isher for two thousand francs. He at once claimed
the copyright and brought an action, in which he was successful. He then
composed four new numbers in place of those written by Tadolini, and sold
the work complete to the publisher, Troupenas, for six thousand francs.
The latter sold the right of performance for a limited time to the
Escudiers for eight thousand francs, and they in turn sold it to the
Theatre Italien for twenty thousand. Its first complete performance was
at the Salle Ventadour, Jan. 7, 1842, Grisi, Albertazzi, Mario, and
Tamburini taking the principal parts.

A brief but brilliant orchestral prelude leads to the opening chorus,
"Stabat Mater dolorosa," arranged for solos and chorus, and very dramatic
in style, especially in its broad, melodious contrasts. It is followed by
the tenor solo, "Cujus Animam," which is familiar to every
concert-goer,--a clear-cut melody free of embellishment, but very
brilliant and even jubilant in character, considering the nature of the
text. The next number ("Quis est Homo"), for two sopranos, is equally
familiar. It is based upon a lovely melody, first given out by the first
soprano, and then by the second, after which the two voices carry the
theme through measure after measure of mere vocal embroidery, closing
with an extremely brilliant cadenza in genuine operatic style. The fourth
number is the bass aria "Pro peccatis," the two themes in which are very
earnest and even serious in character, and come nearer to the church
style than any other parts of the work. It is followed by a beautifully
constructed number ("Eia Mater"), a bass recitative with chorus, which is
very strong in its effect. The sixth number is a lovely quartet ("Sancta
Mater"), full of variety in its treatment, and closing with full, broad
harmony. After a short solo for soprano ("Fac ut Portem"), the climax is
reached in the "Inflammatus,"--a brilliant soprano obligato with powerful
choral accompaniment. The solo number requires a voice of exceptional
range, power, and flexibility; with this condition satisfied, the effect
is intensely dramatic, and particularly fascinating by the manner in
which the solo is set off against the choral background. A beautiful
unaccompanied quartet in broad, plain harmony, "Quando Corpus," leads to
the showy fugued "Amen" which closes the work.

Unquestionably the "Stabat Mater" is one of the most popular of all the
minor sacred compositions; and the secret lies on the