What is "stabat mater"

Stabat Mater \Sta"bat Ma"ter\ (st[=a]"b[a^]t m[=a]"t[~e]r). [L., the mother was standing.] A celebrated Latin hymn, beginning with these words, commemorating the sorrows of the mother of our Lord at the foot of the cross. It is read in the Mass of the Sorrows of the Virgin Mary, and is sung by Catholics when making ``the way of the cross'' (Via Crucis). See Station, 7 (c) .

Latin Stabat Mater dolorosa "Stood the Mother (of Jesus) full of sorrow," opening words of a sequence composed 13c. by Jacobus de Benedictis.

n. (context music English) A hymn, sung in Latin, telling of the sorrow of the Virgin Mary at the crucifixion of Jesus Christ; the music for this hymn

The Stabat Mater is a 13th-century Catholic hymn to Mary, which portrays her suffering as Jesus Christ's mother during his crucifixion. Its author may be either the Franciscan friar Jacopone da Todi or Pope Innocent III. The title comes from its first line, Stabat Mater Dolorosa, which means "the sorrowful mother stood".

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, most famously by Palestrina (~1590), Vivaldi (1712), Domenico (1715) and Alessandro Scarlatti (1723), Pergolesi (1736), Joseph Haydn (1767), Rossini (1831-42), Dvořák (1876–77), Verdi (1896-97), Karol Szymanowski (1925–26), Poulenc (1950), Toivo Kuula and Arvo Pärt (1985).

Karol Szymanowski's Stabat Mater op.53 was composed in 1925–1926 for soprano, alto and baritone soloists, SATB choir, and orchestra. The work is divided into six movements and uses Jozef Janowski's (1865–1935) Polish translation of the Marian hymn, Stabat Mater.

Szymanowski's first composition on a liturgical text, Stabat Mater was written during his late Nationalist period of 1922–1937, characterized by his use of Polish melodies and rhythms. Following a trip to Zakopane in 1922, Szymanowski wrote of Polish folk music: "[it] is enlivening by its proximity to Nature, by its force, by its directness of feeling, by its undisturbed racial purity." Szymanowski's pairing of Polish musical elements with a liturgical text in Stabat Mater is unique, and a clear reflection of his Nationalist convictions as a composer.

Stabat Mater is a one-man funeral doom band from Finland. The band was formed in 2001 by Mikko Aspa of Deathspell Omega and Clandestine Blaze fame. Stabat Mater received underground acclaim following a 2002 split album with Worship. For this release, Stabat Mater contributed a track entitled 'Give Them Pain'. Stabat Mater's first full-length album was released on July 10, 2009 by Northern Heritage records.

Stabat Mater is a musical setting of the Stabat Mater sequence composed by Arvo Pärt in 1985, a commission of the Alban Berg Foundation. The piece is scored for a trio of singers: soprano, alto, and tenor; and a trio of string instruments violin, viola, and violoncello; it has a duration of approximately 24 minutes. A version with expanded forces (mixed chorus and orchestra) was premiered on June 12, 2008 at the Großen Musikvereinssaal during the Wiener Festwochen 2008 with Kristjan Järvi conducting the Singverein der Gesellschaft der Musikfreunde in Wien and the Tonkünstler-Orchester Niederösterreich. This new version was commissioned by the Tonkünstler-Orchester. Stabat Mater is composed in Pärt's characteristic tintinnabuli style (which he has employed nearly exclusively since 1976) in which arpeggiations of a major or minor triad are combined with ascending or descending diatonic scales.

Stabat Mater is a 2008 piece by the Welsh composer Karl Jenkins, and is based on the 13th-century Roman Catholic prayer Stabat Mater. Like much of Jenkins' earlier work, the piece incorporates both traditional Western music (orchestra and choir) with ethnic instruments and vocals - this time focusing on the Middle East. The recording features the Royal Liverpool Philharmonic Orchestra and Chorus, along with two soloists, Lithuanian mezzo-soprano Jurgita Adamonyte, and English musician Belinda Sykes, who both sings and performs on the duduk, an Armenian reed instrument.

