Podcast appearances and mentions of giovanni battista pergolesi

Carlos Iribarren | La imagen de la Virgen María sosteniendo el cuerpo de su hijo tras la crucifixión ha inspirado a artistas de todas las épocas y disciplinas. Aunque quizá nos vengan primero a la cabeza los cuadros y las esculturas más célebres, aquí nos dedicamos a la música y queremos compartir con vosotros varias obras tituladas Stabat Mater, en las que se ha destacado ese momento tan emotivo a través de una música conmovedora. Son piezas compuestas por Joseph Haydn, Zoltán Kodaly, Nicola Bonifacio Logroscino, Giovanni Battista Pergolesi y 3 maestros checos: Ryba, Tucapsky y el genio Antonín Dvorak. Carlos y Mario comparten micrófonos con el musicólogo y entusiasta David González Nuño, quien tiene la habilidad de contarnos muchos detalles con precisión de cirujano. Todo con la finalidad de que disfrutes al máximo de la nueva y sacra entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender

Kaiserliche Begräbnisse waren in der Barockzeit Anlass zu größter Prachtentfaltung. Für Beisetzungen im Hause Habsburg hat Johann Joseph Fux 1720 ein Requiem geschrieben. Eine neue Einspielung kombiniert es mit einer lichten Messe von Giovanni Battista Pergolesi.

Kaum fünf Jahre blieben Giovanni Battista Pergolesi für sein Gesamtwerk: 1736 raffte ihn in Neapel die Tuberkulose dahin, da war er gerade 26. Kurz vor seinem Tod vollendete er aber noch das Werk, mit dem er Unsterblichkeit errang: sein "Stabat mater". Von Volker Sellmann.

1736. De Italiaanse componist Giovanni Battista Pergolesi blaast een nieuwe wind door de kerk met zijn versie van het Stabat Mater. Vocale muziek op een hartverscheurend middeleeuws gedicht over Moeder Maria bij haar gekruisigde zoon Jezus. Met dit ontroerend werk werd Pergolesi de one-hit wonder uit de klassieke muziek. Zijn Stabat Mater werd de meest gedrukte muziek uit de 18de eeuw. Moeilijke woorden: Stabat Mater, castraatzanger, syncope Uitvoering: Philippe Jaroussky, Julia Lezhneva

1710 - 1736 nur ein Teil seiner Werke wurde veröffentlicht. Er verschrieb sich einer neuen Opernstilrichtung, durchaus auch gesellschaftskritisch..www.facebook.com/andreabkunzvocal

Some historians believe Italian forger Tobia Nicotra may have produced hundreds of document and signature forgeries attributed to names like Mozart and Galileo, before he was caught in the 1930s. He faded into obscurity, but his forgeries didn't. And for more than 80 years the University of Michigan housed a Galileo manuscript they didn't know was fake -- until a historian named Nick Wilding called its bluff.See omnystudio.com/listener for privacy information.

Podcast over Bach, aflevering 48. In deze aflevering leggen we het Stabat Mater van Giovanni Battista Pergolesi naast de cantate “Tilge, Höchster, meine Sünden”, BWV 1083. En we bespreken de nieuwe CD met Die Kunst der Fuge van Cuarteto Casals. Fragmenten van: Johann Sebastian Bach (1685–1750) 0. Tune Bach & Co Uit: Sonate voor viool […]

Eigentlich wollte Regisseur David Marton bereits im Jahr 2020 die Oper „L‘Olimpiade“ von Giovanni Battista Pergolesi am Opernhaus Zürich inszenieren, aber Corona ließ das Projekt platzen. Statt Trübsal zu blasen, geht Marton mit seiner Kamerafrau in ein Seniorenheim, und dort spielt er den Menschen Teile aus Pergolesis Oper vor. Aus diesen Aufnahmen wird ein Dokumentarfilm, der jetzt zusammen mit Live-Musik am Theater Freiburg zu sehen ist. Ein spannendes Projekt, das David Marton im Gespräch mit SWR2 vorstellt.

