# Composer: Antonin Dvorak
# Performer: John Shirley-Quirk, Elmar Schloter, Anna Reynolds, Wieslaw Ochman, Edith Mathis
# Orchestra: Choir and Symphony Orchestra of the Bavarian Radio
# Conductor: Rafael Kubelik
# Vinyl (1977)
# Number of Discs: 2
# Format: Flac
# Label: Deutsche Grammophon Gesellschaft
# DR-Analysis: DR 15
# ASIN CD: B000001GY2
# Size: 1.5 GB
# Scan: yes
# Server: FileFactory
“Don’t be surprised that I’m so religious; an artist who is not religious cannot create such works. Have we not the examples set by Beethoven, Bach, Raffael and so many others.” – Antonin Dvořák.
Stabat Mater (Op. 58, originally Op. 28 B. 71) for soli, choir and orchestra is a religious cantata by the Czech composer Antonín Dvořák based on the text of the Stabat Mater. The work was sketched in 1876 and completed in 1877 and was created in the shadow of death; during the in which he composed the Stabat Mater. Dvořák, then a Prague organist still striving hard for recognition, lost his first three children through illness or accidents.
Dvořák’s solemnly lyrical setting of the Stabat Mater is one of the glories of 19th-century choral music, and this has always been regarded as one of its finest performances. Rafael Kabeláč had few equals in this repertoire, and he knew just how to achieve the maximum of expression with a minimum of hesitation and dragging–critical in a work that is largely meditation and sorrowful reflection. This is the version to have as there are few that could compare to this recording. The conductor was responsible for the revival of interest in the Stabat Mater after decades of neglect; and as a composer, especially in his numerous church works, he acknowledges his own debt to the impetus which Bohemian and Moravian musica sacra received from Dvořák’s Stabat Mater.
The composing of the cantata was Dvořák’s reaction to the death of his daughter, Josef. The sketch was written between 19 February and 7 May 1876, and was dedicated to Frantisek Huspauer “as a souvenir to the friend of his young days. “However, Dvořák was forced to postpone the orchestration of the work due to his other obligations. He returned to the final stylisation of the composition in 1877, when his two surviving children died within a short time of each other. The definitive version of the score was written between the beginning of October and 13 November 1877 in Prague.
Stabat Mater is Dvořák’s first work on a religious theme. It is divided into ten individual parts; only the first and the last part are thematically connected.
The first performance took place on December 23, 1880 at the concert of the Jednota umělců hudebních (Association of Musical Artists) in Prague. The performers included the operatic ensemble of the České prozatímní divadlo (Czech Provisional Theatre), under the conductor Adolf Čech, with the soloists Eleanora Ehrenbergů, Betty Fibich, Antonín Vávra and Karel Čech. The composer Leos Janáček conducted the work a year and half later, on April 2, 1882, in Brno. Performances abroad (Budapest, London) soon ensued.
The cantata was published in score, with parts and piano vocal score (arranged by Dr. Josef Zubatý) by German publishing house N. Simrock in 1881. On this occasion Dvořák also changed the opus number.
The first movement is an extended sonata-form in symphonic style. It opens with a long orchestral introduction, then repeated with the chorus. A contrasting second theme is introduced by the soloists. A development section leads to the return of the opening material.
The organ has an independent part accompanying the female semi-chorus in the fourth movement, and is not used otherwise.
Similarly, the cor anglais has a solo line in the opening of the second movement and is otherwise absent. Though not specified in the score, it can easily be played by one of the two oboists, as they are not playing during this section.
The final movement recalls the opening themes of the work, but then turns into the major key for a triumphant Amen fugue of considerable complexity.
The cantata is scored for an orchestra of: 2 flutes, 2 oboes, cor anglais, 2 clarinets in A, 2 bassoons, 4 horns (two in F, two in D), 2 trumpets, 3 trombones, tuba, timpani, organ and strings.
The solos are written for soprano, tenor, alto, and bass, accompanied with the SATB choir.
