Stabat mater

Depiction of the Sorrowful Mother in a picture by the painter Titian , 1554.

The Stabat mater (after the beginning of the poem, Stabat mater dolorosa , Latin for 'The mother was filled with pain') is a medieval poem which the mother of Jesus in her grief for the crucified Jesus has as its central content. The authorship is unclear. The poem was in the past among others Pope Innocent III. († 1216) and attributed to the Franciscans Iacopone da Todi († 1306) and Johannes Bonaventura († 1274).

The Stabat mater was included in the Roman Missal in 1521 , but like almost all sequences was banned from worship by the Council of Trent . In 1727, when the feast of Septem Dolorum Beatae Mariae Virginis (Memory of the Seven Sorrows of Mary) was introduced, it was included as a sequence in the mass text and as a hymn in the breviary of the Catholic Church and has since returned to the Catholic liturgy. However, the feast , which was set on the Friday after Passion Sunday in 1727, was abolished by the liturgical reform of the Second Vatican Council , so that the Stabat Mater as a liturgical piece only on September 15, today's date Memory of the Sorrows of Mary , ad libitum (at will) can be sung or prayed.

The best-known German translation of the Stabat mater comes from Heinrich Bone (1847).

Original text, liturgical text and translations into German

As with many famous song texts, there are several different versions of the Stabat mater. The critical text of the sequence was edited by Clemens Blume and Henry M. Bannister based on the 86 manuscripts (the oldest are from the 13th century) in Analecta Hymnica . This "original text" is shown in the first column.

No less important is the current liturgical version approved by the Catholic Church. It is in the Graduale Romanum from 1973/1979. Compared to some earlier liturgical versions, it differs only slightly from the original text. For chronological reasons it is written in the fourth and last column, with the deviations from the original text being printed in bold.

In the second column, immediately next to the original, is the German version by Christoph Martin Wieland from 1779, published in his magazine Der Teutsche Merkur 1781, 1st quarter, pp. 101-106. It is quoted from the booklet of the probably only CD publication in German in the setting by Giovanni Battista Pergolesi (text underlay: Alexander Eberle, recorded in 2008 in the Peterskirche Oßmannstedt , Wieland's long-term residence near Weimar; published by NAXOS 8.551276). About 24 other late medieval replicas in the German-speaking area were edited and examined by Andreas Kraß , and P. Maximilianus van Dun offers a detailed examination and edition of Middle Dutch translations of the same epoch.

In the third column, i.e. to the left of the current version in the Graduale Romanum , there is a translation by Heinrich Bone (1847). The praise of God contains under number 532 ( GL ^old 584): Christ's mother stood in pain (melody: Cologne 1638) five of the ten stanzas. The first four correspond to the first, second, fourth and sixth (slightly changed) stanzas of Heinrich Bone's text, while the last stanza offers an independent translation of the tenth stanza of the Latin original text; Bone and Wieland align their tenth stanza with the text version adopted by the Graduale Romanum . In the own part of the praise of God of the dioceses of Freiburg and Rottenburg-Stuttgart , the transfer to Bone is completely printed under number 885 (GL ^old 896), the melody comes from the collection Evangelium in Gesänge from 1656.

