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RC 23 Ave Maria

text source

prayer to the Virgin Mary

first performance

1898-04-30 00:00:00.0 Amsterdam, Concertgebouw

recordings

  • Ave Maria, Dutch airlines, a century of Dutch harmonium music
  • Songs 3 NM Classics

publications

  • Ave Maria Alsbach & Co, G. (Amsterdam) 6593865
  • Complete Songs for Solo Voice and Piano Vol. 14 Donemus / Alphons Diepenbrock Fonds 24981990
  • Complete Songs for Solo Voice and Piano Vol. 8 Donemus / Alphons Diepenbrock Fonds 24981990
  • Diepenbrock Album B/M Vol. II
  • Diepenbrock Album T/S Vol. II

  • Ave Maria
  • mezzo-soprano and organ or piano // soprano and organ or piano
  • 1889-05-01 00:00:00.0 - 1889-05-31 00:00:00.0 | revised 1912-01-01 00:00:00.0 - 1916-12-31 00:00:00.0
  • duration ca. 3:00

In the course of 1888-89 Diepenbrock read La faute de l'abbé Mouret by Émile Zola. He had borrowed a copy from his college friend Aegidius W. Timmerman. A letter Diepenbrock wrote to Timmerman on 23 January 1890 shows the book made an impression on him: …more >

Ave Maria (incipit)


In the course of 1888-89 Diepenbrock read La faute de l'abbé Mouret by Émile Zola. He had borrowed a copy from his college friend Aegidius W. Timmerman. A letter Diepenbrock wrote to Timmerman on 23 January 1890 shows the book made an impression on him:

What an incredibly sultry mood that book has! What sentiment for Catholic mysticism. It has led me back to church music and since then I have written some new things, which were novel, if only to me. (BD I:205)

Diepenbrock is referring to Ave Maria for mezzo-soprano and organ and Jesu dulcis memoria for baritone and organ (RC 24).

The melody of the Ave Maria is dominated by descending intervals. The intensity of the supplication increases as the descending leaps get bigger, from a fifth, via a seventh, to a descending octave on the climax gb / f# in mm. 12-13. The first strophe modulates from f minor to f# minor, the main key of the second strophe, to return to f minor in soft p and pp tones on the passus “et in hora mortis nostrae”. The emotional climax has already occurred on the words “Ora pro nobis” (Molto appassionato), which are sung twice. In the “Amen” the Ave theme is used with descending fifths, which also dominate the piano part right to the end.

According to the date given by Diepenbrock in semi-autograph A-35(7), he composed his prayer to the Holy Virgin in May 1889. The oldest autograph has not been transmitted. The copies A-4(8) and A-35(7), which belonged to the singer Aaltje Noordewier-Reddingius, have survived. In these copies the composition, which originally must have been conceived for mezzo-soprano, was transposed from f minor to g minor. The work was performed for the first time in this version by Noordewier-Reddingius and pianist Anton Tierie in the Recital Hall of the Amsterdam Concertgebouw on 30 April 1898. They also premiered six more songs by Diepenbrock (see RC 20, 29, 37, 40, 41 and 42).

A letter from A.A. Noske dated 17 March 1905 (BD IV:348) confirms that the Ave Maria was included in the first selection of Diepenbrock's songs Noske wanted published. After his visit to the composer of 3 and 4 April 1905 (BD IV:353), this song was scrapped from the final anthology, as were three other songs (see BD IV:355). Possibly this was because, like his Jesu dulcis memoria, Diepenbrock had in the first place intended his Ave Maria for voice and organ. In 1919 he still categorised both works as “Latin Songs for Voice and Organ (or Piano)”. (BD X:47)

On 5 January 1912 Diepenbrock notated measures 5 to 16 of the piano part with several alterations on a loose leaf. These are incorporated in autograph B-11(1) and semi-autograph B-18(1) which were in the possession of mezzo-soprano Anke Schierbeek. The Ave Maria was also included in the collection of songs Diepenbrock gave to Berthe Seroen in 1916. The Alphons Diepenbrock Fund commissioned Alsbach to publish this version in 1929 (with organ registration suggestions). It contains more harmonic changes and has a richer counterpoint. The broken chords from measure 32 onwards have disappeared and the final “Amen” has been changed into “Ave Maria”. Nowadays modern editions are available of both versions.

Curiously, the Ave Maria is mentioned remarkably little in Diepenbrock’s correspondence. The diary of Elisabeth Diepenbrock alludes to a cryptic remark her husband once made. On 29 May 1921 (in other words after his death) she wrote that he, according to Aaltje Noordewier-Reddingius, did not want to hear the Ave Maria sung by her anymore. (BD X:356) It is unclear when and why Diepenbrock made this statement. If it was on his sickbed, he might have meant that he would rather avoid the emotional impact Noordewier-Reddingius would have on him with this particular religious song.

Robert Spannenberg



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.


Hail Mary, full of grace, the Lord is with thee; blessed art thou amongst women, and blessed is the fruit of thy womb, Jesus.
Holy Mary, Mother of God, pray for us sinners, now and at the hour of our death. Amen.


