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Stabat Mater (Dvořák)

December 01, 2023

Antonín Dvořák's Stabat Mater, Op. 58 (B. 71), is an extended setting for vocal soloists, choir and orchestra of the 20 stanzas of the Stabat Mater sequence. Dvořák sketched the composition in 1876 and completed it in 1877. It has been characterized as a sacred cantata and as an oratorio, and consists of ten movements of which only the first and the last are thematically connected. Its total performance time is around 85 minutes.[1][2][3][4]

Stabat Mater
by Antonín Dvořák
Stabat Mater at St. Bonifatius, Wiesbaden, 2019
CatalogueB. 71
Opus58
TextStabat Mater
LanguageLatin
Composed1876 (1876)–1877
Performed23 December 1880 (1880-12-23): Prague
MovementsTen
VocalSATB choir and soloists
Instrumental
  • Orchestra
  • organ

The work was first performed in Prague in 1880. N. Simrock published Dvořák's Op. 58 in 1881. In 1882, Leoš Janáček conducted a performance of the work in Brno. The work was performed in London in 1883, and again, in the Royal Albert Hall, in 1884, and thus played a crucial role in Dvořák's international breakthrough as a composer. In the 21st century the Stabat Mater continues to be Dvořák's best known, and most often performed, sacred work.[5][6]

History edit

That Dvořák started to compose his Stabat Mater in February 1876 as a reaction to the death of his two-day-old daughter Josefa in August 1875 has often been told, but has been doubted in 21st-century scholarship.[2][7][8][9][10] The sketch was written between 19 February and 7 May 1876, and was dedicated to František Hušpauer "as a souvenir to the friend of his young days."[9][11] On 30 July Dvořák sent his manuscript to Vienna, accompanying an application for a scholarship by the Ministry of Culture and Education.[10] He returned to the final stylisation of the composition in 1877, when his two surviving children died within a short time of each other.[10] The definitive version of the score was written from October to 13 November 1877 in Prague.[9]

Music edit

Structure and scoring edit

 
Crucifixion by Evgraf Semenovich Sorokin (1873)

The composer structured the Stabat Mater in ten movements, and scored it for four vocal soloists, soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir (SATB) with sometimes divided voices, a symphony orchestra and organ. The orchestra features parts for two flutes, two oboes, cor anglais, two clarinets in A, two bassoons, four French horns (two in F, two in D), two trumpets, three trombones, tuba, timpani, organ and strings.[12][4] The organ has an independent part accompanying the women's chorus in the fourth movement, but is not used otherwise. Similarly, a single solo phrase in the opening of the second movement is assigned to the cor anglais, which is otherwise absent. Though not specified in the score, it can be played by one of the two oboists, as they are not playing during this section. The approximate duration of the work is 90 minutes.[7][12]

In the following table of movements, the movement number is followed by the beginning of the text, the stanzas set in the movement (counting three lines as one stanza), the vocal performers (choir and solo), the tempo marking at the beginning, time signatures and key. The symbol   is used to denote common time (4/4).

Movements of Stabat Mater
No. Title Stanzas Choral Solo Tempo Time Key
1 Stabat Mater 1–4 SATB S A T B Andante con moto 3/2 B minor
2 Quis est homo 5–8 S A T B Andante sostenuto 3/4 E minor
3 Eja, Mater 9 SATB Andante con moto   C minor
4 Fac, ut ardeat cor meum 10–11 SSAATB B Largo 4/8 B-flat minor
5 Tui nati vulnerati 12 SATB Andante con moto, quasi allegretto 6/8 E major
6 Fac me vere tecum flere 13–14 TTBB T Andante con moto 6/8 B major
7 Virgo virginum praeclara 15 SATB Largo 3/4 A major
8 Fac, ut portem Christi mortem 16–17 S T Larghetto 4/8 B minor
9 Inflammatus et accensus 18–19 A Largo   D minor
10 Quando corpus morietur 20 SATB S A T B Andante con moto 3/2 B minor

