Johann Simon

mayr
Stabat mater in F minor
Eja mater • Ave maris stella
Brown • Yun • Holzhauser • Sellier • Schäfer • Hamann • Mischok
Simon Mayr Chorus • Members of the Bavarian State Chorus
Concerto de Bassus • I Virtuosi Italiani
Franz Hauk
 Johann Simon Mayr (1763–1845)
Stabat mater in F minor • Eja mater in F major • Ave maris stella in G major
Johann Simon Since the turn of the 18th century, especially in Italy and
Mayr
southern Germany, the Stabat mater has been considered
an expression of devotion to the Blessed Virgin Mary and
openness to Christ’s sufferings. These compositions were
(1763–1845) seldom written for the Friday of Sorrows and the Feast of
Seven Sorrows introduced in 1727; they were more likely
Stabat mater in F minor ................................................................................. 53:57
1 to be performed in the context of paraliturgical services
contemplating the Passion. Pergolesi’s Stabat mater, which
1 I. Stabat mater......................................................................................................................... 7:46 was written in 1736 for a noble brotherhood based in Naples,
2 II. O quam tristis....................................................................................................................... 7:08 became famous. Joseph Haydn’s (1767) belongs in the same
tradition.
3 III. Quis est homo..................................................................................................................... 7:03 Mayr held a range of Stabat mater settings with
4 IV. Pro peccatis........................................................................................................................ 6:30 instrumental accompaniment in his well-stocked music library
in Bergamo, including works by Ferdinando Bertoni, Niccolò
5 V. Eja mater.............................................................................................................................. 3:56 Jommelli, Benedetto Marcello, Johann Gottlieb Naumann,
6 VI. Sancta mater...................................................................................................................... 9:27 Giovanni Battista Pergolesi and Abbé Vogler.
All the musicians in the cappella took part in the
7 VII. Inflammatus....................................................................................................................... 6:29
celebration of Holy Week, a liturgical event of the first order.
8 VIII. Quando corpus................................................................................................................. 5:38 In 1803 the Misericordia Maggiore produced a printed
set of basic guidelines for the conduct and deployment of
musicians, entitled Capitoli / ed obblighi generali. It lays down
Eja mater in F major
2
9 ............................................................................................. 2:38 specifications for the following musical activities (Steffan, p.
343):
Ave maris stella in G major
3
0 ............................................................................ 3:19 Mercoledì Santo Dopo pranzo per l’offizio
Giovedì Santo Messa, e Vespri
Venerdì Santo Dopo Pranzo
WORLD PREMIERE RECORDINGS
Sabbato Santo Messa, e Compiette
Andrea Lauren Brown, Soprano 3, Jaewon Yun, Soprano 1 / 2 Holy Wednesday After the midday meal for the office
Holy Thursday Mass and Vespers
Theresa Holzhauser, Alto 1 / 2 / 3 • Markus Schäfer, Tenor 3, Robert Sellier, Tenor 1 / 2 Holy Friday After the midday meal
Jens Hamann, Bass 1 / 2, Virgil Mischok, Bass 3 Holy Saturday Mass and concluding services
Simon Mayr Chorus 1 / 3 Santa Maria Maggiore had been exempt from episcopal
Members of the Bavarian State Opera Chorus 1 / 3 jurisdiction since 1453, and the church enjoyed, in the
Congregazione di Carità or Misericordia Maggiore, a status
I Virtuosi Italiani 3 (Concertmaster: Alberto Martini) close to that of a brotherhood. This made it easier for it to
Concerto de Bassus 1 / 2 (Concertmaster: Theona Gubba-Chkheidze) develop its own traditions. Angela Pachowsky has described
Franz Hauk the particular circumstances: in 1630, to commemorate a
plague epidemic they had just lived through, the residents of
Bergamo established an annual procession taking place on
Holy Thursday, in which the whole town was involved. The
solemn procession ended in the basilica. After the Funzione
delle Sette Parole – the Seven Words of Jesus on the Cross –
there was a sung Passion. This was followed by l’Adorazione
della Croce – the Adoration of the Cross. For this purpose,
a huge replica of the Holy Sepulchre broadly resembling the
Temple of Solomon was constructed in the basilica. As the
faithful filed in to pray before the tomb, the capella sang the
Stabat mater. Although this was a paraliturgical service, Mayr’s
Stabat mater settings essentially follow the liturgical text.
