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Ave Maria (Schubert)

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The musical composition known as "Ave Maria" is one of the most celebrated works by the Austrian composer Franz Schubert.

Franz Schubert c1827
Franz Schubert c1827

While many listeners recognize the melody as a religious hymn, it actually began as a piece of storytelling music. Schubert composed it in 1825 as part of a larger collection called Opus 52. This collection consists of seven individual songs. These songs were inspired by the 1810 narrative poem *The Lady of the Lake* by Sir Walter Scott.

Sir Henry Raeburn - Portrait of Sir Walter Scott
Sir Henry Raeburn - Portrait of Sir Walter Scott

The work is significant because it bridges the gap between secular poetry and sacred prayer.

To understand how the song functions, one must look at its original structure within the poem. Schubert set the music to a German translation of Scott's poem by Adam Storck. This translation was often a free interpretation of the original English. Because of this, Schubert faced the difficult task of making the German words fit his specific musical phrasing. The song is the third of three pieces written for a female voice with piano accompaniment. These three songs are known as "Ellens Gesang" or Ellen's Songs. The specific piece we call "Ave Maria" is formally titled "Ellens Gesang III" or "Hymn to the Virgin."

Charles Leslie - Loch Katrine, Ellen’s Isle
Charles Leslie - Loch Katrine, Ellen’s Isle

The melody is deeply tied to a specific scene in the poem's third canto. The character Ellen Douglas, also known as the Lady of the Lake, is hiding in a cave in the Scottish Highlands. She is staying there with her exiled father. In this moment of isolation, Ellen sings a prayer to the Virgin Mary. She asks for protection and comfort while living in a harsh environment. As she sings, a chieftain named Roderick Dhu hears her voice from a distance. The sound of her prayer and the accompanying harpist, Allan-bane, causes him to pause before he continues to battle.

Charles Leslie - Loch Katrine, Ellen’s Isle
Charles Leslie - Loch Katrine, Ellen’s Isle

Schubert's Opus 52 is a diverse set of compositions intended for different types of performers. While the songs for Ellen are for a woman's voice, other parts of the cycle serve different needs. For example, "Bootgesang" is written for a male voice quartet. The piece "Coronach," which means deathsong, is intended for a female choir. Other songs, such as those for the characters Norman and Malcolm Graeme, were written for the baritone singer Johann Michael Vogl. This variety shows that the cycle was designed to showcase many different vocal ranges and textures.

There is a common misconception regarding the origin of the "Ave Maria" title. The title comes from the Latin phrase for "Hail Mary," which are the opening words of Ellen's song. Because these words are so prominent, many performers have adapted the melody to fit the traditional Roman Catholic prayer. This version uses the full Latin text of the prayer rather than the poem's lyrics. This adaptation is so common that many people believe Schubert originally intended the melody for the prayer itself. The piece's popularity is further evidenced by the famous pianist Franz Liszt, who created three different arrangements for the piano.

One of the most famous modern uses of the melody is in Walt Disney's 1940 film *Fantasia*.

Charles Leslie - Loch Katrine, Ellen’s Isle
Charles Leslie - Loch Katrine, Ellen’s Isle

In this film, the song is used in a musical sequence called a pastiche. It follows the piece *Night on Bald Mountain* by Modest Mussorgsky. The transition is seamless, moving from the dark sounds of the mountain to the light of the song. For this production, Leopold Stokowski arranged the music specifically for the film. Unlike the original solo version, this arrangement features a soprano soloist, Julietta Novis, and a mixed chorus. The accompaniment is provided by the string section of the Philadelphia Orchestra.

Today, the piece remains a staple in many different cultural and religious settings. It is frequently performed at weddings, funerals, and during Christmas celebrations. Its ability to function as both a dramatic song and a solemn prayer gives it a unique place in music history. Whether heard in a concert hall, a church, or a movie theater, the melody continues to connect listeners to the themes of protection, hope, and peace found in the original poem.

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File:Franz Schubert c1827.jpg
Franz Schubert c1827.jpg
File:Sir Henry Raeburn - Portrait of Sir Walter Scott.jpg
Sir Henry Raeburn - Portrait of Sir...
File:Charles Leslie - Loch Katrine, Ellen’s Isle.jpg
Charles Leslie - Loch Katrine, Ellen’s Isle.jpg
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