Johann Simon MAYR Stabat mater in F minor Eja mater • Ave maris stella Brown • Yun • Holzhauser • Sellier • Schäfer • Hamann • Mischok Simon Mayr Chorus • Members of the Bavarian State Chorus Concerto de Bassus • I Virtuosi Italiani Franz Hauk Johann Simon Mayr (1763–1845) Stabat mater in F minor • Eja mater in F major • Ave maris stella in G major Johann Simon Since the turn of the 18th century, especially in Italy and solemn procession ended in the basilica. After the Funzione southern Germany, the Stabat mater has been considered delle Sette Parole – the Seven Words of Jesus on the Cross – an expression of devotion to the Blessed Virgin Mary and there was a sung Passion. This was followed by l’Adorazione MAYR openness to Christ’s sufferings. These compositions were della Croce – the Adoration of the Cross. For this purpose, (1763–1845) seldom written for the Friday of Sorrows and the Feast of a huge replica of the Holy Sepulchre broadly resembling the Seven Sorrows introduced in 1727; they were more likely Temple of Solomon was constructed in the basilica. As the 1 ...... to be performed in the context of paraliturgical services faithful filed in to pray before the tomb, the capella sang the Stabat mater in F minor 53:57 contemplating the Passion. Pergolesi’s Stabat mater, which Stabat mater. Although this was a paraliturgical service, Mayr’s 1 I. Stabat mater...... 7:46 was written in 1736 for a noble brotherhood based in Naples, Stabat mater settings essentially follow the liturgical text. 2 II. O quam tristis...... 7:08 became famous. Joseph Haydn’s (1767) belongs in the same Mayr’s Stabat mater in F minor exists in the first instance 3 tradition. in two basic framing versions. The setting that is probably the III. Quis est homo...... 7:03 Mayr held a range of Stabat mater settings with earlier of the pair only covers the first two and the last three 4 IV. Pro peccatis...... 6:30 instrumental accompaniment in his well-stocked music library lines of the text. The version that is probably later comprises 5 in Bergamo, including works by Ferdinando Bertoni, Niccolò a fresh setting of the whole of the first verse, plus an ‘Eja V. Eja mater...... 3:56 Jommelli, Benedetto Marcello, Johann Gottlieb Naumann, mater’ in E flat major and, again, the concluding ‘Quando 6 VI. Sancta mater...... 9:27 Giovanni Battista Pergolesi and Abbé Vogler. corpus morietur’. Here Mayr quotes from the ‘Agnus Dei’ of 7 VII. Inflammatus...... 6:29 All the musicians in the cappella took part in the two Masses by Joseph Haydn: the Missa in tempore belli celebration of Holy Week, a liturgical event of the first order. (‘Nelson Mass’) and the Missa Sancti Bernardi von Offida 8 VIII. Quando corpus...... 5:38 In 1803 the Misericordia Maggiore produced a printed (‘Heiligmesse’). The solo timpani writing is also inspired by the set of basic guidelines for the conduct and deployment of great Viennese composer. Mayr recycled the opening of the 9 2 musicians, entitled Capitoli / ed obblighi generali. It lays down last movement in the ‘Huic ergo’ of his great Requiem. Eja mater in F major ...... 2:38 specifications for the following musical activities (Steffan, p. The sections of the text that were still missing were filled in 343): using so-called versetti volanti (‘detached versets’). This can, 0 3 of course, lead to gaps in the text or to overlapping sections, Ave maris stella in G major ...... 3:19 Mercoledì Santo Dopo pranzo per l’offizio but in the context of contemporary practice, that does not Giovedì Santo Messa, e Vespri seem to have been a problem. The movements belonging WORLD PREMIERE RECORDINGS Venerdì Santo Dopo Pranzo to the Stabat mater – solo arias – can be identified firstly by Sabbato Santo Messa, e Compiette means of references on the title pages of the individual scores and by the forces used, and secondly by means of a bassoon Andrea Lauren Brown, Soprano 3, Jaewon Yun, Soprano 1 / 2 Holy Wednesday After the midday meal for the office part amongst the material belonging to the first version, written, 1 / 2 / 3 3 1 / 2 Holy Thursday Mass and Vespers probably later, by Mayr himself and containing the complete Theresa Holzhauser, Alto • Markus Schäfer, Tenor , Robert Sellier, Tenor Holy Friday After the midday meal earlier version of the Stabat mater in F minor. Jens Hamann, Bass 1 / 2, Virgil Mischok, Bass 3 Holy Saturday Mass and concluding services Mayr kept on going back to the work and composing 1 / 3 additional parts, probably on the one hand so that he had a Simon Mayr Chorus Santa Maria Maggiore had been exempt from episcopal setting for larger forces available, and on the other hand in Members of the Bavarian State Opera Chorus 1 / 3 jurisdiction since 1453, and the church enjoyed, in the order to be able to use the individual movements in settings of 3 Congregazione di Carità or Misericordia Maggiore, a status the Stabat mater for different forces. I Virtuosi Italiani (Concertmaster: Alberto Martini) close to that of a brotherhood. This made it easier for it to In his survey of Mayr’s sacred works, his first biographer, 1 / 2 Concerto de Bassus (Concertmaster: Theona Gubba-Chkheidze) develop its own traditions. Angela Pachowsky has described Girolamo Calvi, highlights the Stabat mater in F minor ‘per the particular circumstances: in 1630, to commemorate a la viva espressione e pel merviglioso effetto’ (‘for its vivid Franz Hauk plague epidemic they had just lived through, the residents of expression and its marvellous effect’; Nos. 364–368). He also Bergamo established an annual procession taking place on praises the ‘O quam tristis’: ‘… che manifestano la malinconia Holy Thursday, in which the whole town was involved. The e l’amaritudine di che dovea esser compresa la dolente Madre, e sovra gli altri, per la sentita espressione delle parole, vuolsi tecum lugeam’ – ‘O Mother, fountain of love, make me feel the Markus Schäfer osservare quello in fa con uscite di violoncello.’ (‘… in which power of sorrow, that I may grieve with you’), Mayr produces The tenor Markus Schäfer studied singing and church music in Karlsruhe and Düsseldorf with Armand are manifest the melancholy and bitterness of the sorrowing a setting without the upper strings which contrasts woodwind McLane. He was a prize-winner in Berlin and Milan and made his début at the Zurich Opera Studio, followed mother, and in addition for the heartfelt expression of the and horns with the four vocal soloists. by engagements at the Hamburg State Opera and the Düsseldorf Oper am Rhein. His subsequent career words, as in the one in F with the cello interjections’; Nos. In the Liturgy of the Hours of the Catholic church, the has brought appearances in major theatres and concert halls in Europe and America, collaborating with 369–372). The ‘Pro peccatis’ he finds to be ‘di celestiale hymn Ave maris stella (‘Hail, star of the sea’), which dates distinguished conductors and a number of award-winning recordings. He teaches singing at the Hochschule bellezza’ (‘of a heavenly beauty’; No. 375), the ‘Sancta mater’ back to the eighth century, is sung at Vespers on Marian Feast für Musik und Theater, Hanover. is ‘molto bello’ (‘very beautiful’; No. 380), and in considering the days. Mayr’s setting – of four of the seven verses – draws its www.tenor-markus-schaefer.de ‘Inflammatus’, Calvi notes that it is ‘di bellezza straordinaria per inspiration from the popular character of the text – instrumental la forza che domina in tutto il pezzo e per la maestria con cui è figuration and the entry of additional voices progressively Robert Sellier condotto’ (‘of extraordinary beauty by virtue of the vehemence heighten the intensity of a catchy tune that recurs throughout The tenor Robert Sellier was born in Munich in 1979 and studied at the Augsburg Musikhochschule. He sang which dominates the entire piece and the skill with which it is in the manner of a refrain. Emilio in Mozart’s Il sogno di Scipione at the Stadttheater Klagenfurt and the Salzburg Festival. At Theater written’; No. 383). Bielefeld he undertook at short notice the role of Belmonte and, at the Berlin Comic Opera, of Count Almaviva in In the alternative Eja mater, the ninth verse of the Stabat Franz Hauk Rossini’s Il barbiere di Siviglia. He performed at the Theater Augsburg, and from 2007 to 2012 was a permanent mater (‘Eia mater, fons amoris, me sentire vim doloris fac ut