The Stabat Mater by Alessandro Scarlatti is a religious musical work composed for two voices, two violins, and basso continuo in 1724. The work was commissioned by the Order of Friars Minor for Lent and meditates on the suffering of Mary, mother of Christ. Scarlatti set the Stabat Mater three times. The work was replaced by Giovanni Battista Pergolesi's Stabat Mater in 1736. Scarlatti's Stabat Mater is considered outdated by those who commissioned it. Scarlatti was one of the first exponents of the Neapolitan School and composed over 600 cantatas, 150 oratories, and 115 operas.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

Un día como hoy, 16 de marzo: Nace: 1750: Caroline Herschel, astrónoma británica de origen alemán (f. 1848). 1839: Sully Prudhomme, poeta francés, premio Nobel de Literatura en 1901 (f. 1907). 1884: Aleksandr Beliáyev, escritor ruso de ciencia ficción (f. 1942). 1892: César Vallejo, poeta peruano (f. 1938). 1933: Teresa Berganza, soprano española. 1941: Bernardo Bertolucci, cineasta italiano (f. 2018). Fallece: 1736: Giovanni Battista Pergolesi, músico italiano (n. 1710). 1942: Alexander von Zemlinsky, compositor austriaco (n. 1872). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

Un día como hoy, 4 de enero: 1642, nace Isaac Newton. 1710, nace Giovanni Battista Pergolesi. 1785, nace Jacob Grimm. 1932, nace Carlos Saura. 1940, nace Gao Xingjian. 1786, fallece Moses Mendelssohn. 1834, fallece Mauro Gandolfi. 1920, fallece Benito Pérez Galdós. 1965, fallece T. S. Eliot. 1975, fallece Carlo Levi. conducido por Joel Almaguer Una producción de Sala Prisma Podcast. 2023.

The String Orchestra of Brooklyn has released their debut album, called afterimage. It features two exquisitely soulful works written for the orchestra by Christopher Cerrone and Jacob Cooper, both of which are in response to classic works by Niccolò Paganini and Giovanni Battista Pergolesi (also included on the disc). Conductor Eli Spindel and composer Cerrone join us to preview the recording, which also features contributions from the Argus Quartet and vocal soloists Mellissa Hughes and Kate Maroney.

A velhinha dava nome às coisas porque já não tinha nenhum amigo. Mas ela só dava nome a objetos que sabia que iam durar mais que ela. Um dia, um amigo canino aparece no portão para confundir a vida da velhinha... De: Cynthia Rylant Ilustrações: Kathryn Brown Tradução: Gilda de Aquino Editora: Brinque-book Música: Giovanni Battista Pergolesi, Concerto para Flauta in G maior (Arquivo Europeu, www.musopen.org) ____ O Histórias de Pai Para Filha é um podcast que agrada a pais e filhos, com histórias produzidas, escritas ou adaptadas por mim, um pai coruja que quer ensinar à sua filha o gosto pelas histórias e pela língua portuguesa. Os episódios saem a cada duas semanas. Acompanhe o podcast no Youtube (www.youtube.com/historiasdepaiparafilha) onde eu conto algumas histórias por trás das histórias que você escuta aqui! --- Send in a voice message: https://anchor.fm/depaiparafilha/message