Movements edit

The music is structured in ten movements which focus on different aspects of the poetry, depicting the suffering of Mary and the compassion of the person reflecting it in various shades of scoring, tempo and key. The music of the first and last movements shares themes, framing the composition.[12] The movements offer a rich variation in vocal scoring, from one solo voice to various combinations of solo voices, solo voice with choir, and choir alone. While nine movements remain in slow tempo and reflect Mary's suffering in compassionate meditation, the quicker final movement offers a vision of paradise.[13]

1 edit

The first movement, beginning "Stabat Mater dolorosa" (The sorrowful Mother stood [by the cross]), is a setting of the first four stanzas from the poem, scored for the choir, the quartet of soloists and the full orchestra.[14] The movement is an extended sonata form in symphonic style. It opens with a long orchestral introduction, which is repeated with the choir. A contrasting second theme is introduced by the soloists. A development section leads to the return of the opening material.[15]

2 edit

The second movement is assigned to the quartet of soloists. Beginning "Quis est homo, qui non fleret" (What person would not weep), it is a setting of stanzas five to eight from the poem.[16]

3 edit

The third movement, a setting of the ninth stanza from the poem, "Eja, Mater, fons amoris" (Look at the mother, the source of love), resembles a funeral march for choir and orchestra.[17]

4 edit

The fourth movement is a solo for the bass singing the tenth stanza, "Fac, ut ardeat cor meum" (Make my heart burn). It is interrupted by short comments from the choir which is first a four-part women's choir (SSAA), later joined by the men, singing the eleventh stanza, "Sancta mater, istud agas" (Holy mother, make this).[18]

5 edit

The fifth movement, for the choir, sets the twelfth stanza, "Tui nati vulnerati" (Of your wounded son).[19]

6 edit

The sixth movement, setting the 13th and 14th stanzas, "Fac me vere tecum flere" (Make me really weep with you), is sung alternately by the solo tenor and a four-part men's choir.[20]

7 edit

The seventh movement is sung by the choir, at times a cappella. It is a setting of the 15th stanza, beginning "Virgo virginum praeclara" (Virgin pre-eminent among virgins).[21]

8 edit

The eighth movement is a duet for soprano and tenor soloists, setting the 16th and 17th stanzas, beginning "Fac, ut portem Christi mortem" (Grant that I may bear the death of Christ).[22]

9 edit

The ninth movement is a setting of the 18th and 19th stanzas for the solo alto, "Inflammatus et accensus" (Inflamed and afire).[23]

10 edit

 
Dress rehearsal for Stabat Mater in St. Bonifatius, Wiesbaden, on 25 October 2019, with Mary standing under the Cross in the background

The final movement sets the ultimate stanza, beginning "Quando corpus morietur" (When the body will die), then praying for the glory of paradise for the soul ("paradisi gloria"). The movement recalls themes from the first movement[3] and is set for the same forces It ends with an uplifting fugue in a major key on the word "Amen".[24][8]

Reception edit

 
Title page of Novello's edition of the score of Dvořák's Stabat Mater: memento of the performance in Worcester on 12 September 1884, with signatures by Antonín Dvořák and members of the orchestra.

The first performance of Dvořák's Stabat Mater took place on 23 December 1880 at the concert of the Association of Musical Artists in Prague. The performers included the operatic ensemble of the Czech Provisional Theatre, under the conductor Adolf Čech, with the soloists Eleanora Ehrenbergů, Betty Fibich, Antonín Vávra and Karel Čech.[3] Leoš Janáček conducted the work a year and half later, on 2 April 1882, in Brno.[1] A performance in Budapest soon ensued.[1] The work was performed in London in 1883, and again, in the Royal Albert Hall, in 1884, and thus played a crucial role in Dvořák's international breakthrough as a composer.[5] In the 21st century the Stabat Mater continues to be Dvořák's best known, and most often performed, sacred work.[5][6]

Score publications edit

In 1879 Dvořák suggested his Stabat Mater for publication to Fritz Simrock, but it wasn't until after the successful 1880 Prague première of the work that he got the publisher interested.[25] Simrock suggested to change the original opus number (Op. 28) to a more recent number: the work was published as Dvořák's Op. 58 by the N. Simrock firm in 1881.[25] The publication included a vocal score with a piano reduction by Josef Zubatý [scores].[25][26] Full score and vocal score were published by Novello & Co, in the Novello's Original Octavo Edition series, in 1883.[27][28]

