Standing at the foot of the Cross of her dying Son, the Mother of God knew the pain of the prophecy given to her by Simeon in the Temple at the Presentation of Jesus.
Today the Church honours Our Lady of the Seven Sorrows, especially those she felt at the foot of the Cross at the moment of the consummation of the mystery of our Redemption. To illustrate the pains of the Virgin Mother, painters represent her heart pierced by seven swords, symbolising the seven chief sorrows of the Mother of God.
The Stabat Mater is a Latin poem of 20 three-verse stanzas. The first two verses of each stanza rhyme with each other; the third line of the even stanzas rhymes with that of the odd stanzas. This composition is one of the most famous in sacred music. The text, inspired by the Gospel of St John (19, 25), is attributed to the Franciscan Jacopone da Todi (1228-1306). The title is an abbreviation of Stabat mater dolorosa, its first verse, which can be translated as: “The Mother of Sorrows stood grieving”. This Marian antiphon evokes Mary’s suffering during the crucifixion of her Son. In paintings, artists usually depict the Virgin under the Cross, positioned on the right side of Christ with St John on the left. Together with the Pietà, the Stabat Mater is one of the most important representations of the suffering of the Virgin.
This Gregorian melody, from the Graduale Romanum, is relatively recent as it is the work of Dom Fonteinne, monk of Solesmes and the first companion of Dom Guéranger. Liturgical commentators are unanimous in recognising its artistic and spiritual value. The composer has faithfully respected the binary structure of the poem by giving the same melody to the stanzas linked in pairs by the same rhyme. Of minor modality, from the 2nd mode, this prayer resembles a long lament (the descending third fa-mi-ré, for example, characteristic of this 2nd mode, is heard up to 48 times!). Yet the chant escapes monotony thanks to the delicate variation of the ten melodic groups around the haunting but peaceful theme of the Mother's suffering. This sequence, a masterpiece of Christian and Marian prayer, brings us into intimate communion thanks to the deep nuances of Gregorian art and the fertile feelings that inhabited the Virgin's soul at the time of the death of her Redeemer Son.