Ave Maria Op. 23/2
Composer: Felix Mendelssohn Bartholdy (1809-1847)
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Felix |
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Mendelssohn
Bertholdy |
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1809 |
1847 |
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1830 |
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op. 23/2 |
Ave Maria |
2x SATB |
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Felix |
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Mendelssohn
Bertholdy |
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1809 |
1847 |
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Op. 98/2 |
Ave Maria |
solo S +
SS choir |
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Felix |
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Mendelssohn
Bertholdy |
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1809 |
1847 |
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Ave Maria |
solo voice + |
organ |
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Felix |
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Mendelssohn
Bertholdy |
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1809 |
1847 |
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Ave Maria, adapted to
"Lieder Ohne Worte, No. 3" |
solo voice + |
piano |
| Lyrics: |
play/stop MIDI:
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A _ ve! A _ ve!
A _ ve Ma ri _ _ _ _ a, a _ ve Ma ri _ a!
Do mi nus te cum, Do mi nus te cum
be ne di _ _ cta tu in mu li e _ ri bus!
Do mi nus te _ cum, Do mi nus
be ne di _ cta in mu li e ri bus.
A ve Ma ri a! San cta Ma ri _ a,
Ma _ _ ri a, o ra pro no bis,
pro no bis pec ca to ri bus,
pro no bis,
san cta Ma ri a, _
san-_-_-_-_-_-_-_-_-_-_-cta
Ma ri-_-_-_-_-_-a,
san-_-_-_-_-_-_-_-_-_-_-_-_-_-_-cta
Ma ri-_-_-a,
san cta Ma ri a, pro no _ bis, |
Ma ri a, _ o-_-_-_-ra
nunc nunc et in ho ra,
in ho ra mor tis no strae, no strae,
san cta Ma ri _ a, ma _ ter De _ i,
o ra pro no _ bis,
Ma ri _ a, o ra pro no _ bis!
A-_-ve, A-ve Ma-ri-a,
gra ti a ple na,
a ve, a ve Ma-ri _ _ a,
o ra pro no bis, o ra pro no _ _ bis,
a _ ve Ma ri _ a, Do mi nus
te cum
be-ne di _ cta in mu li e ri bus,
be ne di cta,
be-ne di cta tu in mu _ li _ e ri bus,
A ve!
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| Score:
free download on CPDL |
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My thanks and appreciation to
Nikša Lendić
for sending me this score. |
| Recordings: |
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A
biographical dictionary of musicians (ed. Theodore Baker) G.
Schirmer, 1905 - 695 pages |
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Mendelssohn, Felix full name Jacob Ludwig Felix
Mendelssohn Barthol dy b Hamburg Feb 3 1S09 d Leipzig Nov 4 1847 Grandson of
the philosopher Moses Mendelssohn son of the banker Abraham M who removed to
Berlin in 1812 during the French occupation of Hamburg his mother was Lea
Salomon Hartholdy of Berlin and from her he received his first piano lessons
in company with his elder sister Fanny 1S05 47 These lessons were continued
by L Berger M s other teachers were Zelter theory and Hennings violin also
Mme Bigot for a short time in 1816 at Paris whither M had accompanied his
father on |
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a business trip On Apr II 1819 he entered the Singakademie
cond by Zelter as an alto on Sept 18 a composition by M the igth Psalm was
performed by the Akademie of which after the change of his voice to a tenor
in his 16th year he still remained a favorite member M s talent for
composition was likewise fostered by the Sunday performances of a small
orchestra at his father's house his own works finding speedy production In
1825 his father again took him to Paris to ask Cherubini's opinion on the
adoption of a musical career by Felix this opinion was strongly affirmative
and the master even offered to undertake the boy's further training but the
elder Mendelssohn considered the home atmosphere preferable Indeed M s
genius could nowhere have been more healthfully stimulated as early as 1820
he was regularly engaged in composition producing in that year between 50
and 60 movements a cantata In rilhrtnd fcicrlichen Touen a little musical
comedy for voices and pf a pf trio 2 pf sonatas a sonata for violin and pf 2
songs for 4 men's voices songs etc this many sided activity is
characteristic of his work through life As a piano player his debut was even
earlier on Oct 24 1818 he played at a public concert the piano part of a
trio with 2 horns by Wolffl In 1821 his talent for extemporizing was already
noteworthy being presented to Goethe in that year and requested to execute a
Bach fugue his memory played him false but not his quick wit for he
extemporized the forgotten development The overture to 4 Midsummer Night's
Dream was written in 1826 and is a most astonishing proof of the young
composer's mental maturity showing no less mastery and finish of form than
the remaining numbers composed fifteen years later In 1827 his opera Die
Hoeh seil i es Camacko was performed with much applause at the lierlin Opera
but was nevertheless soon withdrawn by Spontini then general musical
director with almost unlimited powers who had a dislike to M In no single
