Dialogues on Stabat Mater is based on Pergolesi’s famous work, with contemporary interludes — musical dialogues — conceived as prayers, commentaries and personal reactions to the movements: modern souls affected by the Stabat Mater.

The work is also a dialogue between Past and Present: between the prayer and the transformation created by it, between a sacred archetype and the personal connection to the Stabat Mater from the view of our own time.

Auerbach describes the work as an experiment: an attempt to create a frame, a dialogue, an outlook from the present on the same subject as Pergolesi’s masterpiece. Rather than emphasizing the differences between eighteenth- and twenty-first-century musical languages, the work seeks the deeper challenge of their similarities.

• Dialogue Past and present, prayer and transformation, monologue and response.
• Stabat Mater Pergolesi’s sacred model becomes the ground for contemporary instrumental reflection.
• Universal Grief The grieving mother becomes an image beyond historical or stylistic boundaries.

Written for violin, viola, vibraphone and string orchestra, Dialogues on Stabat Mater transforms the concerto grosso principle into a space of spiritual commentary. The solo instruments do not simply decorate the string body; they become voices of reflection, interruption, prayer and memory.

The eight movements form a sequence of contrasting states: moderated lament, nostalgia, agitation, dramatic weight and urgent motion. Through these changing surfaces, the work remains bound to a single central image: grief contemplated across centuries.

The result is neither a reconstruction of Pergolesi nor a rejection of him, but a living conversation: a sacred memory heard through the fractured sensibility of the present.