Agostini, Ludovici - Ave mundi spes Maria

for {voicing} and {Instrumentation} unknown

year of composition / 1st publication: 1527

		Composer: Ludovici Agostini (1534-1590) Country of origin / activity: Italy
		Text author: traditional
		Arranger / Editor: N/A

PDF	MIDI	First name	Last name	Birth	Death	comp	Title	Voicing	Instrumentation
0	0	Giuseppe	Agostini	1890	1971		Ave Maria	soprano	piano or orchestra
1	1	Giuseppe	Agostini	1930			Ave Maria Praeraphaëlita	SATB	a cappella
0	0	Lodovico	Agostini	1534	1590	1572	Ave mundi spes Maria

Available documentation:

Score:

not available

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Lyrics: (source) This is the text of the prayer. It is unknown in how far the song adheres to this text.

Latin text

English translation

Ave mundi spes Maria,
ave mitis, ave pia, ave plena gratia.
Ave virgo singularis,
quć per rubum designaris non passus incendia.
Ave rosa speciosa, ave Jesse virgula:
Cujus fructus nostri luctus relaxavit vincula.

Ave cujus viscera contra mortis foedera ediderunt filium.
Ave carens simili, mundo diu flebili reparasti gaudium.
Ave virginum lucerna,
per quam fulsit lux superna his quos umbra tenuit.

Ave virgo de qua nasci,
et de cujus lacte pasci res cćlorum voluit.
Ave gemma coeli luminarium.
Ave Sancti Spiritus sacrarium.

Oh, quam mirabilis, et quam laudabilis hćc est virginitas!
In qua per spiritum facta paraclitum fulsit foecunditas.

Oh, quam sancta, quam serena, quam benigna,
quam amoena esse virgo creditur!
Per quam servitus finitur,
posta coeli aperitur, et libertas redditur.

Oh, castitatis lilium, tuum precare filium, qui salus est humilium:
Ne nos pro nostro vitio, in flebili judicio subjiciat supplicio.
Sed nos tua sancta prece mundans
a peccati fćce collocet in lucis domo.

Amen dicat omnis homo.

Hail, hope of the world, Mary,
hail, meek one, hail, loving one, hail, full of grace.
Hail O singular virgin,
who wast chosen to not suffer flames through brambles.
Hail, beautiful rose, hail, staff of Jesse:
Whose fruit loosened the chains of our weeping

Hail whose womb bore a son against the law of death.
Hail, O one lacking comparison, still tearfully renewing joy for the world
Hail, lamp of virgins,
through whom the heavenly light shone on these whom shadow holds.

Hail, O virgin from whom a thing of heaven wished to be born,
and from whose milk feed.
Hail, gem of the lamps of heaven
Hail, sanctuary of the Holy Ghost

O, how wonderful, and how praiseworthy is this virginity!
In whom, made through the spirit, the paraclete, shone fruitfulness.

O how holy, how serene, how kind,
how pleasant the virgin is believed to be!
Through whom slavery is finished,
a place of heaven is opened, and liberty is returned.

O, lily of chastity, pray to thy son, who is the salvation of the humble:
Lest we through our fault, in the tearful judgment suffer punishment.
But may she, by her holy prayer,
purifying from the dregs of sin, place us in a home of light

Amen let every man say.

MIDI: not available

MP3: not available

Recording:

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Video - posted on YouTube:

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If you or your choir perform this Ave Maria, make a video recording. Post your video on YouTube, email me the page URL and I'll embed the video in this page.

Internet references, biography information:

http://books.google.com/books?id=8JpztukNakUC

Ave mundi spes Maria, Canones, et echo sex vocibus Ludovici Augustinii Ferrarie: eieusdem dialogi. (1572)
referenced in: Canons and canonic techniques, 14th-16th centuries: Theory, Practice, and Reception History ; Proceedings of the International Conference, Leuven, 4-6 October 2005 By Katelijne Schiltz, Bonnie J. Blackburn (2007)

source page

‘AL GIOCO SI CONOSCE IL GALANTUOMO’: ARTIFICE, HUMOUR AND PLAY IN THE ENIGMI MUSICALI OF DON LODOVICO AGOSTINI.

