Herbert Howells composed three large works for chorus and orchestra: a requiem (Hymnus Paradisi), Latin mass (Missa Sabrinensis) and finally a Stabat Mater. Writings, performances and recordings of the Stabat Mater, however, have been few. As the Stabat Mater is believed to be the culmination of his musical prowess, it is important to bring this major work to light. Chapter 1 begins with a brief introduction to Herbert Howells, then continues as a brief biographical sketch. Howells's life is discussed from birth, as organ scholar, student at the Royal College of Music, his teaching professorship at the same institution, and important compositions by decade until his death. Chapter 2 is an overview of the Hymnus Paradisi and Missa Sabrinensis. The chapter gives historical information on each work, including reasons for commission, dates of composition and performance, orchestration and choral composition, type of soloists, conductor and recordings. Chapter 3 is an in depth study of the Stabat Mater. The chapter includes reasons for the genesis of the work, current and past events that affected the composition, musical influences, and the death of his son Michael Kendrick Howells. A second section to this chapter addresses the text of the Stabat Mater, including the history of the poem, liturgical use from the 11th century to the present, the rhythmic scheme of the poem, and variant stanzas used in the Howells's setting. Chapter 4 is a thorough musical analysis of the Stabat Mater. After a short introduction explaining the architecture of the work as a whole, each of seven movements is examined, including the introduction, main themes, musical elements and use of Latin text. A concluding final chapter restates the importance of Herbert Howells as a composer in the British musical renaissance of the 20th century, in addition to a supposition that this final large orchestral/choral work be considered the culmination of his life's work.

This document examines Frank Ferko's unique setting of the ancient Latin sequence, Stabat Mater that incorporates five English interpolations dealing with the subject of parental grief over the loss of a child. The twenty Latin stanzas and five English interpolations are examined harmonically and philosophically, as two separate works. The tonal architecture of the work, outlined in two large arches built on key relationships, is explored in the body of the paper in addition to a graphic depiction and table of key centers. The interrelationship between key centers and textual considerations is examined. An extensive interview with the composer provided invaluable information regarding the creative process as it relates to the choice of English texts, compositional techniques and influences, and the stylistic musical diversity that characterizes the work. Three prominent American conductors, who have conducted significant performances Stabat Mater discussed specific problems and solutions in preparing and performing the work. Data pertaining to Stabat Mater history and other settings was gathered from reference materials, periodicals, and internet sources.

Thesis (M.M.)--University of Rochester, 1948. / Typewritten. Bibliography: p. 91. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/4558

Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 69-70).

This dissertation focuses on the analysis of James MacMillan’s Seven Last Words from the Cross (1993) and Stabat Mater (2016). Building on the technical analysis, issues of practical application for those who wish to rehearse and perform these works are discussed. Presentation of musical examples, a review of literature, and personal interviews were conducted with MacMillan in preparation of this document. The first chapters provide an introduction to MacMillan, biographical events surrounding the two works, and historical context of each genre. The third chapter then engages with the four main aspects that define MacMillan’s compositional style: the incorporation of Scottish folk music, influence of his Catholic faith, passion to engage with social issues, and balance between conservative and modernist techniques. These four aspects will be examined historically, how they relate to one another, and their role in MacMillan’s music. The fourth and fifth chapters deal with the direct analysis of the Seven Last Words from the Cross and the Stabat Mater. The chapters are structured in a fashion similar to how MacMillan composed both works—starting with the text, developing the structure, crafting important and symbolic musical gestures, and outlining additional compositional techniques. The sixth chapter takes on the analysis of the music and applies it to practical applications one should consider when rehearsing and performing these works. Finally, the conclusion discusses the social relevance of the music and places both compositions in a broader culturally context.

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Orientador: Carlos Fernando Fiorini / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T20:59:15Z (GMT). No. of bitstreams: 1 Jennings_Claudia_M.pdf: 7069655 bytes, checksum: a9c68d2a82e06d8f0e585572a9937685 (MD5) Previous issue date: 2013 / Resumo: O Stabat Mater op. 53 do polonês Karol Szymanowski é uma peça representativa da fase de maturidade do compositor, na qual ele emprega elementos da música tradicional polonesa estilizados e técnicas modernas de composição. Este trabalho é dirigido ao regente que planeja executar o Stabat Mater. Nele são apresentadas sugestões de preparação e interpretação da obra a partir da análise dos elementos estruturais e textuais dirigida para sua performance. Discute-se também a escolha do coro e da orquestra, bem como composições do programa de concerto. Por se tratar da execução da obra em sua língua original, também é apresentado um guia da pronúncia da língua polonesa voltado aos cantores falantes do português, incluindo a transcrição fonética do texto / Abstract: The Stabat Mater op. 53 from the Polish composer Karol Szymanowski is a representative work from his mature phase, in which he uses elements from the traditional Polish music and modern compositional techniques. This study is directed toward the conductor who plans to perform the Stabat Mater. The paper presents a background of the work from the analysis of structural and textual elements regarding the performance. The choice of the choir and orchestra is discussed, as well as the possibilities of concert programming. Because of the fact that the work will be performed in the original language, a pronunciation guide of the Polish language is presented and directed to Portuguese-speaking singers, including the phonetic transcription of the text / Mestrado / Praticas Interpretativas / Mestra em Música

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The master thesis deals with the composition Stabat mater written by italian composer and maestro Antonio Ferradini (1718/19-1779). The thesis evaluates current research situation concerning the personality of Ferradini by criticising the surviving sources. Special care was taken for the music performance practice in the church of Knights of the Cross with the Red Star. Than the comparative method was used for the purpose of analysing author's compositional style. The works were chosen with care to the developement in Stabat mater writings since early 18th century. The comparation was conducted by analyzing the scope of aspects such as setting, instrumentation, scales, affects, rhetorical figures and text-music relationship.

Arvo Pärt, an Estonian composer, was born in 1935. Most of the works at the beginning of his career were for piano in the neo-classical style. After that, he turned his interest to serial music and continued creating works with serial techniques throughout the 1960s. After his "self-imposed silence" period (during the years 1968-1976), Pärt emerged with a new musical style, which he called tintinnabuli. Although, this technique was influenced by music from the medieval period, the texture and function of its musical style cannot be described easily in terms of any single musical technique of the past. This study explores the evolution of Arvo Pärt's tintinnabuli technique in its first decade 1976-1985, which is divided into three different types. It provides musical examples from the scores of selected works, Für Alina, Cantus in Memory of Benjamin Britten, Cantate Domino canticum novum, Missa Sillabica, Stabat Mater and Es sang vor langen Jahren, and their analyses with supporting interpretative sketches. The goal of this thesis is to provide the reader a basis for understanding and recognizing the different types of Pärt's tintinnabuli technique.