In the second half of the 1950s the Stabat Mater was published as Vol. II/1 of Souborné vydání děl Antonína Dvořáka [scores] (SAD, Complete Edition of Antonín Dvořák's Works):[9]

  • The vocal score was published in 1956, with a piano reduction by Karel Šolc [scores].[29]
  • The full score, edited by Antonín Čubr [scores], appeared in 1958.[30] Otakar Šourek [cs] wrote the preface of this edition.[9]

In Jarmil Burghauser's thematic catalogue of Dvořák's compositions the Stabat Matar was given the number B. 71.[10] In 2004 there were two new vocal score editions of Dvořák's Stabat Mater:[31]

  • Bärenreiter published a vocal score based on Dvořák's 1876–1877 draft version, edited by Jan Kachlík and Miroslav Srnka.[32]
  • Klaus Döge [de] revised Josef Zubatý's piano reduction, working away discrepancies with the orchestral score.[25]

Carus published Joachim Linckelmann's arrangement of Dvořák's Stabat Mater for chamber orchestra in 2016.[33] The vocal score published with this edition was Petra Morath-Pusinelli's revision of Josef Zubatý's piano reduction.[13]

Recordings edit

The 1876 version of seven movements for vocal quartet, choir and piano was recorded in 2009 by soloists, the Accentus ensemble, conducted by Laurence Equilbey, with pianist Brigitte Engerer.[41]

References edit

  1. ^ a b c Šourek & Čubr 2000, p. V.
  2. ^ a b Šourek & Šolc 2002.
  3. ^ a b c antonin-dvorak.cz 2019.
  4. ^ a b Döge & Zubatý 2004, p. 2.
  5. ^ a b c Linckelmann & Berná 2016, pp. IV–V.
  6. ^ a b Döge & Zubatý 2004, pp. 6–7.
  7. ^ a b Vaughan 2005.
  8. ^ a b Dotsey 2018.
  9. ^ a b c d e Kachlík & Srnka 2004, p. VI.
  10. ^ a b c d Döge & Zubatý 2004, p. 6.
  11. ^ Šourek & Čubr 2000, p. VII.
  12. ^ a b c Döge 2019.
  13. ^ a b Morath-Pusinelli, Zubatý & Berná 2016.
  14. ^ Döge & Zubatý 2004, pp. 9–32.
  15. ^ Döge & Zubatý 2004, pp. 1–44.
  16. ^ Döge & Zubatý 2004, pp. 33–44.
  17. ^ Döge & Zubatý 2004, pp. 44–51.
  18. ^ Döge & Zubatý 2004, pp. 52–58.
  19. ^ Döge & Zubatý 2004, pp. 59–69.
  20. ^ Döge & Zubatý 2004, pp. 70–77.
  21. ^ Döge & Zubatý 2004, pp. 78–83.
  22. ^ Döge & Zubatý 2004, pp. 84–88.
  23. ^ Döge & Zubatý 2004, pp. 89–93.
  24. ^ Döge & Zubatý 2004, pp. 94–111.
  25. ^ a b c d Döge & Zubatý 2004, p. 7.
  26. ^ OCLC 246636061. Retrieved 1 February 2020.
  27. ^ OCLC 1098699556. Retrieved 1 February 2020.
  28. ^ Antonín Dvořák: Stabat Mater, Opus 58, for soli, chorus and orchestra (Novello's 1883 vocal score) at University of Illinois at Urbana–Champaign website.
  29. ^ Šourek & Šolc 1956.
  30. ^ Šourek & Čubr 1958.
  31. ^ Döge & Zubatý 2004, pp. 6–8.
  32. ^ Kachlík & Srnka 2004.
  33. ^ Linckelmann & Berná 2016.
  34. ^ WorldCat entry for Talich recording. Retrieved 8 September 2017.
  35. ^ WorldCat entry for Smetacek recording. Retrieved 8 September 2017.
  36. ^ WorldCat entry for Shaw recording. Retrieved 8 September 2017.
  37. ^ The Classical Catalogue 1992. No. 153, June 1992, General Gramophone Publications Ltd, Harrow, UK
  38. ^ a b c d Cookson 2015.
  39. ^ WorldCat entry for Macal recording. Retrieved 8 September 2017.
  40. ^ WorldCat entry for Rilling recording. Retrieved 8 September 2017.
  41. ^ Clements 2008.

