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| stabat mater haydn: Joseph Haydn's Stabat Mater Emerson W. Eads, 2018 |
| stabat mater haydn: Haydn's Stabat Mater for four voices with an accompaniment for the organ or pianoforte Joseph Haydn, 1870 |
| stabat mater haydn: Joseph Haydn & die "Neue Welt" Walter Reicher, 2019-06-17 Joseph Haydn & die 'Neue Welt' - dieser Titel mag zunächst irritieren, war Joseph Haydn doch nie in Amerika. Doch bei genauerer Betrachtung überrascht die Vielfalt dieses Themenkomplexes, der zwei große komplementäre Bereiche abdeckt: Zum einen die Fragen, wie Haydn und seine Zeitgenossen Amerika wahrgenommen haben, in welche Diskussionen sie eingebunden waren, welche Bilder aus der fernen Welt von der anderen Seite des Atlantiks in ihren Köpfen vorherrschten und wie sie diese künstlerisch fruchtbar machten. Zum anderen gilt es zu erforschen, wie Haydns Musik in Amerika wahrgenommen wurde und wie sie sich dort verbreitete; welche Werke von anderen Komponisten produktiv aufgegriffen wurden und welche vielleicht auf dem Weg über den großen Teich verloren gingen. Mit Beiträgen von Christine Siegert | Gernot Gruber | Waldemar Zacharasiewicz | Bertil van Boer | Thomas Tolley | Paulo M. Kühl | Kathleen J. Lamkin | Michael E. Ruhling | Bryan Proksch | Thomas Betzwieser | Balázs Mikusi | John A. Rice | Daniel Brandenburg | Josef Pratl | Pierpaolo Polzonetti | Mark Evan Bonds | Peter Király | Walter Reicher |
| stabat mater haydn: Stabat Mater Hob XXbis/1 Franz Joseph Haydn, 1998-12-01 This thoughtful, delicate, dramatic and at times joyful Stabat Mater, is the vocal work that established Haydn throughout Europe as a great composer of religious music. |
| stabat mater haydn: Stabat Mater: Satb with Satb Soli (Orch.) (Latin Language Edition) , 1985-03 A Choral Worship Cantata in SATB with SATB Soli voicing, composed by Franz Joseph Haydn. |
| stabat mater haydn: Auction catalogues of books Puttick and Simpson (messrs.), 1846 |
| stabat mater haydn: Roman Catholic Church Music in England, 1791–1914: A Handmaid of the Liturgy? Dr T E Muir, 2013-01-28 Roman Catholic church music in England served the needs of a vigorous, vibrant and multi-faceted community that grew from about 70,000 to 1.7 million people during the long nineteenth century. Contemporary literature of all kinds abounds, along with numerous collections of sheet music, some running to hundreds, occasionally even thousands, of separate pieces, many of which have since been forgotten. Apart from compositions in the latest Classical Viennese styles and their successors, much of the music performed constituted a revival or imitation of older musical genres, especially plainchant and Renaissance Polyphony. Furthermore, many pieces that had originally been intended to be performed by professional musicians for the benefit of privileged royal, aristocratic or high ecclesiastical elites were repackaged for rendition by amateurs before largely working or lower middle class congregations, many of them Irish. However, outside Catholic circles, little attention has been paid to this subject. Consequently, the achievements and widespread popularity of many composers (such as Joseph Egbert Turner, Henry George Nixon or John Richardson) within the English Catholic community have passed largely unnoticed. Worse still, much of the evidence is rapidly disappearing, partly because it no longer seems relevant to the needs of the modern Catholic Church in England. This book provides a framework of the main aspects of Catholic church music in this period, showing how and why it developed in the way it did. Dr Muir sets the music in its historical, liturgical and legal context, pointing to the ways in which the music itself can be used as evidence to throw light on the changing character of English Catholicism. As a result the book will appeal not only to scholars and students working in the field, but also to church musicians, liturgists, historians, ecclesiastics and other interested Catholic and non-Catholic parties. |
| stabat mater haydn: Feminism and Film Maggie Humm, 1997-06-22 This is the first study to apply a broad range of theory to contemporary film. With dazzling insight and critical aplomb Maggie Humm highlights and explains feminist issues and offers a fascinating array of original film analyses. |
