AVE MARIA VON ARCADELT - GIA Publications · b b 49 œ œœ œ U œ ˙ ˙ Œ œœ œœ œ U œ ˙...

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2 AVE MARIA VON ARCADELT Franz Liszt, *1811-1886 Transcribed by Mark Kieffer optional 3, 4, 5 octaves handbells .. .... 3 octave choirs omit notes in ( ); 4 octave choirs omit notes in [ ]; 5 octave omit notes in< >. 3 octaves handchimes to the "Ave Maria" by Arcadelt, it is likely they are not familiar with the questionable Jacob Arcadelt (c.1 -1568) was a Franco-Flemish composer who was active in Renaissance-era Italy and France. Three centuries later, there was a French composer named Pierre-Louis-Philippe Dietsch (1808-1865), who presented the "Ave Maria" as an Arcadelt composition he had discovered. Eventually, scholars began to question Dietsch's assertion, due in part to the stilted prosody. It is believed that the four-voice setting of the Marian prayer is Dietsch's arrangement of a three-voice Arcadelt chanson "Nous voyons que les hommes." Regardless of the uncertain pedigree of the composition, the piece was transcribed by Franz Liszt (1811-1886) for piano in 1862, then for organ the following year. It is in the organ transcription that this handbell edition has its origins. Transcription Copyright© 2013 by GIA R.iblications. Inc. • All Rights ReserV<!d • Fhnted in USA 7404 S. JY.fason AV<!. Chicago. IL 6:1538 • www.giamusic.com • 800.442.1358 0 _ 8452 Reproduction of this publication without permission of the publisher is a violation of the U.S. Code of Law lor which the responsible individual or is subject to criminal prosecution. No one is exempt.

Transcript of AVE MARIA VON ARCADELT - GIA Publications · b b 49 œ œœ œ U œ ˙ ˙ Œ œœ œœ œ U œ ˙...

2

AVE MARIA VON ARCADELT Franz Liszt, *1811-1886

Transcribed by Mark Kieffer

optional

3, 4, 5 octaves handbells ~ .. ~ .... ~ 3 octave choirs omit notes in ( ); 4 octave choirs omit notes in [ ];

5 octave omit notes in< >.

3 octaves handchimes

to the "Ave Maria" by Arcadelt, it is likely they are not familiar with the questionable

Jacob Arcadelt (c.1 -1568) was a Franco-Flemish composer who was active in Renaissance-era Italy and France. Three centuries later, there was a French composer named Pierre-Louis-Philippe Dietsch (1808-1865), who presented the "Ave Maria" as an Arcadelt composition he had discovered. Eventually, scholars began to question Dietsch's assertion, due in part to the stilted prosody. It is believed that the four-voice setting of the Marian prayer is Dietsch's arrangement of a three-voice Arcadelt chanson "Nous voyons que les hommes."

Regardless of the uncertain pedigree of the composition, the piece was transcribed by Franz Liszt (1811-1886) for piano in 1862, then for organ the following year. It is in the organ transcription that this handbell edition has its origins.

Transcription Copyright© 2013 by GIA R.iblications. Inc. • All Rights ReserV<!d • Fhnted in USA 7404 S. JY.fason AV<!. Chicago. IL 6:1538 • www.giamusic.com • 800.442.1358

0_8452

Reproduction of this publication without permission of the publisher is a violation of the U.S. Code of Law lor which the responsible individual or inst~ution is subject to criminal prosecution. No one is exempt.

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