Recorded at München, Herkues-Saal 9/1976, I found the music is very pleasant, structured well and exhibit true tonal colors of the instruments. The spatial dimension is very good as you can place the position of vocals and orchestra, along the depth of the music gives the listener a full-bodied sound. The sound quality is excellent with genuine reproduction with precise depth gradation, original dynamics, and natural tonal colors. It feels as though you are at a live performance as the spatial dimension is that precise with excellent vividly real artistic performances. At first you may think they are simple melodies in the music, but upon listening several times, you begin to hear the complexities and the nuances within the music itself and they blend together well. The timbre and the sonority of the voices and orchestra are well-cast. Interestingly this disc is very well-engineered as the overall sound from the disc is indistinguishable from a live performance.
|A||I. Quartetto E Coro. Andante Con Moto – “Stabat Mater Dolorosa”||18:24|
|B1||II. Quartetto. Andante Sostenuto – “Quis Est Homo, Qui Non Fleret”||11:10|
|B2||III. Coro. Andante Con Moto – “Eja, Mater, Fons Amoris”||7:18|
|B3||IV. Bass Solo E Coro. Largo – “Fac, Ut Ardeat Cor Meum”||8:04|
|C1||V. Coro. Andante Con Moto, Quasi Allegretto – “Tui Nati Vulnerati”||5:08|
|C2||VI. Tenore Solo E Coro. Andante Con Moto – “Fac Me Vere Tecum Flere”||7:36|
|C3||VII. Coro. Largo – “Virgo Virginum Praeclara”||6:28|
|D1||VIII. Duo. Larghetto – “Fac, Ut Portem Christi Mortem”||5:25|
|D2||IX. Alto Solo. Andante Maestoso – “Inflammatus Et Accensus”||6:27|
|D3||X. Quartetto E Coro. Andante Con Moto – “Quando Corpus Morietur”||7:14|
Analyzed folder: /96kDv_StaMat_Kub/96k Dvorak – Stabat Mater – Kubelik
DR Peak RMS Filename
DR15 -1.52 dB -23.61 dB A I. Quartetto E Coro. Andante Con Moto – Stabat Mater Dolorosa.wav
DR17 -3.43 dB -27.44 dB B1 II. Quartetto. Andante Sostenuto – Quis Est Homo, Qui Non Fleret.wav
DR14 -5.00 dB -25.90 dB B2 III. Coro. Andante Con Moto – Eja, Mater, Fons Amoris.wav
DR15 -5.81 dB -28.25 dB B3 IV. Bass Solo E Coro. Largo – Fac, Ut Ardeat Cor Meum.wav
DR14 -3.05 dB -23.63 dB C1 V. Coro. Andante Con Moto, Quasi Allegretto – Tui Nati Vulnerati.wav
DR15 -4.66 dB -27.04 dB C2 VI. Tenore Solo E Coro. Andante Con Moto – Fac Me Vere Tecum Flere.wav
DR15 -2.63 dB -25.03 dB C3 VII. Coro. Largo – Virgo Virginum Praeclara.wav
DR14 -6.65 dB -28.46 dB D1 VIII. Duo. Larghetto – Fac, Ut Portem Christi Mortem.wav
DR15 -4.69 dB -27.24 dB D2 IX. Alto Solo. Andante Maestoso – Inflammatus Et Accensus.wav
DR13 -1.43 dB -18.97 dB D3 X. Quartetto E Coro. Andante Con Moto – Quando Corpus Morietur.wav
Number of files: 10
Official DR value: DR15
- Bass Vocals – John Shirley-Quirk
- Choir – Chor Des Bayerischen Rundfunks
- Chorus Master – Josef Schmidhuber
- Composed By – Antonín Dvořák
- Conductor – Rafael Kubelik
- Contralto Vocals – Anna Reynolds
- Engineer – Heinz Wildhagen
- Liner Notes – Karl Schumann
- Liner Notes [English Translation] – John Coombs
- Liner Notes [French Translation] – Daniel Henry
- Orchestra – Symphonie-Orchester Des Bayerischen Rundfunks
- Organ – Elmar Schloter
- Painting [Schmerzensreiche Madonna – Hinterglasbild] – Chrysostomus Geiger
- Photography By – Archiv Für Kunst Und Geschichte
- Producer – Dr. Rudolf Werner
- Recording Supervisor – Hans Weber
- Soprano Vocals – Edith Mathis
- Tenor Vocals – Wiesław Ochman
- RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
- TT: Clearaudio Champion Level II
- Cartridge: Limited Edition Denon DL103 SA
- Phono amp: Pro-Ject Phono Box II
- Pre Amp: Unison Research Unico Pre (Tube)
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
- Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5, Twisted Wave 1.9
- Light de-Clicking with ClickRepair, significant clicks manually removing, no De-Noising
If You hear some clicks and pops here and there, Who cares?
Id rather have a few light anomalies instead of destroying the music. Enjoy the music, not the ticks & pops.
- DR-Analisys before converting to Flac
- Converting Wave -> Flac: Twisted Wave 1.9
- Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5
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