Note: It would be a good idea to consult the chapter on ‘Music of the Baroque Period’ in the Study Area before studying this analysis.

Background and Overview
According to eighteenth century records, Giovanni Battista Pergolesi was actually called Giovanni Battista Jesi, though it is thought that he called himself ‘Pergolesi’ after the town from which his family heralded, Pergola. He was not blessed with good health during a short life of twenty-six years, though he outlived his siblings who all died in childhood. He had a weak constitution, and was disabled as a result of a deformed leg. As he entered his twenties his health gradually declined, and he died from tuberculosis.

Pergolesi received his musical education in Lesi and Naples, first as a choirboy, and then later as a violinist and composer. The vast majority of his compositional output was vocal repertoire, not only for the church but also for the operatic stage, including La serva padrona, an intermezzo whose text was written by the leading Neapolitan comic librettist of the time, Federico.  Like composers such as Caldara and Mozart, Pergolesi was also inspired to set the libretti of perhaps Italy’s greatest eighteenth century poet, Pietro Metastasio. But by far and away the most popular and famous of Pergolesi’s compositions was written for the church.

Stabat mater has established itself as perhaps the best known cantata for two voices within the entire repertoire of sacred vocal music. It was scored for soprano and alto soloists, three violins, cello and organ and, first published in London in 1749, it became the most frequently printed single work in the eighteenth century. Pergolesi composed Stabat mater in the final year of his life, whilst suffering from his final illness, and it was written as an alternative to Alessandro Scarlatti’s setting, which was scored for the same forces. Perhaps one of the greatest compliments to Pergolesi’s Stabat mater came about just over a decade after his death when, in 1748, Bach set the words of Psalm 51, Tilge, Höchster, meine Sünden, to Pergolesi’s music.
 
Stabat mater dolorosa is a great medieval text that describes the suffering of the Virgin Mary, at the foot of the cross, at the moment of Jesus’ crucifixion. The author is not known, though the text is believed to be of thirteenth century Franciscan origin. The author depicts Mary’s suffering, and asks that she may let him share the burden of grief so that, in death, he may be granted the joy of eternal life.

Pergolesi divides the work into twelve separate movements. Of these, two are solos for soprano, three are solos for alto, and the remaining seven are duets. He encapsulates the desperation and despair of the text most effectively in his renowned opening movement, with a sequence of anguished suspensions, which leave the listener in no doubt as to the severity of the scene. The music is in a minor key, and the voices carry on in anguish where the strings left off, supported by a haunting and searching basso continuo.

Ex. 1 Opening series of suspensions over basso continuo

Analysis

The tonal centres of the movements are as follows:

First movement: Stabat mater dolorosa (duet)

Melody, harmony and tonality
The first movement of Stabat mater is characterised by the wash of suspensions that provide the introduction to the rest of the cantata. These suspensions evolve extremely slowly in the violins, and their sequential nature means that clashes of a second are no sooner resolved than propelled into the next dissonance within the sequence.

The intense melodic dissonance of Ex. 1 is underpinned by a haunting, walking bass line. Within a very slow common time, a four-quaver figure in the bass consists of an ascending stepwise first three notes and then a falling third, meaning that it is doomed always to slump back to its origin. It is also treated sequentially and, although the four-quaver figure only encompasses the interval of a third before falling back down, an ascending sequence in both the violins and bass does give the phrase a glimmer of hope. From the doldrums of F minor, the contrapuntal lines rise until they momentarily reach the relative major of A flat (0.11), still within the opening bars. The violins and continuo then climb one more step to their summit, a minor sixth above the tonic (0.14), and frustratingly short of the octave. No sooner has this happened, than the continuo descends in a stepwise motion, past the tonic towards the dominant C below it (0.23). As the continuo breaks for half a bar, the ever present quaver motion is maintained by unison violins and downward arpeggios which are answered with a dominant pedal in the continuo, and perfect and imperfect cadences respectively (0.24-0.34). The phrase then seems to reach its natural conclusion with an angular melodic line in the violins, before a surprising interrupted cadence from the fifth to the sixth degree of the scale (0.39) and another angular flourish in the violins announce the end of the introduction with a perfect cadence in F minor (0.00-0.56).

