Ave maris stella (lat. Lit. “Rejoice, Star of the Sea” [1] ) is a Catholic anthem . In worship, Catholics are used in various services of the Virgin (“Marian”) office .
Content
Feature
The poetic text (anonymous), in which the phonetic closeness of the Latin words maria [2] and Maria [3] is played up, has been known since the 8th century. The most famous melody of the choir of the first tone (also anonymous) has been known since the 12th century. Each stanza consists of four verses written in a three- stop trochee . Rhyme is absent. The melody is syllabic, with a small number of syllable chants. In addition to the well-known melody of the first tone, the (less known) melodies of the fourth and (one more) of the first tone are canonized.
There are versions of the anthem in English, German and French.
Latin text
Ave, maris stella,
Dei mater alma,
Atque semper Virgo,
Felix caeli porta.
Sumens illud ave
Gabrielis ore,
Funda nos in pace,
Mutans Hevae nomen.
Solve vincla reis,
Profer Lumen Caecis,
Mala nostra pelle,
Bona cuncta posce.
Monstra te esse matrem,
Sumat per te preces
Qui pro nobis natus
Tulit esse tuus.
Virgo singularis,
Inter omnes mitis
Nos, culpis solutos,
Mites fac et castos.
Vitam praesta puram,
Iter para tutum
Ut videntes Iesum,
Semper collaetemur.
Sit laus Deo Patri,
Summo Christo decus,
Spiritui Sancto,
Tribus honor unus. Amen. [four]
Reception
Starting from the late Middle Ages, composers along with the text also used the original melody of the chorale (first tone), to which they wrote their own polyphonic processing, like the phoburdon Guillaume Dufay , who, referring to the so-called alternative performance of the anthem, put only his even stanzas on the music. The text and melody of Ave maris stella was edited by many Renaissance composers. In particular, the hymn melody as a given voice ( cantus firmus ) was used in their masses by Josken Depre , de Victoria , Palestrina , Bird , organ versions of the hymn melody were composed by Cabeson and Frescobaldi (“Fiori musicali”).
Interest in the anthem subsided during the Baroque and Classicism. In Ave maris stella Monteverdi (part of his Vespers, 1610) canonical text is used. The melody (also canonical, of the first tone), entrusted to the soloists, has been substantially modified, while it is interspersed with instrumental interludes to own music. In a small cantata M.A. Charpentier (H 60) The text of the hymn is based on the composer's own music. In the 19th century and later, composers used, as a rule, only the text of the anthem (like Dvorak in the song of the same name for voice with organ) or, conversely, used only the melody of the anthem, without text (like Frank in the collection of organ preludes to accompany the service, or Liszt in his piano play on a fragment of a melody of the fourth tone). In the 20th century, appeals to Ave maris stella are rare ( P.M. Davis used the anthem melody in his eponymous play for a sextet of instruments).
Notes
- ↑ This refers to the "guiding star."
- ↑ In the Latin word stress on the first syllable; "Seas", plural from the word "sea" (mare).
- ↑ Stress on the penultimate syllable; “Mary,” a Latinized version of a Jewish personal name. The relationship of these two words is discussed already in the IV c. bliss. Jerome in his work Liber de nominibus hebraicis .
- ↑ Liber Cantualis , Solesmes, 1983.
Literature
- Lausberg H. Der Hymnus "Ave maris stella". - Opladen: Westdeutscher Verlag, 1976. - ISBN 3-531-05075-3 .