The common factor in this programme is the adherence of its three composers to what is generally called the Neapolitan style. Durante was one of its most important representatives during the first half of the eighteenth century, and Pergolesi his most celebrated pupil. Astorga was a Spaniard whose family had settled in Italy, though he himself eventually returned to Spain and Portugal. His colourful life, like that of Stradella, became the subject of novellas, dramas and an opera during the nineteenth century and elaborately woven, extravagantly embellished legends even found their way into respectable works of reference.
The Magnificat in B flat by Durante is an immediately appealing, expressively vital piece, concise, tautly constructed and tonally radiant. Both its opening and concluding sections are closely linked by the quotation of its psalm tone cantus firmus, similarly treated in each instance. Altogether, this is a warmly satisfying setting of the canticle with sumptuous choral homophony colouring the short but effective “Gloria patri”.
Astorga’s Stabat mater in C minor is, as we should expect, of a very different expressive hue. It’s an extended piece with a spacious opening chorus with occasional unexpected modulations colouring the musical rhetoric. The remainder of the work is shared between solo voices, vocal ensembles and choruses. The setting is Astorga’s only known surviving sacred composition but, popular though it was in the second half of the eighteenth century and first half of the nineteenth, the claim made for it in the informative accompanying note by Jens Markowsky as being at least the equal of Steffani’s setting is debatable.
Pergolesi’s psalm setting Confitebor tibi Domine is close in spirit and in style to the Magnificat of his teacher, Durante. Pergolesi introduces a larger solo element with only four choral sections as opposed to Durante’s six. Pergolesi was foremost an opera composer, Durante, exceptionally among Neapolitan composers, was not, and it is in this respect that the two works reveal the most interesting contrasts.
The performances are very good indeed. The Balthasar Neumann Choir consists of 14 voices from which various soloists in various groupings emerge as required. Over and above these, however, are the valuable contributions from Ann Monoyios. Her “Sancta mater” in the Astorga is beautifully sung, as are the remaining five solos apportioned to her in that work and the Pergolesi psalm. The Freiburg Baroque Orchestra provides sympathetic, incisive support throughout but even if all things were not equal I should want this disc for the contribution made by Monoyios, one of the very best singers performing baroque repertoire today. Strongly recommended.'