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Ave Maria SATB chorus + acc. in Op.62 "The legend of Don Munio"

Composer: Dudley Buck (1839-1909), 1874

(USA)

AveWiki link

Dudley

Buck

1839

1909

1874

op. 62

Ave Maria

SATB

piano

GoogleBooks The legend of Don Munio: Part1 No.4

Dudley

Buck

1839

1909

1895c

Op.67/1

Ave Maria

solo high voice

in 1895 + 1910

Op.62 "The legend of Don Munio" is available online through GoogleBooks

Recording: not available
Lyrics: (S)
A-_ ve Ma-ri-a, full of grace, Mo-_ ther of sor-rows, bow thine ear, With-hold _ not thou _ _ thy kind-ly face. Our sup-pli-ca-tions deign to hear, A-_ _ _ _ _ _ _ _ ve, A-ve Ma-ri-_ a. Be-ne-dic-ta, bles-sed Maid, Cho-sen of wo-men, fair and pure, Sup-port our hearts when sore dis-mayed, Let not the world our souls al-lure. A-_ ve, A-_ _ ve Ma-ri-_ a.	Et be-ne-dic-_ tus! _ won-drous birth of Christ, our Lord, of vir-gin pure, Through Him, sal-ca-tion came to earth, thro' thee, His aid is ev-er sure. A-_ _ _ _ _ _ _ _ ve, A-ve Ma-ri-_ a. When the hour of death shall come, Our troub-les past, O pray for us, that by the pow-er of grace, we may be saved at last _ O-_ ra! O-_ _ ra pro no-bis pec-ca-to-ri-bus, O-_ ra! O-_ ra pro no-_ bis. O-_ ra pro no-bis, _ pec-_ ca-to-ri-bus, pec-ca-to-ri-bus, pec-ca-to-ri-bus. O-ra! O-_ ra!


Score: (9pp.)

A biographical dictionary of musicians (ed. Theodore Baker)
G. Schirmer, 1905 - Biography & Autobiography - 695 pages

Buck Dudley noted organist composer and teacher
b Hartford, Conn Mar 10 1839
Pupil of WJ Bab cock pf later at LeipzigCons 1S58 9 of Plaidy faf SfcJ & Hauptmann com p and J Rietz instrumentation also studied under Rietz and Johann Schneider organ at Ores den and thereafter spent a year 1 861 2 for study in Paris Returning to America he became 1862 organist of the Park Ch Hartford later of St James Chicago in 1S72 of St Paul's Boston where he was also organist to the Music Hall Association In 1875 he was the organist of the Cincinnati May Festival then at New York asst conductor of Th Thomas Central Park Garden Concerts and org of St Anne's Brooklyn in the same year becoming the org of Holy Trinity Ch Brooklyn and director of the Apollo Club He was one of the first American composers to achieve general recognition his church music and numerous cantatas sacred and secular are deservedly popular Works The comic opera Dcseret 1880 symphonic overture Marmion 18S0 a Can zonetta and Bolero f vln and orch Organ music Grand Sonata in 10 f op 22 Sonata No 2 in G min op 77 Triumphal March op 26 Impromptu and Pastorale op 27 Bon do Caprice op 35 Idyllc At Evening op 52 Four Tone pictures various transcriptions and sets of variations also 18 Pedal phrasing Studies op 28 2 books and Illustrations in Choir accompaniment with Hints on Registration a valuable handbook for organists and students Pp MUSIC Midsummer Fancies Winter Pictures Rondo Caprice Scherzo Caprice Cantatas a for male chorus Chorus of Spirits and Hours from Prometheus Unbound King Olaf's Christmas The Nun of A idaros Voyage of Columbus Paul Revere 5 Ride b for mixed chorus Centennial Meditation of Columbia Hymn to Music Legend of Don Munio The Golden Legend The Light of Asia Easter Morning The 46th Psalm The Christian Year a series of 5 cantatas 1 The Triumph of David 2 The Coming of the King 3 The Song of the A ight 4 The Story of the Cross 5 Christ the Victor etc Furthermore a great variety of excellent church music hymns anthems 3 Latin offertories Glorias Jubilates Te Deums 3 Benedic anima 4 Benedictus 3 Bonum est 3 Cantate Domino etc B has also publ The Organist's Repertoire with AP Warren The Influence of the Organ in History 1882 and a Dictionary of Musical Terms

