Stylistic features of the Pergolesi aria. Sacred Music J

Giovanni Battista Pergolesi 1710 , Yezi - 1736 , Pozzuoli) - Italian composer , violinist And organist. Pergolesi is a representative of the Neapolitan opera school and one of the earliest and most important composers. opera buffa(comic opera).

opera buffa (ital. opera buffa- "comic opera") - Italian comic opera. Originated in XVIII century based sideshow and folk song tradition (as opposed to opera series). The most famous authors of opera buffa: Giovanni Pergolesi , Giovanni Paisiello , Domenico Cimarosa. This genre is characterized by small scale, 2-3 characters, cheerful buffoonery, mobility of action, parody, bright, lively genre melodic, clarity of style. Opera buffa was based on everyday stories, often acquiring a satirical overtone. Later, its traditions were supported Wolfgang Amadeus Mozart , Gioacchino Rossini , Gaetano Donizetti. Some operas have been created in the opera-buffa style Giuseppe Verdi (« falstaff »), Sergei Prokofiev (« Betrothal in a monastery »), Igor Stravinsky ("Mavra") and others.

The Italian opera composer J. Pergolesi entered the history of music as one of the creators of the buffa opera genre. In its origins, connected with the traditions of the folk comedy of masks (dell’arte), opera buffa contributed to the establishment of secular, democratic principles in the musical theater of the 18th century; she enriched the arsenal of opera dramaturgy with new intonations, forms, stage techniques. The patterns of the new genre that had developed in Pergolesi's work revealed flexibility, the ability to be updated and to undergo various modifications. The historical development of onepa-buffa leads from the early examples of Pergolesi (" Mistress Maid”) - to W. A. ​​Mozart (“The Wedding of Figaro”) and G. Rossini (“The Barber of Seville”) and further into the 20th century (“Falstaff” by G. Verdi; “Mavra” by I. Stravinsky, the composer used Pergolesi themes in ballet "Pulcinella", "Love for Three Oranges" by S. Prokofiev).

Pergolesi's whole life was spent in Naples, famous for its famous opera school. There he graduated from the conservatory (among his teachers were famous opera composers - F. Durante, G. Greco, F. Feo). In the Neapolitan theater of San Bartolomeo, Pergolesi's first opera, Salustia (1731), was staged, and a year later, the historic premiere of the opera The Proud Prisoner took place in the same theater. However, it was not the main performance that attracted the attention of the public, but two comedy interludes, which Pergolesi, following the tradition that had developed in Italian theaters, placed between the acts of the opera seria. Soon, encouraged by the success, the composer compiled from these interludes an independent opera - “The Maid-Mistress”. Everything was new in this performance - a simple everyday plot (the clever and cunning servant Serpina marries her master Uberto and becomes a mistress herself), witty musical characteristics characters, lively, effective ensembles, song and dance warehouse of intonations. The rapid pace of the stage action demanded great acting skills from the performers.

One of the first buffa operas, which gained immense popularity in Italy, The Maid-Madame contributed to the flourishing of comic opera in other countries. Triumphant success accompanied her productions in Paris in the summer of 1752. The tour of the Italian "buffons" troupe became the occasion for the sharpest operatic discussion (the so-called "war of the buffons"), in which adherents of the new genre clashed (among them were encyclopedists - Diderot, Rousseau, Grimm and others) and fans of the French court opera (lyrical tragedy). Although, by order of the king, the "buffons" were soon expelled from Paris, passions did not subside for a long time. In the atmosphere of disputes about ways to update the musical theater, the genre of French comic opera arose. One of the first - "The Village Sorcerer" by the famous French writer and philosopher Rousseau - made a worthy competition to "The Maid-Mistress".

Pergolesi, who lived only 26 years, left a rich, remarkable in its value creative heritage. The famous author of buffa operas (except for “Maid Lady” - “The Monk in Love”, “Flaminio”, etc.), he also successfully worked in other genres: he wrote opera seria, spiritual choral music (masses, cantatas, oratorios) , instrumental works (trio sonatas, overtures, concertos). Shortly before his death, the cantata " Stabat mater"- one of the composer's most inspired works, written for a small chamber ensemble (soprano, alto, string quartet and organ), filled with a sublime, sincere and penetrating lyrical feeling.

The works of Pergolesi, created almost 3 centuries ago, carry that wonderful feeling of youth, lyrical openness, captivating temperament, which are inseparable from the idea of ​​the national character, the very spirit of Italian art. “In his music,” B. Asafiev wrote about Pergolesi, “along with captivating love affection and lyrical intoxication, there are pages permeated with healthy, strong feeling life and the juices of the earth, and next to them episodes shine in which enthusiasm, slyness, humor and uncontrollable careless gaiety reign easily and freely, as in the days of carnivals.

OPERA BUFFA(Italian opera buffa - comic opera) - Italian. kind of comic opera, formed in the 30s. 18th century Its origins are in the comedy operas of Rome. 17th century schools ("Tancia" A. Melanie), in the comedies dell'arte. Directly prepared O.-b. Neapolitan and Venetian dialectal comedies with music (a kind of local democratic t-ra) and comic. interludes inserted (from the end of the 17th century) between the acts of the opera series. The ancestor of O.-b. G. B. Pergolesi appeared, whose interludes, having spun off from the big performance of the opera seria, began to stand on their own. life. Of these, the Maid-Mistress (1733) is especially famous - the first O.-B. This genre is characterized by small scale, 2-3 acts. faces, cheerful buffoonery, mobility of action, parody, bright, lively genre melody, clarity of style. Above O.-b. many craftsmen worked (B. Galuppi, N. Logroshino and others). In general, she embodied cutting-edge art. trends of its time. In the 50s. 18th century in Paris, the so-called. "buffon war", which attracted leading representatives of the French to the side of the "buffonists". Enlightenment. In the future, O.-b. departs from the stage. examples of commedia dell'arte, using to a large extent the dramaturgy of C. Goldoni. O.-b. is written on its text. N. Piccinni "Chekkina, or the Good Daughter" (1760), which marked the beginning of the lyrical-sentimental direction in this genre. However, the strengthening of the lyric damn O.-b. did not weaken the significance of the comic in it. start. In the work of G. Paisiello ("The Barber of Seville", 1782; "The Miller", 1788), D. Cimarosa ("Secret Marriage", 1792), the plots and stylistic are expanding. frames of O.-B., samples with a wide-ranging intrigue appear, including elements of satire, everyday life and fairy-tale-fantastic. scenes tinged with subtle lyricism. On the basis of O. - b. deeply original operatic concepts of W. A. ​​Mozart ("The Marriage of Figaro", 1786) are developing. In the 19th century G. Rossini ("The Barber of Seville", 1816), G. Donizetti ("Don Pasquale", 1843), G. Verdi ("Falstaff", 1893) brilliantly implemented the traditions of O.-b. in new historical conditions. In the 20th century E. Wolf-Ferrari sought to revive this genre. Buffon traditions develop on a different basis in a number of operas by S. S. Prokofiev (The Love for Three Oranges, 1919; Betrothal in a Monastery, 1940), I. F. Stravinsky (Mavra, 1922) and others.

About the life of a contemporary of Bach, Handel and Vivaldi, who died before all of them - Giovanni Pergolesi; little is known about the short life that ended in the twenty-sixth year, passed in poverty and deprivation. His work is surrounded by legends. For example, there is a glorious story about how one of the composer's visitors was surprised that he, the magician of sounds, huddled in a wretched wooden house and would not build himself a new home.

From the pleasures of life
Music yields to one love,
But love is a melody...
Pushkin

What happiness it is to close your eyes and listen to the ancient music of Bach, Handel, Schubert, Mozart... In the hour of heart disorder, excitement, the best way to restore the lost balance of the soul is to put on a record with the sounding poetry of rain, wind, feelings, the poetry of the Spirit, embodied in notes .

In the cold winter of 1741 in Vienna, near the church of St. Stefan, one could often meet a lonely old man in shabby shabby clothes. Long White hair it was very tangled, hung in dirty rags. In the hands of a thick knotted stick. The old man looked greedily at the windows of the shops, the doors of the café. He was hungry, but he never begged and never intended to beg. What he lived on, where he huddled, no one knew. He often stopped at the gate imperial palace until the guards chased him away ... In the summer the old man died.

A wave of the conductor's hand and the unforgettable sounds of Giovanni Pergolesi's oratorio "Stabat Mater", one of the most outstanding works in the history of musical art, poured out. I listen to him - and reflect on the life of a contemporary of Bach, Handel and Vivaldi, who died before all of them - Giovanni Pergolesi; short life, cut short in the twenty-sixth year, passed in poverty and deprivation ... How did a very young man manage to write an essay full of extraordinary beauty and depth?

Little is known about the composer, his work is surrounded by legends. There is a glorious story about how one of the composer's visitors was surprised that he, the magician of sounds, huddled in a wretched wooden house and would not build himself a new home.

Pergolesi explained:

“You see, the sounds that make up my music are cheaper and more accessible than the stones needed to build a house. And then - who knows - maybe my buildings will be more durable? - He was not cunning, with his poor existence, unlike the dearest brilliance of creativity, he simply did not have time to lie.

What can I say, the existence of musicians at all times is by no means an easy task, strewn with roses, then sacrificial fragments of former glory, many receive recognition after death, if they receive it at all.

But even Bach's wife reprimanded that money, they say, would soon not be enough not only for stew, but also for daily bread! Johann Sebastian only shrugged his shoulders: “My dear, the healthy air of Leipzig is to blame for everything, that’s why there are not enough dead (in 1723 Bach worked as cantor of the church choir at the school of St. Thomas), and I, the living, have nothing to live on ...” Antonio Vivaldi he knew different times - he visited the pinnacle of fame and fortune - and died poor and hungry in Vienna. (Cm. )

Handel was also deceived more than once: one day, a clever merchant sold the opera Rinaldo, published by him in London, in a few days, earning a large profit, from which Handel received miserable pennies, which would not have been enough for a week.

“Listen,” Handel said bitterly to the merchant when he was counting his money, “so that there are no offended people between us, next time you write an opera, and I will publish it!”

Pergolesi was not alone in his bitter musical disorder, although, unfortunately, he did not have time to get acquainted with his famous contemporaries.

...Stabat Mater sounds. One marvels at the melodiousness of the music, its penetration, and the palpable depth of remorse. It flows in a continuous harmonious stream and makes the soul be carried away to unknown distances...

Mother Grieving stood
And in tears I looked at the cross,
Where the Son suffered.
Heart full of excitement
Sighs and languor
The sword pierced her in the chest.

Pergolesi was born in Italy, in the era of transition from baroque to classicism, and in his very short life he managed to become a spokesman for new musical ideas, enriched the arsenal of operatic dramaturgy with new intonations, forms, stage techniques. His life was like the flash of a bright star. The pseudonym (his real name is Draghi) chose for himself in a medieval manner and was called modestly - Giovanni from Jesi, that is, Pergolesi.

He became the author of many masses (including the most famous ten-voice one), amazing cantatas (“Miserere”, “Magnificat”, “Salve Regina”), symphonies, instrumental concertos, 33 trios for violins and bass. He managed to surprisingly harmoniously combine spiritual and secular musical traditions into a single whole. He has ten opera series, the so-called "serious operas", written on mythological, historical themes (the wars of the Romans with the Persians, the exploits of ancient heroes, praising the winners of the Olympiads). These operas went on for long hours, were rather tiring, and during the intermissions the audience was entertained by interludes - small comical musical scenes. The audience was delighted with them, and Pergolesi decided to combine several interludes into one comic opera - the buffa opera, the character of which Mozart later so loved and adopted, himself being an irrepressible joker, which was magnificently manifested in The Marriage of Figaro.

In 1917, Marcel Duchamp created The Fountain, and Stravinsky wrote The Story of a Soldier in 1918, and Pulcinella in 1920, in which the music of Pergolesi (?) acts as an objet trouvé. A historically alien syntax is superimposed on the found object.

This is how the opera Serva Padrona (1732) was published to a libretto by G. Federico. Its plot is uncomplicated: Serpina's maid deftly wraps her master around the finger - the old grumbler Uberto, forces him to marry herself and becomes the all-powerful mistress in the house. The music of the opera is playful and graceful, filled with everyday intonations, melodic. The Servant-Madam was a huge success, brought fame to the composer, and in France even caused a serious war between supporters of comic opera (Didro, Rousseau) and adherents (Lully, Rameau) of the traditional lush musical tragedy (the so-called "war of the buffons"). Rousseau laughed: “Wherever the pleasant is replaced by the useful, the pleasant almost always wins.”

