Fabio Biondi, Europa Galante - Giovanni Battista Pergolesi, Leonardo Leo: Salve Regina (1995)
EAC | FLAC | Image (Cue & Log) ~ 268 Mb | Total time: 58:39 | Scans included
Classical | Label: Naïve | # OPS 30-88 | Recorded: 1993
EAC | FLAC | Image (Cue & Log) ~ 268 Mb | Total time: 58:39 | Scans included
Classical | Label: Naïve | # OPS 30-88 | Recorded: 1993
Pergolesi’s two settings of the Salve Regina are rather different one from another. That in C minor is darker, more passionate, the string writing (not least at the very beginning) richly expressive; indeed the first of its six movements, is a largo of exquisite beauty, a perfect illustration of a particular kind of baroque beauty, intensely expressive and seeming to hold back a freedom of lyricism which is effectively liberated only in the brief andante which follows. Some of the greatest baroque effects are created by interplay between restraint and excess. This is one of them. Intensity, a sense of abundance repressed returns in a second largo. There is richly poetic aptness to Pergolesi’s setting of the words of his text; when, in the penultimate movement he comes to set the petitionary words “Et Jesum benedictum fructum ventris tui nobis post hoc exsilium ostende” (And after this, our exile, show unto us the blessed fruit of thy womb, Jesus) the writing (and this performance of it) has a ravishing tenderness and yearning.
The A minor setting is perhaps more familiar, but I am not sure that it is as interesting and is certainly not as powerful as that in C minor. Schlick is again impressive, but the whole feels rather more routine and less distinctive. But even when he is operating at a slightly less inspired level, one surely cannot be other than impressed by Pergolesi’s vocal writing.
The Salve Regina by Leonardo Leo presumably belongs to the last years of his life when he was vice-maestro di cappella of the Spanish viceroy in Naples. Here he sets a slightly fuller text of the Marian Antiphon than that to be heard in Pergolesi’s two settings. Leo’s version is stylistically more eclectic than either of Pergolesi’s settings. At times he can be operatically florid; at times the decorative nature of the writing seems to have little regard for the emotional (or theological) import of the words he is setting; but at other times there is a gallant and almost proto-classical quality to the writing. Listening to the three versions on the one CD, it is clear that Pergolesi’s settings are the culmination of earlier musical traditions, while Leo’s anticipates later music idioms (in part at least).
The three settings of the Salve Regina are interleaved, as it were, with two of the twelve sonatas published in London around 1780 as by Pergolesi – the sonatas of which Stravinsky made use in writing Pulcinella. The attribution was presumably a conscious attempt to cash in on the ‘name’ of Pergolesi; the sonatas were actually the work of Domenico Gallo, who appears to have been Venetian born, but may have been connected to the well-known Neapolitan musical family of the same surname.–Glyn Pursglove
Performer:
Barbara Schlick, soprano
Europa Galante
Fabio Biondi, direction
Tracklist:
Giovanni Battista Pergolesi (1710-1736)
Salve Regina in la minore
01. Largo
02. Allegro. Larghetto
03. Andante
04. Largo
Domenico Gallo (1730-1768?)
Sonate in si bemolle maggiore
05. Presto
06. Adagio
07. Presto
Salve regina in do minore
08. Largo
09. Andante
10. Largo
11. Andante
12. Andante amoroso
13. Largo assai
Domenico Gallo
Sonate in sol maggiore
14. Moderato
15. Adagio
16. Allegro
Leonardo Leo (1694-1744)
Salve regina in fa maggiore
17. Largo
18. Allegro
19. Largo
20. Allegretto
21. Largo
Exact Audio Copy V1.6 from 23. October 2020
EAC extraction logfile from 27. November 2022, 17:27
Barbara Schlick, Europa Galante, Fabio Biondi / Pergolesi, Leo: Salve Regina
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