The Stabat mater occupies a special place in Rossini’s output: it was written over a ten-year period in two phases of composition (1831–41). In this work Rossini uses the typical musical means of chromaticism and sighing motifs to express the pain of Mary’s suffering on Jesus’s crucifixion. The choral highpoint of the composition is the spirited concluding fugato in which the mourning, lamenting introductory music of the opening movement is woven in, in richly varied fashion. But the greatest challenge for the choral singers lies in doing justice to the different styles of the movements – from the sacred to the operatic.
Please note: bars 22-28, 69-86 and 99-105 of the last movement “In sempiterna saecula” are not included in carus music.
Simply practice. Anytime. Everywhere.
Whether at home on your tablet or PC or on the road on your smartphone: with carus music, the Choir Coach, you always have your choral works with you to practice! With the carus music choir app, you can listen to your score together with a first-class recording on any device and easily practice your own choir part with a coach. With carus music, your concert preparation is easy, efficient and fun to master!
Performers: Maria Stader (soprano), Marianna Radev (alto), Ernst Haefliger (tenore), Kim Borg (basso) - RIAS-Kammerchor, RIAS-Knabenchor, Berliner Mädchenchor, Chor der St. Hedwigs-Kathedrale, RIAS-Symphonie-Orchester, Ferenc Fricsay
Explore
Additional material
- Purchase additional material as a download product.
-
Digital text (without sheet music) incl. printing licence, html file, singing text, originalhtml file, singing text, original (Sample)1. Introduzione (Soli SSTB e Coro SSTB)Stabat Mater dolorosa
2. Aria (Solo Tenore)
juxta crucem lacrimosa
dum pendebat Filius.Cujus animam gementem
contristatam et dolentem
pertransivit gladius.O quam tristis et afflicta
fuit illa benedicta
Mater unigeniti;Quae maerebat et dolebat,
3. Duetto (Soli Soprano I e Soprano II)
et tremebat, dum videbat
nati poenas inclyti.Quis est homo, qui non fleret,
Christi Matrem si videret
in tanto supplicio?Quis non posset contristari
piam Matrem contemplari
...
-
Digital text (without sheet music) incl. printing licence, html file, Introductory text, englishhtml file, Introductory text, english (Sample)Abridged foreword of the Edition Carus 70.089
Klaus Döge
Translation: John CoombsThe Stabat Mater owes its existence to a commission which Rossini received, during a visit to Madrid, from the highly respected Spanish priest and governmental adviser Manuel Fernández Varela. In February 1831 Varela asked Rossini to write a new church composition. Rossini wrote a few numbers of the Stabat Mater in March 1831, possibly while he was still in Madrid, and some others after his return to Paris. Then, however, his state of health deteriorated so greatly, as the result of an earlier gonorrhea infection, that further composing was out of the question. However, Varela pressed him for the work to be completed, so at the beginning of 1832 Rossini asked his pupil Giovanni Tadolini (1793–1872) to complete the Stabat Mater by adding to the six numbers already composed (nos. 1 and 5–9) the remainder necessary to complete the work. The manuscript of this hybrid composition was sent to Madrid, and Varela had this version of the Stabat Mater performed in the Chapel of San Felipe el Real, Madrid, on Good Friday 1833, with more than 100 singers taking part.
After the death of Varela in 1834 the
...
-
Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)Gekürztes Vorwort der Ausgabe Carus 70.089
Klaus Döge
Rossini komponierte sein Stabat Mater im Auftrag des hochangesehenen spanischen Staatsrates und Priesters Manuel Fernández Varela. Bei einem Aufenthalt des Komponisten in Madrid im Februar 1831 hatte Varela ihn um ein neues Kirchenwerk gebeten. Einige Nummern des Werkes schrieb Rossini im März 1831 möglicherweise noch in Madrid, andere kamen nach der Rückkehr nach Paris hinzu. Als Folge einer früheren Gonorrhö-Infektion begann sich sein Gesundheitszustand aber zunehmend zu verschlechtern, sodass an eine weitere Arbeit am Werk nicht zu denken war. Varela aber drängte, und so ließ der kranke Rossini Anfang 1832 von seinem Schüler Giovanni Tadolini (1793–1872) die noch fehlenden Teile zu den bereits vorhandenen sechs Nummern (1 u. 5–9) des Stabat Mater ergänzen. In dieser Mischversion Rossini/Tadolini wurde das Stabat-Mater-Manuskript nach Madrid gesandt, und Varela ließ das Werk am Karfreitag des Jahres 1833 in der Kapelle von San Felipe el Real unter der Mitwirkung von über 100 Sängern aufführen.
Nach Varelas Tod im Jahre 1834 gelangte das Manuskript 1841 in den Besitz des Pariser Verlegers
...
Purchase
Additional product information
-
Composer
Gioachino Rossini
| 1792-1868Gioachino Antonio Rossini was an Italian composer who is best known today for his operas. Rossini celebrated his first major successes in Venice in 1813 with the opera seria Tancredi and the opera buffa L'italiana in Algeri. The following years continued this success story. From 1830 onwards, Rossini largely withdrew from public life. Although he still composed many works, including the Stabat mater, he devoted most of his time to eating and enjoying life. During his lifetime, Rossini enjoyed enormous fame throughout Europe, but also, thanks to his apparently humorous and affectionate character, popularity among many of his colleagues. Personal details
-
Ensemble
RIAS Kammerchor
-
Soloist - soprano
Maria Stader
-
Soloist - bass
Kim Borg
Reviews on our website can only be submitted by customers with a registered user account. A check whether the rated products were actually purchased does not take place.
No feedback available for this product.
Frequent questions about this work
There are no questions and answers available so far or you were unable to find an answer to your specific question about this work? Then click here and send your specific questions to our Customer Services!