Although, by order of the king, the “buffons” were soon expelled from Paris, passions did not subside for a long time. In the atmosphere of disputes about ways to update the musical theater, following the Italian, the genre of French comic opera soon arose, where the place of the legendary mythological heroes was taken by the bourgeois, merchants, servants and peasants. One of the first - "The Village Sorcerer" by the outstanding thinker, philosopher and musician Jean-Jacques Rousseau - was a worthy competitor to "The Maid-Mistress". It is no coincidence that Rousseau, addressing novice musicians, remarked subtly, with humor: “Avoid modern music, study Pergolesi!”

In 1735, the composer received an unexpected order - to write an oratorio based on the text of the poem by the medieval Franciscan monk Jacopone da Todi "Stabat Mater" ("Mourning Mother Stood"); its theme is the complaints, the lamentation of the Virgin Mary, the mother of the executed Christ (part 1), and the sinner's passionate prayer for granting him paradise after death - in the 2nd part.

The composer began to work enthusiastically. There is a legend: Pergolesi idolized a Neapolitan girl, but her noble parents did not consent to marriage; the failed bride, in despair, threw herself headlong, rushed into monasticism, leaving the hated worldly fuss, and ... died suddenly. Pergolesi preserved the image of the Madonna, strikingly similar to his beloved. The portrait and the tragic memory of the bride, lost happiness inspired the composer when composing unsurpassed music.

Pergolesi did not know then about the amazing metamorphosis, the inexplicable collision of the suppression of destinies: the author of the poetic primary source "Stabat Mater dolorosa" - the canonical medieval spiritual hymn - Jacopone da Todi (1230 - 1306), as well as the composer in the future, experienced the sudden death of his adored, beloved girls, after which he went to the monastery and, serving as a monk of the Franciscan order, created his immortal hymn. So, at the end of his life, Pergolesi turned to spiritual creativity, finishing the last bars of a brilliant creation in the Capuchin monastery, immersed in sorrowful memories of irretrievably lost love.

Although, in accordance with the traditions of the Middle Ages, the monk-poet not so much composed as composed the text from earlier samples, therefore the authorship of the poem is also attributed to St. Bernard of Claire (1090 - 1153) and Pope Innocent III (c. 1160 - 1216).

... The sounds of the F-minor oratorio "Stabat Mater" are pouring. How much suffering, torment, pain! The sobbing "andante" is replaced by an amazing "largo", then like a wailing "allegro" ...

Mother, eternal source of love,
Give from the depths of your heart
I share my tears with you
Give me fire too, so much
Love Christ and God
For him to be pleased with me.

In a single creative impulse, Pergolesi finished his work, it was performed and ... caused displeasure of the church fathers. One influential spiritual person, after listening to "Stabat Mater", was indignant:

- What did you write? Is this farce appropriate in the church? Change it for sure.

Pergolesi laughed and did not correct a line in the oratorio.

The monk-musician Padre Martini complained that the author of the oratorio used passages "which could rather be used in some comic opera than in a song of sorrow." – What was he talking about? It is difficult even to imagine the canons of upbringing, perception and behavior, if there was such a review of Pergolesi's extremely strict music in all respects. However, similar reproaches haunted all the great authors of spiritual compositions - from Bach to Verdi. But to be precise, the criticism may have referred to the major part in the fast tempo of "Inflamatus" (11h), which was an extremely bold step - Pergolesi was the first to introduce such nuances into the work of that time.

Gloomy rumors spread about the composer that he had received his talent “by unclean means”, having sold his soul to the devil…

By the end of his life, Pergolesi moved to the town of Pozzuoli, near Naples; I liked to visit a small osteria where you can have a leisurely bite to eat, drink a glass of Chianti. Once, before his appearance, a monk appeared and handed the innkeeper a bottle with the words:

- For Mr. Musician.

Pergolesi has arrived. The owner told him:

- One unfamiliar monk left for you, sir, a bottle of wine.

"Let's drink it together," Giovanni rejoiced.

- Here's a bottle. But she's from my cellar, let's drink her. And the one that the priest gave me, I threw away.

- Why? the musician was surprised.

“It seems to me that the wine is poisoned,” whispered the gracious host.

A few days later, Pergolesi was gone. The exact cause of his death is unknown: either he was poisoned by assassins, or died in a duel, or died of consumption, being nervous and ill from childhood, who knows ... It happened almost 300 years ago.

... It is impossible to listen indifferently to Pergolesi's "Stabat Mater"! This is the confession of a tormented soul, this is the cry of a tormented heart! I listen to the final sounds of the oratorio: the mournful “largo” (tenth part), as if illuminated by a mother’s tear, “allegro” (eleventh), and the tragic twelfth part with the final “amen” (“Truly!”) ...

Let my cross multiply strength,
The death of Christ help me
Jealousy to the poor,
As the body cools down in death,
For my soul to fly
To the paradise reserved.
(Translated by A. Fet)

No wonder the French writer of the 2nd half of the 18th century, Marmontel, argued that after the French comprehended the secret power of Pergolesi's music, French vocal music itself since then began to "seem to us soulless, inexpressive and colorless." – Rhythmic effects, gradations of chiaroscuro, understanding of the pattern and merging of accompaniment with the melody, building a musical period in the formal construction of arias – the composer's skill of the young talent was truly the highest!

The poem of the monk Todi inspired many more composers: the Stabat Mater by the masters of the Renaissance Palestrina and Despres are known; XVIII century - Scarlatti, Boccherini, Haydn; XIX century - Liszt, Schubert, Rossini, Verdi, Dvorak, Gounod, Russian Serov and Lvov; XX century - Szymanowski and Penderecki ... These are great, magnificent works. And yet, the work of Giovanni Battista Pergolesi, which is not subject to time, is not lost in this series, and, without prejudice, we can say that the cantata, which immortalized the author, received the greatest, world-wide fame among the mentioned brilliant people.

“In his music,” B. Asafiev wrote about Pergolesi, “along with captivating love affection and lyrical intoxication, there are pages imbued with a healthy, strong sense of life and the juices of the earth, and next to them there are episodes in which enthusiasm, slyness, humor and uncontrollable carefree gaiety reigns easily and freely, as in the days of carnivals. - I agree with the prevailing opinion that Giovanni Battista Pergolesi is a vivid example of a man who was born at the wrong time, and therefore he was not destined to stay on this earth. Being a representative of the Baroque style, in terms of his creative and psychological temperament, he rather belonged to the era of romanticism. “Mistake in 200 years? - you say, - this is by no means small. - But Fate, as History, alas, cannot be remade.

The music of Stabat Mater by Pergolesi is not mournful, on the contrary, it is very light! The motive of love and boundless human devotion unites the authors of the poetic and musical "Stabat Mater". There is no place for the tragedy of burial, dormition and repose. This is sublime sadness and the memory of beautiful young creatures who left the mortal world untimely - tears of purification, light, kindness and humility. I would like to finish the essay on the immortal creation of the great musician, composer Giovanni Pergolesi with Pushkin's sparkling words, since we started with him: “What depth! What courage and what harmony! (1710 - 1736)

Chapter I. The Church and Musical Culture of Naples

On the role of the church in the life of Naples

Musical institutions of Naples: opera, conservatories, church music

Chapter II. Dramma sacro and oratorio

genre features. Libretto

Characters.

Ensembles

Oratorio Pergolesi and the Neapolitan tradition

Chapter III. Masses of Pergolest: a synthesis of "church" and theatrical".

Mass in Naples

Masses of Pergolesi.

Chapter IV. "Stabat mater" and "Salve regina": "small" ecclesiastical genres under the shadow of opera.

History of the genre Stabat mater

Cantata Stabat mater Pergolesi

Stabat Mater A.Scarlatti and G.Pergolesi: features of the operatic and "strict" styles

Salve regina G. Pergolesi and antiphons of older contemporaries

Introduction to the thesis (part of the abstract) on the theme "The Sacred Music of G. B. Pergolesi and the Neapolitan Tradition"

Giovanni Battista Pergolesi (1710-1736) is one of the most famous Italian composers XVIII century. Early death (he died at the age of 26 from tuberculosis) contributed to the "romanticization" of his image and the extraordinary popularity of his works in subsequent centuries. Almost unknown during his lifetime, the composer “was exalted to heaven immediately after his death. All the theaters in Italy wanted to play only his works, which they had so unjustly despised not long before.

The attention that flared up to the figure of the composer persisted for a long time. So at the end of the 18th century, J.-J. Rousseau found in Pergolesi (along with L. Vinci and L. Leo) the perfect embodiment of the energy of all feelings and the ardor of all passions. Many years after the death of the composer, in 1814, Stendhal wrote enthusiastically about his music: “The language of Pergolese. capable of conveying even the finest shades emotional experiences caused by passion - shades that are beyond the power of any literary language.

Despite the brevity of his creative path, the composer left a legacy that was extensive and diverse in genres: serious and comic operas, sacred music. The most famous among them are two masterpieces: the intermezzo “The Servant-Mistress” (G.A. Federico, 1733), with which the famous “war of the buffons” in Paris of the 1750s was associated, and a cantata on the text of the spiritual sequenza Stabat mater, called J. -AND. Rousseau is "the most perfect and most touching of the available works of any musician"4. Other works by Pergolesi, unfortunately, are performed very rarely not only in our country, but also abroad - even today, in the year of the 300th anniversary of the composer's birth. This applies primarily to his seria operas and masses, although they are of considerable interest - both artistic and historical: namely

1 Laborele. Essai sur la musique ancienne et moderne (1780). Cit. Reader on the history of the Western European theater. 4.2. Theater of the Age of Enlightenment. M. - L. 1939, S. 142.

2 Rousseau J.-J. Collected works in 3 volumes. T. 1. M., 1961. S. 278.

3 Stendhal. Letters about Metastasio // Stendhal. Collected works in 15 volumes. V.8. M., 1959. S. 217.

4 King R. Stabat mater. London, 1988. P.2. serious opera and mass occupied a central place in the genre hierarchy of the first half of the 18th century. A holistic view of Pergolesi's work is also absent in musicology. It cannot be formed if the spiritual music of the composer is overlooked. The need to fill this gap makes the topic of the dissertation relevant.

The study of the sacred music of the composer is connected with the solution of a number of problems. The most important of these is the question of the style of Pergolesi's spiritual works, which appeared at a time when church genres and oratorios were significantly influenced by opera. The question of the combination of "church" and "theatrical" styles is relevant for all the composer's works that we have considered: spiritual drama and oratorio, masses, cantata and antiphon. Another significant problem is the relationship of Pergolesi's music to the Neapolitan tradition. It is known that the composer studied at the Neapolitan Conservatory dei Povera di Gesu Cristo with the most prominent masters of that time - Gaetano Greco and Francesco Durante, communicated with fellow countrymen-contemporaries - Leonardo Leo, Leonardo Vinci, and most of his works were also written by order of Neapolitan churches and theaters therefore, Pergolesi's work is closely connected with the regional tradition. The problem is to find out the specific manifestations of this connection.

The main objective of the dissertation is to explore the sacred music of Pergolesi as a complex phenomenon, identifying the main genres and their poetics in the context of the Neapolitan tradition. It involves solving a number of more specific tasks:

Consider the role of religion and art in the life of Naples;

To explore the poetics of the main genres of Pergolesi sacred music in comparison with the works of contemporaries who belonged to the Neapolitan tradition;

Compare the style of spiritual and secular works of Pergolesi.

The main object of study, respectively, was the sacred music of Pergolesi, the subject of study was the poetics of the main genres of sacred music - drammama sacro, oratorios, masses, sequences and antiphons.

The dissertation material is oratorios, masses, cantatas and antiphons by Italian composers of the first half of the 18th century - primarily those with which Pergolesi was or could be familiar, as well as those that formed the basis of the Neapolitan tradition (works by A. Scarlatti, F. Durante, N .Fago, JL Leo) - more than twenty scores in total. The works of Pergolesi - his spiritual works, serious and comic operas - are analyzed in full. The texts of the libretto are studied, a number of historical documents are involved: aesthetic and musical-theoretical treatises, encyclopedias, reference books, repertoire lists, letters and memoirs relating to that era.

Most of the works have been studied by us from sources stored in Western European collections, primarily in the Roman national library. We have attracted both complete collections compositions - New, unfinished, published in New York/Milan5 (scores equipped with a scientific textological apparatus), and Old (Opera omnia), published in Rome6 (claviers), volumes from the series Denkmäler y i 8 deutscher Tonkunst (DDT) and Música Italiana, as well as publications of individual scores, claviers, preserved autographs of Pergolesi's masses, handwritten copies of his oratorios and Stabat Mater, handwritten copy of A. Scarlatti's cantata.