Synopsis On today's date in 1968, a 72-year-old Italian-born American composer named Mario Castelnuovo-Tedesco died in Beverley Hills. As a young man, Castelnuovo-Tedesco was already known as a rising composer, concert pianist, music critic and essayist. In 1939 he left Mussolini's Italy and came to America, and like a lot of European musicians of the time, he found work writing film scores for major Hollywood studios. Castelnuovo-Tedesco became an American citizen, and eventually taught at the Los Angeles Conservatory, where his pupils included many famous names from the next generation of film composers, including Jerry Goldsmith, Henry Mancini, Andre Previn, Nelson Riddle and John Williams. In addition to film scores, Castelnuovo-Tedesco composed a signifigant body of concert music, including concertos for the likes of Heifetz and Segovia. A number of Castelnuovo-Tedesco's works are directly related to his Jewish faith, including a choral work from 1947, entitled “Naomi and Ruth.”  The composer's mother was named Naomi, and he claimed the faithful Ruth in the Biblical story reminded him of his own wife, Clara. “In a certain sense,” he wrote, “it was really my symbolic autobiography, existing before I decided to write – to open my heart – in these pages.” Music Played in Today's Program Mario Castelnuovo-Tedesco (1895 - 1968) — Naomi and Ruth (St.Martin's Academy and Chorus; Sir Neville Marriner, cond.) Naxos 8.559404 On This Day Births 1937 - American composer David Del Tredici, in Cloverdale, Calif.; Deaths 1736 - Italian composer Giovanni Battista Pergolesi, age 26 (of consumption), in Pozzuoli; 1881 - Russian composer Modest Mussorgsky (Gregorian date: Mar. 28) 1968 - Italian-born American composer Mario Castelnuovo-Tedesco, age 62, in Los Angeles; 1985 - American composer Roger Sessions, age 88, in Princeton, N.J.; Premieres 1735 - Handel: Organ Concertos Op. 4, nos. 2-3 (Julian date: March 5); 1750 - Handel: oratorio "Theodora," in London at the Covent Garden Theater; At the same event, the possible premiere of Handel's Organ Concerto Op. 7, no. 5, as well (Gregorian date: March 27); 1751 - Handel: oratorio "The Choice of Hercules" in London at the Covent Garden Theater; At the same event, Handel's Organ Concerto Op. 7, no. 3 premieres following Act II of a revival performance of Handel's cantata "Alexander's Feast" on the same program (Gregorian date: March 27); 1833 - Bellini: opera "Beatrice di Tenda" in Venice at the Teatro la Fenice; 1870 - Tchaikovsky: fantasy-overture "Romeo and Juliet," in Moscow, with Nicolas Rubinstien conducting (Julian date: Mar. 4); 1871 - Tchaikovsky: String Quartet in D, Op. 11, in Moscow, by members of the Russian Musical Society (Gregorian date: Mar. 28); 1879 - Dvorák: choral setting of Psalm No. 149, Op. 79, in Prague; 1888 - American premiere of the revised version of Bruckner: Symphony No. 4 ("Romantic"), with New York Philharmonic-Society conducted by Anton Seidl; In the preface to a book on Bruckner, the elderly conductor Walter Damrosch claimed he conducted the American premiere of this symphony (His memory played him false: Damrosch led the first American performance of Bruckner's THIRD Symphony; 1894 - Massenet: opera "Thaïs," at the Paris Opéra; 1938 - Martinu: opera "Julietta," in Prague at the National Theater; 1942 - Martinu: "Sinfonietta giocosa," for piano and chamber orchestra, in New York City; 2002 - Paul Schoenfield: "Nocturne" for solo cello, oboe and strings, by cellist Peter Howard, with oboist Kathryn Greenbank and the Saint Paul Chamber Orchestra, Gilbert Varga conducting. Links and Resources On Mario Castelnuovo-Tedesco

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Today's episode celebrates a pioneer in the performance of twentieth century vocal music in anticipation of her 96th birthday on Christmas Day. Bethany Beardslee was a titan who set standards in the performance of the music of Arnold Schoenberg and Milton Babbitt in particular, but who also acted as muse to a host of mid-twentieth century avant garde composers whose work she premiered and often recorded. But she was also a member of the pioneering early music ensemble New York Pro Musica in the late 1950s and was an innovator in programming daring and diverse recital repertoire which combined Lieder and melodies with the contemporary music for which she was best known. This episode samples her recordings over the course of more than thirty years, and includes composers such as John Dowland, Robert Schumann, Claude Debussy, Giovanni Battista Pergolesi, and Johannes Brahms alongside such twentieth century giants as Anton Webern, Ernst Krenek, Igor Stravinsky, Ben Weber, Mel Powell, Robert Helps, Fred Lerdahl, and Godfrey Winham, her second husband. Throughout the course of a career devoted to, to paraphrase the title of her autobiography, “singing the unsingable,” Bethany Beardslee combined rock solid-technique and silvery tone with peerless musicianship and interpretive acuity to set standards that have yet to be surpassed. Please join me in celebrating this great artist. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

El Stabat Mater es el himno habitual de las festividades de la Madre Dolorosa. Numerosos compositores a lo largo de la Historia han aprovechado este pasaje bíblico para crear bellísimas partituras, y hoy David Antón nos guía a través del Stabat Mater de Giovanni Battista Pergolesi. La pluma de este ilustre compositor nos regala una música bellísima que nos proponemos analizar de cabo a rabo con los comentarios de Pau Hernández. Esperamos que nos acompañéis en este episodio, el primero de una semana que viene cargadísima de ¡CONOCIMIENTOS MUSICALES!

