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Mary Finsterer's Stabat Mater ad Honorem Beatæ Mariæ Virginis Premieres in Melbourne

Sep. 22, 2023

The Choir of Trinity College Melbourne and the Melbourne Symphony Orchestra perform the world premiere of Mary Finsterer's Stabat Mater ad Honorem Beatæ Mariæ Virginis under the baton of Benjamin Northey on September 27 at St. Patrick's Cathedral in Melbourne, Australia. Mia Robinson is the soprano soloist in the work, which includes a pre-recorded narration by Mel Gibson. It is "Dedicated to Our Lady and her maternal grace that enfolds the world– especially the innocent."

The composer, Melbourne Symphony Orchestra's 2023 Composer in Residence notes:

"Ad Honorem Beatæ Mariæ Virginis emerges as a tribute to the Blessed Virgin Mary, a sacred overture preceding my composition, Stabat Mater. Here, at the foot of the cross, the Blessed Virgin Mary stood as a sentinel of love, her heart a mosaic of anguish and devotion. In a gesture of divine significance, Jesus cast His gaze upon His mother and the beloved disciple John, entrusting their souls to one another’s care. “Woman, behold, your son.” “Behold, your mother.” With these words, the boundaries of motherhood expanded beyond flesh and blood, encompassing the entirety of humanity in a tender embrace. Ad Honorem Beatæ Mariæ Virginis is in honor of this pivotal moment that resounds through the ages, an invitation to all hearts to seek solace and guidance in Mary as our heavenly mother. It is a musical offering that encapsulates this timeless truth. Through narrated and sung text, the work weaves three revered prayers of the Ave Maria, Sub Tuum Praesidium and Salve Regina in honor of Our Lady with Psalm 82: 3–4, evoking a plea for Our Lady’s maternal grace to protect under her mantel the children of the world—especially those who have been lost, were left forsaken, taken or whose existence was tragically quenched by the agency of another. In this fusion, the music becomes a prayer and a supplication—a tribute to the universal motherhood that blossomed beneath the cross, transcending grief to bestow grace upon all who turn their eyes toward her. Ad Honorem Beatæ Mariæ Virginis is a testament to honor the eternal essence of Mary’s compassion and devotion, and sets the stage for the poignant journey that awaits in Stabat Mater.

The Stabat Mater, a timeless prayer with origins in medieval Christianity, stands as a testament to the Blessed Virgin Mary’s unwavering devotion at the foot of the Cross. This prayer, invoking the image of the grieving mother beside her crucified Son, has transcended time, stirring hearts with its pathos and spiritual depth. Evoking empathy for Mary’s sorrow and the shared human experience of suffering, the Stabat Mater has become a universal hymn of solace and compassion. The legacy of the Stabat Mater extends beyond prayer into the realm of music, where it has ignited the creative fervor of countless composers through the ages. From medieval plainchant to intricate choral compositions and operatic settings, the Stabat Mater has inspired a myriad of musical interpretations. Each work, bearing the emotional resonance of the prayer, becomes a rich tapestry woven with melodies and harmonies that mirror the intertwining of suffering and hope. In the hands of composers including Palestrina, Pergolesi, Rossini, Dvořák, Poulenc and beyond, the Stabat Mater has undergone a metamorphosis, adapting to the musical languages of their respective eras. These compositions, contrasting in style yet unified in their reverence, elevate the prayer’s themes of maternal love, sacrifice and divine grace. Through the medium of music, the Stabat Mater continues to resonate, enveloping audiences in its sacred embrace and inviting them to contemplate the profound mystery of Mary’s devotion, the profound sorrow of the Cross, and the eternal promise of redemption. In my own interpretation, the composition takes on a tripartite structure. The first movement unfurls the narrative encompassing the initial eight verses of the Stabat Mater, leading us through the trials of the Blessed Virgin Mary at the foot of the cross. Interspersed between the sections are introductory phrases of the ninth verse emerging like delicate fragments to serve as a contemplative bridge between the first and second movements. In musical parlance, this opening movement features a recurrent motif, a guiding thread that carries each of the verses, weaving an intricate pathway that escorts the listener through a transformative layering of musical textures while upholding thematic unity. Akin to the beads of the Rosary as they pass through prayerful hands, this movement unveils the motif’s dynamic metamorphoses, each iteration imbued with profound intent. The second movement centers upon the ninth and tenth verses, constituting a notable departure from its preceding counterpart by forming a direct entreaty to Our Lady: “O Mother, fountain of love, make me feel the power of sorrow, that I may grieve with you.  Grant that my heart may burn in the love of Christ my Lord, that I may greatly please Him.” Comprising two distinct sections, this movement commences with a trio of verses inspired by early baroque madrigal art and intoned by a solo soprano while harmonized by both choral voices and instrumental accompaniment. The ensuing section showcases a contrapuntal texture of choral composition, evoking the essence of Renaissance-style motet crafting. The third movement resonates in stark contrast to its predecessor, embarking upon an evocative journey with a solo soprano’s somber overture that sets a tone of darkness. This opening act is subsequently joined by a chorus emitting poignant sighs, a vivid articulation of grief and affliction. From the outset and as the movement progresses, verses eleven to nineteen evoke the Holy Mother in both her own anguish and that borne by her Son. Ultimately, the movement reaches its zenith through a reprise of the earlier thematic strains from the first movement where the final verse “When my body dies, grant that to my soul is given the glory of paradise” is enunciated, followed by the revival of the canon that once graced the overture to the Stabat Mater, Ad Honorem Beatæ Mariæ Virginis."

To learn more about Mary Finsterer, visit schott-music.com.

Mary Finsterer
Stabat Mater ad Honorem Beatæ Mariæ Virginis (2023)
for soprano solo, choir and orchestra
with pre-recorded narration by Mel Gibson
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Commissioned by the Melbourne Symphony Orchestra with generous support from Kim Williams AM.

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