As the voices enter, the F of the alto is compromised by the G of the soprano (0.57-1.00), and this mirrors the contrapuntal relationship between the violins at the beginning of the movement. The polarisation between the two vocal parts reaches the interval of a tenth at one point (2.36). However, as the two voices draw to the end of the movement, both parts return to a unison F and the cycle is over (3.59). Finally, another unexpected interrupted cadence precedes the final perfect cadence in F minor (4.05-4.19).
 
Structure
Like so much of the sacred vocal music from the baroque, this movement exhibits elements of ritornello form. The vocal soloists enter with the same melodic lines as the violins had at the beginning of the piece (0.00 and 0.57), over the same continuo bass line, and little returns of this motif can be heard at various points throughout the movement (2.24 and 3.45).

The introduction is eleven bars in duration (0.00-0.56), and much of the cantata uses phrases that are irregular in length. Although there are examples of symmetrical phrasing within the music, such as Pergolesi’s treatment of the words Juxta crucem lacrimosa (1.28-1.48), periodic phrasing is not integral to this early eighteenth century music, and many of the phrases within this piece are governed by the length of the lines of the text and are often therefore irregular.
 
Ex. 2 Balanced phrasing of the words Juxta crucem lacrimosa

Texture
There are three main textures displayed within this movement. As the singers enter, their melodic lines are highly contrapuntal as the row of suspensions from the opening few bars resurfaces (0.57). However, in Ex. 2, the soprano’s monodic line is answered by the alto in what can be described as an antiphonal texture (1.28-1.48). There are also examples of antiphonal texture in the introduction between the continuo on the strong beats of the bar, and the violins on the off beats (0.39-0.49). Finally, both vocal parts come together in homorhythm on the final word of the movement’s text, Filius (3.56-4.01).    

Second movement: Cucius animam gementem (soprano)

Metre and rhythm
The triple metre of this second movement, and a faster tempo, give more momentum to the music. The despair of the first movement is still apparent but there is now a sense of agitation as Mary shares Jesus’ sorrow and anguish through her heart. The vocal line often stresses the second quaver of the bar which brings about a rhythmic awkwardness.

Melody, harmony and tonality
Pergolesi uses many of the methods first seen in the opening duet, such as a rising motif that frustratingly never reaches the octave, and the juxtaposition of the movement of the violins with the basso continuo. The bass line continues where it left off, with passages that are underpinned by a conjunct walking bass, although the faster tempo gives these passages a more frantic feel than before.

Ex. 3 shows the scalic ascent of the opening ritornello (0.00-0.05). The harmonic minor scale of C climbs to its sixth degree, A flat, before falling a diminished seventh to the leading note, B natural. The rhythm of this melodic ascent is in opposition to the rhythm of the imitative, conjunct ascent of the basso continuo. Pergolesi then answers these first four bars with exactly the same theme, though this time down a tone in the unrelated key of B flat minor (0.05-0.10). This somewhat throws the tonal scheme of the movement, though by using a chord sequence that passes through related keys, from B flat minor to E flat, A flat, F minor and G major, he is able to return to C minor. The instrumental introduction then gives way to the soprano, who takes up the theme of Ex. 3 (0.38). As the tonality of the movement moves into the major, an E flat pedal is held for nine bars (0.57-1.09), whilst the soprano repeats the same melodic phrase three times thus creating an ostinato.  Pergolesi finishes each section with a chromatic descent on the word pertransivit, that leads to a perfect cadence on the word, gladius (1.18-1.24).

Ex. 3 Opening scalic ascent in C minor

Structure
This movement can be divided into three sections. The instrumental introduction begins and ends in C minor (0.00-0.37). The second section is largely based upon the first, although the violin now doubles the soprano (0.38-1.30). Within this second section, there is a modulation to A flat major. The third and final section (1.31-2.44) begins in A flat major, although it quickly re-establishes the tonic of the movement, and C minor prevails.  