The Atlantic monthly, Volume 34 - Atlantic Monthly Co., 1874 pp.758+
	The Legend of Don Munio, A Dramatic Cantata. Words and Music by DUDLEY BUCK Op 62 Boston 0 Ditson & Co [comment avemariasongs: not a very flattering critic] AMERICAN composers it would seem are bestirring themselves Mr John K Paine if report is to be believed is again at work having hardly given himself breathing time after his Saint Peter while Mr Dudley Buck conies before us again with a full fledged cantata for solos chorus and orchestra following close upon the heels of the performance of his Forty sixth Psalm The Legend of Don Mauio l calls itself a dramatic cantata Excepting that it is a succession of disconnected scenes it might well aspire to the title of an opera or operetta The story is taken from Washington Itring's Spanish Papers Don Munio de Hinojosa a Spanish nobleman in the time of the Spanish and Moorish wars while hunting one morning with a large retinue meets a Moorish cavalcade the escort of Abadil a Moorish prince and Constanza his betrothed on their way to their wedding The Spaniards immediately surround and capture the Moors no doubt with an eye to a comfortable ransom Abadil seeing no chance of escape throws himself upon Don Munio's generosity offering all his gold and jewels but begging that he and his betrothed may not be separated Don Munio being struck by Con stanza's beauty and the unhappy plight of both her and her lover invites them to spend a fortnight at his castle and to celebrate their nuptials there after which they shall have full liberty to depart The lovers gratefully accept the invitation and are married in due time Just after their departure Don Munio receives a summons from the king to join in a crusade to Palestine In this crusade he is killed by Abadil s hand it would seem who did not recognize him in the mele e with his visor down While Don Munio's friends who remained in Spain arc lamenting his death Roderigo a messenger arrives from Palestine saying that one evening while walking near the Holy Sepulchre he saw a ghostly procession of seventy Christian knights headed by Don Munio approach the sepulchre and then vanish This is accepted as a proof that the Don's soul rests in peace These incidents are interspersed with scenes which
	although they have no direct reference to the plot give the composer some situations that are favorable to musical treatment such as Donna Maria's Don Munio's wife's soliloquy in her chamber and several scenes in the castle chapel where divine service is conducted by Escobedo the chaplain The cantata is preluded by a well and concisely written overture which we have already had occasion to notice on its first performance last season in the Symphony Concerts of the Harvard Musical Association The opening number is a chorus of huntsmen and retainers for male voices The stage direction is Early morning The courtyard of Don Munio's castle It is spiritedly written containing the customary exhortations to the chase together with some hints of a more blood thirsty nature in case the hunting party should happen to flush a Moor as well as a stag No 2 introduces us to The castle of Don Munio Sunset Donna Maria alone in her chamber A few bars of accompanied recitative lead up to an andante in E minor in which the Donna rather moodily descants on her husband's absence and the woes of solitude The movement is exceedingly pleasing and refined in melody and shows in its harmony the influence of good models It is followed after a short hit of recitative by a quite brilliant though rather commonplace rondo in E major No 3 Evening Close of vesper service in the chapel of the castle Escobedo the chaplain with the women and such retainers as have not followed Don Munio on his expedition A short solemn prelude beginning with a unison phrase on the G string and closing with full orchestra and organ leads to the intonation of the responses to the eighth Gregorian tone Escobedo's baritone alternating with the chorus in full harmony This is followed by a few bars recitative and a short cantilena in E flat by Escobedo in which he exhorts the congregation to evening prayer. No 4 is an Ave Maria for full chorus a melodious bit of four part writing abounding in rich full harmony and effective modulations, rather of the sensuous sentimental Abtian sort. No 5 takes us to Don Munio in the forest A short recitative interspersed with horn calls leads up to a very spirited hunting song with a brilliant accompaniment .
