#stabatmater — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #stabatmater, aggregated by home.social.
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Video Movie Review: PRIMAVERA (2025): Musical Passion Gives a Good Period Drama Its Pulse
#AndreaPennacchi #AntonioVivaldi #DamianoMichieletto #FabriziaSacchi #FilmFestival #MicheleRiondino #Primavera #StabatMater #StefanoAccorsi #TeclaInsolia #TorontoInternationalFilmFestival #ValentinaBelle #VideoMovieReview #VivaldiMovie
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Video Movie Review: PRIMAVERA (2025): Musical Passion Gives a Good Period Drama Its Pulse
#AndreaPennacchi #AntonioVivaldi #DamianoMichieletto #FabriziaSacchi #FilmFestival #MicheleRiondino #Primavera #StabatMater #StefanoAccorsi #TeclaInsolia #TorontoInternationalFilmFestival #ValentinaBelle #VideoMovieReview #VivaldiMovie
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Video Movie Review: PRIMAVERA (2025): Musical Passion Gives a Good Period Drama Its Pulse
#AndreaPennacchi #AntonioVivaldi #DamianoMichieletto #FabriziaSacchi #FilmFestival #MicheleRiondino #Primavera #StabatMater #StefanoAccorsi #TeclaInsolia #TorontoInternationalFilmFestival #ValentinaBelle #VideoMovieReview #VivaldiMovie
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Video Movie Review: PRIMAVERA (2025): Musical Passion Gives a Good Period Drama Its Pulse
#AndreaPennacchi #AntonioVivaldi #DamianoMichieletto #FabriziaSacchi #FilmFestival #MicheleRiondino #Primavera #StabatMater #StefanoAccorsi #TeclaInsolia #TorontoInternationalFilmFestival #ValentinaBelle #VideoMovieReview #VivaldiMovie
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La entrada de hoy en #ÍnsulaBarañaria, mi blog de #literatura:
«El llanto de la Virgen», de Lope de Vega
#SiglodeOro #Poesía #LiteraturayReligión #SemanaSanta #PoesíadeSemanaSanta #LopedeVega #StabatMater #ElLlantodelaVirgen
https://insulabaranaria.com/2026/03/27/el-llanto-de-la-virgen-de-lope-de-vega/
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La entrada de hoy en #ÍnsulaBarañaria, mi blog de #literatura:
«El llanto de la Virgen», de Lope de Vega
#SiglodeOro #Poesía #LiteraturayReligión #SemanaSanta #PoesíadeSemanaSanta #LopedeVega #StabatMater #ElLlantodelaVirgen
https://insulabaranaria.com/2026/03/27/el-llanto-de-la-virgen-de-lope-de-vega/
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More Memeteria. Thomas May reviews the Seattle Firebird and it comes out Poulenc's Stabat Mater. We saw this concert last night and the Poulenc, and breathtaking Soprano Janai Brugger.
#SeattleSymphony #FrancisPoulenc #StabatMater #Firebirdsuite
#Janai Brugger
https://memeteria.com/2026/03/22/firebird-fever-in-seattle-with-hard-hitting-poulenc/ -
More Memeteria. Thomas May reviews the Seattle Firebird and it comes out Poulenc's Stabat Mater. We saw this concert last night and the Poulenc, and breathtaking Soprano Janai Brugger.
#SeattleSymphony #FrancisPoulenc #StabatMater #Firebirdsuite
#Janai Brugger
https://memeteria.com/2026/03/22/firebird-fever-in-seattle-with-hard-hitting-poulenc/ -
More Memeteria. Thomas May reviews the Seattle Firebird and it comes out Poulenc's Stabat Mater. We saw this concert last night and the Poulenc, and breathtaking Soprano Janai Brugger.
#SeattleSymphony #FrancisPoulenc #StabatMater #Firebirdsuite
#Janai Brugger
https://memeteria.com/2026/03/22/firebird-fever-in-seattle-with-hard-hitting-poulenc/ -
More Memeteria. Thomas May reviews the Seattle Firebird and it comes out Poulenc's Stabat Mater. We saw this concert last night and the Poulenc, and breathtaking Soprano Janai Brugger.