Translation: Sue Baxter member of the Munich Staatstheater am Gärtnerplatz. In 2013 he appeared in the Göttingen Handel Festival, and since 2013 has been a member of Halle Opera. www.robertsellier.de Andrea Lauren Brown Born in Wilmington/Delaware, the soprano Andrea Lauren Brown holds a Master of Music degree in Voice Jens Hamann Pedagogy and Performance from Westminster Choir College in Princeton, New Jersey, and a Bachelor of The baritone Jens Hamann was a member of the Stuttgart Hymnus-Choristers and completed his studies at Music degree from West Chester University, in Pennsylvania, where she graduated summa cum laude. She the Staatliche Musikhochschule, Mannheim. He won the Early Music Special Prize of Saarland Radio and was a prize-winner at the International Summer Academy of the Mozarteum University of Salzburg in 2002 and was Bach Prize winner at the Johann Sebastian Bach Competition in 2008. His concert activities have taken won second place at the 2003 ARD International Music Competition in Munich. She has sung in many of the him to the United States, Japan, China, Russia; the leading concert halls of Europe, and to many European most important theatres and festivals of Europe, performing both opera and concert repertoire in at least twenty festivals. He has made more than 50 recordings, with awards at MIDEM, the Diapason d’Or and the German different countries, in collaboration with leading conductors, and in 2006 took the principal rôle of Pamina in Music Critics’ Prize. Bernhard Lang’s opera I Hate Mozart. With a repertoire ranging from the baroque to the contemporary, she has a number of successful recordings to her credit, including Thomas Larcher’s Ixxu, Thomas Hengelbrock’s Dixit Dominus of Handel and the Symphonie Sacrae of Schütz. www.andrea-brown.de. Virgil Mischok Virgil Mischok studied with Christian Elsner and received encouragement from Hartmut Elbert and Michael Volle. He has participated in various productions with the August Everding Theatre Academy and in 2013 Jaewon Yun appeared in Don Giovanni at Schloss Weikersheim and guested at the Gärtnerplatz Theatre, Munich. He has Born in Seoul, Jaewon Yun graduated in singing at Seoul National University. Since 2012 she has studied been a regular soloist in Brahms’ Ein deutsches Requiem and has sung baritone solos in performances of music theatre and operatic singing at the Hochschule für Musik und Theater, Munich. Her stage appearances Bach. He has also been a soloist in Carmina Burana in addition to the less frequently heard works by Orff. He include the role of Hänsel (Hänsel und Gretel), Flora Bervoix (La traviata), and the premiere of Francisca by is heard in Lieder recitals and in performances that include literary readings. www.virgil-mischok.de Ujong Choe. Awards include first prize in the Hoseo University Music Competition, and in 2010 a Cheryl Studer Scholarship at the Berlin International Music Festival. In March 2013 she sang the role of Adelasia in Mayr’s opera Adelasia ed Aleramo under the direction of Andreas Spering. Theona Gubba-Chkheidze Theona Gubba-Chkheidze, the daughter of a violinist and an internationally distinguished theatre director, was born in Georgia. She completed her violin studies with a Distinction at the Hochschule für Musik und Theater, Theresa Holzhauser Munich and was awarded a Meisterklasse-Diploma in Modern Violin and a master’s degree in Baroque Violin Theresa Holzhauser was born in 1986 in Bobingen. She began vocal studies at the Hochschule für Musik und (‘Historically Infirmed Performance’). She currently performs in concert throughout Europe with groups such Theater, Munich, in 1986, and was a prizewinner in the regional Jugend Musiziert, with an Advancement Prize as Concerto München, Ensemble Phoenix, Musik Augsburg and Pera Ensemble. She is a co-founder of at the Berlin Regional Singing Contest. In 2010 she won first prize at the Schloss Laibach International Opera Concerto de Bassus. As concertmaster of this group and the Simon Mayr Ensemble she has made more than Workshop, and was recipient of the Frankfurt Mendelssohn Prize. She participated in the Salzburg Festival 20 recordings for Naxos. Young Singers Project in 2011, and