Ave Maria for concert band by Frank Ticheli

Ave Maria Fr a nz Schubert

Frank Ticheli

M A N H AT TA N B E A C H M U S I C

Recording Credits for Ave Maria: Performance by USC Thornton Wind Ensemble, reading session conducted by Frank Ticheli.

(Subsequent to the recording, the opening measures were slightly re-scored for the published version.)

This virtual conductor score and recording are designated “private,” and any publication or distribution beyond the web sites of Manhattan Beach Music without its permission is prohibited.

AV E M A R I A Ellens III Gesang,"Hymne an die Jungfrau" (Ellen’s third song, “Hymn to the Virgin”)

Franz Schubert Frank Ticheli arranged for concert band by

I N S T R U M E N T A T I O N 1 Full Score

2 Bassoon 1

3 F Horn 2

4 Flute 1

2 Bassoon 2

2 Trombone 1

4 Flute 2

3 Eb Alto Saxophone 1

2 Trombone 2

2 Oboe 1

3 Eb Alto Saxophone 2

2 Trombone 3

2 Oboe 2

2 Bb Tenor Saxophone

3 Euphonium B.C.

4 Bb Clarinet 1

2 Eb Baritone Saxophone

2 Euphonium T.C.

4 Bb Clarinet 2

3 Bb Trumpet 1

5 Tuba

4 Bb Clarinet 3

3 Bb Trumpet 2

2 Timpani

3 Bb Bass Clarinet

3 Bb Trumpet 3

2 Triangle

1 Bb Contrabass Clarinet

3 F Horn 1

2 Suspended Cymbal

PRINTED

ON

A RC H I VA L

PA P E R

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F R A N K W O R K S

F O R

T I C H E L I C O N C E R T

B A N D

Frank Ticheli’s works for concert band are published by Manhattan Beach Music

Amazing Grace (5 minutes, grade 3) An American Elegy (11 minutes, grade 4) Ave Maria / Schubert (4 1/2 minutes, grade 3) Blue Shades (10 minutes, grade 5) Cajun Folk Songs (6 2/3 minutes, grade 3) Cajun Folk Songs II (10 1/2 minutes, grade 4) Fortress (5 1/2 minutes, grade 3) Gaian Visions (9 1/2 minutes, grade 6) Loch Lomond (6 1/2 minutes, grade 3) Pacific Fanfare (5 1/2 minutes, grade 5) Portrait of a Clown (2 3/4 minutes, grade 2) Postcard (5 1/3 minutes, grade 5) A Shaker Gift Song (2 minutes, grade 2) This work is a separate publication of the third song from Simple Gifts: Four Shaker Songs

Shenandoah (6 1/2 minutes, grade 3) Simple Gifts: Four Shaker Songs (9 minutes, grade 3) Sun Dance (5 minutes, grade 3) Symphony No. 2 (21 minutes, mvts. 1 & 2 are grade 6 , mvt. 3 is grade 5) Movement 1, “Shooting Stars,” Movement 2, “Dreams Under a New Moon,” and Movement 3, “Apollo Unleashed” may be separately performed

Vesuvius (9 minutes, grade 4)

Hear complete recordings online of all of the above works at www.ManhattanBeachMusic.com Hear Frank Ticheli talk about his compositions at www.BestMusicSeries.com

P R O G R A M

N O T E S

ith the possible exception of Mozart, no other composer in the history of music ever surpassed Franz Schubert’s genius for melodic writing. His lieder (art songs for voice and piano) were composed at an astonishing rate, and number in the hundreds. Some of Vienna’s greatest singers were his closest friends, and he took pleasure in creating his songs for them. One of his most well-known songs, “Ave Maria,” was composed in 1825 when he was 28 years old.

W

In my setting, I considered carefully the problem of translating piano music to the wind medium without compromising the dignity and beauty of the original. To have simply transferred the piano part literally to the winds would have resulted in a timid and thin sound. For me, the solution was to find and connect the multiple melodic layers implied by the piano figurations, creating a richer, more polyphonic texture suitable to the winds. I had lots of fun dissecting and re-assembling the piece, and I took occasional liberties in the process, but I never strayed far from the basic harmonic structure of the original, and I strove hard to preserve a Schubertian elegance and grace.

There are other differences between the two versions. In Schubert’s setting, three verses of text are set to the same music. With the absence of the text in my version, it seemed sufficient to state the verse only twice, and it seemed necessary to find other ways to control and vary the dramatic flow. I took liberties with the octave placement of the melody, and rather than repeat the second verse literally, I constructed it as a subtle variation of the first. Finally, and perhaps most obviously, I changed the basic pulse of the original from the eighth-note to the quarter for greater ease on the eye.

Even without its text, Schubert’s song sounds more devotional than virtually anything he ever composed. I kept this at the front of my mind throughout the creative process. Above all, I hope my setting reflects the profound sense of reverence and humility expressed in the original.

FRANK TICHELI

H Y M N

T O

T H E

V I R G I N.

Ave Maria ! maiden mild !

Listen to a maiden’s prayer !

Thou canst hear though from the wild, Thou canst save amidst despair.

