During the 2023 3D animation jury at Piktura (formerly Pôle 3D) the jury—including ourselves—was deeply impressed by the student short Stabat Mater presents a powerful theme and an equally striking visual treatment Stabat Mater‘s 3D animation resembles stop-motion The team even went so far as to recreate certain artifacts of this technique in 3D The film also boldly plays with grain and overexposure.Poetic Stabat Mater offers a sharply defined visual identity The film’s evocative power is further enhanced by the use of split-screen and a single-take shot.In short: one of the most memorable shorts we had the chance to see during that year’s jury The sorrowful son was standing beside the rope weeping Sound design: Hadrien Maton.Sound Editing: Pierre-Antoine Naline.Final Mix: Christian Cartier Editor specialising in 3D and 2D/VFX/real time 3D/XR animation Passionate about the evolution of digital creation I've been part of the 3DVF team since 2010 I go to trade shows with my notebook and camera in hand As the benchmark media for the entertainment and digital image industries 3DVF keeps you up to date with all the latest news and industry secrets It’s funny what you see at orchestral concerts If you weren’t in the hall during Poulenc’s Stabat Mater would you even realise that the tuba uses a mute in the final chord whether standing on the floor or being heaved into the instrument’s bell Richard Bratby is the chief classical music critic of The Spectator Be part of the conversation with other Spectator readers by getting your first three months for £3 Already a subscriber? Log in Antonín Dvořák’s Stabat Mater is a sensitive and humble setting of the Crucifixion story attributed to the medieval Italian Franciscan monk Jacopone da Todi the overall tone of the work is positive and life-affirming under the baton of Artistic Director Aaron Beck join forces to offer an evening of transcendence from despair to hope Sung in Latin with English translation provided Media 24 Jam – Kapolres Langkat AKBP Faisal Rahmat SIK SH.MH diminta untuk segera bertindak menangkap pemilik mesin judi tembak ikan di Titi Putih tepatnya di Dusun IV jumlah angka kasus pencurian menjadi meningkat tajam “Iya bang sejak ada mesin judi tembak ikan disini jadi sering terjadi kasus pencurian,” kata warga yang enggan disebutkan namanya warga minta Kapolres Langkat untuk segera bertindak menangkap pemilik lokasi perjudian jenis tembak ikan tersebut “Kalau polisi tidak segera bertindak maka jangan salah kan kami (warga) yang akan bertindak menutup paksa lokasi judi tembak ikan tersebut,” 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out a Live Demo with Web Visitors Into Leads now to see exactly how it works and even give it a try… it could be huge for your business you can automatically start a text (SMS) conversation pronto… which is so powerful because connecting with someone within the first 5 minutes is 100 times more effective than waiting 30 minutes or more later The new text messaging feature lets you follow up regularly with new offers even just follow up notes to build a relationship Everything I’ve just described is extremely simple to implement CLICK HERE https://rushleadgeneration.com to discover what Web Visitors Into Leads can do for your business potentially converting up to 100X more eyeballs into leads today If you’d like to unsubscribe click here https://rushleadgeneration.com/unsubscribe.aspx?d=media24jam.com and website in this browser for the next time I comment Anticipating their performance of the Stabat Mater of Giovanni Pergolesi in Sandpoint on Palm Sunday (April 13th) Sandpoint Conservatory voice department head Brenda Rutledge and pianist Daniel Hughes talk with Jim Tevenan and perform selections from Pergolesi's sacred music masterpiece and soloists present the Australian premiere of a brand new choral work by Swedish composer Fredrik Sixten in our annual “Music for Holy Week” series The Stabat Mater portrays Mary at the foot of the cross experiencing her son’s crucifixion – an extraordinary depiction of a mother’s suffering acclaimed world-wide as a truly significant composer of our time dissonance and expressivity to produce a powerful Canticum is proud to present this outstanding new contribution to contemporary sacred music for the first time in Australia both in the glorious acoustic of Sacred Heart Catholic Church Wednesday 16 April at 7.30pm and Good Friday 18 April at 5.30pm Camerata – Queensland’s Chamber Orchestra Check out our playlists from our latest issue Our free Weekly Newsletter delivers the latest arts news reviews and features to your inbox each Saturday Karol Szymanowski joins a prestigious line of composers who have set the anonymous mediaeval text to music: Palestrina Szymanowski has updated the tradition by using a Polish translation of the Latin text and adding Polish folk melodies to the religious piece as if Mary’s sorrow could not yet be shared and only come together in the closing section This vocal masterpiece by Szymanowski is supplemented with his own Fourth Symphony and two works by his compatriots: the Suita for string orchestra by Grażyna Bacewicz – also dating from the 1930s – and Krzysztof Penderecki’s Ciaconne from 2005 Co-organized by the Adam Mickiewicz Institute as part of the international cultural program of the Polish Presidency of the Council of the European Union 2025 Read the programme here. At 7.30 pm there are introductions both in Dutch (Espace Le Bœuf) and French (Salon Ovale.  