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RC 34 Stabat mater dolorosa

text source

Remy de Gourmont, Le Latin mystique. Les poètes de l’antiphonaire et la symbolique au moyen âge (Paris: Mercure de France, 1892), 317-319

first performance

1896-04-03 00:00:00.0 Amsterdam, Nieuwe Lutherse Kerk

dedicatees

recordings

  • Anniversary Edition 7 Et'cetera KTC 1435 CD7

publications

  • Sequentia Stabat Mater dolorosa auctore Jacopone da Todi quattuor vocibus inaequalibus composuit Alph Diepenbrock De Nieuwe Muziekhandel 4239908
  • Stabat mater dolorosa / Stabat mater speciosa Donemus / Alphons Diepenbrock Fonds 23330889

  • Stabat mater dolorosa
  • Jacopone da Todi
  • mixed choir a cappella
  • 1896-01-23 00:00:00.0
  • duration ca. 10:00

In January 1896, five years after composing his Stabat mater dolorosa for male choir in ’s-Hertogenbosch (see RC 22), Diepenbrock – who was back in Amsterdam – completed the piece by setting the missing strophes 6 and 7 to music. At the same time he arranged the work for mixed choir because I thought it would be too difficult for a male choir and because the chromaticism would be condemned by the advocates of the strict style. (BD III:273) To Mgr. J.A.S. van Schaik (see RC 27) Diepenbrock described his motive for this revision as apprehension about the heaviness and monotony of such a long composition for male voices. He had female voices in mind for the soprano and alto parts, as he did not think boys’ voices were capable of expressing in any way the heartrending emotion that permeates the poem. (BD III:50) …more >

Stabat mater dolorosa (incipit)


In January 1896, five years after composing his Stabat mater dolorosa for male choir in ’s-Hertogenbosch (see RC 22), Diepenbrock – who was back in Amsterdam – completed the piece by setting the missing strophes 6 and 7 to music. At the same time he arranged the work for mixed choir because I thought it would be too difficult for a male choir and because the chromaticism would be condemned by the advocates of the strict style. (BD III:273) To Mgr. J.A.S. van Schaik (see RC 27) Diepenbrock described his motive for this revision as apprehension about the heaviness and monotony of such a long composition for male voices. He had female voices in mind for the soprano and alto parts, as he did not think boys’ voices were capable of expressing in any way the heartrending emotion that permeates the poem. (BD III:50)

When completing the text, he based himself on the Le Latin mystique. Les poètes de l’antiphonaire et la symbolique au moyen âge by Remy de Gourmont [see RC 22]. Diepenbrock mentioned this source when in February 1904 he once again explained his choice of text to his friend J.C. Hol, a former Latin and Greek pupil who was to write an article about his music:

As far as I know the text of my Stab. Mater is the authentic one from the Cura Urbani VIII. ad recentiorem venustatem redactum. It can be found in old Antwerp missals. The ‘official’ text of the Graduale of Pustet as well as the one of Solesmes are botched Renaissance texts on the same tune as the music in the [Editio] Medicaea [1614]. Most of it I derived from a book by R. de Gourmont, Le latin mystique, but I would expect the resemblance to the old text as used by Palestrina to be great. (BD IV:187)

As documentation Diepenbrock gave his manuscript to Hol. On that occasion he called the Stabat mater dolorosa one of my best works, although that what is in it will not easily be revealed. (BD IV:161)

On Good Friday, 3 April 1896 the complete version for mixed choir was premiered in the New Lutheran or Koepelkerk in Amsterdam by the Klein-Koor a Cappella conducted by Anton Averkamp. Aaltje Noordewier-Reddingius and Cato Loman sang the solo parts. Diepenbrock’s work was preceded by Improperia motets by Palestrina and da Vittoria. The premiere received a lot of attention from the press. Despite the choir’s mediocre preparations – The rehearsals have been short and sloppy, Diepenbrock wrote to his friend Charles Smulders (BD II:412) – authorities such as Daniël de Lange, Simon van Milligen and Hugo Nolthenius were positive.

In April 1898 the composition was published by De Algemeene Muziekhandel in Amsterdam, with a dedication to Anton Averkamp. Three months later the Stabat mater speciosa (RC 35) came out, too. Both publications had an unusual appearance: its size of 11 x 23 cm and the calligraphed title page with a decorative edge – like for the Missa (RC 27), the lithography was done by Antoon Derkinderen – evoke associations with fifteenth-century part books. Averkamp performed the work many times.