“Dietro le quinte del patrimonio”GIOVANNA TINARO, Archivio Storico e Museo MeMUS della Fondazione Teatro di San CarloIl patrimonio “dietro le quinte”: storia e storie dell'archivio storico del San Carlo, dall'attività di recupero e valorizzazione, attraverso i progetti e gli interventi di inventariazione e digitalizzazione, alla divulgazione di una memoria viva che si rigenera nel rapporto con la comunità, attraverso lo spazio espositivo e la musealizzazione dei beni. Un patrimonio di storie che si attivano nel processo di narrazione del museo, perché MeMUS nasce come luogo di dialogo e in questa direzione ha orientato la sua programmazione culturale. Fin dalla sua nascita: nel 2011. Estratti musicali:“Achille in Sciro” | Domenico Sarro, Sinfonia dall'opera (rev. critica Ivano Caiazza), registrazione effettuata presso il Teatro di San Carlo, settembre 2016 - “La traviata” | Giuseppe Verdi, Teatro di San Carlo, stagione lirica 1969-1970 – “XII Divertimenti” | Giovanni Paisiello – I Fiati del Teatro di San Carlo, marzo 2010 - “Socrate immaginario” | Giovanni Paisiello, IV Autunno Musicale Napoletano in collaborazione con la RAI di Napoli, registrazione effettuata dal vivo al Teatro di Corte del Palazzo Reale di Napoli, 1961 – “La serva padrona” | Giovanni Battista Pergolesi, “Un'Estate da Re” - Aperia della Reggia di Caserta, reg. dal vivo giugno 2017 - “Il marito disperato” | Domenico Cimarosa, Teatro di San Carlo, Estate Musicale 2003 – “Lucia di Lammermoor” | Gaetano Donizetti, Teatro di San Carlo, Stagione Lirica 1955-1956 – “Mosè in Egitto” | Gioachino Rossini, Teatro di San Carlo, stagione lirica 2017-2018, in occasione delle Celebrazioni Rossiniane 2018

Oudemuziekkenner Kees Koudstaal schotelt u de mooiste en recentste CD’s met oude en klassieke muziek voor. Twee nieuwe cd’s met het Stabat Mater van  Pergolesi en een Passion pasticcio met passiemuziek van Graun, J. S. Bach en Telemann.   1. Giovanni Battista Pergolesi (1710-1736) – ‘Stabat Mater’ Uitvoerenden: Samuel Mariño, sopranist. Filippo Mineccia, contratenor. Orchestre […]

Kõlab itaalia helilooja Giovanni Battista Pergolesi (1710-1736) tundeküllane "Stabat Mater" – 18.

Un día como hoy, 16 de marzo: Nace: 1750: Caroline Herschel, astrónoma británica de origen alemán (f. 1848). 1839: Sully Prudhomme, poeta francés, premio Nobel de Literatura en 1901 (f. 1907). 1884: Aleksandr Beliáyev, escritor ruso de ciencia ficción (f. 1942). 1892: César Vallejo, poeta peruano (f. 1938). 1933: Teresa Berganza, soprano española. 1941: Bernardo Bertolucci, cineasta italiano (f. 2018). Fallece: 1736: Giovanni Battista Pergolesi, músico italiano (n. 1710). 1942: Alexander von Zemlinsky, compositor austriaco (n. 1872). Una producción de Sala Prisma Podcast. 2021

1978 Rapimento di Aldo Moro - 1736 Muore il compositore Giovanni Battista Pergolesi

Giovanni Battista Pergolesi, Messa in re maggiore, seconda parte con Maria Cecilia Farina

Giovanni Battista Pergolesi, Messa in re maggiore prima parte con Maria Cecilia Farina

Un día como hoy, 4 de enero: 1642, nace Isaac Newton. 1710, nace Giovanni Battista Pergolesi. 1785, nace Jacob Grimm. 1932, nace Carlos Saura. 1940, nace Gao Xingjian. 1786, fallece Moses Mendelssohn. 1834, fallece Mauro Gandolfi. 1920, fallece Benito Pérez Galdós. 1965, fallece T. S. Eliot. 1975, fallece Carlo Levi. Una producción de Sala Prisma Podcast. 2021.