| stabat mater haydn: Ancient and Modern Howard Irving, 2018-12-13 First published 1999, Howard Irving details Croch’s lecturing career and examines the influences of figures such a Charles Burney and Sir Joshua Reynolds on his approach to the ancient-modern debate. Irving also makes available for the first time in a modern edition Crotch’s 1818 lecture series. These texts help to fill a gap in our knowledge of the development of musical classics, as they span a period of years that were crucial to the history of canon formation. |
| stabat mater haydn: Catalogue of Music British Museum, 1895 |
| stabat mater haydn: Canonic Repertories and the French Musical Press William Weber, Beverly Wilcox, 2021 A bold application of the concept of canonical works to the development of French operatic and concert life in the eighteenth and nineteenth centuries.This long-awaited book by a leading historian of European music life offers a fresh reading of concert and operatic life by showing how certain musical works in eighteenth- and nineteenth-century France came to be considered canonic: that is, admirable and worthy of being taken as models. In a series of interlinked essays, William Weber draws particular attention to the ways in which such reputations could shift in different eras and circumstances. The first chapter outlines how such a surge of reputation came about for Jean-Baptiste Lully after his death in 1687, followed a century later by one for the operas of Christoph-Willibald Gluck and Niccolò Piccinni. Next, Beverly Wilcox contributes a crucial chapter exploring how a canon of sacred works evolved at the Concert Spirituel between 1725 and 1790. Subsequent chapters detail the rise of an incipient canon for Joseph Haydn's music in the 1780s; a new operatic canon centered on works of Gioachino Rossini and Giacomo Meyerbeer; a century-long canonic repertory at the theater of the Opéra-Comique; and, between 1860 and 1914, frequent concert performances of excerpts from Wagner's operas, sometimes along with excerpts from Meyerbeer's. Throughout, Weber and Wilcox demonstrate how the French musical press reflected musical taste, and also shaped it, across two centuries.canon for Joseph Haydn's music in the 1780s; a new operatic canon centered on works of Gioachino Rossini and Giacomo Meyerbeer; a century-long canonic repertory at the theater of the Opéra-Comique; and, between 1860 and 1914, frequent concert performances of excerpts from Wagner's operas, sometimes along with excerpts from Meyerbeer's. Throughout, Weber and Wilcox demonstrate how the French musical press reflected musical taste, and also shaped it, across two centuries.canon for Joseph Haydn's music in the 1780s; a new operatic canon centered on works of Gioachino Rossini and Giacomo Meyerbeer; a century-long canonic repertory at the theater of the Opéra-Comique; and, between 1860 and 1914, frequent concert performances of excerpts from Wagner's operas, sometimes along with excerpts from Meyerbeer's. Throughout, Weber and Wilcox demonstrate how the French musical press reflected musical taste, and also shaped it, across two centuries.canon for Joseph Haydn's music in the 1780s; a new operatic canon centered on works of Gioachino Rossini and Giacomo Meyerbeer; a century-long canonic repertory at the theater of the Opéra-Comique; and, between 1860 and 1914, frequent concert performances of excerpts from Wagner's operas, sometimes along with excerpts from Meyerbeer's. Throughout, Weber and Wilcox demonstrate how the French musical press reflected musical taste, and also shaped it, across two centuries. |
| stabat mater haydn: Dedicating Music, 1785-1850 Emily Green, 2019 Why dedicate music? What did dedications mean to their readers and writers, especially after 1785, when more works were offered to fellow composers as well as to patrons? Borrowing from book history and sociological theory, Dedicating Music, 1785-1850 is a large-scale study of patterns of dedications. Emily H. Green argues that the kinds of offerings printed in the late eighteenth through mid-nineteenth centuries reflect a changing financial and aesthetic landscape in which patronage was waning and independent artistry surging. Dedications labeled written music as a gift while presenting composers with an opportunity for self-promotion. They also contributed to a new kind of branding of music by communicating composers' friendships and artistic allegiances.. Dedicating Music considers dedications issued in print between 1785 and 1850 in sets of overlapping corpuses: offerings to peers (as in Mozart's string quartets