Stabat Mater

Introduction

This setting of the Stabat Mater, a 13th century hymn to the Virgin Mary, is written for soprano, tenor and bass soloists as well as chorus, strings and piano. The work was composed in 2009 and divides the original twenty stanzas of the text into ten movements. It describes the grief-stricken Mother of Jesus standing at the foot of cross, on which he is suffering an agonising death.

The overall shape of these movements provides something of an arch structure, with similar music at the beginning and end. Similarly, a slower variation of the second movement is used for the penultimate movement.

Composer’s Notes

1. Stabat Mater dolorosa

The work starts with a short instrumental introduction before the chorus sings the opening lines ‘Stabat Mater dolorosa’ in hushed unison. The music, with its quietly pulsating bass notes and suggestion of a funeral march, gradually builds in intensity. When this music is repeated, the piano adds a delicate countermelody. A slowed-down version of the countermelody provides the conclusion to the movement, as a Baroque-style walking bass. This underpins a series of suspensions that allude to perhaps the most famous setting of the Stabat Mater, by Pergolesi.

2. Cujus animam

The pace quickens in the second movement, ‘Cujus animam’, describing the sword passing through Mary’s soul. Propelled by the piano, a flowing melody over a rising bass leads to a passage of insistent two-against-three rhythm. The movement ends with the choir singing a loud repeated phrase ‘pertransivit gladius’, (the sword passed through).

3. O quam tristis

The third movement, ‘O quam tristis’, provides the heart of the work. Over a steady piano accompaniment, a solo violin plays a haunting melody before giving way to the soprano soloist. Embodying the voice of Mary, she sings of her distress as the violin continues a web of countermelodies. The tempo quickens for the middle section ‘Quae maerebat’ as the choir joins the texture. The original melody returns to conclude the movement with the solo soprano and violin joining together.

4. Quis est homo

In the fourth movement, ‘Quis est homo’, the text asks about the magnitude of the mother’s suffering. It is set as an austere chorale-like theme followed by six variations. In the third of these variations the strings begin a more urgent theme which then accompanies the initial choral statement. The movement then begins to wind down and ends quietly with the lower voices in a chant.

5. Pro peccatis

A plainchant style is maintained in the fifth movement, ‘Pro peccatis’. This is an unaccompanied setting for five solo voices in free time. The soprano soloist elaborates on the final words of each phrase and the eeriness of the departing spirit is depicted at the end with quiet repetitions.

6. Eja mater

A more positive mood is restored in the following movement, ‘Eja mater’, as the Holy Mother is called to upon to fill the author with the love of Christ. This is depicted musically in a chorale-like setting with piano interjections and violin counter melodies. The second and fourth sections provide a greater sense of urgency before leading the music to a quiet conclusion.

7. Virgo virginum

‘Virgo virginum’ is a duet for tenor and bass soloists with string quartet. A yearning and angular theme is repeated in various keys by both soloists, asking the virgin of virgins to share her grief. The main melodic idea is interspersed by passages in which both soloists sing together over a pulsating accompaniment.

8. Fac, ut portem

Following this, the eighth movement ‘Fac, ut portem’ repeats music from the fifth movement. This adds to the overall arch-like structure of the work, although it starts loudly this time, ending with the same quiet repetitions.

9. Christe, cum sit hinc’

The ninth movement, ‘Christe, cum sit hinc’, begins with the soprano soloist singing a slower version of the second movement, now in steady four-time. When the choir repeats the melody, the soloist adds a soaring descant. The movement builds in intensity as Jesus is asked that, ‘through your Mother I may come to the palm of victory’. After the choir’s final acclamation, the strings and piano provide a coda that reintroduces the suspensions and piano countermelodies from the beginning of the work and a dramatic modulation to prepare for the final movement.

10. Quando corpus

‘Quando corpus’ reprises the music from the beginning of the work before ending with an extended ‘Amen’ section. The final words of the text ‘When my body dies, may my soul be granted the glory of paradise’ are reflected in the last section of music. A final series of ‘Amens’ rises to a final resolution, and the hope of resurrection.