english | nederlands

RC 22 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

1896-03-29 00:00:00.0 Amsterdam, Mozes en Aäron kerk

publications

  • Sequentia Stabat Mater dolorosa Alsbach & Co, G. (Amsterdam) 25244483

  • Stabat mater dolorosa
  • Jacopone da Todi
  • male choir a cappella
  • 1887-01-01 00:00:00.0 - 1887-12-31 00:00:00.0
  • duration 10:00

We do not know exactly when Diepenbrock started to set the text, which in those days was attributed to Jacopone da Todi (c. 1230-1306), to music. According to the composer himself (BD III:464), it must have been somewhere in 1887 when he was studying Latin and Greek at the University of Amsterdam. However, we do know that he returned to the piece in March 1888, “in a few days taken off” in the middle of the preparations for his PhD. (BD II:413) He did not complete the work then: eight out of the ten six-line strophes were set to music; strophes 6 and 7 were still missing. …more >

Stabat mater dolorosa (incipit)


We do not know exactly when Diepenbrock started to set the text, which in those days was attributed to Jacopone da Todi (c. 1230-1306), to music. According to the composer himself (BD III:464), it must have been somewhere in 1887 when he was studying Latin and Greek at the University of Amsterdam. However, we do know that he returned to the piece in March 1888, “in a few days taken off” in the middle of the preparations for his PhD. (BD II:413) He did not complete the work then: eight out of the ten six-line strophes were set to music; strophes 6 and 7 were still missing.

Diepenbrock decided on a homophonic setting, after the eight-part Stabat mater for double choir by Palestrina. A token of Diepenbrock’s admiration can be found at the end of his composition, where he quotes the chord progression the sixteenth-century master used to open the work (in A-flat major):

For his composition Diepenbrock did not use the text of the Stabat mater from the Roman Catholic liturgy, but the poem as found in Palestrina’s setting. He did not agree with the changes made at the beginning of the seventeenth century when the Breviarum Romanum was revised. Diepenbrock’s ‘justification’ for choosing Palestrina’s version can be found in a letter from June 1898 to Mgr. J.A.S. van Schaik:

If I had intended the composition for liturgical purposes, I would have kept to the prescribed text. I did not think of that […] but only tried as best I could to musically illustrate the poem in its most beautiful form. As I am not a musician by trade but a philologist, I have many objections to the official reading: I think they are all permeated with the spirit of the ‘Renaissance’, which governed the revision of the liturgical books at the beginning of the 17th century.

According to Diepenbrock, “in a time too much notice was taken of Cicero and Horace” several verses were wrongly adapted to the rhythm of the Latin prose. He preferred the original words:

“Inflammatus et accensus” is naive and magnificent, though clumsy. “Flammis ne urar” is correct but weak. In my opinion especially the last strophe “Fac me cruce custodiri, Morte Christi praemuniri, Confoveri gratia” is really a Franciscan concept. What has replaced it is pseudo-classical and far too Roman (“palma victoriae, da ... me venire”). Palestrina used the same text in the 12-part and the 8-part Stabat. For me this is also proof that there was a tradition here. (BD III:50)

In the draft of this letter Diepenbrock speaks of “the naive clumsiness which so often characterises the work of the great mystics”. (BD III:463) His views were confirmed in an anthology of rediscovered texts of church songs, hymns and canticles that was published in1892: Le Latin mystique. Les poètes de l’antiphonaire et la symbolique au moyen âge by Remy de Gourmont.1

Performances

In the Holy Week of 1888, in other words shortly after the (still incomplete) work was written, the Stabat mater dolorosa was performed in a church in Amsterdam by a male vocal double quartet. Apparently the result was appalling; according to the composer, the singers had “ruined” his piece. (BD I:263)

In March 1891 – when Diepenbrock was still teaching Latin and Greek at the municipal grammar school in ’s-Hertogenbosch – the newly founded liedertafel ‘Oefening en Uitspanning’ (Practice and Leisure), conducted by Léon C. Bouman, was planning to perform the Stabat mater dolorosa. However, the choir did not manage to master Diepenbrock’s harmonies and the piece was put aside. (BD I:266)

