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TRADITION AND ADVANCE IN PERGOLESI'S MUSIC
(1710-1736)
or even t e d i o u s .
s u c c e s s f u l , although i t s o r i g i n a l r e c e p t i o n was d i s t i n c t l y h o s t i l e .
which he gained g r e a t e s t s u c c e s s .
l a c k i n g i n s i n c e r i t y of e x p r e s s i o n .
3.
A f t e r h i s death enthusiasm f o r h i s works r o s e s h a r p l y . Supply
Of p a r t i c u l a r importance i n t h i s category a r e c e r t a i n i n s t r u m e n t a l
Introductory p. 7
\ Chapter I Biography p. 19
Doubtful O r i g i n
5-
4
INTRODUCTORY
7.
INTRODUCTORY
Europe, and p a r t i c u l a r l y from England and France. Supply was not able
business.
8.
anything l i k e t h i s output i n such a b r i e f l i f e - s p a n . Perhaps he
made to him.
9-
CHAPTER I
BIOGRAPHY
BIOGRAPHY
Giovanni B a t t i s t a P e r g o l e s i ( o r P e r g o l e s e ) ,
of origin.
Francesco Draghi
1
, 1
11.
The baptismal r e g i s t e r f o r Rosa bears the name o f Draghi d i Pergolese,
at Pergola.
12.
T r a d i t i o n has i t that he was an i n f a n t prodigy, having more than
13.
He s t u d i e d a t the Conservatorio d e i P o v e r i d i Gesu C r i s t o . No
such melody t h a t the very companions who were studying the instrument
colleague. " ^ ^
The r e s u l t was p e r s o n a l a t t e n t i o n from De Matteis, h i s v i o l i n
1
(i)'Memorie d e i compositori d i musica d e l regno d i N a p o l i ,
(2nd ed., Naples, 1843).
Ik.
teacher, and a recommendation to Greco f o r s e r i o u s study i n composi-
tion.
later:
play loud i n order to hear themselves f o r nothing but noise can pervade
1
( i ) 'The P r e s e n t S t a t e of Music i n France and Italy ,
published i n London, 1771-
15.
other instruments. Out of t h i r t y or f o r t y boys who were p r a c t i s i n g ,
musicians".
r e c e i v e d h i s l e s s o n , d e l i v e r e d i t i n h i s t u r n to four or f i v e others
16.
of i n f e r i o r c l a s s ; each of these again, gave l e s s o n s to as many more,
who was thus enabled to see t h a t they were given and r e c e i v e d without
negligence or impropriety."
17.
P a l a z z o , Maltese Minore, Malemme and C o l u c c i as 'capiparanze*, and
of e x p u l s i o n . We are t h e r e f o r e l e f t w i t h the c o n c l u s i o n t h a t he
church music.
remark of the c o p y i s t ,
18.
The winter of 1731 saw P e r g o l e s i ' s f i r s t opera s e r i a , S a l u s t i a ,
a c t u a l l y take p a r t .
of h i s debts.
p r i n c e ' s patronage.
7
( i ) C a f f a r e l l i , i n h i s introductory- to S a l u s t i a , claims t h a t the
intermezzo was Amor f a l'Uomo Cieco, basing h i s evidence on F e t i s '
""Biographie U n i v e r s e l l e des M u s i c i e n s " (2nd edn., B r u s s e l s ,
1860 - 65). D e t a i l s of modern s c h o l a r s h i p , c l e a r l y d i s p r o v i n g t h i s
statement, w i l l be d i s c u s s e d l a t e r . But F e t i s ' theory i s s t i l l
perpetuated by c e r t a i n more r e c e n t w r i t e r s , notably Ruth Berges i n her
book "Opera O r i g i n s and S i d e l i g h t s " ( P b l . Thos. Y o s e l o f f , 1961).
s e r i o u s works performed a t t h i s t h e a t r e , which had a t r a d i t i o n of
occasion of i t s f i r s t performance.
28th August, 1733 a t the Teatro San Bartolomeo. The main work proved
would have been normal procedure f o r him to have been the eventual
number o f . y e a r s .
20.
h i s patron on t h i s occasion being the Duke o f Maddolini. The work
S i n f o n i a f o r V i o l o n c e l l o and C o n t i n u e
( i i ) "Annals o f Opera".
21.
t h a t t h i s d i s a s t r o u s f a i l u r e hastened the onset of h i s f i n a l i l l n e s s ,
major.
at P o z z u o l i .
by Niccolo Sabatino.
22.
by the a n c e s t o r s of h i s patron, the Duke of Maddolini. Realising
the performance of L'Olimpiade, and that ten ducats were paid i n advance.
On s e e i n g him a few days l a t e r the work was complete, but the composer
expenses.
( i ) Op. c i t .
23-
CHAPTER I I
24.
ITALIAN OPERA IN THE EIGHTEENTH CENTURY
By the end of the seventeenth century opera was the most popular
25-
Rococo s t y l e i n a r t and a r c h i t e c t u r e evolved i n the court a t
Versailles. Dpon the death of King L o u i s XIV (I638 - 1715), who had
of the Baroque was abandoned and ornaments were now profuse, "analogous
i n emotional content.
were given the term " s t y l e g a l a n t " to d i s t i n g u i s h them from the formal,
s t r i c t Baroque s t y l e .
26.
i n musical performances; t h i s i n i t s e l f hastened the change of s t y l e ,
27.
gave scope to changes i n mood i n the music, mainly through v a r i e d rhythmic
s t r u c t u r e and modulation.
C h a r a c t e r i s t i c s of Provenzale's s t y l e a r e i n v e n t i v e n e s s of melody,
Ik o r a t o r i o s .
era.
28.
Although a t present none of h i s operas appears to be published
Tigrane 1715
and
wind. His harmonies are adventurous, making frequent use of the chords
of the Neapolitan 6th and the diminished 7th, both of which were r a r e
elements.
t i o n r a t h e r than combination of v o i c e s .
i n t e r s p e r s e d w i t h a s h o r t , slow t r a n s i t i o n a l movement.
recitatives.
29.
The i n t r o d u c t i o n of comic i n t e r m e z z i performed between the a c t s
practice.
main work.
or three s i n g e r s .
30.
Whereas V a u d e v i l l e and B a l l a d Operas were compiled mainly from
everyday s i t u a t i o n s of the p l o t .
f e a t u r e s i n h i s s e r i o u s works.
introduced the Canzona, based on a popular song, the rhyming song and
31.
adopted by many composers, notably Mozart and R o s s i n i , and played
by G i l b e r t and S u l l i v a n .
32.
SALUSTIA
r e s p o n s i b l e f o r spreading h i s r e p u t a t i o n a f t e r the i n i t i a l s u c c e s s
Salustia - Maria F a c c h i n e l l i
Giulia - Teresa C o t t i
p a r t i c u l a r a c c l a i m were:-
33-
Although P e r g o l e s i remained f a i t h f u l to t r a d i t i o n a l forms and
to the whole.
the f i r s t movement, and horns i n the other two. The opening movement
( i ) F . C a f f a r e l l i , I n t r o d u c t i o n to S a l u s t i a , Opera Omnia,
/
p i . Rome, 19 +0-^2.
e f f e c t s o f f e s t i v i t y and s o n o r i t y . The v o c a l p a r t s move mainly i n
C a f f a r e l l i t h i n k s h i g h l y of P e r g o l e s i ' s s t y l e of r e c i t a t i v e
demonstrates h i s e x p e r t i s e i n f i n d i n g a s u i t a b l e s e t t i n g to h i g h l i g h t
35-
The s t y l e of t h i s a r i a i s almost Handelian, not only i n the melodic
approach. (C)
by the use of r e s t s and the pause before she s i n g s 'e l ' a l t r u i falsa
1
? t h on 'Oh D i o i
56-
I n order to produce a more powerful mode of e x p r e s s i o n s t r i n g s
manuscript.
tion.
the texture i s c l e a r and bold and the harmonies a r e mainly tonic and
37-
Although not s t r i k i n g l y o r i g i n a l , w i t h c l i c h e s a t cadences and i t s
)
t i o n and the a n t i c i p a t o r y t r i p l e t . ( I )
a syncopated rhythm.
