Reviewed by Steven Whitehead

Giovanni Battista Pergolesi (1710-1736) was assured of his place in the musical pantheon with his magnificent 'Stabat Mater' so, for many years after his untimely death, lesser composers would try to pass off their own work as Pergolesi's, leading to much suspicion and confusion for future musicologists. On the one hand, what does it matter who wrote a piece if it sounds good? But, on the other, concert promoters and record company executives know that we need a name in order to sell seats and CDs. Back in the last century, when Hermann Scherchen first found a manuscript copy (of a copy) of 'Septem verba a Christo in cruce moriente prolata' (or, in translation, 'The Seven Words Uttered by the Dying Christ on the Cross'), there was a deal of suspicion as to who had written the original. Scherchen rightly praised his discovery as "one of the most heartfelt works of art, full of profound tenderness and an all-conquering sense of beauty" but it was only after other, later discoveries made the provenance certain beyond all reasonable doubt that the possibility of a concert performance was raised. So Pergolesi's 'Seven Last Words' was finally heard at the Beaune Festival in July 2012 a few days before this recording was made and now, at last, we can hear it for ourselves. On the positive side - a very positive side, to be sure - we have some exemplary singing by our four soloists: Sophie Karthauser (soprano), Christophe Dumaux (countertenor), Julian Behr (tenor) and Konstantin Wolff (bass), and some very assured playing by the Akademie fur Alte Musik Berlin under conductor Rene Jacobs. On the negative side it has to be said that this is no 'Stabat Mater' which remains Pergolesi's crowning accomplishment. But if ever you have enjoyed the Stabat then this is well worth seeking out. It is beautifully presented, well recorded, and lasts a generous 80 minutes. If you are new to Pergolesi then start with the Stabat and come to the Last Words next.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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