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RC 137 Preghiera alla madonna (“Ricordatevi, o pietosissima vergine Maria”)

text source

Manuale di Divozione pei Convittori del Collegio Fagnani D.C.D.G. (Bressanoni: L. Weger 1869), 29v (with variations)

first performance

1917-04-30 00:00:00.0 Amsterdam, Concertgebouw

recordings

  • Songs 3 NM Classics

publications

  • Complete Songs for Solo Voice and Piano Vol. 8 Donemus / Alphons Diepenbrock Fonds 14553695
  • Diepenbrock Album T/S Vol. II
  • Due canzone / per canto e pianoforte Noske, A.A. 33024579

  • Preghiera alla madonna (“Ricordatevi, o pietosissima vergine Maria”)
  • Anonymus
  • tenor and piano
  • 1917-04-01 00:00:00.0 - 1917-04-30 00:00:00.0
  • duration 5:50

In 1917 Alphons Diepenbrock arranged his Memorare (RC 54) for the tenor Giuseppe Reschiglian, a singer at the Opera Italiana in the Netherlands. It is not clear from the correspondence whether Preghiera alla madonna (Prayer to the Virgin Mary) was written at his request. In the autograph score Diepenbrock dedicated the work to Reschiglian. …more >

Preghiera alla madonna (incipit)


In 1917 Alphons Diepenbrock arranged his Memorare (RC 54) for the tenor Giuseppe Reschiglian, a singer at the Opera Italiana in the Netherlands. It is not clear from the correspondence whether Preghiera alla madonna (Prayer to the Virgin Mary) was written at his request. In the autograph score Diepenbrock dedicated the work to Reschiglian.

The Latin text has been replaced by an Italian translation, while the rhythm of the vocal part has been adapted to the new text. The melody has also been changed in places, even though this is not always necessitated by the alterations to the text; for example, compare the melody of the “implorando il patrocinio vostro” (mm. 11-12) in Preghiera alla madonna with that of “tua petentem suffragia” (mm. 10-11) in Memorare. On the word “abandonato”, which occurs six times, the music is often varied. The organ part has been rearranged for piano, whereby the melodic contours remain unchanged, but the rhythm has been refined: the long chords in the organ have been replaced by chords that are repeated in an antimetric way (in quavers and crotchets). The rhythmic pulse thus created, gives the composition more energy.

According to Diepenbrock, when writing his Memorare, he had made an unusable composition, not only for the liturgy, as the work would not be granted the nihil obstat, but also for the concert hall. He said this in his letter of 27 January 1916 to Gerard Brom (1882-1959), the editor of the new periodical De Beiaard who wanted to publish the sacred song as an appendix to the first edition of the magazine. Diepenbrock even went as far as to call it

a fairly useless possession, as firstly: the composition is not accessible for non-Catholics (because of the text and the nature of the music), and secondly: how many Catholic tenors and how many ditto organists are there who can sing and play it decently? (BD IX:45)

Nevertheless, he took another close look at Memorare, thus enabling it to be published as a facsimile of a fine neat copy.

By arranging the composition, Diepenbrock overcame his reservations against it being performed in the concert hall. And so Preghiera alla madonna was premiered by Giuseppe Reschiglian and pianist Willem Andriessen (1887-1964) in the Recital Hall of the Concertgebouw on 30 April 1917. The programme also included Diepenbrock’s Recueillement (Contemplation, RC 79) and vocal works by Alessandro Scarlatti, Caccini, Bossi, Theo van der Bijl, Tosti and Bizet.

Robert Spannenberg

 



Ricordatevi, o pietossima Vergine Maria,
che non si è inteso mai al mondo,
che alcuno riccorrendo alla vostra intercessione,
supplicando il vostro sussidio,
implorando il patrocinio vostro,
sia rimasto abbandonato.

Animato da una tale confidenza, a voi,
Vergine delle vergini, Madre, ricorro.
A voi mi presento, e peccatore qual sono mi prostro.
A voi mi presento, ai vostri piedi a dimandare pietà.
Non vogliate, Madre del Verbo, disprezzare le mie voci,
ma benigna ascoltatemi ed esauditemi.

Remember, o most gracious Virgin Mary,
that never was it known
that anyone who fled to thy protection,
implored thy help,
or sought thine intercession
was left unaided.

Inspired by this confidence, I fly unto thee,
o Virgin of virgins, my mother;
to thee do I come, before thee I stand, sinful and sorrowful.
Before thee I stand, asking for mercy at thy feet.
O Mother of the Word Incarnate, despise not my petitions,
but in thy mercy hear and answer me.

 


  • A-57(2) Preghiera alla madonna

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    A-57(2) with dedication and date on the first page A M Giuseppe Reschiglian Preghiera alla Madonna April 1902 and dated on last page gecomp. April 1902 voor Tenoor met orgelbegeleiding. Voor pianobegeleiding overgewerkt April 1917

    • 1917-04-01 00:00:00.0 – 1917-04-30 00:00:00.0
    • dedication: A M Giuseppe Reschiglian Preghiera alla Madonna
    • location: Diepenbrock Archief Laren
    • pages: 6

  • click to enlarge

    Songs 3

    cd NM Classics
    Alexander, Roberta ♦ Jansen, Rudolf ♦ Nes, Jard van ♦ Holl, Robert ♦ Prégardien, Christoph ♦ Pfeiler, Christa

    Tracks:

  • Complete Songs for Solo Voice and Piano Vol. 8

    1997 Donemus / Alphons Diepenbrock Fonds Krouwel, Dinant
  • Diepenbrock Album T/S Vol. II

    1960 Reeser, Eduard
  • Due canzone / per canto e pianoforte

    1923 Noske, A.A.

30 april 1917: Uitvoering van Preghiera alla Madonna en Recueillement in de Kleine Zaal van het Concertgebouw te Amsterdam door Giuseppe Reschiglian met begeleiding van Willem Andriessen. Het programma vermeldt verder vocale werken van A. Scarlatti, Caccini, Bossi, v.d. Bijl, Tosti, Bizet en Puccini; pianowerken van Galuppi en Debussy.

[Giuseppe Reschiglian] zong eveneens het Memorare van Alphons Diepenbrock, dat als bijvoegsel voor het eerste nummer van “De Beiaard” in druk verscheen, doch hier werd uitgevoerd met piano- in plaats van orgel-begeleiding, op Italiaanschen in plaats van Latijnschen tekst; hij zong van Diepenbrock ook nog Recueillement, het prachtige vers van Baudelaire, dat mij nog naklonk in de immense zachtheid van dezen lente-avond op de woorden en op de muziek, welke de componist gehouden heeft in dien zelfden toon van een na-droomende, stille wake, waarin elke toon de rust en de fluisteringen heeft van den avond. Reschiglian zong dit alles met zijn complete meesterschap, zijn hartstocht, zijn vocale grandezza, het eene wat gelukkiger dan het andere, soms tobbend met het Fransch en soms even met de maat, maar alles voortreffelijk, levendig en waard om bewonderd te worden.

De Telegraaf (Matthijs Vermeulen), 1 mei 1917

pdf All reviews for RC 137 Preghiera alla madonna (“Ricordatevi, o pietosissima vergine Maria”)