Ave Maria Op. 12 SSAA +
(orchestra +) piano or organ
Composer: Johannes Brahms (1833-1897), 1855
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Johannes |
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Brahms |
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1833 |
1897 |
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1855 |
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Op. 12 |
Ave Maria |
SSAA
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keyboard |
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X |
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Johannes |
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Brahms |
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1833 |
1897 |
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1862 |
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Op. 22-1 |
Der Englische Gruß |
SATB |
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| Lyrics: |
A-ve Ma-ri-a, Ma-ri-a!
gra-ti-a ple-na, Do-mi-nus te-cum,
A-ve Ma-ri-a, A-ve!
A-ve Ma-ri-a, Ma-ri-a!
gra-ti-a ple-na, Do-mi-nus te-cum,
A-ve Ma-ri-a, A-ve!
be-ne-di-cta tu,
be-ne-di-cta tu in mu-li-e-ri-bus,
et be-ne-di-ctus fru-ctus ven-tris tu-i, Je-sus, |
play/stop MIDI:
San-cta Ma-ri-a, San-cta Ma-ri-a,
San-cta Ma-ri-a,
o-ra, o-ra pro no-bis,
o-ra, o-ra, o-ra, o-ra,
o-ra pro no-bis,
o-ra, o-ra pro no-bis. |
| Recordings: |
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| Scores: |
also available on
www.cpdl.org and IMSLP |
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Cyclopedia of music
& musicians, Volume 1
John Denison Champlin, William Foster Apthorp - Scribner, 1893 |
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BRAHMS JOHANNES born in Hamburg Germany May 7 1833 still
living 1888 His musical education begun under his father who was a musician
was continued under Marxsen of Altona In 1853 he met at Dtlsseldorf S chu
mann who entertained the very highest hopes of him and published an
enthusiastic article on him in the Neue Zeitschrift filr Musik But for
several years after this Brahms seemed rather to belie Schumann's prophecies
and Schumann himself in his later years expressed himself as much
disappointed in him Brahms remained in Hamburg until 1861 studying hard and
publishing a good deal His reputation was beginning to establish itself but
it was hardly brilliant .../... |
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A
biographical dictionary of musicians (ed. Theodore Baker) G.
Schirmer, 1905 - 695 pages |
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Brahms, Johannes: composer was born in Hamburg May 7
1833 he died in Vienna Apr 3 1897 His father a double bass player in the
Hamburg City Theatre was his first teacher but his chief instructor was
Marxsen of Altona At 14 he made his pianistic debut |
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at Hamburg playing variations of his own on a folk song In
1S53 lie made a concert tour with Remenyi At Gcit tingen he was heard by
Joachim who sent him to Schumann On him B s talent made so profound an
impression that he published ar enthusiastic article Neue Bahnen New Paths
in the Neue Zeitschrift fur Musik hailing B as the coming hero among
composers However a number of compositions among them the three pf sonatas
and three books of songs publ at Schumann's instigation failed of popular
appreciation B now served for a time as conductor of the Prince of I ippe
Detmold's orchestra the years 185S 62 he spent in diligent study at Hamburg
Although R from the outset confronted the public to employ Schumann's dictum
fully equipped as Minerva sprang from the brain of Jupiter his earlier
compositions show a preponderance of technical learning they follow classic
models and do not bear the stamp of individuality But in the Serenades for
orchestra 1S60 1 he already relegates theoretical science to its proper
position as a means to an end In I S62 he went to Vienna and acted as
conductor of the Singakademii in 1S63 4 from 1S64 9 he lived in various
towns Hamburg Zurich Baden Baden etc and also made concert tours rewarded by
ever growing artistic and pecuniary success with his friend Stockhausen in
1S69 ip returned to Vienna From 187 1 4 he conducted the grand orchestral
coi cert of the Gesellschaft der Musikfreunde when Iler beck assumed this
function B again left Vienna and lived for a time near Heidelberg but came
back in 1878 and thenceforward made Vienna his home In 1877 Cambridge
University tendered him the degree of Mus Doc but he ignored the offer
accepting however the degree of Dr p iil from Breslau in 1881 expressing his
acknowledgment of the honor in the Akademische Festouverti ire In 1886 he
was created a knight of the Prussian Or J re pour le m ri e with voting
privilege and elected a member of the Berlin Acad of Arts In 1889 he was
presented with the freedom of his native city His compositions during the
first few years in Vienna were chiefly in the genre of chamber music which
no other latter day com x ser has so enriched the string sextet piano
