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Antonín Dvorák Antonín Dvoˇrák Stabat Op. 58 mater 01 Fleischmann Choir Cork School of Music Symphony Orchestra Sat 18 Feb 2017 City Hall, Cork @ 8pm Stabat Mater, Op. 58 Antonín Dvořák (1841-1904) Mary Hegarty (Soprano) Rachel Kelly (Mezzo-Soprano) Patrick Hyland (Tenor) Brendan Collins (Bass) Fleischmann Choir CSM Symphony Orchestra David McElroy (Leader) Conor Palliser (Conductor) Our concert tonight is dedicated to the memories of John Gibson, Betty Murphy and John O’Connor. Antonín Dvořák The question as to why Dvořák turned his attention in February 1 1876 to the medieval hymn ‘Stabat Mater’, which sings of the pain of Mary during her son’s crucifixion, cannot be answered clearly. There was no commission for the composition, while the length of the work and the large orchestra suggest that Dvořák certainly had no intention of having it performed in the specific context of a church festival or religious service. Employed as an organist from 1874 onwards at St. Adalbert’s Church in Prague, Dvořák came into regular contact with church music at that time and could thus have been inspired to compose his own spiritual work. He may even have had direct experience of a contemporary Stabat Mater setting in November 1875: it is believed that Dvořák played the harmonium part at the premiere of Franz Xaver Witt’s ‘Stabat Mater’ in Prague’s This modest, devout tone is of course required by the text of the ‘Sta- Emmaus Church. He may have been attracted by the poetic depth of bat Mater’, which contains no theatrical images of the type familiar the text, or could have felt the need to oppose the Cecilian simplic- from the Requiem text. It describes Mary’s pain on seeing her dead ity and rather austere setting by Witt (only for choir, with keyboard son on the cross – initially from the perspective of a neutral observer, accompaniment) with a sumptuous orchestral work of his own that then from the first-person perspective of someone personally affect- was intended for the concert hall from the outset. Whatever the ac- ed who is hoping to find solace and to share Mary’s pain, and who tual motivation was, the fact remains that Dvořák sketched out his ultimately asks Christ himself for salvation. The ‘Stabat Mater’ hymn ‘Stabat Mater’ in the period from February 19 to May 7, 1876. – whose authorship has not been clarified to this day – thus contains aspects of mourning and lamentation as well as cautious optimism, After this initial, short-score-like version of the work, other obliga- and these very elements can be found in Dvořák music. With fine tions occupied his attention for the next one and a half years. The fact and gentle gradations, and avoiding any meticulous emphasis on the that Dvořák started work again on his ‘Stabat Mater’ in the autumn interpretation of words, it moves between deep resignation and ten- of 1877, however, orchestrated it within a few weeks and finally com- tative moments of promise. pleted it, is often linked to the fateful occurrences during the summer of 1877. On August 13, his one-year-old daughter Ružena died in a tragic accident (she had accidentally drunk some phosphorus solu- tion); and only a few weeks later, on September 8, his three-year-old son Otakar succumbed to smallpox. Earlier, in the summer of 1875, the composer’s daughter Josefa had also died at only two days of age, so the family was now left childless. In this deeply tragic situation, Dvořák may have felt the need to turn his attention once again to a work dealing with pain and compassion, and to find some kind of consolation in it. Dvořák’s ‘Stabat Mater’ takes around 90 minutes to perform, and 2 indeed is one of the most extensive settings of the text in Western 3 music. The work has a special dignity – not only because of its sheer scale but also for the breadth of its concept, its excursions into the symphonic, and its continuous expression of deep piety. A profound inwardness flows through the entire composition – a contemplative, elegiac attitude, reinforced by the consistently slow tempi (only the fifth movement is marked Andante con moto quasi allegretto, all oth- er movements being Largo or Andante), mostly subdued dynamics, and an often introverted melodiousness. Dvořák interrupts the gen- eral solemnity only very rarely with dramatic outbursts, crescendos and concentrations of sound. 1. Chorus and Solo Quartet Stabat Mater dolorosa juxta crucem lacrimosa dum pendebat Filius. The grieving Mother stood weeping beside the cross where her Son was hanging. Cujus animam gementem contristatam et dolentem pertransivit gladius. Through her weeping soul, compassionate and grieving, a sword passed. O quam tristis et afflicta fuit illa benedicta Mater unigeniti. 