Ave Maria  offertory for soprano voice, chorus & small ensemble.

Composer:  Gaetano Donizetti (1797-1848), 1842


This music is assumed to be public domain in the USA. BEWARE: the modern-day recordings of that music are not!



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I have a music notation program file of this song  (NWC, Sibelius, etc.) Gaetano   Donizetti 1797-1848 1842 Ave Maria, offertory for for soprano voice, chorus & small ensemble  
X X X Gaetano   Donizetti 1797-1848 1844   Ave Maria offertory for soprano, alto & strings (KBR) (BL)  
I have a music notation program file of this song  (NWC, Sibelius, etc.) Gaetano   Donizetti 1797-1848   Ave Maria, TB duet  + piano  

Lyrics: Score:

play/stop MIDI:


A-ve Ma-ri-a gra-ti-a ple-na
Do-mi-nus te-cum, Do-mi-nus te-cum,
be-ne-dic-ta tu in mu-li-e-ri-bus
et be-ne-dic-tus fruc-tus ven-tris tu-i,
be-ne-dic-tus fruc-tus ven-tris tu-i Je-su.
A-ve, A-ve, A-ve Ma-ri-a

Recordings:  page CD

Posted on YouTube:  

Cyclopedia of music & musicians, Volume 1
John Denison Champlin, William Foster Apthorp - Scribner, 1893
DONIZETTI GAETANO born at Bergamo Italy Nov 29 1797 died there April 8 1848 He began his musical studies at the Liceo in his native town and then entered the Naples Conservatorio where he finished under Simon Mayr He is said also to have studied under Pilotti and Mattei at Bologna His first opera Enrico di Borgogna was brought out at Vienna in 1818 The success of Zorafde di Granata brought out at Rome in 1822 was such that it saved the composer from military conscription and won him the
honour of being carried in triumph and crowned at the Capitol Donizetti's earlier operas were all imitations of Rossini's style and for the most part very hurriedly and carelessly wr i 1 t en At length in 1830 he produced Anna Bolena at Milan a more elaborate piece of workmanship than he had hitherto attempted and the first of his operas to win more than local fame In L elisire d amore Milan 1832 and especially in Lucia di Lammermoor Naples 1835 his style showed itself to be fully formed In 1835 Donizetti visited Pais where he brought out Marino Faliero at the Theatre des Italiens and five years later Lucrezia Borgia which he had written in 1834 for Milan In this work the composer seems at times to have anticipated the more intensely dramatic style of Verdi During the same year 1840 Les martyrs which in its original Italian form of Poliuto had been forbidden by the censorship of Naples was brought out at the Opera La fille du regiment at the Opera Comique and La favorite at the Opera Lucia Lucrezia Borgia and La favorite may be regarded as Donizetti's best and most successful serious works Of these three the second is better known and more highly esteemed in England and America than in France or Germany La favorite owes its high reputation to its fourth act probably the finest and most dramatic act that the composer ever wrote But Lucia is almost universally recognized as his masterpiece in spite of some very weak moments in it Leaving Paris Donizetti visited Rome Milan and Vienna at which last city he brought out Linda di Chamonix in 1842 and wrote a Miserere and an Ave Maria for the Hofkapelle the strict style of which