Stabat Mater may refer to two Catholic hymns:

• Stabat Mater Dolorosa, about the Sorrows of Mary (including a list of musical settings)
  • Stabat Mater (art), artistic representations of that scene
• Stabat Mater Speciosa, about the Nativity

It may also refer to:

• Stabat Mater (Kristeva), an essay by Julia Kristeva
• Stabat Mater (ballet), a ballet by Peter Martins
• Stabat Mater (band), in the funeral doom genre

Stabat Mater, FP 148, is a musical setting of the Stabat Mater sequence composed by Francis Poulenc in 1950. Poulenc composed the piece in response to the death of his friend, artist Christian Bérard; he considered writing a Requiem for Bérard, but, after returning to the shrine of the Black Virgin of Rocamadour, he selected the medieval Stabat Mater text. Poulenc's setting, scored for soprano solo, mixed chorus, and orchestra, premiered in 1951 at the Strasbourg Festival. The Stabat Mater was well-received throughout Europe, and in the United States it won the New York Critics’ Circle Award for Best Choral Work of the year.

Stabat Mater ( Op. 58, originally Op. 28, B. 71) for soli, choir and orchestra is a religious cantata by the Czech composer Antonín Dvořák based on the text of the Stabat Mater. The work was sketched in 1876 and completed in 1877.

Joseph Haydn's Stabat Mater Hob. XXa:1 was written in 1767, for soprano, alto, tenor and bass soloists, mixed choir, 2 oboes both doubling English horn in the sections in E-flat major, strings and organ continuo. The first performance is believed to have taken place March 25, 1768 in Vienna with soloists Anna Maria Scheffstoss and Carl Friberth, with Haydn conducting from the harpsichord. Conductor Jonathan Green suggests adding a bassoon to double the bass line and perhaps just one player to each string part.

Haydn divides the setting into 10 movements:

1. "Stabat Mater dolorosa" Largo, G minor, common time
2. "O quam tristis et afflicta" Larghetto Affettuoso E-flat major, 3/8
3. "Quis est homo qui non fleret" Lento, C minor, common time —"Quis non posset contristari" Moderato, F major, common time
4. "Pro peccatis suae gentis" Allegro ma non troppo, B-flat major, common time
5. "Vidit suum dulcem natum" Lento e mesto, F minor, common time
6. "Eja Mater, fons amoris" Allegretto, D minor, 3/8
7. "Sancta Mater, istud agas" Larghetto, B-flat major, 2/4
8. "Fac me vere tecum flere" Lagrimoso, G minor, common time
9. "Virgo virginum praeclara" Andante, E-flat major, 3/4
10. "Flammis orci ne succendar" Presto, C minor, common time
11. "Fac me cruce custodiri" Moderato, C major, common time
12. "Quando corpus morietur" Largo assai, G minor, common time —"Paradisi gloria" G major, cut time

Pergolesi's setting of the Stabat Mater was already popular in Haydn's day despite criticisms of its not being serious enough. In his setting, Haydn aimed to be more serious while taking Pergolesi's setting as a model in some details, such as the "Vidit suum" which emulates "Pergolesi in its melodic traits, rhythmic quirks, and thin texture. Haydn, like Traetta, even adapted a feature of Pergolesi's text setting, the breaking up with rests of "dum e-mi-sit spiritum" in order to convey the last gasps of the dying Christ."

Indeed " Hasse was greatly impressed with Haydn's Stabat mater, which must have seemed to him an added vindication of the Neapolitan style [of Pergolesi] that he more than anyone else had brought to flower in central Europe." According to Haydn himself, four performances in Paris were very successful.

Haydn's Stabat Mater is considered "suitable for a penitential Good Friday program."

Stabat Mater ( Latin for "the mother was standing") is a topic in Christian Marian art in which the Virgin Mary is depicted under the cross during the Crucifixion of Christ. In these depictions, the Virgin Mary is almost always standing to the right hand side of the body of her son Jesus on the Cross, with Saint John the Apostle standing to the left.

Stabat Mater is one of the three common artistic representations of a sorrowful Virgin Mary, the other two being Mater Dolorosa (Mother of Sorrows) and Pietà. In the Stabat Mater depictions the Virgin Mary is represented as an actor and spectator in the scene, a mystical emblem of faith in the Crucified Savior, an ideal figure at once the mother of Christ and the personified Church. The depictions generally reflect the first three lines of the Stabat Mater poem:

The concept is also present in other designs, e.g. the Miraculous Medal and the more general Marian Cross. The Miraculous Medal by Saint Catherine Labouré in the 19th century includes a letter M, representing the Virgin Mary under the Cross.

