Orchestra, Chorus, Soprano

The composer has organised the Latin text in a unique combination of the Analecta and Medieval versions to create parallels and antecedent-consequent relationships either side of the center. For example, in the fourth movement, the question of ‘who would not weep’ to see a mother in such distress at the suffering of her child is posed. The parallel text in the eighth movement provides the earthly response as in fact the people condemn the Mother’s son shouting: ‘crucify, crucify!’
Richard Prior tells in the Program Notes: In composing this piece, it was my intention to reach beyond the traditional Judeo-Christian focus of the text and through use of contemporary poems relate the entire work to a much more universal aspect of the human experience. Death as a natural part of life, defines the fragility of our mortality and the incalculable value of those around us. At a point in my own personal experience where death has claimed a presence, I think of the tragic loss of family members, colleagues and students and am constantly reminded of how rare a gift people are to one another.

The Latin text of Priors Stabat Mater is interwoven with contemporary poems in English by women on the related themes of love, grief and loss through conflict or other adverse circumstances. The first Intermezzo is a poem by Juliette de Bairacli-Levi about the loss of an adult son in World War II, the second and third Intermezzos are from the Prayer for the little daughter on the death of a child through childhood illness and the last one is from Charlotte Mayerson, whose son Robert died of Aids in 1990.