Safe may we sleep beneath thy care, Though banished, outcast, and reviled — Maiden, hear a maiden’s prayer !

Mother, hear a suppliant child !

Ave Maria !

Ave Maria ! undefiled !

The flinty couch we now must share, Shall seem with down of eider piled, If thy protection hover there.

The murky cavern’s heavy air Shall breathe of balm if thou hast smiled ; Then, Maiden, hear a maiden’s prayer !

Mother, list a suppliant child !

Ave Maria !

Ave Maria ! Stainless styled !

Foul demons of the earth and air, From this their wonted haunt exiled, Shall flee before thy presence fair We bow us to our lot of care, Beneath thy guidance reconciled ; Hear for a maid a maiden’s prayer !

And for a father hear a child !

Ave Maria !

The Hymn to the Virgin is from Canto Third of the epic poem, The Lady in the Lake, by Sir Walter Scott (published 1810). The original text set to music by Schubert is a German translation by Adam Storck of this very text. In Scott’s poem, the Hymn is spoken by Ellen Douglas, the daughter of the leader of the powerful Highland clan Douglas, Lord James of Douglas, before a battle between King James V of Scotland (father of Mary, Queen of Scots) and her father, Lord James. In the song she asks for the protection of the Virgin Mary.

The original title of Schubert's song is Ellens III Gesang, “Hymne an die Jungfrau” (Ellen’s third Song, “Hymn to the Virgin”), Op. 52, No. 6, D. 839, published in 1826, and known the world over simply as Ave Maria.

A V E

M A R I A

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.

H A I L

M A R Y

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.

Ave Maria is the Catholic prayer honoring the Blessed Virgin. The prayer (shown above in Latin and in English) has existed since ca. 1450–1500, although alternative forms date to the 11th Century. It is this Latin prayer that is most often sung today with Schubert’s music.

AVE MARIA FOR CONCERT BAND

= c. 69

2

3

4

5

FRANZ SCHUBERT (Op. 52) Arranged by Frank Ticheli 6

1 Flute 2

1 Oboe 2

1

B Clarinet 2

3

B Bass Clarinet

B Contrabass Clarinet

1 Bassoon 2

1 E Alto Saxophone 2

B Tenor Saxophone

E Baritone Saxophone

1

B Trumpet 2

3 cantabile 1 F Horn

cantabile 2

1

Trombone 2

3

Euphonium

Tuba Tunings Timpani Triangle Suspended Cymbal Copyright ©2004 Manhattan Beach Music 1595 East 46th Street — Brooklyn, NY 11234 All Rights Reserved. Printed and Engraved in the U.S.A. ISBN 0-931329-83-3 (complete set) ISBN 0-931329-84-1 (conductor score)

To hear a complete recording of this compsition online, or to purchase a copy of the score, visit www.ManhattanBeachMusic.com Hear the composers talk about their works at www.BestMusicSeries.com

7

8

10

9

1 Fl. 2

1 Ob. 2

1

B Cl. 2

3

B Bass Cl.

B Cb. Cl.

1 Bsn. 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

1 F Hn. 2

1

Tbn. 2

3

Euph.

Tuba

Timp.

Tri.

Sus. Cym.

2

11

12

13

14

15

16

1 dolce

Fl. 2

1 dolce

Ob. 2 3

3

3

3

3

3

3

3

3

3

3

3

3

1

B Cl. 2

3

B Bass Cl.

B Cb. Cl.

1 Bsn. 2

3

3

3

1 E Alto Sax.

3

2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3 3

3

3

3

3

3

3

3

1 F Hn. 2

1

Tbn. 2

3

Euph.

Tuba

Timp.

Tri.

Sus. Cym.

3

17

18

19

20

1 Fl.

3

3

3

3

2

1 Ob. 2

1

3

3

lightly

3

3

3

3

3

3

3

3

3

3

B Cl. 2 lightly 3

B Bass Cl.

B Cb. Cl.

1 Bsn. 2

1 E Alto Sax. 2

B Ten. Sax. (Bass Cl., Bn. 2) E Bari. Sax.

1

B Tpt. 2

3

1 F Hn. 2

1

Tbn. 2

3

Euph.

Tuba

Timp.

Tri.

Sus. Cym.

4

3

3

3

3

3

3

3

3

3

3

3

3

21

22

23

24

25

rit.

a tempo

1 3

Fl. 2

3

1 3

Ob. 2

3 3

3

3

3

3

3

3

3

1

B Cl. 2

3

3

legato

3

B Bass Cl.

B Cb. Cl.

1 Bsn. 2 3

3

3

3

3

1 E Alto Sax. 2

B Ten. Sax. Play E Bari. Sax.

1

B Tpt. 2

3 3

1 F Hn. 2

1

Tbn. 2

3 legato Euph.

Tuba

Timp.

Tri. (yarn)

l.v.

Sus. Cym.

5

26

27

28

29

1 Fl. 2

1 Ob. 2 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 legato B Cl. 2 legato 3

B Bass Cl.

B Cb. Cl.

1 Bsn. 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

1 F Hn. 2

1

Tbn. 2

3

Euph.