#SeattleSymphony #FrancisPoulenc #StabatMater #Firebirdsuite
#Janai Brugger
https://memeteria.com/2026/03/22/firebird-fever-in-seattle-with-hard-hitting-poulenc/ -
https://www.europesays.com/at/49566/ Martin Gasselsberger mit Stabat Mater im Mariendom Linz #30März #AT #Austria #Benefiz #Linz #MartinGasselsberger #Österreich #ProMariendom #StabatMater
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STABAT MATER – La Tour (one-shot)
Cette semaine on plonge dans la dark fantasy avec un one-shot sur le jeu Stabat Mater, écrit par Sennak de la Maison Périandre.
Le jeu a obtenu le 1er prix de La Forge à la convention Octogônes 2025 !
Et Sennak nous fait le plaisir de nous maîtriser une partie !
Il nous fait découvrir son univers fait des ruines habitées, d’architecture titanesques et de tensions invisibles… Les choix sont lourds, et chaque action à un coût…
Un aventure sombre mené par Sennak avec Jordi, Seiei et Tom.Montage : Valkann & Sennak
Soutenez-nous sur Patreon pour faire vivre la JDR Academy : https://www.patreon.com/JDRAcademy?l=frTous les épisodes sont disponibles sur : www.jdracademy.com
https://jdracademy.fr/stabat-mater-la-tour-one-shot/ #ActualPlay #actualplay #berserk #coupCritique #darkFantasy #darkSouls #eldenRing #jdr #jdrSolo #JDRAcademy #jeuDeRole #jeuDeRôle #laTour #maisonPeriande #octogones #OneShotJDR #podcast #PodcastJDR #sennak #stabatMater -
for anyone else who's feeling a bit baroque-y dokey of a fried-day, here's some pergolesi.
#pergolesi #baroque #stabatMater #music #musiquehttps://youtu.be/P65oBJBdSXM
https://inv.nadeko.net/watch?v=P65oBJBdSXM -
for anyone else who's feeling a bit baroque-y dokey of a fried-day, here's some pergolesi.
#pergolesi #baroque #stabatMater #music #musiquehttps://youtu.be/P65oBJBdSXM
https://inv.nadeko.net/watch?v=P65oBJBdSXM -
for anyone else who's feeling a bit baroque-y dokey of a fried-day, here's some pergolesi.
#pergolesi #baroque #stabatMater #music #musiquehttps://youtu.be/P65oBJBdSXM
https://inv.nadeko.net/watch?v=P65oBJBdSXM -
for anyone else who's feeling a bit baroque-y dokey of a fried-day, here's some pergolesi.
#pergolesi #baroque #stabatMater #music #musiquehttps://youtu.be/P65oBJBdSXM
https://inv.nadeko.net/watch?v=P65oBJBdSXM -
for anyone else who's feeling a bit baroque-y dokey of a fried-day, here's some pergolesi.
#pergolesi #baroque #stabatMater #music #musiquehttps://youtu.be/P65oBJBdSXM
https://inv.nadeko.net/watch?v=P65oBJBdSXM -
RE: https://mastodon.social/@analgesicsleep/112350075914802914
I featured Pergolesi’s “Stabat Mater” in its entirety about 2yrs ago on #BaroqueSun BUT that version features a mezzo-soprano in the place of a contralto and when you listen to all of the version with Delphine Galou (https://youtube.com/playlist?list=PL2Zslnc5XTftF44AW0FlAJwmDOjfkdUv0&si=JMhFb0osLWjL7P8B) you can really hear the difference
#StabatMater -
RE: https://mastodon.social/@analgesicsleep/112350075914802914
I featured Pergolesi’s “Stabat Mater” in its entirety about 2yrs ago on #BaroqueSun BUT that version features a mezzo-soprano in the place of a contralto and when you listen to all of the version with Delphine Galou (https://youtube.com/playlist?list=PL2Zslnc5XTftF44AW0FlAJwmDOjfkdUv0&si=JMhFb0osLWjL7P8B) you can really hear the difference
#StabatMater -
RE: https://mastodon.social/@analgesicsleep/112350075914802914
I featured Pergolesi’s “Stabat Mater” in its entirety about 2yrs ago on #BaroqueSun BUT that version features a mezzo-soprano in the place of a contralto and when you listen to all of the version with Delphine Galou (https://youtube.com/playlist?list=PL2Zslnc5XTftF44AW0FlAJwmDOjfkdUv0&si=JMhFb0osLWjL7P8B) you can really hear the difference
#StabatMater -
RE: https://mastodon.social/@analgesicsleep/112350075914802914
I featured Pergolesi’s “Stabat Mater” in its entirety about 2yrs ago on #BaroqueSun BUT that version features a mezzo-soprano in the place of a contralto and when you listen to all of the version with Delphine Galou (https://youtube.com/playlist?list=PL2Zslnc5XTftF44AW0FlAJwmDOjfkdUv0&si=JMhFb0osLWjL7P8B) you can really hear the difference
#StabatMater -
RE: https://mastodon.social/@analgesicsleep/112350075914802914