The revised version for mixed choir from the beginning of 1896 (see RC 34) clearly did not diminish the value Diepenbrock attached to the original setting for male choir. It was performed – including the strophes 6 and 7 – under Anton Averkamp in the Moses and Aaron Church in Amsterdam at the service for Palm Sunday on 29 March 1896. Five days later Averkamp premiered the later version for mixed choir. In 1901 Diepenbrock gave the version for male choir to P.J. Jos Vranken so the work could be performed at the liturgy in passione et morte Domini in the cathedral church of the archbishopric of Utrecht on Good Friday (5 April).

In 1930, after the work had received the nihil obstat for “use outside the liturgy” from the ‘Episcopal Committee for the Assessment of Musical Church Compositions’ on 23 February, the work was published by Alsbach.

Ton Braas

1 Diepenbrock owned no. 87 of the 220 copies that were numbered and signed by the author; date of purchase: 28 October 1892.

 



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.

 


  • A-3(1) Stabat mater dolorosa

    semi-autograph A-3(1) with autograph corrections and dated on the last page (1887)

    • 1887-01-01 00:00:00.0 – 1887-12-31 00:00:00.0
    • location: Diepenbrock Archief Laren
    • pages: unknown
  • A-80(6) Stabat mater dolorosa

    copy A-80(6)

    • location: Diepenbrock Archief Laren
    • pages: unknown
  • A-80(7) Stabat mater dolorosa

    semi-autograph A-80(7) with supplementary sheet of strophe 5 (which had been forgotten by the copyist) in autograph

    • 1887-01-01 00:00:00.0 – 1887-12-31 00:00:00.0
    • location: Diepenbrock Archief Laren
    • pages: unknown
  • SL-7 Stabat mater dolorosa

    SL-7 signed and dated on the last page Amsterdam 27 Maart 1888 / sHertogenbosch 2 April 1890 with dedication Aan Droesem van A Diepenbrock 7 Nov 92

    • 1888-03-27 00:00:00.0 – 1890-04-02 00:00:00.0
    • dedication: Aan Droesem van A Diepenbrock
    • pages: unknown
  • SO-4 Stabat Mater Dolorosa

    copy in the possession of H. Völlmar

    • location: H. Völlmar
    • pages: unknown

  • Sequentia Stabat Mater dolorosa

    1930 Alsbach & Co, G. (Amsterdam)

— mrt 1901:  In Van onzen Tijd (jrg. I no. 6, blz. 204-208) verschijnt een artikel van P.J. Jos. Vranken, getiteld: “Alphons Diepenbrock's werken”. Over het Stabat mater dolorosa voor gemengd koor (RC 34) schrijft hij:

Zeer goed zou dit werk – het Stabat mater dolorosa – tijdens de oefening van den H. Kruisweg in de kerk op zijn plaats zijn, maar hier doet zich weer de moeielijkheid voor, dat de sopraan- en alt-partij zoo goed als onmogelijk met knapenstemmen zijn te bezetten; trouwens geloof ik dat de componist de bovenstemmen absoluut voor vrouwenstemmen bedoeld heeft, en dan nog moet het koor over buitengewone sopraan-stemmen beschikken, wil het werk naar den eisch worden weergegeven. — Bij het bestudeeren van dit diep-gevoeld, machtig kunstwerkje, heb ik me dikwijls afgevraagd, of de componist ook te overreden zou zijn eene zetting voor mannenkoor te schrijven van dit Stabat mater? Indien de toondichter eens overwoog, of de praktische eischen onzer goede kerkkoren in dit geval ook wellicht een doorslaand tegenwicht geven aan de mogelijke artistieke bezwaren van den componist? Mij dunkt, het werk zou zeer goed zijn uit te voeren met een goed geschoold, klein mannenkoor en onze Nederlandsche kerkmuziek-litteratuur zou een kostbaar werk rijker zijn geworden.

pdf All reviews for RC 22 Stabat mater dolorosa