Rossini Stabat Mater Literal Translation(Under construction) for TIS

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Gioachino Antonio Rossini ^[1] (February 29, 1792 ? November 13, 1868) was an Italian musical composer who wrote more than 30 operas as well as sacred music and chamber music. His best known works include Il barbiere di Siviglia (The Barber of Seville) and Guglielmo Tell (William Tell).

Early years

Rossini was born into a family of musicians in Pesaro, a small town on the Adriatic coast of Italy. His father Giuseppe was a horn player and inspector of slaughterhouses, his mother Anna a singer and baker's daughter. Rossini's parents began his musical training early, and by the age of six he was playing the triangle in his father's band.

Rossini's father was sympathetic to the French Revolution, and welcomed Napoleon's troops when they arrived in Northern Italy. This became a problem when the Austrians restored the old regime in 1796. Rossini's father was sent to prison, and his mother took him to Bologna, earning her living as lead singer at various theatres of the Romagna region, where she was ultimately joined by her husband. During this time, he was frequently left in the care of his aging grandmother, who was unable to effectively control the boy.

He remained at Bologna in the care of a pork butcher, while his father played the horn in the bands of the theatres at which his mother sang. The boy had three years instruction in the harpsichord from Prinetti of Novara, but Prinetti played the scale with two fingers only, combined his profession of a musician with the business of selling liquor, and fell asleep while he stood, so that he was a fit subject for ridicule by his critical pupil.

Education

He was taken from Prinetti and apprenticed to a smith. In Angelo Tesei he found a congenial master, and learned to sight-read, to play accompaniments on the pianoforte, and to sing well enough to take solo parts in the church when he was ten years of age. At thirteen he appeared at the theatre of the Commune in Paer’s Camilla ? his only public appearance as a singer (1805). He was also a capable horn player in the footsteps of his father.

In 1807 the young Rossini was admitted to the counterpoint class of Padre P. S. Mattei, and soon after to that of Cavedagni for the cello at the Conservatorio of Bologna. He learned to play the cello with ease, but the pedantic severity of Mattei's views on counterpoint only served to drive the young composer's views toward a freer school of composition. His insight into orchestral resources is generally ascribed not to the strict compositional rules he learned from Mattei, but to knowledge gained independently while scoring the quartets and symphonies of Haydn and Mozart. At Bologna he was known as "il Tedeschino" ("the Little German") on account of his devotion to Mozart

Stabat Mater
Stabat Mater is a thirteenth century Roman Catholic sequence attributed to Jacopone da Todi. Its title is an abbreviation of the first line, Stabat mater dolorosa ("The sorrowful mother was standing"). The hymn, one of the most powerful and immediate of extant medieval poems, meditates on the suffering of Mary, Jesus Christ's mother, during his crucifixion.

Christians of the 20th century can truly identify with Our Lady's experience of Sorrow.  The message of the Stabat Mater focuses on the spiritual and emotional bond which unites Mary and all Christians to the death of her Son on the Cross.  From this bond, each Christian can recognize the incredible compassion and holiness in Mary's character.  The Blessed Mother demonstrated her maternal compassion to all generations of Christians by her presence and participation with her Son Jesus in the Sacrifice of the Cross.

There is a mother-son bond that unites Mary with Christ Jesus during his experience of suffering and death. This empathetic bond indicates that Our Lady shared in her Son's suffering.  Mary is Our Lady of Sorrows precisely because her Son Christ Jesus bore the sins of the world during his passion and death.  As the faithful disciple, Our Blessed Mother invites us to unite our personal suffering with her own.  We can share in Jesus' burden on the Cross, just as Mary did at Calvary.

As Our Lady of Sorrows, Mary also reminds us that Christians are called to expiate for his or her own sins and the sins of their neighbors, and the sins of the world.  We can share in the bond between the Blessed Mother and Our Lord through fasting, prayer, and contrition for sin. Our Lady of Sorrows teaches us that the Crown of eternal life in Heaven can be reached when we each choose to share with Our Lord in His suffering and death on the Cross at Calvary.

The compassion of Mary is part of the mystery of the Church community's sharing in, and offering, the Sacrifice of Jesus for the salvation of the world.  Each member of the Church has a role to play in redeeming the world.  Our Lady of Sorrows is a guide who inspires and teaches us how to be compassionate.

It has been set to music by many composers, among them Joseph Haydn, Antonin Dvo?ak, Antonio Vivaldi, Emanuele d'Astorga, Gioacchino Rossini, Giovanni Battista Pergolesi, Charles Villiers Stanford, Charles Gounod, Krzysztof Penderecki, Francis Poulenc, Karol Szymanowski, Alessandro Scarlatti (1724), Domenico Scarlatti (1715), Pedro de Escobar, Arvo Part, Josef Rheinberger and Giuseppe Verdi.

Stabat Mater, composed in the operatic style, was originally written under the guarantee that it would only be performed privately.
However, after he had made some revisions Rossini was persuaded to allow a public performance in January 1842. The work became immediately popular receiving another 29 performances that year. first version 1832, second version 1841