38.
ancore p i u barbaro dolor'. (Kii) The c u r t a i n f a l l s during the
notes.
harmonic c o l o u r .
39.
beyond the works of V i n c i , Leo or Hasse. But there i s o r i g i n a l i t y
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LO FRfiTE •NNAMORATO
1
Nnamorato has twelve. Apart from the instrumental items there are
two canzonas, three duets, a t r i o and a q u i n t e t . A number o f the a r i a s
mood o f the opera, There are the customary three s h o r t movements, the
r e c a p i t u l a t i o n i n D major.
48.
main section, but commences i n the subdominant and eventually reaches
the r e l a t i v e minor.
1
Nina's *Tu non Curi i d e t t i mei again contains a number o f
dominant keys. Tonic and dominant minor phrases are used t o produce
f u r t h e r contrast o f keys.
mainly between the tonic (E minor) and the r e l a t i v e major, but the
50.
1
Once more short r e p e t i t i v e phrases are employed i n C a r d e l l a s
form.
a r i a s , and e s p e c i a l l y by i t s v a r i e t y w i t h i n i t s e l f . The s i m i l a r i t y
51.
Ascanio's 'Si v o r r e i parlare' shows l i t t l e adventure e i t h e r i n
adds to the expressiveness of the words, but the form breaks no new
52.
p a r t s , scored i n 3rds, are l i v e l y and robust.
1
The f i n a l act commences w i t h an o r c h e s t r a l v e r s i o n of V a n e l l a s
common r e l a t i v e minor.
1
Nina's 'Suo caro e dolce amore adapts the most widely used a r i a
d'amore', and again Pergolesi adopts some freedom i n form. The main
of d i s j o i n t e d , a g i t a t e d exclamations w i t h o r c h e s t r a l i n t e r p o l a t i o n s
53-
accentuation, syncopated accompaniment and prominent arpeggio
f i r s t section.
5^
statement commences i n the r e l a t i v e major w i t h a fresh musical idea,
1
but on 'che l a morte ( L i i ) the o r i g i n a l m a t e r i a l r e t u r n s . The
l a c k i n g i n depth.
a t h i s happiest and w i t t i e s t .
55.
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LA SERVA PADRONA
d i a l e c t comedy, "Fantesca".
but one of many intermezzi o f the p e r i o d , but i s the only one to have
opera.
61.
La Serva Padrona has a f l i m s y p l o t , but there are tender sections and
t i o n a t cadences. (B)
r i s i n g chromatic bass l i n e .
62.
Conversation i s i n the r a c i n g b u f f o s t y l e , a l i g h t running
65-
The d i f f e r e n c e s o f opinion o f the two c e n t r a l characters continue
range. Touches o f humour, such as Serpina hushing her master, and her
6k.
rhythm, and shows an outward appearance of resoluteness; but a f t e r a
65.
I n the second intermezzo Vespone i s made t o dress (complete w i t h
i n the scores o f Gluck and Mozart. (P) At the end o f each verse
A l l e g r o 3/8 F major
A l l e g r o 3/8 B f l a t major
A l l e g r o 3/8 G minor
66.
of the diminished and minor 7ths, and o f word p a i n t i n g on the minor
t h i r d o f the scale.
loves h i s maid but cannot f o r g e t her low b i r t h , and objects t o the way
B flat. The mood changes and the supertonic minor i s used f o r the
e f f e c t i v e musical c o n t r a s t .
67.
At the r e s o l u t i o n o f the p l o t when Serpina has now f i r m l y
The Marriage o f Figaro when Figaro and Susanna debate the convenience
now as the characters are o f a l i k e mind the same words are sung by both.
fo8
f r e q u e n t l y adopted from them, e.g. 'As when the dove" from Acis and
r e a l emotions.
69.
Lev. Serves. Pad ro r\a
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I L PRIGIONIER SUPEHBO
and much of the drama (by an unknown author) i s heavy and tedious.
73-
C a f f a r e l l i asserts that Pergolesi a n t i c i p a t e s Gluck i n t h i s work
s t a t e o f h i s mind.
using the pause t o b u i l d tension before the outburst o f the " A l l e g r o "
ends.
7^.
1
Sarcastic word-painting on 'L'amo and 'bramo' provide colour, and
short, snappy phrases become more frequent as Rosmene loses her temper
and employs both tonic and dominant pedals and more than an expected
cliches.
aria.
harmonies.
75-
A number of rhythmic mannerisms appear i n Miciada's a r i a which
uninterrupted f o r 32 bars.
76.
i s produced by a sequential climb over a chromatically r i s i n g bass l i n e .
1
Rosmene s a r i a a t the conclusion o f t h i s act i s preceded by an
77
Micisda's 'Doppo i l p e r i g l i o de l a tempesta' has a sweet seren-
the word 'morir'. Strength i s added t o Rosmene's 'La morte mia dov'e'
rendering both these minims appear i n the same bar, but i n the f i r s t
78.
opere s e r i e . The semiquaver f l o u r i s h a t phrase ends i s p a r t i c u l a r l y
of r e g u l a r i t y .
the most part the voices move together i n lOths, but the b r i e f middle
the t o n i c .
79-
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LIVIETTA E TRACOLLO
L a Contadina A s t u t a - Venice, 1 7 ^ ,
86.
Although not destined to the n o t o r i e t y accorded to L a Serva Padrona
e x p r e s s i o n i t i s s u p e r i o r to i t s more i l l u s t r i o u s s i s t e r .
n a t u r a l n e s s of v e r b a l e x p r e s s i o n combined w i t h musical e f f e c t . In
p a r t i c u l a r b r e v i t y and c o n c i s e n e s s , L i v i e t t a i n s t r u c t s F u l v i a how,
by f e i g n i n g , they w i l l c a t c h t h e i r t h i e f .
87.
unison a r e p r e f e r r e d . Mockery o f opera s e r i a i s s u r e l y intended i n the
more.
repeated i n the minor. The form again shows greater freedom than he
s t r i n g s , i s sung by T r a c o l l o a s he r e f l e c t s on h i s miserable p o s i t i o n
88.
f i g u r e i s introduced, which subsequently becomes the means of develop-
89.
diminmendi, to produce a f e e l i n g of e x p e c t a t i o n . As he mentions
r a i n and thunder the oboes and horns a r e added to supply the appro-
priate effects.
her s p i r i t to be d e p a r t i n g . (G)
90.
and i n r a p i d l y repeated phrases he addresses her a s 'mia b e l l a
G major.
the new key counterbalances with ' b e l l a , b e l l a ' . Apart from a few
91.
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6 *
ADRIANO IN SIRIA
l i t t l e to the advance of o p e r a t i c s t y l e .
to demonstrate i t s considerable t a l e n t s .
95-
The customary opening chorus, ( a p r a c t i c a l l y meaningless conven-
s e t s the scene.
minor.
96.
minor and passes by sequence through the f l a t t e n e d mediant major u n t i l
the r e t u r n to the t o n i c .
f i e r o mi d o l o r ' .