Texture
For large parts of this second movement, the violins and continuo are in opposition, creating antiphony within a largely homophonic texture. The violin doubles the soprano throughout her vocal line.

Third movement: O quam tristis et afflicta (duet)

Melody, harmony and tonality
The G minor tonality of the opening of this duet reflects the sadness within the text, O quam tristis (0.00-0.05). The third crotchet of the opening bar is a C sharp diminished seventh chord in second inversion (see Ex. 4). After each of the opening two statements, an angular monophonic violin melody of four quavers is left in isolation, as if to represent the loneliness of death. The use of F sharp and E flat in the first of these monophonic interludes is another example of Pergolesi’s use of the harmonic minor scale, previously seen in the second movement (0.05-0.07).

Ex. 4 Opening homorhythm of O quam tristis

Another C sharp diminished seventh chord leads to a pause on the dominant, D major, as if the singers are asking a rhetorical question, O quam tristis et afflicta. No sooner has this happened than there seems to be a change of heart, as the key changes to B flat major and the continuo plays lighter hearted arpeggiated quaver interjections (0.23-0.31). Pergolesi elongates the word Mater, meaning ‘mother’ (0.32-0.37), and the phrase, mater unigeniti, is immediately repeated to highlight its importance.

The singers then repeat the opening material, again beginning in homorhythm (1.07-1.12). The key has now moved to B flat major, the relative major of the tonic key, though the use of a diminished triad quickly re-establishes the tonic of G minor. As the movement reaches its latter stages, the continuo plays a dominant pedal for two and a half bars while the alto chromatically ascends (1.21-1.31). The movement ends with thematic material heard only in the strings and not in the vocal parts, in the harmonic minor tonality of G (2.01-2.18).

Structure
The structure of this movement is slightly unorthodox within the context of the cantata as a whole. This is because the homorhythm at the very beginning of the movement is not preceded by an opening ritornello in the strings. Therefore, when the violins provide an interlude just before the singers repeat the text (0.55-1.05), this is the first time that this thematic material is heard (see Ex. 5). Although Pergolesi uses the same melody to draw the movement to a close (as previously mentioned), it is nevertheless unusual that this theme is not used prior to these two occasions. 

Ex. 5 Thematic material in the strings

Texture
The opening of this third movement is homorhythmic, with four drawn out crotchets for soprano, alto and strings (0.00-0.05). When the voices reappear, the quavers within the violin part appear to be a more decorated version of the crotchets within the vocal melody, and the texture at this point is heterophonic (0.08-0.12).

Fourth movement: Quae moerebat et dolebat (alto)

Melody and harmony
The rhythm and feel of the melody of the fourth movement (0.00-0.07) seem to derive from the fifth bar of the previous movement (Third Movement, 0.23-0.31) albeit that the tempo of this solo movement is faster. The E flat major tonality of this alto solo provides welcome relief from the minor tonality of its predecessors. In fact, despite the grim nature of the text there is an “um-cha” quality to the accompaniment, with witty octave leaps in the violin melody (0.08-0.12). A feature of this melody is the stress on the second quaver of the bar, and a comparison can immediately be drawn with the second movement.

The violins thematic fragmentation of the ritornello as seen in Ex. 6, in between each of the vocal phrases, is rhythmically reminiscent of the fragmentation from the previous movement, illustrated in Ex. 5.

Ex. 6 Thematic fragmentation

The overall range of the vocal part is a tenth. Whilst the vocal line is often stepwise, there are however playful leaps of a sixth and, later on, an octave (1.43-1.48). This is interesting, as previous movements have always denied the melody the opportunity of climbing all the way to the octave. The soloist often has four static crotchets for the phrase, nati paenas, before repeating the words at a much higher pitch and in a climactic manner, as if the first four static crotchets are acting as the calm before the storm (1.49-1.56).

