Antonin Dvorák's Stabat Mater deserves to be heard and performed much more often. It was composed between 1876 and 1877 following the deaths of Dvorák's three children, and was one of his earlier choral works, his first on a religious theme. First performed in Prague in 1880, it came to London in 1883 and was well received.
Dvorák himself was invited to conduct it at the Albert Hall the following year, the composer’s first big triumph abroad. He wrote to a friend “When I appeared on the rostrum I was welcomed with a long, thunderous applause ... I was profoundly moved ... I couldn’t speak a word; there would’ve been no use in it since no-one would have understood me ... But I must briefly mention the size of the orchestra and the choir. There are 250 sopranos, 160 altos, 180 tenors, and 250 basses; the orchestral sections were also impressive: 24 first violins, 20 second violins, 16 violas, 16 cellos, 16 double basses.” St Albans Bach Choir’s performance will use rather smaller forces, but hopefully the reception will be as enthusiastic!
The text is from the 13th century and describes Mary’s thoughts on her son’s crucifixion on the cross, giving a peculiarly human pathos to the Biblical story. As set by Dvorák, the work touches us as gently human, filled with humility. The whole work has an unusually sublime musical expression, free from triviality or superficial effects. The score is particularly valued for its beauty, deliberately drawing on the combination of human voices and rich orchestral colour. Despite the personal tragedy he had experienced shortly before, the composer refuses to allow despair to overwhelm him; his music reflects neither resignation nor hopelessness.
In this, Dvorák's masterpiece, we look through a veil of tears and see faith in life.