Sources edit

  • Clements, Andrew (2 May 2008). "Dvořák: Stabat Mater, Engerer / Accentus / Equilbey". The Guardian.
  • Cookson, Michael (December 2015). "Antonín Dvořák (1841–1904) / Stabat mater". musicweb-international.com.
  • Döge, Klaus. "Antonín Dvořák (1841–1904) / Stabat mater Op. 58 / Urtext edited by Klaus Döge (solos,ch,orch) duration: 86'". breitkopf.com. Breitkopf & Härtel. Retrieved 23 June 2019.
  • Döge, Klaus [in German]; Zubatý, Josef, eds. (2004). Dvořák — Stabat Mater for soloists, choir and orchestra, op. 58. Urtext (Piano Vocal Score ed.). Breitkopf & Härtel. ISMN 979-0-004-18195-9. EB 8631.
  • Dotsey, Calvin (2018). "A Light in the Darkness: Dvořák's Stabat Mater". Houston Symphony.
  • Kachlík, Jan; Srnka, Miroslav, eds. (2004). Dvořák Stabat Mater Op. 58: Piano part by Antonín Dvořák. Bärenreiter Urtext. Prague: Bärenreiter. H 7920.
  • Linckelmann, Joachim; Berná, Lucie Harasim, eds. (2016). Antonín Dvořák: Stabat Mater op. 58. Translated by Kosviner, David (Arrangement for soloists, chorus and chamber orchestra ed.). Carus. 27.293/50.
  • Morath-Pusinelli, Petra; Zubatý, Josef; Berná, Lucie Harasim, eds. (2016). Antonín Dvořák: Stabat Mater op. 58 (PDF). Translated by Kosviner, David (Vocal score ed.). Carus. 27.293/03.
  • Šourek, Otakar [in Czech]; Čubr, Antonín, eds. (1958). Antonín Dvořák: Stabat Mater Op. 58. The Complete Works of Antonín Dvorák. Vol. II/1 (Full score ed.). Prague: Státní nakladatelství krásné literatury, hudby a umění. H 2190.
  • Šourek, Otakar [in Czech]; Čubr, Antonín, eds. (2000). Antonín Dvořák: Stabat Mater op. 58. The Complete Works of Antonín Dvorák. Vol. II/1 (Study score ed.). Prague: Bärenreiter. H 2268.
  • Šourek, Otakar [in Czech]; Šolc, Karel, eds. (1956). Antonín Dvořák: Stabat Mater op. 58. The Complete Works of Antonín Dvorák. Vol. II/1 (Vocal score ed.). Prague: Státní nakladatelství krásné literatury, hudby a umění. H 1882.
  • Šourek, Otakar [in Czech]; Šolc, Karel, eds. (2002). Antonín Dvořák: Stabat Mater op. 58. The Complete Works of Antonín Dvorák. Vol. II/1 (Vocal score ed.). Prague: Bärenreiter. H 1882.
  • "Stabat Mater". www.antonin-dvorak.cz. Retrieved 8 October 2019.
  • Vaughan, David (28 March 2005). "Music for Easter: Dvorak's Stabat Mater – one of the most powerful declarations of faith in musical history". Radio Prague.

External links edit

 
Wikimedia Commons has media related to Stabat Mater (Dvořák).