Mayr’s Stabat mater in F minor exists in the first instance
in two basic framing versions. The setting that is probably the
earlier of the pair only covers the first two and the last three
lines of the text. The version that is probably later comprises
a fresh setting of the whole of the first verse, plus an ‘Eja
mater’ in E flat major and, again, the concluding ‘Quando
corpus morietur’. Here Mayr quotes from the ‘Agnus Dei’ of
two Masses by Joseph Haydn: the Missa in tempore belli
(‘Nelson Mass’) and the Missa Sancti Bernardi von Offida
(‘Heiligmesse’). The solo timpani writing is also inspired by the
great Viennese composer. Mayr recycled the opening of the
last movement in the ‘Huic ergo’ of his great Requiem.
The sections of the text that were still missing were filled in
using so-called versetti volanti (‘detached versets’). This can,
of course, lead to gaps in the text or to overlapping sections,
but in the context of contemporary practice, that does not
seem to have been a problem. The movements belonging
to the Stabat mater – solo arias – can be identified firstly by
means of references on the title pages of the individual scores
and by the forces used, and secondly by means of a bassoon
part amongst the material belonging to the first version, written,
probably later, by Mayr himself and containing the complete
earlier version of the Stabat mater in F minor.
Mayr kept on going back to the work and composing
additional parts, probably on the one hand so that he had a
setting for larger forces available, and on the other hand in
order to be able to use the individual movements in settings of
the Stabat mater for different forces.
In his survey of Mayr’s sacred works, his first biographer,
Girolamo Calvi, highlights the Stabat mater in F minor ‘per
la viva espressione e pel merviglioso effetto’ (‘for its vivid
expression and its marvellous effect’; Nos. 364–368). He also
praises the ‘O quam tristis’: ‘… che manifestano la malinconia
e l’amaritudine di che dovea esser compresa la dolente Madre,
e sovra gli altri, per la sentita espressione delle parole, vuolsi
osservare quello in fa con uscite di violoncello.’ (‘… in which
are manifest the melancholy and bitterness of the sorrowing
mother, and in addition for the heartfelt expression of the
words, as in the one in F with the cello interjections’; Nos.
369–372). The ‘Pro peccatis’ he finds to be ‘di celestiale
bellezza’ (‘of a heavenly beauty’; No. 375), the ‘Sancta mater’
is ‘molto bello’ (‘very beautiful’; No. 380), and in considering the
‘Inflammatus’, Calvi notes that it is ‘di bellezza straordinaria per
la forza che domina in tutto il pezzo e per la maestria con cui è
condotto’ (‘of extraordinary beauty by virtue of the vehemence
which dominates the entire piece and the skill with which it is
written’; No. 383).
In the alternative Eja mater, the ninth verse of the Stabat
mater (‘Eia mater, fons amoris, me sentire vim doloris fac ut
tecum lugeam’ – ‘O Mother, fountain of love, make me feel the
power of sorrow, that I may grieve with you’), Mayr produces
a setting without the upper strings which contrasts woodwind
and horns with the four vocal soloists.
In the Liturgy of the Hours of the Catholic church, the
hymn Ave maris stella  (‘Hail, star of the sea’), which dates
back to the eighth century, is sung at Vespers on Marian Feast
days. Mayr’s setting – of four of the seven verses – draws its
inspiration from the popular character of the text – instrumental
figuration and the entry of additional voices progressively
heighten the intensity of a catchy tune that recurs throughout
in the manner of a refrain.
Franz Hauk
Translation: Sue Baxter
Markus Schäfer
The tenor Markus Schäfer studied singing and church music in Karlsruhe and Düsseldorf with Armand
McLane. He was a prize-winner in Berlin and Milan and made his début at the Zurich Opera Studio, followed
by engagements at the Hamburg State Opera and the Düsseldorf Oper am Rhein. His subsequent career
has brought appearances in major theatres and concert halls in Europe and America, collaborating with
distinguished conductors and a number of award-winning recordings. He teaches singing at the Hochschule
für Musik und Theater, Hanover.
www.tenor-markus-schaefer.de
Robert Sellier
The tenor Robert Sellier was born in Munich in 1979 and studied at the Augsburg Musikhochschule. He sang
Emilio in Mozart’s Il sogno di Scipione at the Stadttheater Klagenfurt and the Salzburg Festival. At Theater
Bielefeld he undertook at short notice the role of Belmonte and, at the Berlin Comic Opera, of Count Almaviva in
Rossini’s Il barbiere di Siviglia. He performed at the Theater Augsburg, and from 2007 to 2012 was a permanent
member of the Munich Staatstheater am Gärtnerplatz. In 2013 he appeared in the Göttingen Handel Festival,
and since 2013 has been a member of Halle Opera. www.robertsellier.de