	No 6 describes the approach of the Moors, little hints of the Moorish march theme cropping up every now and then in the orchestra No 7 is an exceedingly pretty and taking three part chorus by the Females of the Moorish cavalcade singing as they journey In No 8 Don Munio's retainers make their appearance from all sides surrounding the Moors This chorus in E minor is to our thinking far the strongest bit in the cantata the strongest in fact that we have yet seen from Mr Buck's pen The furious theme of the Spaniards Down with the Moslem is finely contrasted with the despairing Woe woe ntter woe of the Moorish women Both themes are afterwards worked np together with great ingenuity and effect The chorus ends with a raging stretto accompanied by a perfect whirlwind on the violins and piccolo No 9 is a recitative and tenor aria in which Abadil makes his entreaty to Don Munio Although well written and melodious enough the number strikes us as weak at best and not worthy of the rest of the work No 10 is a recitative followed by a short arioso in which the Don names his terms of ransom and invites the Moorish lovers to his castle No 11 the closing number of the first part is a very spirited chorus in praise of Don Munio's generosity Part second opens with a short solemn orchestral prelude and recitative for Abndil followed by a tenor aria O thou my star with a broad pleasing sentimental melody of rather Italian flavor in which the lover pours forth his devotion to his mistress No 13 The chapel choir singing the evening hymn is a choral Jesu dulcis memoria though of quite different character from what we usually call chorals It is indeed to us the most questionable piece of writing in the work It is full of cnide mediaeval triad progressions and cross relations which would indeed have a certain raison d etre as a bit of local color had not the composer every now and then strayed into some more sensn ons modern chromatic harmonies As it is these harsh progressions have at best the air of a rather affected preraphaelitism wholly at variance with that ingenuous spontaneity which is one of the prime characteristics of Mr Buck's usual style No 14 is a love duet sung on the castle terrace by the two lovers In general form and treatment it is not unlike the favorite Notts gentil in Gounod's RomeV It
	is well written and will be probably one of the most effective numbers when the work is performed In spite of a certain tendency to the commonplace it is yet full of real beauties and is generally what singers call a repaying number No 15 a joyful bridal chorus and No 16 a quite piquant and graceful bolero for orchestra form the festival music incidental to the marriage of the lovers These are followed by No 17 a quartette without accompaniment It is the lot of friends to part in which Don Mnnio and Donna Maria take leave of Abadil and Constanza a sonorous and quite pleasing bit of four part writing fully up to the better class of four part songs No 18 is a spirited duet between Don Munio and his wife in which he announces to her his departure for Palestine ending with a vivace movement a due rather of the 0 sole piu rapido order which is followed by No 19 a march like battle hymn for male chorus full of life and vigor No 20 The chapel of the castle Choir chanting the dirge for the dead is an extremely beautiful requiem in the calm solemn key of G minor This number is the purest as well as in every way the finest piece of sacred music that we know of Mr Buck's It is without the slightest trace of mawkish sentimentality or sham mediaeval asceticism and is strong earnest and full of real healthy sentiment In No 21 Esco bedo tells the assembled crowd how Don Munio came to his death and in No 22 Roderigo the messenger describes his vision at the sepulchre in an air which in spite of its general sentimental ballad cut has yet some fine points especially the short passage in B minor at the words All deadly pale with visor raised in silence moved their steady march No 23 the final chorus In thankful hymns ascending begins with the beautiful theme with which the overture opens followed by a very brilliant though it seems to us as yet a rather trivial stretto with quite an effective todo on the violins We can give no opinion of any value upon the work as a whole until we actually hear it performed That the work is musically written throughout is plain enough Of marked originality we see little if any in it It is not to be denied that many passages border dangerously on the commonplace. It seems at times almost as if Mr Buck had nothing higher in view than to write good musical commonplaces such as appeal directly to the generality of
	hearers His writing always evinces sound musical culture and no mediocre degree of musical science and technical aptitude None of his compositions least of all this very Legend of Don Munio smell of the lamp They bear the mark of spontaneity upon their very surface This does not mean by any means that the workmanship is not carefully finished The workmanship is on the contrary often only too good and we sometimes feel a touch of wondering ill humor that he should often do insignificant things so well when he has done so much that is by no means insignificant. Don Munio is as yet upon the whole rather a mystery to us We wait for a performance to help clear it up.

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