97-
The concluding p a r t of the f o l l o w i n g r e c i t a t i v e has full
98.
Although i t i n t e r r r u p t s the pace of the drama Parnaspe's
1
'Lieto c o s i t a l v o l t a i s not r e a l l y o b t r u s i v e , as i t appears a t the
i n the subdominant.
Emirena's f i r s t a c t a r i a .
99-
C o l o r a t u r a e f f e c t s a r e used e x t e n s i v e l y i n Sabina's
conventional i n form.
previous a r i a .
accompaniment.
100.
o r c h e s t r a i s d i v i d e d f o r antiphonal e f f e c t s , and s u s t a i n e d horn p a r t s
v i a a descending bass s c a l e .
Remaining c o n s i s t e n t i n s t y l e f o r the c h a r a c t e r he i s p o r t r a y i n g ,
P e r g o l e s i g i v e s A q u i l i o a l i g h t , easy-moving a r i a i n 'Contento f o r s e
101.
a s h o r t o r c h e s t r a l passage f o l l o w i n g the c o n t r a s t i n g s e c t i o n .
1
The f i n a l a r i a i s Osroa's ' T i p e r d i e confondi a l nome d i morte .
of the c o n t r a s t i n g s e c t i o n .
claims t h a t the breaking of new ground here paved the way f o r the duet
102.
s h o r t o r c h e s t r a l passage r e t u r n s to the t o n i c .
103.
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L'OLIMPIADE
Clistene - Giovanni B a t t i s t a P i n a c c i ,
Aristea - Mariano N i c c o l i n i ,
Megacle - Domenico R i c c i ,
Licida - Francesco B i l a n c i o n i ,
Aminta - Nicola L i c c h e s i ,
107.
extent the spread o f i t s fame by the f a c t t h a t e a r l y manuscripts of
a d d i t i o n to the s t r i n g s .
108.
L i c i d a ' s a r i a d i bravura which concludes the f i r s t scene i s
subdominant.
109.
but l e a v i n g no doubt regarding the s i n g e r ' s opinion on the matter.
w i t h i n the work.
110.
independence from each other both v e r b a l l y and m u s i c a l l y . The s t i n g
tonic.
111.
g r e a t l y favoured by P e r g o l e s i , but on t h i s o c c a s i o n i t i s handled
i s t i c manner.
rests.
112.
adopted and t h e t o n i c k e y i s r e s t o r e d , b u t e v e n t u a l l y a r e t u r n i s
c o n s i d e r s t o be a f o r e r u n n e r o f l e i t m o t i v e s : t h e opening o f t h i s
s e c t i o n i s an e x a c t t r a n s p o s i t i o n o f t h e opening o f Aminta's a r i a
i n the f i r s t act.
a d o p t i n g t h e subdominant.
1
•Se c e r c a , se d i c e , an " a r i a p a r l a n t e " sung by Megacle, i s one
e x p r e s s i o n i s d e r i v e d i n t h e f i r s t p l a c e f r o m t h e fragmented s i g h i n g
i s used t o g i v e w e i g h t t o t h e p a t h e t i c n a t u r e o f t h e s e c t i o n . The
• r i s p o n d i ' , w h i c h i s echoed t w i c e by t h e o r c h e s t r a , t h e n a N e a p o l i t a n
w h i c h r e f l e c t s t h e f u l l a n g u i s h o f t h e s i n g e r ; thereupon t h e words
113-
C major, and F minor a g a i n , and p o r t r a y s emotion and c o n t r a s t s by
chords.
1
Argene's 'No l a speranza i s q u i t e c o n v e n t i o n a l i n mood, f o r m ,
w h i c h g i v e s g r e a t emphasis t o t h e words.
i s a f r a i d t o use i t . A f u r i o u s s t r i n g p a r t accompanies a b o l d v o c a l
l i n e , b u t a t 'ho c e n t o l a r v e i n t o r n o * t h e s t a r k phrase i s p l a y e d i n
of the f i r s t phrase.
A d r i a n o i n S i r i a t o s a t i s f y t h e demands o f t h e i m p r e s s a r i o a t t h e
Ilk.
T o r d i n o n a T h e a t r e i n Rome. A l t h o u g h t h e r e are phrases w i t h c o n s i d e r -
d e v i c e s used e x t e n s i v e l y .
v o l t o e nero' t h e o r c h e s t r a i s s p l i t f o r a n t i p h o n a l e f f e c t s . Consider-
comprise l e a p s o f a 1 6 t h , l e n g t h y r u n s and r a p i d r e i t e r a t i o n s o f n o t e s .
emotion. (L)
t o t h e dominant and s u p e r t o n i c m i n o r s .
115.
L i c i d a ' s ' N e l l a f a t a l mia s o r t e ' does n o t appear i n a l l t h e
particular emphasis.
s p e c i a l emphasis; o t h e r w i s e h a r m o n i c a l l y i t i s q u i t e tame.
I n t h e m i d s t o f t h e l e n g t h y r e c i t a t i v e needed t o r e s o l v e t h e
s o l o i s t s and o r c h e s t r a a r e employed f o r a c o n v e n t i o n a l f i n a l c h o r u s
t o t h e work.
116.
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d- i -
P^5
FLAMINIO
P e r g o l e s i ' s f i n a l work f o r t h e s t a g e i s f r e q u e n t l y d i s p a t c h e d
I t i s t r u e t h a t t h e s p i r i t e d comic s i t u a t i o n s a r e a t t i m e s o v e r -
remain f a i t h f u l t o t h e t e x t . I n a d d i t i o n t o t h i s , a composer w i t h
t h a t t h e composer's g r e a t e s t t a l e n t s l a y i n opera b u f f a r a t h e r t h a n
i n o t h e r branches o f t h e a r t .
F r e d e r i c o , w i t h whom P e r g o l e s i had s u c c e s s f u l l y c o l l a b o r a t e d
1
We hear o f t h e o p e r a s i n i t i a l success b e i n g r e p e a t e d i n t h e
T e a t r o A r g e n t i n a , Rome, l a t e r t h a t y e a r ( t h e composer n o t b e i n g p r e s e n t ) ,
F o l l o w i n g t h e example o f t h e e a r l i e r f u l l - l e n g t h b u f f o work,
121.
i n v o l v e d i n p o s s i b l e , though u n l i k e l y , s i t u a t i o n s . W i t h t h i s aim f o r
f i c i a l c h a r a c t e r i s a t i o n by c a s t r a t i a r e b o t h disposed o f , and t h e
t o i n t r o d u c e J o s e f F u r g i u e l e ' s e d i t i o n o f La Serva P a d r o n a , ^ ^ i s
e s t and most s a t i s f y i n g .
the use o f a N e a p o l i t a n 6 t h w h i c h i s f o l l o w e d by a r a p i d b u r l e s q u e
( i ) published - R i c o r d i - 1955•
( i i ) La Cecchina was c o n s i d e r e d t o be t h e most p o p u l a r opera b u f f a o f
i t s day, and i s s t i l l f r e q u e n t l y r e v i v e d i n I t a l y .
122.
treatment. ( A i i ) A c c i a c c a t u r a s precede a l l s y l l a b l e s , and t h e y a r e
I n k e e p i n g w i t h b u f f o bass a r i a s t h e r e occur h i g h r e p e a t e d n o t e s w i t h
p e r i o d i c o c t a v e l e a p s , r a p i d ascending s c a l i c passages w i t h o c t a v e
p i a n i s s i m o ( i n t h i s case n o t a c c i d e n t a l l y on ' d a l l a p r o f o n d i t a * ) . A l l
the v o c a l l i n e i s e x c e s s i v e , f r e q u e n t l y t o t h e p o i n t o f b e i n g f u s s y and
P e r g o l e s i i n t h e unaccustomed k e y o f B f l a t minor.
