Brussels Philharmonic | Dvorák: Stabat Mater

Dvorák: Stabat Mater

programme notes

written by Aurélie Walschaert
03.03.2023 SINT-ELISABETHKERK KORTRIJK
04.03.2023
FLAGEY BRUSSELS

see more: all programme notes
at the cross her station keeping,
stood the mournful mother weeping,
lose to Jesus to the last


(translation by Edward Caswall)


Stabat Mater Dolorosa

There is some doubt about the poem’s authorship – in addition to the monk Jacopone da Todi, other suggested authors include popes Innocent III, Gregory and John XII, St Bonaventure, St Bernard of Clairvaux and even the English monk John Peckham – but what is known is that the text was recorded in Franciscan circles. This is evidenced by other parallels with the mystical theology of Francis of Assisi. The Stabat Mater consists of 20 three-line verses with an AAB CCB rhyme scheme, a practice that was often used in the Middle Ages in order to memorize Gregorian hymns. The first verses describe the suffering of Mary from the perspective of the believer as a witness, and from the fifth verse, the believer turns to Mary in prayer in the hope that his soul would be united with that of Christ after death.

The Stabat Mater was originally intended to serve as personal inspiration in prayer and was also used as a processional hymn during penitential processions. Only in the 15th century was the text incorporated into the official liturgy as an interlude in the Requiem Mass and during the liturgy for the Friday after Palm Sunday. The Council of Trent (1545-63) forbade its performance during the liturgy because it considered the poem too profane. It would be another 200 years before the Stabat Mater once again became a standard part of the repertoire of the Roman Catholic Church, used for times of contemplation during Lent or on the Feast of Our Lady of the Seven Sorrows on 15 September.

The dramatic story and universal theme has inspired more than 400 composers to set the poem to music, from Josquin des Prez to Arvo Pärt. Of all these versions, the one by Antonín Dvořák (1841-1904) is unquestionably one of the most personal – and for that reason probably the most moving – musical settings of the poem. µ

A personal drama

The Stabat Mater, opus 58 by Dvořák was the result of a dramatic event in the life of the Czech composer at a time when his career was gaining momentum: in September 1875, he became a father once again, but his newborn daughter Josefa died only two days after her birth. As a deeply religious man, Dvořak sought refuge in composing a Stabat Mater. Between February and May 1876, he worked on an initial version for soloists, choir and piano. But before he had had a chance to expand the composition – in between other commissions – into a ten-part work and provide an orchestral version, fate struck again: his 11-month-old daughter Ruzena died in a domestic accident and scarcely a month later his 3-year-old son Otakar died of smallpox. As a way of coping with these losses, Dvořak threw himself into his Stabat Mater again. He completed it that year, on 13 November 1877. The première took place in Prague on 23 December 1880 and was an instant success.

Despite the tragic series of events that inspired it, Dvořák’s Stabat Mater is anything but a sombre work. Throughout the ten movements, Dvořák was able to shift the atmosphere from despair to hope and trust. Rather than just setting the ten verses to music, Dvořák created his own subdivision and combination, based on what he wished to express. Thus, he opens with two full verses, and at other times even three, and where necessary he repeats some of the most important lines. In this way, he creates a musical journey that guides the listener through the various stages of his or her own grieving process. The focus is not on the text or his compositional ability, but rather on his personal processing of the loss and the accompanying emotions – from boundless sorrow to acceptance, to faith in a new future. This makes this Stabat Mater an intense and gripping, but at the same time also a healing work.

The introduction is one long lamentation, in which the orchestra is used dramatically and the choir and soloists enter a bit further on with the famous opening lines. Only at the end of the first movement do the heavens begin to grow light and the music softly moves into a major key. From the fourth movement on, Dvořák portrays a praying Christian imprisoned in his grief and longing for union with Christ. Salvation comes in the closing verse: while the orchestra falls silent, the choir bursts forth a capella in a powerful song of praise. In the closing Amen, the orchestra enters again, with one of the most impressive declarations of faith in all of musical history.

text

I. Stabat Mater dolorosa
iuxta crucem lacrimosa,
dum pendebat Filius.

Cuius animam gementem,
contristatam et dolentem,
pertransivit gladius.

O quam tristis et afflicta,
fuit illa benedicta
mater Unigeniti!

Quae maerebat et dolebat,
pia Mater dum videbat
nati poenas incliti.

At the Cross her station keeping,
stood the mournful Mother weeping,
close to her son to the last.

Through her heart, His sorrow sharing,
all His bitter anguish bearing,
now at length the sword has passed.

O how sad and sore distressed
as that Mother, highly blest,
of the sole-begotten One.

Christ above in torment hangs,
she beneath beholds the pangs
of her dying glorious Son.

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

Quis non posset contristari,
Christi Matrem contemplari
dolentem cum Filio?

Pro peccatis suae gentis
vidit Jesum in tormentis
et flagellis subditum.

Vidit suum dulcem natum
moriendo desolatum,
dum emisit spiritum.

Is there one who would not weep,
whelmed in miseries so deep,
Christ's dear Mother to behold?

Can the human heart refrain
from partaking in her pain,
in that Mother's pain untold?

For the sins of His own nation,
She saw Jesus wracked with torment,
All with scourges rent.

She beheld her tender Child,
Saw Him hang in desolation,
Till His spirit forth He sent.

III. Eia Mater, fons amoris,
me sentire vim doloris
fac, ut tecum lugeam

O thou Mother! fount of love!
Touch my spirit from above,
make my heart with thine accord.

IV. Fac, ut ardeat cor meum
in amando Christum Deum,
ut sibi complaceam.

Sancta Mater, istud agas,
crucifixi fige plagas,
cordi meo valide.

Make me feel as thou hast felt;
make my soul to glow and melt
with the love of Christ my Lord.

Holy Mother! pierce me through,
in my heart each wound renew
of my Savior crucified.

V. Tui Nati vulnerati
tam dignati pro me pati,
poenas mecum divide.

Let me share with thee His pain,
who for all my sins was slain,
who for me in torments died.

VI. Fac me tecum pie flere,
crucifixo condolere,
donec ego vixero.

Iuxta crucem tecum stare,
et me tibi sociare,
in planctu desidero.

Let me mingle tears with thee,
mourning Him who mourned for me,
all the days that I may live.

By the Cross with thee to stay,
there with thee to weep and pray,
is all I ask of thee to give.

VII. Virgo virginum praeclara,
mihi iam non sis amara
fac me tecum plangere.

Virgin of all virgins blest!
Listen to my fond request:
let me share thy grief divine.

VIII. Fac, ut portem Christi mortem,
passionis fac me sortem,
et plagas recolere.

Fac me plagis vulnerari,
fac me cruce inebriari
et cruore Filii.

Let me, to my latest breath,
in my body bear the death
of that dying Son of thine.

Wounded with His every wound,
steep my soul till it hath swooned,
in His very Blood away.

IX. Inflammatus et accensus
per te, Virgo, sim defensus
in die iudicii.

Fac me Cruce custodiri
morte Christi praemuniri
confoveri gratia.

Be to me, O Virgin, nigh,
lest in flames I burn and die,
in His awful Judgment Day.

Let the cross then be my guard,
the death of Christ my watch and ward,
and cherish me by heaven's grace.

X. Quando corpus morietur,
fac, ut animae donetur
paradisi gloria.

Amen.

While my body here decays,
may my soul Thy goodness praise,
Safe in Paradise with Thee.

Amen.

translation by Edward Caswall