I featured Pergolesi’s “Stabat Mater” in its entirety about 2yrs ago on #BaroqueSun BUT that version features a mezzo-soprano in the place of a contralto and when you listen to all of the version with Delphine Galou (https://youtube.com/playlist?list=PL2Zslnc5XTftF44AW0FlAJwmDOjfkdUv0&si=JMhFb0osLWjL7P8B) you can really hear the difference
#StabatMater -
Stabat Mater · Graindelavoix – The Liberation of the Gothic
https://www.youtube.com/watch?v=Log7llvTO84
#AlteMusik #AlteMusik2024 #Gotik #GraindelavoixDirectedByBjørnSchmelzer #JohnBrowne #StabatMater #ThomasAshwell
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Silvia Borzelli: ‘Cuerpo desierto is my Stabat Mater’
Italian-born Silvia Borzelli has lived in the Netherlands for many years. For a concert series around the Stabat Mater by Cappella Amsterdam in January 2025, she composed Cuerpo Desierto. It is based on a text by Mexican poet Susana Chávez, who was murdered in 2011 because of her fierce struggle against femicide.
Silvia Borzelli (Rome, 1978) studied in her homeland and Sweden and obtained her master’s degree in composition in the Netherlands. She works with a minimum of material, which she observes from different points of view and moulds into a coherent whole. With her often hushed music, she deals pinpricks rather than sledgehammer blows.
Silvia Borzelli, 2018She received awards from new-music organisations such as the International Rostrum of Composers and the ISCM World New Music Days. Last November, cellist Francesco Dillon and Asko|Schönberg premiered her adventurous Earthbound for cello and large ensemble in the Amsterdam Cello Biennale. In January 2025 Cuerpo Desierto will receive its world premiere by Cappella Amsterdam under the baton of Geoffroy Jourdain.
Music is a private world
Borzelli grew up in a family of two children, her sister developing into a classical singer and vocal coach. Yet her parents were not musicians, she says: ‘My mother taught Latin and Italian literature at a secondary school, my father taught painting at an art school, of which he later became director.’ Nevertheless, music found its way into the family as a matter of course: ‘My grandmother and her sister were gifted amateur pianists, from them we inherited our musical talent.’
At seven, Silvia started classical piano lessons: ‘I wouldn’t claim to have been exceptionally gifted, but I did have a natural flair for the keyboard.’ Over the years, she became increasingly interested in classical composers and developed certain preferences: ‘Bach in particular had –and still has – a special place in my heart. When I played The well-tempered Clavier, it filled me with joy; it gave me a sense of completeness. I also remember how I discovered Debussy and was deeply impressed by his formal world, his sounds and colours.’
Unlike many children taking piano lessons, Borzelli did not immediately start experimenting with composing himself: ‘Only when I was in secondary school did I start writing short pieces of chamber and piano music. Yet I didn’t share those with anyone. Not because I was ashamed of them, but because they belonged to a private world I wanted to keep to myself.’
On the one hand, those early experiments reflected her piano studies, but on the other, Borzelli recognises in them the seeds of her later, distinctive style: ‘My penchant for a minimalist approach to form and rhythm, a strong sense of “economy” are already evident.’
Extra-musical concepts
It was only after her secondary education that she actually decided to study composition. ‘To be honest, composing never felt very immediate or close to me; I expressed myself much more easily through poetry and short stories than through music.’ Paradoxically, this triggered her to choose a career as a composer after all: ‘It was precisely the lack of immediacy that fascinated and challenged me, along with the a-semantic nature of music. Through listening, meeting other musicians, and taking formal composition lessons after secondary school, it became clear to me that this was where my path lay. I wanted to invent and shape that world of music myself and place it against other, more tangible and defined worlds. I still do.’