The m i d d l e s e c t i o n l e a n s towards s e n t i m e n t a l i t y t h r o u g h i t s
subdominant (E f l a t m a j o r ) , a r e e x t e n s i v e t r e a t m e n t o f a c a d e n t i a l
123-
progression of I , i i b , V7, I . The f o l l o w i n g phrase ( t a k e n f r o m t h e
F l a m i n i o ' s e n t r y i s i m p r e s s i v e t h r o u g h i t s f a n f a r e - l i k e accompani-
l i n e i s more c o n t i n u o u s , b u t P e r g o l e s i f a v o u r s t h e s h o r t phrase. As
t u r n t o h i s o l d l o v e , i t i s n o t i n a p p r o p r i a t e f o r t h e v o c a l l i n e t o be
e m b e l l i s h e d t o express h i s s e n t i m e n t .
t h e p o i n t o f h i s i n d e c i s i o n a r e c o l o u r e d by a s e r i e s o f augmented 6 t h s .
their brevity.
r e p e a t e d phrase i s f a v o u r e d , b u t i n f o r m t h e movement i s a b s o l u t e l y
conventional.
12*+.
Over a s i m p l e bass l i n e P e r g o l e s i weaves an e x t r e m e l y o r n a t e
o u t s h i n e s t h e main s e c t i o n f o r e f f e c t i v e n e s s o f e x p r e s s i o n .
E q u a l l y s u i t a b l e i s t h e c h o i c e o f t h e mediant minor f o r t h e e m o t i o n a l
I n G i u s t i n a ' s f o l l o w i n g a r i a ( i n D major) P e r g o l e s i m a i n t a i n s h i s
c h a r a c t e r i s a t i o n by a f l o r i d v o c a l l i n e over a m o d e r a t l e y s i m p l e bass.
d e s c r i b e d as a N e a p o l i t a n 6 t h w h i c h i s used as t h e agent t o r e t u r n
by n e a r l y a c e n t u r y .
125-
I n F l a m i n i o as i n o t h e r b u f f o r W o r k s , s e r v a n t s , who a r e r e a l "down
W i t h a p p r o p r i a t e c h a r a c t e r i s a t i o n o f a p r e c o c i o u s maidservant t h e f i r s t
produce an i m p r e s s i o n o f p a l p i t a t i o n . F o r much o f t h e m i d d l e s e c t i o n
i n w h i c h v o i c e s move i n p a r a l l e l thirds.
The i n t r o d u c t i o n t o t h e second a c t i s an o r c h e s t r a l v e r s i o n o f
1
Checca's l i v e l y a r i a . Oboes and t r u m p e t s appear a g a i n f o r P o l i d o r o s
1
'Amor che s i s t a a c c o l t o , w h i c h i s h i g h l y d e c o r a t e d and p u r e l y conven-
t i o n a l i n form.
126.
phrase w h i c h appears t w i c e b e f o r e d e v e l o p i n g on t h e t h i r d occasion.
o f movement i s p e r m i t t e d i n t h e . o r c h e s t r a l p a r t s o f t h i s movement.
p a t h e t i c mood i s i n c r e a s e d by a s e q u e n t i a l c h r o m a t i c d e s c e n t . After
i n b o t h , and i d e n t i c a l t r i p l e t a r p e g g i o f i g u r e s a t t h e approaches o f
q u a l i t i e s o f f r e s h n e s s and b r i g h t n e s s , t h e v o c a l l i n e o f t h i s a r i a ,
I t s s i m p l i c i t y ^ i n c o n t r a s t t o t h e accompaniment, p o r t r a y s t h e s i n g e r ' s
a n x i e t y and helplessness.
1
J o v i a l i t y r e t u r n s w i t h Checca's l i v e l y a r i a ' I o son d'un a n i m u c c i o
127.
w h i c h i s a l i g h t h e a r t e d movement w i t h c l e a r o r c h e s t r a l t e x t u r e ^ b u t
a r e s p i c e d w i t h an o c c a s i o n a l , b u t f o r c e f u l , augmented 6 t h . Greater
r e q u i r e s t h e use o f t h e 6 t h p o s i t i o n .
F l a m i n i o ' s f o l l o w i n g a r i a l e a n s towards s e n t i m e n t a l i t y t h r o u g h
before r e t u r n i n g t o B f l a t major.
i s t o r n between h e r l o v e f o r F l a m i n i o ( d i s g u i s e d as G u i l i o ) and h e r
i n r i s i n g sequence. ( E ) T h i s phrase i s i m m e d i a t e l y c o n t r a s t e d by a
1
t r a g i c r e n d e r i n g o f 'mi sento m o r i r e , d i v i d e r mi s e n t o .
repeated c r i e s o f a c a t .
128.
s t y l e i s c o n v e r s a t i o n a l , but there i s one s h o r t passage o f fragmented
f o l l o w s , but i n s t e a d of a f u l l r i t o r n e l l o P e r g o l e s i i s content to
conclude w i t h a s h o r t o r c h e s t r a l passage.
which a l l c h a r a c t e r s s i n g d i f f e r e n t words. An o r c h e s t r a l v e r s i o n o f
1
P o l i d o r o s 'Queste fronde* i s a c l e v e r parody, poking fun a t over
form.
129-
No o r c h e s t r a l i n t r o d u c t i o n i s r e q u i r e d f o r Agata's 'Ad
of a l l unnecessary d e c o r a t i o n .
130.
(Fi) The much t r a v e l l e d duet 'Per te ho i o n e l core* i s sung
s t a c c a t o note.
by s e t t i n g i t i n da capo form.
hearted manner.
131-
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of i t s type.
limiting conventions.
136.
passage whose s i m i l a r i t y i n o u t l i n e to one found i n *Che f a r o ' of
statement.
137.
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Chapter I I I
DOUBTFUL ORIGIN
ikO.
OTHER OPERATIC WORKS ATTRIBUTED TO PERGOLESI
of t h e i r s o u r c e s .
of these works.
( i ) Two C e n t u r i e s o f P e r g o l e s i F o r g e r i e s and M i s a t t r i b u t i o n s ,
M & L XXX. (Oct., 19^9.)
LA CONTADINA ASTUTA
genuine.
when Hasse provided the main work and had s e t the intermezzo text
previously.
( i ) G. B. P e r g o l e s i a t t r o v e r s o e s u o i b i o g r a f i - Milan, 1900.
I*f2.
The l i b r e t t o of the 1733 performance, i n common w i t h the
Pergolesi.
the f o r m . " ^
( i ) Op. c i t .
1^3-
AMOR FA L'UOMO CIECO
La Contadina A s t u t a ( L i y i e t t a e T r a c o l l o ) was r e v i s e d by
Bernado Saddumene.
( i i ) Op. c i t .
I L MAESTRO DI MUSICA
P e s c e t t i , P e r g o l e s i , O r l a n d i n i , T e r r a d e l l a s , P u l l i and probably
have no c l e a r a t t r i b u t i o n s .
1^5-
F l o r e n c e during 17^+0 and 17^2 had no s p e c i f i c a t t r i b u t i o n , the
contributed nothing.
t i t l e was s u b s t i t u t e d a t that p o i n t .
Lamberto ( t e n o r ) . The l o c a l i m p r e s s a r i o - C o l a g i a n n i ( b a s s ) s e e s
three f u r t h e r numbers by A u l e t t a .
146.
R a d i c i o t t i argues t h a t such a work would have no need f o r i n t e r -
arias.
and based on a s i m i l a r s u b j e c t .
