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opening phrase are as they were before, but the last two suddenly become brighter.
The harmonic motion is still to A-sharp major, but it is now a higher version
emphasizing
moves steadily downward, and the key again moves, now more strongly, to the
“relative”
a very low bass F-sharp), the music settles down, reaching even lower and
introducing
mild syncopation in the upper triplets, with notes held over the beats. This has
a slowing effect. The long, hazy texture finally dissipates with a slow upward
arpeggio
the reaches into the treble and back into the world of the A section.
A’ Section--Tempo I, 3/4 time
4:08 [m. 73]--Part 1 (a). The presentation is nearly identical to that at the
beginning
of the piece, but with one striking difference. The two-note harmonies at the top
of each descending arpeggio are now split up, with the two notes being played twice
1 in general melodic and harmonic contour, but the texture and character are
radically
altered. For the first time in the piece, Brahms uses block harmonies. They are
hushed and somewhat mysterious. The right hand is in the tenor range, taking up
in the lower range where the familiar a passage left off. The left plays mostly
octaves in the low bass. The first phrase, corresponding to the first phrase of
a, has two “sighing” gestures followed by a yearning arch motion that extends the
to the second phrase of a. It adds a mild syncopation at the top of the arch
motion.
4:47 [m. 99]--At this point, the correspondence between this chordal section and
the a material becomes more nebulous. Another five-bar unit, this time with three
sighing gestures and an abbreviated two-measure arch with stronger syncopation, has
a kinship with the third phrase of a. But there then follow an almost fantasia-
like
11 measures. Sighing gestures and strong syncopation dominate the first seven of
them, along with a steady, largely chromatic descent in the bass octaves. There
is also an expressive buildup. The last four measures are a variant of the arch
motion that settles onto the expected “dominant” note, F-sharp. These 11 measures
in its entirety in a varied, but very recognizable form. The whole melody is moved
down an octave, while the descending arpeggios are replaced by the chordal texture
that dominated the previous passage, including the “sighing” gestures. These
remain
B major, but in the “relative” major key of B minor, which is D major. The second
phrase, also derived from 4:30 [m. 89], moves back to B minor, ending suspended on
the “dominant” harmony, as expected. The extended coda, which is related to the
an arrival on B, and because that note is in the bass, there is some feeling of the
key of B minor here. But it is actually D major, the “relative” key. The
beginning
of the mezza voce coda is analogous not to the opening of the B section, but to the
return at 3:10 [m. 61]. This “return” did not have the strong motion to F-sharp
major seen in Part 1, but instead quickly moved to the “relative” D-sharp minor.
That is also the case here, and D major is very quickly undermined in favor of B
minor. The end of the phrase reaches the “dominant” harmony of F-sharp major
(analogous
phrase at 3:28 [m. 65]. Like that phrase, this one has a downward descent in the
inner-voice melody and an even stronger pull to the “relative” minor (now B, the
home minor key). But now the phrase is extended to six measures. Halfway through
gesture from the A section in right hand octaves. With this gesture, the home
major
key intrudes. At that point, the left hand plays the arching triplets more typical
of the right hand. This interruption extends to the end of the fourth measure.
The original phrase tries to reassert itself in the fifth measure, but it is again
interrupted by the melodic fragment. Brahms directs a very gradual slowing and
quieting
to the end.
6:44 [m. 145]--The last four measures have some similarity to the re-transition at
3:47 [m. 69], but they begin like a continuation of the previous phrase, a
“restarting”
after the second interruption of the A section melody. The key is already centered
on B, albeit minor. The descent now proceeds without interruption. The left hand
settles on low octaves. After one measure, the note D-sharp strongly asserts
itself
in the bass, then in the inner melody, signaling an inflection to B major. The
left
hand adds harmonies to its low octaves, and the slowing becomes more pronounced.