Tonality and structure
The structure of this movement is more orthodox, as the thematic material is heard first in the violins (0.00-0.31), before being reiterated by the alto soloist (0.32). The vocal part begins where the violins left off, in E flat major. However, the first section of the alto solo modulates to the dominant key, B flat major. After the violin’s ritornello, the tonality of the movement shifts, and the alto embarks upon a section that begins in B flat minor (1.23), and quickly moves into F minor (1.30). However, no sooner has this happened than Pergolesi moves to B flat major as dominant preparation for a return to the tonic of E flat major (1.33-1.43).

Texture
Underpinning the solo line is a witty antiphonal juxtaposition of on-beat continuo and off-beat violins.

Fifth movement: Quis est homo (duet)

This movement can clearly be broken up into two main parts.

First section
The first of these parts has, itself, three sub-sections, namely a soprano solo (0.00-0.48), an alto solo (0.49-1.39) and then finally a vocal duet (1.41-2.33). No sooner has the relief of E flat major occurred than the fifth movement propels the tonality into its relative minor. This minor tonality, coupled with a much more reserved tempo and a common time metre, is certainly reminiscent of the despair of the first movement.

The first four bars of this movement exhibit elements of periodic phrasing (0.00-0.27), as the first pair of bars is beautifully complimented by the second pair. Then, an octave leap prepares the way for a held top G in the soprano, whilst the instruments begin a slow chromatic descent as seen in Ex. 7 (0.28).

Ex. 7 Soprano’s sustained G over a slow chromatic descent

Once this has happened the soprano is left to fall conjunctly, until all parts land at a pause in G major. This G major chord makes way for the G minor tonality of the alto entry (0.49). The alto has the same melodic phrase, albeit a fourth lower, and therefore ends on a D, supported by a chord of D major. Both vocal parts then continue with this D major tonality and, although in homorhythm, they have different texts (1.41). The music fluctuates between D major and G minor, before finally pausing on a chord of D major (2.28-2.33).

Second section
The second part of the movement is segregated by a double bar line, and is a much quicker homorhythmic duet in compound time (2.34). Decorated violin parts create heterophony within the key of E flat major, and the continuo pedals of E flat and B flat confirm the tonality. However, the introduction of B natural in the continuo (2.44) accommodates a return to C minor. Six bars of a G dominant pedal in both the continuo and the vocal parts cement this return (2.49), and the relentless dotted crotchet homophony of the vocal parts drive the movement to an anxious end.

Sixth movement: Vidit suum dulcem natum (soprano)

Melody and harmony
The sixth movement begins in F minor, and the melody itself begins on the fifth degree of the scale, C, which also happened to be the key of the previous movement.

Again, many of the same techniques are employed in this movement for solo soprano. There is much sequential material, and momentum is provided by a relatively constant quaver continuo line that, from time to time, includes pedals.

Earlier, in the previous movement, whilst the vocal line remained on the one note the instrumental lines chromatically descended. This chromatic descent can now be seen in the third bar of this movement, in rhythmic augmentation as seen in Ex. 8 (0.09-0.22).

Ex. 8 Rhythmically augmented chromatic descent

Again, examples of his use of the harmonic minor scale and the interval of an augmented second can be seen, although within the same bar he uses both E natural and E flat (0.30-0.34), and so this movement also exhibits the melodic minor scale.

The previously mentioned chromatic descent in the continuo occurs three times in all during this movement, and each time it accompanies a descending sequence in the melodic line.

The clashes between the soprano G and the F in the violins (3.24), in the last phrase of the movement, bear resemblance to the clash between F and G at the very beginning of the cantata. On one occasion, the soprano leaps a minor ninth, from an F to a G flat (2.11), which serves as a climactic point within the movement.

Tonality and structure
Like many of the movements within Stabat mater, the soloist presents the words twice, and the first section resolves in the key of the relative major, A flat. The second section (1.36), at the repeat of the words, begins in A flat, but journeys through a number of sequential modulations to end the movement in F minor.

