|Stabat Mater - Introduction|
|Stabat Mater - Stabat Mater|
|Stabat Mater - Cujus animam gementem|
|Stabat Mater - O quam tristis|
|Stabat Mater - Quae maerebat|
|Stabat Mater - Andromache's Lament|
|Stabat Mater - Quis est homo|
|Stabat Mater - Quis non posset|
|Stabat Mater - Pro peccatis|
|Stabat Mater - Vidit suum|
|Stabat Mater - The Mother|
|Stabat Mater - Eia mater|
|Stabat Mater - Fac ut ardeat|
|Stabat Mater - Sancta Mater|
|Stabat Mater - Tui nati|
|Stabat Mater - The Death Cycle Machine's: I. Layout|
|Stabat Mater - The Death Cycle Machine's: II. Haiku for an East Asia Scholar|
|Stabat Mater - The Death Cycle Machine's: III. Ancho y Ajeno|
|Stabat Mater - The Death Cycle Machine's: IV. RSVP|
|Stabat Mater - Fac me tecum|
|Stabat Mater - Juxta crucem|
|Stabat Mater - Virgo virginum|
|Stabat Mater - Fac ut portem|
|Stabat Mater - Elegy|
|Stabat Mater - Fac me plagis|
|Stabat Mater - Flammis ne|
|Stabat Mater - Christe cum sit|
|Stabat Mater - Quando corpus|
Notes & Reviews:
"Under the masterful direction of Robert Bode, Choral Arts demonstrated their supreme musicianship in producing a consistently rich, warm, and beautifully blended tone to shape each phrase, and ultimately, to unfold the overall architecture of this complex musical work. The audience was clearly aware that what they were experiencing was, in fact, a very rare musical event." - Frank FerkoNotes & Reviews:
Recording information: St. James Cathedral, Seattle, WA (03/20/2010).
This composition subdues the listener into mourning at the first note. The sections in Latin have interludes throughout with English poems on topics of mourning for infants. Ferko’s composition drags the listener into the abyss of indescribable pain from the loss of a child. On Track 2, the high, sustained soprano note throughout bespeaks the pain about to be described. Dissonances remind one of the inescapable emotional agony, suggestive of keening by the women. “Andromache’s Lament” uses soprano Juliana Rambaldi to great effect here and throughout the program. One could hear “The Mother” without any notion of the composition’s background and still succumb to the sorrow and hopelessness portrayed.
Booklet notes, written by the composer, are helpful and educational. Poems by those who have experienced overwhelming loss complete the texture of the piece. Text and translations are most welcome, and chorus members are listed. The Choral-Arts group, singing a capella, provides the artistry which won The American Prize in choral performance for 2010. The exercise of such choral skills must be both challenging and rewarding to the Seattle group, which recorded this work in St. James Cathedral in March 2010. Every entrance, blend, diction, and phrase convey the essence of these difficult pieces.
Performance of this composition must be scheduled with great care and thought. An audience would be well-advised to prepare for an unusual experience. A service of mourning or memorial would be most appropriate for this introspective, heart-rending commemoration.
Submitted on 09/16/11 by howsweetthesound
Works DetailsFerko, Frank : Stabat Mater, for chorus
- Performers: Lorin Wingate (Bass); Gary Cannon (Soprano); Sarah Merkovits (Soprano); Juliana Rambaldi (Soprano)
- Conductor: Robert Bode
- Running Time: 45 min. 28 sec.
- Period Time: Contemporary
- Written: 1997-1998