Die Denkmäler mit rassistischem Hintergrund in den USA und in Grossbritannien fallen. Wir sprechen mit Andreas Eckert, dem Direktor des Instituts für Asien- und Afrikawissenschaften an der Humboldt-Universität Berlin, und gehen der Frage nach, wie wir in Europa mit solchen Statuen umgehen sollen. Weitere Themen: * «Draussen vor der Tür» – Das neue Stück am Theater Basel läuft unter freiem Himmel und dreht sich ebenfalls um ein Denkmal. * «Verkaufte Welten» – Ein neues Sachbuch widmet sich mit ungewohntem Blick den grössten Einkaufszentren der Welt. * «La Serva Padrona» – Die Oper von Giovanni Battista Pergolesi über die aufmüpfige Magd macht den Auftakt des wiedereröffneten Konzerttheaters Bern. * «WOW» – Ein neues Museum wartet in Zürich mit Wunderwelten für die ganze Familie auf.

con Luca Damiani

durée : 01:57:24 - En pistes ! du jeudi 10 octobre 2019 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu du jour : l'Ôde à la joie de Beethoven interprétée par un orchestre composé des membres de six orchestres différents en l'honneur de l'anniversaire de la Chute du mur de Berlin, Jean-Marc Andrieu et son orchestre Les Passions réunissent Giovanni Battista Pergolesi et Alessandro Scarlatti... - réalisé par : Lionel Quantin

Stabat Mater, a medieval hymn that was long used as the sequence for the Feast of the Seven Sorrows of the Blessed Virgin Mary, is now commonly sung between each Station of the Cross. This prayer, in which we ask Our Lady to help us experience the same sorrow and love with which she participated in her Son's Passion, has been set to music by many great composers. This episode explores the most famous and influential setting of Stabat Mater, completed by the 26-year-old Giovanni Battista Pergolesi (1710-1736) as he was dying of tuberculosis. An interview with leading Pergolesi scholar Francesco Cotticelli is combined with excerpts from the piece as recorded by La Nuova Musica (used with permission). Contents [2:11] The Stabat Mater text in the context of liturgy and Marian devotion [6:30] Pergolesi's bio and career [9:30] Aria from L'Olimpiade (used with permission from Lyubov Petrova) [17:37] Deathbed composition of the Stabat Mater [18:52] Pergolesi's place and innovations in sacred music of the time [23:07] First movement, Stabat Mater dolorosa [35:04] Second movement, Cuius animan gementem [40:32] Pergolesi's approach to text-setting: alternating between contemplation and action [43:20] Sixth movement, Vidit suum dulcem natum [50:35] Seventh movement, Eia, Mater, fons amoris [56:45] Musical characteristics of the baroque and galant styles [58:27] Ninth movement, Sancta mater, istud agas [1:11:44] Popular settings of the Stabat Mater before Pergolesi [1:12:49] Twelfth movement, Quando corpus morietur [1:17:20] The somber ending to the piece: hope amidst sorrow [1:20:30] Contemporary and later criticism of the piece for being too theatrical [1:23:11] Other interesting settings of the Stabat Mater Links Recording by La Nuova Musica (featured in this episode) http://www.harmoniamundi.com/#!/albums/2239 Also recommended: Recording by Concerto Italiano https://www.amazon.com/Pergolesi-Scarlatti-Stabat-Mater-Alessandrini/dp/B00CMSP1HU/ Website devoted to settings of the Stabat Mater https://www.stabatmater.info/ The text https://www.stabatmater.info/english-translation/ Lyubov Petrova sings Aristea's aria from Pergolesi's opera L'Olimpiade https://www.youtube.com/watch?v=H_SsVAXMMqo La Nuova Musica http://lanuovamusica.co.uk/ Lyubov Petrova https://imgartists.com/roster/29757/ This podcast is a production of CatholicCulture.org. If you like the show, please consider supporting us! http://catholicculture.org/donate/audio

Den italienska konstnären Artemisia Gentileschi är berömd för sina tavlor över kvinnor som dödar och halshugger män. Vi dyker ner i de bibliska berättelserna bakom, hennes biografi och det råa livet som konstnär i 1600-talets Neapel.Musik: ”Chorus grave” ur "Stabat mater" av Giovanni Battista Pergolesi från European ArchiveBild: "Judith och Holofernes" av Artemisia Gentileschi / Wikimedia Commons See acast.com/privacy for privacy and opt-out information.