December 01, 2023
stabat, mater, dvořák, antonín, dvořák, stabat, mater, extended, setting, vocal, soloists, choir, orchestra, stanzas, stabat, mater, sequence, dvořák, sketched, composition, 1876, completed, 1877, been, characterized, sacred, cantata, oratorio, consists, movem. Antonin Dvorak s Stabat Mater Op 58 B 71 is an extended setting for vocal soloists choir and orchestra of the 20 stanzas of the Stabat Mater sequence Dvorak sketched the composition in 1876 and completed it in 1877 It has been characterized as a sacred cantata and as an oratorio and consists of ten movements of which only the first and the last are thematically connected Its total performance time is around 85 minutes 1 2 3 4 Stabat Materby Antonin DvorakStabat Mater at St Bonifatius Wiesbaden 2019CatalogueB 71Opus58TextStabat MaterLanguageLatinComposed1876 1876 1877Performed23 December 1880 1880 12 23 PragueMovementsTenVocalSATB choir and soloistsInstrumentalOrchestraorganThe work was first performed in Prague in 1880 N Simrock published Dvorak s Op 58 in 1881 In 1882 Leos Janacek conducted a performance of the work in Brno The work was performed in London in 1883 and again in the Royal Albert Hall in 1884 and thus played a crucial role in Dvorak s international breakthrough as a composer In the 21st century the Stabat Mater continues to be Dvorak s best known and most often performed sacred work 5 6 Contents 1 History 2 Music 2 1 Structure and scoring 2 2 Movements 2 2 1 1 2 2 2 2 2 2 3 3 2 2 4 4 2 2 5 5 2 2 6 6 2 2 7 7 2 2 8 8 2 2 9 9 2 2 10 10 3 Reception 3 1 Score publications 3 2 Recordings 4 References 5 Sources 6 External linksHistory editThat Dvorak started to compose his Stabat Mater in February 1876 as a reaction to the death of his two day old daughter Josefa in August 1875 has often been told but has been doubted in 21st century scholarship 2 7 8 9 10 The sketch was written between 19 February and 7 May 1876 and was dedicated to Frantisek Huspauer as a souvenir to the friend of his young days 9 11 On 30 July Dvorak sent his manuscript to Vienna accompanying an application for a scholarship by the Ministry of Culture and Education 10 He returned to the final stylisation of the composition in 1877 when his two surviving children died within a short time of each other 10 The definitive version of the score was written from October to 13 November 1877 in Prague 9 Music editStructure and scoring edit nbsp Crucifixion by Evgraf Semenovich Sorokin 1873 The composer structured the Stabat Mater in ten movements and scored it for four vocal soloists soprano S alto A tenor T and bass B a four part choir SATB with sometimes divided voices a symphony orchestra and organ The orchestra features parts for two flutes two oboes cor anglais two clarinets in A two bassoons four French horns two in F two in D two trumpets three trombones tuba timpani organ and strings 12 4 The organ has an independent part accompanying the women s chorus in the fourth movement but is not used otherwise Similarly a single solo phrase in the opening of the second movement is assigned to the cor anglais which is otherwise absent Though not specified in the score it can be played by one of the two oboists as they are not playing during this section The approximate duration of the work is 90 minutes 7 12 In the following table of movements the movement number is followed by the beginning of the text the stanzas set in the movement counting three lines as one stanza the vocal performers choir and solo the tempo marking at the beginning time signatures and key The symbol nbsp is used to denote common time 4 4 Movements of Stabat Mater No Title Stanzas Choral Solo Tempo Time Key1 Stabat Mater 1 4 SATB S A T B Andante con moto 3 2 B minor2 Quis est homo 5 8 S A T B Andante sostenuto 3 4 E minor3 Eja Mater 9 SATB Andante con moto nbsp C minor4 Fac ut ardeat cor meum 10 11 SSAATB B Largo 4 8 B flat minor5 Tui nati vulnerati 12 SATB Andante con