Original Latin text sealed around 1200-1300	Rhymed transmission Christoph Martin Wieland 1779	Rhymed transmission Heinrich Bone 1847	Current liturgical text Graduale Romanum 1973/79
1. Stabat mater dolorosa Iuxta crucem lacrimosa, Dum pendebat filius; 2. Cuius animam gementem, Contristantem et dolentem Pertransivit gladius. 3. O quam tristis et afflicta Fuit illa benedicta Mater unigeniti! 4. Quae maerebat et dolebat, Et tremebat, cum videbat Nati poenas incliti. 5. Quis est homo, qui non fleret, Matrem Christi si videret In tanto supplicio? 6. Quis non posset contristari, Piam matrem contemplari Dolentem cum filio? 7. Pro peccatis suae gentis Iesum vidit in tormentis Et flagellis subditum. 8. Vidit suum dulcem natum Morientem, desolatum, Cum emisit spiritum. 9. Eia, mater, fons amoris, Me sentire vim doloris Fac, ut tecum lugeam. 10. Fac, ut ardeat cor meum In amando Christum Deum, Ut sibi complaceam. 11. Sancta mater, illud agas, Crucifixi fige plagas Cordi meo valid. 12. Tui nati vulnerati, Iam dignati pro me pati, Poenas mecum divide. 13. Fac me vere tecum flere, Crucifixo condolere, Donec ego vixero. 14. Iuxta crucem tecum stare, Te libenter sociare In planctu desidero. 15. Virgo virginum praeclara, Mihi iam non sis amara, Fac me tecum plangere. 16. Fac, ut portem Christi mortem, Passionis eius sortem Et plagas recolere. 17. Fac me plagis vulnerari, Cruce hac inebriari Ob amorem filii. 18. Inflammatus et accensus, Per te, virgo, sim defensus In die iudicii. 19. Fac me cruce custodiri, Morte Christi praemuniri, Confoveri gratia. 20. Quando corpus morietur, Fac ut anima donetur Paradisi gloriae.	Looks at the mother, full of pain, as she stands with a torn heart under the cross of the son: Oh! how worried her heart, how it breaks, when the hardship of the Last Judgment goes deep through her soul! O how bitter prey was the blessed mother of the crucified one! How the anxious soul is panting! How she trembles, how she groans to see the pain of her beloved! Whose eye can the tough Bey fend off the misery that oppresses the mother of Christ? Who does not grieve deeply, who sees the mother with the dear son in such distress? For the sins of his brothers, she sees how the tender limbs of heavy scourges are torn by rage: sees the lovely son pale, robbed of consolation, abandoned by God, quietly breathless his spirit. Let, oh mother, the source of love, let the flood of sacred instincts flow down into my heart! Let me be aflame in love, burn completely for him who gave his life for me. Push all the wounds your son felt for me deeply into my soul! Let me dissolve in repentance, suffer with him, atone with him, share with him every pain! Let me cry with you heartily, unite with Him through the cross, die all my life! To stand under the cross with you, to look steadily up, I see myself out of the urge to love. Share in Christ's suffering, let me part from all pleasure which inflicted these wounds on him! I also want to cut myself wounds, I want to carry the cross of the Lamb that bore my sin. When my wounds flow, drunk with love , let me enjoy this comforting face! Still flaming from the holy fire, deck, oh virgin, me your Schleyer Once on the day of judgment! Storm against all enemies Let me shield the cross of Christ, grace be my banner! Dect the grave dark hell my body, then take the soul up into paradise to you!	Christ's mother stood by the cross in pain and weeps from her heart when her dear son hung there. Through the soul full of sorrow, cutting under the chill of death, now the sword of suffering went. What a pain for the chosen ones when they saw the native wrestling with death. Fear and misery, torment and anxiety, all sorrow held her embraced, which only penetrated one heart. Is there a person on all earth who does not have to be softened when he thinks of Christ's mother as she stands there, completely crushed by pain, pale, without all complaints, only sunk in the suffering of the son? Oh, for his brothers' debts she saw him endure torture, scourges, thorns, mockery and scorn; saw him bleak and desolate on the bloody cross, her dear only son, pale . O mother, fountain of love, fill me with the same urge that I feel your pain; that my heart, kindled in suffering, joins your love in order to love God alone. Press your son's wounds, just as you felt them yourself, holy mother, into my heart! That I know what I owe, what your son endures for me, give me a share in his pain! Let me truly weep with you, unite with Christ's suffering, as long as my life lasts! To stand at the cross with you, to look straight up, is what my heart desires. O you virgin of virgins, want to look at me in love, that I share your pain, that I feel Christ's death and suffering, torture, fear and bitter parting like your mother's heart! All wounds, inflicted on him, to bear shame and cross with him, that is my gain from now on! May my heart, kindled by love, find grace in judgment, be my protector! Make that his cross guard me, that his death may save me , that his light of grace warm me, that the soul may rise freely to God in eternal life, when my dying eye breaks!	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 inclyti. Quis est homo, qui non fleret, Matrem Christi si videret In tanto supplicio? Quis non posset contristari, Piam matrem contemplari Dolentem cum Filio? Pro peccatis suae gentis Vidit Iesum in tormentis Et flagellis subditum. Vidit suum dulcem natum Morientem desolatum, Dum emisit spiritum. Eia mater, fons amoris, Me sentire vim doloris Fac, ut tecum lugeam. Fac, ut ardeat cor meum In amando Christum Deum, Ut sibi complaceam. Sancta mater, istud agas, Crucifixi fige plagas Cordi meo valid. Tui nati vulnerati, Tam dignati pro me pati, Poenas mecum divide. Fac me vere tecum flere, Crucifixo condolere, Donec ego vixero. Iuxta crucem tecum stare Ac me tibi sociare In planctu desidero. Virgo virginum praeclara, Mihi iam non sis amara: Fac me tecum plangere. Fac ut portem Christi mortem, Passionis fac me sortem , Et plagas recolere. Fac me plagis vulnerari, Cruce hac inebriari Et cruore Filii , Flammis urar ne succensus , Per te Virgo, sim defensus In die iudicii. Fac me cruce custodiri, Morte Christi praemuniri, Confoveri gratia. Quando corpus morietur, Fac ut animae donetur Paradisi gloria .

