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HISTORICAL-COMPARATIVE APPROACH REGARDING STABAT MATER IN MUSICAL REPERTOIRE OF THE LAST FOUR HUNDRED YEARS

Petruta-Maria M. Coroiu, A. Belibou

Abstract

Our article analyzes the stylistic characteristics of Stabat Mater in the history of music, for the last four hundred years. The Stabat Mater is a XIII th-century Catholic hymn to Virgin Mary, which portrays her suffering as Jesus Christ's mother during His crucifixion. Stabat Mater Dolorosa is considered one of the seven greatest Latin hymns of all time. The hymn is sung at the liturgy on the memorial of Our Lady of Sorrows. The Stabat Mater has been set to music by many Western composers, most famously by Palestrina (1590), Vivaldi (1712), Domenico (1715) and Alessandro Scarlatti (1723), Caldara (1725), Pergolesi (1736), Joseph Haydn (1767), Boccherini (1781, 1801), Schubert (1815, 1816), Rossini (1831–42), Liszt (as part of the oratorio Christus, 1862–1866), Dvo?ák (1876–77), Verdi (1896–97), Karol Szymanowski (1925–26), Poulenc (1950) and Arvo Pärt (1985). Our paper refers to the chronological analysis of the most important creations that deal with this subject, with examples showing the melodic and harmonic-polyphonic structure of the investigated creations, highlighting both the strictly musical elements and the theological ones. The work highlights elements of melodic and rhythmic analysis, structure and expressiveness, hermeneutics and musical aesthetics. The multiple perspectives that such a work opens can be considered important in the conditions in which the religious repertoire is increasingly exposed today, not only in the ecclesiastical environment and the holiday it refers to, but also in the concert halls and recital, at any time of the musical events calendar.

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DOI resolver: doi.org/10.5593/sgemsocialF2018/6.3/S13.026

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