moto quasi allegretto 6 8 E major6 Fac me vere tecum flere 13 14 TTBB T Andante con moto 6 8 B major7 Virgo virginum praeclara 15 SATB Largo 3 4 A major8 Fac ut portem Christi mortem 16 17 S T Larghetto 4 8 B minor9 Inflammatus et accensus 18 19 A Largo nbsp D minor10 Quando corpus morietur 20 SATB S A T B Andante con moto 3 2 B minorMovements edit The music is structured in ten movements which focus on different aspects of the poetry depicting the suffering of Mary and the compassion of the person reflecting it in various shades of scoring tempo and key The music of the first and last movements shares themes framing the composition 12 The movements offer a rich variation in vocal scoring from one solo voice to various combinations of solo voices solo voice with choir and choir alone While nine movements remain in slow tempo and reflect Mary s suffering in compassionate meditation the quicker final movement offers a vision of paradise 13 1 edit The first movement beginning Stabat Mater dolorosa The sorrowful Mother stood by the cross is a setting of the first four stanzas from the poem scored for the choir the quartet of soloists and the full orchestra 14 The movement is an extended sonata form in symphonic style It opens with a long orchestral introduction which is repeated with the choir A contrasting second theme is introduced by the soloists A development section leads to the return of the opening material 15 2 edit The second movement is assigned to the quartet of soloists Beginning Quis est homo qui non fleret What person would not weep it is a setting of stanzas five to eight from the poem 16 3 edit The third movement a setting of the ninth stanza from the poem Eja Mater fons amoris Look at the mother the source of love resembles a funeral march for choir and orchestra 17 4 edit The fourth movement is a solo for the bass singing the tenth stanza Fac ut ardeat cor meum Make my heart burn It is interrupted by short comments from the choir which is first a four part women s choir SSAA later joined by the men singing the eleventh stanza Sancta mater istud agas Holy mother make this 18 5 edit The fifth movement for the choir sets the twelfth stanza Tui nati vulnerati Of your wounded son 19 6 edit The sixth movement setting the 13th and 14th stanzas Fac me vere tecum flere Make me really weep with you is sung alternately by the solo tenor and a four part men s choir 20 7 edit The seventh movement is sung by the choir at times a cappella It is a setting of the 15th stanza beginning Virgo virginum praeclara Virgin pre eminent among virgins 21 8 edit The eighth movement is a duet for soprano and tenor soloists setting the 16th and 17th stanzas beginning Fac ut portem Christi mortem Grant that I may bear the death of Christ 22 9 edit The ninth movement is a setting of the 18th and 19th stanzas for the solo alto Inflammatus et accensus Inflamed and afire 23 10 edit nbsp Dress rehearsal for Stabat Mater in St Bonifatius Wiesbaden on 25 October 2019 with Mary standing under the Cross in the backgroundThe final movement sets the ultimate stanza beginning Quando corpus morietur When the body will die then praying for the glory of paradise for the soul paradisi gloria The movement recalls themes from the first movement 3 and is set for the same forces It ends with an uplifting fugue in a major key on the word Amen 24 8 Reception edit nbsp Title page of Novello s edition of the score of Dvorak s Stabat Mater memento of the performance in Worcester on 12 September 1884 with signatures by Antonin Dvorak and members of the orchestra The first performance of Dvorak s Stabat Mater took place on 23 December 1880 at the concert of the Association of Musical Artists in Prague The performers included the operatic ensemble of the Czech Provisional Theatre under the conductor Adolf Cech with the soloists Eleanora Ehrenbergu Betty Fibich Antonin Vavra and Karel Cech 3 Leos Janacek conducted the work a year