in 2013 made her debut at the Salzburg Easter Festival as a Flower Maiden in Parsifal. She is currently a member of the Theater St Gallen, Switzerland. Franz Hauk Johann Simon Mayr (1763–1845) Born in Neuburg an der Donau in 1955, Franz Hauk studied church and school music, with piano and organ, Stabat mater f-Moll • Eja mater F-Dur • Ave maris stella G-Dur at the Munich Musikhochschule and in Salzburg. In 1988 he took his doctorate with a thesis on church music in Munich at the beginning of the nineteenth century. Since 1982 he has served as organist at Ingolstadt Seit der Wende zum 18. Jahrhundert galt das Stabat mater paraliturgische Andacht handelte, entsprach Mayr bei seinen Minster, and since 1995 also as choirmaster. He has given concerts in Europe and the United States and made als Ausdruck der Marienfrömmigkeit und der Hinwendung zum Stabat-mater-Vertonungen wesentlich dem liturgischen Text. a number of recordings. Since October 2002 he has taught in the historical performance and church music Leiden Christi, besonders in Italien und Süddeutschland. Nur Mayrs Stabat mater f-Moll existiert zunächst in zwei department of the Hochschule für Musik und Theater, Munich. He founded the Simon Mayr Chorus in 2003. selten sind diese Kompositionen für den “Schmerzensfreitag”, rahmenden Grundversionen. Die wohl frühere umfasst nur die das 1727 eingeführte Fest “Septem dolorum” bestimmt, eher ersten beiden und die drei letzten Textzeilen. Die vermutlich wurden sie in außerliturgischen Passionsandachten aufgeführt. spätere Fassung umgreift die gesamte erste Strophe in einer Chorus of the Bavarian State Opera Berühmt wurde Pergolesis 1736 für eine adelige Bruderschaft Neuvertonung, dazu ein “Eja mater” in Es-Dur und wiederum The Chorus of the Bavarian State Opera can count on a long and distinguished history, sharing in Neapel geschriebenes Stabat mater, in dieser Tradition steht den Schluß “Quando corpus morietur”. Hier zitiert Mayr aus with the Bavarian State Orchestra and Bavarian State Ballet a repertoire of some 350 opera auch dasjenige von Joseph Haydn (1767). zwei Messen von Joseph Haydn: dem Agnus Dei der Missa in and ballet performances annually at the National Theatre, the Prince Regent Theatre and the In seiner reichen Musikbibliothek in Bergamo verwahrte tempore belli (“Paukenmesse”) und der Missa Sti. Bernardi von Cuvilliés Theatre, Munich. Since 2003-2004 the chorusmaster has been Andrés Maspéro, with Mayr eine Reihe von instrumentalbegleiteten Stabat mater- Offida (“Heiligmesse”), auch der solistische Einsatz der Pauken Stellario Fagone as deputy and Anna Hauer as répétiteur. Vertonungen, darunter Werke von Ferdinando Bertoni, Niccolò ist vom Wiener Großmeister angeregt. Den Beginn des letzten Jommelli, Benedetto Marcello, Johann Gottlieb Naumann, Satzes greift Mayr im “Huic ergo” seines großen Requiems auf. Giovanni Battista Pergolesi und Abbé Vogler. Die noch fehlenden Textteile wurden durch sogenannte Simon Mayr Chorus Das gesamte Musikpersonal der Cappella nahm an der Versetti volanti ergänzt. Freilich können hier im Ablauf textliche The Simon Mayr Chorus was founded by Franz Hauk in 2003. The repertoire of the choir feierlichen Gestaltung der Karwoche – ein liturgisches Ereignis Lücken oder auch Überschneidungen auftreten, das dürfte includes works from the sixteenth to the twentieth century. A special emphasis is laid on Primi Classe – teil. Eine Grundordnung für das Verhalten und zeitüblich kein Problem gewesen sein. Die zugehörigen Sätze, authentic historical performance and on the promotion of music by Simon Mayr at the highest den Einsatz des Musikpersonals wurde 1803 unter dem Titel solistische Arien, ergeben sich einmal durch Hinweise auf cultural level. Members of the choir are vocal students from the Hochschule für Musik und CAPITOLI / ED OBBLIGHI GENERALI von der “Misericordia dem Titelblatt der einzelnen Partituren, durch die verfügbare Theater, Munich and singers selected from Ingolstadt and the region. Maggiore” gedruckt herausgegeben. Festgelegt sind die Besetzung aber auch durch eine von Mayr selbst stammende, folgenden musikalischen Aktivitäten (Steffan, S. 343): wohl nachkomponierte Fagottstimme im Material