The Stabat Mater is a 13th-century Christian hymn to the Virgin Mary that portrays her suffering as mother during the crucifixion of her son Jesus Christ. Its author may be either the Franciscan friar Jacopone da Todi or Pope Innocent III. [1] [2] [3] The title comes from its first line, "Stabat Mater dolorosa", which means "the sorrowful mother was standing". [4]
The hymn is sung at the liturgy on the memorial of Our Lady of Sorrows. The Stabat Mater has been set to music by many Western composers.
The Stabat Mater has often been ascribed to Jacopone da Todi (ca. 1230–1306), but this has been strongly challenged by the discovery of the earliest notated copy of the Stabat Mater in a 13th-century gradual belonging to the Dominican nuns in Bologna (Museo Civico Medievale MS 518, fo. 200v-04r). [5]
The Stabat Mater was well known by the end of the 14th century and Georgius Stella wrote of its use in 1388, while other historians note its use later in the same century. In Provence, about 1399, it was used during the nine days' processions. [6]
As a liturgical sequence, the Stabat Mater was suppressed, along with hundreds of other sequences, by the Council of Trent, but restored to the missal by Pope Benedict XIII in 1727 for the Feast of the Seven Dolours of the Blessed Virgin Mary. [7]
The Latin text below is from an 1853 Roman Breviary and is one of multiple extant versions of the poem. [8] The first English translation by Edward Caswall is not literal but preserves the trochaic tetrameter rhyme scheme and sense of the original text. The second English version is a more formal equivalence translation.
Part of a series on the |
Mariology of the Catholic Church |
---|
Catholicismportal |
1. Stabat mater dolorósa | At the Cross her station keeping, – Translation by Edward Caswall [10] | The sorrowful mother was standing |
To the Stabat mater was attributed the indulgence of 100 days each time it was recited. [11]
This section needs additional citations for verification .(February 2020) |
Composers who have written settings of the Stabat Mater include:
Most settings are in Latin. Karol Szymanowski's setting is in Polish, although it may also be sung in Latin. George Oldroyd's setting is in Latin with an English translation for Anglican and Episcopalian use.
Giovanni Battista Draghi, usually referred to as Giovanni Battista Pergolesi, was an Italian Baroque composer, violinist, and organist, leading exponent of the Baroque; he is considered one of the greatest Italian musicians of the first half of the 18th century and one of the most important representatives of the Neapolitan school.
Our Lady of Sorrows, Our Lady of Dolours, the Sorrowful Mother or Mother of Sorrows, and Our Lady of Piety, Our Lady of the Seven Sorrows or Our Lady of the Seven Dolours are names by which Mary, mother of Jesus, is referred to in relation to sorrows in life. As Mater Dolorosa, it is also a key subject for Marian art in the Catholic Church.
A sequence is a chant or hymn sung or recited during the liturgical celebration of the Eucharist for many Christian denominations, before the proclamation of the Gospel. By the time of the Council of Trent (1543–1563) there were sequences for many feasts in the Church's year.
Jacopone da Todi was an Italian Franciscan friar from Umbria. He wrote several laude in the local vernacular. He was an early pioneer in Italian theatre, being one of the earliest scholars who dramatised Gospel subjects.
Karol Szymanowski's Stała matka bolejąca , Op. 53, was composed in 1925 and 1926. Scored for soprano, alto and baritone soloists, SATB choir and orchestra, it sets Jozef Janowski's Polish translation of the Marian hymn in six movements. His first composition to a liturgical text, it is characteristic of his late period in being partly based on Polish melodies and rhythms; a stay in the Tatras mountains, at Zakopane, in 1922 had led him to describe Polish folk music as "enlivening [in] its proximity to Nature, [in] its force, [in] its directness of feeling, [in] its undisturbed racial purity." Indeed, Szymanowski's use of Polish musical elements together with the Polish translation here is unique.
Christus is an oratorio by the Hungarian composer and pianist Franz Liszt. The oratorio takes the traditional plot of Jesus Christ's life from his birth to his passion and resurrection, using Bible texts, and is thus somewhat reminiscent of another famous religious work, Messiah by George Frideric Handel.