147.
I L GELOSO SCHERNITQ
Radiciotti - 173^+-
had r e c i t a t i v e s i n German.
Ik8.
I t s s i n f o n i a , which immediately aroused s u s p i c i o n through being
B r e i t k o p f catalogue of 1762.
149.
LA VEDOVA INGEGNOSA
though composed e n t i r e l y by P e r g o l e s i .
t h a t same y e a r .
150.
I n a l l three c i t i e s the l i b r e t t i were p r i n t e d i n I t a l i a n and
( i ) Op. c i t .
151.
and again a c e r t a i n amount of amusement i s c r e a t e d a t the expense
of the m i l i t i a .
Drusilla Soprano
S trambone Bas s
Mostaccio) „ .
„ .,, x Servants
Grillo )
expressive melodies.
t i o n s to P e r g o l e s i .
152.
s i n g l e composer. C l e a r l y i t had the necessary i n g r e d i e n t s and was
d e l i b e r a t e l y designed to ensure a p u b l i c a c c l a i m s i m i l a r to t h a t
1
D r u s i l l a s second a r i a i s adventurous, p a r t i c u l a r l y i n r e s p e c t
153-
s h o r t m u s i c a l i d e a s which are a l l the more poignant f o r the
which f o l l o w s i t . (C)
15^.
I n the midst of t h i s s e c t i o n Strambone s i n g s an episode which i s an
c e r t a i n amount of p a r l a t o .
1
(G) D r u s i l l a s next a r i a owes much to v a r i o u s s t y l e s . After
of u n i t y .
155.
octave by the bass and i s a l l the more f o r c e f u l m u s i c a l l y f o r the
mock bravura.
156.
there i s one humourous s e c t i o n where, i n r e p l y to D r u s i l l a ' s query
i n Die Z a u b e r f l o t e . J u s t p r i o r to t h i s there i s a d e l i g h t f u l f i g u r e
157.
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RICIMERO
and conveniently married o f f these two also. Apart from the reference
161.
"King of the Goths".
which was borrowed from L'Olimpiade, and t h a t the bulk o f the work i s
Constante.
shows the a r i a was introduced i n 17551 having been taken from an opera
( i ) M.T. 1899.
162.
L i Tre C i c i s b e i R i d i c o l i (performed i n London i n 17^9) by the Milanese
clearly a t t r i b u t e i t to Pergolesi.
163.
Chapter IV
I65.
Gradually sonata form overtook the K y r i e , and Masses o f t e n commenced
only f o r r e l e v a n t places.
166.
I n a d d i t i o n t o renderings of the Mass and some c o n t r i b u t i o n i n
and h i s best known work - the Stabat Mater. His sacred music i s
f o l l o w i n g works:
L i b r a r y , B r i t i s h Museum,
Musikgesellschaft, Zurich,
167.
Despite a number o f uninspired and conventional passages i n
performed.
168.
LA CONVERSIONE DI S. GUGLIELMO D'AQUITANIA
are opposed by the d e v i l and Captain Cuosemo, a buffo bass who sings
169.
For the f i n a l movement there i s a r e t u r n t o the tonic key.
whereas those f o r the angel are high and open. St. Bernard i s
c h a r a c t e r i s t i c and e f f e c t i v e f a l s e close,.
170.
f i g u r e s and c h a r a c t e r i s t i c s h o r t repeated phrases. The f i r s t violin
Already we can see the composer's prowess a t poking fun a t the conven-
punctuated w i t h r e s t s .
171.
Vocal t r i p l e t s appear against demisemiquavers and semiquavers i n the
disagree over d e t a i l s .
but a t the same time the d e v i l ' s comments are disparaging. Character
172.
f i g h t f o r Guglielmo. The f i n a l message, sung t o Guglielmo by the
An i n t e r e s t i n g s i t u a t i o n i s presented by the i n t r o d u c t i o n t o
Once again ihethe a r i a 'Tremur pur quanto vuoi' the angel i s given
173.
the voices enter i n canon. Pergolesi produces an e f f e c t i v e ending
duet, and are coloured here and there w i t h powerful discords. (F)
strings.
17^.
of Pergolesi's b u f f o numbers. But the d e v i l has a calm s e l f -
assurance i n h i s bold, d e l i b e r a t e l i n e .
175-
the word 'dolore' i s followed by a diminished 7th a t a higher p i t c h
on 'tormento'.
become a source of humour as they are passed between the singer and
176.
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LA MORTE DI S. GIUSEPPE
destined f o r fame.
Pergolesi.
respectively.
s u l Rogo.
181.
A f t e r a s h o r t Larghetto ( t h e r e l e v a n c e of which becomes apparent later
expression.
182.
I n an otherwise t y p i c a l l y b r i g h t a r i a L'Amore Divino has a
heavenward.
1
'Appena s p i r a aura soave i s a further expressive aria^with two
183.
expressiveness of the number. A conventional form i s observed, but
moving i n 6 t h s . (D)
tenor or baritone.
18*+.
A f t e r a s h o r t opening r e c i t a t i v e the second p a r t continues with
e a r l i e r f l u t e and v i o l i n f i g u r e s .
185-
1
S t . Michael's a r i a 'Vola intorno a l prima r a g g i o i sa clear
semiquaver r u n .
words w i t h r e s t s :
186.
A f t e r t h i s f a l t e r i n g s t a r t the melodic l i n e becomes more continuous.
f i g u r e heard p r e v i o u s l y i n the t r i o .
S. Giuseppe a f f i r m s h i s love f o r C h r i s t .
p r e p a r a t i o n f o r the work to f o l l o w .
transposed.
187.
The t r a d i t i o n of operas c l o s i n g with a chorus i n f l u e n c e s the
188.
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MASS IN F MAJOR FOR TEN VOICES
was the work performed on 29th December 1732, the occasion on which
publicly.
s c a l e s e t t i n g , i n v o l v i n g two f i v e - p a r t c h o i r s , two o r c h e s t r a s
a t any time.
r e s u l t t h a t o r c h e s t r a l i n t r o d u c t i o n s became popular to s e t t i n g s o f
191.
By comparison, the f o l l o w i n g K y r i e i s b r i e f , but i t i s a l s o the
c h o r a l music.
1
'Laudamus t e i s rendered as a soprano s o l o ^in B minor^ and
192.
Accompaniment i s l a r g e l y i n semiquaver movement, a g a i n s t which there
extra force. ( F )
193-
A c h e e r f u l phrase, sung a t f i r s t c a n o n i c a l l y between a l t o s and
duration, i n which the bass announces the cantus firmus to the words
i t c o n c u r r e n t l y i n an e x u l t a n t ending.
19^.
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MASS IN D MAJOR
major.
1
( i ) The manuscript o f P e r g o l e s i s rearrangement i s housed i n the
Conservatorio, Naples.
198.
The basses give out a bold, calm l i n e on 'et i n t e r r a ' , ( B ) , w i t h
and d e l i c a c y of s t y l e t y p i c a l of P e r g o l e s i , and l i g h t h e a d e d n e s s
modulatory p a t t e r n f o r each.
cally.
S t i l l i n f l u e n c e d by h i s previous s e t t i n g P e r g o l e s i q u i t s C minor f o r
199.
Two main ideas are used i n c o n t r a s t : an i m i t a t i v e phrase on 'qui
good example of P e r g o l e s i ' s " s t i l e dolce e nuovo", and both i n form and
ecstasy. (Dii)
200.
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MASS IN F MAJOR
F I V E VOICES
D, s e t the previous y e a r .
attention.
203.
'Laudamus te' i s s e t i n i t s customary way f o r soprano s o l o .
