Stabat Mater is a Motet for Double Chorus by Giovanni Pierluigi da Palestrina, in the Late Renaissance Period at the end of the 16th Century. It is centered around the 20 verses of text that constitute the hymn of the same name.
Contents
History
The text predates Palestrina's composition. This particular writing dates as far back as the 13th century. The author is unclear, and is possibly St. Bonaventure, Pope Innocent III, or more likely a Franciscan friar by the name of Jacopone da Todi. The liturgical text centered upon Mary's suffering at the Crucifixion of Christ. However, it possesses both a regular meter – frequently trochaic – and an intricate rhyme scheme, both of which are qualities that most academics date back to the 12th century.
Palestrina's Stabat Mater appears to have written for Pope Gregory XIV, whose reign as Pope was from 1590 until his death in 1591. This fact suggests that the work may have been composed during this time – a period which would be within the final years of Palestrina's life. Since then, the work was initially guarded closely by the choir on which was written, and the first part was performed annually on Palm Sunday at a slower pace.
In Rome in 1770, the English historian Dr. Burney was able to obtain a copy of the work. This acquisition produced the first printed edition in 1771 in London, in "La Musica Che Si canta annualmente nelle Funzioni della Settimana Santa nella Capella Pontificia". Since then the composition has repeatedly been reprinted, including an edition by the German composer Richard Wagner in 1877.
Structure
Stabat Mater is a Motet for unaccompanied Double Chorus, and consists of 20 sections in accordance with the 20 verses of text. It is scored for Double Chorus, each consisting of a Soprano, Alto, Tenor, and Bass. It is a typical Italian work, composed in the Late Renaissance. However, it contains rare examples of anticipation, relatively early for its time, and also contains many suspensions. Its texture is thick, and is more homophonic than contrapuntal in style.
The work is structured in such a way that the two choruses alternate, usually per line of verse. At other times within the work, there are moments of full chorus, where both groups sing together, and also times when there are solo voices within the different choirs.
It contains changes in tempo: beginning as Adagio ma non troppo, it slows to Largo at the beginning of the 9th verse. At the start of verse 11, it returns to the first tempo, but this time un poco animato. The tempo winds down to Piu Lento at the beginning of verse 20, before slowing down to Largo for the final 9 bars.
The work debatably begins on the dominant of D Dorian or on the tonic A Mixolydian with an unexpected progression of four major chords, another unusual marking of this motet. This composition arguably concludes in D Major with a cadence that spans three bars.