dedicated to Haydn); to patrons (as in Ignaz Pleyel's string quartets for Count Erd dy); to friends (as in Ferdinand Ries's offerings for Beethoven); and dedications issued by publishers (as in Beethoven's song In questa tomba oscura, included in publisher Tranquillo Mollo's collection offered to Prince Lobkowitz). The result is a synchronic study that highlights the importance of printed packaging, rather than notes on the page, to the complex relationship between composers, publishers, and consumers of music. EMILY H. GREEN is Assistant Professor of Music at George Mason University. The University of Rochester Press gratefully acknowledges generous support from the Claire and Barry Brook Endowment of the American Musicological Society and the AMS 75 PAYS Endowment of the American Musicological Society, both funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. |
| stabat mater haydn: A History of the Oratorio Howard E. Smither, 2012-09-01 The Oratorio in the classical Era is the third volume of Howard Smither's monumental History of the Oratorio, continuing his synthesis and critical appraisal of the oratorio. His comprehensive study surpasses in scope and treatment all previous works on the subject. A fourth and final volume, on the oratorio in the nineteenth and twentieth centuries, is forthcoming. In this volume Smither discusses the Italian oratorio from the 1720s to the early nineteenth century and oratorios from other parts of Europe from the 1750s to the nineteenth century. Drawing on works that represent various types, languages, and geographical areas, Smither treats the general characteristics of oratorio libretto and music and analyzes twenty-two oratorios from Italy, England, Germany, France, and Russia. He synthesizes the results of specialized studies and contributes new material based on firsthand study of eighteenth-century music manuscripts and printed librettos. Emphasizing the large number of social contexts within which oratorios were heard, Smither discussed examples in Italy such as the Congregation of the Oratory, lay contrafraternities, and educational institutions. He examines oratorio performances in German courts, London theaters and English provincial festivals, and the Parisian Concert spirituel. Though the volume concentrates primarily on eighteenth-century oratorio from the early to the late Classical styles, Smither includes such transitional works as the oratorios of Jean-Francios le Seur in Paris and Stepan Anikievich Degtiarev in Moscow. A History of the Oratorio is the first full-length history of the genre since Arnold Schering's 1911 study. In addition to synthesizing current thought about the oratorio, this volume contributes new information on relationships between oratorio librettos and contemporary literary and religious thought, and on the musical differences among oratorios from different geographical-cultural regions. Originally published in 1987. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value. |
| stabat mater haydn: History of Milwaukee, Wisconsin Frank Abial Flower, 1881 |
| stabat mater haydn: Messrs Robert Cocks and Co.'s Select Catalogue of Sacred Music, both Vocal and Organ Robert Cocks & Co, 1845 |
| stabat mater haydn: Catalogue of the Library of the Sacred Harmonic Society Anonymous, 2023-04-27 Reprint of the original, first published in 1872. |
| stabat mater haydn: The Musical Times , 1908 |
| stabat mater haydn: Classed List Princeton University. Library, 1920 |
| stabat mater haydn: Classified List ... Princeton University. Library, 1920 |
| stabat mater haydn: The Musical Times & Singing-class Circular , 1910 |
| stabat mater haydn: The Musical Times and Singing-class Circular , 1926 |
| stabat mater haydn: 4000-4999, Arts; 5000-5999, Theology; 6000-6999, Philosophy and education Princeton University. Library, 1920 |
| stabat mater haydn: Martha, O Return Love Friedrich von Flotow, 1882 |
| stabat mater haydn: Mid-Century , 1962 |
| stabat mater haydn: Proceedings of the Royal Musical Association Royal Musical Association, 1878 |
| stabat mater haydn: Proceedings of the Musical Association Musical Association (Great Britain), 1879 |
| stabat mater haydn: Royal College of Music Magazine Royal College of Music (Great Britain), 1908 |
| stabat mater haydn: Catalogs Harold Reeves (Firm), 1926 |