was much applauded by German critics Revisiting Paris in 1843 Donizetti produced Don Pasquale at the Theatre des Italians and Dom Sébastien at the Opera the former a great success the latter a decided failure albeit probably the composer's most elaborate and carefully written score Maria di Rohan also an elaborate work written for Vienna the year before met with more success Catarina Cornaro his last opera made a decided failure at Naples in 1844 Le duc d Albe discovered a few years ago in a sealed box and produced with some 6clat iu Italy was an early work During the last years of his life Donizetti was subject to fits of melancholy He died of a stroke of paralysis Works Operas 1 Enrico di Borgogna Venice Teatro San Luca 1818 2 Il falegname di Livonia ib 1819 3 Le nozze in villa Mantua 1820 4 Zoraìde di Granata Rome 1822 5 La zingara Naples 1822 6 La lettera anonima ib 1822 7 Chiara e Serafina Milan 1822 8 II fortunato inganno Venice 1823 9 Alfredo il Grande ib 1823 10 Una follia ib 1823 11 li ajo nell imbarrazzo Rome 1824 12 Emilia di Liverpool Naples 1824 13 Alahor in Granata Palermo 1826 14 II castello degli invalidi Naples 1826 15 Elvida ib 1826 16 II giovedì grasso ib 1827 17 Olivo e Pasquale Rome 1827 18 II Borgomastro di Saardam Naples 1827 19 Le con venienzi teatrali ib 1827 20 Otto mesi in due Ore Palermo 1828 21 Elisabetta a Kenilworth Naples 1828 22 La regina di Golconda Genoa 1828 23 Gianni di Calais Naples 1828 Paris Theatre Italien Dec 17 1833 24 L esule di Roma Naples 1829 25 L elisire d amore ib 1829 26 II paria ib 1829 27 II castello di Kenilworth ib 1829 28 Il diluvio universale ib 1830 29 I pazzi per progetto ib 1830 30 Francesca di Foix ib 1830 31 Isnelda di Lambertazzi ib 1830 32 La romanziera ib 1830 33 Anna Bolena Milan 1831 34 Fausta Naples 1831 35 Ugo conte di Parigi Milan 1832 36
Sancia di Castilla Naples 1832 37 n nuovo Pourceaugnac ib 1832 there is some doubt as to this opera being really by Donizetti 38 B furioso neh isola ili San Domingo Rome 1833 Paris Theatre Italien Feb 2 1862 39 Parigina Florence 1833 40 Torquato Tasso Rome 1833 41 L assedio di Calais 1833 42 Lucrezia Borgia Milan Teatro della Scala 1834 43 Rosamunda d Inghilterra Florence Teatro della Pergola 1834 later at Naples as Eleonora di Guienna 44 Maria Stuarda Naples 1884 later at Roine as Buondelmonte 45 Gemma di Vergi Milan 1835 Paris Th6atre Italien Dec 6 1845 46 Marino Faliero Paris Theâtre Italien 1835 47 Lucia di Lammermoor Naples 1835 48 Belisario Venice T della Fenice Feb 7 1836 49 II Campanello di Notte Naples 1836 Si Petersburg January 1864 50 Belly ib 1836 51 Roberto Devereux ib 1830 52 Pio de Tolomei Venice 1837 53 Maria di Rudenz ib 1838 54 Poliuto not performed Paris Op6ra as Les martyrs April 10 1840 and Theatre Italien April 14 1859 55 Gianni di Parigi Milan 1839 56 Gabriella di Vergi ib 1839 not performed but given in Naples 1844 57 La fille du r6giment Paris Op6ra Co mique Feb 11 1840 58 La favorite ib Op6ra Dec 2 1840 59 Adelasia ossia la figlia dell arciera Rome 1841 60 Maria Padilla Milan 1841 61 Linda di Chamo nix Vienna Kiirnthnerthor Theater 1842 62 Maria di Rohan Vienna 1843 63 Don Pàsquale Paris Theatre Italien Jan 4 1843 64 Dom S6bastien Paris Op6ra Nov 13 1843 65 Catarina Cornaro Naples Teatro San Carlo 1844 66 Rita ou le mari battu posthumous Paris Op6ra Comique May 7 1860 67 Le Due d Albe do Barcelona 1882 Dramatic and other Cantatas L Aristea 1823 I voti de sudditi 1825 Elvira 1826 II fausto ritorno 1830 Admete 1832 La morte d Ugolino 1835 Miscellaneous Nuits d et6 â Pausilippe lyric album Soirees d automne â l Infrascata
cata 6 songs and duets Rjveries napoli taines 6 ballads Ispirazioni Viennesi 5 ariettas and 2 duets Les soirees de Paris 12 canzonets and duets 7 masses of which one is a requiem Several vespers psalms and motets 12 string quartets and some pianoforte music Filippo Cicconetti Vitadi G Donizetti Rome 1864 Federico Alborghetti nnd Michelangelo Galli Donizetti-Mayr Bergamo 1875 Clement Mus eclobres 453 Fetis