Choose your interests and get the latest news from Bozar straight to your mailbox Centre for Fine ArtsRue Ravensteinstraat 231000 Brussels Offices: Offices : +32 (0)25078430 Tickets: tickets@bozar.be Call center: +32 (0)25078200 Discover the world's largest classical music catalogue with Presto Music If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information Tulsa Opera will present “Stabat Mater” Saturday Email notifications are only sent once a day spirituality and music will come together as Tulsa Opera presents “Stabat Mater,” Antonín Dvořák’s masterpiece of choral music Tulsa Opera artistic director Aaron Beck will conduct the performance which will feature the Tulsa Opera Orchestra the Tulsa Opera Signature Chorale and four soloists — soprano Paige Grilliot Dickey and tenor Justin Kroll both of whom are Filstrup Resident Artists and Laven Sowell Artists with Tulsa Opera and soprano Mary Ann Stewart and bass-baritone Mark McCrory Aaron Beck is the artistic director of Tulsa Opera The work will be performed in Latin with English surtitles The “Stabat Mater” is based on a 13th-century text attributed to the Italian Franciscan monk Jacopone da Todi which describes the scene of the crucifixion of Jesus through the eyes of his mother The work takes its title from the first line of the text: “Stabat Mater dolorosa iuxta crucem lacrimosa dum pendebat Filius,” or “The grieving Mother stood weeping beside the cross where her Son was hanging.” “Dvořák’s ‘Stabat Mater’ is one of the most profoundly moving works in the vocal repertoire — filled with sweeping emotion spiritual depth and raw humanity,” Beck said “Presenting it with the Tulsa Opera Signature Chorale and Tulsa Opera Orchestra reflects the artistic ambition at the heart of Tulsa Opera: to honor the tradition of great vocal music while embracing opportunities to bring powerful rarely heard masterpieces to our stage and our community.” A stained glass interpretation by Tulsa artist Mandy Pelotte of this image created by Laura Sage will be raffled off as part of Tulsa Opera’s production of the “Stabat Mater.” Dvořák’s inspiration for the ‘Stabat Mater’ is traditionally attributed to his grief over the death of his 2-day-old daughter it was following the tragic deaths of his remaining two children that Dvořák added three movements and set it for orchestra The ‘Stabat Mater’ premiered in Prague on Dec and soon received performances in Brno (conducted by Czech Leoš Janáček) the last to such resounding success that Dvořák was invited to conduct it himself the following year in London’s Royal Albert Hall This performance represented Dvořák’s first major international success and helped establish his ‘Stabat Mater’ as the most famous setting of the text as well as one of his most popular and frequently performed works Tulsa Opera’s production will also mark the debut of a new program “Art at the Opera,” which will spotlight visual artists and writers to attend a designated performance and create works inspired by their experiences The first artist selected is Tulsa glass artist Mandy Pelotte who has re-created the “Stabat Mater” portion of Laura Sage’s artwork used as part of Tulsa Opera’s marketing for the season The piece will be raffled off at the performance; raffle tickets are $5 and may be purchased in advance or the night of the concert Pelotte will also conduct a demonstration of stained glass art prior to the concert’s start Tickets are $25. To purchase and more information: 918-582-3133, tulsaopera.com The debut of the touring production of "The Outsiders" is certain to be one of the biggest events in the city's arts calendar james.watts@tulsaworld.com Receive the latest in local entertainment news in your inbox weekly The Bartlesville landmark was set to be sold Tuesday as part of a bankruptcy auction who first joined the Philbrook staff in 2017 was promoted to the position formerly held by Scott Stulen after a natio… Also: Philbrook Museum's summer Films on the Lawn series will feature "Wicked (Part One)" and the 2005 adaptation of "Pride and Prejudice." "Renée Fleming is the type of artist you travel to New York May Pang talked about being a partner in love and music with the former Beatle helping him during what was the most creatively fertile and co… Get up-to-the-minute news sent straight to your device Account processing issue - the email address may already exist Invalid password or account does not exist Submitting this form below will send a message to your email with a link to change your password An email message containing instructions on how to reset your password has been sent to the email address listed on your account The Valletta Baroque Ensemble (ViBE) and KorMalta are today presenting the concert Baroque Music for Lent: Stabat Mater The second concert of the Scarlatti Series centres once again on Alessandro Scarlatti a central figure of the Neapolitan baroque period who composed his Stabat Mater in 1723 for the Brotherhood of the Knights of the Virgin of Sorrows in Naples The piece was commissioned to replace an earlier setting by Giacomo Carissimi and was performed annually during Lenten services Though it has been somewhat overshadowed by Giovanni Battista Pergolesi’s later setting (1736) Scarlatti’s Stabat Mater remains deeply expressive attributed to the 13th-century Franciscan poet Jacopone da Todi is a deeply moving meditation on the suffering of the Virgin Mary as she witnesses the crucifixion of her son it became a central text for sacred musical settings often performed as part of Lenten devotions Today’s programme includes works from mainly three composers: Scarlatti (1660-1725) who was best known for his operas and sacred music; Antonio Caldara (1670-1736) a Venetian-born composer who was one of the leading figures in early 18th-century sacred music; and Johann Adolph Hasse (1699-1783) Hasse began his career as a tenor singer at the Hamburg Opera and presented his first opera in 1721 at the Brunswick Court Opera The evening will see Riccardo Bianchi as director and organist as well as five members of the Valletta Baroque Ensemble (ViBE) The concert is being held in collaboration with Festivals Malta and KorMalta please register for free or log in to your account Please enable JS and disable any ad blocker What happens when the grandeur of Italian opera meets the reverence of sacred music You get Gioachino’s Rossini’s Stabat Mater—a masterpiece full of emotion and meaning blending operatic drama with the sublime grace of sacred choral music Stabat Mater is a classical poem from the Catholic liturgy that resonates deeply with Goans as ‘Dukhest Avoi Dukhan Borit’ often sung during the Good Friday ceremony of the Descent from the Cross Rossini’s interpretation transforms this timeless hymn into an unforgettable musical experience combining the majesty of opera with the spiritual depth of sacred music Stuti’s performance will take place on November 23 at the Mission Seminary Chapel in Pilar and November 24 at St Anthony Church in Siolim The performance will feature four soloists adding new depth to the choir and string orchestra Since the original Stabat Mater was written for a full orchestra Java has rearranged it to suit Stuti’s ensemble making it accessible to Goan audiences while keeping its richness intact This version also brings out parts of the music that are often hidden in larger productions. 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Visit image gallery to purchase the image titled "Musical Meditations for Passiontide" The featured work will be the well-known Stabat Mater a setting of the ancient hymn depicting Mary’s response to the death of Christ Pergolesi’s Stabat Mater will be sung by Caroline Burchell (soprano) and Claire Barton (mezzo-soprano) accompanied by an instrumental ensemble of members of the Dunedin Symphony Orchestra The programme also includes two of Georg Telemann’s characterful solo vocal cantatas Soprano Caroline Burchell grew up in Dunedin and is now based in Wellington She began life as a choral singer at the age of 6 and now performs as a soloist and in chamber ensembles around the country Her vocal teachers have included Lesley Graham and hopes to soon secure a place at an overseas conservatoire to study towards a Masters in Vocal Performance She enjoys singing a wide variety of repertoire though her solo engagements have tended towards early music Claire Barton is a mezzo-soprano and proud Dunedinite She is currently writing a PhD on female singers and singing teachers in Dunedin after 1945 She also teaches classical singing to private students She has appeared regularly as a soloist for City Choir Dunedin over the past 15 years Tickets $25 through Eventfinda (fees apply) or at the door (no eftpos) Students $10 at the door; accompanied children free a musical masterpiece is set to take center stage offering audiences a deeply moving experience one of Gioachino Rossini’s most powerful works blending sacred devotion with the drama of opera in a way only Rossini could achieve Stabat Mater is based on a 13th-century hymn that portrays the grief of the Virgin Mary at the foot of the Cross Rossini infused this sacred text with the rich melodies and theatrical intensity of his operatic style The result is a work that is both emotionally charged and profoundly spiritual and a stirring orchestral score that captures both sorrow and hope a collaboration between the Cyprus Symphony Orchestra Foundation and Papadopoulos & Schinos Productions promises to be a highlight of the season for classical music lovers and those seeking a moment of reflection through art 2025 – 8:30 PM at Nicosia Municipal Theatre Limassol: Thursday Tickets: €17 – €25 Available at: www.ticketmaster.cy For further details, visit www.cyso.org.cy or call 22 