The most striking discrepancy between the earliest versions concerns the first half of the tenth and last stanza. A “German” group of manuscripts brings here an alternative stanza that points to the protection through Christ's death on the cross. While earlier editions of the Graduale Romanum, such as the 1908 edition, followed the text of the “German” group, the editors of the 1973 edition opted for the text of the oldest manuscript.

Analysis of the stanzas

The Stabat Mater has ten stanzas, which are again divided into two partial stanzas each with three lines. This suggests that the Stabat Mater was sung as a sequence by two half-choirs, with the first half-choir first singing the first partial stanza to a melody and then the second half-choir responding to the same melody with the second partial stanza. The final sequence of all stanzas is laid out as a tail rhyme ( rhyme scheme [aabccb]).

Settings

The Stabat Mater has often been set to music by classical composers. The entire text was not always used; different occasions for the pieces and personal influences of the composers often led to the emphasis on topics such as consolation, suffering, lamentation. The old Gregorian chant melody was set polyphonically by Josquin and Palestrina as early as the 15th and 16th centuries . Many other composers created settings of the Stabat Mater , which are still often performed today (the line-up follows the composer's name):

Josquin Desprez as a motet (1480)

Orlando di Lasso for male choir (1585)

Giovanni Pierluigi da Palestrina for two mixed choirs (ca.1590)

Giovanni Felice Sances as a solo motet (1643): Stabat mater (Sances)

Marc-Antoine Charpentier (1680)

Emanuele d'Astorga for solos, choir, orchestra and organ (1707)

Domenico Scarlatti for ten-part choir and continuo (1715)

Alessandro Scarlatti for soprano, alto and continuo (1723)

Antonio Caldara for solos, choir, strings and two trombones (± 1725)

Antonio Vivaldi for alto, strings and continuo (± 1727)

Agostino Steffani for solos, choir, strings and organ (1727)

Giovanni Battista Pergolesi for alto, soprano, strings and continuo (1736): Stabat mater (Pergolesi)

Placidus von Camerloher (1718–1782) for solos, choir and string orchestra (chamber orchestra? With trumpets?)