AVE MARIA FOR FOUR-VOICE WOMEN’S CHORUS AND ORCHESTRA OR ORGAN, OP. 12
Recordings: Organ Version: North German Radio Chorus, conducted by Günter Jena;
Gerhard
Brahms’s first published choral work is one of the his most simple, ingratiating,
and straightforward pieces. The work only lasts around four minutes, making it one
pair with the contemporary Begräbnisgesang, Op. 13. The two works show him
presenting
himself as a composer for women’s choir and for mixed choir, reflecting the two
choral
directorships he held at this time. They also contrast Latin and German religious
would also be the impetus behind the four songs with horns and harp, Op. 17, the
setting of Psalm 13, Op. 27, the three sacred choruses, Op. 37, and the twelve
songs
and romances, Op. 44, along with some folksong arrangements. The Ave Maria and the
choruses of Op. 37 are his only examples of Latin text rather than German, not
counting
some early unpublished mass movements. In the gentle piece, Brahms largely eschews
the complex and intricate counterpoint and canon seen in such works as the Op. 37
choruses or the Geistliches Lied for mixed chorus (Op. 30). What counterpoint
there
is largely comes between the pairs of alto and soprano parts, who often sing in
pleasing
thirds. The 6/8 meter, with its pastoral implications, largely dictates the
character
of the piece. Brahms only sets part of the prayer’s second stanza in a brief, but
effective climax on “Sancta Maria.” Even the second alto parts, which often become
impossibly low in Brahms’s writing for women’s chorus, are rather reasonable here.
wrote it for organ in 1858, but orchestrated it a year later. The orchestration
adds a couple of woodwind lines to the otherwise exact reprise of the opening
section,
and creates a bit more color, but the organ accompaniment is perfectly adequate.
Brahms never again orchestrated a choral work of such modest length, the later
one-movement
choral/orchestral works (Opp. 53, 54, 82, and 89) all lasting over ten minutes.
The accompaniment itself is largely unobtrusive (in contrast to a work such as Op.
13 or Op. 27), and either doubles or lightly decorates the vocal lines. The four-
part
and the climactic “Sancta Maria” passage. Despite its rather uncomplicated key
scheme,
remaining in keys closely related to its home key of F major, some of the harmonies
Note: The link to the English translation of the text is from Emily Ezust’s site
except where the difference between Latin and English syntax requires slight
alterations
ONLINE SCORE FROM IMSLP (From Breitkopf & Härtel Sämtliche Werke--Orchestral
version
Wiki)
Latin Text:
Ave Maria gratia plena
Dominus tecum
benedicta tu in mulieribus
et benedictus fructus ventris tui Jesus.
Sancta Maria
ora pro nobis
English Translation [Note: Brahms’s setting of the second part only includes the
6/8 melody in harmonious thirds in F major. They sing the word “Maria” twice,
moving
strongly to C major on the second statement, breaking the constant thirds at the
cadence. The right hand of the organ doubles the vocal parts, while the pedals
provide
as the sopranos end their cadence. Their second statement of “Maria” is shorter,
breaking immediately away from the thirds and changing key yet again, to B-flat
major.
They are doubled by the organ left hand, which deviates somewhat from them at the
cadence.
0:25 [m. 11]--Gratia plena, Dominus tecum. Beginning with the cadence of the
altos,
the sopranos begin this text in descending broken chords, still singing in thirds.
The altos follow them at the distance of a bar, but their harmonies are not
parallel
thirds. The second phrase moves back to C as the first sopranos reach one note
higher
for their first pitch. The organ breaks into decorative rising arpeggios under
this.
As the altos finish their second phrase, the sopranos begin a closing statement
of “Ave Maria” based on the first melody in thirds, reaching a cadence. The altos
enter at that cadence, singing the same phrase an octave lower. The sopranos add
decorative chromatic interjections of “Ave” against the alto statement. The organ
doubles the altos. Following the alto cadence, a descending pedal line leads back
home to F major.
Second Part (A)
0:51 [m. 22]--Repetition of the opening music from the sopranos.
1:05 [m. 28]--Repetition of the alto response beginning in C major, as at 0:16 [m.
7].
1:14 [m. 32]--Repetition of the Gratia plena, Dominus tecum music and the closing
“Ave Maria” phrases, as at 0:25 [m. 11]. The descending pedal line is changed to
text is more compressed and sung to new music. The sopranos in thirds are followed
at the distance of one bar by the altos in thirds. The first “benedicta tu” is in
G minor, the second in A minor. This second statement continues the text with “in
mulieribus” The second sopranos break away from the firsts, joining the altos on
their second “benedicta tu” (the third one for the second sopranos), creating a
more
full harmony. The rest of the text is begun by the sopranos, now not moving
parallel,
followed by the altos, who are again in thirds, now at the distance of only a half-
bar.
All parts reach a half-close in C major. The organ manuals provide continuous
decorating
a long descending line with notes held across bar lines. They reach a cadence in
C major. The altos, joined by the second sopranos (who are actually lower than the
first altos), with the second altos singing long low notes, follow with their own
descending line and move to A minor. The organ continues its flowing line, which
is now a single voice passed between the hands. There is a general pause of a
half-bar
Brahms directs that there should be a huge crescendo (swell in volume) over three
notes. At the second syllable of “Maria,” the voices break into a full chord while
the organ also makes a grand entry with a loud chord in the left hand and pedal,
the right hand playing the opening “Ave Maria” phrase. The loud chord moves the
music back to the long-absent home key of F major. The entire passage is repeated
for emphasis.