463144 With its soaring melodies and profound emotional depth Stabat Mater is more than just a concert—it’s an experience that resonates long after the final note Whether you're drawn to its spiritual themes or simply appreciate masterful music Hungarian Radio Symphony Orchestra / Riccardo Frizza (dir) Elisabetta Brusa (b 1954) explains in a booklet note that composing a Requiem had been an ambition for most of her career but that she knew she had to wait to do it until she had accumulated enough life experience to be able to produce a mature work In 2020 she felt ready to contemplate the task and composed her Stabat Mater as a trial piece drawing on the last moments of her parents the idea of Christ’s suffering on the cross and her love of music followed in 2020/21 and both pieces are recorded here for the first time romantic orchestration and dramatic contrasts the Requiem almost matches Verdi’s in its operatic scale Frank Martin and other 20th-century composers and is very well performed keening Stabat Mater for solo soprano and orchestra is a real tour de force by Réka Kristóf This article originally appeared in the Autumn 2024 issue of Choir & Organ. Never miss an issue – subscribe today If you are an existing subscriber to Gramophone, International Piano or Opera Now and would like to upgrade, please contact us here or call +44 (0)1722 716997 This weekend finds conductor Eric Jacobsen concluding his two-week residency leading the Grant Park Orchestra at Millennium Park. While Jacobsen, co-founder of New York’s The Knights, has made a largely positive impression in his previous programs the results Friday night at the Pritzker Pavilion were more mixed That leaves it an open question whether Jacobsen is an obvious choice to succeed outgoing Grant Park artistic director and principal conductor Carlos Kalmar Friday’s program opened with Lili Boulanger’s D’un matin de printemps (Of a Spring Morning)from 1918 heard for the first time at the downtown summer series the younger sister of the famed pedagogue Nadia was the first woman to claim the coveted Prix de Rome in 1913 She was plagued with health issues throughout her short life and died just two months after completing D’un matin at age 25 It is hard not to imagine what might have been upon hearing this evocative stanza. The five-minute work opens with a transparent pulsing evocative of early spring awakening More languid passages ensue with the unmistakable influence of Debussy in harmony and orchestration before a brief energetic coda closes the work Jacobsen led a subtle reading that brought out Boulanger’s imaginative engagement with the musical trends of her day Poulenc’s Stabat Mater found Jacobsen at work with the Grant Park Chorus in another inventive French opus The Stabat Mater text treats Mary’s mourning following the crucifixion and Poulenc composed the 1950 setting following the death of a close friend turning to his own Roman Catholic faith for solace is a prime example of the French composer’s spiritual seriousness juxtaposed with his wryer cabaret influences From the descending sighs of the opening “Stabat Mater dolorosa,” the chorus was in fine form thoughtfully prepared as always by director Christopher Bell They projected enormous collective force in the violent movements that depict Mary’s acute grief and Jacobsen fluently negotiated Poulenc’s wide range of expression Moments of choral fire and brimstone had a guttural impact and more playful episodes came off with Gallic charm currently pursuing graduate studies at Curtis and returning to Grant Park following her festival debut last summer Reynolds possesses a powerful instrument and is an assured presence on stage though her initial solo movements came off as somewhat stiff Friday with some harshness at the top of her range palpably conveying the devastation of the final “Quando corpus,” where her lamentation soared over the dense texture of both the chorus and orchestra It remains a distracting drag this summer to have to unlock and scroll through one’s phone to read translations at Grant Park choral performances in the absence of printed programs Might we compromise and at least have a cheaply printed translation available for those concertgoers who care to follow along The evening concluded with Rimsky-Korsakov’s Scheherazade On the basis of Jacobsen’s two previous outings one expected great things in this Russian orchestral warhorse but Friday’s performance was surprisingly earthbound for such a kaleidoscopic “The Sea and Sinbad’s Ship” lacked the necessary storm-tossed sweep “The Tale of Prince Kalendar” saw inspired solo playing from the principal winds but Jacobsen struggled to knit these contributions into a coherent narrative Concertmaster Jeremy Black’s beguiling contributions depicting the titular raconteur certainly elevated the performance but could not counteract the prevailing flat Jacobsen’s more spacious approach was better suited to the languors of “The Young Prince and the Princess,” but still one had a sense he was not fully at home with Rimsky-Korsakov’s style “The Festival at