quintet and the first three piano quartets were written at this time He also
composed several sacred works among them the German Requiem op 45 the first
3 choruses of which were given in Vienna in 18 17 and the entire work
produced in the Bremen cathedral in April |
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180S I Ic left his mark on every branch of composition
except opera he frankly admitted that he knew nothing about the theatre
Nevertheless the idea of writing an opera was not wholly strange to his mind
c Widmann JB in Erinnerungen B was put forward by Hanslick and other critics
and musicians opposed to Wagnerian tendencies as the modern champion of
absolute music There is however reason to believe that 15 himself was not
hostile to Wagner he was a close student of Wagner's scores and highly
valued several Wagner autographs in his possession he even on Hanslicks
authority defended Wagner against hostile criticism Apparently the
controversy was neither of his nor of Wagner's seeking but it led to the
latter's sarcastic remark Brahms is a composer whose importance lies in not
wishing to create any striking effect However though a conservator of
established forms 15 was a thoroughly modern musician a master not a slave
of form who did not hesitate to deviate from conventional lines when it
suited his artistic purpose Since Robert Schumann penned his fervent
greeting to the twenty year old Brahms the musical world had naturally
watched the growth of the composer with the liveliest interest and likewise
with the keenest critical scrutiny The very manner of his introduction to
the public was like a challenge calculated to arouse latent opposition and
to whet active criticism And hardly any modern musician save Wagner has been
the object of so much hostility and animadversion as Brahms Did he in fact
fulfil the confident and impassioned predictions of his earliest champion
Ves and no I His life work proved a disappointment to many once ardent
admirers Liszt hearing 15 play his scherzo in E minor mistakenly welcomed
him as an apostle of extreme romanticism And the young Brahms Brahms the
pianist the youth full of fire and flame might well have been expected
boldly to explore untravelled paths leading to a new Olympus Instead of this
he chose unmoved by praise or blame to be a I standard bearer of the
traditions of a glorious past The new paths which he trod were hardly those
which Schumann so fondly anticipated Austerely resisting the blandishments
of the Muse of Programs he stepped aside the throng to worship at the shrine
of Absolute Music 15 is an idealist of the highest and purest type The fine
fibre of his musicianly feeling vibrates in his humblest song as in his
proudest sym phonic movement In the ease of his larger tone pictures the ear
is sometimes wearied it is true while seeking to follow the clue to his
meaning through mazes of labyrinthine intri cacy and the difficulty is
increased it must be confessed by the peculiarities of an instrumentation to
which the undignified epithet muddy has been applied and which contrasted
with the glowing scintillating flashing kaleidoscopic orchestral color of
many of his contemporaries in climax to afford full pleasure It is by his
contemporaries |
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shows dull and monotonous But this is the worst that can be
urged against Brahms the composer and given a conductor like Billow wholly
in sympathy with the work and of an analytic turn of mind passages which
under other hands seemed like interminable dreary wastes are made to blossom
like the rose In his treatment of thematic rhythms I is a lineal successor
of Beethoven in many of his songs one would say that Schubert lives again
but a Schubert whose intense spontaneity is controlled by a subtler feeling
for formal finish Schubert Schumann Franz and Brahms are the four Ugreat
figures in the history of the Lied Brahms powerful individuality reaches the
very heart of the poem the mood in which the poet conceived it and reflects
it in the vocal melody this vocal melody is so closely interknit with the
piano accompaniment that both flow on togetiier in one broad deep current of
song The most important of his song groups is the setting of the romances
from Heck's Magelone but his best known and in many ways most beautiful song
is Wie bist du meinc Konigin op 32 His songs part songs and chamber music
much of the piano music and several of the choral works notably the German
Requiem the Triumphlied and the Schicksalslied enjoy real and undisputed
popularity his four symphonies especially Nos 1 and 4 and the two piano
concertos are not so unreservedly admired The tale of his published works
reaches nearly 130 He was a model of unremitting patient industry lie
labored for example over ten years off and on upon his first symphony which
created a profound sensation when produced in 1876 his fame had already been
established however by his German Requiem 1&6S Brahms the pianist was in his
youth a bril I liant and versatile player of peculiar note in 1 Bach and
