Stabat mater
Arrangement for chamber orchestra (arr. J. Linckelmann) op. 58, 1876-1877/2016
Antonín Dvorák’s impressive Stabat Mater for soloists, chorus and orchestra is probably the best-known of the composer’s sacred works. Some painful experiences – in 1875 his first daughter died, and in 1877 he lost two other children in quick succession – may have led to Dvorák’s preoccupation with the suffering of the Mother of God, who stands weeping beneath the cross of her son. The music enters into the different moods of the liturgical texts with great sensitivity. Nine movements in slow to moderate tempi serve as a kind of Passion meditation, before the ecstasy of a vision of the resurrection wins the upper hand at the end of the tenth movement. With our newly-published arrangement for chamber orchestra (flute, oboe, clarinet, horn, bassoon, timpani, and strings), smaller choirs now have the opportunity of performing this work without the choir being drowned out by a large-scale symphony orchestra. The symphonic character of the work is nevertheless preserved. This scoring offers an optimal balance between transparency and orchestral sound. All vocal parts (soloists and chorus) are identical with the original version. Vocal score and choral score can be used also together with the original version, which is in preparation.
| Original version | Arrangement for chamber orchestra |
| Soli SATB, Coro SATB, 2 Fl, 2 Ob, Eh, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, 2 Vl, Va, Vc, Cb | Soli SATB, Coro SATB, Fl, Ob, Clt, Cor, Fg, Timp, 2 Vl, Va, Vc, Cb |
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Additional material
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)Gekürztes Vorwort der Ausgabe Carus 27.293/50Lucie Harasim Berná
Unter den geistlichen Kompositionen des tschechischen Komponisten Antonín Dvořák ist das Stabat Mater wohl sein meistgespieltes Werk, ja gehört neben der Sinfonie Nr. 9 „Aus der neuen Welt“ und den Slawischen Tänzen op. 46 und 72 vielleicht mit zu seinen bekanntesten Werken überhaupt. Die 1876/1877 entstandene Marienkomposition war es auch, die ihm endgültig weltweiten Ruhm einbrachte. Insgesamt ist die Gruppe der geistlichen Werke mit lateinischem Text, die Dvořák hinterließ, relativ klein, enthält dafür jedoch von Umfang und Gehalt her durchaus gewichtige Werke. Neben dem Stabat Mater sind hier vor allem die Messe D-Dur op. 86, das Requiem op. 89 und das Te Deum op. 103 zu nennen Die in diesen Kompositionen zum Tragen kommende besondere Kunst der musikalischen Textausdeutung lässt jede von ihnen zu einer Kostbarkeit im Gesamtschaffen Dvořáks und auch in der Musikgeschichte des 19. Jahrhunderts werden.
Von den genannten vier Werken auf lateinische Texte ist das Stabat Mater das früheste. Am 19. Februar 1876 begann
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Composer
Antonín Dvorák
| 1841-1904Antonín Dvorák (1841-1904), next to Smetana and Janacek the most important exponent of specifically Czech music, now ranks (also in general) as one of the most popular composers of the nineteenth century. The son of a butcher-innkeeper in the Bohemian town of Nelahozeves (Mühlhausen) near Kralup, he first became known in his homeland for his patriotic hymn "The Heirs of the White Mountain" for chorus and orchestra, op.30, that he wrote in 1872. His road out into the world was opened by a commission consisting of Johannes Brahms, Eduard Hanslick and Johann von Herbeck, that selected him for an Austrian government stipend. Brahms, who was seven years the elder, took a friendly interest in his younger colleague whose eminent talent he had recognized and had come to admire. (Brahms: "That fellow has more ideas than all of us together. Every other composer could cull main themes from what he throws away.") Brahms recommended Dvo"rák to his Berlin publisher, Simrock, who later became Dvo"rák's chief publisher though he was obstinate and at first quite difficult. International fame came to Dvo"rák as a composer and – beginning in 1884 – as conductor of his own works mainly through his sensational successes in England (he went there for lengthy sojourns a total of nine times) and in the United States (two long visits spent in teaching and composing). His success was sparked chiefly by a sacred work, his Stabat Mater that was written in 1876 (Carus 27.293/03). Right until his late period, church music was never missing from the list of his important compositions: the symphonic poems, the operas (among them "Rusalka"), the symphonies, the string quartets and other chamber music works, the oratorio "St. Ludmila" - and the Slavonic Dances op.46 and op.72. To the Stabat Mater op.58 (1876/77) mentioned above, he added the "149th Psalm" op.79 (1879/87), the Requiem op.89 (1890) (Carus 27.323) and the Te Deum op.103 (1892) (Carus 27.189). Personal details
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Arranger
Joachim Linckelmann
| 1964Joachim Linckelmann, born in Munich in 1964, studied flute at the Richard Strauss Conservatory in Munich and at the Würzburg University of Music. He has played the flute in various renowned orchestras in Germany and abroad and has also worked as a music designer and arranger since 1995. He has been arranging oratorios for smaller ensembles for Carus since 2009. Personal details
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Can I also use the “normal” vocal score /03 and the choral score /05 from the full-scale version to sing the version presented here?
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