A biographical dictionary of musicians (ed. Theodore Baker) G. Schirmer, 1905 - 695 pages
Donizetti Gaetano one of the brilliant triumvirate D Rossini and Bellini of Italian opera composers in the first half of the 19th century was b at Bergamo Nov 29 1797 other dates are given d there April S 1848 His
father a weaver by trade later obtained a position in the local monte di pieta and desired that his son should become a lawyer But D s inclinations were towards art besides being strongly attracted to music he studied architecture drawing and literature His father finally allowed him to enter the Bergamo school of music his teachers were Salari voice Gonzales pf and accomp and JS Mayr harm In 1815 he changed to the Bologna Liceo Filarmonico here completing his contrapuntal studies under Pilotti and Padre Mattei to whom Mayr had recommended him His father now insisted on his becoming a teacher while D himself felt an irresistible bent for dramatic composition To end this conflict he joined the army his regiment was ordered to Venice and here in leisure moments he composed his first opera Enrico di Borgogna Venice 1S19 whose success encouraged further production His next opera Falegname di Livonia Venice 1820 given at first as Pictro it Grande Czar delle Russie was likewise well received but Le A ozze in villa Mantua 1820 was a failure After the success of Zoraide di Granata 1822 he was exempted from further military service From 1S22 to 1829 inch 23 operas flowed from his too facile pen such ease of production naturally led to sad superficiality and during this period D was mostly a rather poor imitator of Rossini But now piqued by Bellini's successes he wrote his Anna Bolena Milan 1830 which begins his second and more original period Written for Pasta and Rubini after the good old Italian fashion of adapting roles to singers its vogue was more than local in it as Henry VIII Lablache scored his first London triumph at the old King's Theatre In its wake followed to name the best L Eli sir d amore Milan 1832 the tragic Lucrczia Borgia La Scala Milan 1833 and the immensely popular Lucia di Lammernwor Naples Teatro S Carlo 1S35 Like that of so many other Italian opera composers D s life was spent in travelling from place to place bringing out opera after opera Now enjoying European celebrity he visited Paris in 1835 and produced Marino Ealicro at the Theatre des Italiens In May 1S37 he succeeded Zingarelli as Director pro tern of the Naples Cons in July of that year he lost his wife Virginia ne e Vasselli after 14 years of happy wedded life The censor's veto on the production of Poliuto written for Ad Nourrit after Corneille's Polyeucte so angered him that he incontinently forsook Milan for Paris
Here La Fill du régiment Opéra Comique Feb II 1840 Les Martyrs aw amplification of the forbidden Politilo Opera April 10 1S40 and La Favorite Opera Dec 2 1S40 made a veritable sensation Returning to Italy AJilasia Rome 1841 and Maria 1 aililla Milan 1841 had good fortune In Vienna during 1S42 he composed Lintta di CAamounix which evoked such enthusiasm that the Emperor conferred on him the titles of Court Composer and Master of the Imperial Chapel he had also written a Miserere and an Ave Maria for the Ilofkapelte in a severe purity of style warmly commended by the local critics Don Pasquale revived at Stuttgart Court Th 1S9S with great success was brought out in Paris 1S43 1 had reached the height of his fame and prosperity though still maintaining the unbroken flow of creative activity terrible headaches and mental depression warned him to desist but the warnings were unheeded Caterino Carnaio Naples 1844 was his last work and one morning in 1845 he was found insensible on the floor of his bedroom stricken with paralysis He never recovered his mental powers and died in 1848 at Bergamo where a monument by Vincenzo Vela was erected to his memory in 1855 Lucia di Lammermoor is generally held to be his finest work in it the vein of melody now sparkling now sentimental now tragic which embodies Donizetti's best claim on originality and immortality finds perhaps freest and broadest development Besides operas a full list of which follows he wrote many songs ariettas duets and canzonets 7 Masses one being a Requiem cantatas vespers psalms motets 12 string quartets praised by contemporaries and pf music Biographical Filippo Cicconetti Vita di G Donizetti Rome 1864 Alborghetti and
Galli Donizetti Mayr Bergamo 1875 Clement in Musiciens cclèbres Paris 187S also several essays pubi at the D centennial celebration at Bergamo EC Verzino Contributo alla storia delle opere di GD Milan 1897 Ippolito Valetti Donizetti Rome 1S97 pp 15 Adolfo Calzado Donizetti e l opera italiana in Spagna Paris 1897 pp 23

Page last modified: November 12, 2011

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