Allori, Pietro - Ave Maria - AP0517

for SCT a cappella

year of composition / 1st publication: s.a.

		Composer: Pietro Allori (1925-1985) aliases, aka: Pedru Allori Country of origin / activity: Italy / Sardinia
		Text author: traditional
		Arranger / Editor: N/A

First name	Last name	Birth	Death	comp	ID #	Title	Voicing	Instrumentation
Pietro	Allori	1925	1985	1980	AP0380	Ave Maria	sopr. solo	organ
Pietro	Allori	1925	1985	1983	AP0515	Ave Maria	SSA or TTB	a cappella
Pietro	Allori	1925	1985	1983	AP0516	Ave Maria	SCBr	a cappella
Pietro	Allori	1925	1985	1983	AP0517	Ave Maria	SCT	a cappella
Pietro	Allori	1925	1985	1984	AP0529	Ave Maria	SCTB	a cappella
Pietro	Allori	1925	1985	1984	AP0624	Ave Maria	SCBr	a cappella
Pietro	Allori	1925	1985	1984	AP0628	Ave Maria	SCTB	a cappella

Available documentation:

Score:

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Lyrics: (source)

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MIDI: not available

MP3: not available

Recording:

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CD:

Video - posted on YouTube:

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Internet references, biography information:

http://www.stabatmater.info/allori.html

Pietro Allori was born in 1925 in Gonnesa, a small village on the isle of Sardinia, Italy. He entered the clergy in 1951 and became choir master and canon of the cathedral in the nearby town of Iglesias, where he remained the rest of his life until his death in 1985. From early age he devoted himself to the study of music and this was the only reason that he left the island for some time, in order to study at the conservatories in Florence and Milan. In his compositions Allori stays close to the Gregorian chant. He was strongly influenced by his homeland, especially the folk music. Sardinia is one of the places where the village people keep up a tradition of a kind of Passion plays, in which very old melodies are used to recite liturgical texts, see Anonymus (Sardinia).

http://www.classical-composers.org/comp/allori

Don Pietro Allori was Chapel Master and an organist for thirty years at Igleasias’s (Cagliari, Sardegnia) cathedral. His musical education started with the thorough study of the Gregorian Chant and Palestrina’s polyphony, and also included Bach’s chorals. This educational path was inserted with a further element belonging to his own composer’s delicacy: the awesomeness of the Sardegnian traditional music. He composed 27 Masses and a great number of motets and antiphons. His instrumental production for organ, piano and guitar holds a very remarkable importance. Within his choral production the two versions of “Sette Parole di Nostro Signore Gesù Cristo in Croce” (“Seven Words of Our Lord Jesus Christ on the Cross”) (1980 and 1983) and the liturgical song collections composed between 1981 and 1984 deserve particular consideration. The last 100 songs have been composed for the commemoration of the seventh centenary of consecration of Iglesias’s Cathedral. (Contribution by Daniela Bilancetti .)

Page last modified: November 16, 2013