Mr. Alessandro Ravi informed me about a new Stabat Mater, composed and performed by Raffaele Serra. Raffaele was born in 1948 and lives in Milan. Composer and sound researcher, he released more than 30 albums. In the early 70’s he started to experiment with Electronic Music based on analogue synthesizers, tapes and other devices. He composed music for theatre, dance and multimedia works. Complete discography here.
Raffaele Serra’s Stabat Mater is a music-based multimedia work, built on the first nine stanzas and the last stanza of the Vatican version of the text. The work has three movements. Every movement has three stanzas, exposed two times, except the third one where the 20th stanzas has been added as final.
Details:
Voice: Hannelore Gerschke
Equipment: Roland System 700, Hammond organ, Pakrashi harmonium, Moog Vocoder, syncussion, tapes and electronics. 
From Cd “STABAT MATER” (Beata Beatrix 001 SE)
Recorded at “HSK Studio”, Bremen – Autumn 2016
Mixed and produced by Alessandro Ravi
Special thanks to Willem van Tilburg for his friendly advice.
Listen on YouTube to the complete work:

Thanks, Mr. Alessandro for sending me the CD! I just added a webpage about Raffaele Serra to my site.

I just listened to the Stabat Mater by Craig Bloomfield and I loved it very much.  I like the intensity of the singers, of the choir as well of the soprano. C. Alistair Bloomfield was born in 1977 and he is of Jamaican nationality. The Stabat Mater was, however, composed in 1998 in Athens, Georgia (USA) and premiered the following year in 1999.  His Stabat was composed after the death of his mother and it was dedicated to her. Unfortunately there is no CD recording. Since 2000 Craigs Stabat is listed on the page Missing CDs. A few months ago I was in contact with him again and he let me know his Stabat Mater can be downloaded on Dropbox. I was very happy with his mail:

…I remember being contacted by Hans many years ago, indeed. I was so delighted to be listed.  It is very difficult for classical composers, regardless of merit, to get any real acknowledgement or performance opportunities due to the culture and nature of vocal performance today. Most works that are premiered must be self-financed, are commissioned, are performed by an ensemble created by the composer OR are a part of an academic execise (completion of a degree, for example).
As I fit into NONE of the above, I have rarely attempted to have my works performed (though I now have quite a few copyrighted and filed away.:)). This is why Hans’ work was so vital – not only to the Stabat Mater tradition, but also to the remembrance of composers everywhere. There is no worse thing for an artist than being forgotten. :(.
I do still compose. I had a premiere in April of this year (Super Flumina Babylonis – womens’ 6-voiced motet) and have three new works I am also hoping to have performed in the coming months.
I don’t have a professional recording, but you can download the recording from the DropBox link below. The performance wasn’t perfect. I had to create an ensemble of mostly amateur singers just to have the work premiered, but I am glad I did. 🙂
https://www.dropbox.com/s/twrgg3daqxkjs6m/01%20Stabat%20Mater.wma?dl=0
My deepest condolences, albeit it late, for your loss. He was a visionary in his own right and we composers of the Stabat Mater shall forever be in his debt…

Karl Aksel was so kind to inform and correct me about a Norwegian translation Hans found on the site of Eirik Sørborg. Hans did not know the author of the translation. Karl Aksel wrote to me:

…I noticed a translation from Eirik Sørborg’s now defunct site at www.viten.no, and you mention that you did not know who the author of the translation was. The translator is Ragnhild Foss, and it is a poetic translation rather than an accurate one. Moreover, the Latin is based on mixed verses from both the “analecta” as well as the “Vatican” versions. Specifically, verse 18 (inflammatus et accensus) is from the “analecta” version, whereas verse 19 (Christe, cum sit hinc exire) is from the Vatican version. This blend is from Knut Nystedt’s opus 111, for mixed choir and cello. Why it mixes from both versions, I couldn’t say. Of course, verse 18 can be translated in the same way regardless of version, but Nystedt’s score (where this particular translation is listed) mixes the versions as I have described.

Thank you very much, Karl