der ersten Fassung. Diese Stimme enthält die komplette frühere Version Mercoledì Santo Dopo pranzo per l’offizio des Stabat mater f-Moll. Concerto de Bassus Giovedì Santo Messa, e Vespri Mayr schrieb nachträglich immer wieder Concerto de Bassus is an international ensemble engaging young musicians in historical Venerdì Santo Dopo Pranzo Ergänzungsstimmen, einmal vermutlich, um eine verfügbare performances of music from the 17th, 18th and 19th centuries. Many members of the ensemble Sabbato Santo Messa, e Compiette erweiterte Besetzung zu realisieren, zum anderen, um die are outstanding students or graduates of the Hochschule für Musik und Theater, Munich, Einzelsätze auch für Stabat mater-Vertonungen mit anderer schooled in the specific Munich string tradition and, with wind instruments constructed on Seit 1453 war Santa Maria Maggiore der Jurisdiktion des Grundbesetzung zu nutzen. similarly historical principles. The ensemble takes its name from the fundamental element of Bischofs entzogen, die Kirche besaß in der “Congregazione Girolamo Calvi, Mayrs erster Biograph, hebt in seiner Baroque music and from the distinguished family that has done so much to promote culture and di Carità” oder “Misericordia Maggiore” den einer Bruderschaft Übersicht der geistlichen Werke das Stabat mater f-Moll knowledge. Baroness Margarete de Bassus is thus particularly associated with the ensemble. angenäherten Status. Dieser Umstand erleichterte es, eigene hervor “per la viva espressione e pel merviglioso effetto” [Nr. Traditionen zu formen. Angela Pachowsky informiert über 364–368]. Auch das “O quam tristis” rühmt er “che manifestano I Virtuosi Italiani die konkreten Umstände: Im Gedenken an eine soeben la malinconia e l’amaritudine di che dovea esser compresa la Founded in 1989, I Virtuosi Italiani draws its members from leading Italian orchestras and from überstandenen Pest-Epidemie begründeten die Bergamasker dolente Madre, e sovra gli altri, per la sentita espressione delle teachers active in music schools and academies. Playing on historical instruments and working 1630 eine alljährliche Prozession am Gründonnerstag, die von parole, vuolsi osservare quello in fa con uscite di violoncello.” with internationally renowned soloists and conductors, the ensemble performs regularly at der ganzen Stadt getragen wurde. Der feierliche Umzug endete [Nr. 369– 372]. Beim “Pro peccatis” befindet er “di celestiale important venues in Italy and abroad. It has made over 100 recordings. in der Basilika. Nach der Funzione delle Sette Parole – der bellezza” [375], das “Sancta mater” sei “molto bello” [Nr. 380] Sieben Worte Jesu am Kreuz – wurde die Passion gesungen. und beim “Inflammatus” bemerkt Calvi “di bellezza straordinaria Es folgte l’Adorazione della Croce – die Kreuzverehrung. Dazu per la forza che domina in tutto il pezzo e per la maestria con war in der Basilika ein riesiges Heiliges Grab errichtet, das in cui è condotto.”[Nr. 383] seinen Umrissen dem Tempel Salomons ähnelte. Während Im alternativen “Eja mater”, dem 9. Vers des “Stabat die Gläubigen eintraten, um vor dem Grab zu beten, intonierte mater”, („Eia mater, fons amoris, me sentire vim doloris fac ut die Capella das Stabat mater. Obgleich es sich hier um eine tecum lugeam“ – „Gib, o Mutter, Born der Liebe, dass ich mich mit dir betrübe, dass ich fühl die Schmerzen dein“), verzichtet greift den volkstümlichen Charakter der textlichen Vorlage auf, 6 Sancta mater, istud agas, Holy Mother, grant me Mayr auf die hohen Streicher und setzt Holzbläser und Hörner eine eingängige Melodie wird im Verlauf refrainartig durch Crucifixi fige plagas that I fix the wounds of the crucified in Kontrast zum solistischen Vokalquartett. instrumentale Figurationen und neu eintretende Stimmen Cordi meo valide. firmly to my heart. Der seit dem 8. Jahrhundert überlieferte Hymnus “Ave maris gesteigert. Vertont sind vier der eigentlich sieben Strophen. stella“ („Meerstern, sei gegrüßt“) wird im Stundengebet der Katholischen Tui nati vulnerati, Of your wounded son Kirche zur Vesper an Marienfesten gesungen. Mayrs Vertonung Franz Hauk Tam dignati pro me pati, who deigned to suffer for me Poenas mecum divide. let me share the pain.

