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Stabat Mater (Latin for "the mother was standing") is a compositional form in the crucifixion of Jesus in art depicting the Virgin Mary under the cross during the crucifixion of Christ alongside John the apostle. Rood cross group, Church of St Mary, Gdansk. It is common in groups of sculpture on a rood screen, and in paintings.
The Stabat Mater is a 13th-century Christian hymn to the Virgin Mary that portrays her suffering as mother during the crucifixion of her son Jesus Christ. Its author may be either the Franciscan friar Jacopone da Todi or Pope Innocent III .
Stabat Mater for solo alto and orchestra, RV 621, is a composition by the Italian baroque composer Antonio Vivaldi on one of the Sorrows of Mary. It was premiered around 1712 Items portrayed in this file
Vivaldi's Stabat Mater only uses the first ten stanzas of the hymn. [2] The music is keyed in F minor, and is generally slow and melancholy, with allegro only being used once in the Amen, and all the other movements not going faster than andante. Movements 4, 5, and 6 are identical to the first three musically.
The Pieta as “Our Lady of Charity” (1723) from Cartagena, Spain.Crowned by the Pontifical decree of Pope Pius X in 1923.. The Pietà is one of the three common artistic representations of a sorrowful Virgin Mary, the other two being the Mater Dolorosa ("dolorous mother") and the Stabat Mater ("standing mother").
Pages in category "Stabat Mater settings" The following 17 pages are in this category, out of 17 total. This list may not reflect recent changes. ...
The Stabat Mater is divided into twelve movements, [5] which vary dramatically in character from somber to light and frivolous, even on the most serious of texts. All the movements, though, are relatively brief; Robert Shaw's Telarc recording runs just under 30 minutes, with the longest movement taking just over four minutes.
Stabat Mater (P.77) [1] is a musical setting of the Stabat Mater sequence, composed by Giovanni Battista Pergolesi in 1736. [2] Composed in the final weeks of Pergolesi's life, [3] it is scored for soprano and alto soloists, violin I and II, viola and basso continuo. The autograph manuscript of the work is preserved in the Benedictine Abbey of ...