Ave Maria   Op. 98/17

Composer:  Joseph Joachim Raff (1822-1888)
        text: Ernst
"Ave Maria", from Gedichte, in Allerlei, Leipzig, Verlag von Wilhelm Engelmann, published 1858


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(Switzerland / Germany)


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X X X X X Joseph Joachim Raff   1822 1882   1850   Op51/4 Abendfeier in Venedig
Ave Maria, Meer und Himmel ruh'n ...)
solo voice pianoforte
I have a score of this song I have a music notation program file of this song  (NWC, Sibelius, etc.) I have a MIDI file of this song. X X Joseph Joachim   Raff 1822 1882 1864 Op.98/17 Ave Maria  (Leis sinkt der Dämmrung) solo voice pianoforte
X X X X X Joseph Joachim Raff 1822 1882 1875 Op.198/2 Ave Maria    
X X X X X Joseph Joachim Raff 1822 1882 1869 WoO.33 Ave Maria    

Op. 98: Spring Songs: 30 compositions for one voice (Romances, Ballads, Lieder and Songs) with piano accompaniment (1855-63)

Recording:  not available

CD  Raff: Songs / Andrea Meláth, Emes Virág

Leis' sinkt der Dämm-rung Schlei-er
auf Wie-se, Feld und Wald,
ein Glo-cken-ton er-schallt und
ruft zur A-bend-fei-er.
A-ve Ma-ri-a,

Du rei-ne Jung-frau sei ge-grüßt,
die uns der Lie-be Leit-stern ist,
und uns des Him-mels Glück er-schließt,
A-ve Ma-ri-a, A-ve Ma-ri-a!

Das Licht is jetzt ge-schie-den,
der Nacht-ge-sang er-klingt,
und sü-ßer Schlum-mer bringt
den Mü-den Ruh' und Frie-den.
A-ve Ma-ri-a, Ma-ri-a!

Born des Frie-dens du führ'
gnä-dig uns dem Him-mel zu,
zur Ruh', zur ew'-gen Ruh'.
A-ve Ma-ri-a! A-ve Ma-ri-a!



Cyclopedia of Music and Musicians: N-Z
edited by John Denison Champlin, William Foster Apthorp 1893
RAFF JOSEPH JOACHIM  born at Lachen on the Lake of Zurich May 27 1822
died in Berlin June 26 1882
He began his education at Wiesenstetten in Wurtemberg then entered the Jesuit Lyceum at Schwyz where he won first prizes in German Latin and mathematics Poverty compelling him to stop his musical studies he turned school master but continued the study of music without a teacher making much progress on the pianoforte and violin and in composition In 1843 he sent some MS compositions to Mendelssohn who gave him an introduction to Breitkopf & Hartel which led to the publication of several of his works From that time to his death Raff continued to compose and publish almost unceasingly His poverty continued for some time unabated but he succeeded in interesting Liszt who invited him to join him on a concert tour. Meeting Mendelssohn at Cologne in 1846 he was invited to go to Leipsig to study under him and accordingly severed his connection with Liszt for that purpose
but Mendelssohn's death frustrated this plan and Raff was fain to stay in Cologne where he supported himself for a time partly by musical criticism. Liszt again tried to help him and through his instrumentality Raff was just about to enter into remunerative relations with Mechetti the Vienna publisher when the latter also died Raff returned to his studies pursuing them partly at home and partly at Stuttgart where he had the good luck to fall in with von Biilow who helped his reputation not a little by playing his Conzertstuck in public In 1850 he went to Weimar to be constantly near Liszt Here he remodelled an opera Konig Alfred which had been given at Stuttgart and brought it out with flattering success He also became engaged to Doris Genast the actress daughter of manager Genast whom he followed to Wiesbaden in 1856 and finally married in 1859 In Wiesbaden he was for a long while in great request as pianoforte teacher In 1863 his first symphony An das Vater land got the prize offered by the Gesell schaft der Musikfreunde of Vienna In 1870 his opera Dame Xobold was produced at Weimar In 1877 he was appointed director of Hoch's Conservato rium at Frankfort If not a great genius Raff certainly was a man of prodigious talent He was a hard student and succeeded in attaining a mastery over the most intricate technical details of composition such as very few of his contemporaries could boast of Although his larger works abound in passages in which quite exceptional difficulties have been conquered he always seems to write with consummate ease His fertility of melodic invention was immense and he rarely if ever repeated himself In elaboration and perfection of workmanship he compares favorably with the best writers of his day His besetting fault is a certain lack of nobility of inspiration and real depth of feeling The extraordinary facility with which he wrote and the almost constant necessity he was
under of writing rapidly to satisfy eager publishers made him careless of self criticism. In fact his poverty was the great bane of his talent as it was of his life. Of over two hundred opus numbers that he gave to the world by far the greater proportion were mere pot boilers salon pieces of questionable value and few even of his greater works are wholly free from a certain tawdriness of style. Yet for the later half of his life he was assuredly one of the most prominent musical figures in Germany and one of the leaders of musical opinion. His best known works are also his best ones. Among them are the second symphony in C op 140 third symphony Im Walde, fifth symphony Lenore, the concertos for pianoforte op 185, for violin op 206, and for violoncello op 193, the suites for orchestra op 101 and op 194, and a great deal of chamber music.

