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Giovanni Battista PergolesiRead on WikipediaTR Click to disable ads for 1 month. Giovanni Battista Pergolesi (Italian: [dʒoˈvanni batˈtiːsta perɡoˈleːsi]; 4 January 1710 – 16 March 1736) was an Italian composer, violinist and organist. Your Subjective Opinions General Attitude(Positive or Negative) Which adjectives are appropriate for Giovanni Battista Pergolesi? Please do not hesitate to write your subjective opinions which can not be in wikipedia but may be useful for other visitors of this article. Do you have anything to say about Giovanni Battista Pergolesi? (You don't have to register to write a comment, you can write as anonymous.) Click to disable ads for 1 month. Click to disable ads for 1 month. Biography[edit] Born in Iesi in what is now the Province of Ancona (but was then the Papal States), Pergolesi[1] studied music there 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 brother in love, 1732, to a text in the Neapolitan language), L'Olimpiade (31 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 his Magnificat in C major. 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 who 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. 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 work of the 18th century,[citation needed] 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 fabrication, though they furnished material for two nineteenth-century operas broadly based on Pergolesi's career.[2] Giovanni Battista Pergolesi died on March 16, 1736 at the age of 26 in Pozzuoli from tuberculosis and was buried at the Franciscan monastery one day later. 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 have been used in the soundtrack of the movie Jésus de Montréal; the third part (Quis est homo) is used in the soundtrack of the movie Smilla's Sense of Snow; the last part is also used in the movie Amadeus and in the movie The Mirror by Andrei Tarkovsky. The film Cactus by the Australian director Paul Cox is also said to have Pergolesi's Stabat Mater on the soundtrack, but I do not know what parts are used. FROM: http://www.stabatmater.info/pergolesi.html Notes[edit] External links[edit] - "Giovanni Battista Pergolesi". Catholic Encyclopedia. New York: Robert Appleton Company. - 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[dead link] - The Early Music ensemble Voices of Music performs Pergolesi's Stabat Mater
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Školnik / Služavka gospodarica Dubrovačke ljetne igre pridružuju se proslavi obljetnice 300 godina rođenja G.B.Pergolesia, združujući njegovu komičnu ‘Sluškinju’ s Telemannovim ‘Školnikom’. Talijanski skladatelj, violinist i orguljaš, Giovanni Battista Pergolesi (1710. - 1736.) danas se smatra jednim od najvažnijih ranih autora opere buffe (komične opere) i to upravo zahvaljujući Služavki gospodarici, koju u svom opernom programu premijerno predstavljaju i Dubrovačke ljetne igre. A i sama priča o nastanku Služavke – komična je. Naime, Pergolesi ju je napisao kao dvodjelni intermezzo vlastite opere serie – Il prigioner superbo. Potonja je, međutim, ostala izgubljena u ‘bespućima povijesne zbiljnosti’, dok je La Serva Padrona stekla svjetsku slavu. Čim je prvi put izvedena (Pariz, 1752.) prouzročila je tzv. Querelle des Bouffons (“svađu komedijaša”), odnosno sukob poklonika ozbiljne francuske opere poput Jean-Baptiste Lullya ili Jean-Philippe Rameaua, te ljubitelja nove talijanske komične opere. U vrlo javnoj i vrlo elaboriranoj svađi ta dva klana, a koja je trajala pune dvije godine i danas ponosno krasi udžbenike glazbene povijesti, Pergolesi je – naravno – stano na ‘talijansku’ stranu. Među ostala njegova važnija djela ubrajaju se opere La conversione e morte di San Guglielmo (1731), Lo frate ‘nnamorato (1732), L’Olimpiade (January 31, 1735) i Il Flaminio (1735), veliki broj sakralni skladbi od kojih je svakako najpoznatiji njegov Stabat Mater (1736) jedna od najtiražnijih skladbi 18. stoljeća koju su re-aranžirali brojni skladatelji uključujući i Johanna Sebastiana Bacha, koji je temeljem istog skladao svoj psalam Tilge, Höchster, meine Sünden. Priča je Služavke gospodarice’ slijedeća: Uberto, postariji neženja, ljut je na svoju sluškinju Serpinu, jer mu dotičnog dana nije donijela – čokoladu. Serpina je, naime, postala tako arogantna da se drži kao gospodarica kuće – zabranjenju je Ubertu da iz iste izlazi, te ga izvještava da će ubuduće on morati slušati nju. Uberto stoga naređuje Vesponeu da mu nađe ženu kojom se moež vjenčati kako bi se konačno riješio Serpine. No, Serpina nagovori Vesponea da joj pomogne natjerati Uberta da oženi – nju. Potom obznanjuje Ubertu da se udaje za vojnika po imenu Tempesta, te – uz isprike za svoje dotadašnje ponašanje – najavljuje da će napustiti kuću. Potom stiže Vespone, prerušen u Tempesta, zahtjevajući 4,000 kruna miraza. Uberto odbija platiti, a Tempesta mu prijeti i zahtjeva ili novac ili da Uberto sam oženi Serpinu. Ovaj konačno pristane, no Serpina i Vespone mu otkrivaju da je riječ o prevari. Uberto pak shvaća da je cijelo vrijeme volio Serpinu, pa cijela priča ima sretan kraj… Pergolesijeva Sluškinja, na Dubrovačkim će ljetnim igrama biti izvedena u paru sa Telemannovim Školnikom, kratkom komičnom operom o strogom i samodopadnom školskom nadzorniku koji pjevanju pokušava podučiti hrpu, relativno nezainteresirane školske djece. Glavnu ulogu u obje opere pjevat će Giorgio Surian, a režiju potpisuje Krešimir Dolenčić.naziv izvornika: Der Schulmeister, La Serva Padrona vrsta predstave: opera produkcija: Dubrovačke ljetne igre datum premijere: 5.8. 2010