Joseph Haydn: Stabat Mater - CD, Choir Coach, multimedia | Carus-Verlag

Joseph Haydn Stabat Mater

Hob. XXbis, 1767

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Joseph Haydn’s Stabat Mater, written in 1767, was the first church work the composer wrote after entering the service of Prince Esterházy in Eisenstadt. Unlike almost all his other sacred works, it soon circulated in numerous copies and established Haydn’s reputation as the leading vocal composer of his day. This persuasive recording by Frieder Bernius with first-rate soloists, the Kammerchor Stuttgart and the Hofkapelle Stuttgart uses the critical edition of the work published by Carus.

 

Awarded the Pizzicato Supersonic Award

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  • Stabat Mater dolorosa
  • O quam tristis et afflicta
  • Quis est homo qui non fleret
  • Quis non posset contristari
  • Pro peccatis suae gentis
  • Vidit suum dulcem natum
  • Eja Mater, fons amoris
  • Sancta Mater, istud agas
  • Fac me vere, tecum flere
  • Virgo virginum praeclara
  • Flammis orci ne succendar
  • Fac me cruce custodiri
  • Quando corpus moriertur
  • Paradisi Gloria
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  • 1. Stabat Mater dolorosa (Tenore solo, Coro)

    A weeping mother was standing
    full of sorrow beside the cross,
    while her Son was hanging on it.

    Through her grieving heart,
    anguished and lamenting,
    a sword had passed.

    2. O quam tristis et afflicta (Alto solo)

    Oh, how sad and afflicted
    was that blessed Mother
    of an only begotten Son!

    She mourned and grieved
    and trembled as she saw
    the suffering of her glorious Son.

    3. Quis est homo qui non fleret (Coro)

    Who is the man who would
    not weep, seeing the mother
    of Christ in such torment?

    4. Quis non posset contristari (Soprano solo)

    Who would not feel compassion,
    ...
  • 1. Stabat Mater dolorosa (Tenore solo, Coro)

    Christi Mutter stand mit Schmerzen
    bei dem Kreuz und weint’ von Herzen,
    als ihr lieber Sohn da hing.

    Durch die Seele voller Trauer,
    seufzend unter Todesschauer,
    jetzt das Schwert des Leidens ging.

    2. O quam tristis et afflicta (Alto solo)

    Welch ein Schmerz der Auserkornen,
    da sie sah den Eingebornen,
    wie er mit dem Tode rang!

    Angst und Trauer, Qual und Bangen,
    alles Leid hielt sie umfangen,
    das nur je ein Herz durchdrang.

    3. Quis est homo qui non fleret (Coro)

    Wer könnt ohne Tränen sehen
    Christi Mutter also stehen
    in so tiefen Jammers Not?

    4. Quis non posset contristari (Soprano solo)

    Wer nicht mit der Mutter weinen,
    ...
  • 1. Stabat Mater dolorosa (Tenore solo, Coro)

    Stabat Mater dolorosa
    juxta crucem lacrimosa,
    dum pendebat Filius.

    Cujus animam gementem,
    contristatam et dolentem
    pertransivit gladius.

    2. O quam tristis et afflicta (Alto solo)

    O quam tristis et afflicta
    fuit illa benedicta
    Mater Unigeniti!

    Quae maerebat et dolebat,
    et tremebat, cum videbat
    nati poenas inclyti.

    3. Quis est homo qui non fleret (Coro)

    Quis est homo qui non fleret,
    Christi Matrem si videret
    in tanto supplicio?

    4. Quis non posset contristari (Soprano solo)

    Quis non posset contristari,
    ...
  • Text from the CD Carus 83.281

    Clemens Harasim
    Translation (abridged): David Kosviner

    When, from 1766 onwards, Joseph Haydn was finally able to take over from his predecessor Gregor Joseph Werner the sole responsibility for church music at the Esterházy court – in addition to the direction of chamber and theater music – he devoted more time to the composition of sacred music. The first larger-scale sacred work to be composed in this context was the Stabat Mater, completed in 1767.