The methodological basis of the study was the principles of system-structural analysis and historical-contextual interpretation, widely developed by Russian musicology. A special role was played by studies of major vocal-symphonic and musical-theatrical genres of the 18th century: Therefore, the works of Yu. Evdokimova, JI. Kirilina, P. Lutsker, Yu. Moskva, N.

5 G.B. Pergoksi. The Complete Works, ed. B.S. Brook and others. New York and Milan, 1986-.

6 G .B. Pergolesi. Opera omnia, ed. F. Caffarelli Rome, 1939-42.

7 Bd. 20. J. A. Hasse. La conversione di Sant "Agostino. Leipzig, 1905.

8 102. A. Scarlatti. Salve Regina. Zürich, 1978.

Simakova, I. Susidko, E. Chigareva. Due to the fact that the category of “genre” occupies an important place in the dissertation, the fundamental works of M. Aranovsky, M. Lobanova, A. Sohor, V. Zukkerman and O. Sokolov played a central role in the research methodology.

In naming genres, interpreting a number of concepts, we were guided by the theory of the 18th century. This concerns, in particular, the term “style”, which is used in the dissertation both in the meaning accepted in our time (individual style of the composer), and in the way it was endowed by theorists of the 17th-18th centuries (“scientist”, “theatrical” styles) . The use of the term "oratorio" in the time of Pergolesi was also ambiguous: Zeno called his works tragedia sacra, Metastasio - componimento sacro. The Neapolitan regional variety was "dramma sacro", the term "oratorio" was established only in the second half of the 18th century. In this work, we use both a more general genre definition of "oratorio" and an authentic one, denoting its Neapolitan variety "dramma sacro".

Scientific literature, dedicated to creativity Pergolesi is unequal and, in general, very small. For a long time, there was no more or less detailed study of his heritage in Russian musicology. Usually, only the intermezzo “The Servant-Madam”, which is included in almost all textbooks on the history of music, and the spiritual cantata “Stabat mater” were mentioned in the literature. The exceptions were: the monograph by T. Kruntyaeva, in which for the first time in the country serious operas were mentioned and all the surviving comic works of the composer are presented: the content of the works is briefly stated, a general description of some heroes and individual numbers is given, as well as a study by P. Lutsker and I. Susidko, which contains a detailed analysis of Pergolesian operas (all comic and a number of serious ones), as well as the thesis of R. Nedzwiecki, dedicated to comic genres in the work of Pergolesi9. The church music of Pergolesi has not been the subject of scientific reflection to this day.

Foreign studies can be divided into several groups. One of them is the work on the attribution of works by Pergolesi10, which occupies an important place in the bibliography: according to the Marvin catalog

Paymer only about 10% of the works attributed to the composer's pen

320) really belong to him11. The most famous of the previously attributed to Pergolesi intermezzo “The Ridiculed Jealous Man” (II geloso schernito; probably pasticcio by P. Chiarini), “The Sly Peasant Woman” (La

Contadina astute; pasticcio from two intermezzos by J.A.Hasse and one duet from

Flaminio by Pergolesi) and The Music Teacher (II maestro di música; pasticcio

12 mostly from the music of P. Auletta).

Another group is biographical studies, including early monographs on the composer C. Blasis (1817) and E. Faustini-Fasini (1899), a book by Giuseppe Radiciotti (Italy), which examines in detail the life path of Pergolesi (1 chapter), its distribution creativity in Europe (in Italy, France, Germany, England, Belgium, Spain, Denmark and Sweden - 3 chapters) and creative heritage (operas, chamber and church music, instructive compositions and fragments of works - 2, 4 chapters).

It is impossible to ignore the work of the President of the International Pergolesi and Spontini Foundation, Francesco Degrada. Under his editorship, the materials of the international scientific conference of 1983 - the most important

9 Kruntyaeva T. Italian comic opera of the 18th century. L., 1981. Lutsker P., Susidko I. Italian opera XVIII century. 4.2. M., 2004. Nedzvecksh R. Comic genres in the work of J.B. Pergolesi. Graduate work. M., 1998.

10 Walker F. Two Centuries of Pergolesi Forgeries and Misattributions // ML, xxx. 1949. P.297-320; Degrada F. Alcuni falsi autografi pergolesiani. // RIM, i. 1966. P.32-48; Degrada F. False attribuzioni e falsificazioni nel catalogo delle opere di Giovanni Battista Pergolesi: genesi, storica e problemi critici". // L "attribuzione, teoria e pratica. Ascona, 1992; Paymer M.E. The Instrumental Music Attributed to Giovanni Battista Pergolesi: a Study in Authenticity. Diss., City U. of New York, 1977, etc.

11 Data no Paymer M.E. Pergolesi authenticy: an interim report// Pergolesi studies. Proceeding of an international symposium held at Jesi, Italy, Nov. 18-19, 1983. - Florence: La Nuova Editrice, Scandicci, 1986. P.204-213. Her catalog contains four sections: authentic compositions (28), supposedly authentic compositions (4), controversial compositions (10) and compositions by other composers (230), at the time of publication of the catalog 48 works remained unexamined.

12 Data for: Niske #., Momon D.E. Pergolesi, Giovanni Battista // NGDO, v.3. P. 951-956. stage in the study of the composer's work13, he created articles on the life path of Pergolesi, on the attribution and chronology of his work, as well as a number of analytical sketches dedicated to individual works. Among such studies is a work on masses, where primary attention is paid to the problems of dating14 and an article comparing the composer's Stabat Mater with J.S. Bach's paraphrase on it15.

Essential for the problems of the dissertation were studies on the history of the genres considered by us in the work: "History of the oratorio"

A. Schering and the three-volume work of the same name by H. Smither, K. G. Bitter's study "Stages of development of Stabat Mater" and J. Blume's work "History of polyphonic Stabat Mater", works on the history of opera by C. Burney, D. Kimbell, as well as Oxford history music and the multi-volume study "History of Italian Opera", published in Italy and translated into German (all of them are listed in the bibliography). They contain valuable facts relating to the existence of the Stabat Mater, oratorios and operas in different eras. All studies of Stabat Mater characterize Pergolesi's work as a global milestone in the history of the genre. One of the most profound studies from this list, in our opinion, is J. Blume's "History of the polyphonic Stabat Mater". The work successfully combines two approaches - historical and analytical. The scientist not only describes in detail the development of the genre, but also comprehensively analyzes its text and musical features of works from different eras.

Significant for us were domestic large-scale studies devoted to the genres we are considering: oratorios - dissertation JI. Aristarkhova16; mass - translation by T. Kyureghyan of a fragment of the work

B. Apel and the work of Y. Kholopov "Mass" in the collection of the Moscow

13 The materials were published in 1986 under the title "Studi Pergolesiani".

14 Degrada F. Le messe di Giovanni Battista Pergolesi: problemi di cronología e d "attribuzione // Analesta musicología, 3, 1966.

15 Degrada F. Lo "Stabat Mater" di Pergolesi e la parafrasi "Tilge Höchster meine Sünden di Johann Sebastian Bach". // "Studi Pergolesiani - Pergolesi Studies", II, a cura di F. Degrada, Fiesole, 1988. P.155-184.

16 Aristarkhova.//.The Austrian oratorio tradition of the 18th century and the oratorios of Joseph Haydn. Diss. . cand. art history. M., 2007.

1V of the Conservatory "Gregorian chant", textbook by S. Kozhaeva "Mass"18 and dissertations dedicated to Stabat mater H. Ivanko and M. Kushpileva19.

The works of the last two decades have largely expanded the understanding of Pergolesi's sacred music, but they have not appeared in the awareness of this area of ​​the composer's work as an integral phenomenon that has become one of the stages in the evolution of sacred music. Of course, it is difficult for a Russian researcher to compete with foreign colleagues. Inaccessible is not only the necessary musical material, but also literature on the topic. And yet, the methods that have developed in Russian musicology: an in-depth, detailed analysis of a musical text, combined with its figurative and semantic interpretation in a historical and genre context, allowed us not only to penetrate into the meaning of the works under consideration, but also to make the necessary generalizations.

A number of works are devoted to the phenomenon of the "Neapolitan school". It is also relevant for our dissertation, since without its solution, it seems to us, it is impossible even to raise the question of the specific style of a particular composer who was educated in Naples and is closely associated with this.

7P city. The term itself appeared already in the 18th century (C. Burni) ", was also used later (Francesco Florimo "Music School in Naples and the Neapolitan Conservatories", 1880-1882). In the 20th century, the concept of "school of musicians in Naples" can be found in many researchers: in domestic musicology - by T. Livanova, in foreign - by G. Krechmar, G. Abert, E. Dent and F. Walker21.

17 Kyuregyan T. Moscow Yu., Kholopov Yu. Gregorian chant. M., 2008.

18 Kozhaeva S. Mass. Volgograd, 2005.

19 Ivanko H. Stabat mater in liturgy and composer creativity (on the problem of the genre model). Diss. .cand. art history. Rostov-on-Don, 2006. Kyiumuieea M.Yu. Implementation of the Stabat mater text in spiritual choral music: history and modernity. Diss. candidate of art history. Magnitogorsk, 2006.

20 Burney C. A General History of Music from the Earliest Ages to the Present Period (London 1789), ed. F. Mercer, 2 Bde., London 1935.

21 For more on this, see Hucke H. Die neapolitanishe Tradition in der Oper// Kongressbericht IMS N.Y. 1961. Kassel: BVK 1961, Bd. 1. S. 253-277. Dowries E. O. D. The Neapolitan Tradition in Opera// Kongressbericht IMS Bd. 1.N.Y. 1961, Kassel: BVK, 1961. S. 277 - 284.

However, already in the first half of the 20th century, G. Riemann and R. Gerber opposed the concept of "school" in connection with the opera of the 18th century as an inaccurate and not reflecting the essence of the phenomenon. At the Congress of the International Musicological Society, held in New York in 1961, this point of view was supported by E. Downes and H. Hook. Their position is stated in reports on the same topic: "The Neapolitan tradition in opera." Arguments "against" - striking differences between composers educated in Naples".

However, even today there is a different trend - to look for some generalizing concepts that can still reflect common features felt in the work of the Neapolitan opera masters. For example, in the third edition of A Brief History of Opera (1988), the American scholar D. Grout writes about the Neapolitan type of opera,24. "Neapolitan Opera" as a special tradition is explored by M. Robinson ". Recognizes the need for such a generalized name and

A.A. Abert26. Without returning to the term school, they use others - "type", "tradition", "style". This trend is summarized in the dissertation by I. Susidko, who noted that state of the art of the science of the Italian settecento opera is such that any generalizations cannot be made without a thorough study of a large amount of factual material. However, in complete isolation from generalizing categories, outside the "dry theory", the rapidly growing, branched "tree of life" of Italian opera can appear before the researcher as a set of independent "shoots" - isolated facts. In this regard, the category of genre, regional tradition, local taste provide

22 True, G. Riemann's position was contradictory. First, in Handbuch der Musikgeschichte II/2 (Leipzig, 1912), he spoke out against the term "school" and in the Lexicon of Music (Berlin, 1929) in favor of the term.

23 Downes E.O.D. Tne Neapolitan Tradition in Opera. Op. cit., p.283-284.

24 Grout D.J. A Short History of Opera, 3rd edn., 2 Bd., NY., 1988. P.211.

25 Robinson M.F. Naples and Neapolitan Opera. 1972.

26 Abert A.A. Geschichte der Oper. Bärenreiter, 1994. S. 70. the degree of generalization necessary for the historical

27 studies".

Thus, it seems to us that it is still possible to speak of the Neapolitan "school", meaning by this term not a passive imitation of models, but a certain tradition, expressed primarily in pedagogy, but also in the field of composer creativity. A certain commonality inherent in the music of the Neapolitans allowed scientists to later define it as a "Neapolitan" opera seria. F. Degrada28, D. Arnold and J. Harper29 wrote about the “Neapolitan mass”. Almost synonymous with the "Italian oratorio of the 18th century" was the "Neapolitan oratorio", and the type of "Italian overture" with alternating tempos fast-slow-fast was often called the Neapolitan overture.

Composition. The dissertation consists of an Introduction, four chapters, a Conclusion, a list of references, including 187 items, and an Appendix. The first chapter is devoted to an overview of the cultural and historical situation in Naples at the beginning of the 18th century. In the three chapters that follow, Pergolesi's oratorios, masses, Stabat mater, and Salve regina are dealt with in succession. In the Conclusion, the results of the work are summed up.

Dissertation conclusion on the topic "Musical Art", Panfilova, Victoria Valerievna

Conclusion

Today, the sacred music of Pergolesi is in the shadow of the work of his great contemporaries. It does not sound very often in concert halls and is included in the educational repertoire. However, all this cannot diminish the contribution made by the composer to the history of sacred music genres. The conducted research allowed us to draw a number of conclusions.

