Ave Maria for voice, violin and keyboard

Composer: Maria Luigi Carlo Zenobio Salvatore Cherubini (1760-1842), s.a.


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 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. I have a video of this song. Luigi   Cherubini 1760 1842 1829 Offertorium: Ave Maria gratia plena Solo für Sopran Clarinett, 2 Vlin, Vla, Vlncell, Contrabass
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   Luigi   Cherubini   1760 1842         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 ? )

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.


Posted at YouTube:  





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

Page last modified: November 15, 2011

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