| 词条 | Stabat Mater (Giovanni Pierluigi da Palestrina) |
| 释义 |
HistoryThe text predates Palestrina's composition and dates as far back as the 13th century. The author of the text is unknown. Some possible authors include: St. Bonaventure, Pope Innocent III, and Jacopone da Todi, a Franciscan Friar. The liturgical text is centered on Mary's suffering at the Crucifixion of Christ. It has 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 been written for Pope Gregory XIV, who was Pope from 1590 until his death in 1591. Therefore, the work may have been composed during this time– a period which was within the final years of Palestrina's life. Since then, the work was initially guarded closely by the choir for which was written. The first part was performed annually on Palm Sunday at a slower tempo. 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 had many editions, including an edition by the German composer Richard Wagner in 1877. StructureStabat 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, with both choruses set for SATB chorus. It contains rare examples of anticipation, which are relatively early for its time. It also contains many suspensions. The texture is thick and is more homophonic than contrapuntal. The two choruses alternate during the work, usually per line of verse. Within the work there are moments of full chorus, where both choruses sing together, and moments with soloists within the two choirs. It contains changes in tempo: It begins as Adagio ma non troppo and 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 either begins on the dominant of D Dorian or on the tonic A Mixolydian with an unexpected progression of four major chords, which is an unusual chord progression for this time period. This composition arguably concludes in D Major with a cadence that spans three bars. Text{{Col-begin}}{{Col-break}}Stabat Mater dolorósa Juxta crucem lacrimósa, Dum pendébat Filius. Cujus ánimam geméntem, Contristátam, et doléntem, Pertransivit gladius. O quam tristis et afflicta Fuit illa benedicta Mater Unigéniti! Quae mœrébat, et dolébat Et tremebat, cum vidébat Nati pœnas inclyti. Quis est homo qui non fleret, Christi Matrem si viderét In tanto supplicio? Quis non posset contristári Piam Matrem contemplári Doléntem cum Filio? Pro peccátis suæ gentis Vidit Jesum in torméntis, Et flagéllis súbditum. Vidit suum dulcem natum Moriéntem desolátum, Dum emisit spiritum. Eia, Mater, fons amóris, Me sentire vim dolóris Fac, ut tecum lúgeam. Fac ut árdeat cor meum In amándo Christum Deum, Ut sibi compláceam. Sancta Mater, istud agas, Crucifixi fige plagas Cordi meo válide. Tui nati vulneráti, Tam dignáti pro me pati, Pœnas mecum divide. Fac me tecum pie flere, Crucifixo condolere Donec ego vixero, Juxta crucem tecum stare Et me tibi sociáre In planctu desidero. Virgo virginum præclára, Mihi jam non sis amára, Fac me tecum plángere. Fac ut portem Christi mortem, Passiónis fac consórtem, Et plagas recólere. Fac me plagis vulnerári, Cruce hac inebriári, Et cruóre Filii. Inflammatus et accénsus, Per te Virgo sim defénsus In die judicii. Fac me cruce custodiri, Morte Christi praemuniri Confoveri gratia: Quando corpus moriétur Fac ut ánimæ donétur Paradisi Glória. At the cross her station keeping, Mary stood in sorrow weeping When her Son was crucified. While she waited in her anguish, Seeing Christ in torment languish, Bitter sorrow pierced her heart. With what pain and desolation, With what noble resignation, Mary watched her dying Son. Ever-patient in her yearning Through her tear-filled eyes were burning Mary gazed upon her Son. Who, that sorrow contemplating, On that passion meditating, Would not share the Virgin's grief? Christ she saw, for our salvation, Scourged with cruel acclamation, Bruised and beaten by the rod. Christ she saw with life-blood failing, All her anguish unavailing, Saw him breathe his very last. Mary, fount of love's devotion, Let me share with true emotion All the sorrow you endured. Virgin, ever interceding, Hear me in my fervent pleading: Fire me with your love of Christ. Mother, may this prayer be granted: That Christ's love may be implanted In the depths of my poor soul At the cross, your sorrow sharing, All your grief and torment bearing, Let me stand and mourn with you. Fairest maid of all creation, Queen of hope and consolation, Let me feel your grief sublime. Virgin, in your love befriend me, At the Judgement Day defend me. Help me by your constant prayer. Saviour, when my life shall leave me, Through your mother's prayers receive me With the fruits of victory. Virgin of all virgins blest! Listen to my fond request: Let me share your grief divine Let me, to my lastest breath, In my body bear the death Of your dying Son divine. Wounded with His every wound, Steep my til' it has swooned In His very Blood away Be to me, O virgin, nigh Lest in flames I burn and die, In His awe-full judgement day. Saviour, when my life shall leave me, Through your mother's prayers receive me With the fruits of victory. While body here decays May my soul your goodness praise, Safe in heaven eternally. See alsoChoral Public Domain Library information on Stabat Mater by PalestrinaReferences1. ^{{cite web|title=Stabat Mater - Definition|url=http://www.thefreedictionary.com/Stabat+Mater|website=thefreedictionary.com|accessdate=24 March 2017}} External links{{Giovanni Pierluigi da Palestrina}}{{DEFAULTSORT:Stabat Mater}} 2 : Compositions by Giovanni Pierluigi da Palestrina|Motets |
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