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Stabat Mater | Brilliant Classics 95370

Stabat Mater

Label: Brilliant Classics

Cat No: 95370

Barcode: 5028421953700

Format: CD

Number of Discs: 14

Genre: Vocal/Choral

Release Date: 24th February 2017

This product has now been deleted. Information is for reference only.

Contents

Artists

Lawrence Zazzo
Paul Esswood
Elin Manahan Thomas
Aldo Di Toro
Gloria Scalchi
Antonino Siragusa
Carlo Colombara
Christine Brewer
Elizabeth Cragg
Robert Murray
Henriette Bonde‐Hansen
Benjamin Hulett
The Sixteen
Radio‐Sinfonieorchester Stuttgart
The Bach Choir
Bournemouth Symphony Orchestra
Hungarian State Opera Chorus and Orchestra
Exultate Singers
The Washington Chorus and Orchestra

Conductors

Harry Christophers
Helmut Rilling
David Hill
Pier Giorgio Morandi
David Ogden
Robert Shafer

Works

Boccherini, Luigi

Stabat Mater, G532

Bononcini, Antonio Maria

Dio e la Vergine
Stabat Mater

Caldara, Antonio

Stabat mater

Dvorak, Antonin

Stabat Mater, op.58

Haydn, Franz Joseph

Stabat Mater

Howells, Herbert

Sine nomine
Stabat Mater
Te Deum

Lachner, Franz

Stabat Mater, op.154

Liszt, Franz

Stabat mater, S172b

Mayr, Johann Simon

Stabat Mater no.3 in C minor

Nystedt, Knut

Stabat mater, op.111

Palestrina, Giovanni Pierluigi da

Stabat Mater

Part, Arvo

Stabat Mater

Pergolesi, Giovanni Battista

Stabat Mater

Perosi, Lorenzo

Stabat Mater

Poulenc, Francis

Stabat mater, FP148

Rossini, Gioachino

Stabat Mater

Scarlatti, Alessandro

Stabat Mater

Scarlatti, Domenico

Stabat mater

Schubert, Franz

Stabat Mater in G minor, D175

Stanford, Charles Villiers

Stabat Mater, op.96

Steffani, Agostino

Stabat Mater

Szymanowski, Karol

Stabat Mater, op.53

Verdi, Giuseppe

Pezzi sacri (4)
» II Stabat Mater

Vivaldi, Antonio

Stabat Mater, RV621

Artists

Lawrence Zazzo
Paul Esswood
Elin Manahan Thomas
Aldo Di Toro
Gloria Scalchi
Antonino Siragusa
Carlo Colombara
Christine Brewer
Elizabeth Cragg
Robert Murray
Henriette Bonde‐Hansen
Benjamin Hulett
The Sixteen
Radio‐Sinfonieorchester Stuttgart
The Bach Choir
Bournemouth Symphony Orchestra
Hungarian State Opera Chorus and Orchestra
Exultate Singers
The Washington Chorus and Orchestra

Conductors

Harry Christophers
Helmut Rilling
David Hill
Pier Giorgio Morandi
David Ogden
Robert Shafer

About

The Stabat Mater depicts Mary standing at the cross of Jesus, weeping at the sight of her son's crucifixion. The poem asks us to share in Mary's pain ('Fac, ut ardeat cor meum') and rejoice in Christ's sacrifice for mankind. The timeless bond between a mother and her son transcends the shifting world around us. Mary's anguish crosses all boundaries, speaking to anyone who has seen a loved one suffering, humanising Christ for experiencing mortal pain even while lauding him as the saviour. Not only is the theme heartfelt and tender, but the Latin text is rhythmic and lyrical, lending itself perfectly to music.

The existing versions represent a wonderful diversity of styles. In Palestrina's time, it was important that the music did not interfere with the clarity of the words. His Stabat Mater for eight voices, therefore, is simple, resonant, and wonderfully moving. Vivaldi, Caldara and both Alessandro and Domenico Scarlatti were among the Baroque composers to try their hand next; Vivaldi only set the first ten stanzas, ending with the plea to experience Mary's suffering for ourselves. The music, melancholy and minor, contrasts with Caldara's setting, which includes two trombones.

Later composers include Luigi Boccherini, who wrote some florid lines for solo soprano, the only early setting to include a soloist. By the time Haydn came to write his own Stabat Mater in 1767 he would have been familiar with those of Pergolesi and Alessandro Scarlatti. It became Haydn's most performed work in his lifetime, notable for its swapping out of the oboes for two cors anglais in two of the movements, creating a graver and more melancholy sound.

Dvořák and Liszt both created highly personal settings of the poem: Liszt because of his strong religious impulse – he wrote the Stabat Mater as part of his oratorio Christus while living in the Vatican, having entered the lower orders – and Dvořák because of a string of personal tragedies. The Czech composer lost his eldest daughter Josefa in 1876, which prompted him to begin sketching the music, and he returned to the composition in 1877 after the deaths of his two surviving children in close succession.

A number of turn‐of‐the‐century composers lent their romantic touch to the text. Verdi's version, scored for chorus and large orchestra, was written towards the end of his life, and is fully representative of his mature style. Stanford and Howells, both deeply embedded in the Anglican tradition, brought the Stabat Mater into the renaissance of British music.

The Stabat Mater has lost none of its allure in more recent times: perhaps its enduring quality has become even more important since the momentous events of the 20th century. Poulenc composed his setting in 1950, stung by the recent death of his close friend Christian Bérard. Knut Nystedt, the Norwegian composer who died in 2014, composed his stripped down Stabat Mater in 1986, scored for choir and solo cello. Influenced by Gregorian chant and Palestrina, the composer brings us full circle to the earliest settings of this ageless poem.

Brilliant Classics has brought together a number of first‐class performers for this set, including classic performances and new recordings. Harry Christophers conducts The Sixteen in their performance of Agostino Steffani's Stabat Mater dolorosa, featuring soloists Elin Manahan Thomas and Grace Davidson. Dvořák's Stabat Mater is stylishly performed by The Washington Chorus and Orchestra, conducted by Robert Shafer, alongside Christine Brewer and John Aler, in a performance recorded at Washington D.C.'s John F. Kennedy Center. Boccherini's Stabat Mater (released in July 2016 and praised by MusicWeb International as 'an engaging performance, high on polish and long on assurance') is performed by the young Ensemble Symposium, featuring Francesca Boncompagni.

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