1. The beginning of the 18th century marked significant changes in the cultural life of Naples. During this period, the city, inhabited by numerous representatives of the clergy, became especially famous thanks to the opera. The heyday of the genre of opera seria fell precisely on the generation of Pergolesi. It is not surprising that "theatricality" in many respects also influenced sacred music, marking a "turn" in the development of its genres. At this time, in church music, which previously represented the style of “alla Capella for four, five or more voices. in strict or free counterpoint” appeared “solo arias, duets, and also choruses belonging to the theatrical style”177. The turning point was especially noticeable in the ecclesiastical genre, the Mass.

2. Features of the structure and musical content of the main genres of Pergolesi sacred music were determined by the Neapolitan tradition: the first of the composer's oratorios was designated the specific Neapolitan genre dramma sacro, and, in accordance with the traditions of an earlier regional genre - Neapolitan tragicomedy - combined the features of drama and comedy . The structural features of the two masses of Pergolesi - Missa brevis - also corresponded to those common in the first half of the 18th century in Naples. The musical language of the compositions turned out to be "Neapolitan" to the full extent - with a special "chamber" sound: the dominance of expressive melody against the background of a transparent orchestral texture, and the predominance of cantilena, subtle sensitive lyrics.

177 Kirillina JI. Classical style in music of the 18th - early 19th centuries. Part 3. Poetics and stylistics. Cit. Ed. S. 9.

The similarity of structural features in the church writings of the Neapolitans Pergolesi and Leo and their difference from the Venetian Lotti confirmed the conclusion about the specifics of the Neapolitan manner. At the same time, a comparison of the compositional technique of the generation of the 1730s and the representatives of the "old" school - Alessandro Scarlatti, Francesco Durante - allows us to speak about the presence of evolution and a change of orientation. Even in the cantata and antiphon, the "old" masters preferred a polyphonic texture, using up to five freely counterpointing voices, not duplicating the vocal parts with orchestral ones (Scarlatti), or even presenting the work a capella (Durante). With Pergolesi and Leo, arias and opera-like ensembles acquired the greatest importance. It was the harmonious coexistence of the "scholarly" and "theatrical" styles that became decisive for the style of all the spiritual works of Pergolesi.

3. The introduction of solo and ensemble numbers even into ecclesiastical genres makes it possible to speak of numerous connections between the composer's operas and his spiritual works. Pergolesi uses types and arias characteristic of opera seria (eroica, parlante, di sdegno, lyrical, amoroso), there are also elements of opera buffa - in the characterization of a comic character in the "sacred drama". The structural closeness of secular and spiritual compositions is undoubted (they are all built on the principle of chiaroscuro), their melodic-harmonic similarity with recognizable harmonic turns (the composer had a particular fondness for interrupted cadenzas), repetitive motifs and rhythmic figures (especially often - agitated "breathing" syncopations ). In the sacred drama The Conversion of St. Wilhelm and the oratorio The Death of St. Joseph, many types of arias were tested, which Pergolesi would later create in his operas.

4. At the same time, Pergolesi's church music did not become an absolute similarity to his operatic heritage: arias and ensembles are harmoniously combined in it with the obligatory sign church style- jointed or imitation sections. In each of the masses, the composer placed at least two choral fugues, fugues (“Fac ut portem” and “Amen”) are also present in the Stabat Mater, and in the antiphon, imitation elements adorn the aria “Eia ergo, Advocata nostra”.

All this allows us to conclude about the unity of Pergolesi's individual style, on the one hand, and about the difference in the interpretation of genres, on the other. Pergolesi perfectly felt the peculiarities of "styles" in the sense that is inherent in the XVIII century. Despite the strongest expansion of the opera, his church genres, like those of other Neapolitan masters of the 1730s, differed from musical and theatrical compositions.

Perfection, harmony, beauty are categories inherent in all of Pergolesi's work. They are fully manifested in his spiritual music. Only in Pergolesi, thematicism is characterized by a special grace, the lyrical “tone” is rather gentle and touching than sharply expressive or melancholy. The energy of dance rhythms, typical for Neapolitan arias, as a rule, is softened by his chant or verbal expressiveness of intonations. He prefers simplicity and clarity of composition, symmetry and proportionality of form to intensive thematic development. Having heard once, Pergolesi's music even today, 270 years after his death, is easy to recognize again. This, perhaps, is the guarantee that the spiritual work of the outstanding Neapolitan master will still gain a renaissance in our time.

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Giovanni Pergolesi was born in Jesi where he studied music under Francesco Santini. In 1725 he moved to Naples, where he learned the basics of composition under Gaetano Greco and Francesco Durante. Pergolesi remained in Naples until the end of his days. All of his operas were staged here for the first time, except for one - L'Olimpiade, which premiered in Rome.

From his very first steps in the composer's field, Pergolesi established himself as a bright writer, not alien to experiments and innovations. His most successful opera is The Servant-Mistress, written in 1733, which quickly gained popularity on the opera stage. When it was presented in Paris in 1752, it aroused fierce controversy between supporters of traditional French opera (among which were such luminaries of the genre as Lully and Rameau) and admirers of the new Italian comic opera. Disputes between conservatives and "progressives" raged for a couple of years, until the opera left the stage, during which the Parisian musical society was split in two.

Along with secular music, Pergolesi also actively composed sacred music. The composer's most famous work is his F-minor cantata Stabat Mater, written shortly before his death. Stabat Mater (“The Sorrowing Mother Stood”) to the verses of the Italian Franciscan monk Jacopone da Todi tells of the suffering of the Virgin Mary during the crucifixion of Jesus Christ. This Catholic hymn for a small chamber ensemble (soprano, alto, string Quartet and organ) is one of the most inspired works of the composer. Stabat Mater Pergolesi was written as an "understudy" of a similar work by Alessandro Scarlatti, performed in Neapolitan temples every Good Friday. However, this work soon overshadowed its predecessor, becoming the most frequently published work in the 18th century. It has been arranged by many composers, including Bach, who used it as the basis for his psalm Tilge, Höchster, meine Sünden, BWV 1083.

Pergolesi produced a number of major instrumental works, including the Violin Sonata and the Violin Concerto. At the same time, a number of works attributed to the composer after his death turned out to be fake. So, for a long time considered the brainchild of Pergolesi "Concerti Armonici" turned out to be composed by the German composer Unico Wigelm van Wassenaar.

Pergolesi died of tuberculosis at the age of 26.

Giovanni Battista PERGOLESI: About Music

Giovanni Battista PERGOLESI (1710-1736)- Italian composer

The Italian opera composer J. Pergolesi entered the history of music as one of the creators of the buffa opera genre. In its origins, connected with the traditions of the folk comedy of masks (dell’arte), opera buffa contributed to the establishment of secular, democratic principles in the musical theater of the 18th century; she enriched the arsenal of opera dramaturgy with new intonations, forms, stage techniques. The patterns of the new genre that had developed in Pergolesi's work revealed flexibility, the ability to be updated and to undergo various modifications. The historical development of onepa-buffa leads from the early examples of Pergolesi (“The Servant-Mistress”) - to W. A. ​​Mozart (“The Marriage of Figaro”) and G. Rossini (“The Barber of Seville”) and further into the 20th century (“Falstaff” by J. Verdi, "Mavra" by I. Stravinsky, the composer used the themes of Pergolesi in the ballet "Pulcinella", "The Love for Three Oranges" by S. Prokofiev).

Pergolesi's whole life was spent in Naples, famous for its famous opera school. There he graduated from the conservatory (among his teachers were famous opera composers - F. Durante, G. Greco, F. Feo). In the Neapolitan theater of San Bartolomeo, Pergolesi's first opera, Salustia (1731), was staged, and a year later, the historic premiere of the opera The Proud Prisoner took place in the same theater. However, it was not the main performance that attracted the attention of the public, but two comedy interludes, which Pergolesi, following the tradition that had developed in Italian theaters, placed between the acts of the opera seria. Soon, encouraged by the success, the composer compiled from these interludes an independent opera - "The Servant-Mistress". Everything was new in this performance - a simple everyday plot (the clever and cunning servant Serpina marries her master Uberto and becomes a mistress herself), witty musical characteristics of the characters, lively, effective ensembles, a song and dance warehouse of intonations. The rapid pace of the stage action demanded great acting skills from the performers.

One of the first buffa operas, which gained immense popularity in Italy, The Maid-Madame contributed to the flourishing of comic opera in other countries. Triumphant success accompanied her productions in Paris in the summer of 1752. The tour of the troupe of the Italian "Buffons" became the occasion for the sharpest operatic discussion (the so-called "War of the Buffons"), in which adherents of the new genre clashed (among them were encyclopedists - Diderot, Rousseau, Grimm and others) and fans of the French court opera (lyrical tragedy). Although, by order of the king, the "buffons" were soon expelled from Paris, passions did not subside for a long time. In the atmosphere of disputes about ways to update the musical theater, the genre of French comic opera arose. One of the first - "The Village Sorcerer" by the famous French writer and philosopher Rousseau - made a worthy competition to "The Maid-Mistress".

Pergolesi, who lived only 26 years, left a rich, remarkable in its value creative heritage. The famous author of buffa operas (except for The Servant-Mistress - The Monk in Love, Flaminio, etc.), he also successfully worked in other genres: he wrote seria operas, sacred choral music (masses, cantatas, oratorios) , instrumental works (trio sonatas, overtures, concertos). Shortly before his death, the cantata "Stabat Mater" was created - one of the most inspired works of the composer, written for a small chamber ensemble (soprano, alto, string quartet and organ), filled with a sublime, sincere and penetrating lyrical feeling.

The works of Pergolesi, created almost 3 centuries ago, carry that wonderful feeling of youth, lyrical openness, captivating temperament, which are inseparable from the idea of ​​the national character, the very spirit of Italian art. “In his music,” B. Asafiev wrote about Pergolesi, “along with the captivating love tenderness and lyrical intoxication, there are pages imbued with a healthy, strong sense of life and the juices of the earth, and next to them there are episodes in which enthusiasm, slyness, humor and irresistible carefree gaiety reign easily and freely, as in the days of carnivals.

As a manuscript

Panfilova Victoria Valerievna

Sacred Music by G. B. Pergolesi

and Neapolitan tradition

Specialty 17.00.02– musical art

Moscow 2010

The work was performed at the Russian Academy of Music. Gnesins at the department

modern problems of musical pedagogy, education and culture.

Scientific adviser: Doctor of Arts,

Professor I. P. Susidko

Official opponents: Doctor of Arts,

professor of the department

harmony and solfeggio

Russian Academy of Music

named after the Gnesins

T. I. Naumenko

Ph.D. in History of Arts,

Associate Professor of the Department

history and theory of music and

music education

Moscow City

Pedagogical University

E. G. Artemova

Lead organization: Moscow State Conservatory

named after P. I. Tchaikovsky

The defense will take place on June 15, 2010 at 3 pm at a meeting of the Dissertation Council D 210.012.01 at the Russian Academy of Music. Gnesins (121069, Moscow, Povarskaya st., 30/36).

The dissertation can be found in the library of the Russian Academy of Sciences. Gnesins.

Scientific Secretary
dissertation council,

Doctor of Art History I.P. Susidko

GENERAL DESCRIPTION OF WORK

Giovanni Battista Pergolesi (1710-1736) is one of the most famous composers in the history of Italian music. Early death (at the age of 26) contributed to the "romanticization" of the image of the master and the popularity of his works in subsequent centuries. Despite the brevity of his creative path, Pergolesi managed to leave an extensive and diverse legacy in genres: serious and comic operas, sacred music. Today, two of his masterpieces are best known: the intermezzo "Madame Maid" (libre. J.A. Federico, 1733), with which the famous "war of the buffons" in Paris of the 1750s was associated, and a cantata on the text of the spiritual sequenza Stabat mater, named J.-J. Rousseau is "the most perfect and most touching of any musician's available works". Other works by Pergolesi - his masses, oratorios, seria operas, Neapolitan commedia in musica, which are of significant artistic and historical interest even today, 300 years after the composer's birth, are rarely performed. A holistic view of Pergolesi's work is also absent in musicology. It cannot be formed if the spiritual music of the composer is overlooked. The need to fill this gap makes the topic of the dissertation relevant.

