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At the height of biblical history, the tears of the virgin at the foot of the cross took shape in a medieval text of Jacopone da Todi. Since then, it has been set to music by almost four hundred composers, and the versions of Pergolesi or Vivaldi have become essential to the repertoire. Perhaps their success has somewhat obscured the earlier versions: indeed, the 17th century is full of poignant music by Stabat Mater, some of which are signed by composers worthy of the greatest interest. Scherzi Musicali proposes to rediscover different Stabat Mater of the seicento, in a dialogue between sublimated polyphony and recitar cantando torn accompanied by an ample and colorful continuo.