Texture
Although entirely different in mood, the antiphony of the fourth movement is not too dissimilar to the contrast here between the strong beats in the voice and continuo and the off beats in the violin at the words, Dum emisit spiritum (2.42).

As the vocal line makes way for the instrumental lines at the end of the movement, the idea of Jesus giving up his spirit is illustrated by the strings as they die away (3.03).

Seventh movement: Eja mater, fons amoris (alto)

Melody, harmony and tonality
Rather like the second movement, this solo is in triple time with momentum provided by the quaver motion of the continuo. The walking bass line confirms the minor tonality.

After the opening ritornello in the strings (0.00-0.19), six bars of C minor accompany the alto solo (0.20-0.29). This is immediately answered by six bars of E flat major (0.29-0.38), before the harmony supporting the third vocal phrase moves from E flat major to an implied chord of E natural diminished seventh (minus the G). This chord paves the way for the first section to end in F minor. After a ritornello in the same key (0.48-1.00), the words are repeated using the same thematic material, but this time in F minor (1.01). The movement finishes in C minor.

Pergolesi often chooses to use diminished sevenths in place of dominants to prepare for modulations, such as the B natural diminished seventh that prepares for C minor (1.10-1.13), and the F sharp diminished seventh preparation of G major (1.14-1.17).

In the second movement of Stabat mater, a bass pedal is supported by an ostinato in the vocal line. In this movement, however, there are examples of inverted pedals in the vocal line under which ostinati in both the continuo and the violins occur (1.17-1.28).

Structure
Interestingly, the thematic material is often taken up by the violins in the bar of the soloist’s final phrase, as opposed to starting in the next bar (2.24). The resultant overlapping is a feature of this movement as seen in Ex. 9.

Ex. 9 Overlapping of phrases

Texture
At the beginning of the movement, the canonic entries of first the violins and then the continuo are a bar apart (0.00-0.02).

Pergolesi often doubles the vocal line with the violin in solo movements. However, he sometimes prefers to put the violin up an octave when accompanying the alto, as the tessitura of the alto is often quite low. The violin doubles the vocal line at the octave in this movement, although every now and then they stray from the melody and instead play fragments of the ritornello (0.42-0.43).

Eighth movement: Fac, ut ardeat cor meum (duet)

Melody, harmony and tonality
This up-beat eighth movement in G minor is rife with ascending sequences and much conjunct movement. Another feature is the series of cascading suspensions, although technically these are not always prepared (2.22-2.25). Major and minor sections alternate until, in the final few bars, the tonality below the violins’ chromatic disjunct melody oscillates between tonic (G minor) and dominant (D major) before reaching its final resting place of G minor (1.55-2.07).

Texture and structure
Ex. 10 illustrates the imitative entries at the beginning of the movement, which are similar to the entries in the exposition of a fugue, and can therefore be described as fugal.

Ex. 10 Fugal entries

The subject can be heard in the soprano line (0.00), whilst second violins provide a crotchet driven accompaniment. After four bars, the alto enters with what is known as the answer (0.03), which is the subject transposed up a fifth or down a fourth i.e. starting on the dominant. Technically, therefore, what is known as a real answer would start on an A natural. However, because of the underlying harmony of G minor, Pergolesi instead uses a tonal answer beginning on a G. Above the alto’s answer, the soprano provides a counter subject. Once both vocal lines have established themselves, the continuo then offers the subject, as the contrapuntal lines above it intertwine (0.06).

Stretto is used where the fugal entries are telescoped (0.55), and the alto enters only one bar after the soprano entry as seen in Ex. 11.

Ex. 11  Stretto

The two voices occasionally unite in playful homorhythm, and in antiphony with the continuo. At these more uplifting moments, Pergolesi often uses the relative major of B flat (0.17).