| stabat mater haydn: Music in Eighteenth-Century Britain DavidWyn Jones, 2017-07-05 This collection of essays by some of the leading scholars in the field looks at various aspects of musical life in eighteenth-century Britain. The significant roles played by institutions such as the Freemasons and foreign embassy chapels in promoting music making and introducing foreign styles to English music are examined, as well as the influence exerted by individuals, both foreign and British. The book covers the spectrum of British music, both sacred and secular, and both cosmopolitan and provincial. In doing so it helps to redress the picture of eighteenth-century British music which has previously portrayed Handel and London as its primary constituents. |
| stabat mater haydn: Grove's Dictionary of Music and Musicians George Grove, 1911 |
| stabat mater haydn: Grove's Dictionary of Music and Musicians: F-L Sir George Grove, John Alexander Fuller-Maitland, 1906 |
| stabat mater haydn: Finding List , 1904 |
| stabat mater haydn: The New Music Review and Church Music Review , 1907 |
| stabat mater haydn: The Celebrated Stabat-Mater as Performed at the Nobility's Concert ; Composed by Giuseppe Haydn , 1783 |
| stabat mater haydn: Monsieur de Saint-George Alain Guédé, 2005-02 His life is the stuff of legend: born in 1739 of a slave mother and a French noble father, he became the finest swordsman of his age, an insider at the court of The Sun King, and, most of all, an accomplished musician who came to be known as the “Black Mozart.” His name is Joseph Bologne, though he was better known as Monsieur de Saint-George, and, because of his origins, “the American.” Alain Guédé recreates the story of this memorable individual, whose musical compositions are at long last being rediscovered and whose story will never again be forgotten. “Virtuoso, seducer, colonel, revolutionary...the extraordinary life of the first black composer.”--Le Monde “Fascinating.”--U.S. News and World Report “Black History” Round-Up “Vividly recreating the lively, often horrific culture of Creole plantation life...Guede’s narrative, in Gilda Roberts’ elegant translation, glides through French history....While mindful of the obstacles Saint-George had to overcome, this biography shows that his life and musical career were pretty amazing in their own right.” --St. Petersburg Times Alain Guédé is a French journalist. A leading expert on the life and music of Saint-George, he has organized a website, www.saint-george.fr.st/, that follows developments in the rediscovery of this extraordinary figure. |
| stabat mater haydn: Choir and Chorus Conducting Frederick William Wodell, 1919 |
| stabat mater haydn: The Complete Catalogue of Music Published by Novello, Ewer and Co , 1890 |
| stabat mater haydn: Proceedings of the Worcester Society of Antiquity Worcester Historical Society, Worcester, Mass, 1885 |
| stabat mater haydn: Collections of the Worcester Society of Antiquity , 1885 |
| stabat mater haydn: Music in Eighteenth-Century Austria David Wyn Jones, 2006-11-02 An examination of the little-understood period of music history in which Haydn, Mozart and Beethoven worked. |
Stabat Mater - Wikipedia
The Stabat Mater is a 13th-century Christian hymn to the Virgin Mary that portrays her suffering as mother during the crucifixion of her son Jesus Christ.
Catholic Prayer: Stabat Mater (At the Cross Her Station Keeping)
Stabat Mater Dolorosa is considered one of the seven greatest Latin hymns of all time. It is based upon the prophecy of Simeon that a sword was to pierce the heart of Our Lord's mother, Mary...
Stabat Mater Dolorosa - The Greatest Latin Hymn of All Time
Mar 10, 2025 · Stabat Mater Dolorosa is considered one of the seven greatest Latin hymns of all time. It is based upon the prophecy of Simeon that a sword was to pierce the heart of Our Lord’s …
Stabat - Wikipedia
Stabat is a town in North Sumatra province of Indonesia and it is the seat (capital) of Langkat Regency. The town lies on the road between Medan and Banda Aceh, a short distance past the …
stabat (Latin): meaning, definition - WordSense
What does stabat mean? From Proto-Italic *staēō, from Proto-Indo-European *sth₂éh₁yeti, stative verb from *steh₂-. Cognates include Sanskrit तिष्ठति (root स्था), Persian ایستا (istā, …
Stabat Mater – English translation
In his book Stabat Mater, The Mystery Hymn, Desmond Fisher presents and explains the two translations he made himself; a literal translation from the latin text, and a more poetic …
Stabat | Definition & Meaning - Merriam-Webster
Learn definitions, uses, and phrases with stabat.