other classics At the age of 20 having to play the Kreutzer Sonata at a
concert with Kemenyi the piano was discovered to be a semitone below concert
pitch there being no time to retune it B playing without notes transposed
his part a semitone higher throughout from A to Bt as Beethoven transposed
his own concerto in C to C at a rehearsal But in the early 70's his playing
had lost its former charm though still masterly in feeling and intent it was
too insecure in technique and weak compositions that posterity will judge
him and its verdict will probably be that he was the grandest most virile
and most original sym phonist and master of the lesser forms in the litter
half of the 19th century Biograpiiica H Reimann JB Berlin H Deiters JB eine
Charakteristik Leipzig 1880 Part II 1898 Engl transl w Supplement London
1888 li Vogel Johannes Brahms Leipzig Widmann JB in Erinnerungen Berlin 1898
A Dietrich Erinnerungen an JB Leipzig |
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1898) there is an interesting 95 page sketch of li by JA
Fuller Maitland in Masters of German Music New York 1S96 Compositions
exclusive of Songs for one voice with pf Op 1 sonata for pf in C 2 sonata
for pf in 1 JJ min 4 scherzo for pf in Eb min 5 sonata for pf in F min 8
trio in B f pf vln and cello 9 variations for pf on a theme by Schumann 10 4
ballads for pf 11 serenade for full orch in 1 12 Ave Maria for female ch and
orch or organ 13 funeral hymn for chorus and wind 15 pf concerto in I min 16
serenade for small orch in A 17 4 songs for female ch 2 horns and harp 18
sextet No I in Bb for strings 20 3 duets for S and A with pf 21 variations
for pf in 1 1 on original theme 2 on a Hungarian melody 22 7 A arienlieder
for mixed ch in 2 parts 23 variations for pf 4 hands on theme by Schumann 24
variations anil fugue for pf on theme by Handel 25 pf quartet No I in G min
26 pf quartet No 2 in A 27 l salm xxiii for women's voices with org or pf 28
4 duets for alto and bar w pf 29 2 motets for 5 voices 30 Sacred Song Paul
Hemming f 4 voices mixed ch and org 31 3 quartets for S A T and B w pf 34 pf
quintet in F min 34a sonata for pf 4 hands arr from op 34 35 28 variations
Studien for pf 36 sextet No 2 in G for strings 37 3 sacred choruses for
female voices 38 sonata in E min for pf and cello 39 16 waltzes for pf 4
hands 40 trio in Eb for pf vln and horn or cello 41 5 part songs for 4 men's
voices 42 3 songs for 6 p ch a cappella 44 12 songs and romances for female
chorus a cappella 45 German Requiem soli chorus and orchestra 50 Rinaldo
cantata Goethe f ten solo male ch and orch 51 2 string quartets C min and A
min 52 I iebeslieder waltzes for pf and 4 voices 53 Rhapsodic from Goethe's
1 arzrcise for alto solo male ch and orch 54 Schicksalslied Song of Destiny
F Holderlin f ch and orch 55 Triumphlied Revelations chap xix f 8 p ch and
orch 56 variations f orch on a theme by Haydn 60 pf quartet No 3 in C min 61
4 duets for S and A 62 7 songs for mixed ch 64 3 vocal quartets with pf 65
Neue Liebeslieder waltzes for 4 vcs and pf 66 5 ducts S and A 67 string
quartet No 3 in Bb 6S symphony No 1 C min 73 sym 75 4 ballads and romances f
2 vcs w pf 76 8 piano pieces 77 violin concerto in L 78 sonata for pf and
vln in G 79 2 Rhapsodies for pf B min and G min 80 Akndcmischc
Festouvertlire f orch Si Tragische Ouvertiire f orch 82 A aitie Schiller f
ch and orch 83 pf concerto No 2 in Bb 84 5 romances and songs f I or 2
voices 87 pf trio in C 88 string quintet in F 89 Gesang der Parzen Goethe
for 6 part ch and orch 90 symphony No 3 in F 91 2 songs for alto w viola and
pf g2 4 vocal quartets with pf |
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93a songs and romances f 4 part mixed ch 93b Tafellicd for 4
part mixed ch ijS symphony No 4 in E min 99 sonata No 2 in K f cello and pf
100 sonata No 2 in A f vln and pf 101 pf trio in C min 102 concerto in C f
vln and cello 103 8 Zi geunerlieder for 4 voices w pf 104 5 songs f mixed ch
108 sonata No 3 in D min f vln and pf 109 Deutsche Kest und Ge denksprtlche
f double ch 110 3 motets f 4 and 8 voices in string quintet No 2 in G 112
Zigeunerlieder f 4 voices w pf accomp 113 13 canons f female voices w pf
accomp 114 trio in A min for pf clar and cello 115 quintet in 1 min for clar
and strings 116 Fantasien f pf 117 3 Intermezzi f pf 118 6 Clavicrstucke
Intermezzi in A min A F min and E min Ballades Romanze 119 4 Clavierstlicke
Intermezzi in li min E min and C Rhapsodic 120 2 sonatas f clar or via and
pf op 121 Vier crnste Gesange f bass w pf Brahms songs for one voice with
piano accompaniment are published in sets varying in number as op 3 6 7 14
19 32 33 from Tieck's Magelone 43 46 47 48 49 57 58 59 63 69 70 71 72 84 85
86 91 94 95 96 97 105 106 107 121 Krnste Gesange his last published work
Without Opus numbers Hungarian Dances for orchestra duck's Gavotte for pf
solo Studies forpf solo 1 Etude after Chopin 2 Rondo after Weber 15
Volkskinder liedchen Mondnac it song for I voice w pf Prelude and fugue in A
min and fugue in A min f organ |
Page last modified:
April 24, 2013
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