Ave Maria (op. 97e2, 1993)
Motet for 6-8-part mixed choir a cappella
Dedicated in friendship to Mr Siegfried Koesler, cathedral conductor
6-8-part mixed choir a cappella
Duration: 3'30'' minutes
Würzburg Cathedral Choir | Siegfried Koesler
Title: Ave Maria - Length: 4 pages - Date: Würzburg 11.12.97 - Location:
Schott Music C 53543 / ISMN: 979-0-001-16909-7
First edition: Feuchtinger & Gleichauf, Regensburg
Ave Maria, gratia plena,
Dominus tecum.
Benedicta tu in mulieribus,
et benedictus fructus ventris tui, Jesus.
Sancta Maria, Mater Dei,
ora pro nobis peccatoribus
nunc et in hora mortis nostrae.
Amen.
Translation:
Hail Mary, full of grace,
the Lord is with you.
You are blessed among women,
and blessed is the fruit of your womb, Jesus.
Holy Mary, Mother of God,
pray for us sinners
now and at the hour of our death.
Amen.
Stylistic direction/principle: The motet thrives on the element of dialogue, whose partners here are the upper and lower voices throughout. Time-shifted entries with thematically identical material on a different pitch produce rich tonal colouring and an increase in the intensity of the petitions. Dynamically, Hummel utilises the entire range of emotional expression. The spectrum ranges from the almost whispering and at the same time intense "Ora pro nobis" due to the staccati to the forte over "peccatoribus", which is reminiscent of an outcry - a dynamic development that can also be heard in other sections of the Ave Maria.
Form/structure/character: The Ave Maria was written in dialogue with Bruckner's 7-part motet of the same name and makes reference to the well-known model in several respects. For example, Hummel takes up the dialogue concept of the female and male voices and quotes the final cadence used by Bruckner before the Amen in the setting of the name of Jesus. Interesting is the symbolic interlocking of the 3/4 and 4/4 time signatures at the beginning of the piece, which represent the connection between heaven and flock in medieval symbolic language.
Interpretative requirements: Despite the eight-part structure, the motet is of moderate ambitus. Hummel's challenging and at the same time beautiful tonal language requires an intonationally confident choir.
Use: The motet is equally suitable for liturgy and concert.
Why you should tackle this piece: Bertold Hummel is one of the few contemporary composers who, in the period after the Second Vatican Council, took it upon themselves to compose music that was suitable for liturgy and could also be performed by parish choirs, while at the same time keeping the dialogue alive with contemporary music that was largely disconnected from the space of the church. Its fascinating sound world and well thought-out conception are worth every effort.
Barabara Stühlmeyer
Cross-reference: Ave Maria for voice and organ or string quartet
This Ave Maria is a reworking of the motet "Gegrüßet seist du, Maria", which Bertold Hummel composed on 20 May 1993 and dedicated to the memory of his deeply devout sister Erika. He dedicated this Latin version to the Würzburg cathedral conductor Siegfried Koesler, who inspired him to write many a sacred work. Together with him and the Bruckner researcher Erwin Horn, he also founded the Würzburg Bruckner Festival in 1993. It is therefore not surprising that my father includes Bruckner's famous 7-part Ave Maria in this motet: In the first section, both composers chose the juxtaposition of upper and lower voices, and on the name of Jesus, Bertold Hummel quotes Bruckner's final cadence before the Amen.
The text of the Ave Maria is based on passages from the Gospel of Luke (Lk 1, 28b, 42), which were expanded over time to include additions such as Jesus (14th century) and the invocation of Mary (16th century). In 1568 it was officially recognised as a prayer when it was included in the breviary of Pius V.
Martin Hummel 2009