  • B-11(1) Ave Maria

    • 1
    • 2
    • 3
    • 4
    • 5
    • 6
    • 7

    B-11(1) for mezzo-soprano, on the title page Ave Maria voor MezzoSopraan met Orgelbegeleiding (1889), on the first page MezzoSopr. / Klavier (oder Orgel), signed on the first page A Diepenbrock 1889

    • 1898-01-01 00:00:00.0 – 1898-12-31 00:00:00.0
    • location: Diepenbrock Archief Laren
    • pages: 7
  • A-35(7) Ave Maria

    semi-autograph A-35(7) for soprano (original “Mezzo” erased by the composer) and piano (Organo), dated on the last page Mei 1889, copyist Adam Kolk

    • 1889-05-01 00:00:00.0 – 1889-05-31 00:00:00.0
    • location: Diepenbrock Archief Laren
    • pages: unknown
  • A-4(8) Ave Maria

    semi-autograph A-4(8) for soprano (original “Mezzo” erased by the composer) and piano (Organo), copyist Adam Kolk

    • location: Diepenbrock Archief Laren
    • pages: unknown
  • B-18(1) Ave Maria

    semi-autograph B-18(1) for mezzo-soprano and piano, texted by the composer

    • location: Diepenbrock Archief Laren
    • pages: unknown
  • Folder XI

    Single leaf in folder XI dated 5 Jan. 1912

    • 1912-01-05 00:00:00.0
    • location: Diepenbrock Archief Laren
    • pages: unknown
  • GM 189/023a Ave Maria

    semi-autograph GM 189/023a (NMI, archive Berthe Seroen, Diepenbrock Album) for mezzo-soprano, with dedication and date on the flyleaf Aan de groote kunstenares Berthe Seroen in vereering A Diepenbrock 7 April 1916, on the title page [in italics additions by the composer:] Ave Maria. voor Mezzo Sopraan met Klavier- of- Orgelbegeleiding. A. Diepenbrock. (1889), texted by the composer, copyist Willem Tiel

    • dedication: Aan de groote kunstenares Berthe Seroen in vereering A Diepenbrock 7 April 1916,
    • location: NMI, Archive Berthe Seroen
    • pages: unknown

  • Ave Maria, Dutch airlines, a century of Dutch harmonium music

    cd
    Heijden, Francine van der ♦ Luijmes, Dirk

    Tracks:
  • click to enlarge

    Songs 3

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

    Tracks:

  • Ave Maria

    1929 Alsbach & Co, G. (Amsterdam)
  • Complete Songs for Solo Voice and Piano Vol. 14

    2001 Donemus / Alphons Diepenbrock Fonds
  • Complete Songs for Solo Voice and Piano Vol. 8

    1997 Donemus / Alphons Diepenbrock Fonds Krouwel, Dinant
  • Diepenbrock Album B/M Vol. II

    1955 Reeser, Eduard
  • Diepenbrock Album T/S Vol. II

    1960 Reeser, Eduard

30 apr 1898: Eerste uitvoering van Ik ben in eenzaamheid niet meer alleen (RC 41), Écoutez la chanson bien douce (RC 40), Die Liebende schreibt (RC 20), Hinüber wall' ich (RC 37), Lied der Spinnerin (RC 42), Ave Maria (RC 23) en Canticum “O Jesu ego amo te” (RC 29) door Aaltje Noordewier-Reddingius met begeleiding van Anton Tierie tijdens een soiree in de Kleine Zaal van het Concertgebouw te Amsterdam, waarbij Josephine Royaards-Spoor gedichten van Willem Kloos, H.J. Boeken, Bredero en Vondel voordraagt.

Over de beteekenis van de dichtwerken mag ik, als musicus, het zwijgen bewaren; trouwens er kwamen onder de voorgedragen geen voor over wier meer of minder sympathiewekkende eigenschappen men niet reeds een geruimen tijd een gevoelen heeft hooren uitspreken. Men mag daarom m.i. gerust het zwaartepunt van dezen avond zoeken in het muzikale gedeelte. De compositiën van Diepenbrock toch zijn zoo goed als geheel en al onbekend. Wel is de mis voor mannenstemmen en orgel in druk verschenen, wel zijn de Reijen voor v. d. Vondel's Gysbrecht van Aemstel Woensdag ll. uitgevoerd, wel werd ook het Stabat mater ten gehoore gebracht, maar zelfs deze werken zijn daardoor nog niet als bekend te beschouwen. En van de liederen voor een stem zijn, met uitzondering van een paar uit vroeger tijden, geen in druk verschenen en ook niet in 't openbaar ten gehoore gebracht. Men kan dus zeggen, dat wij in Diepenbrock een nieuwe verschijning mogen begroeten. Maar niet alleen omdat zijne werken nog weinig bekend zijn, moet men Diepenbrock een nieuwe verschijning noemen; neen, ook de wijze, waarop hij der tonen kunst beoefent, mag men als op zichzelf staande beschouwen. Wij hebben dus met een nieuwe verschijning, in den absoluten zin van het woord, te doen.

Het Nieuws van den Dag (Dan. de Lange), 1 mei 1898

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