•glorificamus'. (A)
conventional l i n e s .
w i t h P e r g o l e s i making p a r t i c u l a r l y e f f e c t i v e use of h i s s o l o i s t s .
nostram'. (B)
2C4.
V e r b a l accents are t r e a t e d with s p e c i a l care i n repeated short
religious settings.
205-
Mass i r\ F (Five, Voices
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STABAT MATER
that the work dates from the period immediately a f t e r h i s days a t the
Conservatoiio.
207.
E a r l y s e t t i n g s of the poem, notably those by J o s q u i n des P r e s ,
T h i s s e t t i n g i s q u i t e unusual i n i t s l a y - o u t . S e t t i n g s o f the
robust treatment.
the S t a b a t Mater u s i n g t h e c u r r e n t V e n e t i a n s t y l e , b u t f u s e d w i t h i t
o f w h i c h i n c l u d e s a s o l o q u a r t e t , b u t t h e remainder are f o r d u e t ,
W r i t i n g f o r an audience w h i c h would be w e l l a c q u a i n t e d w i t h c a n t a t a
w h i c h are s e c u l a r i n s p i r i t and t h e a t r i c a l i n t r e a t m e n t .
From t h e b e g i n n i n g o p i n i o n s d i f f e r e d r a d i c a l l y about t h e q u a l i -
t i e s o f t h e work. I n I t a l y Padre M a r t i n i r e f e r r e d t o i t as b e i n g
La Serva Padrona.
2091
I t i s i n a p p r o p r i a t e t o c o n s i d e r such a work as t h i s from the
and i n t i m a t e , i n t e n d e d , a c c o r d i n g t o E i n s t e i n , " f o r t h e e d i f i c a t i o n o f
s i n g e r s capable o f r e n d e r i n g t a s t e f u l l y a l l t h e ornamentation
o r i g i n a l l y i n t e n d e d , d e s p i t e t h e f a c t t h a t we can no l o n g e r reproduce
the v o c a l t i m b r e o f P e r g o l e s i ' s c a s t r a t i .
t h e V i r g i n Mary s t a n d i n g a t t h e f o o t o f t h e Cross i s p o r t r a y e d by
210.
1 1
Dramatic e f f e c t i s produced on p e r t r a n s i v i t by a c h r o m a t i c d e s c e n t ,
e f f e c t i v e when t h e music i s s t r i p p e d o f a l l u n e s s e n t i a l d e c o r a t i o n .
G minor i s s e l e c t e d ; no i n t r o d u c t i o n i s r e q u i r e d , b u t t h e v o i c e s
e n t e r t o g e t h e r i n c r o t c h e t s w i t h a l i n e w h i c h i s p u n c t u a t e d by an
a r p e g g i o on t h e d i m i n i s h e d 7 t h . A g a i n power o f e x p r e s s i o n l i e s i n t h e
sound. (E)
T h i s c e r t a i n l y i s a movement i n w h i c h P e r g o l e s i p r o v i d e s ammunition
1
'Quis e s t homo p r o v i d e s a complete c o n t r a s t ; i t s b e a u t y and
a p p r o p r i a t e n e s s a r e a l l t h e more marked as a r e s u l t o f f o l l o w i n g
i n d i v i d u a l l y on a s i m p l e , c l e a r l y d e f i n e d phrase over a c h r o m a t i c a l l y
supplicio'. (G).
(i) Ibid.
211.
As t h e v o i c e s j o i n t o g e t h e r , moving m a i n l y i n 3rds on an e x t r e m e l y
s i m p l e melodic o u t l i n e , i t i s y e t a g a i n t h e r h y t h m i c t r e a t m e n t which
' c e l l o d o u b l i n g each o t h e r a t t h e o c t a v e , w h i l e t h e v i o l i n s p l a y a
sobbing phrase i n u n i s o n .
P e r g o l e s i i n t e n d e d 'Pro peccata' t o f o l l o w i m m e d i a t e l y as p a r t
s t r o k e s on ' e t f l a g e l l i s ' , w h i c h a r e s t r e n g t h e n e d by d i m i n i s h e d 7 t h s .
t o t h e t o n i c a f t e r t h e second s e c t i o n had d i g r e s s e d t o t h e r e l a t i v e
minor.
has an e x t r e m e l y s i m p l e o u t l i n e , b u t t h e r e i s s u f f i c i e n t d e c o r a t i o n
t o g i v e emphasis t o v i t a l syllables.
212.
I
and harmonic s i m p l i c i t y .
o f a d y i n g man. T h i s movement i n p a r t i c u l a r i s i n c o n s i s t e n t w i t h
b u t i t i s a l s o a p p r o p r i a t e and e f f e c t i v e .
movement has p r o v i d e d t h e m a t e r i a l f o r t h i s s e t t i n g , w h i c h i s l a r g e l y
f u g a l , and i n t h r e e p a r t s w i t h t h e o r c h e s t r a l bass p r o v i d i n g t h e t h i r d
i s manipulated i n t o a h i g h e r r e g i s t e r t o keep w i t h i n t h e v o c a l r a n g e .
213.
There i s one passage o f s t r e t t o and a f u r t h e r passagg i n canon, b u t
t h a n do t h e v o c a l passages o f p r o l o n g e d trills.
e a r l i e r sacred works, h a v i n g i n d i v i d u a l s t a t e m e n t s by b o t h v o i c e s
s e r e n i t y o f t h e music, suggests g e n t l e n e s s i n t h e c h a r a c t e r o f t h e
i s f o l l o w e d by r e c a p i t u l a t o r y s t a t e m e n t s , ( m a i n l y i n t h e t o n i c ) , and
voices.
s t a t e m e n t i s f o l l o w e d by a pause w h i c h c o n t r i b u t e s t o t h e impact
t r e a t m e n t f o l l o w s , f o r b o t h v o i c e and v i o l i n s , which a g a i n p l a y i n
octaves.
i n $ h i s opere b u f f e a r e i n c l u d e d , b u t seem q u i t e a p p r o p r i a t e i n t h i s
2lk.
context. The soprano makes t h e f i r s t s t a t e m e n t ; the c o n t r a l t o ' s
remarkable f a i t h i n o r d e r t o s e t t h i s movement so z e a l o u s l y , k n o w i n g
t h a t he was dying.
a p e r s i s t e n t v i o l i n semiquaver f i g u r e w h i c h seems t o p o r t r a y t h e
w h i c h precede i t , t h i s c r i t i c i s m i s j u s t l y made.
i n t i m a c y o f t h i s s e t t i n g we s h o u l d c o n s i d e r t h e N e a p o l i t a n s * atti-
o r c o n t e m p l a t i v e , o r s o r r o w f u l , b u t she a l s o s m i l e s . Such t h e n a r e
t h e q u a l i t i e s o f t h e V i r g i n t h a t P e r g o l e s i has t r i e d t o convey i n
t h i s s e t t i n g o f the S t a b a t Mater.
( i ) Op. cit.
215-
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MAGNIFICAT
t o P e r g o l e s i has so l i t t l e evidence o f a u t h e n t i c i t y as t h e M a g n i f i c a t
s t y l e s and t r a d i t i o n s . A f e e l i n g o f u n i t y o f mood i s p r e s e n t i n
i n r e l i g i o u s works w i t h well-known t e x t s ) t o i h s e r t o n l y t h e o p e n i n g
necessary i n t h e p r e p a r a t i o n o f modern p u b l i c a t i o n s , p a r t i c u l a r l y i n
passages r e q u i r i n g r e p e t i t i o n o f words.
219.
