Francis Poulenc: Stabat Mater (1950)

Francis Poulenc's Stabat Mater stands as a poignant testament to the composer's unique ability to infuse sacred themes with a distinctive blend of solemnity and vivacity. Composed in 1950, this masterpiece emerged as a creative response to the untimely passing of Christian Bérard, a prominent artistic figure in 1940s Paris renowned for his set designs in Jean Cocteau's films and plays. Poulenc, in describing the Stabat Mater, intriguingly termed it "a requiem without despair," suggesting a departure from the traditionally mournful nature of such compositions.

Dedicated to the Virgin of Rocamadour, Poulenc's Stabat Mater showcases a deliberate emphasis on the chorus, aligning itself with the stylistic heritage of French motets from the era of Louis XIV. The premiere took place on the 13th of June 1951 at the Strasbourg Festival, unveiling a work that not only pays homage to its historical roots but also introduces a modern and deeply personal expression of grief and spirituality.

The Virgin of Rocamadour, also known as the Black Madonna of Rocamadour, holds a significant place in Christian devotion and pilgrimage. Rocamadour is a medieval town located in the Lot region of southwestern France, perched on a cliff overlooking the Alzou River. The statue of the Virgin Mary at Rocamadour is a venerated image, traditionally carved from dark wood or stone, giving rise to the name "Black Madonna." The origin of the statue is steeped in legend. According to one legend, Saint Amator, a hermit, discovered the statue in the cliffside grotto where it was miraculously preserved. Another legend suggests that the statue was carved by Saint Luke and brought to Rocamadour by Saint Amator.

The Virgin of Rocamadour is particularly associated with miracles and has been a destination for pilgrims for centuries. The site became a major pilgrimage destination during the Middle Ages, drawing believers seeking healing, protection, and divine intervention. The faithful would climb the steep staircase leading to the sanctuary on their knees as an act of penance and devotion.

Poulenc's dedication of his Stabat Mater to the Virgin of Rocamadour reflects the composer's personal connection to this religious icon and the spiritual significance associated with the site. The Black Madonna of Rocamadour continues to attract pilgrims and visitors to this day, making it a symbol of faith and a tangible link to the rich religious history of the region.

Structurally, the Stabat Mater comprises twelve movements, each offering a different exploration of emotional depth, ranging from somber reflections to moments of lightness and even touches of frivolity. Despite the varying moods, Poulenc maintains brevity across all movements, ensuring a dynamic and concise narrative throughout the composition.

This juxtaposition of contrasting emotions within a sacred context underscores Poulenc's ability to navigate the delicate balance between reverence and playfulness. The Stabat Mater thus stands as a testament to the composer's mastery in capturing the multifaceted nature of human experience through the medium of choral and orchestral composition.

    1. Stabat mater dolorosa (Très calme) - Chœur
    2. Cujus animam gementem (Allegro molto - Très violent) - Chœur
    3. O quam tristis (Très lent) - Chœur a cappella
    4. Quæ mœrebat (Andantino) - Chœur
    5. Quis est homo (Allegro molto - Prestissimo) - Chœur
    6. Vidit suum (Andante) Soprano (ou mezzo-soprano) - Chœur
    7. Eja mater (Allegro) - Chœur
    8. Fac ut ardeat (Maestoso) - Chœur a cappella
    9. Sancta mater (Moderato - Allegretto) - Chœur
    10. Fac ut portem (Tempo de Sarabande) Soprano - Chœur
    11. Inflammatus et accensus (Animé et très rythmé) - Chœur
    12. Quando corpus (Très calme) Soprano - Chœur

Also see The Ultimate Stabat Mater website.

Listen to: hr-Sinfonieorchester – Frankfurt Radio Symphony ∙ MDR-Rundfunkchor
(Einstudierung: Philipp Ahmann) ∙ Vannina Santoni, Sopran ∙ Alain Altinoglu, Dirigent

 

Choral Masterworks