[5][6] That Dvořák started to compose his Stabat Mater in February 1876 as a reaction to the death of his two-day-old daughter Josefa in August 1875 has often been told, but has been doubted in 21st-century scholarship.

[9] The composer structured the Stabat Mater in ten movements, and scored it for four vocal soloists, soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir (SATB) with sometimes divided voices, a symphony orchestra and organ.

The orchestra features parts for two flutes, two oboes, cor anglais, two clarinets in A, two bassoons, four French horns (two in F, two in D), two trumpets, three trombones, tuba, timpani, organ and strings.

The music is structured in ten movements which focus on different aspects of the poetry, depicting the suffering of Mary and the compassion of the person reflecting it in various shades of scoring, tempo and key.

[13] The first movement, beginning "Stabat Mater dolorosa" (The sorrowful Mother stood [by the cross]), is a setting of the first four stanzas from the poem, scored for the choir, the quartet of soloists and the full orchestra.

[16] The third movement, a setting of the ninth stanza from the poem, "Eja, Mater, fons amoris" (Look at the mother, the source of love), resembles a funeral march for choir and orchestra.

[17] The fourth movement is a solo for the bass singing the tenth stanza, "Fac, ut ardeat cor meum" (Make my heart burn).

[19] The sixth movement, setting the 13th and 14th stanzas, "Fac me vere tecum flere" (Make me really weep with you), is sung alternately by the solo tenor and a four-part men's choir.

[21] The eighth movement is a duet for soprano and tenor soloists, setting the 16th and 17th stanzas, beginning "Fac, ut portem Christi mortem" (Grant that I may bear the death of Christ).

[23] The final movement sets the ultimate stanza, beginning "Quando corpus morietur" (When the body will die), then praying for the glory of paradise for the soul ("paradisi gloria").

[1] The work was performed in London in 1883, and again, in the Royal Albert Hall, in 1884, and thus played a crucial role in Dvořák's international breakthrough as a composer.

[5][6] In 1879 Dvořák suggested his Stabat Mater for publication to Fritz Simrock, but it wasn't until after the successful 1880 Prague première of the work that he got the publisher interested.

[13] The 1876 version of seven movements for vocal quartet, choir and piano was recorded in 2009 by soloists, the Accentus ensemble, conducted by Laurence Equilbey, with pianist Brigitte Engerer.