Tommaso Traetta Stabat mater (1750)

Giovanni Benedetto Platti (18th century)

Elector Max III. Joseph von Bayern for solos, choir and orchestra (1766)

Joseph Haydn for solos, choir and orchestra (1767)

Franz Ignaz Beck for alto, soprano, baritone, choir and orchestra (1782)

Luigi Boccherini for soprano and strings / alto, tenor and strings (1781/1800)

Carl Joseph Rodewald for 2 sopranos and orchestra (1799)

Franz Schubert for solos, choir and orchestra (1815)

Friedrich Theodor Fröhlich , Stabat mater (German, 1829)

Gioachino Rossini , Stabat Mater for solo quartet, choir and orchestra (1832/42)

Peter Cornelius for solos, choir a. Orchestra (1849)

Franz Liszt for solos, choir and orchestra (as part of the Christ Oratorio , 1862–1866)

Louis Théodore Gouvy op.65 , for solos, choir and orchestra (1875)

Josef Gabriel Rheinberger in C minor op.16 for soprano, tenor, bass, choir and orchestra (1864) and G minor op.138 for choir, strings (ad lib.) And organ (1884)

Antonín Dvořák op.58 , for solo quartet, choir, organ and orchestra (1877)

Franz Wüllner op. 45 for 8-part mixed choir

Laura Netzel op.45 , for soprano, mezzo-soprano, alto, tenor, bass, mixed choir and organ (1890)

Giuseppe Verdi (as part of the Quattro pezzi sacri ) for choir and orchestra (1898)

Lorenzo Perosi for four voices (1902)

Karol Szymanowski op.53, for three solo voices, choir and orchestra (1925/1926)

Johann Nepomuk David for six-part mixed choir a cappella (SSATBB) (1927)

Albert de Klerk for soprano, tenor, mixed choir and orchestra (1944)

Francis Poulenc for soprano, choir and orchestra (1950/51)

Zoltán Kodály for mixed choir (1898, revised 1962)

Krzysztof Penderecki for 3 mixed choirs (SATB) a cappella (1962)

Vincent Persichetti for choir and orchestra, op.92 (1963)

Frank Martin for soprano, violin and orchestra (1967)

Henryk Mikołaj Górecki for orchestra with soprano and choir (1971)

Poul Ruders for boy soprano, detuned piano, organ, percussion and mixed choir (1975)

Arvo Pärt for soprano, alto, tenor and string trio (1985)

Knut Nystedt for mixed choir and solo violoncello (1986)

Sōmei Satō for soprano and mixed choir (1987)

David Haladjian for soprano solo and four-part female choir (1989)

Vytautas Barkauskas for mixed choir (1990)

Klaus Miehling for soprano and string sextet op.39 (1992), arrangement for soprano and organ op.39a (2009)

Walter Steffens for 9-part. Women's choir (1993)

Manfred Niehaus for three mixed or equal voices a cappella, solo or choral (1994)

Lutz-Werner Hesse for soprano and alto solo, mixed Choir, alto saxophone, percussion and organ op.28 (1997/98)

Javier Busto for mixed choir (1998)

Jaakko Mäntyjärvi for mixed choir and strings (1998)

Wolfgang Rihm for mezzo-soprano, alto, strings and harp (2000)

Salvador Brotons for solos, choir and orchestra (2000)

Markus Höring for women's choir a cappella (2002)

Christophe Looten , op.64 , for four voices a cappella (2004)

Bruno Coulais for 2 female and 2 male voices, choir, violin, piano, guitar, string quartet and percussion (2005)

Hristo Tsanoff (2006 and 2007)

Philipp Ortmeier for soprano, choir and string orchestra (2007/08)

Karl Jenkins : Stabat Mater (Jenkins) (2008)

Martin Lutz (for solos, choir and orchestra; world premiere on October 28, 2011 in Hadersleben Cathedral , Denmark)

Oddvar Lönner (for solos, choir and orchestra; world premiere on December 1, 2012 in the Evangelical Church of Wiener Neustadt, Austria)