Andrea Lauren Brown

Born in Wilmington/Delaware, the soprano Andrea Lauren Brown holds a Master of Music degree in Voice
Pedagogy and Performance from Westminster Choir College in Princeton, New Jersey, and a Bachelor of
Music degree from West Chester University, in Pennsylvania, where she graduated summa cum laude. She
was a prize-winner at the International Summer Academy of the Mozarteum University of Salzburg in 2002 and
won second place at the 2003 ARD International Music Competition in Munich. She has sung in many of the
most important theatres and festivals of Europe, performing both opera and concert repertoire in at least twenty
different countries, in collaboration with leading conductors, and in 2006 took the principal rôle of Pamina in
Bernhard Lang’s opera I Hate Mozart. With a repertoire ranging from the baroque to the contemporary, she has
a number of successful recordings to her credit, including Thomas Larcher’s Ixxu, Thomas Hengelbrock’s Dixit
Dominus of Handel and the Symphonie Sacrae of Schütz. www.andrea-brown.de.
Jaewon Yun
Born in Seoul, Jaewon Yun graduated in singing at Seoul National University. Since 2012 she has studied
music theatre and operatic singing at the Hochschule für Musik und Theater, Munich. Her stage appearances
include the role of Hänsel (Hänsel und Gretel), Flora Bervoix (La traviata), and the premiere of Francisca by
Ujong Choe. Awards include first prize in the Hoseo University Music Competition, and in 2010 a Cheryl Studer
Scholarship at the Berlin International Music Festival. In March 2013 she sang the role of Adelasia in Mayr’s
opera Adelasia ed Aleramo under the direction of Andreas Spering.
Theresa Holzhauser
Theresa Holzhauser was born in 1986 in Bobingen. She began vocal studies at the Hochschule für Musik und
Theater, Munich, in 1986, and was a prizewinner in the regional Jugend Musiziert, with an Advancement Prize
at the Berlin Regional Singing Contest. In 2010 she won first prize at the Schloss Laibach International Opera
Workshop, and was recipient of the Frankfurt Mendelssohn Prize. She participated in the Salzburg Festival
Young Singers Project in 2011, and in 2013 made her debut at the Salzburg Easter Festival as a Flower Maiden
in Parsifal. She is currently a member of the Theater St Gallen, Switzerland.
Jens Hamann
The baritone Jens Hamann was a member of the Stuttgart Hymnus-Choristers and completed his studies at
the Staatliche Musikhochschule, Mannheim. He won the Early Music Special Prize of Saarland Radio and
was Bach Prize winner at the Johann Sebastian Bach Competition in 2008. His concert activities have taken
him to the United States, Japan, China, Russia; the leading concert halls of Europe, and to many European
festivals. He has made more than 50 recordings, with awards at MIDEM, the Diapason d’Or and the German
Music Critics’ Prize.
Virgil Mischok
Virgil Mischok studied with Christian Elsner and received encouragement from Hartmut Elbert and Michael
Volle. He has participated in various productions with the August Everding Theatre Academy and in 2013
appeared in Don Giovanni at Schloss Weikersheim and guested at the Gärtnerplatz Theatre, Munich. He has
been a regular soloist in Brahms’ Ein deutsches Requiem and has sung baritone solos in performances of
Bach. He has also been a soloist in Carmina Burana in addition to the less frequently heard works by Orff. He
is heard in Lieder recitals and in performances that include literary readings. www.virgil-mischok.de
Theona Gubba-Chkheidze
Theona Gubba-Chkheidze, the daughter of a violinist and an internationally distinguished theatre director, was
born in Georgia. She completed her violin studies with a Distinction at the Hochschule für Musik und Theater,
Munich and was awarded a Meisterklasse-Diploma in Modern Violin and a master’s degree in Baroque Violin
(‘Historically Infirmed Performance’). She currently performs in concert throughout Europe with groups such
as Concerto München, Ensemble Phoenix, Musik Augsburg and Pera Ensemble. She is a co-founder of
Concerto de Bassus. As concertmaster of this group and the Simon Mayr Ensemble she has made more than
