| Ave Maria | |
|---|---|
| Motet by Anton Bruckner | |
 | |
| Key | F major |
| Catalogue | WAB 7 |
| Form | Marian hymn |
| Text | Ave Maria |
| Language | Latin |
| Composed | 5 February 1882: Vienna |
| Dedication | Luise Hochleitner |
| Performed | 5 February 1903: Vienna |
| Published | 1902: Stuttgart |
| Vocal | Alto soloist |
| Instrumental | Organ, piano or harmonium |
Ave Maria (Hail Mary), WAB 7, is a setting of the Latin prayer Ave Maria by Anton Bruckner.
When staying in Wels during the summer of 1881 Bruckner met Luise Hochleitner, a singer with a beautiful alto voice. [1] Bruckner promised to dedicate to her an Ave Maria. The work, which was composed on 5 February 1882, —almost 20 years after his more famous motet— is for alto (or baritone) solo voice and keyboard (organ, piano or harmonium). [2]
The original manuscript is lost, but there are fair copies of it at the Österreichische Nationalbibliothek and the Abbey of Kremsmünster. [3] The work was published in 1902 as an appendix to No. 13 of the Neue Musikzeitung, Stuttgart. [4] The first public performance occurred during a concert of the Wiener Akademischer Wagner-Verein on 5 February 1903 by Gisella Seehofer, who then also premiered Bruckner's Wie bist du, Frühling, gut und treu and Im April. [5] The motet is put in Band XXI/29 of the Gesamtausgabe. [6]
The 81-bar demanding work, scored in F major, requires a singer with a two-octave broad tessitura.
Like the two earlier settings of Ave Maria, the name Jesus is sung thrice (bars 23–31). [4] It is followed by an instrumental interlude (bars 32–38) and goes then on with the second part (Sancta Maria), which quotes the 20-year earlier setting. [4] Thereafter (bars 53–58) Nunc et in hora mortis nostrae is sung pianissimo in unison. After a repeat of Sancta Maria, it is ending by a two-octave descending arpeggio on Amen (from F5 to F3) and a short instrumental postlude (bars 76–81).
The first recording was:
In the majority of the about 20 recordings the singer is skipping the lower octave of the Amen. A selection among the few recordings, in which the singer is doing it faithfully:
Ecce sacerdos magnus, WAB 13, is an 1885 sacred motet by the Austrian composer Anton Bruckner. It is a musical setting of the antiphon of the same title.
Virga Jesse, WAB 52, is a motet by the Austrian composer Anton Bruckner. It sets the gradual Virga Jesse floruit for unaccompanied mixed choir.
Vexilla regis, WAB 51, is the final motet written by the Austrian composer Anton Bruckner.
Tota pulchra es, WAB 46, is a sacred motet by the Austrian composer Anton Bruckner.
Ave Maria, WAB 6, is a sacred motet by Anton Bruckner, a setting of the Latin prayer Ave Maria. He composed it in Linz in 1861 and scored the short work in F major for seven unaccompanied voices. The piece, sometimes named an Offertorium, was published in Vienna in 1867. Before, Bruckner composed the same prayer in 1856 for soprano, alto, a four-part mixed choir, organ and cello, WAB 5. Later, he set the text in 1882 for a solo voice (alto) and keyboard, WAB 7.
Ave Maria, WAB 5, is a setting of the Latin prayer Ave Maria by Anton Bruckner.
Christus factus est, WAB 11, is a sacred motet by Anton Bruckner, his third setting of the Latin gradual Christus factus est, composed in 1884. Before, Bruckner composed in 1844 a first piece on the same text as gradual of the Messe für den Gründonnerstag, and in 1873 a motet for eight-part mixed choir, three trombones, and string instruments ad libitum. The motet is an expressive setting of the gradual, influenced by Wagner's music.
Christus factus est, WAB 10, is a sacred motet by Anton Bruckner, his second setting of the Latin gradual Christus factus est, written in 1873. Several decades earlier, in 1844, he had composed another piece on the same text as gradual for the Messe für den Gründonnerstag. In 1884, Bruckner composed a third, better known setting for choir a cappella.
Os justi, WAB 30, is a sacred motet composed by Anton Bruckner in 1879. Os Justi is a Gregorian chant used as gradual of the Commune Doctorum, and as introit I and gradual II of the Commune Confessoris non Pontificis.
Pange lingua, WAB 31, is a sacred motet composed by Anton Bruckner in c. 1835. It is a setting of the first strophe of the Latin hymn Pange lingua for the celebration of Corpus Christi.
Asperges me, WAB 4, is a sacred motet composed by Anton Bruckner. It is a setting of the Latin Asperges me, the antiphon used for the celebration of Asperges.
Libera me, WAB 21, is the first of two settings of the absoute Libera me, composed by Anton Bruckner in c. 1843.
Tantum ergo, WAB 42, is a setting of the hymn Tantum ergo composed by Anton Bruckner in 1846.
Herz Jesu-Lied, WAB 144, is the second of two motets of Anton Bruckner's St. Florian period, which is of uncertain authorship. If Bruckner was the composer, it was composed presumably in 1845-1846.
The Two Aequali, WAB 114 & WAB 149, were composed by Anton Bruckner in 1847.
Salvum fac populum tuum, WAB 40, is a motet composed by Anton Bruckner in 1884.
Ave Regina caelorum, WAB 8, is a motet composed by Anton Bruckner in c. 1886.
Veni Creator Spiritus, WAB 50, is a motet composed by Anton Bruckner in c. 1884.
Inveni David, WAB 19, is a sacred motet composed by Anton Bruckner in 1868.
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