In 1870, Liszt took up the Ave Maria again, writing the same piece for 4-part mixed choir and organ (S38), for solo voice and organ (S681), and for piano alone (S504). By the end of the work, the player is faced with challenges in performing at both ends of the keyboard pianisissimo.Īve Maria – Die Glocken von Rom, S.182 (Philip Thomson, piano) The piece starts simply, but soon challenges the player to keep the melody distinct from the accompaniment. Liszt retreated to a monastery outside Rome in late 1862. Liszt was in Rome in the 1860s following the failure of his attempt to marry Princess Carolyne zu Sayn-Wittgenstein, which was blocked by the Russian government (and her husband) his son Daniel died and his daughter Blandine died. The piece is also known as Die Glocken von Rom (The Bells of Rome). Siegmund Lebert, entitled the Grosse theoretisch-praktische Klavierschule. His next setting came in 1862, written for a piano tutor Dr. Liszt: Ave Maria I, S.20 (Radio Svizzera Choir, Lugano Paolo Crivellaro, organ Diego Fasolis, cond.) The work is for 8-part choir and organ with a setting that changes actively in its texture, moving from solo voices to full choir, culminating in the final meditative ‘Amen.’ It is estimated that over those 8 years he appeared “well over a thousand times” in concert. His first setting, Ave Maria I, S20, was written in 1846, when Liszt was coming to the end of his 8-year touring cycle of Europe. His own religious interests would have guided him to the Ave Maria text, and when he made it his own, he carries us both into his own religious thoughts and into his virtuosic playing. Credit: Liszt (1811-1886) was one of the few composers to take on the Ave Maria multiple times.
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