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