This setting contains four stanzas of the twenty stanzas of the sequence. After a short orchestral interlude, these four stanzas are repeated with "far-reaching variation".[2] Its structure as a single continuous movement is unusual; most of Schubert's sacred works (not including masses) were composed as one movement divided into three sections.[3] While settings of the Stabat Mater developed into a staple of concert music by the late 19th century, it is thought that this piece would have been performed for liturgical use in the Lichtental Church.[4]
Schubert's original manuscript indicates that he wished to score the piece with horns, rather than trombones. However, the early horn was valveless, limiting it from producing certain notes; the minor key setting made it impossible to perform the work with horns.[2]
^Howie, Crawford (2008). "Small is beautiful: Schubert's smaller sacred works". In Reul, Barbara M.; Bodley, Lorraine Byrne (eds.). The Unknown Schubert. Ashgate Publishing. p. 69. ISBN9780754661924.