| Ave Maria | |
|---|---|
| Motet by Anton Bruckner | |
 The organ loft in the St. Florian Abbey | |
| Key | F major |
| Catalogue | WAB 5 |
| Form | Marian hymn |
| Text | Ave Maria |
| Language | Latin |
| Dedication | Ignaz Traumihler |
| Performed | 7 October 1856: Sankt Florian |
| Published | 1893: Innsbruck |
| Vocal | SATB choir - S and A soloists |
| Instrumental | organ and cello |
Ave Maria (Hail Mary), WAB 5, is a setting of the Latin prayer Ave Maria by Anton Bruckner.
Bruckner composed this motet on 24 July 1856, five years before his more famous motet, [1] as a present for the name-day of Ignaz Traumihler, choirmaster of St. Florian Abbey. The first performance occurred on 7 October 1856 for the Rosenkranzfest (Feast of the Holy Rosary) in Sankt Florian.
The original manuscript is lost, but the score dedicated to Traumihler is stored in the archive of the St. Florian Abbey. Copies are also stored in the Kremsmünster Abbey and the Österreichische Nationalbibliothek. [1] The motet was edited first by Johann Groß, Innsbruck in 1893. [1] It is put in volume XXI/19 of the Gesamtausgabe. [2]
The 52-bar long motet in F major is scored SATB choir and S and A soloists, organ and cello (continuo). It begins in Andante with a fugato. [3] The fugato is ending on bar 8 with the by Haas so-called Marien-Kadenz (cadence on the word "Maria"), which Bruckner will recall in the first movement of the Study Symphony in F minor [4] and in the Adagio of the later Symphony No. 3. [5] [6] On the next bar the alto soloist is singing "gratia plena" and on bar 13 the soprano soloist is going on with "benedicta tu". On bars 18-22 the score is slowing down to Adagio, during which the choir is singing three times "Jesus". Bruckner will repeat this three times "Jesus" in his next two settings of the Ave Maria. [1] The second part of the motet is sung by the choir (bars 23-52). The score, which goes back to Andante, begins with "Sancta Maria", sung in canon and ends with the beginning motif. [3]
The first recording of Bruckner's Ave Maria (WAB 5) was by Hubert Gunther with the Rheinische Singgemeinschaft in c. 1976 (LP: Garnet G 40 107). Farnberger's recording with the St. Florianer Sängerknaben, which was recorded in the St. Florian Abbey, provides the listener with a whiff of authenticity.
A selection of the about 10 recordings:
The recordings are mostly performed without cello. The score of the soloists is sometimes sung by the mating voices of choir.
The Requiem in D minor, WAB 39, is a Missa pro defunctis composed by Anton Bruckner in 1849.
The Magnificat, WAB 24 is a setting of the Magnificat for SATB choir and soloists, orchestra and organ composed by Anton Bruckner in 1852.
Bruckner's Psalm 22, WAB 34, is a setting of a German version of Psalm 23, which was psalm 22 in the Vulgata.
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.
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.
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.
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.
Libera me, WAB 21, is the first of two settings of the absoute Libera me, composed by Anton Bruckner in c. 1843.
Libera me, WAB 22, is the second of two settings of the absoute Libera me, composed by Anton Bruckner in 1854.
Tantum ergo, WAB 32, is the first of eight settings of the hymn Tantum ergo composed by Anton Bruckner in 1845.
The four Tantum ergo, WAB 41, are settings of the hymn Tantum ergo composed by Anton Bruckner in 1846.
Tantum ergo, WAB 42, is a setting of the hymn Tantum ergo composed by Anton Bruckner in 1846.
Tantum ergo, WAB 44, is the last of eight settings of the hymn Tantum ergo composed by Anton Bruckner in c. 1854.
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 Totenlieder, WAB 47/1 & 47/2, are elegies composed by Anton Bruckner in 1852.
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.
Pange lingua, WAB 33, is a sacred motet composed by Anton Bruckner in 1868. It is a setting of the Latin hymn Pange lingua for the celebration of Corpus Christi.
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