En clave de Dios (CXIII): Homenaje a Mirella Freni. Programa homenaje a la insigne soprano italiana Mirella Freni, una de las últimas grandes cantantes de ópera de la segunda mitad del siglo XX, fallecida el domingo 9 de febrero a los 84 años. Realizamos un recorrido por algunas de sus múltiples grabaciones operísticas y de piezas de contenido sacro. Así, escuchamos fragmentos de compositores como Giuseppe Verdi, Gioacchino Rossini, Giovanni Battista Pergolesi y Giacomo Puccini.

The String Orchestra of Brooklyn has released their debut album, called afterimage. It features two exquisitely soulful works written for the orchestra by Christopher Cerrone and Jacob Cooper, both of which are in response to classic works by Niccolò Paganini and Giovanni Battista Pergolesi (also included on the disc). Conductor Eli Spindel and composer Cerrone join us to preview the recording, which also features contributions from the Argus Quartet and vocal soloists Mellissa Hughes and Kate Maroney.

The String Orchestra of Brooklyn has released their debut album, called afterimage. It features two exquisitely soulful works written for the orchestra by Christopher Cerrone and Jacob Cooper, both of which are in response to classic works by Niccolò Paganini and Giovanni Battista Pergolesi (also included on the disc). Conductor Eli Spindel and composer Cerrone join us to preview the recording, which also features contributions from the Argus Quartet and vocal soloists Mellissa Hughes and Kate Maroney.

On Sunday, Western Civilization lost a giant of a man, and a giant of a mind. Sir Roger Scruton was a philosopher and a prolific author on topics ranging from the history of philosophy, to music, to wine, to hunting, the true meaning of conservatism, the human soul, and more. Scruton was no mere ivory tower intellectual. What he deeply believed, he put into action. During the 1970s, he smuggled books into communist Czechoslovakia and helped run an underground network of seminars, offering “courses in philosophy, Hebrew, history, musicology, classical architecture, fine art, theatre, and anything else asked for.” No doubt his experiences with communism helped make him the ardent and courageous critic of more recent forms of intellectual totalitarianism, too. Among the things Scruton fought most intensely for, and what I think could be his most enduring contribution, is his defense of beauty. In a 2009 BBC documentary entitled “Why Beauty Matters,” Scruton argued that Western culture's loss-of-touch with beauty is a symptom of its loss-of-touch with reality, especially any reality beyond the material world. In the documentary, which everyone should watch, Scruton contrasts great paintings, sculptures, music, and architecture with the modern and postmodern embrace of ugliness that fills too many museums today: cans of human excrement, urinals, dead animals in tanks, sterile buildings, and literal piles of trash. To call these things “art,” says Scruton, as too many do, isn't just to rob that word of any meaning. It is to rob our world of meaning. Quoting Plato, he argued that beauty not only exists objectively, but that it functions as a sign of another and higher order. Beauty reminds us like nothing else that there is more to life than matter, utility, and subjective taste. Good art is recognizable because it “unites form and ideal,” carrying our minds to higher things and surprising even those on vigilant guard against God. “We all know what it is like,” says Scruton, “suddenly to be transported by the things we see—from the ordinary realm of our appetites, to the illuminated sphere of contemplation. A flash of sunlight, a remembered melody, the face of someone loved. These dawn on us in the most distracted moments, and suddenly life is worthwhile.” Scruton was no art snob. He saw beauty bursting from everyday surroundings, too. In fact, he spent much of the film under windswept trees, or in quaint streets between brick shops built in a long-disused style. He even praised the finger-paintings of children as tributes to the beauty they see around them. At the same time, Scruton loved the unique treasures of Western art: the "Pietà," "David," the "Birth of Venus," and the works of Dante, Malory, and Shakespeare are all celebrated in the documentary not only as artistic triumphs, but as the collective testimony of a civilization to a “transcendental God,” and to the order He built into His world. Scruton argues that belief in this God—what we might call a “Christian worldview”—was the womb that nourished the greatest art the world has ever known; and that the degradation of art was a direct consequence of the West's loss of faith. Fittingly, beauty itself, Scruton believed, points our way back. The ugliness of modern and postmodern art and the even uglier philosophies behind them need not have the last word. Because Scruton believed and taught this, he ended his documentary with a performance of one of the simplest yet most soulful pieces of Western music: Giovanni Battista Pergolesi's setting of the “Stabat Mater.” The haunting piece recalls Mary's grief at watching her Son hanging on the cross. Scruton describes this as the ultimate beauty—the redemption of suffering in the sacrifice that redeemed mankind. Perhaps, as Dostoevsky claimed, beauty really can “save the world.”  At the very least, it points us to the One who can. And like Him, perhaps we might still see a resurrection of beauty. The world owes Sir Roger Scruton a debt for reminding us of all this. He'll be badly missed, but long remembered. Come to BreakPoint.org and I will link you to his incredible documentary, “Why Beauty Matters.”

