About this Recording
8.554443 - ROSSINI: Stabat Mater
English 

Gioachino Rossini (1792-1868)
Stabat Mater

How best to remember one of the most influential artists of the early nineteenth century? Fêted by writers like Stendhal, rival and ouster of even Beethoven in some quarters, creator of the gourmet's Tournedos Rossini steak, composer of the William Tell Overture and the comic opera The Barber of Seville. It seems odd to reconcile the jokey, portly figure of the bon viveur with a composer of religious music. Until the lights dim and the music starts to play.

Rossini intentionally gave up composing operas after his epic five hour long William Tell, written for all the pomp that Paris required and setting the style for French Grand Opera for the rest of the nineteenth century Exhausted, out of touch with what might follow, this Italian in Paris retired on his laurels – or so the story goes. What followed were trifles, songs and piano pieces and two religious settings – the Stabat Mater and the Petite Messe Solennelle.

Rossini was born on 29th February 1792 in the unremarkable small port of Pesaro on the Italian Adriatic coast, to barely literate but musical parents. Those early years saw revolution and war in Europe and young Rossini was well aware of the national sentiments that began to stir in Italy shortly afterwards His rôle was not that of the great musical patriot: that was to be given to Verdi, his junior of thirty years. But Rossini did grow from his humble beginnings to become the opera composer of the day and toast of the times.

His career began in Venice at an early age but soon moved via Bologna and Ferrara to that great operatic centre, Milan and particularly to La Scala, Italy's foremost opera house. Success arrived with the première of La Pietra del paragone which brought both fame and an exemption from military service. By 1815, Rossini had moved to Naples, climax of the English Grand Tour circuit and the best place for Italian comic opera or opera buffa.

Rome was next stop on his travels, to supervise revivals of previous operas and the première of his latest work, The Barber of Seville, received there with utter contempt in one of the greatest failures of all operatic first nights. Despite this setback, Rossini was well on the road to becoming the major opera composer of his day. He travelled the country throwing off scores at breakneck speed. Some are now forgotten, many are remembered by their overtures only and others have been revived for the memorable melodies that had originally made them popular.

Although London beckoned and Rossini met the King at Brighton, no London opera was ever to see the light of day. William Tell was set to be both final triumph and the very reason for no more Rossini operas. Wagner and Verdi were on the horizon and their influence would be too strong now. As an operatic composer, Rossini had reached the point where he felt unable to continue and equally unable to adapt to a new style. His health too, after many years of dalliance, was in sad decline. Yet there was still enough life in the great man to produce his choral religious masterpiece.

The Stabat Mater is to Rossini what the Requiem would be to Verdi, a unique full-scale religious setting which still seems to have its essence in the lyric theatre. For Rossini it was also a case of a composer coming out of retirement to create one of his finest works and then retreating back to compose little salon pieces to please his Parisian friends.

The poem describing Mary's grief at the foot of the cross is a medieval text that has been set by many composers up to the present day. Rossini was commissioned in 1831 by a Spanish Bishop, but ill health meant that of the twelve sections originally envisaged, he completed only six, leaving the rest of the composition to the Bolognese composer, Giovanni Tadolini. Officially, Rossini was suffering from lumbago, although it is likely that his illness was far more serious and in 1832 he took the cure at Aix-les-Bains for a disease that by its recurrence seems most likely to have been venereal in origin.

In 1837, Rossini's Spanish Bishop died and when a publisher wrote to say the score was to become available for publication, the composer had to admit that it was not all his own work. Spurred on by the challenge, the score was completed and first performed in Bologna in March 1842.

The Stabat Mater is written for full orchestra with four soloists and chorus and divided into ten sections Operatic and highly melodic in style, it ranges from an impressively grand opening through the popular tenor aria Cujus animam to the two remarkable unaccompanied chorus passages that impressed Wagner so much. The serious nature of the piece is confirmed by the use of a big double fugue as conclusion. Certainly more looking forward to Verdi than back to Bach, this is one of Rossini's finest and most attractive works. The jokes of the Barber may not be there, nor the patriotic words of William Tell, but the popular expression of Mediterranean belief in life and faith shows that Rossini still was able, after his self-styled retirement, to create another new masterpiece.