Bagdad” brought some belated fireworks as it cantered along precipitously and the return of the first movement’s material had the drama that previously had been lacking but ultimately this was a more muted outing that Jacobsen’s prior podium appearances and was treated to an encore of Dvořák’s Slavonic Dance No 8 in G minor from the composer’s Opus 46 set Jacobsen and colleagues gave an energetic account of this Furiant punctuating the evening with a bang after the quiet conclusion to Scheherazade The program will be repeated 7:30 p.m. Saturday. grantparkmusicfestival.com Posted in Performances XHTML: You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong> Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" Today’s Video of the Day is a performance of Clive Osgood’s ‘O Quam Tristis’ taken from his Stabat Mater the Choir of Royal Holloway and the London Mozart Players under conductor Rupert Gough Their performance of Osgood’s complete Stabat Mater is set for release on 7 March The Stabat Mater was originally a 13th century hymn to the Virgin Mary and describes Mary standing at the foot of cross on which he is dying Osgood’s work was composed in 2009 and divides the original twenty stanzas of the text into ten movements The programme notes for this performance describe the third movement as providing the heart of the Stabat Mater The soprano soloist embodies the voice of Mary as she sings of her distress +61 3 9348 7100 Email Enquiries The Sistine Chapel has played host to the first ever live-streamed concert allowing audiences around the world to watch a performance of Stabat Mater by Scottish composer Sir James MacMillan MacMillan’s haunting setting of the 13th century text portraying the pain and sorrow of Mary standing at the foot of the Cross received glowing reviews at its world premiere in London eighteen months ago The work was commissioned by the Genesis Foundation set up by businessman and philanthropist John Studzinski Sunday’s ground breaking event in the Sistine Chapel featured British choir ‘The Sixteen’ and chamber orchestra ensemble the ‘Britten Sinfonia’ performing against the backdrop of Michelangelo’s majestic Last Judgement Welcoming the audience seated below the famous frescoed ceiling English Cardinal Vincent Nichols prayed that God would touch the hearts of all listeners so that they might show compassion to those who suffer in today’s world Conductor Harry Christophers praised the acoustic quality of the Sistine Chapel which draws some six million pilgrims and visitors each year The performance of this profoundly moving piece conveying the depths of Mary’s despair as she witnesses the Crucifixion received a lengthy ovation at the conclusion of its four movements Members of the audience described the drama and intensity of MacMillan’s score as “mind blowing” tuned in live via Classic FM’s Facebook page but ensuring the success of this unique artistic and musical experience Thank you for reading our article. 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Just click here favourite Pergolesi has just died of a chest infection… but his Stabat Mater is considered to be the masterwork of Latin music.’ When the French writer Charles de Brosses visited Naples in 1739 he lamented the passing of one of its finest composers: Giovanni Battista Pergolesi Pergolesi had been declared ‘the Raphael and Virgil of music’ the intermezzo La serva padrona of 1733 and the Stabat Mater said to have been written on his death-bed were pronounced ‘as indestructible as nature’ Stylistically, Pergolesi echoed the lyrical melodies and transparent textures of his comic intermezzo La serva padrona Particularly controversial to 18th-century listeners were the dancing rhythms gambolling motifs and decorative trills which seemed to trivialise the grief-laden text The composer Charles Avison claimed the young composer had not understood the difference between ‘the tenderness or passion of a theatrical scene and the solemnity of devotion.’ off-beat rhythms deliberately distort the natural accents of the text to evoke the stabbing sword that pierces the Virgin’s soul against the dancing rhythms of Quae moerebat syncopations and trills suggest emotional turbulence No other performers are as fully conversant with Neapolitan Baroque music as Antonio Florio and his Naples-based ensemble the Cappella de’ Turchini (now re-named Cappella Neapolitana) Decades of experience researching and performing the city’s musical heritage gives them the edge when it comes to understanding the kaleidoscopic range of styles that inspires Pergolesi’s work light intermezzo-style airs and tragic operatic duets Florio strikes a fine balance between soave lyricism and articulate rhetoric while soprano Maria Grazia Schiavo turns from fresh-voiced innocent to impassioned tragedienne Stéphanie d’Oustrac’s effortlessly straight-toned voice is nonetheless richly expressive They’re placed in the midst of the instrumental ensemble which in turn weaves an intricate tapestry of sound rather than providing mere accompaniment reflecting the Neapolitan penchant for plucked