instance is the thoroughness of M s musical training more apparent than in
his determination to bring out Bach's Passion ace to St Matthew in the
Singakademie in spite of Zelter's opposition grudgingly withdrawn the
performance the first anywhere since Bach's death took place on March 11
1829 and gave the initial impulse to the successful Bach propaganda in which
M was long the leading figure In 1830 M declined the proffered chair of
musical the Berlin University in favor of Marx. His first journey to England
undertaken at |
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Moscheles suggestion had been made in the preceding year on
May 25 1829 he conducted his symphony in C minor seated after the fashion of
the time at the piano some months after this performance the London
Philharmonic Society to which he dedicated the symphony elected him an
honorary member Later he played the Concertstilci by Weber and for the first
time in England Beethoven's concerto in E j Here it should be remarked that
M was not only a pianist of the highest rank but also a finished organist
Following this active concert season a long pleasure tour through Scotland
stimulated his teeming imagination This was followed 1S30 32 by travels
through Germany Austria Italy and Switzerland to Paris he then made his
second visit to London where he conducted the Hebrides overture and played
his G min concerto and B min Capric cio brilliant Here too his first book of
6 Songs without Words finished in Venice 1830 was published In England now
and later he found the musical environment far more genial than in Berlin
where for some reason he was not generally popular witness his failure in
competition with Rungenhagen to obtain the conductorship of the Singakademie
on his return in 1833 And this after he had arranged a series of concerts
for the benefit of the Orchestral Pension Fund himself conducting his
Reformation symphony the three overtures Midsummer Night's Dream Hebrides
and Calm Sea and Prosperous Voyage etc He was called to conduct the Lower
Rhine Musical Festival at DUsseldorf in May 1833 aftera short visit to
London he returned to DUsseldorf to take charge as Town Musical Director of
the church music the opera and two singing societies all for the annual
salary of 600 Thaler about $450 He gave most of the theatrical work into the
hands of Julius Rietz within six months after conducting the Lower Rhine
Festival at Cologne June 7 9 1835 he accepted a call to the conductorship of
the Gewandhaus Orchestra in Leipzig an epoch making point not only in his
personal career but for the musical life of Leipzig and the world Leipzig
was not slow to respond to his masterly activity as a conductor composer and
player the University created him in 1S36 Dr phil honoris causa he infused
new life into the orchestra and by calling Ferdinand David to his aid gave
it a leader who not merely and most ably seconded his own efforts but who by
native force of character and musicianly ability gave a tone of precision
and pliability to this body of players which is still a tradition of vital
force in the Gewandhaus M s oratorio 1 aulus was brought out at the Lower
Rhine Festival in DUsseldorf May 22 24 1836 he himself conducting On March
28 1837 he married Ce cile Charlotte Sophie Jeanrenaud of Frankfort the
daughter of a French Protestant clergyman Five children Carl Marie Paul
Felix and Lili Elisabeth were born to them and their union was happy During
four |
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weeks of this year M was in England and conducted Paulas St
Paul at the Birmingham Festival In 1S41 Kriedrich Wilhelm IV invited M to
Berlin to take charge of the grand orchestral and choral concerts but M
found the attitude of the court the musicians and even the public more or
less openly hostile and wished to resign in October 1842 but at the King's
especial request remained to organize the music in the cathedral the chosen
body of singers later became famous as the Domchor cathedral choir M also
received the title of Koyal General Musical Director residence in Berlin was
not required I ate in 1842 with von Falkenstein Keil Kistner Schleinitz and
Seeburg as directors and Schumann Haupt mann David Becker and Pohlenz as
teachers Mendelssohn organized the Conservatorium of Music at Leipzig from
the beginning under the patronage of the King of Saxony and since 1876 the
Royal Cons it was opened on Jan 16 1843 M himself taught when his other
manifold duties permitted The financial nucleus of the foundation was a
legacy from BlUmner of 20,000 Thaler $15,000 left at the disposal of the
King of Saxony for the promotion of art M had made a special journey to
Dresden to interest the King in the conservatory project During his frequent
absences Ililler conducted the Gewandhaus Concerts 1843 4 and Gade 1844 5 m
tne autumn of 1845 M resumed the baton During the summer of 1S44 he
conducted the Philharmonic Concerts in London and took part as a pianist in
numerous other concerts everywhere receiving a most enthusiastic welcome
This was his eighth visit to Britain his ninth was made memorable by his
conducting the first performance of Elijah at Birmingham August 1846
Returning to Leipzig he resigned the Gewandhaus conduc torship to Gade and
the superintendency of the piano department to Moscheles whom he invited