Ton Braas

 



Vol smarten stond de Moeder
wenende onder het kruis
waaraan haar Zoon hing.

Haar zuchtend, bedroefd
en lijdend hart werd
als met een zwaard doorstoken.

O hoe treurig en terneergeslagen
was die gezegende Moeder
van de Eengeborene.

O hoe treurde en leed
die goede Moeder toen zij de smarten
zag van haar goddelijke Zoon.

Wie zou niet wenen,
als hij de Moeder van Christus
in zulk een foltering zag?

Wie zou niet mede treuren
bij het zien van Christus' Moeder,
zo diep bedroefd bij haar Zoon?

Om de zonden van zijn volk
zag zij Jesus aan geseling
en marteling prijsgegeven.

Zij zag haar lieve Zoon
de geest geven
en geheel verlaten sterven.

Ach Moeder, fontein van liefde,
laat mij de grootheid van Uw lijden
gevoelen, opdat ik met U treure.

Maak mijn hart brandend van liefde
voor Christus mijn God,
om Hem te behagen.

Heilige Moeder, wil toch
de wonden van de Gekruisigde
diep in mijn hart drukken.

Laat mij delen in de pijnen
van uw doorwonde Zoon,
die voor mij heeft willen lijden.

Laat mij eerbiedig met u
wenen en mede lijden met de Gekruisigde,
zolang ik zal leven.

Ik verlang zeer onder het kruis
bij u te staan
om samen met u te treuren.

Onvolprezen Maagd der maagden,
wees voor mij niet hard,
maar laat mij met u wenen.

Laat mij de dood van Christus dragen,
maak mij deelgenoot van zijn lijden,
laat mij zijn wonden voelen.

Laat mij door de wonden van uw Zoon
gekwetst worden en maak mij dronken
van zijn kruis en bloed.

Verdedig mij, o Maagd, op de dag
des oordeels, om niet in de vlammen
der hel te worden neergestort.

Laat mij door het kruis beschermd worden
en door Christus' dood gesterkt.
Laat zijn gunst mij verwarmen.

Als mijn lichaam zal sterven,
geef dan mijn ziel
de glorie van het paradijs.

Stabat mater dolorosa
juxta crucem lacrymosa
dum pendebat Filius.

Cujus 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 Jesum in tormentis
et flagellis subditum.

Vidit suum dulcem Natum
moriendo desolatum
dum emisit spiritum.

Eja 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 valide.

Tui Nati vulnerati
tam dignati pro me pati
poenas mecum divide.

Fac me tecum pie flere
crucifixo condolere
donec ego vixero.

Juxta crucem tecum stare
te libenter sociare
in planctu desidero.

Virgo virginum praeclara
mihi jam non sis amara
fac me tecum plangere.

Fac ut portem Christi mortem
passionis fac consortem
et plagas recolere.

Fac me plagis vulnerari
cruce hac inebriari
et cruore Filii.

Inflammatus et accensus
per te virgo sim defensus
in die judicii.

Fac me cruce custodiri
morte Christi praemuniri
confoveri gratia.

Quando corpus morietur
fac ut animae donetur
paradisi gloria.

At, the Cross her station keeping,
stood the mournful Mother weeping,
close to Jesus to the last.

Through her heart, His sorrow sharing,
all His bitter anguish bearing,
now at length the sword has passed.

O how sad and sore distressed
was that Mother, highly blest,
of the sole-begotten One.

Christ above in torment hangs,
she beneath beholds the pangs
of her dying glorious Son.

Is there one who would not weep,
whelmed in miseries so deep,
Christ's dear Mother to behold?

Can the human heart refrain
from partaking in her pain,
in that Mother's pain untold?

Bruised, derided, cursed, defiled,
she beheld her tender Child
All with scourges rent:

For the sins of His own nation,
saw Him hang in desolation,
Till His spirit forth He sent.

O thou Mother! fount of love!
Touch my spirit from above,
make my heart with thine accord:

Make me feel as thou hast felt;
make my soul to glow and melt
with the love of Christ my Lord.