Vladimir Romanov for soprano, violin, choir and orchestra (2013)

Felix Bräuer (for bass solo and strings); 2015/2016

Margarete Sorg-Rose for four-part mixed choir and English horn (2018)

Motto

The line Da per matrem me venire (loosely translated: "Let me get through the mother [Mary] [into the heavenly realm]") was included as a motto in his coat of arms by the American Bishop Fulton John Sheen .

literature

Friedrich Gustav Lisco : Stabat Mater, hymn to the pain of Mary: together with an addendum to the translations of the hymn Dies irae: second contribution to hymnology. GWF Müller, Berlin 1843 ( digitized in the Google book search).
Guido Maria Dreves, Clemens Blume: A millennium Latin hymn poem. A harvest of flowers from the Analecta Hymnica with explanations of literary history. Part IOR Reisland, Leipzig 1909, pp. 390–392 ( digitized version ).
Church service. Prayer and hymn book for the Archdiocese of Munich and Freising. J. Pfeiffer, Munich 1958.
Graduale Triplex seu Graduale Romanum Pauli Pp.VI cura recognitum & rhythmicis signis a Solesmensibus Monachis ornatum neumis Laudunensibus (Cod. 239) et Sangallensibus (Codicum San Gallensis 359 et Einsidlensis 121) nunc auctum. Abbaye Saint Pierre de Solesmes / Desclée, Paris-Tournai 1979, ISBN 2-85274-044-3 .
Andreas Kraß: Stabat mater dolorosa. In: VL² , Vol. 9 (1995), Col. 207-214.
Andreas Kraß: Stabat mater dolorosa. Latin tradition and vernacular translations in the German Middle Ages. Wilhelm Fink, Munich 1998.
Paul-Gerhard Nohl: Latin church music texts . Bärenreiter, Kassel 1996, ISBN 3-7618-1249-3 .

Web links

Commons : Stabat mater - collection of images, videos and audio files

Wikisource: Stabat Mater - Sources and full texts (Latin)

Individual evidence

↑ ^a ^b Clemens Blume, Henry M. Bannister (Ed.): The sequences of the Thesaurus Hymnologicus HA Daniels and other sequence editions. 2nd part, 1st volume: liturgical prose of the transitional style and the second epoch (= Analecta Hymnica. Volume 54). OR Reisland, Leipzig 1915, pp. 312-318 ( digitized version ).

^ Stabat mater dolorosa. Latin tradition and vernacular translations in the German Middle Ages. Fink, Munich 1998, ISBN 3-7705-3240-6 ( dissertation , University of Munich, 1994; online ).

^ P. Maximilianus van Dun: De Middelnederlandse Vertalingen van het Stabat mater .

↑ ^a ^b In the “German” (according to the editor, p. 316) group of manuscripts (28 in total) this partial stanza is replaced by the following:
Christe, cum sit hinc exire,
Da per matrem me venire
Ad palmam victoriae.

^ Graduale sacrosanctae romanae ecclesiae de Tempore et de Sanctis (Graduale Romanum ed. Typ.), Romae, Typis Vaticanis, MDCCCVIII.

↑ "Stabat Mater" by Karol Szymanowski . Spanish TV Radio Symphonic Orchestra. Thomas Dausgaard, conductor. Live concert.

[AH-1] Clemens Blume, Henry M. Bannister (Ed.): The sequences of the Thesaurus Hymnologicus HA Daniels and other sequence editions. 2nd part, 1st volume: liturgical prose of the transitional style and the second epoch (= Analecta Hymnica. Volume 54). OR Reisland, Leipzig 1915, pp. 312-318 ( digitized version ).

[2] Stabat mater dolorosa. Latin tradition and vernacular translations in the German Middle Ages. Fink, Munich 1998, ISBN 3-7705-3240-6 ( dissertation , University of Munich, 1994; online ).

[3] P. Maximilianus van Dun: De Middelnederlandse Vertalingen van het Stabat mater .