Antonin DvorA¡k, Robert Shaw, Christine Goerke, Marietta Simpson, Atlanta Symphony Orchestra and Chorus, Stanford Olsen - Dvorak - Stabat Mater / Goerke A· M. Simpson A· Olsen A· N. Berg A· Atlanta SO A· R. Shaw

Conductor Robert Shaw's death three months after this recording was made brought to an unexpected close a rare and distinguished career that always was dominated by Shaw's activities as a choral conductor. As with Leonard Bernstein's final recording--a live concert performance at Tanglewood--there is a sense of determination and drive and assuredness in this Dvorák performance that can come only from a lifetime of experience, of being involved, of being constantly in the midst of the action. Shaw's even-handed manner throughout--no extremes of tempo or dynamics, none of the quirky phrasing conductors sometimes exhibit late in their careers--owes much to the fact that he gave long consideration to this piece, and knew exactly what he wanted. Not surprisingly, Telarc's recording sets the balance in favor of the chorus, and Shaw has no problem letting the singers really sing out, especially in the frequent climaxes. Consonants tend toward the hard side, vowels are open: this is a true American chorus, the very concept of which Shaw spent a lifetime refining and nurturing. This Stabat Mater is a very big piece, and it can be quite unwieldy because nearly all of its 10 movements require different combinations of performing forces, from chorus alone to solo quartet to different soloists with chorus. Shaw makes sure that everything moves and flows, and the Telarc engineers capture every quiet ripple and surging crescendo. Sometimes the placement of soloists seems too close, and occasionally, Shaw's beat is just too deliberate for text and music--especially in the delicate opening movement choral passages. But together, these soloists are the best on disc, and Shaw's orchestra gives him everything a conductor could ask. All concerned have much to be proud of here--a first rate production about which Shaw must still be smiling. --David Vernier Amazon.com

Best choral work ever

This is a deeply religious piece composed by a deeply religious man. Yet, one does not need to be religious to understand the pain that this piece was created from. This piece was started when one of Dvorak's children died, and was finished shortly after his other children died.

Robert Shaw captures this pain and emotion for all to enjoy in truly the most poignant recording of this Stabat Mater. Shaws ability to capture the orchestra, and guide them through the most compelling human and spiritual performance that transcends the pure text, is more than evident here. This recording is as much a ode to Shaw's abilities as it is too Dvorak's. A must own, a must listen to, a must experience performance. May 21, 2008

Personal Dvorak

The Stabat Mater is a Latin poem which takes place at the death of Jesus. But the subject is not about Jesus, instead, the focus is on Mary, the grieving mother. The poem opens viewing Mary from afar at the cross describing the moment and the scene. The poem moves to a more personal point of view, first expressing empathy, than a want to share the pain of the Virgin mother, moving through prayerfulness, supplication, and eventually acceptance. The end of the poem tells of the sacrifice of Jesus, of Mary, and the eventual resurrection of the soul.

The music is not typical Dvorak. We are familiar with his folk-based works, his symphonies and other settings, but rarely do we hear his orchestrated vocal music, the Stabat Mater is one of the most played choral works. The music is not necessarily rooted in the folk music of his homeland, but it seems the music, the vocal parts, are evocative of the Italian tradition. One wonders if Dvorak knew of the Verdi Requiem, because much of the vocal writing and some of the instrumental settings are reminiscent of Verdi. The Stabat Mater is divided into 10 movements, all are very personal, moving from grief and pain to hope and eventual realization. Dvorak's melodies are short and tuneful, and he uses them over and over, each depicting the text rather well. The soloists play against the chorus, sometimes echoing each other. The choral parts are not extremely difficult (except for the jubilant last movement), but this creates the intimate nature of the text. The music is interesting and is a monumental effort (well over an hour of music), perhaps not as well known as the Verdi or Pergolesi setting, but unique on its own.

Robert Shaw and the Atlanta Symphony provide a stalwart performance of a lesser-known work. The soloists are solid (if not too closely miked), and the chorus is in fine form (the final movement is a good showcase for the choir). Along with an interview with Robert Shaw this is a welcome CD. While the classic Kubelik, Sinopoli, and Macal are good, this CD is a consummate performance. November 30, 2005

A little-known classic

Although this is not one of the most popular of Dvorak's works, it is undoubtedly a little gem of classical music that deserves more recognition for its offerings. July 23, 2005

Sorely missed

Robert Shaw died four months before my chorus was scheduled to sing with him. For that concert, we changed the program to include one of the works he had programmed, but the second half was entirely Shaw/Parker arrangements of a cappella spirituals.

Hearing the wonderful interview on this recording brought back memories of the many times we did perform with him, times I cherish. I have "Shaw-isms" (pieces of great musical, choral, and philosophical wisdom) scribbled throughout many choral scores.

This recording is a superb example of Shaw's genius. While I often prefer other interpretations of many works on disc to Shaw's, in this case, his is IT. I can feel the counting out that his choruses were invariably required to do while learning a piece ("one and two and tee and four and..."), and I can hear the incredible attention to detail that he put into everything he conducted. "Take care of the details," he said, "and the rest is assured."

The soloists are terrific (Shaw knew them all and invariably had the best on his recordings).

If you're not familiar with this piece, listen. It's a piece for connoisseurs of choral music, and perhaps not as instantly accessible or awe-inspiring as, say, the Verdi or Berlioz Requiems, or perhaps Rossini's setting of the Stabat Mater, but it's worth getting to know. The subtleties are as wonderful as are the contrasts. Shaw more than does it justice.

I've sung it, and hope to sing it again someday.

October 14, 2004

A Perfect 10 !!!

Robert Shaw delivers on his last recording before his untimely death. The recording flows smoothly from start to finish, and the choir follows Shaw's every move. Other recordings haven't delivered the inspired performance that this recording conveys. The NPR interview was also a nice touch as a lasting tribute.
THIS IS A MUST HAVE--RECOMMENDED!!!!! August 21, 2004

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