That fascination helps explain why Borzelli often works with extra-musical concepts. ‘Not to translate them directly, but to think about them, explore them, interpret them correctly or incorrectly and crystallise them into sound.’ Take her five-part amnesia cycle for various line-ups (2009-2013), in which she explores the relationship between music and amnesia: ‘Without forgetfulness, our memory would become oversaturated, I am interested in processes of transformation and recoding of memories.’
Hampered repetition
How does she process these into music? ‘To stay with amnesia cycle for a moment: the five pieces are structured so that repetition could act as a repeated path. But each section has different obstacles and interruptions.’ Borzelli explains this somewhat abstract idea in more detail with reference to the creation of own pace (amnesia 3) for flute and double bass: ‘It is built on a recognisable fragment, which you can think of as a “preserved piece”. This is reworked and re-presented in various ways.’
https://www.youtube.com/watch?v=u_V9y2TuwKQ&ab_channel=Blaurenz
The roughly three-movement piece opens with a long, heavy haul from the double bass, which seems to launch a deep breath from the (bass) flute. This simple motif is constantly scrutinised in different ways, expanded and contracted again, where sometimes the flute, sometimes the double bass takes the lead. In this way, the two musicians build an exciting argument, which gradually becomes more virtuosic and intense and, after an exhilarating middle section, returns to the open structure of the beginning.
Borzelli: ‘Unlike, say, a damaged painting or manuscript, it’s not about restoring what was lost, to me it’s about the two instruments going in that direction together. Their own pace determines both the journey and the goal.’ Amnesia cycle marked a turn in her compositional research: ‘Later pieces like Further In, POLAR and wooden also show my fascination with the essence of musical material and exploring repetition through the filter of difference.’
Luca Francesconi
Borzelli studied piano and composition at the Ottorino Respighi Conservatory in Rome, but went to Sweden in 2006, not the most obvious choice for an Italian. This turns out to have a prosaic reason: ‘I wanted to take lessons from Luca Francesconi and, as it happened, he was teaching at the Malmö School of Music. I saw him as guardian of the musical heritage of Luciano Berio, whom I greatly admired at the time – he had worked closely with him as his assistant.’
It was a lucky choice, continues Borzelli: ‘Two defining experiences stand out vividly in this regard. For instance, Francesconi had me write a piece for the Helsingborg Symphony Orchestra. It was the first time I heard my music performed by a full orchestra, after years of studying and thinking up orchestrations only in my head.’
‘The second was a concert at the Muziekgebouw aan ‘t IJ in 2006, with a premiere of Francesconi by the Orkest de Volharding, the Doelen Ensemble and Irvine Arditti as soloist. I was his copyist and assistant on that occasion and also operated the electronics. It was love at first sight with Amsterdam and the Muziekgebouw, which to me felt like a ‘glass temple’ for new music.’
Move to Amsterdam
Two years later, she applied for a master’s at the Royal Conservatoire in The Hague and moved to Amsterdam: ‘I had finished my studies in Italy, where I had made many discoveries, but had mostly been drilled in rigorous counterpoint (both hated and deeply loved). – And I had written a lot of unperformed compositions.’ There was also a second, more political reason: ‘In 2008 in Rome I had to deal with a fascist mayor, an inquisitorial pope and the re-election of Berlusconi as president. For me, these were unmistakable signs – it was a tipping point, I felt like a stranger in my own country.’
At the time, The Netherlands represented a breath of fresh air for her: ‘I desperately needed this, I saw it as a place characterised by tolerance and freedom, a country where individuality could be embraced without the oppressive weight of millennial traditions and contemporary frustrations. I also felt the need to leave my hometown, to travel and experience the world with new eyes.’
‘I had two beautiful years of study with Yannis Kyriakides, Diderik Wagenaar and very briefly with Louis Andriessen. Afterwards, I decided to stay in the Netherlands. – Of course, over time I came to realise that no place is without problems or contradictions. But here, those challenges feel less insurmountable. I am glad that my children were born and raised in this environment.’
Contrasting teachers
On her website, Borzelli writes that it has meant a lot to her that she had the opportunity to meet such diverse composers as Brian Ferneyhough, Beat Furrer, Bernhard Lang, Yannis Kyriakides and Francesco Filidei, and to study with them. What have they meant for her artistic development? ‘It is great to explore such totally different musical worlds, each of which offers unique and stimulating perspectives. Like musical listening experiences, which can be chaotic, contrasting, brief or intense, they encouraged me to explore and shape my specific artistic needs. I still feel a strong connection with Francesco and Yannis, both musically and personally.’