The u n i f y i n g m o t i v e , ( A ) o f t h e f i r s t movement, based on t h e
a l t o s , and t h e n as t h e l i n k f o r t h e v a r i o u s s e c t i o n s i n t h e mediant
i n c o n t r a s t t o t h e upper v o i c e s , and v o i c e s p r o g r e s s m a i n l y i n p a r a l l e l
On t h e f i r s t o c c a s i o n t h e f l a t t e n e d s u p e r t o n i c i s used, n e x t t h e
i s i n t r o d u c e d t h e opening f i g u r e i s s t i l l r e t a i n e d as a c a n t u s f i r m u s
and used a l o n g s i d e i t .
220.
A d u e t f o r t e n o r and bass f o l l o w s ; i t i s c l e a r l y t h e most
o f t r u e tenderness.
t o n i c chord t h r e e t i m e s b e f o r e m o d u l a t i n g t o t h e r e l a t i v e minor -
G minor. (E)
j u b i l a n t movement w i t h b o i s t e r o u s passages i n b o l d r u n s f o r t h e
t h e n r e p e a t e d on f o u r t e e n o c c a s i o n s p a s s i n g t h r o u g h t h e dominant,
t e n d e r and p o r t r a y e d i n g e n t l e c a r e s s i n g s t r a i n s , o r j o y f u l and
o f j u b i l a t i o n ) , a t a l l t i m e s t h e music i s a p p r o p r i a t e , and f a i t h f u l
to the t e x t .
221.
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SALVE REGINA
r e l i g i o u s music", and he s t a t e s t h a t t h e y c o u l d be m i s t a k e n f o r no
o t h e r composer.
g e n e r a l l y c o n s i d e r e d t o be t h e b e s t , perhaps s u f f e r e d t h e g r e a t e s t i n
scores a r e as f o l l o w s :
No. 1, i n A m i n o r , f o r Soprano s o l o i s t .
No. k, i n C m i n o r , f o r Soprano s o l o i s t .
(i) Op. c i t .
22k.
FIRST SETTING
c h r o m a t i c a l l y as the emotional i n t e n s i t y i n c r e a s e s .
1
A f l o r i d l i n e i s employed f o r 'Ad te clamamus , which i s w r i t t e n
bass l i n e . (A)
the keys pass r a p i d l y through C major, C minor and G major. The second
r e p r e s e n t a t i o n of the words.
225.
J o y f u l , almost t r i v i a l , l i g h t h e a r t e d phrases appear s e q u e n t i a l l y ,
226.
SECOND SETTING ( i )
Conservatorio.
THIRD SETTING
only the f i r s t soprano. Again binary form i s favoured and the word
to i t s conclusion.
228.
1
Both v o i c e s a r e used i n the key of G minor f o r ' E j a e r g o , and
trivial.
s p i r i t of the words.
229.
FOURTH SETTING
l i t t l e a t t e n t i o n to h i s t e x t .
230.
But w i t h 'et Jesum' peace and beauty l i e i n the sheer s i m p l i c i t y of
accompaniment. (J)
231-
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SUPER FLUMINA
i s housed i n the N a t i o n a l L i b r a r y , P a r i s .
236.
The second movement ( i n G minor) comprises a s o l o f o r the f i r s t
i n t o three s e c t i o n s :
passages.
237-
1
As 'Quomodo cantabimus r e t u r n s , the music makes p a r t i c u l a r use of
I s r a e l i t e s to s i n g a song from S i o n .
dominant harmonies.
238.
Compound duple time i s r a r e l y employed by P e r g o l e s i , but
239.
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MISERERE
f i n e r movements.
its own.
c r i e s f o r mercy.
2^3-
Ample scope i s provided f o r the composer's c o l o u r f u l harmonic e f f e c t s ,
the soprano l i n e .
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mainly i n 3 r d s .
a s t r i c t fugue.
submediant.
2k6.
• S p i r i t u s meus' i B u n c h a r a c t e r i s t i c of P e r g o l e s i i n i t s number
aria.
247.
MOTETS
e i t h e r f o r or a g a i n s t the a u t h e n t i c i t y of i t s contents.
248.
DUE MESSE E FRAMMENTI
Credo - four v o i c e s .
Incarnatus - soprano.
Sanctus - three v o i c e s .
Sanctus - four v o i c e s .
l a t e r works.
2k9.
Chapter V
250.
PERSOLESI'S INSTRUMENTAL MUSIC
as f o l l o w s :
bass l i n e i n a complex t e x t u r e .
251.
Composers of the l a t e Bologna school, notably A l b i n o n i ,
252.
T r i o Sonatas and Sonata Form
during t h i s p e r i o d .
was capable of w r i t i n g i n t h a t s t y l e .
i s known.
i
The monumental four movement sonata had given way to the three move-
by f l u e n t and g r a c e f u l thematic p l a y .
254.
Phrase groups i n the tonic were u s u a l l y so u n i f i e d i n s t y l e , shape
subtly defined.
255-
1
Charles Cudworth considers i t " r a t h e r improbable" t h a t they are
sonatas:
256.
The Gavotte i n Arne's Harpsichord Sonata No. 5 i n B f l a t f o l l o w s
follows:
257.
Symphonic form took on c e r t a i n a t t r i b u t e s o f the Neapolitan
258.
t<XS
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Other Instrumental Works
(i) Op. c i t .
260.
The Sonata ' i n s t i l e d i concerto' f o r solo v i o l i n and s t r i n g
s i g n i f i c a n t innovations i n form or s t y l e , i n a l l p r o b a b i l i t y i s
instrumental music.
s i n f o n i a to Flaminio.
SONATE E SUITES
261.
Number 3 i s s t y l i s t i c a l l y more acceptable but f o r the passages i n
No. 1 i n E major
t i v e minor.
No. 2 i n E major
262.
No. 3» i n D major
pattern:
264.
Be t h a t as i t may, i t detracts nothing from the value of the move-
employed extensively.
265.
A f t e r an announcement of the theme i n the t o n i c there i s a modulation
266.
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THE CONCERTINI
rendered by a s t r i n g orchestra.
his being t h e i r c r e a t o r .
and a t t r i b u t e d them t o R i c c i o t t i .
268.
This could hardly have been Bentinck, as we know too much about
R i c c i o t t i f o r t h e i r i d e n t i t i e s t o be confused.
remains unclear.
( i ) Op. C i t .
269.
No. 1 . i n G. Grave, A l l e g r o , Grave, A l l e g r o
the bass.
the ' c e l l o t o A. The ' c e l l o also gains some independence from the
270.
No. 2 . i n G. Largo, A Cappella (non p r e s t o ) ,
Andante Affetuoso, A l l e g r o
v i o l i n parts. The middle section adopts the tonic major (E major) and
p a r t i c u l a r l y d i f f i c u l t passages t o play.
Andante, Vivace
of tonic and dominant chords. The second movement (as we might expect
ments.
271.
There are f u g a l e n t r i e s by V i o l i n s I and I I I followed by I I and I V ,
modulations. This movement also contains the Non Nobis Domine theme
technique.
272.
No. 5. i n E f l a t major. Affetuoso, P r e s t o ,
Largo, Vivace
c o n t r i b u t i o n to the form.
273.
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THREE STRING QUARTETS
composer's name i d e n t i c a l l y .
276.
P e r g o l e s i ' s r i s e to fame, both n a t i o n a l and i n t e r n a t i o n a l , was indeed
a t that time. Such was the time of these q u a r t e t manuscripts, and this
hand.
texture.
277.
No. I . i n B f l a t major
278.
The f i n a l movement - A l l e g r o , ( D ) , has the exuberant arpeggio
groups.
light texture.
i t s second i d e a i s used e x t e n s i v e l y .