strings The Ricercar Consort’s sound is at once lustrous and intimate in this 2005 recording The voices of Núria Rial and Carlos Mena have real fervour and they’re so beautifully paired that at times they seem to melt into one paint the words and articulate phrases with great sensitivity Pierlot carries the work’s gravitas and piety without ever being heavy handed and he lightens the shades where necessary Barbara Bonney and Andreas Scholl are matchless and Rousset’s Les Talens Lyriques instrumentalists play with a suave – rather Mozartian – style Scholl comes closer to the sacred heart of the piece; Bonney’s approach is more operatic and extrovert but – with the exception of the transcendently beautiful duet Quando corpus morietur spiritual vision – it sounds more like a concert piece than a religious lament By visiting our site, you agree to our privacy policy regarding cookies The intake of breath that precipitates the rush of energy and action brings memories flooding back honours the legacy of Sir Robert Cohan and combines performance of his works choreographed between 1975 to 2019 snippets of film and his own engaging chat He opens remembering his introduction to Graham technique how the sensation grabbed him and how he instantly recognised his life’s path It was London’s good fortune that philanthropist Robin Howard persuaded him to come to the capital in 1967 to form a company and the necessary school to train the dancers The ‘70s were heady days as contemporary dance The programme opened on Stabat Mater (1975) one of Cohan’s most memorable works and students from the Royal Swedish Ballet School in Stockholm did it proud the sudden total collapse on the floor all bear silent witness to the suffering of the women at the Cross The young dancers showed emotional intelligence beyond their years in a moving performance another early work was shown in archival film footage featuring performances from vintage London Contemporary Dance Theatre dancers Sigh (2014) to Edward Elgar’s Sospiri and Communion (2019) were evidence of Cohan’s unerring choreographic ability They were given sterling performances by Liam Riddick in the first and Dane Hurst on film in the second It was a rare treat to see two of our top male contemporary dancers perform these works with every fibre of their bodies dancing in airborne leaps and melting rolls Lingua Franca (2014) to Bach’s Chaconne in D Minor another of the award-winning dancer in the company of Abigail Attard-Montalto making conversation in sometimes simple exchanges and occasionally more complex structures coming to a close as the quartet finally link arms To conclude a stage full of student dancers from Rambert School of Ballet and Contemporary Dance demonstrated the power and energy of the Graham technique in Class (1975) It closed an evening of nostalgia but mainly of joy; a living tribute to the man who transformed London’s dance scene This event is organized by an external institution The Stabat Mater is one of the few sacred works composed by Antonín Dvořák reminiscent of the Orthodox a cappella liturgy alternate with the contrasting solo and polyphonic sections The choirs and solo passages are accompanied by a large symphony orchestra deploying a rich palette of instrumental colors.  Kris Belligh and the Brussels Philharmonic Orchestra will deploy the full range of nuances that this work demonstrates under the direction of the conductor Laëndi.  A total of 150 artists on stage to perform a masterful work intense in emotion and support the action of Handicap International PR​​​​​​​ICE: 22.5€ - 27.5€ - 32.5€ - 42.5€ - 52.5€ (ticketing fees included) This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page Essential digital access to quality FT journalism on any device Complete digital access to quality FT journalism with expert analysis from industry leaders Complete digital access to quality analysis and expert insights complemented with our award-winning Weekend Print edition Terms & Conditions apply Discover all the plans currently available in your country See why over a million readers pay to read the Financial Times Generations of composers have set the 13th-century hymn meditating on the suffering of Mary As James MacMillan’s Stabat Mater premieres on Saturday he explains why text still speaks to us today It invites the reader and the listener to partake in the mother’s grief as a path to grace and as part of a believer’s spiritual journey One candidate is the Franciscan monk Jacapone da Todi who died in 1306 another is Pope John XXII (who died in 1334) It’s a difficult text to set – the mood of tragedy is sustained and all-consuming and the 20 verses follow a set rhythmic pattern This has not deterred generation after generation of composers like many of those of the 18th and 19th centuries is too unwieldly for anything other than concert performances but to my ears there’s both a functionality and a purity about the earlier voice-only settings My own work is for the concert stage and a string orchestra but perhaps within it there’s a murmur of these ancient settings – a