durée : 01:57:24 - En pistes ! du jeudi 10 octobre 2019 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu du jour : l'Ôde à la joie de Beethoven interprétée par un orchestre composé des membres de six orchestres différents en l'honneur de l'anniversaire de la Chute du mur de Berlin, Jean-Marc Andrieu et son orchestre Les Passions réunissent Giovanni Battista Pergolesi et Alessandro Scarlatti... - réalisé par : Lionel Quantin

Intorno al 1734 Giovanni Battista Pergolesi compone lo Stabat Mater per due voci e archi e basso continuo.

Giovanni Battista Pergolesi? (1710 - 1736)– "Kristuse seitse sõna". Muusikaajaloolased ei ole üksmeelsed selle oratooriumi autorluses. On säilinud mitu käsikirja teose muusikaga, ühele neist on kirjutaja lisanud: “Sig. Pergolese”.

Giovanni Battista Pergolesi? (1710 - 1736)– "Kristuse seitse sõna". Muusikaajaloolased ei ole üksmeelsed selle oratooriumi autorluses. On säilinud mitu käsikirja teose muusikaga, ühele neist on kirjutaja lisanud: “Sig. Pergolese”.

Yuriy Mynenko (Countertenor) | Romina Basso (Alt) | Franco Fagioli (Countertenor) | Dilyara Idrisova (Sopran) | Juan Sancho (Tenor) | Cigdem Soyarsian (Sopran) | Capella Cracoviensis | Leitung: Jan Tomasz Adamus

En clave de Dios (XV): Salve Regina (I). Primer programa de una serie de dos dedicado a las plasmaciones musicales de la antífona mariana 'Salve Regina', en el que se escuchan obras de los siguientes compositores: Josquin Desprez, Jacob Obrecht, Tomás Luis de Victoria, Claudio Monteverdi, Alessandro y Domenico Scarlatti y Giovanni Battista Pergolesi.

En clave de Dios (XIII): Stabat Mater. En el presente programa realizamos un recorrido por los Stabat Mater compuestos a lo largo de la historia de la música. Así, escuchamos diversos fragmentos de las plasmaciones musicales del texto medieval mariano del fraile franciscano Jacopone da Todi, que refleja el sufrimiento de la Virgen María ante su Hijo Crucificado, pertenecientes a Giovanni Pierluigi da Palestrina, Antonio Vivaldi, Giovanni Battista Pergolesi, Franz-Joseph Haydn, Luigi Boccherini, Gioacchino Rossini, Antonin Dvorak y Francis Poulenc.

Arien von Leonardo Leo, Giovanni Battista Pergolesi, Nicola Porpora, Alessandro Scarlatti, Leonardo Vinci und Domenico Auletta | Max Emanuel Cencic (Countertenor) | Il Pomo d'Oro | Leitung: Maxim Emelyanychev

"Nel Giardino di Partenope" - Sontae napoletane per Violoncello | Sonaten für Violoncello von Corrco Greco, Giulio de Ruvo, Francesco Alborea, Francesco Supriani, Giovanni Battista Pergolesi, Salvatore Lanzetti, Nicola Porpoa, Pasquale Pericoli | Gaetano Nasillio (Violoncello) | Michele Barchi (Cembalo) | Sara Bennici (Violoncello)

Italienischer Komponist

Stabat Mater