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The theme of the Stabat Mater project is fate, death, especially the death of a child - and especially the loss of a child as experienced by the parents. The program begins with two pieces by Antonio Vivaldi, Nulla in mundo pax and Nisi dominus (with the moving Cum dederit) about fate, doom and destiny. This is followed by the well-known and beloved Stabat Mater (1736) by Giovanni Batista Pergolesi (1710-1736) in which Mary weeps at the foot of the cross for her son Jesus: The deeply grieved Mother | Stood weeping by the cross | While her Son hung there.
As an introduction to the second part of the concert, P.F. Thomése, author of the book Schaduwkind (Shadow Child; 2003) about the death of his own little daughter, reads several passages from it. The combination of eighteenth-century music and modern literature underscores the timelessness of the theme. It can also contribute to making Baroque music accessible to an audience that is more familiar with text and literature than with early music.
The theme of the Stabat Mater project is fate, death, especially the death of a child - and especially the loss of a child as experienced by the parents. The program begins with two pieces by Antonio Vivaldi, Nulla in mundo pax and Nisi dominus (with the moving Cum dederit) about fate, doom and destiny. This is followed by the well-known and beloved Stabat Mater (1736) by Giovanni Batista Pergolesi (1710-1736) in which Mary weeps at the foot of the cross for her son Jesus: The deeply grieved Mother | Stood weeping by the cross | While her Son hung there.
As an introduction to the second part of the concert, P.F. Thomése, author of the book Schaduwkind (Shadow Child; 2003) about the death of his own little daughter, reads several passages from it. The combination of eighteenth-century music and modern literature underscores the timelessness of the theme. It can also contribute to making Baroque music accessible to an audience that is more familiar with text and literature than with early music.
The theme of the Stabat Mater project is fate, death, especially the death of a child - and especially the loss of a child as experienced by the parents. The program begins with two pieces by Antonio Vivaldi, Nulla in mundo pax and Nisi dominus (with the moving Cum dederit) about fate, doom and destiny. This is followed by the well-known and beloved Stabat Mater (1736) by Giovanni Batista Pergolesi (1710-1736) in which Mary weeps at the foot of the cross for her son Jesus: The deeply grieved Mother | Stood weeping by the cross | While her Son hung there.
As an introduction to the second part of the concert, P.F. Thomése, author of the book Schaduwkind (Shadow Child; 2003) about the death of his own little daughter, reads several passages from it. The combination of eighteenth-century music and modern literature underscores the timelessness of the theme. It can also contribute to making Baroque music accessible to an audience that is more familiar with text and literature than with early music.
The theme of the Stabat Mater project is fate, death, especially the death of a child - and especially the loss of a child as experienced by the parents. The program begins with two pieces by Antonio Vivaldi, Nulla in mundo pax and Nisi dominus (with the moving Cum dederit) about fate, doom and destiny. This is followed by the well-known and beloved Stabat Mater (1736) by Giovanni Batista Pergolesi (1710-1736) in which Mary weeps at the foot of the cross for her son Jesus: The deeply grieved Mother | Stood weeping by the cross | While her Son hung there.
As an introduction to the second part of the concert, P.F. Thomése, author of the book Schaduwkind (Shadow Child; 2003) about the death of his own little daughter, reads several passages from it. The combination of eighteenth-century music and modern literature underscores the timelessness of the theme. It can also contribute to making Baroque music accessible to an audience that is more familiar with text and literature than with early music.
The theme of the Stabat Mater project is fate, death, especially the death of a child - and especially the loss of a child as experienced by the parents. The program begins with two pieces by Antonio Vivaldi, Nulla in mundo pax and Nisi dominus (with the moving Cum dederit) about fate, doom and destiny. This is followed by the well-known and beloved Stabat Mater (1736) by Giovanni Batista Pergolesi (1710-1736) in which Mary weeps at the foot of the cross for her son Jesus: The deeply grieved Mother | Stood weeping by the cross | While her Son hung there.
As an introduction to the second part of the concert, P.F. Thomése, author of the book Schaduwkind (Shadow Child; 2003) about the death of his own little daughter, reads several passages from it. The combination of eighteenth-century music and modern literature underscores the timelessness of the theme. It can also contribute to making Baroque music accessible to an audience that is more familiar with text and literature than with early music.
The theme of the Stabat Mater project is fate, death, especially the death of a child - and especially the loss of a child as experienced by the parents. The program begins with two pieces by Antonio Vivaldi, Nulla in mundo pax and Nisi dominus (with the moving Cum dederit) about fate, doom and destiny. This is followed by the well-known and beloved Stabat Mater (1736) by Giovanni Batista Pergolesi (1710-1736) in which Mary weeps at the foot of the cross for her son Jesus: The deeply grieved Mother | Stood weeping by the cross | While her Son hung there.
As an introduction to the second part of the concert, P.F. Thomése, author of the book Schaduwkind (Shadow Child; 2003) about the death of his own little daughter, reads several passages from it. The combination of eighteenth-century music and modern literature underscores the timelessness of the theme. It can also contribute to making Baroque music accessible to an audience that is more familiar with text and literature than with early music.