I. For Voices and Orchestra
Wachet auf text by Geibel for men's voices and orchestra op 80 Deutschland's Aufersteh ung festival cantata for the 50th anniversary of the Battle of Leipsic for do op 100 De profundis Psalm CXXX for 8 voices and orchestra op 141 Im Kahn and Der Tanz 2 songs for mixed chorus and orch op 171 Morgenlied for do op 186 a Einer Entschlafenen for soprano solo chorus and orch op 186 b Die Jiigerbraut and Die Hirtin 2 scenes for a solo voice and orch op 199 Die Tages zeiten 4 movements for pianoforte chorus and orch op 209 Weltende Gericht neue Welt oratorio to words from the Apocalypse 4 Antiphons of the Virgin 5 8 voc Kyrie and Gloria 6 voc a cappella Pater noster and Ave Maria 8 voc without opus number and in MS 2 choruses Die Sterne and Dornroschen do do

II. Dramatic
Konig Alfred opera Weimar 1850 Dame Kobold comic opera op 154 ib 1870 Die Eifersiichtigen do not performed Die Parole do not performed Benedetto Marcello lyric opera not performed Samson grand opera not

  performed Music to Genast's Bernhard von Weimar Weimar 1858

III. Songs About 85 songs for a voice with pianoforte op 47 53 66 98 Sanges frühling 30 songs 172 Maria Stuart Cyclus of 11 songs 173 191 211 Blondin de Nesle cyclus and two without opus number 12 duets with do op 114 6 songs for 3 female voices with do op 184 30 four part songs for male voices op 97 122 195 10 do for mixed voices op 198

IV For Orchestra 11 symphonies No 1 An das Yaterland op 96 No 2 in C op 140 No 3 Im Walde in F op 153 No 4 in G minor op 167 No 5 Lenore in E op 177 No 6 Gelebt gestrebt gelit ten gestritten gestorben umworben in D minor op 189 No 7 In den Alpen in B flat op 201 No 8 Fruhlingskldnge in A op 205 No 9 Im Sommer in E minor op 208 No 10 Zur Herbstzeit in F minor op 213 No 11 Der Winter in A minor posthumous edited by Erdmanns dorfer op 214 Sinfonietta for 10 instruments op 188 Four suites No 1 C op 101 No 2 In ungarischer Weise in F op 194 No 3 Italianische S in E minor without opus number No 4 Thuringer S in B nat MS op 204 Nine overtures Jubelouverture op 103 Festouvertiire in A op 117 Conzertouvertiire in F op 123 Festouvertiire for wind instruments for 50th anniversary of the Deutsche Burschen schaft at Jena op 124 Overture on Ein feste Burg op 127 do to Borneo and Juliet MS no opus number do to Othello MS id do to MS id do to The Tempest MS id Festmarsch op 139 Abends rhapsody op 163 e Elegy MS no opus number Fugue MS Tin finished id

V. For Pianoforte with Orchestra
Ode au printemps op 76 Concerto in C minor op 185 Suite in E flat op 200


VI. For Violin with Orchestra La fete d Amour op 67 Concerto No 1 in B minor op 161 Suite op 180 Concerto No 2 in A minor op 206

VII. For Violoncello with Orchestra Concerto No 1 in D minor op 193 do No 2 in G MS no opus number

VIII. Chamber Music
Octet for strings in C op 176 Sextet for do op 178 Quintet for pianoforte and strings in A minor op 107 10 String quartets No 1 in D minor op 77 No 2 in A op 90 No 3 in E minor op 136 No 4 in A minor op 137 No 5 in G op 138 Nos 6 Suite alterer Form 7 Die schone Mullerin 8 Suite in Canon Form op 192 Nos 9 in G 10 in C minor op 202 Four trios for pianoforte and strings No 1 op 102 No 2 in G op 112 No 3 op 155 No 4 in D op 158 Five sonatas for pianoforte and violin No 1 in E minor op 73 No 2 in A op 78 No 3 in D op 128 No 4 in G minor op 129 No 5 in C minor op 145 Suite for do op 210 Other pieces fordo op 58 63 203 one duo in MS Duo in A for pianoforte and violoncello op 59 2 Fantasiestücke for do op 86 2 Romances for horn or violoncello op 182 Sonata for pianoforte and violoncello op 183

IX For Pianoforte
2 Sonatas No 1 with fugue in E nat minor op 14 Fan tasie Sonate in D minor op 168 3 sona tillas op 99 7 suites op 69 in C op 71 in E minor op 72 in D op 91 in G minor op 162 in G op 163 in B nat op 204 from the orchestral suite about 125 opus numbers of other pianoforte music in various forms Two Humoresken for pi anoforte 4 hands in D op 159 Todtentanz op 181 Other 4 hand music op 82 160 174 Chaconne in A minor for 2 piano-

fortes op 150 Phantasie in G minor do op 207 a The same arranged for pianoforte and strings op 207 b Raff made a masterly orchestral arrangement Bach's D minor chaconne and wrote pamphlet Die Wagnerfrage 1854
Grove Mendel Riemann

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