Holy Mother! pierce me through,
in my heart each wound renew
of my Savior crucified:

Let me share with thee His pain,
who for all my sins was slain,
who for me in torments died.

Let me mingle tears with thee,
mourning Him who mourned for me,
all the days that I may live:

By the Cross with thee to stay,
there with thee to weep and pray,
is all I ask of thee to give.

Virgin of all virgins blest!,
Listen to my fond request:
let me share thy grief divine;

Let me, to my latest breath,
in my body bear the death
of that dying Son of thine.

Wounded with His every wound,
steep my soul till it hath swooned,
in His very Blood away;

Be to me, O Virgin, nigh,
lest in flames I burn and die,
in His awful Judgment Day.

Christ, when Thou shalt call me hence,
by Thy Mother my defense,
by Thy Cross my victory;

While my body here decays,
may my soul Thy goodness praise,
safe in paradise with Thee. Amen.

 


  • B-2 Stabat Matar Dolorosa

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    Manuscript: B-2 dated on the last page Maart 1888. 23 Jan 1896 and with dedication on the first page Aan myn vriend Joh. Hol 4/5 Jan 1904

    • 1888-03-01 00:00:00.0 – 1896-01-23 00:00:00.0
    • dedication: Aan myn vriend Joh. Hol 4/5 Jan 1904
    • location: Diepenbrock Archief Laren
    • pages: 31

  • click to enlarge

    Anniversary Edition 7

    cd Et'cetera KTC 1435 CD7
    Nederlands Kamerkoor ♦ Stok, Klaas ♦ Gronostay, Uwe ♦ Vocaal Ensemble Markant ♦ Haenchen, Hartmut ♦ Netherlands Radio Choir ♦ Antunes, Celso ♦ Quink Vocaal Ensemble

    Tracks: #1 = RC 7; #2 = RC 36; #3 = RC 85; #4 = RC 86; #5 = RC 87; #6 = RC 38; #7 = RC 56; #8 = RC 63; #9 = RC 28; #10 = RC 5; #11 = RC 34; #12 = RC 35; #13 = RC 119; #14 = RC 57

  • Sequentia Stabat Mater dolorosa auctore Jacopone da Todi quattuor vocibus inaequalibus composuit Alph Diepenbrock

    1898 De Nieuwe Muziekhandel Jacapone da Toni
  • Stabat mater dolorosa / Stabat mater speciosa

    2005 Donemus / Alphons Diepenbrock Fonds Braas, Ton

begin mrt 1898: Bij de Algemeene Muziekhandel te Amsterdam verschijnt het Stabat mater dolorosa in druk.

Ein Stabat Mater von A. J. M. Diepenbrock, Verlag von Stumpff & Koning in Amsterdam, ist für den Konzertgebrauch bestimmt und dem Dirigenten des gemischten Gesangchors in Amsterdam, Herrn Ant. Averkamp gewidmet. Der lateinische Text dieser herrlichen Dichtung des Jacopone da Todi stimmt nicht in allen Versen mit dem der liturgischen Bücher überein. Was die Komposition als solche anbelangt, so wechseln ganz einfache, homophon und harmonisch gedachte Strophen mit sehr chromatischen und durch Stimmenteilung 5-, 6- und 8-stimmig anwachsenden Sätzen ab. Der Autor bemühte sich durch Tonmalerei den Textausdruck zu erhöhen und ist um kein Mittel der Modulation, des Rhythmuswechsels und dynamischer Effekte verlegen. Den Zweck, durch Äusserlichkeiten zu überraschen, hat er auf Kosten des reinen Satzes ohne Zweifel erreicht, dass aber die grellsten Tonfarben von ff bis pp nebeneinander gesetzt sind, will dem Referenten durchaus nicht behagen; auch findet er den Farbenapparat für die Worte paradisi gloria, am Schlusse der durchkomponierten Sequenz, der von pp, cresc. bis ƒ, decrcsc. bis pp und dann zu- und abnehmend bis ppp für sieben Takte in Anspruch genommen ist, nicht nur unpassend, sondern hier auch unnatürlich. Solche Linien führen nicht zur Paradiesesherrlichkeit.

Musica Sacra (Dr. F. X. Haberl), 15 maart 1898

pdf All reviews for RC 34 Stabat mater dolorosa