20 recordings for Naxos.
Franz Hauk
Born in Neuburg an der Donau in 1955, Franz Hauk studied church and school music, with piano and organ,
at the Munich Musikhochschule and in Salzburg. In 1988 he took his doctorate with a thesis on church music
in Munich at the beginning of the nineteenth century. Since 1982 he has served as organist at Ingolstadt
Minster, and since 1995 also as choirmaster. He has given concerts in Europe and the United States and made
a number of recordings. Since October 2002 he has taught in the historical performance and church music
department of the Hochschule für Musik und Theater, Munich. He founded the Simon Mayr Chorus in 2003.
Chorus of the Bavarian State Opera
The Chorus of the Bavarian State Opera can count on a long and distinguished history, sharing
with the Bavarian State Orchestra and Bavarian State Ballet a repertoire of some 350 opera
and ballet performances annually at the National Theatre, the Prince Regent Theatre and the
Cuvilliés Theatre, Munich. Since 2003-2004 the chorusmaster has been Andrés Maspéro, with
Stellario Fagone as deputy and Anna Hauer as répétiteur.
Simon Mayr Chorus
The Simon Mayr Chorus was founded by Franz Hauk in 2003. The repertoire of the choir
includes works from the sixteenth to the twentieth century. A special emphasis is laid on
authentic historical performance and on the promotion of music by Simon Mayr at the highest
cultural level. Members of the choir are vocal students from the Hochschule für Musik und
Theater, Munich and singers selected from Ingolstadt and the region.
Concerto de Bassus
Concerto de Bassus is an international ensemble engaging young musicians in historical
performances of music from the 17th, 18th and 19th centuries. Many members of the ensemble
are outstanding students or graduates of the Hochschule für Musik und Theater, Munich,
schooled in the specific Munich string tradition and, with wind instruments constructed on
similarly historical principles. The ensemble takes its name from the fundamental element of
Baroque music and from the distinguished family that has done so much to promote culture and
knowledge. Baroness Margarete de Bassus is thus particularly associated with the ensemble.
I Virtuosi Italiani
Founded in 1989, I Virtuosi Italiani draws its members from leading Italian orchestras and from
teachers active in music schools and academies. Playing on historical instruments and working
with internationally renowned soloists and conductors, the ensemble performs regularly at
important venues in Italy and abroad. It has made over 100 recordings.
Johann Simon Mayr (1763–1845)
Stabat mater f-Moll • Eja mater F-Dur • Ave maris stella G-Dur
Seit der Wende zum 18. Jahrhundert galt das Stabat mater
als Ausdruck der Marienfrömmigkeit und der Hinwendung zum
Leiden Christi, besonders in Italien und Süddeutschland. Nur
selten sind diese Kompositionen für den “Schmerzensfreitag”,
das 1727 eingeführte Fest “Septem dolorum” bestimmt, eher
wurden sie in außerliturgischen Passionsandachten aufgeführt.
Berühmt wurde Pergolesis 1736 für eine adelige Bruderschaft
in Neapel geschriebenes Stabat mater, in dieser Tradition steht
auch dasjenige von Joseph Haydn (1767).
In seiner reichen Musikbibliothek in Bergamo verwahrte
Mayr eine Reihe von instrumentalbegleiteten Stabat mater-
Vertonungen, darunter Werke von Ferdinando Bertoni, Niccolò
Jommelli, Benedetto Marcello, Johann Gottlieb Naumann,
Giovanni Battista Pergolesi und Abbé Vogler.
Das gesamte Musikpersonal der Cappella nahm an der
feierlichen Gestaltung der Karwoche – ein liturgisches Ereignis
Primi Classe – teil. Eine Grundordnung für das Verhalten und
den Einsatz des Musikpersonals wurde 1803 unter dem Titel
CAPITOLI / ED OBBLIGHI GENERALI von der “Misericordia
Maggiore” gedruckt herausgegeben. Festgelegt sind die
folgenden musikalischen Aktivitäten (Steffan, S. 343):
Mercoledì Santo Dopo pranzo per l’offizio
Giovedì Santo Messa, e Vespri
Venerdì Santo Dopo Pranzo
Sabbato Santo Messa, e Compiette
Seit 1453 war Santa Maria Maggiore der Jurisdiktion des
Bischofs entzogen, die Kirche besaß in der “Congregazione
di Carità” oder “Misericordia Maggiore” den einer Bruderschaft
