Ave Maria | |
---|---|
Motet by Anton Bruckner | |
Key | F major |
Catalogue | WAB 6 |
Form | Marian hymn |
Text | Ave Maria |
Language | Latin |
Performed | 12 May 1861 : Linz |
Published | 1867 Vienna : |
Scoring | SAATTBB choir |
Audio sample | |
Ave Maria, performed by United States Navy Band's Sea Chanters ensemble |
Ave Maria (Hail Mary), [1] 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 (organ, piano or harmonium), WAB 7.
Bruckner composed the motet, also known as Ave Maria II, in 1861. He did this after completing five years of studies with Simon Sechter. [2] [3] The motet was first performed on 12 May 1861 as Offertorium of a mass in the Linz Cathedral (now the Old Cathedral). [4] Bruckner was their organist and was also from 1860 director of the Liedertafel (choral society) "Frohsinn" [5] [6] who performed the motet to celebrate the anniversary of its founding. [7] Bruckner wrote in a letter about the reception in a letter dated 3 October 1861: "I was, in the end, splendidly applauded by my choir—twice." [3]
The manuscript is lost, but copies are found in the archive of the Österreichische Nationalbibliothek and the Abbey of Sankt Florian. [8] The piece, sometimes named an Offertorium, was published together with Tota pulchra es by Emil Wetzler in Vienna in 1867. [4] It is put in Band XXI/20 of the Gesamtausgabe. [9]
Bruckner set the prayer in F major and scored it for seven unaccompanied voices SAATTBB. It takes about 4 minutes to perform. [3] The first section of the 51-bar long Ave Maria is based on the Annunciation, the greeting of Gabriel the Archangel to Mary (Luke1:28) [3] and on the Visitation, when Elisabeth paraphrased the greeting (Luke1:42). The upper voices begin, while (bar 10) the lower voices respond with "et benedictus ...". [7] All voices united proclaim the name "Jesus" three times in growing intensity (bars 15-20). [7] The second part is for all voices. It begins in canon on "Sancta Maria", and evolves diminuendo with a point d'orgue on bar 30 ("ora pro nobis"), when Mary is asked to "pray for us sinners". [1] [2] [10] Bruckner applies his understanding of older styles to express his personal faith with simplicity but "Romantic sensibility of expression". [7]
James Liu notes about Bruckner's motets in general:
They express his devout Roman Catholic beliefs, using the modal chords and long, Gregorian chant-like lines of the Renaissance masters. But the harmonic shifts and compositional techniques display a clearly Romantic sensibility, and the blocks of contrasting sound display Bruckner's roots as an organ improviser. [2]
The first recording of Bruckner's Ave Maria occurred in the early 1920s:
A selection among the about 150 commercial recordings:
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.
Afferentur regi, WAB 1, is a motet, which Anton Bruckner composed on 7 November 1861 on the text of the Offertorium of the Missa pro Virgine et Martyre.
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.
Locus iste, WAB 23, is a sacred motet composed by Anton Bruckner in 1869. The text is the Latin gradual Locus iste for the annual celebration of a church's dedication. The incipit, Locus iste a Deo factus est, translates to "This place was made by God". Bruckner set it for four unaccompanied voices, intended for the dedication of the Votivkapelle at the New Cathedral in Linz, Austria, where Bruckner had been a cathedral organist. It was the first motet that Bruckner composed in Vienna. It was published in 1886, together with three other gradual motets.
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.
In jener letzten der Nächte, WAB 17, is a motet composed by Anton Bruckner.
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.
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.
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.
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.
Inveni David, WAB 19, is a sacred motet composed by Anton Bruckner in 1868.
Du bist wie eine Blume, WAB 64, is a song, which Anton Bruckner composed in 1861.