The Quattro pezzi sacri are choral works by Giuseppe Verdi. Written separately during the last decades of the composer's life and with different origins and purposes, they were nevertheless published together in 1898 by Casa Ricordi. They are often performed as a cycle, not in chronological sequence of their composition, but in the sequence used in the Ricordi publication:
Stabat Mater is a 13th-century Catholic hymn to Mary's suffering as Jesus Christ's mother at his crucifixion.
Catholic Marian music shares a trait with some other forms of Christian music in adding another emotional dimension to the process of veneration and in being used in various Marian ceremonies and feasts. Marian music is now an inherent element in many aspects of the veneration of the Blessed Virgin Mary in Catholic Mariology.
Antonín Dvořák's Stabat Mater, Op. 58 (B. 71), is an extended setting for vocal soloists, choir and orchestra of the 20 stanzas of the Stabat Mater sequence. Dvořák sketched the composition in 1876 and completed it in 1877. It has been characterized as a sacred cantata and as an oratorio, and consists of ten movements of which only the first and the last are thematically connected. Its total performance time is around 85 minutes.
Sara Braga Simões is a Portuguese operatic soprano who has sung in the world premieres of seven 21st century operas:Carlos Azevedo's Mumadona, Nuno Côrte-Real's Banksters, Pedro Amaral's O Sonho, Jose Eduardo Rocha's Os fugitivos, Sofia Sousa Rocha's Inês Morre. Luís Soldado's Fado Olissiponense and Luís Tinoco's Evil Machines.
The Stabat Mater is a musical setting of the Stabat Mater sequence, composed by Luigi Boccherini in 1781 and revised in 1800.
Music for the Requiem Mass is any music that accompanies the Requiem, or Mass for the Dead, in the Catholic Church. This church service has inspired hundreds of compositions, including settings by Victoria, Mozart, Berlioz, Verdi, Fauré, Dvořák, Duruflé and Britten. For centuries settings of the Mass for the Dead were to be chanted in liturgical service monophonically. Later the settings became polyphonic, Victoria's famous 1605 a cappella work being an example. By Mozart's time (1791) it was standard to embed the dramatic and long Day of Wrath sequence, and to score with orchestra. Eventually many settings of the Requiem, not least Verdi's (1874), were essentially concert pieces unsuitable for church service.
Stabat Mater (P.77) is a musical setting of the Stabat Mater sequence, composed by Giovanni Battista Pergolesi in 1736. Composed in the final weeks of Pergolesi's life, it is scored for soprano and alto soloists, violin I and II, viola and basso continuo.
Stabat Mater in F minor, D 383, is a musical setting of the Stabat Mater sequence, composed by Franz Schubert in 1816. It is scored for soprano, tenor and bass soloists, SATB choir, 2 flutes, 2 oboes, 2 bassoons, contrabassoon, 2 french horns, 3 trombones, violin I and II, viola, cello and double bass.
Stabat Mater in G minor, D 175, is a musical setting of the Latin Stabat Mater sequence, composed by Franz Schubert in April 1815. It is scored for SATB choir, 2 oboes, 2 clarinets, 2 bassoons, 3 trombones, violin I and II, viola, and basso continuo.
"Stabat Mater speciosa" is a Catholic hymn to Mary about the Nativity of Jesus.
Stabat Mater is a motet for double chorus by Giovanni Pierluigi da Palestrina. It was composed in the Late Renaissance period sometime during the late 16th century. It is centered on the 20 verses of text that constitute the hymn of the same name.
Sisara is a 1793 Latin oratorio by Simon Mayr to a libretto by Giuseppe Foppa who also supplied the Latin texts for Iacob a Labano fugiens (1791) and Tobiae matrimonium (1794).
new edition, enriched with prayers according to the catechism, Masses and antiphons in Gregorian chant, and authorized by Don Paolo Albera, Rector Major of the Pious Salesian Society