G.B. Pergolesi's Stabat Mater is one of the most famous works in the repertoire. Commissioned to replace A. Scarlatti's homonymous work, for the same forces (two voices, two violins and basso continuo), it quickly became popular throughout Europe ( and even paraphrased by J. S. Bach himself), to be the most printed or copied work in the 18th century. Raised to legend by his untimely death, many false autograph scores quickly circulated: Scherzi Musicali emits the hypothesis that Stabat as we know it today is not in its original state, and that the typical Neapolitan string trio has been enhanced with a viola part for an orchestral performance; this viola part almost constantly doubles the bass to the upper octave and thus makes the texture much less transparent. It is this transparency that Scherzi Musicali proposes to find by rereading this Stabat Mater as it could have been at the origin... In regard, the magnificent Salve Regina by A. Scarlatti, from which Pergolesi undoubtedly drew inspiration for his Stabat, but also a trio sonata from the hundred or so works that have been wrongly attributed to him, as well as a brilliant motet by the Brussels native J.-H. Fiocco whose language often echoes the famous Neapolitan.