She stresses that she has come a long way: ‘When I started composing, my musical world did not consist exclusively of classical music. There was my early exposure to a contemporary sound world, such as Donatoni’s work: sharp as a sword, without frills or embellishments.
There was also Ligeti with his otherworldly worlds and, of course, Gubaidoelina, whom I adored in my younger years for her lyricism and sense of form. I also admired Luc Ferrari with his promenades and Helmuth Lachenmann, whose incredible palette of sounds initially overwhelmed me.’
‘Later, almost at the end of my studies, I discovered the music of Fausto Romitelli, with its cyclical and powerful sound. I additionally immersed myself in many other equally influential sound worlds, including the music of Pink Floyd, AreA, The Doors, Laurie Anderson, John Coltrane, free jazz from the 1970s and music of the Aka/Pygmies (Central Africa), to name but a few.’
All these sound worlds somehow found their way into her own style. But, as it goes, to do develop this, she had to commit a kind of parricide: ‘The moment I began to feel that my music was moving in a personal and fruitful direction coincided with a kind of “muting” of my references in both study and listening. Not that I would disown them, but rather I needed to create space. – A place where I no longer had to worry about the genre of music I belonged to and could focus entirely on what I wanted to listen to and share with others.’
Virgin Mary as political idea
When Cappella Amsterdam and conductor Geoffroy Jourdain asked her to compose a piece in Italian or Latin for their programme Stabat Mater, she chose the poem Cuerpo Desierto by Mexican Susana Chávez rather than the standard medieval text. ‘I felt an almost immediate aversion to the figure of the Virgin Mary’, she explains. ‘While I am deeply moved by the theme of a mother grieving for her son, I feel no connection with the image of Mary.
Susanna Chávez (c) Zerk – Own work, CC BY-SA 3.0‘For me, she represents more a political idea of womanhood than a spiritual presence. While searching for a suitable text, I ended up with the poem Cuerpo Desierto (‘desert body’) by Susana Chávez. This Mexican poet and activist was brutally killed in her hometown of Ciudad Juárez in 2011. Sadly notorious as the city of femicide, where thousands of women have been kidnapped, raped, murdered and abandoned in the desert, often with the complicity of institutional silence. Susana was a powerful voice against this systemic violence.’
‘I chose her poem Cuerpo Desierto because of the power of its words, which I consider powerful and precise, as of a sacred text. They speak of violated and abandoned bodies, both haunted and persecuted. Her words seem to foretell her own death, resonating with a power I could not ignore. They express both anger and resignation, vulnerability and determination.’
‘It was unthinkable I would not set them in Spanish, Susana’s own language. I moreover decided to insert the phrase ‘Ni una menos – Not one less woman’, attributed to Susana. This has become a global motto, a call to action against gender-related violence. I placed this battle cry at the beginning and end between the words cuerpo and desierto, as a reminder, a prayer and an admonition to the ‘desert’. – In a way, Cuerpo Desierto has become my Stabat Mater, where the one on the cross and the one below coincide.’
Cappella Amsterdam tours Stabat Mater in Holland from 23 through 31 January.
#CappellaAmsterdam #CuerpoDesierto #GeoffroyJourdain #SilviaBorzelli #StabatMater #SusanaChávez
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Auch wenn ich dieses Jahr nicht an der #Karfreitagsprozession in meiner Heimatgemeinde teilnehme, läuft mir das „Stabat Mater“ schon den ganzen Tag nach… auch eine Art Verbundenheit!
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Auch wenn ich dieses Jahr nicht an der #Karfreitagsprozession in meiner Heimatgemeinde teilnehme, läuft mir das „Stabat Mater“ schon den ganzen Tag nach… auch eine Art Verbundenheit!
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Auch wenn ich dieses Jahr nicht an der #Karfreitagsprozession in meiner Heimatgemeinde teilnehme, läuft mir das „Stabat Mater“ schon den ganzen Tag nach… auch eine Art Verbundenheit!
-
Auch wenn ich dieses Jahr nicht an der #Karfreitagsprozession in meiner Heimatgemeinde teilnehme, läuft mir das „Stabat Mater“ schon den ganzen Tag nach… auch eine Art Verbundenheit!
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Auch wenn ich dieses Jahr nicht an der #Karfreitagsprozession in meiner Heimatgemeinde teilnehme, läuft mir das „Stabat Mater“ schon den ganzen Tag nach… auch eine Art Verbundenheit!
