Joseph Haydn’s Stabat Mater, written in 1767, was the first church work the composer wrote after entering the service of Prince Esterházy in Eisenstadt. Unlike almost all his other sacred works, it soon circulated in numerous copies and established Haydn’s reputation as the leading vocal composer of his day. This edition is based on three original copies of parts, which are regarded as being particularly close to the (missing) autograph manuscript because of the date they were made and the reliable transmission of the music text. As so, this great, moving setting of the Stabat Mater is now newly available in a modern, scholarly edition. The complete performance material is available on sale.
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- Stabat Mater dolorosa
- O quam tristis et afflicta
- Quis est homo qui non fleret
- Quis non posset contristari
- Pro peccatis suae gentis
- Vidit suum dulcem natum
- Eja Mater, fons amoris
- Sancta Mater, istud agas
- Fac me vere, tecum flere
- Virgo virginum praeclara
- Flammis orci ne succendar
- Fac me cruce custodiri
- Quando corpus moriertur
- Paradisi Gloria
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text (without music) for download, html file, Singing text, english translationhtml file, Singing text, english translation (Sample)1. Stabat Mater dolorosa (Tenore solo, Coro) A weeping mother was standing
full of sorrow beside the cross,
while her Son was hanging on it.Through her grieving heart,
anguished and lamenting,
a sword had passed.2. O quam tristis et afflicta (Alto solo) Oh, how sad and afflicted
was that blessed Mother
of an only begotten Son!She mourned and grieved
and trembled as she saw
the suffering of her glorious Son.3. Quis est homo qui non fleret (Coro) Who is the man who would
not weep, seeing the mother
of Christ in such torment?4. Quis non posset contristari (Soprano solo) Who would not feel compassion,
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text (without music) for download, html file, Singing text, German translationhtml file, Singing text, German translation (Sample)
1. Stabat Mater dolorosa (Tenore solo, Coro) Christi Mutter stand mit Schmerzen
bei dem Kreuz und weint’ von Herzen,
als ihr lieber Sohn da hing.Durch die Seele voller Trauer,
seufzend unter Todesschauer,
jetzt das Schwert des Leidens ging.2. O quam tristis et afflicta (Alto solo) Welch ein Schmerz der Auserkornen,
da sie sah den Eingebornen,
wie er mit dem Tode rang!Angst und Trauer, Qual und Bangen,
alles Leid hielt sie umfangen,
das nur je ein Herz durchdrang.3. Quis est homo qui non fleret (Coro) Wer könnt ohne Tränen sehen
Christi Mutter also stehen
in so tiefen Jammers Not?4. Quis non posset contristari (Soprano solo) Wer nicht mit der Mutter weinen,
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)
1. Stabat Mater dolorosa (Tenore solo, Coro) Stabat Mater dolorosa
juxta crucem lacrimosa,
dum pendebat Filius.Cujus animam gementem,
contristatam et dolentem
pertransivit gladius.2. O quam tristis et afflicta (Alto solo) O quam tristis et afflicta
fuit illa benedicta
Mater Unigeniti!Quae maerebat et dolebat,
et tremebat, cum videbat
nati poenas inclyti.3. Quis est homo qui non fleret (Coro) Quis est homo qui non fleret,
Christi Matrem si videret
in tanto supplicio?4. Quis non posset contristari (Soprano solo) Quis non posset contristari,
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)Text from the CD Carus 83.281
Clemens Harasim
Translation (abridged): David KosvinerWhen, from 1766 onwards, Joseph Haydn was finally able to take over from his predecessor Gregor Joseph Werner the sole responsibility for church music at the Esterházy court – in addition to the direction of chamber and theater music – he devoted more time to the composition of sacred music. The first larger-scale sacred work to be composed in this context was the Stabat Mater, completed in 1767.
The world premiere of this work seems to have taken place on Good Friday, 17 April 1767 in the Eisenstadt court chapel within the framework of the oratorial Good Friday performances which were held there every year. In all probability Haydn had been invited to perform his work again in the Church of St. John of God Brothers in Vienna a year later, which was organized by no less a personage than Johann Adolph Hasse who had been in the service of the emperor since 1764. The first documented public performance took place in Vienna on 29 March 1771, in the Piarist church Maria Treu in the Josephstadt borough of Vienna. Once again, it formed part of a Good Friday Vesper service. According to the church chronicles, an impressive number of 60 musicians
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)Booklet-Text der CD Carus 83.281
Clemens Harasim
Die Bedeutung Joseph Haydns als Komponist geistlicher Vokalmusik wird im heutigen Bewusstsein vor allem bestimmt durch die abendfüllenden Oratorien seines Spätwerks, Die Schöpfung und Die Jahreszeiten, sowie die ebenfalls als Oratorium bezeichnete nachträgliche Textierung seiner Karfreitagsmusik der Sieben letzten Worte unseres Erlösers am Kreuze. Im Bereich der liturgischen Kirchenmusik gelten vornehmlich seine großbesetzten Messen – ebenfalls der späteren Jahre – als Gipfelpunkt der Epoche und darüber hinaus. Angesichts dessen rückte Haydns erstes größeres Kirchenwerk, das bereits 1767 entstandene Stabat Mater, zu Unrecht in die „zweite Reihe“ seines Schaffens. Denn es war gerade dieses Werk, das Joseph Haydn nicht nur als „Kirchenkomponist“ bekannt machte, sondern das die wohl größte Verbreitung und die meisten Aufführungen im
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Contents
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Composer
Joseph Haydn
| 1732-1809As Kapellmeister to Prince Esterházy, Haydn composed numerous instrumental works and various operas, as well as making important contributions to the genre of church music, including fourteen Latin masses, of which only twelve are authentic or complete; these are complemented by motets and offertories, two important Te Deum settings, two Salve Reginas, a Stabat Mater, and the different versions of the Sieben Worte des Erlösers am Kreuze. The masses were composed continually between 1749 and 1802, except for the years 1783–1795, and therefore constitute the genre with which Haydn was occupied over the longest period of time. The six (authentic or complete) masses composed before 1782 are stylistically very different, and as well as short Missae breves there are more extended masses with rich orchestral scoring; by contrast the six so-called late masses, written from 1796 onwards, form a comparatively homogeneous group of more extensive works scored for large forces. With his two great oratorios Die Schöpfung (The Creation) (1798) and Die Jahreszeiten (The Seasons) (1801) Haydn established the tradition of the German oratorio for middle-class music making. Personal details
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Editor
Clemens Harasim
| 1974
Reviews
... Damit wird diese große, berührende Stabat-Mater-Vertonung in einer modernen Wissenschaftlichen Ausgabe neu erschlossen.
Kirchenmusikalische Mitteilungen der Diözese Rottenburg-Stuttgart, April 2018
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