279-
The f i n a l movement - A l l e g r o - again does not follow any c l o s e l y
f e a t u r e s of t h i s movement.
No. 3» i n G major
quartets.
to the v i o l i n i s t s .
280.
The f i n a l movement adopts a t e r n a r y form, "da capo" a c t u a l l y being
unison.
281.
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Chapter V I
AND
28*t.
PERGOLESI'S POSTHUMOUS FAME AND THE REBELLION AGAINST
OPERA SERIA
285.
The f i r s t performance i n P a r i s i n 17^6 was q u i t e u n e v e n t f u l , but by
doing i n I t a l y .
286.
The movement known as Auffclarung (enlightenment), whose ideals were
Opera b u f f a w i t h i t s d o c t r i n e of freedom of e x p r e s s i o n of f e e l i n g s
French are without music and can never have any, or i f they ever do,
audiences of P a r i s f o r 75 y e a r s .
287.
The 1753 performance gave r i s e to a s i t u a t i o n which could only
Revolution. He was delighted with the work, but the composer, who
did not even take the trouble to shave f o r the occasion, s a t on the
puntal e r a .
288.
The eventual admission that i t was a homespun product w i t h l i b r e t t o
I t a l i a n s t y l e ) was w r i t t e n by a Frenchman.
289.
I t i s not inappropriate t h a t the f i n a l word on t h i s P a r i s i a n
an opera of the people, f o r the people and about the people was ful-
time was the German-born G. F. Handel, who as a young man spent some
his contemporaries."^^
a r i a s and r e c i t a t i v o stromentato.
290.
His fortunes i n opera waned from 1728 as s i m i l a r reactions
other.
The Beggar's Opera was the product o f John Gay (I685 - 1732), and
recitative.
tunes.
291.
I t was never the i n t e n t i o n of Gay and Pepusch, who incidentally
b a l l a d operas i n London.
which was then under the managership of the actor-dramatist John Rich,
Cibber, Carey and Pepusch. Each work had a short l i f e which depended
292.
Chapter V I I
293-
BORROWINGS FROM PERGOLESI
Pergolesi other than La Serva Padrona and the Stabat Mater (the
from the Quis est homo o f the Stabat Mater. The second and f o u r t h
Vaughan-Williams states:
composer, but r a t h e r that of the too clever craftsman, one might say,
29^.
But perhaps more damning were the remarks by George A n t h e i l :
295-
Chapter V I I I
IN CONCLUSION
296.
IN CONCLUSION
given by Dr. Anthony Lewis on the covers of Opera Omnia i n the Music
other hands.
as 'Opera Omnia! works which over the previous two centuries had been
regarding Pergolesi's l i f e .
Legends have grown up around him; he i s an i d e a l s u b j e c t , being
e x p l o i t s among I t a l i a n n o b i l i t y and a c e r t a i n p o l i t i c a l i n t r i g u e
premature death."
Recapitulation.
are not only more bowed down by conventions o f s t y l e and form than the
are 'Per queste amare lacrime* from the e a r l y work, and the " a r i a
299-
41
This score also contains a l a r g e r p r o p o r t i o n of u n c h r a c t e r i s t i c ,
A
f r e q u e n t l y surpassing t h a t of V i n c i , and i s a f o i l f o r e x p l o i t a t i o n
a l t e r a t i o n to the harmony.
usually a t the ends of f i r s t and second acts where they caused the
300.
Pergolesi's genius l i e s too, as we have seen so f r e q u e n t l y , i n the
s i m p l i c i t y o f the s e t t i n g , c l e a r c h a r a c t e r i s a t i o n , l i g h t t e x t u r e and
piquant rhythms.
w i t h character-drawing.
depend wholly on the charm o f the music r a t h e r than any help from the
i s almost the only work o f t h i s nature performed today; the music has
301.
I n works as e a r l y as S. Guglielmo d'Aquitania we are presented
h i s opere s e r i e .
which i s q u i t e undeserved.
work t o be f a u l t y and bad.. For some years audiences have been bored
period.
must remember that a t the age o f twenty-six Pergolesi would not have
m o d i f i c a t i o n i n 'Inflammatus'. (A)
303-
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as f o l l o w s :
the key scheme o f the movements borrowed from the "Stabat Mater',
f i e l d of opera b u f f a .
convention.
extremity o f PPP.
7ths, and to some extent Neapolitan 6ths and augmented 6ths. Key
b e a u t i f u l and e f f e c t i v e .
306.
Generally he was more adventurous w i t h h i s modulations i n h i s operas,
i n the Mass i n D.
i n F f o r 5 voices.
Pergolesi's l a t e r works.
i t s e l f i n a d i f f e r i n g l i g h t i n h i s opere b u f f e .
307.
I n h i s f i n a l opera Flaminio, we f i n d c e r t a i n changes:
m. m. m
The augmented 6th i s used extensively, e s p e c i a l l y a t modulations t o
the dominant.
6ths more f r e q u e n t l y .
independence.
of h i s contemporaries.
308.
Burney appears t o have held a s i m i l a r regard f o r both V i n c i and
employed concerted f i n a l e s .
1
A f t e r P e r g o l e s i s death two o f the leading opera composers were
(i) Op. c i t .
309.
Jommelli can be considered i n much the same l i g h t , but he e x p l o i t e d
I t a l i a n opera s e r i a .
were few i n number and the f i r s t major works o f a young composer who
On the other hand h i s intermezzi were much more recent i n form and more
310.
V i v a l d i l i v e d u n t i l 17^1, w r i t i n g vocal and instrumental music,
of Pergolesi.
L o c a t e l l i , V e r a c i n i and Sammartini.
keyboard works.
1
( i ) Although he l i v e d u n t i l 1770, the end o f T a r t i n i s career
coincided w i t h the onset of madness around 1750.
311-
C. P. E. Bach (171A - 1788), although never t r a v e l l i n g t o I t a l y ,
312.
Mozart can be claimed as a u n i v e r s a l student, l e a r n i n g the best musical
alone.
was the lack o f substance which brought out the best from composers o f
such l i g h t h e a r t e d works.
313.
I t i s i r o n i c t h a t a f t e r such a short l i f e the works f o r which
of composition both f o r the church and stage which has been constantly
throughout Europe."
(i) Op. c i t .
31A,
The t r u t h about Pergolesi's works obviously l i e s somewhere
315.
Appendix A
WORKS CONSULTED
316.
G l i Amici d e l l a Musica da Camera
( B r i t i s h Agents - Peters E d i t i o n )
edited by F. C a f f a r e l l i
p b l . 19*+0-*+2, Rome.
317.
Frammenti d i Opere T e a t r a l i (V.S.) D.569
Eulenburg E d i t i o n
ed. A. E i n s t e i n
p b l . 1927
Walton Music L t d .
ed. G. Mason
318.
Oxford U n i v e r s i t y Press
A l f r e d Kalmus L t d .
G. R i c o r d i and Co.
319-
Appendix B
BIBLIOGRAPHY
320.
Bacharach, A.L. The New Musical Companion Victor Gollancz
(3rd Imp. 1964)
321.
Hogarth, G. Musical H i s t o r y , Biography John Parker,
and C r i t i c i s m West Strand, London
(1835)
Hutchings, A.J.B. The Baroque Concerto Faber & Faber
2nd Edn. (1963)
R a d i c i o t t i , G. G. B. P e r g o l e s i , V i t a , Opere e E d i z i o n e Musica,
Influenza su l'Arte Rome (1910)
322.
Young, P. M. The Choral T r a d i t i o n Hutchinson (1962)
323.
The Musical Times (April 1899)
324.