angenäherten Status. Dieser Umstand erleichterte es, eigene
Traditionen zu formen. Angela Pachowsky informiert über
die konkreten Umstände: Im Gedenken an eine soeben
überstandenen Pest-Epidemie begründeten die Bergamasker
1630 eine alljährliche Prozession am Gründonnerstag, die von
der ganzen Stadt getragen wurde. Der feierliche Umzug endete
in der Basilika. Nach der Funzione delle Sette Parole – der
Sieben Worte Jesu am Kreuz – wurde die Passion gesungen.
Es folgte l’Adorazione della Croce – die Kreuzverehrung. Dazu
war in der Basilika ein riesiges Heiliges Grab errichtet, das in
seinen Umrissen dem Tempel Salomons ähnelte. Während
die Gläubigen eintraten, um vor dem Grab zu beten, intonierte
die Capella das Stabat mater. Obgleich es sich hier um eine
paraliturgische Andacht handelte, entsprach Mayr bei seinen
Stabat-mater-Vertonungen wesentlich dem liturgischen Text.
Mayrs Stabat mater f-Moll existiert zunächst in zwei
rahmenden Grundversionen. Die wohl frühere umfasst nur die
ersten beiden und die drei letzten Textzeilen. Die vermutlich
spätere Fassung umgreift die gesamte erste Strophe in einer
Neuvertonung, dazu ein “Eja mater” in Es-Dur und wiederum
den Schluß “Quando corpus morietur”. Hier zitiert Mayr aus
zwei Messen von Joseph Haydn: dem Agnus Dei der Missa in
tempore belli (“Paukenmesse”) und der Missa Sti. Bernardi von
Offida (“Heiligmesse”), auch der solistische Einsatz der Pauken
ist vom Wiener Großmeister angeregt. Den Beginn des letzten
Satzes greift Mayr im “Huic ergo” seines großen Requiems auf.
Die noch fehlenden Textteile wurden durch sogenannte
Versetti volanti ergänzt. Freilich können hier im Ablauf textliche
Lücken oder auch Überschneidungen auftreten, das dürfte
zeitüblich kein Problem gewesen sein. Die zugehörigen Sätze,
solistische Arien, ergeben sich einmal durch Hinweise auf
dem Titelblatt der einzelnen Partituren, durch die verfügbare
Besetzung aber auch durch eine von Mayr selbst stammende,
wohl nachkomponierte Fagottstimme im Material der ersten
Fassung. Diese Stimme enthält die komplette frühere Version
des Stabat mater f-Moll.
Mayr schrieb nachträglich immer wieder
Ergänzungsstimmen, einmal vermutlich, um eine verfügbare
erweiterte Besetzung zu realisieren, zum anderen, um die
Einzelsätze auch für Stabat mater-Vertonungen mit anderer
Grundbesetzung zu nutzen.
Girolamo Calvi, Mayrs erster Biograph, hebt in seiner
Übersicht der geistlichen Werke das Stabat mater f-Moll
hervor “per la viva espressione e pel merviglioso effetto” [Nr.
364–368]. Auch das “O quam tristis” rühmt er “che manifestano
la malinconia e l’amaritudine di che dovea esser compresa la
dolente Madre, e sovra gli altri, per la sentita espressione delle
parole, vuolsi osservare quello in fa con uscite di violoncello.”
[Nr. 369– 372]. Beim “Pro peccatis” befindet er “di celestiale
bellezza” [375], das “Sancta mater” sei “molto bello” [Nr. 380]
und beim “Inflammatus” bemerkt Calvi “di bellezza straordinaria
per la forza che domina in tutto il pezzo e per la maestria con
cui è condotto.”[Nr. 383]
Im alternativen “Eja mater”, dem 9. Vers des “Stabat
mater”, („Eia mater, fons amoris, me sentire vim doloris fac ut
tecum lugeam“ – „Gib, o Mutter, Born der Liebe, dass ich mich
mit dir betrübe, dass ich fühl die Schmerzen dein“), verzichtet greift den volkstümlichen Charakter der textlichen Vorlage auf, 6 Sancta mater, istud agas, Holy Mother, grant me
Mayr auf die hohen Streicher und setzt Holzbläser und Hörner eine eingängige Melodie wird im Verlauf refrainartig durch Crucifixi fige plagas that I fix the wounds of the crucified
in Kontrast zum solistischen Vokalquartett. instrumentale Figurationen und neu eintretende Stimmen Cordi meo valide. firmly to my heart.
Der seit dem 8. Jahrhundert überlieferte Hymnus “Ave maris gesteigert. Vertont sind vier der eigentlich sieben Strophen.
stella“ („Meerstern, sei gegrüßt“) wird im Stundengebet der Katholischen Tui nati vulnerati, Of your wounded son
Kirche zur Vesper an Marienfesten gesungen. Mayrs Vertonung Franz Hauk Tam dignati pro me pati, who deigned to suffer for me
Poenas mecum divide. let me share the pain.