4 O how sad and afflicted was that blessed 5 Mother of the only-begotten! Quae maerebat et dolebat pia Mater, cum videbat nati poenas incliti. Who mourned and grieved, the pious Mother, looking at the torment of her glorious Child. 2. Solo Quartet Quis est homo, qui non fleret, Pro peccatis suae gentis matrem Christi si videret vidit Jesum in tormentis in tanto supplicio? et flagellis subditum. Who is the person who would not weep For the sins of his people she saw Jesus in seeing the Mother of Christ in such agony? torment and subjected to the scourge. 6 7 Quis non posset contristari Vidit suum dulcem natum matrem Christi contemplari moriendo desolatum dolentum cum filio? dum emisit spiritum. Who would not be able to feel compassion on She saw her sweet offspring dying, forsaken, beholding Christ’s Mother suffering with her Son? while He gave up his spirit. 3. Chorus Eia Mater, fons amoris, me sentire vim doloris fac ut tecum lugeam. O Mother, fountain of love, make me feel the power of sorrow, that I may grieve with you. 4. Bass Solo and Chorus Fac ut ardeat cor meum in amando Christum Deum ut sibi complaceam. 8 Grant that my heart may burn in the love of 9 Christ my Lord, that I may greatly please Him. Sancta Mater, istud agas, crucifixi fige plagas cordi meo valide. Holy Mother, grant that the wounds of the Crucified drive deep into my heart. 5. Chorus Tui Nati vulnerati tam dignati pro me pati poenas mecum divide. That of your wounded Son, who so deigned to suffer for me, I may share the pain. 6. Tenor Solo and Chorus Fac me vere tecum flere crucifixo condolere donec ego vixero. 10 Let me sincerely weep with you, bemoan 11 the Crucified, for as long as I live. Juxta crucem tecum stare te libenter sociare in planctu desidero. To stand beside the cross with you, and gladly share the weeping, this I desire. 8. Soprano and Tenor Duet 7. Chorus Fac, ut portem Christi mortem passionis fac consortem Virgo virginum praeclara et plagas recolere. mihi jam non sis amara Grant that I may bear the death of Christ, share fac me tecum plangere. his Passion, and commemorate His wounds. Chosen Virgin of virgins, be not bitter with me, let me weep with thee. Fac me plagis vulnerari cruce hac inebriari ob amorem filii. Let me be wounded with his wounds, inebriated by the cross because of love for the Son. 9. Mezzo~Soprano Solo Inflammatus et accensus per te, Virgo, sim defensus 12 in die judicii. 13 Inflame and set on fire, may I be defended by you, Virgin, on the day of judgement. Fac me cruce custodiri morte Christi praemuniri confoveri gratia. Let me be guarded by the cross, armed by Christ’s death and His grace cherish me. 10. Solo Quartet and Chorus Mary Hegarty Quando corpus morietur fac ut animae donetur paradisi gloria. Amen. Soprano Mary Hegarty’s early studies at Mary Hegarty’s recordings include her solo When my body dies, grant that to my the Cork School of Music led to a place album A Voice is Calling, and CD recordings soul is given the glory of paradise. Amen. at the National Opera Studio in London of Patience and Orpheus in the Underworld and masterclasses with Sir Thomas Allen, with the D’Oyly Carte (Sony), also Silver Dame Elisabeth Schwarzkopf and Sir Peter Tassie (ENO) and Carmen (Chandos) with Pears. She represented her country at the Glyndebourne Opera. Mary played Gilda Cardiff Singer of the World Competition in Woody Allen’s movie Matchpoint and and subsequently built an impressive career appeared in special TV broadcasts and DVD throughout Europe on the operatic stage, recordings of Bernstein’s Trouble in Tahiti concert platform and in regular broadcasts and Rachel Portman’s The Little Prince for the with RTÉ and the BBC. BBC. Since making her professional debut at the Ongoing performance projects include a Royal Opera House, Covent Garden, under recital of lieder themed as Music of the Art the baton of Bernard Haitink, Mary has sung Nouveau, a contemporary production of John principal roles with English National Opera, Corigliano’s song cycle based on the poetry Opera North, Welsh National Opera, Opera of Bob Dylan, and a cabaret production Mary Northern Ireland, City of Birmingham Hegarty sings the Jazz Songbook. A successful Touring Opera, Glyndebourne Festival vocal coach and lecturer at the Cork School Opera, Garsington Opera, D’Oyly Carte, of Music, Mary’s students have performed at Reisopera, La Monnaie, Vlaamse Opera, English National Opera, Garsington Opera Adelaide Festival, Opera Zuid, Athens and the BBC Proms. A student from her Festival, Opera Theatre Company, OPERA private studio was featured in the final stages 14 2005, the Dublin Grand Opera Society and of last year’s TV series The Voice UK and she 15 R&R Musical Society.
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