    The world premiere of this work seems to have taken place on Good Friday, 17 April 1767 in the Eisenstadt court chapel within the framework of the oratorial Good Friday performances which were held there every year. In all probability Haydn had been invited to perform his work again in the Church of St. John of God Brothers in Vienna a year later, which was organized by no less a personage than Johann Adolph Hasse who had been in the service of the emperor since 1764. The first documented public performance took place in Vienna on 29 March 1771, in the Piarist church Maria Treu in the Josephstadt borough of Vienna. Once again, it formed part of a Good Friday Vesper service. According to the church chronicles, an impressive number of 60 musicians

    ...
  • Booklet-Text der CD Carus 83.281

    Clemens Harasim

    Die Bedeutung Joseph Haydns als Komponist geistlicher Vokalmusik wird im heutigen Bewusstsein vor allem bestimmt durch die abendfüllenden Oratorien seines Spätwerks, Die Schöpfung und Die Jahreszeiten, sowie die ebenfalls als Oratorium bezeichnete nachträgliche Textierung seiner Karfreitagsmusik der Sieben letzten Worte unseres Erlösers am Kreuze. Im Bereich der liturgischen Kirchenmusik gelten vornehmlich seine großbesetzten Messen – ebenfalls der späteren Jahre – als Gipfelpunkt der Epoche und darüber hinaus. Angesichts dessen rückte Haydns erstes größeres Kirchenwerk, das bereits 1767 entstandene Stabat Mater, zu Unrecht in die „zweite Reihe“ seines Schaffens. Denn es war gerade dieses Werk, das Joseph Haydn nicht nur als „Kirchenkomponist“ bekannt machte, sondern das die wohl größte Verbreitung und die meisten Aufführungen im

