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The first print of Joseph Haydn’s Stabat mater was the Schwickert piano-reduction from 1781. It includes only the German text by Johann Adam Hiller. Two years earlier Hiller brought his German version to its first performance at the university-church in Leipzig. He wanted to make this work known in Protestant churches of Germany, where Latin was “not appropriate”. The German text minimizes the reference to Mary and accentuates the Protestant-typical Christo-centrism. 1803 Breitkopf sets in the first print of the score both the Latin and the German text. Some different versions (for instance by Findeisen and Christmann) were also successful efforts adapting the work into the Protestant liturgy, like J. S. Bach did with Pergolesi’s Stabat mater . Indeed, some sources include choral settings between the original numbers, resembling the form of a typical Protestant church-cantata. Translations and adaptations were prerequisites of wide reception in Protestant parts of Middle and Northern Germany, where the requirement of sophisticated passion-music in form of cantatas was considerably, also after 1800.

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Richard Wagner's edition of the Stabat mater by Palestrina calls for a special attention among the 19th century transcriptions and practice editions of the work, since Franz Liszt declared it to be a masterpiece to be followed by others throughout his life, albeit he knew and appreciated editions with historical aspect, too. Wagner prepared his version of Palestrina's composition in 1848 for his historical concert in Dresden, and it was published on the recommendation of Liszt in 1878 by Christian Friedrich Kahnt. The study summarizes the documents of the genesis of Wagner's work with the background of Palestrina's Stabat mater editions before 1878, and tries to preveal Wagner's concept and musical decisions in the light of the performing practice of the Cappella Sistina of the time, as well as following the main aspects in the review by Franz Xaver Witt published in 1878.

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part of Christus ) was performed at the above-mentioned concert at the Palazzo Altieri in 1863. 27 This received a universally positive response from the press, which was not the case for the première of the Stabat Mater Speciosa from the oratorio

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’s oratorio Die Nonnen , or Karol Szymanowski’s Stabat Mater . Albrecht was also extremely busy with organizational work in the ensemble (he was not only its conductor and musical director, but had to ensure the whole functioning of the ensemble – organizing

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choirmaster, Heinrich Fischer, also held the post of town music director, was responsible for the theater music, and founder of the Iglau Men’s Choir. 27 Mahler as a Catholic church chorister certainly came to know Mozart’s Requiem , Rossini’s Stabat mater

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