Feature: Antonio Vivaldi (1678-1741): Stabat mater RV621 — Soloist: Francisco Javier Rodríguez Braojos, Escolanía del Escorial

Vivaldi’s setting of Stabat Mater for Alto and strings is one of his earliest religious works and may even be the earliest.It commissioned by Santa Maria della Pace in Brescia in 1711 for their patronal festival and received its first performance on March 18th 1712 during the Feast of the Seven Sorrows of the Blessed…

Giovanni Battista Pergolesi (1710 – 1736): Stabat Mater (complete); Voices of Music, original version, Labelle & Bragle

The Stabat Mater of Giovanni Battista Pergolesi. Live, high-definition video of the entire work in concert by the San Francisco Early Music Ensemble Voices of Music. Soloists: Dominique Labelle, soprano; Meg Bragle, mezzo-soprano. In his short life, Giovanni Pergolesi composed a wide variety of music in the major genres of the time. His primary compositions…

Franz Josef Haydn (1732–1809): Stabat Mater

"I set to music with all my power the highly esteemed hymn, called Stabat Mater" – Franz Josef Haydn. Haydn’s setting of the Stabat Mater is a full-scale oratorio originally scored for soloists, choir, accompanied by an orchestra of strings, oboes, and organ. Haydn composed it in 1767 six years after he entered the service…

Antonio Caldara (1670-1736): Stabat Mater

Caldara by no means confined his compositional efforts to sacred vocal works but it is those works by which he is best known today. His Missa Dolorosa, Stabat Mater, Passione and Magnificat are all works that repay investigation. Whenever I think of him I cannot help but feel that despite the fact that he was…

Franz Schubert (1797-1828): Vom mitleiden Mariä, D632

Schubert’s Vom mitleiden Mariä, (D632) is a compelling Stabat Mater setting was completed in December of 1818 and is an example of his commitment to producing Marian music. It’s very old-fashioned in style whose austere three-part texture and somewhat disturbing chromaticism reminds me quite strongly of C.P.E. Bach’s odes settings of texts by his friend…

Felice Anerio (±1560-1614): Stabat Mater A12

From about 1610 a spirit of triumphalism could be heard in much of the music heard in the Sistine Chapel. There was a trend towards the use of massive vocal forces such as the Masse and Motets scored double and triple choirs (including basso continuo) composed by Vincenzo Ugolini, (1580 – 1638), maestro di capella…

Giovanni Pierluigi da Palestrina (±1525-1594): Stabat Mater

Palestrina’s ‘Stabat Mater’ was written around 1589 and is that musical paradox a miniature on a grand scale written in the Venetian polychoral style. It’s harmonies are modal which gives an atmosphere of nostalgia and regret to Palestrina’s word painting. It’s the musical equivalent of the paintings of the grieving mother at the foot of…

Feature: Arvo Pärt (b1935): Stabat Mater

The centrality of his faith for the Estonian composer Arvo Pärt comes through in this haunting setting of the Stabat Mater. For me it’s the piece that epitomises his blending of elements from the Renaissance and Medieval vocal styles with his signature use of tintinnabulation to create music that is distinguished by its simplicity and…