1 Stabat mater dolorosa The grieving Mother stood Fac me tecum pie flere, Let me truly weep with you,
Juxta crucem lacrimosa, weeping by the Cross Crucifixo condolere, grieve over the crucified,
Dum pendebat Filius. where hung her Son. Donec ego vixero. as long as I live.

Cuius animam gementem, Her spirit groaning, Juxta crucem tecum stare To stand by the cross,
Contristatam et dolentem saddened and grieving Et me tibi sociare willingly to join with you
Pertransivit gladius. a sword has pierced. In planctu desidero. in mourning I desire.

2 O quam tristis et afflicta Oh how sad and afflicted Virgo virginum praeclara, Virgin glorious among virgins,
Fuit illa benedicta was that blessed Mihi jam non sis amara: be not now harsh with me,
Mater unigeniti! Mother of the Only-Begotten; Fac me tecum plangere. make me to weep with you.

Quae maerebat et dolebat, Who mourned and grieved Fac ut portem Christi mortem, Let me bear Christ’s death,
Pia mater, dum videbat and trembled, when she saw Passionis fac consortem, let me share his passion
Nati poenas inclyti. the punishment of her glorious son. Et plagas recolere. And revere his blows.

3 Quis est homo qui non fleret, Who is the man that would not weep Fac me plagis vulnerari, Let me be wounded by blows,
Christi Matrem si videret if he saw the Mother of Christ Cruce hac inebriari to be drunk with this cross
In tanto supplicio? in such torment? Et cruore Filii. and the blood of your Son.

Quis non posset contristari, Who could fail to feel sorrow Flammis ne urar succensus, Lest I burn in flames,
Piam matrem contemplari to regard the merciful Mother Per te, Virgo, sim defensus through you, Virgin, may I be defended
Dolentem cum Filio? grieving with her son? In die judicii. in the day of judgement.

4 Pro peccatis suae gentis, For the sins of his people Christe cum sit hinc exire, Christ, when I leave hence
Vidit Jesum in tormentis, she saw Jesus in torments, Da per Matrem me venire grant that through your Mother I may come
Et flagellis subditum. brought low by blows. Ad palmam victoriae. to the palm of victory.

Vidit suum dulcem natum She saw her gentle son 7 Inflammatus et accensus Lest I burn in flames,
Morientem desolatum, dying, desolate, Per te virgo sim defensus through you, Virgin, may I be defended,
Dum emisit spiritum. until he gave up the ghost. In die judicii. in the day of judgement.

