In planctu desidero. Virgo virginum praeclara, Mihi jam non sis amara, Fac me tecum plangere. Holy Mother, grant this same, fix the wounds of the Crucified firmly on my heart.
Thy wounded Son, so gracious to suffer for me, divide his sufferings with me. Make me truly to weep with Thee, to grieve with Thee for the Crucified as long as I live. To stand with Thee by the Cross, and willingly to join with Thee in mourning Thy loss. Virgin supreme among virgins, be not harsh now to me, make me to weep with Thee.
The basses begin the next movement with the first line of the stanza sung in the manner of a plainsong intonation, accompanied by a simple drone. The reply from the rest of the voices Crucifixi fige plagas is almost predictably forthright and declamatory but the sudden piano and dissonant idiom of Cordi meo valide offer the listener an altogether more touching and intimate response to grief. The tension finally resolves into tenderness in the sumptuous melody of Virgo virginum praeclara but stark reality in the final unaccompanied Fac me tecum plangere restores the balance of this complex and deeply affecting movement.
Fac ut portem Christi mortem, Passionis fac consortem Et plagas recolere.
Fac me plagis vulnerari, Cruce hac inebriari, Ob amorem Filii. Make me to bear Christ's death, grant me a share in His Passion, and to reverence His wounds.
Poulenc Stabat Mater Vocal Score
Make me to be wounded with His wounds, drunk with the Cross and with love for Thy Son. The dotted rhythm and minor mode of this sarabande establish a sombre funereal mood, heightened by the use of timpani. The falling intervals of the soprano solo form an impassioned plea set against the frequently static choral writing. The memorable phrase Cruce hac inebriari hints at the paradisi Gloria which is to feature so much in the final movement.
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Inflammatus et accensus, Per te, Virgo, sim defensus, In die judicii. Christe, cum sit hunc exire, Da per matrem me venire Ad palmam victorae. So fired and consumed with flames, O Virgin, let me be defended by Thee, in the day of judgment. O Christ, when I must go hence, grant through Thy mother that I come to the crown of victory.
A pulsating quaver beat underpins the exciting opening of this movement whose repetitive rhythmical patterns build climactically before being interrupted by a sudden silence. A dramatic change of mood from fear to longing anticipation brings the movement to a close, but with an unexpected twist, as an idiosyncratic and unexpected fall of a semitone in the soprano part leaves the movement unresolved, in effect a preparation for the final section. When my body shall die, grant that my spirit may be given the glory of Paradise.
This final movement resolves all the previous tension of the Stabat Mater in a lovely extended coda in which the promise of Paradise is reiterated, over and over again.
Characterised by rocking phrases shared in turn by choir and soloist with Paradisi Gloria as its most important idea, it finally dies away until it is barely audible. A pause for silence sees the return of the theme in an affirmative choral Amen to which Poulenc wryly adds two orchestral chords but with added dissonances, as if to retain the bitter-sweet quality of the work to the very end.
As cookies are essential to the proper functioning of this site, if you object to their use please exit now. A piece may be easy for the strings but difficult for the brass; it may feature a tricky instrumental solo but the other parts may be relatively straight forward. A number of the arrangements listed are designed to simplify works to some extent but composers of many original works featured did not consider difficulty when writing them.
Sheet Music :: Flute Choir (M-S) :: Pergolesi, GB :: Stabat Mater Dolorosa from 'Stabat Mater'
To be sure if a piece is suitable for you, take a look at the score. An audio recording is available of this item, please click here for more details. Show 10 Items 20 Items 50 Items Items. It tells the story of the hero Gilgamesh and his exploits.
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Gilgamesh laments him bitterly and, stricken with the fear of death, goes in search of immortality, ultimately without success. The extract set is where Gilgamesh laments his friend. Now my life is only weeping is by Jalal al-Din Rumi, the 13th-century Persian mystic poet, for whom grief was a central fact of his personal history. He had an intense relationship with a spiritual mentor called Shams al-Din Tabrizi whose apparent murder turned Rumi into a poet and mystic who sought consolation in the Divine.