Stabat Mater Motets

Description

Beyond all historical considerations regarding the sources and the reconstruction of the score of Pergolesi's Stabat Mater as outlined by Enrico Onofri for this recording, let’s simply say that it is a restored version concerning instrumentation, ornamentation, and metrics. Onofri adapts this new version to the vocal parts, hence the title Contrafacta given to the album. Aside from that, this masterpiece of Latin music, praised for the profound science of its harmonies (De Brosses, 1739), seems to withstand everything. On a tenuous instrumental support like a thread, the sumptuous and abundant voices of Maria Espada and Carlos Mena flourish delightfully. A superb floral composition but above all the exact sonic embodiment of the extraordinary Mater Dolorosa by Pedro de Mena, a polychrome sculpture of hallucinatory expressionism that adorns the cover and the booklet of the album. Additionally, Onofri introduces us to the parody made by Juan Frances de Iribarren Echevarria (1699-1717), organist and chapel master in Malaga, of excerpts from Pergolesi's work, which is somewhat anecdotal, as well as a Lamentation for Good Friday of beautiful craftsmanship. Besides the interest of the reconstruction of Pergolesi and the usual quality of the Passacaille label's edition (The iconographic choice), one will remember the performance of Maria Espada, a celestial voice that irresistibly evokes that, albeit more sensual, of another Spanish diva: Nura Rial. Essential!