Overview
Introduction
Liszt made several settings of all or part of the Ave Maria. Fortunately, they are each in a different key, which helps with identification! The E major piece is not connected with a vocal work, and, although the rhythm fits the opening of the text the ecclestiastical connection remains general. The subtitle ‘The Bells of Rome’ may not be Liszt’s, but the bell effects are specifically indicated. The piece was composed for the piano method of Lebert and Stark. The Ave Maria (d’Arcadelt) was issued with the Alleluia, although the key is really the only thing the pieces share. The Alleluia is based on material from the choral work Cantico del sol di San Francesco d’Assisi, whilst the Ave Maria is Jacques Arcadelt (c1505–1568) twice removed. Louis Dietsch (1808–1865) produced the piece in 1842 as an Arcadelt discovery, but was subsequently shown to have adapted the text of the Ave Maria to Arcadelt’s three-voice chanson ‘Nous voyons que les hommes’. Liszt added the rocking accompaniment in his transcriptions for piano and for organ. The D major Ave Maria was one of nine motets issued in 1871. This transcription (also the one for organ) is very straightforward, but the D flat version is extended with a florid variation. The tiny G major piece is adapted from a late vocal work, and the B flat version in the Harmonies poétiques is adapted from Liszt’s first choral setting of the text.
Subtitled "Die Glocken von Rom (The Bells of Rome), Liszt's Ave Maria was composed in 1862 at the request of Dr. Siegmund Lebert and Dr. Ludwig Stark who established the Stuttgart Conservatory. This work was written for the fourth part of a series of piano tutors, Grosse theoretish-praktische Klavierschule, assembled by Drs. Lebert and Stark for Conservatory students. A short but moving work, this piece shows Liszt's leanings toward a compositional style that showcases the virtuoso abilities of the pianist and yet does not overshadow the simple theme of the prayer upon which this work is based.
Written in three distinct sections, this Ave Maria begins with a lyrical theme simply expressed in the treble line which is then developed into a harp-like presentation and supported by rolling arpeggios in the bass line. This is so artfully done that the words of Sir Walter Scott's poem can almost be heard. As the first section closes, Lizst leads the listener onward by introducing the pedal tones that are the basis for the second section. The middle portion of this composition is anchored by these pedal tones and carried by a throbbing heartbeat rhythm in the left hand that supports a sweetly melodic line in the right. The second section then builds in intensity to a grand and intricate chord progression which reflects the passion of sacred adoration. The closing section is a brief but solemn amen to this emotionally charged work and shows Liszt's ability to imbue his compositions with the essence of the works that inspired them.