The study of the sacred music of the composer is connected with the solution of the series problems. The most important of these is the question of the style of Pergolesi's spiritual works, which appeared at a time when church genres and oratorios were significantly influenced by opera. The issue of combining "church" and "theatrical" styles is relevant for all the composer's works that we have considered: spiritual drama and oratorio, masses, cantata and antiphon. Another significant problem is the relationship of Pergolesi's music to the Neapolitan tradition. It is known that the composer studied at the Neapolitan Conservatory dei Povera di Gesu Cristo with the most prominent masters Gaetano Greco and Francesco Durante, communicated with contemporaries - Leonardo Leo, Leonardo Vinci, knew the music of Alessandro Scarlatti well, most of his works were also written by order of Neapolitan churches and theaters therefore, Pergolesi's work is closely connected with the regional tradition. The problem is to find out the specific manifestations of this connection.

The main objective of the dissertation – explore the sacred music of Pergolesi as a complex phenomenon, identifying the main genres and their poetics in the context of the Neapolitan tradition. It involves solving a number of more private tasks:

• consider the role of religion and art in the life of Naples;
• explore the poetics of the main genres of Pergolesi sacred music in comparison with the works of contemporaries belonging to the Neapolitan tradition;
• compare the style of spiritual and secular works of Pergolesi.

Main object of study became the sacred music of Pergolesi, subject of study- the poetics of the main genres of sacred music - drammama sacro, oratorios, masses, sequences and antiphons.

dissertation material served as oratorios, masses, cantatas and antiphons of Italian composers of the first half of the 18th century - primarily those with whom Pergolesi was or could be familiar, as well as those that formed the basis of the Neapolitan tradition (works by A. Scarlatti, F. Durante, N. Fago , L. Leo) - more than twenty scores in total. The works of Pergolesi are analyzed in full - his spiritual works, serious and comic operas. The texts of the libretto are studied, a number of historical documents are involved: aesthetic and musical-theoretical treatises, encyclopedias, reference books, repertoire lists, letters and memoirs relating to that era.

The following are defended:

• the features of the Neapolitan regional tradition and its inherent tendencies found an individual embodiment in all the spiritual writings of Pergolesi, defining their poetics;
• the main quality of the stylistics of Pergolesi's spiritual works was the idea of ​​synthesis of "scholarly" and "theatrical" styles embodied at different levels;
• between the spiritual works of Pergolesi and his operas (seria and buffa) there are numerous connections (genre, melodic-harmonic, structural), which allows us to talk about the unity of his individual style.

Methodological basis researches have made the principles of the system-structural analysis and historical-contextual interpretation, widely developed by domestic musicology. A special role was played by studies of major vocal-symphonic and musical-theatrical genres of the 18th century: Therefore, the works of Yu. Evdokimova, L. Kirilina, P. Lutsker, Yu. Moskva, N. Simakova, I. Susidko, E. Chigareva were of paramount importance for us . Due to the fact that the category of “genre” occupies an important place in the dissertation, the fundamental works of M. Aranovsky, M. Lobanova, O. Sokolov, A. Sohor and V. Zuckerman played a central role in the research methodology.

In naming genres and interpreting a number of concepts, we also relied on the theory of the 18th century. This concerns, in particular, the term “style”, which is used in the dissertation both in the meaning accepted in our time (individual style of the composer), and in the way it was endowed by theorists of the 17th-18th centuries (“scientist”, “theatrical” styles) . The use of the term "oratorio" in the time of Pergolesi was also ambiguous: Zeno called his works tragedia sacra, Metastasio - componimento sacro. The Neapolitan regional variety was "dramma sacro", the term "oratorio" was established only in the second half of the 18th century. In this work, we use both a more general genre definition of "oratorio" and an authentic one, denoting its Neapolitan variety "dramma sacro".

Scientific novelty work is determined by the material and perspective of the study. For the first time in Russian musicology, the spiritual works of Pergolesi are considered as a complex phenomenon, the masses and oratorios of the composer are analyzed in detail and purposefully, the similarities and differences between his secular and sacred music are revealed. The study of these genres in the context of tradition made it possible to more accurately determine their place in the history of music. An analysis of the historical and stylistic parallels between the works of the composer and his contemporaries helped to significantly complement the understanding of the role of Pergolesi in the development of sacred music in Italy, and take a fresh look at his works. Most of the compositions analyzed in the dissertation have not been studied by Russian musicologists, and there is no stable tradition abroad. A significant part of musical examples is published for the first time.

Practical value. Thesis materials can be used in secondary and higher educational institutions in the courses of "musical literature", "history of music" and "analysis of musical works", to form the basis for further scientific research, to be useful for expanding the repertoire of performing groups and to serve as a source of information in publishing practice.

Approbation of work. The dissertation was repeatedly discussed at the Department of Contemporary Problems of Musical Pedagogy, Education and Culture of the Russian Academy of Music. Gnesins. Its provisions are reflected in the reports at international scientific conferences in the Russian Academy of Sciences. Gnesins "Christian images in art" (2007), "Musicology at the beginning of the century: past and present" (2007), Interuniversity scientific conference of postgraduate students "Research of young musicologists" (2009). The materials of the work were used in the course of the analysis of musical works at the vocal faculty of the Russian Academy of Music. Gnesins in 2007

Composition. The dissertation consists of an Introduction, four chapters, a Conclusion, a list of references, including 187 items, and an Appendix. The first chapter is devoted to an overview of the cultural and historical situation in Naples at the beginning of the 18th century, the relationship between the church and musical culture in the city. The following three chapters deal in succession with oratorios, masses, the Stabat mater and the Salve Regina of Pergolesi. In the Conclusion, the results of the work are summed up.

MAIN CONTENT OF THE WORK

In Administered the relevance of the dissertation is substantiated, the tasks and methods of research are formulated, and an overview of the main scientific literature on the topic is given.

The literature devoted to the work of Pergolesi is very heterogeneous both in the nature of the problems and in its scientific merits. Most of the studies are biographical in nature (C. Blazis (1817), E. Faustini-Fasini (1899), J. Radiciotti (1910)) or are works on the attribution of Pergolesi's works (M. Paymer, F. Degrada, F. Walker) . The catalog of Marvin Paymer is most accurate in this sense, because only about 10% of the works attributed to different years the composer's pen (320) really belongs to him. Of particular importance are the works of Francesco Degrada, president of the International Pergolesi and Spontini Foundation. Under his editorship, the materials of the international scientific conference of 1983 were published - the most important stage in the study of the composer's work, he created articles on the life path of Pergolesi, on the attribution and chronology of his work, as well as a number of analytical sketches devoted to operas, masses, Stabat Mater.

Essential for the problems of the dissertation were studies on the history of the genres considered by us in the work: dissertation by L. Aristarkhova “The Austrian oratorio tradition of the 18th century and the oratorio of J. Haydn”, “History of the oratorio” by A. Schering and the three-volume book of the same name by H. Smither; translation by T. Kyuregyan of a fragment of the work of V. Apel and the work of Y. Kholopov "Mass" in the collection of the Moscow Conservatory "Gregorian chant", textbook S. Kozhaeva "Mass"; dissertations on Stabat mater by N. Ivanko and M. Kushpileva, K.G. Bitter’s study “Stages of development of Stabat Mater” and Y. Blume’s work “History of polyphonic Stabat Mater”, works on the history of opera by Ch. See also the Oxford History of Music and the multi-volume History of Italian Opera, published in Italy and translated into German.

Important from the point of view of a comprehensive consideration of the composer's work were two volumes of the book "Italian Opera of the 18th Century" by P. Lutsker and I. Susidko, which contain a detailed analysis of Pergolesian operas (all comic and a number of serious ones), the thesis of R. Nedzvetsky, dedicated to comic genres in the work of Pergolesi. We also note the monumental study of the opera seria by R. Shtrom, the works of L. Ratner “Classical Music. Expression, form, style” and L. Kirillina “Classical style in music of the 18th – early 19th centuries” in three volumes.

Chapter I. The Church and Musical Culture of Naples

The most significant role in the development of Italian music of the 18th century was played by three cities - Rome, Venice and Naples. The reputation of the “world capital of music”, which travelers enthusiastically spoke about, was won by the capital of the Kingdom of Naples later than the other two centers - only in the 1720s.

In the 18th century, the city was the largest in Italy, and its location and beauty were legendary. From the beginning of the 16th century (1503) until the beginning of the 18th century, the city was completely under the rule of the Spaniards. The War of the Spanish Succession (1701-14) between France and Spain on the one hand, and Austria, England and other states on the other, put an end to Spanish rule in Italy. The Kingdom of Naples came under the protectorate of Austria (Treaty of Utrecht in 1714), which, to a greater extent than Spain, contributed to the prosperity of the state.

On the role of the church in the life of Naples. TO late XVII century, the city was inhabited by numerous representatives of the clergy: of the 186 thousand inhabitants who lived in Naples at that time, twelve of them were somehow connected with the church. The patriarchy of morals was combined here with an incredible love for spectacles. The city has always been famous for its holidays: in honor of each of the saints, at least once a year, they organized a festive procession, in total, about a hundred such processions were recruited per year. The processions reached their peak on Easter and on the Days dedicated to the main patron of the city - St. Januarius, Bishop of Benevent. "The first and chief mistress of Naples and the entire Kingdom of the Two Sicilies" was the Immaculate Virgin. Many churches are dedicated to the Virgin Mary. The most beloved among them were the church and the bell tower of the Madonna del Carmine, located on the central square of the city.

The church influenced all aspects of urban life without exception, including music. As in other Italian cities, "brotherhoods" of musicians were created at churches in Naples. The first organization of its kind in the church of San Nicolò alla Carita was founded in 1569. The main function of the fraternities was the professional support of its members, and the establishment of ground rules for work. Other brotherhoods appeared only in the middle of the 17th century. One of the largest is at the church of San Giorgio Maggiore, which consisted of about 150 musicians. Members of the royal chapel also had their own brotherhood, named after Saint Cecilia, traditionally considered the patroness of musicians.

Musical institutions of Naples: opera, conservatories, church music. The first opera production in the city was Dido by F. Cavalli, performed at court in September 1650, but for a long time Spanish dramatic comedies were preferred in Naples. The initiative to stage the opera belonged to one of the viceroys, Count d'Ognat, who had previously served as ambassador to Rome, where opera performances were the favorite pastime of the nobility. He invited from Rome the itinerant troupe Febiarmonici, whose repertoire consisted of performances that had the greatest success in Venice. Therefore, from the very beginning, Venetian production, "imported" by this troupe, also prevailed in the Neapolitan theater. The convergence of the leading theater of San Bartolomeo with the royal chapel, which became especially active after 1675, contributed to the development of the opera. The close communication of theatrical musicians and artists with the court chapel was useful to both parties: San Bartolomeo was supported by the viceroy, and the chapel was strengthened by opera performers. The Viceroy Duke of Medinachel, who ruled from 1696-1702, became a particularly zealous patron of the opera: on his initiative, San Bartolomeo was expanded, and the work of outstanding singers and decorators was generously paid. In addition to San Bartolomeo, at the beginning of the 18th century there were three more theaters in Naples, primarily intended for the performance of comic operas - Fiorentini, Nuovo and della Pace.

The fame gained by the city in the opera genre was largely due to the high level of musical education in Naples. Four Neapolitan conservatories were founded in the 16th century. Three of them - Santa Maria di Loreto, Santa Maria della Pieta dei Turchini and Sant Onofrio a Capuana were under the patronage of the viceroy, one - Dei Poveri di Gesu Cristo - under the patronage of the archbishop. All of them were at the same time a school and an orphanage. The conservatory accepted boys from 8 to 20 years old. Each had two main teachers - Maestri di capella: the first watched the students' compositions and corrected them, the second was in charge of singing and gave lessons. In addition to them, there were assistant teachers - Maestri secolari - one for each instrument.

By the 18th century, the tradition of inviting first-class teachers prevailed in all Neapolitan conservatories - due to the need to increase the level of education. At the same time, a category of less gifted "paying" students appeared to cover the costs. In general, the level of education of composers in the Neapolitan conservatories became very high: the students enjoyed the fame of the best contrapuntalists in Europe. By the second third of the 18th century, graduates of the Neapolitan conservatories had already fully declared themselves. Graduation from the conservatories at the beginning of the century began to exceed the existing demand, so some composers were forced to look for work in other Italian cities and countries, "winning" world fame to Naples.

Neapolitan composers were not limited to the creation of theatrical compositions and actively worked in different genres church music: Alessandro Scarlatti created ten masses, Nicola Porpora - five. Some masters combined secular and church services: Leonardo Leo, after graduating from the conservatory in 1713, received the posts not only of the second organist of the Royal Chapel and the bandmaster of the Marquis Stella, but also became the bandmaster of the church of Santa Maria dela Solitaria. Nicola Fago, after graduating from the conservatory in 1695, served as bandmaster in several churches in Naples. Moreover, since 1714, he temporarily abandoned composing secular music, and continued to work only in conservatories and churches. Domenico Sarri from 1712 collaborated with the church of San Paolo Maggiore, for which he created some of his cantatas. Giuseppe Porsile, Leonardo Leo, Domenico Sarri, Nicolo Yomelli and Nicola Porpora actively turned to the creation of oratorios.