2:38 [m. 68]--Sancta Maria, ora pro nobis. The voices sing together in unison on
the note “F” and at a joyous loud volume. The organ becomes more active, playing
the original “Ave Maria” music under the voices’ long notes. The left hand
introduces
a rocking rhythm, and the pedals play widely separated notes between the feet,
mostly
in octaves. The word “ora” is stated twice. On the second syllable of the second
statement and the following words “pro nobis,” the voices harmonize and join the
organ’s motion. This last phrase is slightly chromatic. All voices and the organ
arrive together.
2:56 [m. 76]--Beginning on an upbeat, the organ plays a brief but powerful bridge,
the left hand following the pedals. The right hand enters with a chord as the
voices
again enter with three harmonized statements of “ora,” the first two beginning on
a half-bar, and the second beginning on a downbeat. As the third large statement
of “ora” ends, the organ pedals begin a rocking octave motion on “F,” which they
continue in a two-bar bridge that greatly diminishes in volume after the last “ora”
by the completion of the phrase with “pro nobis.” The two alto parts have an
active
line on “nobis,” with the seconds following the firsts under the sopranos’ longer
notes. The organ doubles the voices’ very rich chords as the rocking octave in the
pedals continue, breaking the pattern as the harmony changes and then landing on
in thirds on the opening “Ave Maria” melody to the “Sancta Maria” text, the word
“Maria” stated twice. The outer parts, first sopranos, then second altos, join
them
on long “F’s” on “ora pro nobis,” singing “ora” twice. All voices descend to a
quiet
cadence on “ora pro nobis” (the middle parts sing “ora” only once), the second
altos
trailing behind the middle voices. The first sopranos hold long notes over this
final motion. The organ continues to double the voices over a very long pedal “F.”
After the vocal cadence, the organ continues the descending line from the second
altos for one bar before two very quiet final chords.
4:07--END OF WORK [100 mm.]
ORCHESTRAL VERSION
First Part (A)
0:00 [m. 1]--Ave Maria. No introduction. The two soprano parts begin the flowing
6/8 melody in harmonious thirds in F major. They sing the word “Maria” twice,
moving
strongly to C major on the second statement, breaking the constant thirds at the
cadence. The violins double the vocal parts, while the low strings provide bass
as the sopranos end their cadence. Their second statement of “Maria” is shorter,
breaking immediately away from the thirds and changing key yet again, to B-flat
major.
They are doubled by the violas, which deviate somewhat from them at the cadence.
the sopranos begin this text in descending broken chords, still singing in thirds.
The altos follow them at the distance of a bar, but their harmonies are not
parallel
thirds. The second phrase moves back to C as the first sopranos reach one note
higher
for their first pitch. The strings break into decorative rising arpeggios under
this. As the altos finish their second phrase, the sopranos begin a closing
statement
of “Ave Maria” based on the first melody in thirds, reaching a cadence. The
clarinets,
who entered earlier, double them while the flute enters to support the strings.
The altos enter at this cadence, singing the same phrase an octave lower. The
sopranos
add decorative chromatic interjections of “Ave” against the alto statement. The
violas double the altos. Following the alto cadence, a descending bass line leads
7]. A new clarinet counterpoint, not present in the organ version, is added.
1:11 [m. 32]--Repetition of the Gratia plena, Dominus tecum music and the closing
“Ave Maria” phrases, as at 0:25 [m. 11]. The descending bass line is changed to
text is more compressed and sung to new music. The sopranos in thirds are followed
at the distance of one bar by the altos in thirds. The first “benedicta tu” is in
G minor, the second in A minor. This second statement continues the text with “in
mulieribus” The second sopranos break away from the firsts, joining the altos on
their second “benedicta tu” (the third one for the second sopranos), creating a
more
full harmony. The rest of the text is begun by the sopranos, now not moving
parallel,
followed by the altos, who are again in thirds, now at the distance of only a half-
bar.
harmonized lines against the bass foundation from the low strings. Additional
passages
for flutes and clarinets, not present in the organ version, are added.
1:59 [m. 53]--Jesus. For the statement of the name of Jesus, the sopranos begin
a long descending line with notes held across bar lines. The winds take over the
flowing line, passing it between instruments. The strings add doublings and
harmonies.
