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Ave Maria
Camille Saint-Sans (1835-1921)
Publisher: Albrecht Schneider
Description
Camille Saint-Saëns – Ave Maria Für Sopran, Alt und Klavier Entstehung: zweite Hälfte des 19. Jahrhunderts Romantische französische Kirchenmusik Hintergrund: Saint-Saëns (1835–1921) schuf neben seinen berühmten Orchester- und Opernwerken auch eine Reihe geistlicher Solostücke und kleiner Ensembles, die er oft als Organist in Pariser Kirchen selbst zur Aufführung brachte. Dieses zweistimmige Ave Maria wurde für weibliche Solostimmen komponiert – ideal für kirchliche Anlässe oder Salon-Andachten. Thema: Innige Marienverehrung – ein Gebet voller Ruhe und Licht. Musikalische Merkmale: Kantable Linienführung für Sopran und Alt → im schönen, getragenen Dialog Parallele oder imitierende Stimmführung → „Zwei Stimmen – ein Herz“ Sanft farbige romantische Harmonik Das Klavier: trägt warm und stabil umspielt melodisch in zarten Wellen schafft schimmernde Klangatmosphäre Steigerung zu „ora pro nobis“ – leichtes Aufleuchten, kein Pathos Finale im stillen Frieden des Gebets Wirkung: schlicht-elegant, geistlich berührend – keine Dramatik, sondern Ruhe. Schwierigkeitsgrad & Interpretation: Leicht bis mittelschwer Anforderungen: Reines Piano-Singen in beiden Stimmen Gleichgewicht zwischen Sopran und Alt Latein hell & fließend (französische Aussprachetradition bevorzugt) Sehr gleichmäßige Phrasierung → Gebetscharakter → Ziel: Transparente Andacht – ein klanglich „leuchtender“ Duettstil. Einsatz im Konzert: Ideal für: Marienfeste, Advent, Weihnachten Kirchliche Trauungen oder Taufen Intime, besinnliche Momente in gemischten Programmen Publikumseindruck: Herzenswärme und stille Schönheit – ein Werk, das Frieden ausstrahlt. Kurzfazit: Das Ave Maria von Saint-Saëns für Sopran, Alt und Klavier ist ein zart leuchtendes, innig singbares Gebet – elegant, ruhig und klingende Andacht in romantischem Gewand.
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What you should know about this piece
These notes help you place the piece — voicing, difficulty, licence model and the steps after purchase.
Understanding the voicing: SA + Piano▾
The voicing tells you which vocal parts your choir will need to sing.
- SATBSoprano, Alto, Tenor, Bass — the classic mixed choir.
- SSAThree women's voices: two sopranos and alto.
- SSAAFour women's voices: two sopranos and two altos.
- TTBBFour men's voices: two tenors and two basses.
- SABSoprano, Alto, Baritone — eases the tenor part and suits smaller choirs.
- SATBSATBDouble choir: two independent SATB choirs, often in dialogue.
- unisonUnison — for children's choirs, congregational singing or unison passages.
The voicing "SA + Piano" is a special case — have a look at the score preview for details.
Understanding difficulty levels▾
The difficulty level gives you a feel for how many rehearsals your choir should plan for.
- BeginnerClear rhythms, familiar keys and singable intervals — works for young or newly formed choirs.
- MediumFor an experienced choir; some chromatic passages, key or metre changes. Around 6–10 rehearsals for a clean performance.This piece
- HardClose harmonies, complex rhythms, wider ranges — needs disciplined rehearsing and vocally secure singers.
- Very hardConcert-choir level: modulations, polyphony, extreme registers, demanding intonation and voice leading.
How the per-singer licence works▾
With Chorilo you get a digital performance licence. Your choir is covered — no scramble for photocopies.
Per-singer licence Current model
One licence per singer. Scales fairly with ensemble size; many pieces include volume discounts.
Minimum quantity: 10 licences.
Ensemble flat-rate
One fixed price per ensemble. All current and future members get access, no matter how the choir grows.
The licence covers rehearsing and performing through Chorilo. External performance rights (e.g. GEMA, PRS — where applicable) remain unaffected.
Using the piece in Chorilo▾
- 1
Buy the piece
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- 2
Distribute the licences
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- 3
Singers receive the music
Your members see the piece immediately in the Chorilo app — on tablet, phone or desktop, offline too.
- 4
Rehearse and perform
Listen to voice-part audio in rehearsal, mark passages, isolate your voice — and have everything to hand at the concert.