Domenico Scarlatti - Stabat Mater in C minor
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- Опубліковано 1 сер 2024
- - Composer: Giuseppe Domenico Scarlatti (26 October 1685 -- 23 July 1757)
- Performers: BBC Singers
- Accompaniment: Anthony Pleeth (Cello), Francis Baines (Double Bass), Timothy Farrell (Organ)
- Conductor: John Poole
- Year of recording: 1976
Stabat Mater, for double chorus & continuo in C minor, written in 1714.
00:00 - 01. Stabat Mater
02:44 - 02. Cujus animam gementem
06:56 - 03. Quis non posset
09:50 - 04. Eja Mater, fons amoris
11:58 - 05. Sancta mater, istud agas
15:20 - 06. Fac me vere tecum flere
16:25 - 07. Juxta crucem
18:43 - 08. Inflammatus et accensus
21:58 - 09. Fac ut animae donetur paradisi gloria
24:43 - 10. Amen
The period from 1714-1719, which Domenico Scarlatti spent in Rome employed by the Vatican as the maestro di cappella at St. Giulia, produced a considerable body of sacred and liturgical music, much of it worthy of further attention and performance. Foremost among these is his setting of the devotional Stabat Mater text. The work, completed in 1715, employs a choir of ten parts accompanied by organ and is rendered in a style that often seems archaic, but at moments introduces newer and powerfully expressive textures and harmonies. Despite the lush vocal sonority afforded by the large vocal forces, it is with local nuances and contours and subtle combinations of parts that Scarlatti engages the listener. At first glance, Scarlatti's Stabat Mater seems like a misplaced work from the sixteenth century, with its gently arching melodic lines, delicate points of imitation, and elegant surface. Occasional harmonic clues betray the piece's later date -- a meditative plagal passage that frees itself of harmonic urgency, a cadence that points in an unforeseen direction. Despite the large ensemble, Scarlatti's polyphonic fabric is pulled taught and polished, with only a hint of harmonic depth added by the organ; in passages where the vocal forces are most reduced, the clarity of phrase and declamation solidly place the work in the eighteenth century, despite its seemingly antiquated style.
One of this piece's most compelling characteristics is the fluidity with which it connects the words and music. The devotional poem, cast in 10 stanzas of two tercets each, is not poured squarely into a corresponding series of musical passages, but rather stretched and molded into a larger and more organic form. The first four verses of the poem are bound together by a continuous musical passage and a recurring motive that is treated communally by the singers. The insistent rhetorical questions of the poem, "Quis est homo qui non fleret...Quis non posset contristari...?" (Who would not weep seeing the mother of Christ in such torment? Who would not feel compassion...?), are met first with an increasing musical urgency created by carefully wrought counterpoint, then a moment of pensive repose. In the subsequent passage, the music shifts from sheer declamation of words to expression of ideas and images, as shifting meters, variegated textures, and more angular writing enhance the poet's description of Christ's suffering. The adorations that follow, in which the poet affirms his devotion to Christ and desire to weep with Mary at the foot of the cross, eventually culminate in a masterfully crafted fugue on "Fac ut animae donetur paradisi gloria" (Grant that Paradise's glory may be given to my soul) and a joyous chorus of "Amen."
Grandiose Musik! Grandiose Interpretation! Like from another world, a better world.
In my humble opinion, one of the greatest choral works ever composed, as well as being pretty accessible to sing for amateurs!
it's very complicated, i'm not agree
@@patrizialauraf well, you are right to an extent. its certainly not easy and is somewhat complicated. but on the other hand, it is far easier than singing bach motets for example, as well as the fact that you often have long breaks between singing (due to the 10 different voices) which makes it quite enjoyable to sing.
@@Nooticus so on the field about tired voices... and not too much payng attention to the mesures . I'd not confront Bach and Scarlatti
Are you ready to sing the "8.Inflammatus" alone?
Harry up and try to breath...tomorrow.
I sang Stabat Mater all... and we went more quickly than our conductor directed! ...marvelous
And to think I wouldn't find any more cathartic inducing music at this point (almost 10 years of music appreciation). I am more than glad to find out I'm completely wrong
I completely agree, this is marvellously cathartic and in an unsual way. What else would you recommend?
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At first I thaught this was Allesandro, who is more wel known for his vocal writing. But it amazes me that Domenico, a man more associated with the keybord, could compose something so beautiful. Kind reminds me of Liszt who has also written some beautiful choral works. Thanks very much for uploading!
Domenico's father Alessandro Scarlatti has also written a Stabat, which was used in Naples before the one by Pergolesi. Domenico's Stabat is almost a cappella, there is only a little basso continuo
Domenico Scarlatti's reputation as a keyboard composer is completely constructed by musicologists who have only focused on this part of his work because too few sources have survived from the rest of his work. And yet we know that he also composed many vocal works, most of which we have the names of. The biography by Frederic Gonin is for this reason a remarkable work: it attempts to give a complete idea of the composer and his work.
@@MorbidMayem Great comment, thanks for the info!
Beautiful music, wonderful performance.
This Amén its the best. Feeling
Quis est homo qui non fleret?
Domenico was really inspired that days...
An this version es really good. Congratulations.
Splendid.
MR
Tiene una gran cantidad de voces con una preciosa polifonía...………...
Juxta Crucem - 16:27 ❤
Molto interessante
Bellísima polifonía
Гениальное исполнение!
What a great video! There's only a little mistake in the description: the fugue is in "Fac ut animae donetur paradisi gloria" (Grant that Paradise's glory may be given to my soul). However, that's a marvelous rendition of Scarlatti's masterpiece.
+Pietro Tralongo Thank you, I've corrected it!
MOST HOLY THEOTOKOS SAVE US!
🌐 😌🕯️📿⛪☦️ ⚜️✍🏼🎶⛲🧭⚓🌙
Thank you for posting this, grace and peace to you!
❤ ⌛ ✨ Lord, have mercy......
18:44! 21:59!
The fugue is 10 parts ?
The whole piece is written in ten-part counterpoint. That's genius for you...
@@SandroIvoBartoliofficial What do you mean it's genius for me?
@@chp763 it is just an expression: it is genius for us all!
@@SandroIvoBartoliofficial Oh indeed! Scarlatti's genius is visible in every single note his has written! I'm currently playing K.509
@@SandroIvoBartoliofficial lol, I love your playing? Do you have the same blood as him?
μόνο ακους! δεν σχολιάζςις...
Tenor soloist cuts too many corners in this recording.
Wrong note in very first phrase?
I was told when I sang this Stabat Mater that there is a double possible interpretation of the opening of this piece (normally a choice of the conductor): the first phrase to be sung as it is written in the transcription, or with the second A of the line to be sung natural, making the phrase just parallel to the alto line - where for sure Scarlatti sharpened the Db so we know he wanted it sung that way...
My reaction was "misprint in the score?" I'm so familiar with that note being A-natural that it would seem very odd not to. But the score is consistent in showing it like that in repeated locations. And the Humpál edition on CPDL shows the same. On CPDL/IMSLP you can also find a scan of an old but unidentified manuscript score which has A-natural. Indeed in that version the opening section is written with a key signature of just 2 flats, so that the first A-flat requires an explicit accidental. There is no accidental on the second A, which is beyond the next bar line. The imitative phrase is written in the same way. But it makes me wonder whether there was the same kind of process as with Allegri Miserere, where the wider world got used to and grew to like what is essentially a corrupt version.
May well be that indeed!
Покаяние, молитва, прошение от прощение грехов, осознание совершëнных неугодных Богу дел, скорбь...