Ave Maria, Op. 52/6; D. 839 [arrangement for low voice, G] Cover Image

Ave Maria, Op. 52/6; D. 839 [arrangement for low voice, G]: Low Voice, Orchestra Accompaniment Low Voice, Orchestra Accompaniment

$50.00 USD

Ave Maria, Op. 52/6; D. 839 [arrangement for low voice, G]: Low Voice, Orchestra Accompaniment Low Voice, Orchestra Accompaniment

Name: Ave Maria, Op. 52/6; D. 839 [arrangement for low voice, G]: Low Voice, Orchestra Accompaniment Low Voice, Orchestra Accompaniment
Brand: Alfred Music
SKU: 36-A833790
Price: 50.00 USD
Availability: OutOfStock

By Franz Schubert / arr. William Ryden

Item: 36-A833790

$50.00

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Franz Schubert (1797-1828) wrote the beautiful melody now associated with the Latin "Ave Maria" text in 1825 as part of a setting of seven songs from Walter Scott's narrative poem THE LADY OF THE LAKE, Op. 52. In the song cycle, a young woman named Ellen sings a prayer (called "Ellen's Third Song") to the Virgin Mary, albeit in a German translation of Walter Scott's text. "Ellen's Third Song" opens with the words "Ave Maria," and this may have led to the idea of setting the traditional Roman Catholic prayer "Ave Maria" to the same melody. Whatever the reason is began, the universally recognized song is so frequently performed with the Latin text that many believe it Schubert's original intent. Instrumentation: 1.1.1.1: 2.0.0.0: Str (9-8-7-6-5 in set): Solo Voice. William Ryden has arranged versions for low voice (g) and orchestra and high voice (Bb) and orchestra, both of which are available from the publisher.

Detailed Instrumentation: 1.1.1.1: 2.0.0.0: Str (9-8-7-6-5 in set): Solo Voice

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Series: Kalmus Vocal Library

Publisher: Keiser Productions, Inc.

UPC: 676737831486

SKU: 36-A833790

Instrumentation: Low Voice, Orchestra Accompaniment

More about this title

About the Composer: Franz Schubert

Franz Schubert (1797-1828) was an Austrian composer who created an extraordinary catalog of over 600 vocal works despite his short life. His gift for melody was unmatched; he possessed an intuitive ability to unite text with music in ways that revealed emotional depths within a poem or prayer. Schubert's art songs (lieder) remain central to vocal literature and continue to define the relationship between voice and accompaniment in Western classical music.

Schubert wrote "Ellen's Third Song" in 1825 as part of his Op. 52 song cycle based on Walter Scott's narrative poem "The Lady of the Lake." Though he composed it to German text, the melody's profound simplicity and spiritual character made it irresistible to later generations, who paired it with the Latin "Ave Maria" prayer. This pairing has become so universal that the melody now transcends its original context to stand as one of the most recognized melodies in classical music.

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Why we love this

Schubert's melody communicates reverence and intimacy in equal measure, making it a piece that resonates across vocal ranges and performance contexts. The orchestration (arranged here by William Ryden) supports rather than overshadows the voice, allowing the soloist to shape the prayer with genuine vulnerability while the ensemble provides dignified harmonic foundation.

What to expect

The music unfolds with an almost unbearable tenderness. Each phrase seems to emerge from silence, float for a moment in pure spirituality, then settle into the orchestra's gentle harmonic embrace. There is no artifice here; the simplicity is the point, and that simplicity asks the singer to be completely honest about what the prayer means.

Who it's for

Singers with lower voice types who need a transcendent, repertoire-standard piece that works equally well in recital, concert, or liturgical settings. This transposition for low voice opens Schubert's melody to baritones, basses, and mezzo-sopranos who find the original key less comfortable.

How to get the most out of it

Treat the opening phrase as a spoken prayer before singing it; let the soloist find the breath point that feels most natural rather than mechanically adhering to written phrase marks.
Balance the orchestral accompaniment carefully during the soloist's entrance so the voice can be heard with full color without forcing volume.
Use the fermata moments to allow slight separation and reflection, giving weight to the text's spiritual meaning rather than rushing through cadences.
Shape the dynamic arc subtly across the entire song; avoid the trap of treating this as a static, one-dimensional meditation when it actually contains emotional movement and development.

How to use it

Program this as a reflective moment between more dramatic or energetic works, or use it to open a concert with an atmosphere of reverence and contemplation. It pairs beautifully alongside other Schubert lieder or as a memorial or devotional piece within a mixed program of classical vocal literature.