Instruments
Ensembles
Opera
Composers
Performers

Sheet music $5.95

Original

Ave Maria. Knut Nystedt. Choir sheet music.

Translation

Ave Maria. Knut Nystedt. Choir sheet music.

Original

Ave Maria composed by Knut Nystedt. 1915-. For SATB choir, violin. Carus Novus. Contemporary choral music. German title. Ave Maria. Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Full score. Language. Latin. Op. 110. 12 pages. Duration 13 minutes. Published by Carus Verlag. CA.991300. ISBN M-007-03419-1. With Language. Latin. Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. In his Ave Maria Nystedt has followed tradition by setting the original words of the prayer to Mary. He has adopted the unusual form of a violin concerto, with the choir replacing the orchestra as the violin's partner. In a sort of neo-romantic tonal language the choir joins in a dialogue with what is perhaps the most songlike of all instruments, the violin, which in accordance with the classical-romantic tradition even has a solo cadenza. Repeatedly, in addition to this dialogue, a wonderful blending of the sound of violin and choir occurs in which the choir employs primarily chordal sounds of an enriched tonality. but often it also uses pure major and minor chords to express the profound moments of the prayer.

Translation

Ave Maria composed by Knut Nystedt. 1915-. For SATB choir, violin. Carus Novus. Contemporary choral music. German title. Ave Maria. Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Full score. Language. Latin. Op. 110. 12 pages. Duration 13 minutes. Published by Carus Verlag. CA.991300. ISBN M-007-03419-1. With Language. Latin. Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. In his Ave Maria Nystedt has followed tradition by setting the original words of the prayer to Mary. He has adopted the unusual form of a violin concerto, with the choir replacing the orchestra as the violin's partner. In a sort of neo-romantic tonal language the choir joins in a dialogue with what is perhaps the most songlike of all instruments, the violin, which in accordance with the classical-romantic tradition even has a solo cadenza. Repeatedly, in addition to this dialogue, a wonderful blending of the sound of violin and choir occurs in which the choir employs primarily chordal sounds of an enriched tonality. but often it also uses pure major and minor chords to express the profound moments of the prayer.