| Ave Maria | |
|---|---|
| MotetbyAnton Bruckner | |
The organ loft in the old Linz Cathedral
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| Key | F major |
| Catalogue | WAB6 |
| Form | Marian hymn |
| Text | Ave Maria |
| Language | Latin |
| Performed | 12 May 1861 (1861-05-12): Linz |
| Published | 1867 (1867): Vienna |
| Scoring | SAATTBB choir |
| Audio sample | |
Ave Maria, performed by United States Navy Band's Sea Chanters ensemble
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Ave Maria (Hail Mary),[1] WAB 6, is a sacred motetbyAnton 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 (Luke 1:28)[3] and on the Visitation, when Elisabeth paraphrased the greeting (Luke 1:42). 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:
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| Antiphons |
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| in Latin |
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