Composers who wrote music for the Neapolitan churches were also in demand in other cities: Alessandro Scarlatti at various times held prestigious posts in Rome, serving as bandmaster of the churches of San Giacomo del Incurabili, San Girolamo della Carita and vice-kapellmeister of Santa Maria Maggiore, and Nicola Porpora, during his stay in Venice, he became one of the contenders for the post of Kapellmeister of the Cathedral of San Marco. Giovanni Battista Pergolesi did not hold a position at the church, but he wrote compositions for churches that collaborated with the conservatory where he studied. These are the churches of Santa Maria dei Stella (two masses) and Santa Maria Dei of the Dolori network (Stabat mater and Salve Regina). In 1734, he was specially invited to Rome to create a mass in honor of St. Giovanni Nepomuceno. And the first serious works of the young Pergolesi were spiritual drama and oratorio.

Chapter II. Dramma sacro and oratorio

Dramma sacro "The Conversion of St. William" and the oratorio "The Death of St. Joseph" were written almost at the same time - in 1731. The libretto of the sacred drama was created by I. Mancini, there is no information about the authorship of the text of the oratorio. Both genres, which the composer turned to, were performed during Lent, when operatic performances were forbidden. Dramma sacro was a regional genre variety of the oratorio, but there were certain differences between it and the oratorio itself.

genre features. Libretto. Dramma sacro - a specific Neapolitan genre - did not have a powerful and branched tradition outside the city: this was the name of the musical and theatrical works ordered by graduates of the Neapolitan conservatories to demonstrate their skills to the public. Usually the sacred drama was performed by conservative students, and, apparently, could allow for stage action.

As for the oratorio tradition itself, in Italy at the beginning of the 18th century it acquired new impulses for development, thanks to the work of two famous playwrights - Apostolo Zeno (1668-1750) and Pietro Metastasio (1698-1782). It was they who proclaimed the Bible as the only source of the libretto of the oratorio, thereby providing the works with a truly religious content. Representatives of different regional traditions, poets, treated the oratorio genre in different ways: the Venetian Zeno conceived it as a large-scale spiritual tragedy, which at the same time was a religious and didactic message, and Metastasio, a native of Naples, was more inclined to the lyric-emotional presentation of biblical stories. Therefore, the “engine” of his libretto was, first of all, not the logic of the development of the plot, but the change of feelings and mental states. In this sense, Metastasio's oratorios were related to operatic ones.

The difference in genres determined the choice of subjects for Pergolesi's works and the way they were developed. The structure of the works also turned out to be unequal: in the dramma sacro, closer to the opera, there are three acts, in the oratorio, in accordance with the principles approved by Zeno and Metastasio, there are two.

The basis of the sacred drama, created at the end of the conservatory and performed in the monastery of St. Aniello Maggiore, put real historical events- one of the final episodes of the struggle for the Papacy in the 1130s between Anaclet II (Pietro Pierleoni) and Innocent II (Gregorio Papareschi). The figurative "framework" of the plot was a spiritual search - the doubts of Duke Wilhelm, his reflections on the true and the false, and as a result - repentance, conversion to the true faith. The blissful ending is largely the result of the sermons and exhortations of Abbé Bernard of Clairvaux. Wilhelm's internal conflict is intensified by the struggle of light and dark forces - the Angel and the Demon (their open clashes in each of the acts of the oratorio are the most dramatic). There is also a comic character in the libretto - the braggart and coward Captain Cuozemo, who speaks on the side of the "prince of darkness" (this interpretation goes back to "Saint Alexei" by S. Lundy). The dramatic disposition (the presence of conflict and its development) brings the dramma sacro closer to opera, and the presence of the comedic line reminds of the genre of tragicomedy, which at the time of Pergolesi was found only in Naples, receding into the past in other regional traditions.

In the oratorio "The Death of St. Joseph", a plot is developed about the divine enlightenment of the betrothed husband of the Blessed Virgin Mary. In addition to Saint Joseph, her characters are the Virgin Mary, the Archangel Michael (in the Jewish and Christian tradition, he accompanied souls to heaven and protected them), as well as an allegorical character often found in Italian oratorios - Heavenly Love. Unlike Pergolesi's dramma sacro, there are practically no motives driving the plot here. To the culmination - the death of Joseph and his divine enlightenment and comprehension of the truth, it is rather not an action, but a narrative that in every possible way confirms the righteousness of the New Testament saint.

The libretto of the sacred drama and Pergolesi's oratorio, however, have much in common in compositional and semantic terms. In both cases, the libretto contains components typical of the Neapolitan oratorio: arias interspersed with recitatives and ensembles. The general logic of the composition corresponds to the principle of chiaroscuro (chiaroscuro), typical of the Neapolitan opera seria (the contrast of recitatives and arias, arias following one after another - among themselves). The collisions of both works, in accordance with the oratorio tradition, ultimately come down to one thing - the struggle of faith and unbelief and good with evil, and end with the victory of the first. In the oratorio, the death of Joseph, the main character, in full accordance with the Christian understanding, is perceived as a blessing and is interpreted as a path to eternal life. The development of Pergolesi's sacred drama about the Duke of Aquitaine strives to comprehend the truths.

Characters. An important role in the oratorio and dramma sacro of Pergolesi is played by figures with unshakable moral authority - St. Joseph and St. Bernard of Clairvaux. The semantic differences in their images, despite the similarity of their dramatic function, determine the striking difference in the musical solution of their parts. The most important heroism for all Bernard's arias is almost completely absent from Joseph, whose arias are, first of all, enlightened and contemplative. The poetic texts of their solo numbers are also different: Bernard vividly and “theatrically” draws the torments of hell for sinners or glorifies the triumph of justice, while Joseph’s arias speak only about the depth of his faith.

Wilhelm of Aquitaine is closest to the opera heroes, torn apart by internal contradiction. He is also related to the opera characters by the motive of delusion, which dissipates in the finale. In the dramma sacro, this role is the focus of the conflict, however, unlike the opera, the cause of Wilhelm's spiritual rebirth is not some external events, but reflections, which, of course, is dictated by the specifics of the genre.

There are other characters in Pergolesi's oratorios, to some extent reminiscent of the opera seria. In The Conversion of St. William, these are two negative characters, similar to operatic villains - the Demon and the comic version of the "villain" Captain Cuosemo. The compassion and readiness for sacrifice of the Virgin Mary in The Death of Saint Joseph make us recall similar plot motifs associated with the images of the lyrical heroines of the seria operas.

From opera, oratorio genres inherited a hierarchy of voices, where positive characters were most often associated with higher timbres: Angel, Bernard and Wilhelm in the sacred drama - soprano; and Demon and Captain Cuosemo are bass. The distribution of voices in the oratorio was not very consistent with the canons recognized in the time of Pergolesi, when castrati played the main roles. Joseph is a tenor, and most high voices received by the "inhabitants of heaven" - Archangel Michael and Heavenly Love (soprano); even Mary, the mother of Jesus, has more low voice(contralto). This distribution is probably associated with the opposition of the "heavenly" and "earthly" worlds.

In addition to the hierarchy of voices, which is significant for the oratorio, as well as for the opera seria, there remained a hierarchy of characters that regulated the distribution of solo numbers and the order in which they followed. More arias and ensembles elevated the role (and the singer who performed it) to the top of the hierarchy. In the Conversion of St. William, this position is occupied by an Angel - he has four arias, and he participates in two ensembles. The weight of the parties of the other characters, judging by the number of arias, is the same: All of them have three solo numbers. This disposition leads to the fact that in the sacred drama there are two, if not three central character: Bernard of Clairvaux as a spiritual leader, William of Aquitaine as the center of a dramatic conflict and the Angel as the embodiment of the main idea - absolute goodness and light. An interesting feature is the fact that the most active member of the ensembles is the Demon: he is involved in four of the five ensembles (quartet and three duets), while the other participants in the sacred drama are only in two. And this is not surprising: the dramatic function of the villain was often extremely important for the action, and primarily from the point of view of effectiveness, plot development.

In the oratorio "The Death of St. Joseph" all the characters, except for the allegorical one, have the same number of arias - four (there are only two of them in the party of Heavenly Love - in this sense, the picture is completely different than in the "Conversion of St. Wilhelm"). The differences between the actors are manifested in the role that ensembles play in their parts. Joseph takes part in all three ensembles, the rest of the characters - in two (Mary - in a duet and quartet, Archangel Michael and Heavenly Love - in a tercet and a quartet). In addition, Joseph has an accompaniment recitative, the use of which at that time was a "strong means", emphasizing only climaxes. The presence of an accompognato in the party also consolidated the position of the character as the main character.

Arias. As in opera, arias became the main structural unit in oratorio genres: there are 16 of them in the Conversion of St. William, and 14 in The Death of St. Joseph. When considering arias, we take into account the classifications of the 18th century. Three parameters become the main ones for characterizing the type of arias and their role in dramaturgy: the content - arias embodying affects and arias-maxims (reasonings), stylistic - arias-allegories (where metaphor plays the most important role), and arias in which the weight of metaphors is insignificant or they are absent, and the relation to the ongoing action is arias directly related to the action (d "azione), for which it is common for the text to refer to the characters on the stage, mentioning names, specific events and arias indirectly related to the current situation (P. Lutsker, I. Susidko).

The main types of oratorio arias were eroica, pathetic parlante, di sdegno and generalized lyrical or amoroso. Heroic arias are characterized by movement along the sounds of triads, a clear (often dotted) rhythm, jumps, fast tempo and major mode. The most important principle of the parlante arias was reliance on declamation. Often it was combined with the features of the so-called "new lamento": slow tempo, minor key, flexible plastic melody, as well as the use of delays, chanting, intra-syllable chants. All this was connected with the role of the arias parlante - it was she who became the dramatic climax in The Death of St. Joseph. The generalized lyrical and amoroso arias most often were major numbers at a moderate pace, in which the cantilena melody dominated with a predominance of smooth movement. For the arias of anger, the most characteristic was the dominance of declamatory intonations, spasmodicity, syllabics in the melody and intense pulsation of the strings in the orchestra. The style of all the types of arias we have mentioned is similar to the numbers of Pergolesi's future seria operas.

In addition to arias-affects, arias-allegories received an important role in Pergolesi's oratorios. Among them - "bird" , "sea" arias, the embodiment of the elements of fire. Such arias were very common in the Neapolitan opera seria and not so common in oratorios. Pergolesi, no doubt, had a good idea of ​​their musical features, but his attitude towards tradition in this respect turned out to be somewhat paradoxical. Having paid tribute to the musical-pictorial solo numbers in sacred music, he subsequently practically did not use them in the opera.

In addition to arias close to opera seria, the Conversion of St. William contains numbers typical of intermezzo and Neapolitan dialect comedies of the 1730s (including future works by Pergolesi himself) - comic arias with their typical style - buffoon tongue twister, motif fragmentation, dance genre support, intonations reminiscent of expressive actor's gestures (in the bass part - Captain Cuosemo).

In most of the composer's arias, a single logic of thematic development prevails: the affect of the aria is embodied in the initial core, consisting of one or several short motifs. It is followed by deployment, which is a "stringing" of similar motives typical of Pergolesi. The structure subsequently proved to be characteristic of his arias in musical comedies, and for the opera seria.

Ensembles. Ensembles played a special role in Pergolesi's oratorios. There are five of them in the sacred drama - a quartet and four duets, in the oratorio there are three - a duet, a tercet and a quartet. All the characters of the sacred drama and oratorio participate in the ensembles.

The location of the ensemble numbers testifies to their importance in the composition: in The Conversion of St. William, all acts end with them (the quartet in the first act, the duets in the second and third), in The Death of St. Joseph, the quartet also ends the second act, and the duet and tercet precede the end of the first act and the climax. Such an abundance of ensembles at Pergolesi is all the more remarkable because, in general, in the oratorios of that time, their role was most often insignificant. At the same time, if in the oratorio the duet, tercet and quartet became “state ensembles”, then in the sacred drama only the duet of St. Bernardo and Duke Wilhelm, proclaiming the glory of the true church, appeared similar. Other ensembles are actively connected with the action.