They reach a cadence in C major. The altos, joined by the second sopranos (who
are actually lower than the first altos), with the second altos singing long low
notes, follow with their own descending line and move to A minor. The winds
(reduced
to flutes) and strings reverse their roles from the previous phrase. There is a
Brahms directs that there should be a huge crescendo (swell in volume) over three
notes. At the second syllable of “Maria,” the voices break into a full chord while
the orchestra also makes a grand entry with a loud chord in the winds and lower
strings,
the violins playing the opening “Ave Maria” phrase. The loud chord moves the music
back to the long-absent home key of F major. The entire passage is repeated for
emphasis.
2:31 [m. 68]--Sancta Maria, ora pro nobis. The voices sing together in unison on
the note “F” and at a joyous loud volume. The orchestra becomes more active,
playing
the original “Ave Maria” music under the voices’ long notes. The violas and
bassoons
introduce a rocking rhythm, and the low strings play widely separated notes, mostly
in octaves. The word “ora” is stated twice. On the second syllable of the second
statement and the following words “pro nobis,” the voices harmonize and join the
orchestra’s motion. This last phrase is slightly chromatic. All voices and
instruments
arrive together.
2:49 [m. 76]--Beginning with the preceding arrival, the strings play a brief but
powerful bridge, the violins and violas following the low strings. The winds enter
with a chord as the voices again enter with three harmonized statements of “ora,”
the first two beginning on a half-bar, and the second beginning on a downbeat. As
the third large statement of “ora” ends, the low strings begin a rocking octave
motion
on “F,” which they continue in a two-bar bridge that greatly diminishes in volume
by the completion of the phrase with “pro nobis.” The two alto parts have an
active
line on “nobis,” with the seconds following the firsts under the sopranos’ longer
notes. The strings and horn double the voices’ very rich chords as the rocking
octaves
in the bass continue, breaking the pattern as the harmony changes and then landing
in thirds on the opening “Ave Maria” melody to the “Sancta Maria” text, the word
“Maria” stated twice. The outer parts, first sopranos, then second altos, join
them
on long “F’s” on “ora pro nobis,” singing “ora” twice. All voices descend to a
quiet
cadence on “ora pro nobis” (the middle parts sing “ora” only once), the second
altos
trailing behind the middle voices. The first sopranos hold long notes over this
final motion. The winds double the voices over a very long “F” from the basses and
horns in an imitation of organ pedals. The cellos double the second altos when
they
enter. After the vocal cadence, the cellos continue the descending line from the
second altos for one bar, including two flute interjections, before two very quiet
final string chords. The long horn notes are held over beyond these before fading
away.
3:49--END OF WORK [101 mm.]
An early masterpiece that is both tragic and hopeful, this unusual work was one of
the first published pieces for chorus, along with the contemporary Ave Maria, Op.
12. It was written in 1858, two years after the death of Robert Schumann, and it
It can also be seen as a sort of preliminary study both for the slow marches of
the German Requiem in one sense and for the one-movement choral/orchestral works
such as the Alto Rhapsody and the Schicksalslied in another sense. The use of a
There are no flutes or trumpets, Brahms instead opting for the darker tones of
oboes,
clarinets, bassoons, horns, trombones, and tuba. He also includes timpani, which
will play a very large role (and somewhat anticipate their use in the German
Requiem).
The omission of strings was meant to allow for open air performances; he
originally
intended to include low strings. They are not missed. Brahms was still treating
orchestral writing with caution at this point. The entire style of the work exudes
archaism. The minor-key melody of the outer sections is Brahms’s own composition,
text contributes to this character. The wind scoring suggests Brahms’s familiarity
with the Renaissance Venetian composer Giovanni Gabrieli and his compositions for
antiphonal brass choirs. The middle section in major, setting the fourth through
sixth stanzas, reflects his study of J. S. Bach cantatas. The work’s pacing is
superb.
Brahms builds inexorably toward the climax at the beginning of the third stanza.
He reserves the sopranos until the phrase immediately preceding the climax, making
their entry extremely dramatic. They drop out again for the brief closing return
of the opening music. The short work has a shattering impact, and should be better
known.
Note: The link to the English translation of the text is from Emily Ezust’s site
except where the difference between German and English syntax requires slight
alterations
to the contents of certain lines. The German text (included here) is also visible
German Text:
Nun laßt uns den Leib begraben,
Bei dem wir kein’n Zweifel haben,
Er werd am letzten Tag aufstehn,
Und verrücklich herfürgehn.