Stabat Mater

Wikipedia:

Of two hymns, Stabat Mater Dolorosa (about the Sorrows of Mary) and Stabat Mater Speciosa (joyfully referring to the Nativity of Jesus), Stabat Mater usually refers to the first, a 13th-century Catholic hymn to Mary, variously attributed to the Franciscan Jacopone da Todi and to Innocent III.

The title of the sorrowful hymn is an incipit of the first line, Stabat mater dolorosa ("The sorrowful mother stood"). The Dolorosa hymn, one of the most powerful and immediate of extant medieval poems, meditates on the suffering of Mary, Jesus Christ's mother, during his crucifixion. It is sung at the liturgy on the memorial of Our Lady of Sorrows. The Dolorosa has been set to music by many composers, with the most famous settings being those by Palestrina, Pergolesi, Scarlatti, Vivaldi, Haydn, Rossini, and Dvořák.

The Dolorosa was well known by the end of the fourteenth 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.

As a liturgical sequence, the Dolorosa 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.

The joyful hymn Stabat Mater Speciosa ("The beautiful mother stood") first appeared in a 1495 edition of the Italian poems of Jacopone da Todi which contained both Stabats; but the Speciosa was almost forgotten until it was re-transcribed in 1852 in the "Poètes Franciscains en Italie au Treizième siècle" in Paris. The Speciosa has since been viewed as one of the tenderest Marian hymns and one of the seven greatest Latin hymns. It has become part of standard oratorios, and given rise to various Christmas carols.

Text and translation

The following translation by Edward Caswall is not word-for-word. Instead it has been adapted so as to represent the meter (trochaic tetrameter), rhyme scheme, and sense of the original text.

Musical settings

Composers who have written settings of the Stabat Mater include Josquin des Prez, Giovanni Pierluigi da Palestrina, and Giovanni Battista Pergolesi; of the latter's setting, the German poet Tieck opined: "I had to turn away to hide my tears, especially at the place, 'Vidit suum dulcem natum'". Joseph Haydn's Stabat Mater is considered "a treasury of refined and graceful melody". Others who have written settings are Agostino Steffani, Giovanni Carlo Maria Clari, Emanuele d'Astorga, Winter, Raimondi, Vito, Lanza, Neukomm. In the 19th century, Gioachino Rossini wrote his setting after retiring from the composition of opera, while Antonín Dvořák wrote his setting when he was still active in writing secular music. Most of the settings are in Latin, but Karol Szymanowski's setting and Paul Bebenek's are in Polish.

Others: John Browne, Marc-Antoine Charpentier, Antonio Vivaldi, Charles Villiers Stanford, Charles Gounod, Krzysztof Penderecki, Francis Poulenc, Giovanni Felice Sances, Alessandro Scarlatti (1724), Domenico Scarlatti (1715), Pedro de Escobar, František Tůma, Vladimir Martynov, Arvo Pärt, Josef Rheinberger, Franz Schubert, Giuseppe Verdi, Pasquale Cafaro, Zoltán Kodály, Trond Kverno (1991), Pawel Lukaszewski (1994), Frank Ferko (1999), Salvador Brotons (2000), Bruno Coulais (2005), the black metal band Anorexia Nervosa, the symphonic metal band Epica on the album The Classical Conspiracy, and Karl Jenkins.