The rush of modern music and the modifications in taste have pushed the scores of Pergolese from the theatre and the concert room, and no later performances of his operas are to be noted as of consequence since the double revival of "La Serva Padrona" in Paris, in 1863, when the original version was given at the Italiens and the French translation at the Opéra Comique, Mesdames Galli-Marié and Penco carrying off the honors. The instrumental trios are never heard nowadays, and although Catholic choirs throughout the world still keep his church music in use, it is only upon rare occasions that the "Stabat Mater" is produced for Protestant auditors by some serious-minded choral society. Pergolese was a quite industrious writer, if allowance be made for the diversions caused by his personal indulgences, and for the discouragement which was naturally produced upon a temperament like his by the lack of appreciation, sympathy and material support, individual patronage having undoubtedly contributed at least as much to his material and spiritual comfort and development as public applause and sustenance. He was not a rapid writer, however, and the record of his compositions, so far as they are known, includes besides the operas which have been already named, a large cantata entitled "Orfeo;" five minor cantatas; an oratorio having for its subject the Nativity; the thirty trios already alluded to; five masses, and a dozen or so of religious pieces. A considerable number of the vocal scores were published and twenty-four of the trios were printed in London or Amsterdam, but the minor religious works and some of the operas remained in manuscript and are practically inaccessible except to studious inquirers in Italian libraries. It is not difficult to establish now a just estimate of the genius of Pergolese, which was undervalued during his lifetime, then suddenly exalted above its worth and then again depreciated below its true plane. It was seldom that the external form of his compositions gave an adequate idea of the spiritual qualities which dwelt within them. Wise and careful observers often remarked that they heard with surprise and delight much which they had not anticipated from an examination of the scores. Educated strictly in the severe and learned Neapolitan school, he was of course a master of counterpoint and of all the devices and figures of musical effect, which, as has been said, constituted the staple of his first pieces. But he had an intuitive sense of the dramatic element in man and in music, and he made this felt, alike in the humorous sprightliness of "La Serva Padrona," the emotional piety of the "Salve Regina," and the pathetic strophes of the "Stabat Mater."