Giovanni Battista Pergolesi
Giovanni Battista Draghi (Italian pronunciation: [dʒoˈvanni batˈtista ˈdraːɡi]; 4 January 1710 – 16 March 1736), best known as Pergolesi (Italian: [perɡoˈleːzi]) or Giovanni Battista Pergolesi, was an Italian composer, violinist and organist.
Born in Jesi in what is now the Province of Ancona (but was then 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 Santini, before going to Naples in 1725, where he studied under Gaetano Greco and Francesco Feo among others. He spent most of his brief life working for aristocratic patrons like the Colonna principe di Stigliano, and duca Marzio IV Maddaloni Carafa.
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 La conversione e morte di San Guglielmo (1731), Lo frate 'nnamorato (The monk in love, 1732, to a text in the Neapolitan language), L'Olimpiade (January 1735) and Il Flaminio (1735). 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. 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 Confraternità dei Cavalieri di San Luigi di Palazzo, which presented an annual Good Friday meditation in honor of the Virgin Mary. Pergolesi's work replaced one composed by Alessandro Scarlatti only nine years before, but which was already perceived as "old-fashioned," so rapidly had public tastes changed. The Lenten Hymn ‘God of Mercy and Compassion’ by Redemptorist priest Edmund Vaughan is most commonly set to a tune adapted by Pergolesi.
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, and being arranged by a number of other composers, including Johann Sebastian Bach, who used it as the basis for 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. Much of Igor Stravinsky's ballet Pulcinella, which ostensibly reworks pieces by Pergolesi, is actually based on works by other composers, especially Domenico Gallo. The Concerti Armonici are now known to have been composed by Unico Wilhelm van Wassenaer. Many colorful anecdotes related by Pergolesi's 19th-century biographer, Francesco Florimo, were later revealed as hoaxes, though they had furnished material for two 19th-century operas broadly based on Pergolesi's career.
Pergolesi's works on screen
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 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. Nothing Left Unsaid, a 2016 documentary on Gloria Vanderbilt and Anderson Cooper, used the last movement ("Quando Corpus / Amen") of Pergolesi's Stabat Mater.
- La conversione e morte di San Guglielmo, summer 1731, Monastery of Sant'Agnello Maggiore, Naples
- 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, Naples
- Hucke, Helmut and Monson, Dale E. "Pergolesi, Giovanni Battista". The New Grove Dictionary of Music and Musicians. Oxford University Press.
- "Cactus (1986) – Full Credits". Turner Classic Movies. Retrieved 21 July 2015.
|Wikimedia Commons has media related to Giovanni Battista Pergolesi.|
- 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
- The Mutopia Project has compositions by Giovanni Battista Pergolesi
- Fondazione Pergolesi Spontini of Iesi
- Istituto Internazionele 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