Tuba

Timp.

Tri.

Sus. Cym.

6

31

30

32

33

3

1 Fl.

3

3

3

3

3

3

3

3

3

3

2 3

1 Ob. 2

3

3

3

3

3

3

3

1

B Cl. 2

3

3

3

3

3

3

3

3

3

3

3

3

3

3

B Bass Cl.

B Cb. Cl.

1 Bsn. 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax. div.

1

B Tpt. 2

3

1 F Hn. 2

1

Tbn. 2

3

Euph.

Tuba

Timp.

Tri.

Sus. Cym.

7

3

34

35

3

3

3

3

3

3

3

3

36

37

3

3

3

3

3

1 Fl.

3

3

3

3

2 3

3

3

1 Ob.

3

2

1 3

3

3

3

3

3

3

3

3

3

3

3

B Cl. 2

3

B Bass Cl.

B Cb. Cl.

1 Bsn. 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax. unis.

1

B Tpt. 2

3

1 F Hn. 2

1

Tbn. 2

3 (Bn. 1) Euph.

Tuba

Timp.

Tri.

Sus. Cym.

8

38

39

3

3

3

3

40

41

1 Fl.

3

3

3

3 3

3

2 3

3

1 3

Ob.

3 3

3 3

2 3

1 3

3

3

3

3

3

3

3

3

3

3

3 3

3

3

3

B Cl. 2

3

3

3

3

3

3

3

B Bass Cl.

B Cb. Cl.

1 3

3

3

3

Bsn. 2

1 3

E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3 3

3

3

1 F Hn.

3

3

2

1

Tbn. 2

3 (Bn. 1) Euph.

3

3

3

3

Tuba

Timp.

Tri. l.v.

Sus. Cym.

9

43 42

45

44

Solo

1 espr.

Fl.

3

3

3

2 3

3

3

3

3

3

1 Ob. 2

Solo 1 espr.

3

3

3

3

3

3

3 3

3

3

3

3

3

3

B Cl. 2 3 3

3

3

3

B Bass Cl.

B Cb. Cl.

1 Bsn. 2 3

1 3

E Alto Sax. 2 3

B Ten. Sax. 3

E Bari. Sax.

1

B Tpt. 2

3

1 F Hn. 2

1

Tbn. 2

3 (Bn. 1) Euph.

Tuba

Timp.

Tri.

Sus. Cym.

10

3

47

Tutti

46

48

1 Fl.

49

3 3

3

3

3

3

3

3

2 3

3

3

3

1 3

Ob. 2

3

Tutti 1 3 3

3

3

3

3

3

3

3

3

B Cl. 2

3

B Bass Cl.

B Cb. Cl.

1 Bsn. 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

1 F Hn. 2

1

Tbn. 2

3

Euph.

Tuba

Timp.

Tri. l.v.

Sus. Cym.

11

3

50

rit.

51

3

3

3

3

3

3

3

3

a tempo

52

53

1 Fl.

3

3

3

3

3

3

2

1 Ob. 2

1

B Cl. 2 3

3

3

B Bass Cl.

B Cb. Cl.

1 Bsn. 2

1 E Alto Sax. 2

B Ten. Sax. 3

3

E Bari. Sax.

1

B Tpt. 2

3

1 F Hn.

legato

2

1

Tbn. 2

3 legato Euph. div.

Tuba

Timp.

Tri.

Sus. Cym.

12

54

55

56

rit.

57

58

59

1 Fl. 2

1 Ob. 2 3

3

3

3

3

3

3

3

3

3

3

3

3

1 3

3

3

3

3

3

3

3

B Cl. 2 3

3

3

3

3

B Bass Cl.

B Cb. Cl.

1 Bsn. 2 (Hn. 1) 1 3

E Alto Sax.

3

(Hn. 2)

2 3

3

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

1 F Hn. 2

1

Tbn. 2

3

Euph. unis.

Tuba

Timp.

Tri. l.v.

Sus. Cym.

13

3

3

3

PRESERVING OUR MUSIC I T I S I M P O R TA N T T O P R E S E R V E O U R M U S I C A L H E R I TA G E F O R F U T U R E G E N E R AT I O N S

Acidic paper has been in widespread use since the turn of the century, and has become the bane of archivists, librarians, and others who seek to preserve knowledge intact, because it literally will self-destruct as it ages. Some paper, only three or four decades old, already has become impossible to handle — so brittle it crumbles to the touch. Surely we do not want today’s music to be unavailable to those who will inhabit the future. If the music of the Renaissance had not been written on vellum it could never have been preserved and we would not have it today, some four hundred years later. Let us give the same consideration to the musicians in our future.

It was with this thinking that Manhattan Beach Music in 1988 first addressed the needs of the archivist by printing all of its concert band music on acid-free paper that met the standards specified in the American National Standard for Information Sciences — Permanence of Paper for Printed Library Materials (ANSI Z39.48-1984).

The standard was revised on October 26, 1992 to include coated papers; all of our new editions and reprints of older editions meet this revised standard. With proper care and under proper environmental conditions, this paper should last for at least several hundred years.

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