Ninth movement: Sancta mater, istud agas (duet)

Melody, harmony and tonality
The opening string ritornello (0.00) and soprano solo (0.38) are both in the key of E flat major, although the soprano ends in the dominant key of B flat major (1.17-1.23). The alto entry begins in this key (1.33), presumably to allow for the lower tessitura, and ends in F major (2.13-2.20). After a brief string passage in F major (2.19-2.27), Pergolesi introduces A flats for the duet to bring about the key of F minor (2.28). In the latter half of the movement, Pergolesi ventures through a number of keys until predictably returning to the original tonic of E flat major.
 
As seen in Ex. 12, the melodic theme of this movement is characterised by a tonic (e.g. E flat) falling to its dominant (e.g. B flat), before arriving at the tonic below (e.g. E flat). Interestingly, at the words, juxta crucem, the soprano ignores this rule, using the lower tonic either side of the dominant (3.16). The alto copies this in its answering phrase. However, whilst doubling the vocal parts, the violin obeys the characteristic, and it therefore seems that the reason behind the stray vocal lines is purely to do with unreasonable tessitura.

Ex. 12 Opening thematic material

The continuo’s quaver movement provides the momentum for the vocal lines, which often incorporate decorative semiquaver passages.

Structure
This movement follows the structure of many of the duets within Stabat mater. It begins with an instrumental introduction, which is then followed by sections for one soloist (which, in this instance, is the soprano) and then the other. Finally, both soloists unite in a duet.

Tenth movement: Fac, ut portem Christi mortem (alto)

This tenth movement is written in the key of G minor, and the opening theme is repeated in sequence for the first three bars in octave unison (0.00-0.22). This theme is characterised by dotted rhythms and a melodic line that seems to ask a question by rising to the fifth degree of the scale as seen in Ex.13. Each question is followed by a silent pause, and these opening bars give the movement a dark and sinister feel. Before the alto entry, the strings break into harmony, and the violin melody of the fifth bar (0.33-0.47) provides the material for the last two bars of the movement (3.22-3.41).  

Ex. 13 Dotted rhythms in unison octaves

When the alto enters the fray, the questioning phrases in octave unison return (0.49). However, after three bars of sinister monophony, Pergolesi breaks the spell by using straight rhythms and functional harmony within the relative major key of B flat (1.16). Above a dominant pedal, the alto has a beautifully uplifting ascending sequence that reinforces the major tonality (1.23).

Within the latter half of the movement, the continuo adopts its familiar walking bass. After a violin descent that originates from the fifth bar, the unison octave dotted rhythms return in the strings and restore the gloom. Jagged intervals, such as a tritone in the final bar, add to the awkwardness of the thematic material.

Eleventh movement: Inflammatus et accensus (duet)

Metre and Rhythm
This movement is not dissimilar to the fourth movement in terms of its simple time and accent on the second quaver of the bar.

Melody, tonality and texture
The tonic key of this duet is B flat major. The continuo intermittently provides a bar or two of tonic pedal such as the first bar of the movement, although it is unsurprisingly mostly employed as a quaver walking bass.

The soprano entry is in the tonic key (0.30), although the vocal line arrives at the key of F major in order to allow the alto to sing the same thematic material in this new dominant key a few bars later (1.08). The alto entry is unorthodox, in that no sooner has it begun than the soprano interjects, reiterating the home key of B flat (1.13).

The two vocal parts then come together in homorhythm before a dominant pedal in the alto underpins another ostinato in the soprano as seen in Ex. 14 (1.22). The vocal parts conclude their activity in homorhythm, before playful octave leaps in the violins draw the movement to a close (1.53).
 
Ex. 14 Soprano ostinato and alto dominant pedal

Structure
The idea of ritornello form is in evidence, as the soprano uses the thematic material of the instrumental introduction. This thematic material includes various different ostinati.

Twelfth movement: Quando corpus morietur (duet)

This final movement has two very distinct sections. The first depicts the earthly body dying with an extremely sorrowful and searching melody (0.00-4.16). The second is an altogether much quicker section, which is perhaps the coda to the whole cantata (4.17-5.26).