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Looking forward to singing in our Good Friday concert of the Stabat Mater by Irish composer C.V.Stanford (100th anniversary of his death this year, and former member of the parish) today at 12.00 noon in St Ann's Dawson Street, Dublin.
#ChurchMusic #GoodFriday #HolyWeek #Stanford #StabatMater #ChurchChoir #LoveChoral -
Looking forward to singing in our Good Friday concert of the Stabat Mater by Irish composer C.V.Stanford (100th anniversary of his death this year, and former member of the parish) today at 12.00 noon in St Ann's Dawson Street, Dublin.
#ChurchMusic #GoodFriday #HolyWeek #Stanford #StabatMater #ChurchChoir #LoveChoral -
Looking forward to singing in our Good Friday concert of the Stabat Mater by Irish composer C.V.Stanford (100th anniversary of his death this year, and former member of the parish) today at 12.00 noon in St Ann's Dawson Street, Dublin.
#ChurchMusic #GoodFriday #HolyWeek #Stanford #StabatMater #ChurchChoir #LoveChoral -
Josquin Desprez (1450-1521) - Stabat Mater , Motets (La Chapelle Royale,...
https://youtube.com/watch?v=XXZNNGib_po&si=dinPlPcy9QZv6JXS
#ClassicalMusic
#PhilippeHerreweghe
#LaChapelleRoyale
#StabatMater
#Motets
#JosquindesPrez -
Josquin Desprez (1450-1521) - Stabat Mater , Motets (La Chapelle Royale,...
https://youtube.com/watch?v=XXZNNGib_po&si=dinPlPcy9QZv6JXS
#ClassicalMusic
#PhilippeHerreweghe
#LaChapelleRoyale
#StabatMater
#Motets
#JosquindesPrez -
Josquin Desprez (1450-1521) - Stabat Mater , Motets (La Chapelle Royale,...
https://youtube.com/watch?v=XXZNNGib_po&si=dinPlPcy9QZv6JXS
#ClassicalMusic
#PhilippeHerreweghe
#LaChapelleRoyale
#StabatMater
#Motets
#JosquindesPrez -
Josquin Desprez (1450-1521) - Stabat Mater , Motets (La Chapelle Royale,...
https://youtube.com/watch?v=XXZNNGib_po&si=dinPlPcy9QZv6JXS
#ClassicalMusic
#PhilippeHerreweghe
#LaChapelleRoyale
#StabatMater
#Motets
#JosquindesPrez -
Josquin Desprez (1450-1521) - Stabat Mater , Motets (La Chapelle Royale,...
https://youtube.com/watch?v=XXZNNGib_po&si=dinPlPcy9QZv6JXS
#ClassicalMusic
#PhilippeHerreweghe
#LaChapelleRoyale
#StabatMater
#Motets
#JosquindesPrez -
Antonio Caldara (1670-1736) - Missa Dolorosa; Stabat Mater (René Clemencic)
https://youtu.be/B1wF2Z4QTOU
@classicalmusic
#BaroqueMusic
#MissaDolorosa
#StabatMater
#AntonioCaldara -
Antonio Caldara (1670-1736) - Missa Dolorosa; Stabat Mater (René Clemencic)
https://youtu.be/B1wF2Z4QTOU
@classicalmusic
#BaroqueMusic
#MissaDolorosa
#StabatMater
#AntonioCaldara -
Antonio Caldara (1670-1736) - Missa Dolorosa; Stabat Mater (René Clemencic)
https://youtu.be/B1wF2Z4QTOU
@classicalmusic
#BaroqueMusic
#MissaDolorosa
#StabatMater
#AntonioCaldara -
Antonio Caldara (1670-1736) - Missa Dolorosa; Stabat Mater (René Clemencic)
https://youtu.be/B1wF2Z4QTOU
@classicalmusic
#BaroqueMusic
#MissaDolorosa
#StabatMater
#AntonioCaldara -
Antonio Caldara (1670-1736) - Missa Dolorosa; Stabat Mater (René Clemencic)
https://youtu.be/B1wF2Z4QTOU
@classicalmusic
#BaroqueMusic
#MissaDolorosa
#StabatMater
#AntonioCaldara -
Because it means something special to me & because I never knew of this artist, I'd like to mention Giovanni Battista #Pergolesi and his #StabatMater. A beautiful piece that I first played when told 7 weeks ago that my niece was gravely ill and that I play today as she's laid to rest at the too young age of 23. I want others to know of the comfort of this music and that my niece loved #dogs & #horses. #BaroqueMusic #Baroque
https://music.apple.com/us/album/pergolesi-stabat-mater/1452545956