1 Stabat mater dolorosa The grieving Mother stood Fac me tecum pie flere, Let me truly weep with you, Juxta crucem lacrimosa, weeping by the Cross Crucifixo condolere, grieve over the crucified, Dum pendebat Filius. where hung her Son. Donec ego vixero. as long as I live.

Cuius animam gementem, Her spirit groaning, Juxta crucem tecum stare To stand by the cross, Contristatam et dolentem saddened and grieving Et me tibi sociare willingly to join with you Pertransivit gladius. a sword has pierced. In planctu desidero. in mourning I desire.

2 O quam tristis et afflicta Oh how sad and afflicted Virgo virginum praeclara, Virgin glorious among virgins, Fuit illa benedicta was that blessed Mihi jam non sis amara: be not now harsh with me, Mater unigeniti! Mother of the Only-Begotten; Fac me tecum plangere. make me to weep with you.

Quae maerebat et dolebat, Who mourned and grieved Fac ut portem Christi mortem, Let me bear Christ’s death, Pia mater, dum videbat and trembled, when she saw Passionis fac consortem, let me share his passion Nati poenas inclyti. the punishment of her glorious son. Et plagas recolere. And revere his blows.

3 Quis est homo qui non fleret, Who is the man that would not weep Fac me plagis vulnerari, Let me be wounded by blows, Christi Matrem si videret if he saw the Mother of Christ Cruce hac inebriari to be drunk with this cross In tanto supplicio? in such torment? Et cruore Filii. and the blood of your Son.

Quis non posset contristari, Who could fail to feel sorrow Flammis ne urar succensus, Lest I burn in flames, Piam matrem contemplari to regard the merciful Mother Per te, Virgo, sim defensus through you, Virgin, may I be defended Dolentem cum Filio? grieving with her son? In die judicii. in the day of judgement.

4 Pro peccatis suae gentis, For the sins of his people Christe cum sit hinc exire, Christ, when I leave hence Vidit Jesum in tormentis, she saw Jesus in torments, Da per Matrem me venire grant that through your Mother I may come Et flagellis subditum. brought low by blows. Ad palmam victoriae. to the palm of victory. 7 Vidit suum dulcem natum She saw her gentle son Inflammatus et accensus Lest I burn in flames, Morientem desolatum, dying, desolate, Per te virgo sim defensus through you, Virgin, may I be defended, Dum emisit spiritum. until he gave up the ghost. In die judicii. in the day of judgement.

