Edizione critica a cura di Claudio Toscani-EDIZIONE NAZIONALE DELLE OPERE DI GIOVANNI BATTISTA PERGOLESI (Casa Ricordi in collaborazione con la Fondazione Pergolesi Spontini di Jesi) Based on the anonymous recasting of a libretto derived in turn from La fede tradita e vendicata by Francesco Silvani (1705) Il prigionier superbo by Giovanni Battista Pergolesi was first performed on 5 September 1733 at the Teatro di San Bartolomeo in Naples. With this opera ? his second dramma serio for San Bartolomeo in less than two years ? the young composer (who had already acquired considerable professional stature in the city?s theatres churches and aristocratic circles) reprised a perennially popular subject centered aroundthe dramatic conflict between filial piety and devotion to one?s betrothed. Inserted between the opera?s three acts were the intermezzi of La serva padrona which would soon go on to take all of Europe by storm. The primary source for this edition is a manuscript copy of the score currently housed in the Conservatorio di Musica ?San Pietro a Majella? in Naples and prepared by Giuseppe Sigismondo who was quite probably working from the now-lost autograph. Two other significant manuscript copies of the score also housed in Naples (respectively in the Biblioteca Oratoriana dei Girolamini and the aforementioned conservatory) were consulted along with a number of manuscript copies of individual arias. The edition is furnished with a historical introduction which traces the libretto?s complicated literary lineage and illustrates the circumstances of the opera?s commission genesis premiere and subsequent history: and a critical apparatus containing detailed source descriptions and critical notes for both the text and the music. An earlier version of the last movement of the Sinfonia and an aria for the third act whose text does not appear in the original printed libretto are provided as appendices.

2 Volumes edizione critica a cura di Ivano Bettin-Some few months after returning to Naples from Rome where he had gone to follow the premiere of L?Olimpiade at the Teatro Tordinona during the 1735 carnival season Giovanni Battista Pergolesi ?? notwithstanding the quickened pace of the disease that would soon bring his brief life to a close ? presented the public with a new work Il Flaminio a ?commedeja pe? mmuseca? set to a libretto by Gennarantonio Federico. The opera was staged as the second of season that fall at the Teatro Nuovo sopra Toledo (one of three traditional venues together with the Teatro dei Fiorentini and the Teatro della Pace dedicated to the production of opere bu e) where it met with a generally favorable reception. The edition is based basically on the Pergolesi?s autograph full score for the third act (kept in Naple Conservatorio di San Pietro a Majella Library) and on a complete manuscript full score copy today in the Abbazia di Montecassino Library. The critical edition is in two volumes and includes a historical Introduction a detailed description of all the sources considered and a Commentary with critical notes and information related to specific problems of performance practice. There is also the facsimile reproduction of the printed libretto.

Quelques mois après son retour de Rome à Naples, où il était allé suivre la première de L'Olimpiade au Teatro Tordinona pendant la saison du carnaval de 1735, Giovanni Battista Pergolesi (malgré le rythme accéléré de la maladie qui mettrait bientôt vie à sa fin) a présenté au public une nouvelle 'uvre, Il Flaminio, une « commedeja pe 'mmuseca » sur un libretto de Gennarantonio Federico. L'opéra a été mis en scène en deuxième de la saison au Teatro Nuovo sopra Toledo (un des trois théâtres traditionnels, avec le Teatro dei Fiorentini et le Teatro della Pace, dédiés à la production de l'Opéra bouffe), où il a été accueilli positivement. L'édition comprend une introduction historique, une description de toutes les sources étudiées et un commentaire avec des notes critiques et des informations liées à des problèmes spécifiques d'interprétation.

