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The Stabat Mater by the Italian late baroque composer Giovanni Battista Pergolesi (1710- 1736) invariably holds the number one posi- tion in many western classical music charts. In Pergolesi’s own era, his composition received enormous acclaim and was fre- quently a source of inspiration for the many tone poets who wanted to follow in his foot- steps. Why has this pole position remained inviolable throughout the centuries and why is the Stabat Mater unanimously proclaimed as the ultimate composition of the classical repertoire by a hugely diverse and widely spread audience, year after year? The fact that so many people are moved by this textbook example of simple, captivating sacred music has intrigued us for years and led us to study this work more closely in an attempt to find out what the ingredients of this special composition are. Has Pergolesi found the perfect balance between reason and emotion? Is his work the nec plus ultra in terms of musical expe- rience and immersion? Or is the glory and widespread familiarity of the work mainly due to its mainstream exposure via movies and television? For this version, two wonderful vocalists were brought together who are symbiotic and complementary both in terms of personality and musical interpretation. To emphasize the intimate and personal character of the work the artists have deliberately chosen a string ensemble with solo instruments, supported by the most traditional line-up of basso continuo in sacred music (organ & theorbo), which was given all possible improvisational freedom. This resulted in a ‘new’, fresh inter- pretation of this well-known piece of music, while the performers searched for the primal emotions of this beautiful poem about Mary and the melody it inspired. After Pergolesi’s intense musical interpretation of this enthralling poem, there can only be respectful silence: for the suffering of mother and son; and for the greatness of this baroque, inspirational composer and his sublime work.