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Stabat Mater Dolorosa

8 thoughts on “ Stabat Mater Dolorosa

  1. Last updated on Apr 4, Choir Practice: "Stabat Mater" by Giovanni Battista Pergolesi. "Stabat Mater" is based upon the "Dolorosa" poem which depicts the suffering of Mary, Christ's mother.
  2. Oct 17,  · Stabat Mater, versión de Marco Frisina en latín e italiano. Letra: STABAT MATER DOLOROSA IUXTA CRUCEM LACRIMOSA DUM PENDEBAT FILIUS. Immersa in angoscia mortale la Madre dell'Unigenito geme nell'intimo del cuore trafitto da una spada. Piange la Madre pietosa contemplando le sue piaghe: chi potrà trattenere il pianto davanti a tanto tormento.
  3. Jul 26,  · Missa Dolorosa/Stabat Mater/Antonio Caldara / Né à Venise en , Antonio Caldara est mort en Autriche en Violoncelliste réputé et compositeur baroque il nous a laissé une œuvre considérable comprenant plus de éléments, et notamment des /5(18).
  4. Stabat Mater Dolorosa. Stabat Mater dolorósa. iuxta crucem lacrimósa, dum pendébat Fílius. Cuius ánimam geméntem, contristátam et doléntem. pertransívit gládius. Quam tristis et afflícta. fuit illa benedícta. Mater Unigéniti! Quae mœrébat et dolébat, pia Mater, dum vidébat.
  5. Apr 20,  · Describing the Virgin Mary's witnessing of the Crucifixion, the hymn Stabat Mater dolorosa was well known to all classes by the end of the fourteenth century and inspired a number of imitations. After a period of neglect following the Council of Trent, it was revised and in assigned as the sequence (in mode 2) for Friday of the fifth week of Lent and the Sorrows of Mary (Sept. 15).
  6. ABOUT THIS STABAT MATER WEBSITE On the Ultimate Stabat Mater site you will find my CD-collection of – now – different Stabat Mater compositions: information about the composers, the music and the text. The site also includes translations of the original Latin poem Stabat Mater Dolorosa in 24 different languages.
  7. Mater dolorosa definition is - sorrowful mother —used especially for depictions of the Virgin Mary grieving over her dead son.
  8. The "Stabat mater dolorosa" is also worthy of note by reason of the frequency with which it has been set to music by the great composers, such as Palestrina, Pergolesi, Haydn, Rossini, and, more recently, Dvorak It is also noteworthy on account of the very numerous translations in which it has passed into various European languages. Dr. F. G.

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