5+ Eja mater, fons amoris, Ah, Mother, fountain of love, Fac me cruce custodiri, Let me be guarded by the cross,
9 Me sentire vim doloris to feel the force of grief Morte Christi praemuniri, fortified by the death of Christ,
Fac, ut tecum lugeam. grant that I may mourn with you. Confoveri gratia. cherished by grace.

Fac, ut ardeat cor meum Grant that my heart may burn 8 Quando corpus morietur, When the body shall die,
In amando Christum Deum, in loving Christ, God, Fac ut animae donetur grant that my soul be given
Ut sibi complaceam. that I may please Him. Paradisi gloria. the glory of Paradise.
Amen. Amen.
Ave, maris stella, Hail, star of the sea,
Dei mater alma gentle mother of God
atque semper virgo, and ever virgin, Also available
felix caeli porta. blessed gate of heaven.

Sumens illud “Ave” Taking that ‘Ave’

Gabrielis ore, from the mouth of Gabriel,
funda nos in pace, grant us peace
mutans Evae nomen. changing the name of Eve.

Solve vincla reis, Loose the chains of the guilty,

profer lumen caecis, bring light to the blind,
mala nostra pelle, do away with our ills
bona cuncta posce. ask for all good things.

Monstra te esse matrem, Show yourself to be our mother,

sumat per te precem through you may he receive our prayer
qui pro nobis natus who, born for us,
tulit esse tuus. let himself be yours.

Virgo singularis, Unrivalled Virgin,

inter omnes mitis, gentle among all,
nos culpis solutos freed from our sins,
mites fac et castos. makes us gentle and chaste.
8.570366-67 8.572492
Vitam praesta puram, Grant a pure life,
iter para tutum, make ready a safe path
ut videntes Jesum that, seeing Jesus,
semper collaetemur. we may rejoice for ever.

Sit laus Deo Patri, Praise be to the Father,

summo Christo decus, glory to Christ on high,
Spiritui Sancto to the Holy Spirit,
honor, tribus unus. honour, one in three.
Amen Amen.

8.573419-20 8.573605
Restored by Mayr expert Frans Hauk from two extant manuscript versions and heard here in its
world premiere recording, Simon Mayr’s Stabat mater in F minor was singled out by a contemporary
biographer “for its marvellous effect” and “heavenly beauty”. Mayr himself frequently returned to
this work, recycling one of its movements in his great Requiem (Naxos 8.573419-20). The song-like
Ave maris stella builds on a hymn that dates back to the 8th century.
Johann Simon
MAYR
(1763–1845)
Stabat mater in F minor 1

1 I. Stabat mater 7:46

2 II. O quam tristis 7:08
3 III. Quis est homo 7:03
4 IV. Pro peccatis 6:30
5 V. Eja mater 3:56
6 VI. Sancta mater 9:27
7 VII. Inflammatus 6:29
8 VIII. Quando corpus 5:38
9 Eja mater in F major 2:38
2

0 Ave maris stella in G major 3:19

3

WORLD PREMIERE RECORDINGS

Andrea Lauren Brown, Soprano , Jaewon Yun, Soprano
3 1/2

Theresa Holzhauser, Alto • Markus Schäfer, Tenor , Robert Sellier, Tenor

1/2/3 3 1/2

Jens Hamann, Bass , Virgil Mischok, Bass

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Simon Mayr Chorus • Members of the Bavarian State Opera Chorus

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I Virtuosi Italiani (Concertmaster: Alberto Martini)

3

Concerto de Bassus (Concertmaster: Theona Gubba-Chkheidze)

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Franz Hauk
Recorded in the Asamkirche Maria de Victoria, Ingolstadt, Germany, 7-11 April 2014 (tracks 1-9)
and 26 April 2014 (track 10) • Producer, Engineer and Editor: Ulrich Kraus • Booklet notes: Franz Hauk
Cover Photo: Paolo Zeccara (‘La Deposizione’, Anonymous XVII century, Church of San Dionigi, Vigevano, Italy)
Editions: Franz Hauk / Manfred Hößl
Sponsors: Margarete Baronin de Bassus; Bezirk Oberbayern; Kulturfonds Bayern