    ...
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Compact Disc Carus 83.281/00, EAN 4009350832817 CD in jewel case
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Digital audio album (download), zip file, mp3 file Carus 83.281/00-110-000
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  • As Kapellmeister to Prince Esterházy, Haydn composed numerous instrumental works and various operas, as well as making important contributions to the genre of church music, including fourteen Latin masses, of which only twelve are authentic or complete; these are complemented by motets and offertories, two important Te Deum settings, two Salve Reginas, a Stabat Mater, and the different versions of the Sieben Worte des Erlösers am Kreuze. The masses were composed continually between 1749 and 1802, except for the years 1783–1795, and therefore constitute the genre with which Haydn was occupied over the longest period of time. The six (authentic or complete) masses composed before 1782 are stylistically very different, and as well as short Missae breves there are more extended masses with rich orchestral scoring; by contrast the six so-called late masses, written from 1796 onwards, form a comparatively homogeneous group of more extensive works scored for large forces. With his two great oratorios Die Schöpfung (The Creation) (1798) and Die Jahreszeiten (The Seasons) (1801) Haydn established the tradition of the German oratorio for middle-class music making. Personal details
  • The Kammerchor Stuttgart is regarded as one of the best ensembles of its kind. Over its fifty-year existence, Frieder Bernius has developed the choir into an exceptional ensemble acclaimed by audiences and press alike. This has led to invitations for the choir to perform at all the important European festivals. In Germany the chamber choir performs at festivals and in concert halls in repertoire ranging from the 17th to the 21st century. Frieder Bernius and his ensemble have received numerous accolades for their contribution to new music. The Kammerchor Stuttgart has made over 80 CDs and LPs, numerous of which have been awarded international recording prizes (including the Edison award, Diapason d’or, Gramophone Choice, Classical Internet Award, International Classical Music Award, and German Record Critics’ Award prizes). The International Federation for Choral Music has invited the ensemble to sing at the 1st, 4th and 10th World Symposia on Choral Music in Vienna, Sydney and Seoul. Regular tours of North America and Asia since 1988 and a South America tour reflect the Kammerchor Stuttgart’s international reputation. Since 1984 the top ensemble has also been invited to Israel biennially. Personal details
  • The Hofkapelle Stuttgart, founded in 2006 by Frieder Bernius to complement the Barockorchester Stuttgart, concentrates on repertoire from the 19th century performed on authentic instruments. One of its main focusses is the rediscovery of music-historical treasures, particularly works from the south-west German region (by composers such as Kalliwoda, Knecht and Holzbauer). The Hofkapelle and Barockorchester Stuttgart regularly perform at international festivals (Rome, Salzburg, Göttingen, Dresden, etc.). CDs made by both groups have received many awards: the Missa Dei Patris by Jan Dismas Zelenka was nominated for the Cannes Classical Award, and the Incidental Music to Shakespeare’s Ein Sommernachtstraum [A Midsummer Night’s Dream] by Felix Mendelssohn Bartholdy was featured by Rondo magazine and awarded the Star of the Month prize by Fono Forum magazine. Mozart’s Requiem received the Diapason d’or de l’année 2003, Johann Gottlieb Naumann’s opera Aci e Galatea was named opera recording of the year in Opernwelt magazine and Bach’s Easter Oratorio included in the Quarterly Critics’ Choice of the German Record Critics’ Award. The group’s recording of Bach’s B Minor Mass was Editor’s Choice in Gramophone magazine. Personal details
  • Frieder Bernius’s work has earned great worldwide recognition. He is in demand internationally as a conductor and as a teacher. His principal artistic collaborators are the ensembles he founded himself, the Kammerchor Stuttgart, the Barockorchester Stuttgart, the Hofkapelle Stuttgart and the Klassische Philharmonie Stuttgart. As a guest conductor, he has collaborated repeatedly with, for example, the SWR Vokalensemble Stuttgart, the Deutsche Kammerphilharmonie Bremen, the Stuttgarter Kammerorchester and the Streicherakademie Bozen. Great stylistic versatility is Frieder Bernius’s hallmark. Whether he conducts vocal works by Monteverdi, Bach, Händel, Mozart, Beethoven, Fauré and Ligeti, stage music by Mendelssohn or symphonies by Haydn, Burgmüller and Schubert, his work always aims for a sound that is at once unmistakably personal and at the same time oriented towards the original period sound ideal. He devotes himself equally to the rediscovery of 18th century operas and to first performances of contemporary compositions. He is particularly interested in the musical history of southwestern Germany. Carus-Verlag has awarded Frieder Bernius a Golden CD for his complete recording of the sacred music of Felix Mendelssohn Bartholdy. The award was presented to him during the German Choir Festival in Stuttgart 2016. The sale of over 250,000 recordings, which has been acclaimed with a number of awards, has made a not insignificant contribution to what today is the obvious presence of Mendelssohn's complete œuvre in the concert repertoire. Personal details
  • Canadian born Colin Balzer studied singing with David Meek in Canada and Edith Wiens in Germany. He has participated in master classes given by Helmut Deutsch, Robert Tear, Elly Ameling, Brigitte Fassbaender and Christoph Prégardien. Colin Balzer has won a range of international prizes, and has embarked on a busy international concert schedule with a repertoire ranging from Monteverdi to Penderecki. He has been heard at Festivals in Baden-Baden, Aix-en-Provence and at the Early Music Festivals in Boston and Vancouver, and he regularly performs with various Canadian orchestras. He has also enjoyed considerable success as a lieder singer. He recorded his first CD, Hugo Wolf’s Italienisches Liederbuch, with Hartmut Höll. Personal details
  • The baritone Sebastian Noack was born in Berlin and studied singing with Dietmar Hackel, Ingrid Figur and Dietrich Fischer-Dieskau. He became known after being awarded 1st prize at the Bundeswettbewerb Gesang; other prizes followed. Since then he has made a name for himself, particularly as a concert singer, performing under renowned conductors such as Frieder Bernius, Marcus Creed, Christoph Eschenbach, and Roy Goodman. His repertoire includes all of the significant oratorios from the Renaissance to the present time. On numerous tours he has travelled through all of Europe, the USA and Southeast Asia. He is a welcome guest at international festivals. Noack sings with the large broadcasting networks and well-known Baroque orchestras as well as with chamber music ensembles, e.g., the Sharoun Ensemble or Sabine Meyer’s Trio di Clarone. He has participated in CD productions under Philippe Herreweghe and Andreas Spering. Noack is particularly interested in lieder. Together with the pianist Manuel Lange, he founded the new concert series “Meisterlied im Musikinstrumenten-Museum”, for which – in addition to his own recitals – he has already been able to engage renowned guests. After having previ - ously performed concertante or semi-scenic operas, Noack made his stage debut in Donizetti’s Viva la Mamma at the Berlin State Opera in June 2009. He is a visit ing professor at the Hochschule für Musik Hanns Eisler in Berlin. Personal details

Reviews

 

... Es ist davon auszugehen, dass sich diese Einspielung zum Standard- und Referenzwerk etablieren wird.
Musica Sacra, 04/2020

... In short, this is an almost perfect performance of what has to be considered a masterpiece.
Johan van Veen, musica Dei donum, 2019

... un disque d’un excellent niveau global , chaudement recommandé.
Florent Coudeyrat, ConcertoNet.com, 04/23/2019