Opera completa per canto e pianoforte-Giovanni Battista Pergolesi: Stabat Mater (Vocal Score)

Psalm 51. Nach dem Stabat Mater von Giovanni Battista Pergolesi. Par PERGOLESI GIOVANNI BATTISTA. After the Stabat Mater by Giovanni Battista Pergolesi [1710–1736], BWV 1083 / Psaumes / Répertoire / Solistes SA, 2 Violons, Alto et Basse Continue, (C

Psalm 51. Nach dem Stabat Mater von Giovanni Battista Pergolesi. Par PERGOLESI GIOVANNI BATTISTA. After the Stabat Mater by Giovanni Battista Pergolesi (1710–1736), BWV 1083 / Musique religieuse / Répertoire / Solistes SA, 2 Violons, Alto et Basse Continue, (C

Psalm 51. Nach dem Stabat Mater von Giovanni Battista Pergolesi. Par PERGOLESI GIOVANNI BATTISTA. After the Stabat Mater by Giovanni Battista Pergolesi [1710–1736], BWV 1083 / Psaumes / Répertoire / Solistes SA, 2 Violons, Alto et Basse Continue, (C

Psalm 51. Nach dem Stabat Mater von Giovanni Battista Pergolesi. Par PERGOLESI GIOVANNI BATTISTA. After the Stabat Mater by Giovanni Battista Pergolesi [1710–1736], BWV 1083 / Psaumes / Répertoire / Solistes SA, 2 Violons, Alto et Basse Continue, (C

Nach Dem 'Stabat Mater' Von Giovanni Battista Pergolesi. Par PERGOLESI GIOVANNI BATTISTA. Bach, Johann Sebastian / Horn, Paul (Arr.) - Scandrett, Robert (Trad.) - BWV 1083 / Musique religieuse / Répertoire / Solistes SA, 2 Violons, Alto et Basse Continue

Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé. Par PERGOLESI GIOVANNI BATTISTA. Some few months after returning to Naples from Rome, where he had gone to follow the premiere of L'Olimpiade at the Teatro Tordinona during the 1735 carnival season, Giovanni Battista Pergolesi -- notwithstanding the quickened pace of the disease that would soon bring his brief life to a close - presented the public with a new work, Il Flaminio, a 'commedeja pe' mmuseca” set to a libretto by Gennarantonio Federico. The opera was staged as the second of season that fall at the Teatro Nuovo sopra Toledo (one of three traditional venues, together with the Teatro dei Fiorentini and the Teatro della Pace, dedicated to the production of opere bu?e), where it met with a generally favorable reception. The edition includes a historical Introduction, a description of all the sources considered and a Commentary with critical notes and information related to specific problems of performance practice. / Niveau : Intermédiaire / Classique / Répertoire / Chant et Réduction Piano

Par PERGOLESI GIOVANNI BATTISTA. Shortly before his death, Giovanni Pergolesi moved to the Franciscan monastery in Pozzuoli, where he composed his last works. Among these is his Stabat mater - based on the medieval Latin poem. The piece reveals the infusion into church composition of the operatic style. Pergolesi's Stabat mater features a lively declamation of the text and great melodic appeal and expressiveness. Underlying everything is the contrapuntal background that was expected in music composed for the church at this time. This is is the full score of the original version, which was written for Soprano and Alto Solos and small String Ensemble. / Musique religieuse / Répertoire / Choeur

Ovvero La Morte Di San Giuseppe. Par PERGOLESI GIOVANNI BATTISTA. The oratorio LA FENICE SUL ROGO OVVERO LA MORTE DI SAN GIUSEPPE can rightly be considered the debut of Pergolesi’s career as a composer: composed in the early months of 1731 the oratorio was commissioned by the Congregazione di San Giuseppe locatedby the Oratorio dei Filippini in Naples. The critical edition was realized with criteria of philological rigor, based as the main source on the autograph score and on the manuscript copies still preserved. The volume includes: historical introduction; detailed description of all the sources considered; commentary with critical notes and information related to specific problems of performance practice; the facsimile reproduction of the printed librettoand some pages of the autograph score. The clothbound volume comes in a cardboard case. / Opéra-opérette / Date parution : 1905-06-11/ Répertoire / Choeur