Oratorio Pergolesi and the Neapolitan tradition. Pergolesi's oratorios have points of contact with the oratorios of older contemporaries - "Il faraone sommerso" ("The Defeated Pharaoh", 1709) by Nicola Fago and "La conversione di S.Agostino" ("Conversion of St. Augustine", 1750) by Johann Adolf Hasse. Like The Death of St. Joseph, they consist of two acts, each of which is built on the principle of chiaroscuro and ends with a polyphonic ensemble. The main structural unit of all works are also arias and ensembles close to operas. Both oratorios feature four characters.

Fago's oratorio is based on the Old Testament story - the salvation of the Israelites from Egypt, so the heroes, "spiritual leaders" like Pergolesian Bernard of Clairvaux, become the saviors of the people, the Prophets Moses and his brother Aaron (as in Pergolesi's Death of Saint Joseph, the role of the main character Moses given to the tenor). The oratorio Fago also has its own "villain" - the Pharaoh.

If the oratorio of Fago with the opposing Moses and Pharaoh is more similar to the spiritual drama of Pergolesi, then with the oratorio of Hasse, whose main character is the philosopher, the most influential preacher, theologian and politician St. Augustine (354-430), the Pergolesian "Death of St. Joseph" has points of contact . The plot of the "Conversion of St. Augustine" illustrates the eighth book of his "Confessions". The main characters of this oratorio are only people close to Augustine, and not his enemies - Alipio's friend, Bishop Simplician, the hero's spiritual father and Augustine's mother, Monica. Therefore, like Pergolesi's oratorio, there is little action here, both parts tend to their climax: the first - to the conversation of Augustine with the bishop, the second - to the Divine revelation itself (Pergolesi has only one climax - the death of St. Joseph). Each of the characters receives a very brief solo description: Augustine, Alipio and Monica have only two arias each (and Bishop Simplician has one), and in Augustine they are located just in the culminating zones of the acts, along with the accompanying recitatives. It is important to note that despite the fact that in both oratorios one can find certain similarities and differences with the works of Pergolesi, the main difference between the works of older contemporaries is the wider presence of the “learned style” that is organically inherent in the oratorio genre. The most diverse polyphonic technique is in Fago's "The Defeated Pharaoh": there is both free counterpointing and fugue presentation - in the duets of Moses and his brother Aaron. In Hasse, imitations and fugues manifest themselves only in the choirs that complete the acts (which are completely absent in Fago and Pergolesi).

A comparison of the oratorios of Fago, Pergolesi and Hasse made it possible to identify a number of features characteristic of the "Neapolitan school". In contrast to the Venetian tradition with its inherent vivid theatricality and sharp drama, the Neapolitans were characterized by a special chamber sound, the absence of a choir in the oratorios and the introduction of a solo characteristic for each of the characters, where, most often, the “lyrical” tone prevails. The priority of vocals inherited from the opera, as well as the predominance of homophony, were unshakable here. By the time of Pergolesi, the “learned” contrapuntal style of the first quarter of the 18th century, not only in opera, but also in oratorio, was losing ground to the new style of writing formed in opera.

Chapter III. Masses: a synthesis of "ecclesiastical" and "theatrical"

Mass in Naples. All Neapolitan composers of the 18th century turned to the creation of the main church genre - the mass. So, A. Scarlatti created ten masses, N. Fago - eleven, L. Leo - seven, N. Porpora - five. Their style and degree of skill were different: all composers studied the canons of strict style, but not everyone turned to it in the period of mature creativity.

It is not surprising, therefore, that parts written in different manners could be combined in one mass: “ecclesiastical” and “theatrical” styles. A large place in the masses of the first two decades of the 18th century was occupied by choirs in the "old" polyphonic technique, "renewed" by the orchestral doubling of vocal voices. Solo arias, duets and choirs in a new manner, with predominant homophony and developed accompaniment independent of the vocal part, also acquired important significance. After a short time, some of the sections of the Mass "fixed" their characteristic warehouse of presentation.

In Naples in the 18th century, the most common was the Messa brevis, which included the first two parts of the ordinary - Kyrie and Gloria. As a rule, the most "strict" style of fugue presentation was met in the finals - "Amen", the final "Gloria", and "Сhriste eleison". In full masses, the climactic "Crucifixus" and last section Credo. Among the homophonic-harmonic choirs with independent orchestral accompaniment, the most solemn, "glorifying" section, which opens "Gloria", and the mournful "Qui tollis" have acquired a central role. In solo numbers, one can also talk about some regularities inherent in the sections of "Gloria": "Laudamus te" was most often an aria, and "Domine deus" was a duet.

The coexistence of two styles: strict, adhering to traditional norms and new, influenced by operatic music, resulted in the confrontation of two "schools", "durantists" and "leists" in Naples, to which the supporters of Francesco Durante and Leonardo Leo belonged. It is noteworthy that in this controversy, Leo, an opera composer, acted as an adherent of a strict style, guided by the norms of choral writing of the 16th century. Durante, who did not write operas, on the contrary, adhered to innovative positions, creating transparent, often “pseudo-contrapuntal” works, freely using the style of the opera in the mass in F. Often he used very bold harmonic “solutions”, and the composer’s numerous masses were considered reformatory , primarily due to the "use of colorful harmonies" (A. Shoron). Most of them (25 out of 40) are Missa brevis. The composer was not alien to the elements of the old style - some of the compositions were intended to be performed a capella. Among these is the Mass “In the Style of Palestrina” (in d), which, in accordance with the title, largely obeyed the rules inherent in the strict style: it was written for a four-voice composition (SATB), and consisted of five canonical parts, rich in contrapuntal work.

Pergolesi's teacher at the conservatory was Durante. However, the opinion of Leonardo Leo was extremely important for him, since after the departure of Hasse and the death of Vinci in 1730, Leo became the leading composer and theorist of Naples. Therefore, in the church music of Pergolesi, the style features characteristic of each of the composers - Durante and Leo - were reflected.

Masses of Pergolesi. The number of masses created by Pergolesi remains uncertain to this day. Of the nine masses assigned to him, five masses and fragments of the sixth were published in the Opera Omnia (1941) for voice and piano. However, it can be said with absolute certainty that the composer owns only two: Mass in D major, written immediately after graduation from the conservatory (probably in the first half of 1731) and Mass in F major, the first edition of which was created only a few months later than the first.

Both masses are two-part, consisting of Kyrie and Gloria, and the structure of the works is largely similar: a three-part Kyrie with a Christe fugue in the center, and Gloria in the form of a series of alternating choral, solo and ensemble episodes. The similarity of the first and second compositions is emphasized by the transfer from the first to the second mass of the only duet Domine dues (the composer only slightly changes the meter in it - 6/8 to 3/8).

Kyrie eleison in Pergolesi is interpreted differently. In the first mass it is anxious, imbued with anxiety, while in the second mass it is full of anniversaries, enthusiastic. In Mass F-dur, Pergolesi treats the text with extraordinary sensitivity, detailing not the phrase, but each of the words. The word Kyrie, repeated many times in the first section, is given solemnly and joyfully, and a once uttered request for pardon is accompanied by a mournful lyrical descent. Pathetic exclamations, bright dynamic contrasts give the initial part of this Mass by Pergolesi almost theatrical brightness.

The double fugues Christe eleison of both masses also differ in character: in the first, the prayer is very persistent, it contains intonations of anxiety, while in F-dur the fugue is festive, enlightened. The return to Kyrie, emphasizing the contrast of "opera" and "learned" styles, is similar: both masses are dominated by a minor scale and reduced harmonies, which is associated with the repetitive material in the mass in D-dur and the new features of the text in the composition in F-dur - the name of the Lord is mentioned here only once, and the request is repeated many times - “eleison”.

Gloria in both masses is a series of choral, ensemble and solo episodes. At the same time, the beginning and end of the part are the most light and joyful. In the first "glorifying" choirs, Pergolesi vividly contrasts "heavenly" and "earthly". In the second mass, he saturates the thematics of the mass with more “fractional” contrasts, interpreting the verbal text in great detail, practically, in the spirit of baroque rhetorical practice. Not only Gloria in excelsis Deo, but also Cum sancto spiritu in both compositions are distinguished by fanfare solemnity in bright major, jubilation and dance rhythmic intonation formulas. The forms of these choirs are complicated by the use of polyphonic devices: canons, fugato and fugue. Similar in character to the glorification choirs and Gratias agimus.

The text of Gloria, as you know, is not limited to expressing joy and exultation, but also includes references to the sacrificial role of Christ: Qui tollis peccata mundi, Agnus Dei, words of repentance Miserere nobis. The mournful culmination of both masses at Pergolesi is Qui tollis, embodying both the sacrifice of Christ and repentance. The "subjective" beginning clearly manifested itself in the solo and ensemble numbers of Gloria. Unlike the Kyrie, they made up about half of the sections in both masses. It is the duet and arias that characterize the modern elements of the musical language to the greatest extent: the homophonic warehouse of presentation, declamation, rhythm and melody, which are characteristic of stage works.

Mass F-dur gained such popularity that in Pergolesi he created two more versions of it: the second of them was performed in 1734 in Rome in the church of San Lorenzo in Lucina in honor of St. Giovanni Nepomuceno. The increase in the number of votes contributed to the achievement of a number of additional effects. Antiphonal calls of the tutti and individual choral groups appeared, and the effect of the gradual “conquest” of space, which was especially important in the initial proclamation of Kyrie, intensified. The third edition of the mass in F, written in 1735, differs in many ways from the previous ones: it is expanded due to the introductory introduction and changes made to the Gloria: its sections Et in terra pax and Bonae voluntatis become independent, their musical embodiment changes accordingly. In addition, Pergolesi makes changes to the tonal plan, the tempo of sections and “transforms” some parts: the fugue Cum sancto spiritu turns into a chord interlude before the final Amen, and one of the Qui tollis sections from a homophonic-harmonic four-part choir becomes a three-part ensemble with an abundance of imitations.

Pergolesi's masses synthesized features inherent in Pergolesi's older contemporaries - Francesco Durante and Leonardo Leo. At the same time, his works with bright theatricality and almost "stage" action are in many respects different from the works of composers of other regional traditions.

Thus, the Venetian Antonio Lotti is an absolute adherent of a strictly contrapuntal style. Most of his masses are five-part and fully comply with all the "strict" canons of the genre. The few Missa Brevis are different from the style of the Neapolitan composers. For example, Missa Brevis in D does not consist of the first two movements, but of Kyrie, Christe, Sanctus, Benedictus and Agnus Dei, and all movements are saturated with various polyphonic developments: imitations, mobile counterpoints and fugato.

Comparison of the works of composers of different generations and regional traditions with greater clarity makes it possible to identify the main features characteristic of the “Neapolitan school”: the new style of writing, formed by Pergolesi in the opera, also manifested itself in the mass, allowing sections of different styles to “coexist”.

Chapter IV. "Stabat mater" and "Salve regina": "small" ecclesiastical genres under the shadow of opera

The most famous among Pergolesi's spiritual compositions were his works of the last period: the cantata Stabat Mater for strings, soprano and alto and the Marian antiphons Salve Regina for strings and soprano.

History of the genre Stabat mater. The musical incarnations of the Stabat mater by the time the composer turned to the text of the sequence were numerous: there were about two hundred “readings” of the text in the form of motets and cantatas, oratorios, chorales and hymns. In the 18th century, the cantata genre came to the fore - one of the first was Pietro Antonio Fiocco's Stabat mater, created in 1700 for soloists, choir and orchestra (M. Kushpileva).

The time of the creation of the poem "Stabat mater dolorosa" ("A grieving mother stood"), like its author, is still not exactly known. At the beginning of the 17th century, the historiographer of the Order of the Minorites Lucas Wordding (1588-1657) named the Franciscan friar-poet Jacopone da Todi (c.1230-1306) as the author. Among the possible authors of the text are also St. Bernard of Clairvaux (1090-1153), Pope Innocent III (1160-1216), John XXII, Gregory XI (-1378), Gregory I and even St. Bonanventura (1221-1274). Vladimir Martynov even assumes that the composition originated in the atmosphere of processions of self-flagellations or "flagellants" that filled Italy at the end of the 12th - beginning of the 13th centuries.

Currently, the text Stabat mater exists in two versions. S. Lebedev and R. Pospelova characterize them as "versions" of Graduale Romanum and Graduale triplex (1979). In the studies of foreign authors, other versions are mentioned: Analecta - based on the publication of the text of the poem in volume 54 of the edition of Catholic hymns (1922); Vatican is the official version of the modern Catholic Church, approved in 1908. The texts differ little from each other: in some stanzas, words are rearranged or replaced by similar ones in meaning.

