Ave Maria, WAB 7 (Bruckner)
| 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. 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).
The original manuscript is lost, but there are fair copies of it at the Österreichische Nationalbibliothek and the Abbey of Kremsmünster. The work was published in 1902 as an appendix to No. 13 of the Neue Musikzeitung, Stuttgart. 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. The motet is put in Band XXI/29 of the Gesamtausgabe.
The 81-bars, demanding work, scored in F major, requires a singer with a 2-octave broad tessitura.
Alike the two earlier settings of Ave Maria the name Jesus is sung thrice (bars 23-31). 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. 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).
...
Wikipedia