and half later on 2 April 1882 in Brno 1 A performance in Budapest soon ensued 1 The work was performed in London in 1883 and again in the Royal Albert Hall in 1884 and thus played a crucial role in Dvorak s international breakthrough as a composer 5 In the 21st century the Stabat Mater continues to be Dvorak s best known and most often performed sacred work 5 6 Score publications edit In 1879 Dvorak suggested his Stabat Mater for publication to Fritz Simrock but it wasn t until after the successful 1880 Prague premiere of the work that he got the publisher interested 25 Simrock suggested to change the original opus number Op 28 to a more recent number the work was published as Dvorak s Op 58 by the N Simrock firm in 1881 25 The publication included a vocal score with a piano reduction by Josef Zubaty scores 25 26 Full score and vocal score were published by Novello amp Co in the Novello s Original Octavo Edition series in 1883 27 28 In the second half of the 1950s the Stabat Mater was published as Vol II 1 of Souborne vydani del Antonina Dvoraka scores SAD Complete Edition of Antonin Dvorak s Works 9 The vocal score was published in 1956 with a piano reduction by Karel Solc scores 29 The full score edited by Antonin Cubr scores appeared in 1958 30 Otakar Sourek cs wrote the preface of this edition 9 In Jarmil Burghauser s thematic catalogue of Dvorak s compositions the Stabat Matar was given the number B 71 10 In 2004 there were two new vocal score editions of Dvorak s Stabat Mater 31 Barenreiter published a vocal score based on Dvorak s 1876 1877 draft version edited by Jan Kachlik and Miroslav Srnka 32 Klaus Doge de revised Josef Zubaty s piano reduction working away discrepancies with the orchestral score 25 Carus published Joachim Linckelmann s arrangement of Dvorak s Stabat Mater for chamber orchestra in 2016 33 The vocal score published with this edition was Petra Morath Pusinelli s revision of Josef Zubaty s piano reduction 13 Recordings edit Vaclav Talich conducting the Czech Philharmonic Orchestra with Drahomira Tikalova cs Marta Krasova Beno Blachut Karel Kalas 34 Vaclav Smetacek conducting the Czech Philharmonic Orchestra with Stefania Woytowicz Vera Soukupova Ivo Zidek Kim Borg 35 Robert Shaw conducting the Atlanta Symphony Orchestra and Chorus with Christine Goerke Marietta Simpson Stanford Olsen Nathan Berg 36 Wolfgang Sawallisch conducting the Czech Philharmonic Orchestra with Gabriela Benackova Capova Ortrun Wenkel Peter Dvorsky Jan Hendrik Rootering 37 Jiri Belohlavek conducting the Czech Philharmonic Orchestra with Livia Aghova Marga Schiml Aldo Baldin Ludek Vele de 1997 38 Zdenek Macal conducting the New Jersey Symphony Orchestra with Kaaren Erickson Claudine Carlson John Aler John Cheek 39 Helmuth Rilling conducting the Oregon Bach Festival Orchestra with Marina Shaguch Ingeborg Danz James Taylor Thomas Quasthoff 40 Rafael Kubelik conducting the Bavarian Radio Symphony Orchestra with Edith Mathis Anna Reynolds Wieslaw Ochman John Shirley Quirk 38 Giuseppe Sinopoli conducting the Staatskapelle Dresden with Mariana Zvetkova Ruxandra Donose Johan Botha Roberto Scandiuzzi 38 Mariss Jansons conducting the Bavarian Radio Symphony Orchestra with Erin Wall Mihoko Fujimura Christian Elsner Liang Li 38 Marek Stryncl conducting the Musica Florea with Michaela Srumova Sylvia Cmugrova Ales Briscein Tomas Selc The 1876 version of seven movements for vocal quartet choir and piano was recorded in 2009 by soloists the Accentus ensemble conducted by Laurence Equilbey with pianist Brigitte Engerer 41 References edit a b c Sourek amp Cubr 2000 p V a b Sourek amp Solc 2002 a b c antonin dvorak cz 2019 a b Doge amp Zubaty 2004 p 2 a b c Linckelmann amp Berna 2016 pp IV V a b Doge amp Zubaty 2004 pp 6 7 a b Vaughan 2005 a b Dotsey 2018 a b c d e Kachlik amp Srnka 2004 p VI a b c d Doge amp Zubaty 2004 p 6 Sourek amp Cubr 2000 p VII a b c Doge 2019 a b Morath Pusinelli Zubaty amp Berna 