5+ Eja mater, fons amoris, Ah, Mother, fountain of love, Fac me cruce custodiri, Let me be guarded by the cross, 9 Me sentire vim doloris to feel the force of grief Morte Christi praemuniri, fortified by the death of Christ, Fac, ut tecum lugeam. grant that I may mourn with you. Confoveri gratia. cherished by grace. 8 Fac, ut ardeat cor meum Grant that my heart may burn Quando corpus morietur, When the body shall die, In amando Christum Deum, in loving Christ, God, Fac ut animae donetur grant that my soul be given Ut sibi complaceam. that I may please Him. Paradisi gloria. the glory of Paradise. Amen. Amen. Ave, maris stella, Hail, star of the sea, Dei mater alma gentle mother of God atque semper virgo, and ever virgin, Also available felix caeli porta. blessed gate of heaven.

Sumens illud “Ave” Taking that ‘Ave’ Gabrielis ore, from the mouth of Gabriel, funda nos in pace, grant us peace mutans Evae nomen. changing the name of Eve.

Solve vincla reis, Loose the chains of the guilty, profer lumen caecis, bring light to the blind, mala nostra pelle, do away with our ills bona cuncta posce. ask for all good things.

Monstra te esse matrem, Show yourself to be our mother, sumat per te precem through you may he receive our prayer qui pro nobis natus who, born for us, tulit esse tuus. let himself be yours.

Virgo singularis, Unrivalled Virgin, inter omnes mitis, gentle among all, nos culpis solutos freed from our sins, mites fac et castos. makes us gentle and chaste. 8.570366-67 8.572492 Vitam praesta puram, Grant a pure life, iter para tutum, make ready a safe path ut videntes Jesum that, seeing Jesus, semper collaetemur. we may rejoice for ever.

Sit laus Deo Patri, Praise be to the Father, summo Christo decus, glory to Christ on high, Spiritui Sancto to the Holy Spirit, honor, tribus unus. honour, one in three. Amen Amen.

8.573419-20 8.573605 Restored by Mayr expert Franz Hauk from two extant manuscript versions and heard here in its world premiere recording, Simon Mayr’s Stabat mater in F minor was singled out by a contemporary biographer “for its marvellous effect” and “heavenly beauty”. Mayr himself frequently returned to this work, recycling one of its movements in his great Requiem (Naxos 8.573419-20). The song-like Ave maris stella builds on a hymn that dates back to the 8th century. Johann Simon MAYR (1763–1845) Stabat mater in F minor 1 1 I. Stabat mater 7:46 2 II. O quam tristis 7:08 3 III. Quis est homo 7:03 4 IV. Pro peccatis 6:30 5 V. Eja mater 3:56 6 VI. Sancta mater 9:27 7 VII. Inflammatus 6:29 8 VIII. Quando corpus 5:38 9 Eja mater in F major 2 2:38 0 Ave maris stella in G major 3 3:19 WORLD PREMIERE RECORDINGS Andrea Lauren Brown, Soprano 3, Jaewon Yun, Soprano 1 / 2 Theresa Holzhauser, Alto 1 / 2 / 3 • Markus Schäfer, Tenor 3, Robert Sellier, Tenor 1 / 2 Jens Hamann, Bass 1 / 2, Virgil Mischok, Bass 3 Simon Mayr Chorus 1 / 3 • Members of the Bavarian State Opera Chorus 1 / 3 3 I Virtuosi Italiani (Concertmaster: Alberto Martini) 1 / 2 Concerto de Bassus (Concertmaster: Theona Gubba-Chkheidze) Franz Hauk Recorded in the Asamkirche Maria de Victoria, Ingolstadt, Germany, 7-11 April 2014 (tracks 1-9) and 26 April 2014 (track 10) • Producer, Engineer and Editor: Ulrich Kraus • Booklet notes: Franz Hauk Cover Photo: Paolo Zeccara (‘La Deposizione’, Anonymous XVII century, Church of San Dionigi, Vigevano, Italy) Editions: Franz Hauk / Manfred Hößl Sponsors: Margarete Baronin de Bassus; Bezirk Oberbayern; Kulturfonds Bayern