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Because it means something special to me & because I never knew of this artist, I'd like to mention Giovanni Battista #Pergolesi and his #StabatMater. A beautiful piece that I first played when told 7 weeks ago that my niece was gravely ill and that I play today as she's laid to rest at the too young age of 23. I want others to know of the comfort of this music and that my niece loved #dogs & #horses. #BaroqueMusic #Baroque
https://music.apple.com/us/album/pergolesi-stabat-mater/1452545956
-
Because it means something special to me & because I never knew of this artist, I'd like to mention Giovanni Battista #Pergolesi and his #StabatMater. A beautiful piece that I first played when told 7 weeks ago that my niece was gravely ill and that I play today as she's laid to rest at the too young age of 23. I want others to know of the comfort of this music and that my niece loved #dogs & #horses. #BaroqueMusic #Baroque
https://music.apple.com/us/album/pergolesi-stabat-mater/1452545956
-
Because it means something special to me & because I never knew of this artist, I'd like to mention Giovanni Battista #Pergolesi and his #StabatMater. A beautiful piece that I first played when told 7 weeks ago that my niece was gravely ill and that I play today as she's laid to rest at the too young age of 23. I want others to know of the comfort of this music and that my niece loved #dogs & #horses. #BaroqueMusic #Baroque
https://music.apple.com/us/album/pergolesi-stabat-mater/1452545956
-
Because it means something special to me & because I never knew of this artist, I'd like to mention Giovanni Battista #Pergolesi and his #StabatMater. A beautiful piece that I first played when told 7 weeks ago that my niece was gravely ill and that I play today as she's laid to rest at the too young age of 23. I want others to know of the comfort of this music and that my niece loved #dogs & #horses. #BaroqueMusic #Baroque
https://music.apple.com/us/album/pergolesi-stabat-mater/1452545956
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@classicalmusic
@baroquemusic
@galantmusic#GiovanniBattistaDraghi 1710–1736
'Fac ut ardeat cor meum'
(#StabatMater, 1735)#SonyaYoncheva #soprano #KarineDeshayes #mezzosoprano
#Amarillis
#HéloïseGaillard & #
#ViolaineCochard#musik #music #musique #musica #serenata
#Pergolesi #classicalmusic #baroquemusic
#galantmusic -
@classicalmusic
@baroquemusic
@galantmusic#GiovanniBattistaDraghi 1710–1736
'Fac ut ardeat cor meum'
(#StabatMater, 1735)#SonyaYoncheva #soprano #KarineDeshayes #mezzosoprano
#Amarillis
#HéloïseGaillard & #
#ViolaineCochard#musik #music #musique #musica #serenata
#Pergolesi #classicalmusic #baroquemusic
#galantmusic -
@classicalmusic
@baroquemusic
@galantmusic#GiovanniBattistaDraghi 1710–1736
'Fac ut ardeat cor meum'
(#StabatMater, 1735)#SonyaYoncheva #soprano #KarineDeshayes #mezzosoprano
#Amarillis
#HéloïseGaillard & #
#ViolaineCochard#musik #music #musique #musica #serenata
#Pergolesi #classicalmusic #baroquemusic
#galantmusic -
@classicalmusic
@baroquemusic
@galantmusic#GiovanniBattistaDraghi 1710–1736
'Fac ut ardeat cor meum'
(#StabatMater, 1735)#SonyaYoncheva #soprano #KarineDeshayes #mezzosoprano
#Amarillis
#HéloïseGaillard & #
#ViolaineCochard#musik #music #musique #musica #serenata
#Pergolesi #classicalmusic #baroquemusic
#galantmusic -
@classicalmusic
@baroquemusic
@galantmusic#GiovanniBattistaDraghi 1710–1736
'Fac ut ardeat cor meum'
(#StabatMater, 1735)#SonyaYoncheva #soprano #KarineDeshayes #mezzosoprano
#Amarillis
#HéloïseGaillard & #
#ViolaineCochard#musik #music #musique #musica #serenata
#Pergolesi #classicalmusic #baroquemusic
#galantmusic