Schubert โ€“ Ave Maria, Op. 52 No. 6, D. 839

$12.00

Easy-to-read oversized 9โ€ณ x 12โ€ณ pages

Edited and annotated facsimile edition by Dominique Piana

Genre: Early Romantic
Difficulty: 5/6 (Intermediate)
Pages: 6

 

SKU: HR240 Categories: , ,

Description

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The late 19th century  German harpist and harp pedagogue Beatrix Fels vanished from harp history with only a few Schubert Lieder arrangements left to her name. She is unknown despite composing and arranging 31 works. Her arrangement of the Ave Maria Op. 52 by Schubert works for both recital and gig performances. Yet isnโ€™t hard enough to take months to learn. It still requires rigorous musicianship to faithfully convey the spirit of this original lied. The music is transposed one step down from Bb to Ab Major to accommodate the medium high voice. It is meant to be a solo version, but can also be used to accompany a singer. More specific explanations are provided in the music and the accompanying notes on p. 8.

As a witness of its time (published in 1894), this new โ€œold editionโ€ clarifies Schubertโ€™s intentions:

Originally, Franz Schubert named this song Ellens Gesang III (Hymne an die Jungfrau). He composed it in 1825 as part of the song cycle op. 52 based on Walter Scottโ€™s famous epic poem The Lady of the Lake, set in the mythic Scottish Highlands. In 1813, Rossini had already composed his opera La Donna del Lago, based on the same story, at a time when even Beethoven had published countless classical arrangements of popular Scottish folk music. When published in 1826, Schubert insisted on featuring both English and German lyrics, as he wished to gain some exposure in the British Isles, too. Yet adding the English text proved challenging. Scottโ€™s original poetry doesnโ€™t easily fit Schubertโ€™s meter based on the German translation by Adam Storck. This explains the existence of different English-language versions. It could also explain why a rather inappropriate Latin version superseded both the German and English in modern times. It should be added that Scottโ€™s poetic setting alluded to a folk harp accompaniment for Ellen Douglasโ€™s โ€œsupplicationโ€ to the Virgin on behalf of her father, perfectly conveyed by Schubert with his continuous sextuplets pattern.