In 1571 and 1581, the Ferrarese cleric-musician Don Lodovico Agostini published two books each containing, amongst other pieces, a group of madrigals cryptically notated as musical puzzles, advertised as enigmi musicali on their title pages. The enigmi are aptly named; no doubt the composer would have delighted in the doppio senso, or double entendre, inherent in the term, for they are musical riddles in both a formal and a metaphorical sense. Their content and their very existence in print pose an intriguing array of questions beyond the obvious enquiries regarding the identifying characteristics of the genre and the identity of their composer. Certainly, the enigmi musicali invite speculation about the nature of music as a pastime in late sixteenth-century courtly Italy. Agostini's enigmi musicali are secular, polyphonic vocal works, but they cannot be classed simply as madrigals, nor are they representative of so-called lighter genres of villanelle or canzonette. They exist somewhere on the fringe of the repertoire, with a specific character that reaches in towards the (to us) more familiar forms of Italian secular music, but that also reaches out to and overlaps with other spheres of play and philosophical engagement. So where may the enigmi be placed within the wider compass of early modern social recreation, and what factors might have motivated their composition and their use? Furthermore, if we accept them as evidence of some sort of collective diversion, how are they intended to amuse – are they humorous or cerebral, or both?

http://en.wikipedia.org/wiki/Lodovico_Agostini

From Wikipedia, the free encyclopedia
Lodovico Agostini (1534 – September 20, 1590) was an Italian composer, singer, priest, and scholar of the late Renaissance. He was a close associate of the Ferrara Estense court, and one of the most skilled representatives of the progressive secular style which developed there at the end of the 16th century.

Life
He was born in Ferrara, and spent most of his life there. He was the illegitimate son of Agostino Agostini, a singer and priest of Ferrara mostly active in the 1540s. Lodovico may have studied for a time in Rome, based on the evidence of a madrigal published there, and he became a priest. By 1572 he was singing in the chapel of Ferrara Cathedral, and by 1578 he was on the payroll of Duke Alfonso II d'Este, one of the most famous patrons of music of the late 16th century. Clearly Lodovico was a favorite of the Duke, and he remained in his service for the rest of his life. In the 1580s he was a composition teacher to the Duke of Mantua, Guglielmo Gonzaga; Agostini dedicated a book of madrigals to him. Gonzaga went on to become a composer of madrigals himself, and in addition was a close associate of Palestrina. Agostini was on good terms with many members of the aristocracy, as well as the famous poets Tasso and Guarini, and other musicians at the court, including Luzzasco Luzzaschi, the most famous of the Ferrarese madrigalists. While retaining his association with the intensely secular Estense court, he also had a distinguished ecclesiastical career, eventually becoming a Monsignore and an apostolic prothonotary.

Music and influence
Ferrara, in the 1580s and 1590s, was one of the most musically advanced and sophisticated places in Europe. Under the patronage of Duke Alfonso II d'Este the court developed into a place of musical experimentation, with a group of virtuoso female singers (the concerto di donne) available to an equally virtuoso group of composers, who included Luzzaschi, Agostini, and in the 1590s, Carlo Gesualdo. They all wrote music for the enjoyment of a small group of connoisseurs, including the Duke himself. In this rarefied atmosphere an avant-garde style of music flourished, and Agostini was one of the most musically daring of the group. In some ways the scene at Ferrara was reminiscent of the activity at Avignon in the late 14th century, which produced a musical style known as the ars subtilior; indeed the Ferrarese scene is reminiscent of certain 20th and 21st century movements. Agostini was fond of musical enigmas, puzzles, surprise and double-entendre, and his many musical collections display this. Enigmi musicali and L'echo, et enigmi musicali are canons to be solved by riddles,[1] full of unusual chromatic progressions, instrumental interpolations, and other musical curiosities. Some of his books of madrigals are written in a virtuoso singing style obviously intended for the three current members of the concerto di donne (Laura Peverara, Anna Guarini, and Livia d'Arco). His third book of madrigals, for six voices (1582), appears to be the earliest collection of the actual repertory of this ensemble. Agostini was also a composer of accompanied solo song; since many of the performers at the court were instrumentalists in addition to singers (for example Livia d'Arco was a virtuoso player of the viol) he wrote for both lute and viol as accompaniment to solo singers. While no liturgical music by Agostini has survived (none may have been written), one of his last compositions is Le lagrime del peccatore, a setting of poems by Luigi Tansillo, as a set of madrigali spirituali; it is similar in intent, if not in musical means, to the set Lagrime di San Pietro by Orlando di Lasso, also based on poems by Tansillo. Agostini died in 1590, and in 1598 Alfonso died and Ferrara was absorbed into the Papal States, effectively ending the musical experimentation there.[2][3]

Page last modified: November 16, 2013