The poetic text of the poem consists of ten stanzas, including six lines each, each of the stanzas is divided into two tercina. The isolation of the tercine is facilitated by the rhyme of the text in the stanza: aab ccb and the grouping of syllables 8-8-7. Only the last lines of some tercines (3, 5, 7, 8, 9 and 10), where the words tanto, cum, sibi, in, in et and ad appear, are out of rhythm. The entire text is divided in the Roman ritual into three parts: Stabat mater (vespers), Sancta mater istud agas (Morning) and Virgo virginum praeclara (Praise).

The brightness and expressiveness of the text has attracted composers for five centuries. The first samples of the musical embodiment of the poem - already in the XIV century - were sequences (N. Ivanko). The earliest version of the sequence, which exists now, is entirely carried out in the second church tone. At the same time, the embodiment is very simple, but varied: all stanzas vary within the ambitus of the second tone (M. Kushpileva). Gradually, the unity of melody and text began to break down: composers often restructured the rhythm of the source text in a new way, so Stabat mater began to be perceived, first of all, as an emotional image.

Cantata Stabat mater Pergolesi was one of the most popular works to the text of the sequence, the "ideal expression" of sacred music. It was commissioned by the Brotherhood of the Cavaliers of the Sorrowing Madonna of the Church of San Luigi di Palazzo. To date, there is no exact dating of the cantata. Scientists hold different opinions: Radiciotti and Villarosa believe that it was she who “put an end” to Pergolesi’s creative path, while Boyer suggests that Salve Regina, the fourth Marian antiphon, became the composer’s “final chord”.

Pergolesi's work is based on the text of the poem in the Vatican version, with the replacement of some words with similar ones in meaning. In addition, the composer combined several tercina (even different stanzas) in one musical number. This was facilitated by the content and meaning of the text of the poem: semi-stanzas VIII 2 and XI 1 were united by the constant repetition of the word “fac” (“let me”) in them. The connection between the second half of stanzas IX and X was probably due to a common idea - about salvation at the Last Judgment.

The composition of the cantata consists of a series of arias and duets. Its main affect is lamento, sorrow (dolorosa - "mourning" - given in the first tercina), it dominates more than half of the cantata numbers, the drama intensifies in its expression, and the alto aria "Fac ut portem" - mournfully sublime, becomes the climax, a mournful monologue saturated with chromatisms. At the same time, the composer fully follows the fundamental principle of constructing the work - chiaroscuro, therefore the sphere of lyric-enlightened images and dance topoi also becomes important for the work.

Stabat mater A. Scarlatti and G. Pergolesi: features of the operatic and "strict" styles. Pergolesi, apparently, knew Scarlatti's Stabat mater and, most likely, created his cantata on the model of Scarlatti's. Both had the same customer, the already mentioned brotherhood of the Cavaliers of the Sorrowing Madonna, they have the same composition of performers - soprano and alto soloists, two parts of violins and basso continuo. Scarlatti and Pergolesi made the same changes to the canonical text of the poem: lines in stanzas 2, 5, 7, 8, 17, 9 were changed to similar in meaning, and after the first tercine of the sixth stanza of the text, the first tercine of the seventh was placed. Thus, the rhyme of the text was restored, as in the second tercine of stanzas VI and VII. A similarity arose in the musical and rhythmic features of melodies written to the same text. The interpretation of the tragic culmination of the work, stanzas 16-17, turned out to be similar.

However, there are also differences. Pergolesi's cantata consists of 13 numbers, more than half of which (7) are duets, while in his predecessor it is more developed and includes 18 numbers, but less than a third are duets (5). Pergolesi accentuates the contrasts between neighboring rooms, fully following the chiaroscuro principle, while Scarlatti rather tends to smooth them out. Despite the abundance of ensembles, Pergolesi presents the listeners with most of the text related to the sorrow of the Virgin Mary in the form of arias similar in style to opera ones. And only two ensembles are fugues.

Scarlatti's Stabat mater, where arias predominate, testifies much more to the composer's "scholarship" - his commitment to polyphony. He prefers not to duplicate vocal parts with orchestral parts, but to use three, four and even five freely counterpointing voices. Pergolesi, on the contrary, willingly allows for duplications, confining himself to two or three independent parties. The focus of his arias and duets is a clear, simple melody rather than polyphonic polyphony. Individual differences also appear in harmonic language. Pergolesi is dominated by classical functionality, while Scarlatti sometimes has rudiments of modal technique.

The Stabat mater of the Neapolitans Scarlatti and Pergolesi denote the change that occurred in the Neapolitan tradition in the 1720s and 30s from the “old” school, gravitating towards the polyphonic ratio of voices in texture, thematic deployment not only in church, but even in opera music, to the new style, which is characterized by great simplicity and clarity of the homophonic-harmonic warehouse, the priority of the melody, syntactic clarity, squareness, dating back to dance genres. Ultimately, this was a turn from late baroque to early classical style. Pergolesi's Stabat mater was written during the heyday of opera seria and was influenced by it.

Salve regina G.Pergolesi and antiphons of older contemporaries. In addition to the Stabat mater, Pergolesi's most famous work was the Salve regina, the fourth Marian antiphon. The composer referred to this text twice - in Salve regina a-moll and c-moll, both compositions, apparently, were written at the very end of his life. We will turn first of all to the most performed composition, Salve regina in c-moll, which, according to Boyer (1772), was the last one written by Pergolesi. The composition of the performers in it is even more modest than in the Stabat mater: soprano with accompanying strings and basso continuo.

Like the sequence, the text of the antiphon is an appeal to the Immaculate Virgin. However, unlike the Stabat mater, she appears not as a mourner, but as a protector and comforter, meek and gentle at the same time. In this regard, the most important for the text are not the affects of sorrow and suffering, which manifest themselves here only in the fourth line, but joy and glorification. The text is short, it consists of nine lines of different lengths, which embody calmness and appeal, lamentation and enlightenment. Pergolesi's Salve Regina has five contrasting parts (the first and second consist of two lines, the third and fourth of one, the fifth of three). At the same time, none of them has a frankly festive, brilliant character. Instead of the colorful solemnity that defines the text (“life, sweetness and our hope”), grief becomes the main affect of the first, second and fifth arias. The only lyric-enlightened part is the fourth aria Et Jesum benedictum, which deals with the “blessed fruit of the womb” of Mary - Jesus. In general, Pergolesi's antiphon is a very integral work: its extreme parts form a tonal and intonational arch, while the others embody their inherent affects with extraordinary brightness.

In Leonardo Leo's Salve Regina (1738, also for strings and soprano), the composer arranges the text of the antiphon differently, isolating the fourth line into a separate third movement, and combining the fifth and sixth lines into a fourth aria. Leo and the whole cycle are interpreted in a different way - unlike Pergolesi's work, major dominates here. At the same time, only one part, representing the “valley of tears” to the listeners, is associated with the lamento affect. At the same time, there are similarities between the antiphons of Pergolesi and Leo: both of them are based on the style of the opera seria. Moreover, both in Salve Regina show melodic features reminiscent of opera arias - Leo's characteristic "muscularity", dynamism, an abundance of jumps and moves along the sounds of chords and Pergolesi's characteristic lyrics and grace, gentle and touching.

We see a different solution in "Salve Regina" by Pergolesi's older contemporaries - Scarlatti and Durante. Their compositions are single-movement, written for choir (double-voiced male by Durante a capella and mixed four-voice with strings and organ by Scarlatti), the texture is dominated not by homophonic-harmonic presentation, but by free counterpoint. At the same time, Scarlatti has a very developed voice (up to five voices) and more often does not duplicate vocal parts with orchestral ones.

The differences in musical language among composers of different generations are similar to those we observed in the Stabat mater, and testify to a change in style: in the 1720s. the works of the older masters have already begun to seem "old-fashioned", too overloaded with contrapuntal techniques. Therefore, among Pergolesi and his contemporaries, opera arias and ensembles acquired great importance. Such colossal changes are associated with new trends that manifested themselves at that time in almost all genres, especially in opera.

Conclusion

Today, the sacred music of Pergolesi is in the shadow of the work of his great contemporaries. With the exception of Stabat mater it is practically not performed and is rarely included in the educational repertoire. However, all this cannot diminish the contribution made by the composer to the history of sacred music genres. The study made it possible to draw a number of conclusions.

1. The beginning of the 18th century marked significant changes in the cultural life of Naples. In a city inhabited by numerous representatives of the clergy, the most important "component" of fame was the opera. It is not surprising that "theatricality" has largely influenced sacred music, which has undergone a significant evolution. The turning point in the development of ecclesiastical genres fell precisely on the generation of Pergolesi.
2. The poetics of the main genres of the composer's sacred music was determined by the Neapolitan tradition: the first of Pergolesi's oratorios received the designation of the specifically Neapolitan genre of dramma sacro, and, in accordance with the traditions of the earlier regional genre - the Neapolitan tragicomedy - combined the features of drama and comedy. The structural features of the Pergolesi masses also corresponded to the Missa brevis common in Naples in the first half of the 18th century. The musical language of the compositions also turned out to be “Neapolitan” to the full extent - with a special “chamber” sound: the dominance of expressive melody against the background of a transparent orchestral texture, and the predominance of cantilena, subtle sensitive lyrics.

The similarity of structural features in the church writings of the Neapolitans Pergolesi and Leo and their difference from the Venetian Lotti confirmed the conclusion about the specifics of the Neapolitan manner. At the same time, a comparison of the compositional technique of the generation of the 1730s and the representatives of the "old" school - Alessandro Scarlatti, Francesco Durante - allows us to speak about the presence of evolution and a change of orientation. Even in the cantata and antiphon, the "old" masters preferred polyphonic texture and presentation a capella. With Pergolesi and Leo, arias and opera-like ensembles acquired the greatest importance. It was the harmonious coexistence of the "scholarly" and "theatrical" styles that became decisive for the style of all the spiritual works of Pergolesi.

1. The introduction of solo and ensemble numbers even into church genres makes it possible to speak of numerous connections between the composer's operas and his spiritual works. Pergolesi uses the types of arias characteristic of the seria opera (eroica, parlante, di sdegno, lyrical, amoroso), there are also elements of the buffa opera - in the characterization of the comic character in the "sacred drama". The structural closeness of secular and spiritual compositions is undeniable (they are all built on the chiaroscuro principle), their melodic-harmonic similarity with recognizable harmonic turns (the composer had a special fondness for interrupted cadenzas), repetitive motifs and rhythmic figures (especially often - excited "breathing" syncopations ). In the sacred drama The Conversion of St. Wilhelm and the oratorio The Death of St. Joseph, many types of arias were tested, which Pergolesi would later write in his operas.
2. At the same time, Pergolesi's church music did not become an absolute similarity to his operatic heritage: arias and ensembles are harmoniously combined in it with an obligatory sign of church style - fugue or imitation sections. In each of the masses, the composer placed at least two choral fugues, fugues (“Fac ut portem” and “Amen”) are also present in the Stabat Mater, and in the antiphon, imitation elements adorn the aria “Eia ergo, Advocata nostra”.

All this allows us to conclude about the unity of Pergolesi's individual style, on the one hand, and about the difference in the interpretation of genres, on the other. Pergolesi perfectly felt the peculiarities of "styles" in the sense that is inherent in the XVIII century. Despite the strongest expansion of the opera, his church genres, like those of other Neapolitan masters of the 1730s, differed from musical and theatrical compositions.

Publications on the topic of the dissertation

1. Karpenko (Panfilova) V. Stabat mater in the 18th century: versions of two Neapolitan composers // Bulletin of the Tomsk State University, No. 6, 2009. P. 118-121. - 0.5 p.l.
2. Panfilova V. “Angels sing in this music…” Giovanni Battista Pergolesi: spiritual creativity // Musicology, No. 12, 2009. P. 23-27. - 0.4 p.l.
3. Panfilova V. Sacred music of Giovanni Battista Pergolesi // Art at school, No. 6, 2009. P. 29-32. - 0.4 p.l.

Other publications

1. Karpenko (Panfilova) V. Neapolitan opera school: "for" and "against" // Musicology by the beginning of the century: past and present. Moscow: RAM im. Gnesinykh, 2007, pp. 380-387; 0.4 p.l.
2. Panfilova V. Teacher and student: church music by F. Durante and J. B. Pergolesi // Studies of young musicologists. Materials of the interuniversity scientific conference of graduate students on April 29, 2009. Moscow: RAM im.Gnessinyh, 2010. S. 71-85; 0.5 p.l.
3. Panfilova V. Spiritual creativity of Giovanni Battista Pergolesi // Music and time, No. 11, 2009. P. 19-21; 0.4 p.l.

King R. Stabat mater. London, 1988. P.2.

De Maio R. Napoli sacra negli anni di Pergolesi // Pergolesi Studies. The Proceedings of the International Symposium Jesi 1983. P. 29.