Stabat Mater | Catholic Answers Encyclopedia
Stabat Mater, the opening words of two companion hymns, one of which (Stabat Mater Dolorosa) is in liturgical use, while the other (Stabat Mater Speciosa) is not.
Catholic Hymns You Should Know: Stabat Mater - coraevans.com
The Stabat Mater is actually the liturgical sequence assigned to this final feast. A sequence is a hymn inserted between the Alleluia of the Mass and the Gospel.
Stabat Mater - Hymnary.org
Authoritative information about the hymn text Stabat Mater, with lyrics, PDF files, printable scores, audio recordings, and products for worship planners.
Stabat Mater Collection: compositions, composers, texts and …
Search our Stabat Mater Collection: 300 compositions, composers, texts and 24 translations of the original Latin poem Stabat Mater Dolorosa.
Stabat Mater (Pergolesi) - Wikipedia
Stabat Mater (P.77) [1] is a musical setting of the Stabat Mater sequence, composed by Giovanni Battista Pergolesi in 1736. [2] Composed in the final weeks of Pergolesi's life, [3] it is scored for …
What does stabat mater mean? - Definitions.net
The Stabat Mater is a 13th-century Christian hymn to Mary, which portrays her suffering as Jesus Christ's mother during his crucifixion. Its author may be either the Franciscan friar Jacopone da …
Stabat Mater: A Sorrowful Hymn About The Passion
Stabat Mater, a Latin hymn that can also be recited in prayer, immerses us in the Blessed Mother’s intense sorrow at seeing her beloved Son, our Lord Jesus Christ, dying on the cross in His …
Stabat Mater - ChoralWiki - CPDL
Jun 13, 2025 · Mater Dolorosa became an iconic type, as in this painting by Titian. Describing the Virgin Mary's witnessing of the Crucifixion, the hymn Stabat Mater dolorosa was well known to all …
Stabat Mater - Catholic365.com
Mar 29, 2024 · Stabat Mater are the first two words of a traditional 13th century latin Catholic hymn dedicated to the experience of Mary at the foot of the cross. It begins with these words: Stabat …
STABAT MATER Definition & Meaning - Merriam-Webster
Jul 2, 2025 · The meaning of STABAT MATER is the mother was standing —title of a Latin hymn about the suffering of the Virgin Mary during the Crucifixion of Jesus.
Stabat mater - Simple English Wikipedia, the free encyclopedia
Stabat Mater Dolorosa, often referred to as Stabat Mater, is a 13th-century Catholic hymn to Mary. It has been attributed to the Franciscan Jacopone da Todi and to Innocent III.
Stabat Mater - definition of Stabat Mater by The Free Dictionary
Stabat Mater synonyms, Stabat Mater pronunciation, Stabat Mater translation, English dictionary definition of Stabat Mater. n. 1. A medieval Latin hymn on the sorrows of the Virgin Mary at the …
Stabat Mater (Dvořák) - Wikipedia
The composer structured the Stabat Mater in ten movements, and scored it for four vocal soloists, soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir (SATB) with sometimes divided …
Stabat Mater - Wikipedia
The Stabat Mater is a 13th-century Christian hymn to the Virgin Mary that portrays her suffering as mother during the crucifixion of her son Jesus Christ.
Catholic Prayer: Stabat Mater (At the Cross Her Station Keeping)
Stabat Mater Dolorosa is considered one of the seven greatest Latin hymns of all time. It is based upon the prophecy of Simeon that a sword was to pierce the heart of Our Lord's mother, Mary...
