Christmas Cantata
The well-known medieval poem ``Stabat Mater Dolorosa'' has given rise to
innumerable settings over the past 500 years.
Composers as disparate as Palestrina, Haydn, Dvorak, Poulenc and
Patterson have all been drawn to the challenge of realising in musical terms
the wealth of imagery in this meditation on the Crucifixion and the sorrows of
the Mother of Christ. The Christmas ``Stabat Mater Speciosa''
is much less well-known. It probably
dates from the 13th or 14th century, and is a direct paraphrase of the Good
Friday poem, with the scene changed from the anguished atmosphere of Golgatha to the simplicity of the stable in Bethlehem. The only setting which I have come across is
the hymn-like one which Liszt includes in his huge oratorio ``Christus''.
While not of the same poetic distinction as
its more famous model, it nevertheless offers a good deal of scope to a
composer. From the scene-setting of the
opening verses, through the description of the Adoration, to the more
meditative later sections with their references to Christ's eventual suffering
and death, the poem opens up a wealth of musical possibilities. As in many of my works, I have taken the poem
as the starting-point and connecting thread for a large-scale construction to
explore related ideas through contrasting poetry. The medieval Latin
text is placed in relief by four early English carols, and the universality of
the Christmas message is reflected in two carols from Italy and France
(together with their traditional melodies).
The musical fabric is held together by the
melody of the medieval carol ``Angelus ad
Virginem''.
For much of the cantata reference to the tune is more structural than
audibly apparent. But in the second half
of the work it becomes ever clearer, until, at the climax of the last movement,
the solo soprano sings it complete over the full choir and orchestra.
The six movements, which run without a
break, are:
I Stabat Mater speciosa. ``Radiant was the Mother, standing by the stall. Who could not share
the joy of Christ's Mother playing with her baby?''
Carol: ``Sweet was the song the
Virgin sang''
II Pro peccatis suae gentis. Chorus: ``Aging man by young
girl standing. They were dumb-struck in their hearts.''
Solo: ``Thus rockyd
she hyr chyld, By by lullaby.''
Orchestral Interlude
III Eia, Mater, fons amoris. Solo: ``Mother, source of love, take the blows He suffered for
me.''
Chorus: ``Sleep lovely babe. So soon you will
learn to suffer.''
Carol: ``Behold, a silly tender babe.''
IV Fac me vere congaudere. Chorus: ``Let me join thy joyous singing.''
V Virgo virginum praeclara. Solo: ``Peerless maiden, I
am burning and on fire. Let me leap and dance for joy.''
Chorus: ``Between the ox and the donkey sleeps the little child. Thousands of
angels fly around this great God of Love.''
Carol: ``Oh, my dear hert,
young Jesus sweit.''
Interlude
VI Fac me nato custodiri. ``May thy
Son shield me. When my body dies, may my soul see a vision of thy Son.''
© Christopher Brown 2008