ELECTROLA LP E-80607: ROSSINI - Stabat Mater - Karl Forster 1957
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Background on this item -
Rossini composed his Stabat Mater late in his career after retiring from the composition of opera. He began the work in 1831 but did not complete it until 1841.

In 1831 Gioachino Rossini was traveling in Spain in the company of his friend the Spanish banker, Alexandre Aguado owner of Château Margaux. In the course of the trip, Fernández Varela, a state councillor, commissioned a setting of the traditional liturgical text, the Stabat Mater. Rossini managed to complete part of the setting of the sequence in 1832, but ill health made it impossible for him to complete the commission. Having written only half the score (nos. 1 and 5-9), he asked his friend Giovanni Tadolini to compose six additional movements. Rossini presented the completed work to Varela as his own. It was premiered on Holy Saturday of 1833 in the Chapel of San Felipe el Real in Madrid, but this version was never again performed.

When Varela died, his heirs sold the work for 2,000 francs to a Parisian music publisher, Antoine Aulagnier, who printed it. Rossini protested, claiming that he had reserved publication rights for himself, and disowned Aulagnier's version, since it included the music by Tadolini. Although surprised by this, Aulangier went ahead and arranged for a public performance at the Salle Herz on October 31, 1841, at which only the six pieces by Rossini were performed. In fact, Rossini had already sold the publication rights for 6,000 francs to another Paris publisher, Eugène Troupenas. Lawsuits ensued, and Troupenas emerged the victor. Rossini finished the work, replacing the music by Tadolini, before the end of 1841. The brothers Léon and Marie Escudier, who had purchased the performing rights of Rossini's final version of the score from Troupenas for 8,000 francs, sold them to the director of the Théâtre-Italien for 20,000 francs, who began making preparations for its first performance.

Rossini's extensive operatic career had divided the public into admirers and critics. The announcement of the premiere of Rossini's Stabat Mater provided an occasion for a wide-ranging attack by Richard Wagner, who was in Paris at the time, not only on Rossini but more generally on the current European fashion for religious music and the money to be made from it. A week before the scheduled concert Robert Schumann's Neue Zeitschrift für Musik carried the pseudonymous essay, penned by Wagner under the name of "H. Valentino", in which he claimed to find Rossini's popularity incomprehensible: "It is extraordinary! So long as this man lives, he'll always be the mode." Wagner concluded his polemic with the following observation: "That dreadful word: Copyright—growls through the scarce laid breezes. Action! Action! Once more, Action! And money is fetched out, to pay the best of lawyers, to get documents produced, to enter caveats.— — —O ye foolish people, have ye lost your hiking for your gold? I know somebody who for five francs will make you five waltzes, each of them better than that misery of the wealthy master's!" Of course, Wagner himself, at the time that he wrote this, was still in his late twenties, and had not yet had much success with the acceptance of his own music in the French capital.

The Stabat Mater was performed complete for the first time in Paris at the Théâtre-Italien's Salle Ventadour on January 7, 1842, with Giulia Grisi (soprano), Emma Albertazzi (mezzo-soprano), Mario (tenor), and Antonio Tamburini (baritone) as the soloists. The Escudiers reported that: "Rossini's name was shouted out amid the applause. The entire work transported the audience; the triumph was complete. Three numbers had to be repeated...and the audience left the theater moved and seized by an admiration that quickly won all Paris."

In March Gaetano Donizetti led the Italian premiere in Bologna with great success. The soloists included Clara Novello (soprano) and Nikolay Ivanov (tenor). Donizetti reported the public's reaction: "The enthusiasm is impossible to describe. Even at the final rehearsal, which Rossini attended, in the middle of the day, he was accompanied to his home to the shouting of more than 500 persons. The same thing the first night, under his window, since he did not appear in the hall."

Despite the fact that the work is markedly different from his secular compositions, northern German critics, as reported by Heinrich Heine in an essay on Rossini, criticised the work as "too worldly, sensuous, too playful for the religious subject." In response the French music historian Gustave Chouquet has remarked that, "it must not be forgotten that religion in the South is a very different thing from what it is in the North."

ELECTROLA Records LP item - RED record labels with BLACK lettering - the record label logo is in white lettering along with the writing located around the outside rim of the record label - see pictures for more detail
Record Made in GERMANY
Pressing is in MONO
Record Speed: 33 rpm
Record Made in: 1950’s - we believe in 1957 as a small date indicates on the back of the jacket, on super heavy vinyl
Record Catalog Number: E 80607 (WCLP 679)

This listing is for a very rare, out of print LP featuring the music of -


LP Title -
STABAT MATER - fur sopran, alt, tenor, bass solo chor und orchester

Performers on this title include -
Pilar Lorengar, sopran
Betty Allen, alt
Josef Traxel, tenor
Josef Greindl, bass
Choir of St. Hedwigs Cathedral, Berlin
Berlin Philharmonic
Karl Forster, conducting

Track listings -
1. Stabat Mater - fur sopran, alt, tenor, bass solo chor und orchester
  Arie (tenor)
  Duett (sopran und alt)
  Arie (bass)
  Chor Und Rezitativ (bass)
  Quartett (spron, alt, tenor, bass)
  Cavatine (alt)
  Arie und Chor (sopran)

The LP jacket is in Very Good condition only.
These early Electrola jackets were usually made of flimsy paper. As such, over time, they wear easily, especially if handled to any extent. This jacket has NO seam splits at the top or bottom, but the beginnings of a seam split along the spine. All seams and corners are weakened due to shelf wear and time. Not a pristine cover, but very good nonetheless. 
It has NO drill holes or saw marks of any kind on the jacket. 
There is a little date written on the back of the jacket in red ink, indicating March 1957 as the day this LP was probably acquired.
The cover has clean and sharp colors, just gorgeous - see picture with this listing for more detail.

The LP (vinyl) itself:
The LP is in near MINT minus condition!
It retains much of the original gloss and sheen!
The record has no serious marks, obviously well taken care of.
There are a few light spindle marks on the record labels.
This is the near mint copy you have always wanted in your collection - any super picky audiophile would be happy with this one! A better copy would be very difficult to locate!
This LP may have a slight mark or two (spider marks) which are caused by sliding the LP in and out of the inner sleeve and are usually not audible on most audio systems.

Please understand that this is a vintage LP record - as such, one cannot expect the vinyl to sound like a brand new, audiophile pressing! Some noise is inevitable - for best results, always properly clean your LPs before playing them.

The LP is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).

A Short Note About LP GRADING -
Mint {M} = Only used for sealed items.
Near Mint {NM} = Virtually flawless in every way.
Near Mint Minus {NM-} = Item has some minor imperfections, some audible.
Excellent {EXC} = Item obviously played and enjoyed with some noise.
Very Good Plus {VG+} = Many more imperfections which are noticeable and obtrusive.

Don't let this rarity slip by!!!

  • Item #: Electrola LP E-80607 NM
  • Manufacturer: EMI / Electrola / Odeon / Pathe Records
  • Condition: Used

ELECTROLA LP E-80607: ROSSINI - Stabat Mater - Karl Forster 1957

Price: $59.99
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