David Doughty


[1]

Stabat Mater

 

Stabat Mater dolorosa,

Juxta crucem lacrymosa,

Dum pendebat Filius.

 

Stabat Mater

 

The grieving Mother stood

weeping by the Cross

where hung her Son.

 

[2]

Cujus animam gementem

 

Cujus animam gementem

Contristatam et dolentem

Pertransivit gladius.

O quam tristis et afflicta

Fuit ilIa benedicta

Mater, Unigeniti!

Quœ moerebat et dolebat

Et tremebat, cum videbat

Nati poenas inclyti.

 

Cujus animam gementem

 

Her spirit, groaning,

saddened and grieving,

was pierced by a sword

O how sad and afflicted

was that blessed

Mother of the Only-begotten!

The gentle Mother mourned and grieved

as she beheld the sufferings

of her glorious Son.

 

[3]

Quis est homo

 

Quis est homo qui non fleret,

Christi Matrem si videret

In tanto supplicio?

Quis non posset contristari

Piam Matrem contemplari

Dolentem cum Filio?

 

Quis est homo

 

Who is the man that would not weep

if he saw the Mother of Christ

in such torment?

Who could fail to feel sorrow

for Christ's loving Mother

grieving for her Son?

 

[4]

Pro peccatis

 

Pro peccatis suœ gentis

Vidit Jesum in tormentis,

Et flagellis subditum.

Vidit suum dulcem natum

Morientem desolatum

Dum emisit spiritum.

 

Pro peccatis

 

For the sins of His people

she saw Jesus in torment,

and submitting to the scourge.

She saw her sweet offspring

dying and forlorn

as He yielded up His spirit.

 

[5]

Eja, Mater, fons amoris

 

Eja, Mater, fons amoris,

Me sentire vim doloris

Foc ut tecum lugeam.

Fac ut ardeat cor meum

In amando Christum Deum.

Ut sibi complaceam.

 

Eja, Mater, fons amoris

 

Ah Mother, fount of love,

to feel the force of grief,

grant me, that I may weep with Thee.

Grant that my heart may blaze

with the love of Christ, my God,

that I may please Him too.

 

[6]

Sancta Mater

 

Sancta Mater, istud agas,

Crucifixi fige plagas,

Cordi meo valide,

Tui nati vulnerati,

Tam dignati pro me pati,

Pœnas mecum divide

Fac me vere tecum flere,

Crucifixo condolere,

Donec ego, vixero.

Juxta crucern tecum stare,

Te libenter sociare,

In planctu desidero.

Virgo, virginum prœclara,

Mihi jam non sis amare,

Fac me tecum plangere.

 

Sancta Mater

 

Holy Mother, grant me this:

fix the wounds of the Crucified

firmly on my heart.

Let me share the sufferings

of Thy wounded Son,

who so graciously suffered for me.

Let me truly weep with Thee,

to grieve with Thee for the Crucified

as long as I live.

To stand with Thee by the Cross,

and willingly to join with Thee

in mourning Thy loss.

Virgin supreme among virgins,

be not harsh now with me,

make me to weep with Thee.

 

[7]

Fac nt portem

 

Fac ut portem Christi mortem,

Passionis fac consortem,

Et plagas recolere.

Fac me plagis vulnerari,

Cruce hac inebriari,

Ob amorem Filii.

 

Fac ut portem

 

Lert me bear Christ's death,

grant me a share in His Passion,

and to revere His wounds.

Make me be riven with His wounds,

drunk with the Cross

out of love for Thy Son.

 

[8]

Inflammatus et accensus

 

Inflammatus et accensus

Per te, Virgo, sim defensus,

In die judicii

Fac me cruce custodiri,

morte Christi prœmuniri,

Confoveri gratia.

 

Inflammatns et accensns

 

So fired and consumed with flames.

O Virgin, let me be defended by Thee,

in the day of judgement.

Let me be guarded by the cross,

strengthened by the death of Christ,

cherished by grace.

 

[9]

Quando corpus morietur

 

Quando carpus morietur,

Fac ut animœ danetur

Paradiisi glaria.

 

Quando corpus morietur

 

When my body shall die,

grant that my spirit may be given

the glory of Paradise.

 

[10]

In sempiterna sœcula

 

In sempiterna sœcula. Amen.

 

In sempitema sæcula

 

To Him be glory ever more. Amen.

 


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