deliberately archaic feel to my writing especially those associated with the crucifixion seem to have an irresistible attraction to composers of today whether they are conventionally religious or not been unnerved by its “Mariolatry” but the sheer beauty and pathos of the words have usually overcome Protestant objections broken heart of Mary is recapitulated in the lives of many and artists with an empathy for our shared humanity will always return to embrace it who suggested the Stabat Mater for a large-scale work prompted by his belief that Mary’s grief at the foot of the cross is recognisable to hundreds of thousands of parents around the world I’ve composed smaller a cappella works for the group but this is my first large-scale score for them They sang my Seven Last Words From the Cross with me in Amsterdam in 2009 and that was the springboard for composing this more substantial hour-long work Stabat Mater starts with the cluster that ends that earlier work and then heads from these dying embers in a new direction I’ve set the complete text with 20 verses cast into four movements The challenge for the composer is the sorrowful mood throughout but there was huge scope to move towards something much more dramatic and enervating Parts of it have featured in several of my previous compositions not least in my first opera Inés de Castro Seven Last Words From the Cross and my two Passion settings In 2007’s St John Passion I used excerpts of the text in its seventh movement as a commentary on the moment when Mary beholds her dying son on the cross You can even find the Crucifixion narrative in my orchestral music – in my orchestral trilogy Triduum and in the piano trio Fourteen Little Pictures which is based on the 14 stations of the cross Perhaps these were all in various ways preparations for the complete setting Tamara Stefanovich/Christian Gerhaher/Tabea Zimmermann/Jörg Widmann/Bavarian RSO/Stanley Dodds(BR Klassik)A recording marking German composer Wolfgang Rihm’s 70th birthday vividly demonstrates how protean his vast output is still springing surprisesThis article is more than 3 years oldTamara Stefanovich/Christian Gerhaher/Tabea Zimmermann/Jörg Widmann/Bavarian RSO/Stanley Dodds(BR Klassik)A recording marking German composer Wolfgang Rihm’s 70th birthday vividly demonstrates how protean his vast output is and bring together two of Rihm’s works from the beginning of the century with the Stabat Mater Wolfgang Rihm 39 album artworkThey also demonstrate vividly how protean Rihm’s music can be his music has always been in a dialogue with the past and of how he has never been afraid to use whatever musical language seemed appropriate post-Bergian expressionism or the most fractured pointillism Both Sphäre nach Studie (Sphere after Study) for six instrumentalists of 2002 and Male über Male (Paint on Paint) for clarinet and ensemble of 2008 are based on earlier pieces to which Rihm added further layers of instrumental commentary while leaving the original solo lines intact; they are both spare in which each pitch seems carefully rationed By contrast the setting of the Stabat Mater hymn with the viola line wreathed around the baritone’s declamatory phrases feels almost medieval in its unadorned rawness; even now ever-renewing stream of invention that seems to follow its own satisfying logic though you’d never guess it from the Munich performance The music of Antonin Dvorak’s “Stabat Mater” is itself redemptive we comprehend that the words of the hymn through the very grandeur of the music have led us from a most somber and tragic experience with corresponding musical setting to a new hope—that death I was in the Woodstock Center Xeroxing something or other The young man in charge of the operations there told me that the following Friday he was singing at the Kennedy Center The National Symphony Orchestra was doing Antonin Dvorak’s “Stabat Mater,” with the Czech conductor Zdenek Macal and the Oratorio Society of Washington This event seemed like something that should not be missed have often mentioned the visit Dvorak (1841-1904) made to Spillville the nineteenth-century center of Czech immigration into the homesteading farmland of Iowa One likes to think that the familiar music of the New World symphony or the quartet or the cello concerto bore the spirit and flavor of those fertile plains of Northern Iowa that were home to my mother’s parents and grandparents My Bohemian mother was born in the year Dvorak died in Prague probably a Gregorian one—I can still hum it in my off-key way for anyone who can stand it— was most familiar to me from my altar boy days at Saint Anthony’s Parish in Knoxville As we lived but two houses away from the church during Lent my brother and I were often recruited for regular duty to serve for the Stations of the Cross which seem in memory to have been held every day but probably only on Wednesdays and Fridays with Father Horan or Father Garrity to lead us around to each Station was sung at every second Station so that the end of the Stations coincided with the last stanza of the hymn I remember an