The Marian Cross is also used in the coat of arms of Pope John Paul II, about which the Vatican newspaper, L’Osservatore Romano stated in 1978: "the large and majestic capital M recalls the presence of the Madonna under the Cross and Her exceptional participation in Redemption."

Stabat Mater is a work by Gioachino Rossini based on the traditional structure of the Stabat Mater for chorus and soloists. Initially he used his own librettos and compositions for a portion of the work and, eventually, the remainder by Giovanni Tadolini, who composed six additional movements. Rossini presented the completed work to Varela as his own. It was composed late in his career after retiring from the composition of opera. He began the work in 1831 but did not complete it until 1841.

Stabat Mater for solo alto and orchestra, RV 621, is a composition by the Italian baroque composer Antonio Vivaldi on one of the Sorrows of Mary. It was premiered in 1712.

is a musical setting of the 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 ( cello and organ).

The Stabat Mater is a musical setting of the Stabat Mater sequence, composed by Luigi Boccherini in 1781 and revised in 1801.

Boccherini (1743–1805) was a musician best known for chamber music (string quintets). His vocal work is played less often. He worked as a cantatrice and wrote numerous religious works (including one mass, two motets and two oratorios).

His Stabat Mater was a command passed in 1781 by the office of Las Arenas, his employer, the child Don Luis. The text is a text dating from the 13th century and attributed to Jacopone da Todi which meditates on the suffering of Mary during the crucifixion. The first version consisted of one soprano voice accompanied by a string quintet (two violins, one viola, two cellos). It consists of 11 parts and lasts around three quarters of an hour. The musician rewrote it around twenty years later (in 1801) when he added an overture for two voices: a contralto and a tenor. The definitive work is known as opus 61 of the musician.

• Stabat mater dolorosa, Grave assai
• Cujus animam gementem, Allegro
• Quae moerebat et dolebat, Allegretto con moto
• Quid est homo, Adagio assai – Recitativo
• Pro peccatis suae gentis, Allegretto
• Eja mater, fons amoris, Larghetto non tanto
• Tui nati vulnerati, Allegro vivo
• Virgo virginum praeclara, Andantino
• Fac ut portem Christi mortem, Larghetto
• Fac me plagis vulnerari, Allegro commodo
• Quando corpus morietur, Andante lento

Stabat Mater (Schubert) may refer to:

• Stabat Mater in G minor, composed in 1815
• Stabat Mater in F minor, composed in 1816

Stabat Mater is the sixth full-length album by Stefano Lentini. It was released on October 8, 2013. The single 'Stabat Mater' is a part of the soundtrack of Wong Kar Wai's The Grandmaster, 2014 Oscar Nominee. In an interview with the Pitchfork website, Lentini said: Sacred music is generally only referred to music based on religious texts. I think this is wrong. Any kind of music able to convey some Truth about existence should be regarded as “sacred”. It is neither a matter of sound nor of musical instrument. It is not a genre, but an attitude: whether it is symphonic or indie music, if there is some inner truth in it, a profound expressive intensity, then there’s sacredness. Whatever is human is necessarily sacred, because humanity always deserves to be respected and honoured. Before being “sacred” for its text, my Stabat Mater is mundanely sacred for the emotions it hopefully arouses.

Stabat Mater (original French title "Hérethique de l'amour") is an essay by philosopher and critic Julia Kristeva. First published in French in Tel Quel (1977), it was translated into English by Arthur Goldhammer and published in Poetics Today (1985), and translated again by Leon S. Roudiez for The Kristeva Reader (ed. Toril Moi, Columbia UP, 1986).

The essay's title derives from Stabat Mater, the 13th-century Catholic hymn to Mary; Kristeva's childhood, she said, was "bathed" in the liturgy of the Orthodox Church.

The essay is experimental, and (in two columns) combines a scholarly investigation of the cult of the Virgin Mary and of "the maternal" symbolized by the Virgin with a personal account of Kristeva's "bodily and psychic experiences surrounding and including the birth of her son".

Stabat Mater is a Motet for Double Chorus by Giovanni Pierluigi da Palestrina, in the Late Renaissance Period at the end of the 14th Century. It is centered around the 20 verses of text that constitute the hymn of the same name.