2016 Doge amp Zubaty 2004 pp 9 32 Doge amp Zubaty 2004 pp 1 44 Doge amp Zubaty 2004 pp 33 44 Doge amp Zubaty 2004 pp 44 51 Doge amp Zubaty 2004 pp 52 58 Doge amp Zubaty 2004 pp 59 69 Doge amp Zubaty 2004 pp 70 77 Doge amp Zubaty 2004 pp 78 83 Doge amp Zubaty 2004 pp 84 88 Doge amp Zubaty 2004 pp 89 93 Doge amp Zubaty 2004 pp 94 111 a b c d Doge amp Zubaty 2004 p 7 OCLC 246636061 Retrieved 1 February 2020 OCLC 1098699556 Retrieved 1 February 2020 Antonin Dvorak Stabat Mater Opus 58 for soli chorus and orchestra Novello s 1883 vocal score at University of Illinois at Urbana Champaign website Sourek amp Solc 1956 Sourek amp Cubr 1958 Doge amp Zubaty 2004 pp 6 8 Kachlik amp Srnka 2004 Linckelmann amp Berna 2016 WorldCat entry for Talich recording Retrieved 8 September 2017 WorldCat entry for Smetacek recording Retrieved 8 September 2017 WorldCat entry for Shaw recording Retrieved 8 September 2017 The Classical Catalogue 1992 No 153 June 1992 General Gramophone Publications Ltd Harrow UK a b c d Cookson 2015 WorldCat entry for Macal recording Retrieved 8 September 2017 WorldCat entry for Rilling recording Retrieved 8 September 2017 Clements 2008 Sources editClements Andrew 2 May 2008 Dvorak Stabat Mater Engerer Accentus Equilbey The Guardian Cookson Michael December 2015 Antonin Dvorak 1841 1904 Stabat mater musicweb international com Doge Klaus Antonin Dvorak 1841 1904 Stabat mater Op 58 Urtext edited by Klaus Doge solos ch orch duration 86 breitkopf com Breitkopf amp Hartel Retrieved 23 June 2019 Doge Klaus in German Zubaty Josef eds 2004 Dvorak Stabat Mater for soloists choir and orchestra op 58 Urtext Piano Vocal Score ed Breitkopf amp Hartel ISMN 979 0 004 18195 9 EB 8631 Dotsey Calvin 2018 A Light in the Darkness Dvorak s Stabat Mater Houston Symphony Kachlik Jan Srnka Miroslav eds 2004 Dvorak Stabat Mater Op 58 Piano part by Antonin Dvorak Barenreiter Urtext Prague Barenreiter H 7920 Linckelmann Joachim Berna Lucie Harasim eds 2016 Antonin Dvorak Stabat Mater op 58 Translated by Kosviner David Arrangement for soloists chorus and chamber orchestra ed Carus 27 293 50 Morath Pusinelli Petra Zubaty Josef Berna Lucie Harasim eds 2016 Antonin Dvorak Stabat Mater op 58 PDF Translated by Kosviner David Vocal score ed Carus 27 293 03 Sourek Otakar in Czech Cubr Antonin eds 1958 Antonin Dvorak Stabat Mater Op 58 The Complete Works of Antonin Dvorak Vol II 1 Full score ed Prague Statni nakladatelstvi krasne literatury hudby a umeni H 2190 Sourek Otakar in Czech Cubr Antonin eds 2000 Antonin Dvorak Stabat Mater op 58 The Complete Works of Antonin Dvorak Vol II 1 Study score ed Prague Barenreiter H 2268 Sourek Otakar in Czech Solc Karel eds 1956 Antonin Dvorak Stabat Mater op 58 The Complete Works of Antonin Dvorak Vol II 1 Vocal score ed Prague Statni nakladatelstvi krasne literatury hudby a umeni H 1882 Sourek Otakar in Czech Solc Karel eds 2002 Antonin Dvorak Stabat Mater op 58 The Complete Works of Antonin Dvorak Vol II 1 Vocal score ed Prague Barenreiter H 1882 Stabat Mater www antonin dvorak cz Retrieved 8 October 2019 Vaughan David 28 March 2005 Music for Easter Dvorak s Stabat Mater one of the most powerful declarations of faith in musical history Radio Prague External links edit nbsp Wikimedia Commons has media related to Stabat Mater Dvorak Stabat Mater Dvorak Scores at the International Music Score Library Project Free scores of Stabat Mater Dvorak in the Choral Public Domain Library ChoralWiki Antonin Dvorak About the composer stabatmater info Dvorak Antonin Stabat Mater op 58 Klaviersatz von Antonin Dvorak Barenreiter Kenneth Woods Explore the Score Dvorak Stabat Mater kennethwoods net 20 December 2015 Tess Crebbin Dvorak and his Stabat Mater op 58 a Choral Masterpiece scena org 1 April 2004 Retrieved from https en wikipedia org w index php title Stabat Mater Dvorak amp oldid 1187079104, wikipedia, wiki, book, books, library,

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