The Best (and Worst) Settings of the Stabat Mater

These are ranked in vague accordance with what my idea of what a perfect Stabat Mater is: introspective, painful, but ultimately beautiful. Of course, many are absent (Dvorak, Poulenc, A. Scarlatti, etc.) as I’m too unfamiliar with them. From horrendous to sublime:

Karl Jenkins (2008)

Hollywood does Baroque in Arabia. By far the worst Stabat Mater ever. Neither reverent nor introspective, with plain harmonies and child-like melodies, held together by Middle Eastern drumming. This is the kebab-pizza-burger kind of multiculturalism, where everything that is good about the separate cultural components is made cheap and sickly. Yet Jenkins is quite popular, which just might prove that collective madness is a genuine condition. Why are audiences so easily taken in? Are they so starved of contemporary melodious music that they’re happy to give in to this lacklustre kitsch?

Marco Rosano (2004)

Rosano is an obscure chap who has, in terms of classical music, seemingly spent much of his time programming Bach and Vivaldi onto an electric synthesiser. Otherwise, he has apparently been involved in ‘film composition, advertising jingles, children’s lullabies and popmusic’. Yet somehow he got the great countertenor Andreas Scholl to sing his setting of the Stabat Mater. Had it not alright been invented for another style, I would use the term Baroque Pop to describe this Stabat Mater. Song-length movements with accessible tunes but Baroque orchestration and, for the most part, loosely Baroque-like harmony and style, but with 21st century pop sensibilities. The movements vary greatly in quality, and the most complimentary thing I can say about any of them is, ‘huh, that’s a pretty nice tune’. This one is probably the nicest, and the orchestra in the video sounds much better than in the studio recording, which is incredibly boxy. Of course, Scholl sounds heavenly as always:

Rossini (1841)

This would be a really good piece if it weren’t a Stabat Mater. Bombastic and completely the wrong mood. Sounds way too much like one of his operas.

Vivaldi (1712)

From here on out the quality dramatically improves. This is a very lyrical, and very likeable Stabat Mater. It won’t knock your socks off, but you’ll find it impossible to not to be charmed. It’s also quite short, as Vivaldi only made use of the first half of the poem. Philippe Jaroussky’s understated version is my favourite. Here he is singing the Eia Mater:

Pergolesi (1726)

It might be over-exposure, but I’ve become a bit numb to this one. It has parts that still sound amazing, but I can’t listen to the whole thing without getting bored.

Domenico Scarlatti (1715)

Written a decade before Pergolesi’s, this is definitely my preferred Baroque Stabat Mater. Scored for ten voices, It’s more polyphonic and complex (in fact it can sound much older than it is) and utterly sumptuous. (Also, it’s much better than his father’s setting, I’d say.)

Haydn (1767)

A terrifically underrated work. It is unusually sombre and heavy for Haydn, and startlingly beautiful for it. But perhaps what holds it back is that it isn’t especially empathetic — one never really feels Mary’s suffering in it. However, he does the more more brilliant aspects of the poem, especially the end, very well.

Arvo Part (1985)

This is, not atypically for Part it must be said, a sparse work. It is haunting, especially when the vocals first enter on high and descend angelically (heard in the video extract below). It might be the most sorrowful Stabat Mater on the list. There’s a version for orchestra but I much prefer the intimacy of the double trio version, which is also the original version. Here’s the Goeyvaerts String Trio playing a section from it, and, interestingly, in just intonation.

Szymanowski (1926)

An underrated composer. In his late period he wrote perhaps some of the best works of the time: his fourth ‘piano’ symphony, the opera King Roger and this, his Stabat Mater. Syzmanowski wrote his Stabat Mater as much for Poland as for the sacred, incorporating into it Polish folk, as it was in this period that his music took a distinctively nationalist turn. It is a mesmerising, colourful work, and has the most radiant ending of any Stabat Mater I’ve heard, exactly what Paradise should sound like.

James MacMillan (2016)

MacMillan’s stands out for its anger. It is often quiet, and always reflective, but it is also tormented and furious, grinding its way towards glory. I love some of the vocal effects in it, the way the voices at one point blend and imitate such that they sound like a wash of tears — almost uncontrollably emotional — or an argumentative section which seems to see sections of voices pitted against one another. And the aggression of the music is often remarkable considering this just uses a string orchestra. Yet it’s no less beautiful for it, with the first movement ending on the most wonderful violin melody — which returns twice more in the piece, and each time more beautiful than the last. It’s worth noting that this piece begins where MacMillan’s Seven Words ended, with G and F# playing simultaneously at almost a whisper. So I’d strongly recommend giving that a listen too, if not first. Here’s the Spotify embed as it’s not available on YouTube:

Palestrina (ca. 1589)

I don’t want to at all spoil this one, in case you haven’t already heard it. It’s one of those pieces that when you first hear it, it’s obvious within the first five seconds that it’s going to be sublime. I don’t know what perfection sounds like, but this would be my best guess. The Sixteen again:

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