... The soloists are attractive and dexterous enough to bring the composer’s melodic gifts to the fore. 
American Record Guide, September/Oktober 2018

... Insgesamt mag diese Einspielung dank Frieder Bernius, dank seinem Stuttgarter Kammerchor und auch dank der beflissenen Musiker der Hofkapelle Stuttgart als Referenzaufnahme gelten.
Gerhard Persché, Fono Forum, Juli 2018

... Skvelý výkon podává také orchestr klasicistních nástroju Hofkapelle Stuttgart. Peclivé nastudování a celková koncepce jsou dokladem kvalitní práce a píedstavy o podobe kompozice ze strany dirigenta Friedera Berniuse. Haydnova Stabat Mater zde zaznívá jako skutecné mistrovské dílo.
Lukáš M. Vytlacil, Harmonie, 6/2018

... wird selbiger [der Hörer] von Text und Musik ergriffen, weil Bernius das große Kunststück gelingt, mit sparsamen, oft dezenten Mitteln zum Kern der Komposition vorzudringen.
Matthias Hengelbrock, Musik & Kirche, Mai/Juni 2018

... la précision, les sonorités capiteuses et l’élan des mouvements choraux émaillent l’écoute de superbes moments...
Jean Luc Macia, Diapason, Mai 2018

... This is a thoroughly musical and respectful performance of a deeply thoughtful and poignant work. As such it offers much solace and satisfaction.
Brian Robins, Early Music Review, March 23, 2018

... so sei diese Aufnahme nicht nur zum Kennenlernen oder zum Meditieren empfohlen, sondern auch als Anregung, selber zuzugreifen und dieses großartige Werk aufzuführen!
Gustav Danzinger, CHOR aktuell, 2/2018

... Die Aufnahme mit dem Stuttgarter Kammerchor ist auf ihre Art mustergültig... Die vier heutigen SolistInnen zeigen sich in Bestform.
Johannes Mundry, Chorzeit, April 2018

... Frieder Bernius hat es jetzt zusammen mit vier Solisten, Kammerchor und Hofkapelle Stuttgart mit großer Sorgfalt wieder ans Licht geholt und ... sehr abwechslungsreich eingespielt.
Lotte Thaler, swr.de, 20.04.2018

... Wer Beweise für die Exzellenz des Kammerchors Stuttgart suchte, der würde hier an allen Ecken und Enden fündig... Eine CD voller wundersamer Klang-Überraschungen...
Stuttgarter Zeitung, 17. April 2018

... Diese überzeugende Aufnahme von Frieder Bernius mit hochrangigen Solisten, dem Kammerchor Stuttgart und der Hofkapelle Stuttgart ... folgt der neuen kritischen Edition des Werkes von Carus.
ChorPfalz, März/April 2018 

... Een meer dan sublieme uitvoering. Niet te missen!
Stretto. Magazine voor kunst, geschiedenes en muziek, 31.03.2018

... This is a thoroughly musical and respectful performance of a deeply thoughtful and poignant work.
Brian Robins, Early Music Review, 23.03.2018

… eine makellose Wiedergabe des … Werkes. … So macht Haydn richtig Spaß!
www.pizzicato.lu, Jan-Geert Wolff, 01.03.2018

... Der Kammerchor Stuttgart beweist bei dieser Aufnahme wieder einmal mehr, dass er zu Recht den Ruf als einer der führenden Chöre seiner Art besitzt!
Astrid Belschner, kulturradio vom rbb, 23.02.2018

... Dank des umsichtigen Dirigats, der exzellenten Solisten, dem hervorragenden Chor und Orchester ein echter Hörgenuss!
Jan Ritterstaedt, WDR TonArt, 23.02.2018

... Die neue Aufnahme von Frieder Bernius mit dem Kammerchor und der Hofkapelle Stuttgart sowie hervorragenden Solisten zeigt das 14 Nummern umfassende Werk in allen Schattierungen.
Austria Presse Agentur, 19.02.2018

... Den gripande framføringa til den kanadiske tenoren Colin Balzer bidreg til å gjera dette til den finaste Haydn-innspelinga på lenge.
Dag Og Tid, Sjur Haga Bringeland, 09.02.2018

... [Dirigent, Sänger und Ensemble] musizieren mit sensibler Leidenschaft, tiefer Innigkeit und großem Respekt vor dem Werk, das dem Pergolesis in Nichts nachsteht.
Martin Bail, CLASS: aktuell, Nr. 1 2018

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