(s)

Capriola di Gioia

Driven by their mutual passion for the repertoire from the baroque era, Amaryllis Dieltiens (soprano) and Bart Naessens (organ / harpsichord) founded the ensemble Capriola Di Gioia in 2007. They enjoy the challenge of sharing this often very dramatic and moving music with their public, keeping within the historical context but also in a very personal and expressive way. Both as soloists and in several ensembles Amaryllis and Bart have gained invaluable experience. They have worked with musicians of great renown and performed at numerous European venues. Consequently they have had the opportunity to develop their own musical personalities across a very extensive repertoire. During its first years of existence the ensemble developed a clear direction and vision. Along with deliberate, intensively...
more

Driven by their mutual passion for the repertoire from the baroque era, Amaryllis Dieltiens (soprano) and Bart Naessens (organ / harpsichord) founded the ensemble Capriola Di Gioia in 2007. They enjoy the challenge of sharing this often very dramatic and moving music with their public, keeping within the historical context but also in a very personal and expressive way.

Both as soloists and in several ensembles Amaryllis and Bart have gained invaluable experience. They have worked with musicians of great renown and performed at numerous European venues. Consequently they have had the opportunity to develop their own musical personalities across a very extensive repertoire.

During its first years of existence the ensemble developed a clear direction and vision. Along with deliberate, intensively researched choices from the impressive repertoire for soprano and basso continuo, Capriola Di Gioia is rediscovering the purity of the compositions and striving for a compassionate, honest and pure interpretation of the text, both vocally as well as instrumentally. The result is a theatrical performance in which they engage with the public to arouse their empathy with each character.

The ensemble focuses on rarely performed repertoire for soprano and basso continuo. Some programs require extra musicians and on these occasions they involve young highly talented musicians from all over the world who have also lost their hearts to this wonderful music. The pleasure of making music comes first (as referred to in the name of the ensemble), but their considerable and never-ending passion, their extremely delicate approach and feeling for the repertoire from the baroque era results in a very warm and wholehearted treat for their public.

Capriola Di Gioia is increasingly being seen at Belgian and European grand stages like Festival of Flanders, Concertserie Beek, Bozar, early music festival in the Netherlands, concertgebouw Brugge etc… In 2011 they presented their first CD (recorded for the label Aeolus) with a unique selection from the well-known and lesser-known Italian baroque repertoire. In 2012 they recorded and released Stabat Mater by L. Boccherini. In 2013 a Christmas-CD was presented to the public and in October 2016 another CD was released with music by Buononcini, Scarlatti etc… In 2017, they released their first album on Evil Penguin, with works by Boccherini.


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Bart Naessens (conductor)

Composer(s)

Giovanni Battista Pergolesi

Pergolesi already died at the age of 26. His premature death marked the start of a cult status that was quite remarkable for the 18th century. Especially Pergolesi's comic work La Serva Padrona became extremely popular. In Paris, this comedy put a lot of pressure on the old-fashioned, subsidised opera culture of Lully and Rameau.  His Stabat Mater for soprano and alto was not any less succesful, and it became the most re-published work of the 18th century. Everyone would have heard of the opening of this work at least once, with its equally poignant and refined interplay between consonants and dissonants. None other than Bach himself made an arrangement of this Stabat Mater, which he then named Tilge, Höchester, meine Sünden (BWV.1083).
more

Pergolesi already died at the age of 26. His premature death marked the start of a cult status that was quite remarkable for the 18th century. Especially Pergolesi's comic work La Serva Padrona became extremely popular. In Paris, this comedy put a lot of pressure on the old-fashioned, subsidised opera culture of Lully and Rameau.

His Stabat Mater for soprano and alto was not any less succesful, and it became the most re-published work of the 18th century. Everyone would have heard of the opening of this work at least once, with its equally poignant and refined interplay between consonants and dissonants. None other than Bach himself made an arrangement of this Stabat Mater, which he then named Tilge, Höchester, meine Sünden (BWV.1083).


less

Press

Capriola di Gioia makes stripped-down "Stabat Mater" shine in all simplicity
De Gelderlander, 04-7-2020

Play album Play album
01.
Stabat Mater, P. 77: Stabat Mater dolorosa
04:34
(Giovanni Battista Pergolesi) Clint van der Linde, Amaryllis Dieltiens, Bart Naessens, Capriola di Gioia
02.
Stabat Mater, P. 77: Cujus animam gementem
02:09
(Giovanni Battista Pergolesi) Clint van der Linde, Amaryllis Dieltiens, Bart Naessens, Capriola di Gioia
03.
Stabat Mater, P. 77: O quam tristis et afflicta
02:23
(Giovanni Battista Pergolesi) Amaryllis Dieltiens, Bart Naessens, Clint van der Linde, Capriola di Gioia
04.
Stabat Mater, P. 77: Quae moerebat et dolebat
02:10
(Giovanni Battista Pergolesi) Bart Naessens, Amaryllis Dieltiens, Clint van der Linde, Capriola di Gioia
05.
Stabat Mater, P. 77: Quis est homo, qui non fleret
03:06
(Giovanni Battista Pergolesi) Bart Naessens, Amaryllis Dieltiens, Clint van der Linde, Capriola di Gioia
06.
Stabat Mater, P. 77: Vidit suum dulcem natum
03:39
(Giovanni Battista Pergolesi) Bart Naessens, Amaryllis Dieltiens, Clint van der Linde, Capriola di Gioia
07.
Stabat Mater, P. 77: Eja, Mater, fons amois
02:26
(Giovanni Battista Pergolesi) Bart Naessens, Amaryllis Dieltiens, Clint van der Linde, Capriola di Gioia
08.
Stabat Mater, P. 77: Fac ut ardeat cor meum
02:13
(Giovanni Battista Pergolesi) Bart Naessens, Amaryllis Dieltiens, Clint van der Linde, Capriola di Gioia
09.
Stabat Mater, P. 77: Sancta Mater, istud agas
06:08
(Giovanni Battista Pergolesi) Bart Naessens, Amaryllis Dieltiens, Clint van der Linde, Capriola di Gioia
10.
Stabat Mater, P. 77: Fac, ut portem Christi moetem
03:41
(Giovanni Battista Pergolesi) Bart Naessens, Amaryllis Dieltiens, Clint van der Linde, Capriola di Gioia
11.
Stabat Mater, P. 77: Inflammatus et accensus
02:15
(Giovanni Battista Pergolesi) Bart Naessens, Amaryllis Dieltiens, Clint van der Linde, Capriola di Gioia
12.
Stabat Mater, P. 77: Quando corpus morietur
04:48
(Giovanni Battista Pergolesi) Bart Naessens, Amaryllis Dieltiens, Clint van der Linde, Capriola di Gioia
13.
Maddalena ai piedi di Cristo: Per il mar del pianto mio
05:03
(Antonio Caldara) Bart Naessens, Amaryllis Dieltiens, Clint van der Linde, Capriola di Gioia
14.
Maddalena ai piedi di Cristo: Pompe inutili
07:29
(Antonio Caldara) Bart Naessens, Amaryllis Dieltiens, Clint van der Linde, Capriola di Gioia
15.
Maddalena ai piedi di Cristo: Voglio piangere
04:40
(Antonio Caldara) Bart Naessens, Amaryllis Dieltiens, Clint van der Linde, Capriola di Gioia
show all tracks

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