from London to accept the position For several years he had been jaded by
overwork the sudden death of his favorite sister Fanny was a shock which his
overwrought nervous system could not withstand and in a few months he
followed her Mendelssohn left no mark as a dramatic composer although he
long and eagerly sought after a suitable libretto Besides Die Hochzeit ties
Camaeho he left fragments of the opera Lorelei an Ave Maria a vintage chorus
and the beautiful finale to Act I the operetta Son and Stranger op 8g and 5
small unpubl operas His grandest productions are the oratorios Paulus St
Paul and Elias Elijah op 36 and 70 respectively the greatest works of their
kind since the time of Handel and Haydn Christus op 97 is unfinished Other
important vocal works with orch are the symphony cantata Lobgesanz op 52 the
ballade Pie erste Wat purgisnaeht op 60 f soli ch and orch 2 Festgesange An
die Kiinstler f male ch and brass and ur Siicularfeier der Buch druckerkunst
Gutenberg Cantata f male |
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ch and orch music to the choruses etc of Antigone op 55
Athalie op 74 CEdipus in Co onos op 93 and A Midsummer Wight's Dream op 61
Hymn f alto solo ch and orch op 96 Lauda Sion f ch and orch op 73 Tu es
Petrus f 5 p ch w orch op Ill Psalms 115 op 31 and 95 op 46 f soli ch and
orch Psalms 114 op 51 and 9S op 91 f male ch and orch prayer Verleih uns
Frieden f ch and orch soprano concert aria Infelice w orch op 94 Vocal works
without orch are Psalm 42 f ch and organ Tsalms 2 22 and 43 a 8 a cappella
Funeral Song f mixed ch op 116 Kyrie eleison f double ch 6 anthems Spruche f
8 p ch op 79 3 motets f soli ch and organ op 23 3 motets f female ch and
organ op 39 3 motets f solo and ch a cappella op 69 21 quartets for men's
voices and 2S quartets for mixed voices among these vocal quartets are some
of his finest and most popular compositions 13 vocal duets and 83 songs for
solo voice w pf Es ist bestimmt in Gottes Rath Wer hat dich du schoner Wald
O Thaler weit o Hohen and many others have become genuine folk songs in
Germany Orch estrai works 4 symphonies op n in C min op 56 in A min Scotch
op 90 in A Italian op 107 in D Reformation the concert overtures A Midsummer
Night's Dream Sommernachtstraum op 21 Hebrides Die Eingalshohle op 26 Calm
Sea and Prosperous Voyage Afeeresstille und gliiekliche Fahrt op 27 The
lovely Melusine Die schone Melusine op 32 Ruy Bias op 95 and the Trumpet
overture op 101 also an overture for wind band op 24 Andante Scherzo
Capriccio and Fugue f string orch op 81 Funeral March op 103 and March op
108 pf concerto No I in G min op 25 and No 2 in D min op 40 Capriccio
brilliant f pf w orch op 22 Rondo bril lant f do op 29 Serenade and Allegro
gio joso f do op 43 1 violin concerto in E min op 64 a classic and one of
the finest of its class while writing it M constantly consulted and often
deferred to David's judgment Ciiambkr music An octet f strings op 20 2
string quintets op 18 87 a pf sextet op no 7 string quartets op 12 13 44 3
80 81 3 pf quartets op 1 2 3 2 pf trios op 49 66 2 trios f clar basset horn
and pf op 113 114 2 sonatas f cello and pf op 45 58 a sonata f violin and pf
op 4 Variations concertantes op 17 and Lied ohnc Wortc op 109 f cello w pf
Pianokor ik MUSIC 3 sonatas op 6 105 106 Capriccio op 5 CharakterstUcke op 7
Rondo capric cioso op 14 Fantasia on The last rose of summer op 15 3
Fantasias op 16 the original and popular Songs without Words l ieder olme ll
orte in 8 books op 19b 30 38 53 62 67 85 102 Fantasia in Fjf min Senate
ecossaise op 2S 3 Caprices op 33 preludes and fugues op 35 Variations scii
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euses op 54 6 Kindcrstticke op 72 Variations in lip op 82 do
in Bb op 83 3 preludes and 3 studies op 104 Albumblatt op 117 Capriccio in E
op 118 Perpetmim mobile op 1 19 etc 4 hand Variations in B b op 83a 4 hand
Allegro brillant op 92 Duo concertant with Moscbeles f 2 pf s on the march
theme in Preciosa Organ music 3 Preludes and Fugues op 37 6 Sonatas op 65
Preludes in C min Biographies Felix M H ein Denkmal by Lampadius 1848 Engl
transl by Gage Phila 1865 London 1878 the same enlarged as FM B ein
Gesammtbild seines Lebens und Schaffens 18S6 Sketch of the Life and Works of
the late FM by Benedict 2nd ed 1853 Reminiscences of FM by J Schubring 1866
Meine Krinnerungen an FM by E Devrient 1869 also in Engl Goethe und FM by
Carl M s eldest son 1871 also in Engl 1872 2nd ed 1874 by 1 filler 1S74
German and Engl the latter as Mendelssohn Letters and Recollections Die
Familie M by S llensel 1879 3 vol s Ferdinand David und die Familie
Mendelssohn Bartholdy by J Kckardt 1S88 an excellent 57 page sketch in
Grove's Dictionary many compilations and essays by Reiss mann Elise Polko La
Mara Ferd Gleich J Sittard etc His letters are scattered Reisebriefe from
1830 32 edited by his brother Paul 1S61 2 vol s and Briefe by the same from
1S33 47 1S63 also in Engl Briefe von FM B an 1 und C Moschcles 1888 Ger and
Engl Briefwechsel zwi schen FM B und Julius Schubring edited by Schubring
1892 some in L Nohl's Musiker briefe 1867 and 8 letters to Frau Voigt 1871
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Page last modified:
October 31, 2011
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