Since Christ had no other brothers nor sisters, it is clear He meant 
spiritual mother...and this is often mistaken for diety worship when 
it is merely familial rememberance of one's own spiritual kin.  In a 
similar way that one remembers a grandmother with a beautiful song, 
those who compose an 'Ave Maria' follow an early Tradition in line 
with one of the 10 Commandments: "Honor thy mother and father."

This performance, live during Funeral Mass on February 12, 2004, is 
dedicated to the memory of David Hemsley, a close family friend and 
investor into Arthur Sulit's MuSeeks.com.  He will be sorely missed, 
as he is one of the kind persons who made this site possible for the 
world to enjoy and learn from.  Tina Carey sings soprano, and Arthur 
Sulit plays the Bb version on piano, at St. Athanasius Catholic 
Church in Mountain View, California.  The proceeds from the sale of 
this track will benefit this site's continuance as a beacon of great 
music to the world, as David would have wished.  Please donate today.


1.
Ave Maria
Gratia plena
Dominus tecum
benedicta tu
benedicta tu in muli eribus

et benedictus fructus 
ventris tui, Jesus,
et benedictus fructus
ventris tui, Jesus.

Ave Maria

2.
Sancta Maria
Mater Dei,
Ora pro nobis,
peccatori bu
Ora pro nobis peccatoribus

nunc et in hora mortis,
in hora mortis nostrae,
nuc et in hora mortis,
in hora mortis nostrae.

Ave Maria

Franz Schubert's Catholicism

The Austrian town of Vienna, rich with musical history and 
predominantly Catholic, has matriculated such names as Mozart and 
Franz Schubert, Johann Strauss Jr., and phenominal geniuses of Jewish 
descent such as Mahler and Erich Korngold.

The ardent Judeo-Catholicism of Austria is a thread which runs though 
history and movies, from the Sound of Music to the streets of 
Vienna.  Recall the touching 'Edelweiss' song-scene of the Von Trapp 
family singers, the heartfelt reaction of the unwilling Austrians 
against their northern Germanic occupiers, the Nazi's.  

The following is excerpted from:
 
http://www.NewAdvent.org/cathen/13591b.htm

Composer, b. at Vienna, 31 January, 1797; d. there 19 November, 
1829. He studied under his father, and subsequently under Holzer and 
Salieri, and in 1807, was first boy soprano in the Lichtenthal choir. 
In October, 1808, he entered the Imperial Choristers School, and soon 
gave evidence of extraordinary musical genius as a composer, his 
first effort being a pianoforte duet, early in 1810. During 1811 and 
1812 he produced many instrumental pieces, also a "Salve Regina" and 
a "Kyrie". 

He left the Choir School in November, 1812, and took up work as a 
schoolmaster in order to avoid conscription. His "First Mass in F" 
was finished on 22 July, 1814, and performed by the Lichtenthal choir 
under the direction of Holzer. Competent critics have pronounced this 
mass as perhaps the most wonderful first work by any composer save 
the case of Beethoven's "Mass 
in C". Schubert conducted the second performance at the Augustinian 
church on 26 October, his brother, Ferdinand, presiding at the organ. 

During the same year he produced a symphony and a "Salve Regina";, as 
well as some songs and instrumental pieces. His famous "Erl King", 
dates from November, 1815, as does his "Mass in G" -- wonderful for a 
boy of eighteen. His compositions for 1816 include a "Salve Regina", 
a "Stabat Mater", a "Tantum Ergo", and a "Magnificat", as also two 
symphonies, and some delightful songs including the "Wanderer". 


He conducted the music at high Mass at the Alterehenfelder church on 
Easter Sunday, 
1820, and in the same year produced an Easter cantata 
and an opera. His productivity from 1821 to 1824 was 
enormous, "Rosamunde" and his "Mass in A flat" being of permanent value. 



His glorious "Ave Maria" dates from 1825, 
apropos of which he writes 
that at the time he was filled with 
overpowering devotion to the 
Blessed Virgin. 
The three Shakespearean 
songs of 1826 are still of interest. In 1827 he was gratified with a 
eulogy from the dying Beethoven, whom 
he visited in his last illness, and whose remains he followed to the grave. 

He subsequently wrote an opera, a number of songs, and the second 
part of the "Winterrreise". Early in June, 1827, he was elected a 
member of the musical society of Vienna, and in 1828, produced his 
marvelous "Symphony in C", his "Mass in E flat", an oratorio, a hymn 
to the Holy Ghost, a string quartet, a "Tantum Ergo" in E flat, and a 
lovely "Benedictus". 

His last appearance in public was on 3 November, 1828, when he went 
to hear his brother's new "Requiem": he died a fortnight later, and 
his obsequies were celebrated in the little Chapel of St. Joseph in 
Margarethen. On 21 November, the body was interred at Wahring, close 
to the grave of Beethoven, and on 
23 December his solemn month's mind was celebrated in the Augustinian 
Church, when a "Requiem" by Huttenbrenner was performed. The corpse 
was re-interred in the central cemetery, Vienna, on 23 September 1888. 

Schubert produced a phenomenal amount of music, his songs alone 
numbering about six hundred and three. His compositions came into 
prominen ce owing to their advocacy by Liszt, Schumann, and 
Mendelssohn, but he was in advance of his time and it was not until 
thirty years after his death that his wonderful genius was fully appreciated. 

Essaying all forms of composition, he was successful in all, and he 
may be regarded as second only to Beethoven. In 
particular, his unfinished symphony, his "Rosamunde" Entr'acte, 
his "Mass in E flat", and about a dozen of his songs are immortal masterpieces.  

W.H. GRATTAN-FLOOD 
Transcribed by Ferruccio Germani  
The Catholic Encyclopedia, Volume XIII
Copyright © 1912 by Robert Appleton Company
Online Edition Copyright © 2003 by K. Knight
Nihil Obstat, February 1, 1912. Remy Lafort, D.D., Censor
Imprimatur. +John Cardinal Farley, Archbishop of New York
 


		              
		              

  Genre: Classical Vocals