Ave Maria for voice, violin and keyboard
Composer: Maria Luigi
Carlo Zenobio Salvatore Cherubini
(1760-1842), s.a.
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Luigi |
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Cherubini |
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1760 |
1842 |
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1829 |
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Offertorium: Ave Maria gratia plena |
Solo für Sopran |
Clarinett, 2 Vlin, Vla, Vlncell, Contrabass |
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X |
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Luigi |
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Cherubini |
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1760 |
1842 |
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Mutter Maria (canon) |
3vv |
a cappella |
1st edition: Offertorium : Ave
Maria gratia plena: Solo für Sopran und Clarinett, mit Begleitung von
2 Violinen, Viola, Violoncell und Contrabass Publ. Wien : Ant[on]
Diabelli, [c.1829]
(KRB) |
| Lyrics: |
Score: undated (later arrangement ? ) |
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play/stop MIDI:
A-ve, a-ve Ma-ri-a!
gra-ti-a ple-na,
Do-mi-nus te-cum,
Do-mi-nus te-cum,
be-ne-di-cta tu in mu-li-e-ri-bus,
et be-ne-di-ctus fru-ctus ven-tris tu-i,
Je-sus, Je-sus.
fru-ctus ven-tris tu-i, Je-sus.
San-cta Ma-ri-a, Ma-ter De-i,
o-ra pro no-bis pec-ca-to-ri-bus,
nunc et in ho-ra mor-tis nos-trae.
San-cta San-cta Ma-ri-a, Ma-ter De-i,
o-ra pro no-bis pec-ca-to-ri-bus,
nunc et in ho-ra mor-tis nos-trae.
A-men. A-men. A-men.
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Recordings: |
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A
biographical dictionary of musicians (ed. Theodore Baker) G.
Schirmer, 1905 - 695 pages |
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Cherubi ni Maria Luigi Carlo Zenobio Salvatore b Florence
Sept 14 I7fxj d Paris Mar 15 1842 To the age of 9 his father cembalist at
the Pergola Th instructed him in music his subsequent teachers were Bart and
Ales Felici then Bizarri and Castrucci and finally he was sent by Duke
Leopold II of Tuscany the future Emperor L III to Milan in l779 toperfect
himself in counterpoint under Sarti At 13 he had already written a mass and
a stage intermezzo for a society theatre at 15 he comp another intermezzo
Giuocalore during his 2 4 years with Sarti he confined himself to
contrapuntal work and church music in 1780 Quinlo Fabio perf at Alessandria
del la Paglia opened the series of his dramatic works its cool reception
spurred him to renewed study and Armida Florence 1782 Adriano in Stria
Leghorn 1782 A es senzio Florence 1782 Quinto Labia revised Rome 1783 Lo
Sposo di tie e niarito di itessu a Venice 1783 Ldalide Florence 17S4 and
Alessandro nclle Lndie Mantua 17S4 received public approbation Invited to
London in the autumn of 1784 he brought out 2 operas a fin a principessa
1785 an opera bulTa which had fair success and Giulio Sabino il which |
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was less fortunate C held the position of Composer to the
King for one year and in July 17S6 went to l aris where he spent a year most
agreeably in 1788 he prod IJigcnia in Aulide at Turin and then settled in l
aris His first French opera Di mophon Grand Opera 17SS was a failure C
finding it impossible to adapt his style of flowing melody to the ill turned
verses of Marmontel the librettist Next year Leonard the Queen's hairdresser
obtained a license to establish Italian opera in a little play house called
the Th de la foire de St Germain and here C conducted until 1792 the best
works of Anfossi Paisiello and Cimarosa During this period he developed
inspired by the text of his opera Lodoiska Th de Monsieur 1791 a new
dramatic style destined to work a revolution on the French stage the
increased breadth and force of the ensemble numbers the novel and rich
orchestral combinations and the generally heightened dramatic effect were
imitated or expanded by a host of composers of the French school Mchul
licrton Lcsueur Gretry C s next dramas Elisa on le voyage au monl St Bernard
1794 and Afe dde 1797 were weighted by poor libretti In 1795 C was app one
of the Inspectors of the new Conservatoire Composing steadily he brought out
I lfotel Icrie portugaise 1798 La Punition 1799 La Prisonniere 1799
pasticcio w Uoieldieu and in 1800 at the Th Feydeau Les deux journe es prod
in London 1S01 as The ll aler carrier in Germany as Der ly asserttdger his
master work in opera Cherubini had fallen into disfavor with Napoleon whose
opinion in matters musical he had slighted but after the success of Les deux
journe es he was able to produce at the Grand Opera Anacn on on l amour
fugitif 1803 and the ballet Achille & Scyros 1804 neither of which however
had good fortune At this juncture C was invited to write an opera for Vienna
a most welcome diversion as his financial condition was the reverse of
flourishing Faniska brought out in 1806 at the Karnthner thor Theatre was an
overwhelming success a Vienna critic who ventured the prophecy that
Beethoven's Fidelio would one day be equally esteemed was laughed at
Returning to Paris after the French occupation of Vienna lie wrote
Pimmaglione for the Italian opera at the Tuileries 1808 but did not win the
Emperor's favor and now retired for a time to the chateau of the Prince ot
Chimay where he occupied his leisure with botanizing The request to write a
mass for the church of Chimay turned the current of his thoughts he composed
the celebrated 3 part mass in F the success of which was so marked that C
thenceforward devoted more time to sacred than dramatic composition though
he still prod Le Crescendo 1S10 Les AbcncJrages Opera 1S13 Bayard i MAiercs
1S14I Blanche de Provence and some minor pieces for the stage On a visit to
London in 1815 he wrote for the I hilharm Soc a symphony an overture and a
Hymn to Spring In |
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this year he lost his place in the Cons during the troublous
times of the Restoration but was recompensed by his appointment as
superintendent of the Royal Chapel as Martini's successor In 1S16 he was
made prof of composition at the Cons and its Director in 1S21 retiring in
1S41 on account of advanced age Cherubini was one of the great modern
masters of counterpoint and his scores particularly in his admirable sacred
music bear witness on every page to his skill and erudition As an opera
composer his main failing was the undue musical prolongation of scenes in
which a swifter dramatic action is required His own catalogue of his
worksfpubl 1843 includes 15 Italian and 14 French operas and many vocal
numbers occasionally introduced 1 ballet 17 cantatas and occasional vocal
works w orch many detached airs romances nocturnes duets etc 14 choruses 4
sets of solfeggi over 160 numbers II solemn masses 2 requiems many detached
Kyries Glorias Credos etc 1 Credo a 8 w org 1 oratorio op 17 Florence 1777
motets hymns graduals etc w orch 1 Magnificat 1 Miserere 1 Te Deum each w
orch 4 litanies 2 Lamentations 20 antiphones etc 1 symphony I overture 11
marches II dances etc f orch 6 string quartets I string quintet 1 sonata f 2
organs 6 pf sonatas 1 grand fantasia 1 minuet 1 chaconne and other music f
pf Cherubini's life has been written in French Italian German and F nglish
the best biography is Kellasis Cherubini Memorials illustrative of his Life
London 1874 |
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November 15, 2011
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