Stabat Mater Dolorosa - The Greatest Latin Hymn of All Time
Mar 10, 2025 · Stabat Mater Dolorosa is considered one of the seven greatest Latin hymns of all time. It is based upon the prophecy of Simeon that a sword was to pierce the heart of Our Lord’s …
Stabat - Wikipedia
Stabat is a town in North Sumatra province of Indonesia and it is the seat (capital) of Langkat Regency. The town lies on the road between Medan and Banda Aceh, a short distance past the …
stabat (Latin): meaning, definition - WordSense
What does stabat mean? From Proto-Italic *staēō, from Proto-Indo-European *sth₂éh₁yeti, stative verb from *steh₂-. Cognates include Sanskrit तिष्ठति (root स्था), Persian ایستا (istā, …
Stabat Mater – English translation
In his book Stabat Mater, The Mystery Hymn, Desmond Fisher presents and explains the two translations he made himself; a literal translation from the latin text, and a more poetic …
Stabat | Definition & Meaning - Merriam-Webster
Learn definitions, uses, and phrases with stabat.
Stabat Mater | Catholic Answers Encyclopedia
Stabat Mater, the opening words of two companion hymns, one of which (Stabat Mater Dolorosa) is in liturgical use, while the other (Stabat Mater Speciosa) is not.
Catholic Hymns You Should Know: Stabat Mater - coraevans.com
The Stabat Mater is actually the liturgical sequence assigned to this final feast. A sequence is a hymn inserted between the Alleluia of the Mass and the Gospel.
Stabat Mater - Hymnary.org
Authoritative information about the hymn text Stabat Mater, with lyrics, PDF files, printable scores, audio recordings, and products for worship planners.
Stabat Mater Collection: compositions, composers, texts and …
Search our Stabat Mater Collection: 300 compositions, composers, texts and 24 translations of the original Latin poem Stabat Mater Dolorosa.
Stabat Mater (Pergolesi) - Wikipedia
Stabat Mater (P.77) [1] is a musical setting of the Stabat Mater sequence, composed by Giovanni Battista Pergolesi in 1736. [2] Composed in the final weeks of Pergolesi's life, [3] it is scored for …
What does stabat mater mean? - Definitions.net
The Stabat Mater is a 13th-century Christian hymn to Mary, which portrays her suffering as Jesus Christ's mother during his crucifixion. Its author may be either the Franciscan friar Jacopone da …
Stabat Mater: A Sorrowful Hymn About The Passion
Stabat Mater, a Latin hymn that can also be recited in prayer, immerses us in the Blessed Mother’s intense sorrow at seeing her beloved Son, our Lord Jesus Christ, dying on the cross in His …
Stabat Mater - ChoralWiki - CPDL
Jun 13, 2025 · Mater Dolorosa became an iconic type, as in this painting by Titian. Describing the Virgin Mary's witnessing of the Crucifixion, the hymn Stabat Mater dolorosa was well known to all …
Stabat Mater - Catholic365.com
Mar 29, 2024 · Stabat Mater are the first two words of a traditional 13th century latin Catholic hymn dedicated to the experience of Mary at the foot of the cross. It begins with these words: Stabat …
STABAT MATER Definition & Meaning - Merriam-Webster
Jul 2, 2025 · The meaning of STABAT MATER is the mother was standing —title of a Latin hymn about the suffering of the Virgin Mary during the Crucifixion of Jesus.
Stabat mater - Simple English Wikipedia, the free encyclopedia
Stabat Mater Dolorosa, often referred to as Stabat Mater, is a 13th-century Catholic hymn to Mary. It has been attributed to the Franciscan Jacopone da Todi and to Innocent III.
Stabat Mater - definition of Stabat Mater by The Free Dictionary
Stabat Mater synonyms, Stabat Mater pronunciation, Stabat Mater translation, English dictionary definition of Stabat Mater. n. 1. A medieval Latin hymn on the sorrows of the Virgin Mary at the …
Stabat Mater (Dvořák) - Wikipedia
The composer structured the Stabat Mater in ten movements, and scored it for four vocal soloists, soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir (SATB) with sometimes divided …
