Watching linked videos is only available to logged-in DONORS
Become a donor for as little as 10 Swiss Francs (~ 13$) for website lifetime
and get AD-FREE too.
DONATE HERE
FULL STABAT MATER (Salvador Brotons) Sant Cugat del Vallès 2024 Marta Mathéu, Pau Armengol
Information on the Performance
- Work Title: Stabat Mater
- Composer: Brotons Salvador
- Libretto: traditional
- Venue & Opera Company: Teatre- Auditori, Sant Cugat del Vallès, Spain
- Recorded: May 17, 2024
- Type: Concert Live
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Written in 1999 this 40 minutes piece, is a truly musical experience to listen to.
00:24 – I. Stabat Mater
07:50 – II. Qui est homo
11:38 – III. Pro peccatis
16:37 – IV. Eia mater
21:20 – V. Sancta mater
30:18 – VI. Inflammatus et accensus
34:06 – VII. Quando corpus morietur
Salvador Brotons was born in Barcelona in Spain in 1959. He studied flute, composition and conducting at the Barcelona Conservatory of Music. In 1985 he moved to the USA where he received his Doctorate in Music from Florida State University. Salvador Brotons composed mainly for orchestra and chamber groups, but also composed an opera and a musical. Of his more than 80 pieces some 15 were awarded prizes. He has been conductor of several orchestras in Spain and the USA and is conductor and musical director of the Vancouver Symphony Orchestra since 1991.
This work, divided into seven parts, speaks of the human pain of a mother. It does so by investigating the drama of this pain –I. Stabat Mater Dolorosa–, the helplessness of someone who sees this sacrifice –II. Qui est homo–, the brutality and suffering that this torture generates –III. Pro peccatis–, but also the love, sweetness and tenderness that exist in this lament –IV. Eia Mater–. It continues to create parallels of character and returning to the theme of the first movement –V. Sancta mater–, continues with a contrapuntal choral fugue that speaks of the devotion felt by the mass –VI. Inflamatus et accensus– and ends with the culmination of the entire process: an ethereal, confused and remote vision of the eternal soul –VII. Quando corpus morietur.
In this way, longer, denser movements of great dramatic intensity are interspersed with shorter, slower and more reflective ones performed by two vocal soloists: a baritone and a soprano. On the other hand, the parts for choir and orchestra are of great strength, fast tempo and extremely vibrant and explosive. Finally, says the composer, the last number is different from the rest: “isolated and in the manner of a conclusion, the music belongs to another world: the eternal world of infinity”. This work, written on the composer’s initiative and premiered in the United States with great public success and good reviews, had never been performed again; today, however, we will have the opportunity to hear it again on stage.