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Stabat Mater

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Audio CD, February 29, 2000
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Editorial Reviews

Since the Middle Ages, this text has inspired composers in two fundamental ways: they have set it to music in fulfillment of a vow to the Virgin Mary, whom they believe has answered some prayer or petition; or they have purged themselves of some personal sense of grief in setting this moving text, which describes her sorrow as she weeps at the foot of the cross. Between 1875 and 1876, Dvorák lost three of his children to illness or accident, and it's no wonder that he chose to express his sorrow in such moving and very personal music. Helmuth Rilling's performance emphasizes the confessional nature of this essentially intimate piece, while at the same time keeping the music flowing steadily. This is not an everyday sort of experience, but on its own terms it's a deeply emotional one. --David Hurwitz

Disc: 1
1. Stabat Mater, Op. 58: Stabat mater dolorosa - Antonin Dvorak
2. Stabat Mater, Op. 58: Quis est homo qui non fleret - Antonin Dvorak
3. Stabat Mater, Op. 58: Eja mater fons amoris - Antonin Dvorak
4. Stabat Mater, Op. 58: Fac, ut ardeat cor meum - Antonin Dvorak
Disc: 2
1. Stabot Mator, Op. 58: Tui Nati vulnerati - A. Dvorak
2. Stabot Mator, Op. 58: Fac me vere tecum flere - A. Dvorak
3. Stabot Mator, Op. 58: Virgo virginum praeclara - A. Dvorak
4. Stabot Mator, Op. 58: Fac, ut portem Christi mortem - A. Dvorak
5. Stabot Mator, Op. 58: Inflammatus et accensus - A. Dvorak
6. Stabot Mator, Op. 58: Quando corpus morietur - A. Dvorak

Product Details

  • Audio CD (February 29, 2000)
  • Number of Discs: 2
  • Label: Alliance
  • ASIN: B000003JSI
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #256,226 in Music (See Top 100 in Music)

Customer Reviews

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Most Helpful Customer Reviews

5 of 6 people found the following review helpful By A Customer on January 13, 2003
In the summer of 1996, I sampled a taste of the Oregon Bach Festival, held in Eugene. The program that night featured one of the most unjustly-neglected pieces of classical music. The chorus and orchestra led the cocertgoers on an epic journey of music making that evening. I will never forget it.
Lovers of choral music must treat themselves to this negelected masterpiece! It is one of my all-time favorites. The recording is worth it.
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4 of 5 people found the following review helpful By rodboomboom HALL OF FAMEVINE VOICE on May 7, 2004
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Gripped in the anguish of losing three children in a row, Dvorak poured himself into finishing this piece begun earlier at the death of his first infant daughter in 1875. First performed in 1880, the composer must have been deeply touched by the warm reception given him on the Continent and in North America.
Marked by emotional outbursts and then settling into serene pastoral sounds, this work is rhythmic in its movement from choruses to solos to ensembles.
Flowing around a well known 13thC text (by some felt to be da Todi's) concerning the Holy Mother's remorse at the crucifixion of her son Jesus -- this is emminent text and passion.
Such passion and sweet grief, e.g. "Who on Christ's dear Mother thinking such a cup of sorrow drinking, would not share her sorrow deep?"
My favorite turns out to be the popular alto solo "Inflammatus et accensus" "All my heart, inflamed and burning, Savior, now to Thee is turning; shield me in the Judment Day. By Thy Cross may I be guarded, meritless--yet be rewarded through Thy grace, O living Way."
Here performed by Oregan Bach Festival Choir and Orchestra conducted by renown Helmuth Rilling in a 1995 recording, the soloists are wonderful, especially soprano Marina Shaguch and Tenor James Taylor.
Dvorak's passionate work here with accompanying text in German, French and English is wonderful, inspirational comfort and work of serene beauty.
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1 of 1 people found the following review helpful By William Kasimer on June 24, 2013
This is one of the greatest choral works, sadly neglected by many music lovers, and rarely performed. Fortunately, there have been many excellent recordings of this work. I've heard most of them, after becoming obsessed with this work while preparing to sing in the chorus of a performance.

This one, conducted by Rilling, is surely one of the best. Superb sonics and orchestral/choral execution, with no lack of passion or drama. And Rilling's solo group is nearly ideal; most other recordings, however fine, suffer from one or two soloists with nasal, unsteady, or otherwise unpleasant voices. Without question, if I were recommending one recording of this work, it would be Rilling's.

Other fine recordings include Talich (a great performance, but in somewhat limited monaural sound) and Kubelik (who also boasts a superb solo quartet, but isn't as well recorded).
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