First section
Metre and Rhythm
For so much of this cantata, the continuo provides an ever present walking bass line. It is perhaps significant, therefore, that in this first Largo section the notes of the continuo remain regular, but are punctuated by rests that hamper the momentum.

Melody, harmony and tonality
The melodic line of the introduction employs the F harmonic minor scale, and Pergolesi has used this harmonic minor tonality quite frequently within this cantata. Within the first bar of the vocal entries, the interval of a tritone is used in verticalisation to heighten the mournful and desperate qualities of this movement. The imitative entries of the vocal lines sometimes enter at a high pitch and fall a large interval as if to represent the desperate cry that the text warrants (2.14-2.26). A chromatically descending soprano line is reminiscent of the continuo’s chromatic descent in the fifth movement (2.26-2.41). 

As the singers request glory in paradise, Paradisi gloria, Pergolesi uses an interrupted cadence moving from the fifth to the sixth degree of the scale (3.27-3.36). The pause that ensues is then followed by a repeat of this phrase, although this time a perfect cadence closes the Largo in F minor (3.39-4.16).

Structure
The opening two bars of the instrumental introduction hint at periodic phrasing (0.00-0.16), although the third bar is an echo of sorts of the second bar, thus putting an end to the symmetry.

Texture
When the vocal parts enter with the thematic material of the opening string passage, canonic entries alternate with homorhythmic textures.

Second section
The Amen that follows begins in F minor with almost exactly the same fugal idea as previously witnessed in the eighth movement. Again, counterpoint, sequences, suspensions, sections of homorhythmic texture, and inverted pedals are all in evidence. Chromatically descending phrases hark back to previous movements.

This final section begins in F minor (4.17), using chords of F minor and C major. An inverted C pedal precedes a section in F major which, in turn, brings about a section in B flat. However, C major tonality returns, and a C pedal (4.53) acts as dominant preparation for a final resolution in F minor, with declamatory homorhythm as the singers proclaim the Amen.

Ex. 15 illustrates how three perfect cadences at the very end of the piece (5.06-5.26) suggest the idea of the holy trinity, and a unison F in the vocal parts draws the cantata to a close in the key in which it began.

 Ex. 15 Final bars of the Amen

Style
The music within Stabat mater is largely governed by the basso continuo.

• Nine out of the twelve movements, including every solo movement, adopt ritornello form, with an instrumental introduction that provides the thematic basis for the rest of the movement.
• The duets seem to fall into two categories. Many of them are homophonic in texture, with some entirely homorhythmic passages as well as moments of antiphony. Others, however, are extremely lively and contrapuntal.
• The violins often double the vocal melody, which is a tradition that has remained and can be seen in later Italian music such as the operatic arias of Puccini.
• The cantata has a tonal scheme of sorts, in which all the movements are closely related in terms of key. The vast majority of the movements begin in their tonic key, and visit the dominant key before eventually returning to the tonic.
• The instrumentation is common for cantatas of this era, although it would have been plausible to accommodate wind instruments within the ensemble, in addition to the strings. Many of Bach’s cantatas are scored for strings, woodwind and sometimes brass. The basso continuo comprises of chordal instruments and bass instruments. In this recording, a double bass joins the cello in octave unison.
• Pergolesi explores some of the chromatic harmonies for which Monteverdi paved the way at the beginning of the seconda prattica.

Further listening

• Listen to Pergolesi’s Salve Regina in C minor (8.557447), which was also written in the final year of the composer’s life. This solo cantata for soprano begins with a similar intricate series of suspensions to the Stabat mater, and the soprano soloist enters with the same melodic line as the alto soloist has in the duet.
• Listen to Scarlatti’s Stabat mater (PRSACD2040), which was written just before Pergolesi’s setting, and for the same forces.
• Listen to BWV 1083, Tilge, Höchster, meine Sünden (SACD22342), J.S. Bach’s musical setting of Pergolesi’s Stabat mater to the words of Psalm 51.