organ and a goodly number of people present for such a small parish in a Protestant town It is easy to recall the first stanza that sets both the tone and the teaching of the hymn: Perhaps it was only in the Order that we sang it in Latin Those words to that music always seemed touchingly sad as they evoked so graphically the scene they described the Blessed Mother at the Cross of her Son There is probably a lesson there somewhere My briefest translation of the same stanza would be “(The) Sorrowful Mother weeping stood next to the Cross while (her) Son was hanging (there).” The old Catholic Encyclopedia noted that by 1912 there were over 60 translations of this hymn into English each has composed a score for the “Stabat Mater.” The “Stabat Mater,” which came into the Roman Missal in 1727 is now used in the Office for the Feast of Our Lady of Sorrows Formerly it was used for the same Feast (Mater Dolorosa) that occurred on the Friday after Passion Sunday (two weeks before Easter) in the Old Liturgy The writing of his “Stabat Mater,” moreover had a personal meaning of some considerable poignancy for Dvorak He and his wife Anna had three infant children a second (Otakar) of smallpox at about three years of age after accidentally drinking an acid used for making matches Dvorak was about 36 at the time his children died and he wrote the music is very much addressed to the grief of his wife the voice the second from the last stanza features It is accompanied by neither chorus nor other soloist The Christian experience of the “Stabat Mater” bears without in any way denying the reality of this life that the glory of Paradise / Be given to my soul,” would be my most jejune translation But the musical effect is stunning in context unexpectedly listening to such glorious music music rooted in the very depths of the human condition and its redemption—the man and wife who lose their first three children (they went on to have six more to be sure)—at once makes us realize the power and consolation of Christian dogma and its immediacy to life The reviewer in the Washington Post suggested that even those of differing theologies might grasp the import of this music let me be defended / On judgment day.” Dvorak understood that we are not alone in such sorrows as his as long as we knew of the Virgin But again I go back to the sense of sorrow and hope that shines through this remarkably lovely music you could almost see on the face of one who listens to this music we are mindful of Saint Paul’s oft repeated idea that we want to see God and one another “face-to-face.” / To grieve with thee over the Crucified One / As long as I shall have lived.” The translation of this last line in my Ritual is the familiar “All the days that I may live,” a translation I like I have in my files the address that the Czech President Vaclav Havel gave to the United States Congress in February of 1990 This was the speech in which Havel re-marked that “the salvation of this human world lies nowhere else than in the human heart in human meekness and in human responsibility Only “human consciousness”—”without a global revolution in the sphere of human consciousness nothing will change for the better in the sphere of our Being as humans.” Hope seems focused in this world “If I subordinate my political behavior to this imperative mediated to me by my conscience and “consciousness” can reveal merely itself when he concludes his “Stabat Mater”: The “Amen” of this music is hauntingly lovely and glorious almost as if to say that the last thing heard by mortal ears is the first thing for which we shall listen in Paradise Perhaps it is true to say that we can only bear to speak of “consciousness” when we have ceased in our Parliaments and Senates to be free enough even to speak of the Virgin it is more likely that the Virgin was more apt to have been the reason Vaclav Havel was free of Marxist rule free to speak to a Senate wherein speech of the Virgin is not proper even in Czech than anything “consciousness” ever dreamed of We dare not speak of these things for they might well be true Playlist of famous versions of the “Stabat Mater” (Spotify subscription required): Republished with gracious permission from Crisis magazine (January 1993) The featured image is “Pietà” (1490) by Pietro Perugino, and is in the public domain, courtesy of Wikimedia Commons All comments are moderated and must be civil Comments that are critical of an essay may be approved but comments containing ad hominem criticism of the author will not be published comments containing web links or block quotations are unlikely to be approved Keep in mind that essays represent the opinions of the authors and do not necessarily reflect the views of The Imaginative Conservative or its editor or publisher Δdocument.getElementById( "ak_js_2" ).setAttribute( "value" The Imaginative Conservative is sponsored by The Free Enterprise Institute (a U.S Your donation to the Institute in support of The Imaginative Conservative is tax deductible to the extent allowed by law If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.