Ave maria gratia plena anton bruckner biography

  • History.
  • The Ave Maria is a supplication to the Virgin Mary, based on text from the story of the annunciation as told by Luke.
  • The 1861 Ave Maria is generally regarded as the first masterwork among his motets, and its premiere at Linz on May 15, 1861, in which he debuted in the joint.

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    Bruckner: Ave Maria

    Anton Bruckner

    The Ave Maria is a supplication to the Virgin Mary, based on text from the story of the annunciation as told by Luke. Bruckner wrote this seven-part setting in 1861. The first segment of Bruckner's setting contrasts the three-part women's choir and the four-part men's choir, which unite in the proclamation of the name of Jesus. The second segment is for all seven parts, with a particularly effective diminuendo as the choir asks for intervention for us sinners.

    Ave Maria gratia plena
    Dominus tecum,
    Benedicta tu in mulieribus,
    Et benedictis fructus ventris tui, Jesus.
    Sancta Maria, Mater Dei,
    Ora pro nobis peccatoribus,
    Nunc et in hora mortis nostrae. Amen.    		Hail Mary, full of grace,
    The Lord is with Thee.
    Blessed art Thou amongst women,
    And Blessed is the fruit of Thy womb, Jesus.
    Holy Mary, Mother of God,
    Pray for us sinners
    Now and in the hour of our death. Amen

    Words adapted from St Luke, Ch. 1:28 and 42

    The Angelic Salutation, Hail Mary, or Ave Maria, is a traditional biblical Catholic prayer asking for the intercession of the Virgin Mary. The Hail Mary is used extensively within the Catholic Church, and forms the basis of the Rosary. The prayer is also used by some Anglicans, as well as by many other groups within

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  • ave maria gratia plena anton bruckner biography

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    Ave Maria, WAB 5

    1856 motet composed by Anton Bruckner

    For two other settings of the same text by the composer, see Ave Maria, WAB 6 and Ave Maria, WAB 7.

    Ave Maria (Hail Mary), WAB 5, is a setting of the Latin prayer Ave Maria by Anton Bruckner.

    History

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    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]

    Music

    [edit]

    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 Sympho