Sei sulla pagina 1di 6

107

AVE MARIS STELLA

-I I
4----334 II ..---
0=::::::::.

r7-
IJI~
mf I I
-
Andante sostenuto pin tosto l~nto *)
- I ---- P
.----
8' - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
I~
2
c;

Klavier
oder
Harmonium

* ~. *
A - ve ma- rIS stel la,
7
8----------------' cantando

smorzando

* ~.
una corda
* ~.
Dei ma - ter al ma, - que semper Vir go, Felix cae - Ii

J~
- -
r a tempo

~. ~.'fu.
~
*
veGta. ..J~
a Su - - bri
mens - e - lis
Ia il Iud ** 'ft.o.
~I

poco ritard. a tempo ***)


I
123

2
*
* '3i0. * ~. * 'ft.o.

*) "Tempo ohngefahr: MM J = 66." (L-P) *) "Tempo approximately: MM J = 66." (L-P)


* *) "Liszt selbst fiihrte derartige melodische Tonreihen bei cu- * *) "Liszt himself played this kind of melodic line with a hand
higster gleichsam in sich versunkener Hand (knapp an der that hardly moved (very close to the keyboard), "slipping"
Tastatur) mit schleichender Bewegung von Ton zu Ton ... from note to note." (L-P)
aus ... " (L-P) * * *) "The quaver e1 is an upbeat to the new line of the verse and
* * *) "Das Achtel e1 ... ist Auftakt zur neuen Verszeile und tritt enters freely after a short pause for breath (cesura)." (L-P)
nach kurzer Atmungspause (Casur) frei ein ... " (L-P)

Z.8859
108

Fun - da nos in pa - ce, j\1u - tans Hi - vae no -


23 5
51~ 5 3 3

r
3 4 5
* 3 4
'fe(). * 3 4

27 men.
poco ritard. 4 a tempo
5

*
~.
Sol - ve vinela re 1S, Profer lu - men cae cis: Ma - la nostra
31
.
8----------------"------,
~

! *)un poco marcato un poco marcato

* 'fw. *
pelle,
36

>
~. *4
Mon-stra te es - se ma - - trem,
Harmonium

~~~f ~_. __ -~
-
~
I
----~
.
8-----------------------------------------------------------------------------------1

~ ~~~
~
- 1J
~

----

'fe(). ~.
sempre una corda
*) "Der ... Kontrast dieses und des Paralleltaktes mit den vorher- *) "The contrast between this as well as the similar bar and the
gehenden Takten ist vor Ubenreibung des marcato zu schiit- preceding ones should be protected from exaggerations of the
zen ... " (L-P) marcato." (L-P)

Z.8859
109

45
ma

(sopra)
- trem: Su - mat

~r
per te

t I

pp espreSSlVO smorzando

'310. 'fW. ~. *
ces, pre -

8-----------------------------------------------------,
----- ..----
~a.
~.TE
I ~ espreSS1VO
......•.
r---... -----
1oI~
-
---
.r:::
--------
---- \If..;)VI-'.I."I -
~~ ----- u_
----
----
------ ~_ ~ .
pp

~. *
ces, Qlli prf) 110 - bis lid - - tllS, Tu - lit

~ # ~ ----- r tit r:::=:::=1=~ r


f'-~~
r r=--=~
---------------------------------------------
)2
••
~ ~ ••
~
frl-
• ~I
S ..-~
$ K.~ • •
~I~ I I I -
I 8--.~-----
I
sempre Vdolcissimo
fill-
e ~quieto
~
I

'fu. 'fW. ~. ~. 'fW. 'fu. ~.

----------
es - - se tu us.

r r r r~
;6
I ~ ......
... - - - - ..- .•••
Il:l" $
..., !7 .,....
~--------.--~~~~----.,
• c;..
- ~
:::-
~
r.'\
.- - ~

~. 'ill. ~.

Z.8859
no

60

mj' *)
ppp

'ltJ.

65

--
t I Irer
~3J -I 4 I
I'I~ In
ten 'I~
,~.
ItIS, Nos
. om ~~ nes ,
m!
- .~ ,~ 8' -1 R- -1

r~ Lr
114
--r.::::::::
los, -soIpis
...... =:::::::-
"1 RU1
cuI I.----------.
~ v
poco rall._

mento piano
- smorzando

'ltJ.

*) (L-P) *) (L-P)

* *) "Die im Widerschein und Widerhall der Melodie stehende * *) "The chordal accompaniment which reflects and echoes the
Akkordbegleitung schmiege sich innig, mehr Klang als Ak- melody should complement the melody by giving a tonal
kord, dem canto ein ...•. (L-P) background rather than by stressing individual chords." (L.P)

Z.8859
III
Mi les jac el cas los. Vi lam prae - .rta ram,

.,~~
sempre legato

ra --xw
7 Je
'1l0. -III dell
.,I/illt
'1l0.
~ ~ ~pa ~().
/Ji .fum,
#- :
UIles * ** ~
cfu. r1J1. C

~p.,~.,

> ------:
8- - - - - - -- - - - - - u - - - - - - - - - - - - - -- - - -- - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - -- - - - - - - -

- xw.4!e
** * n
~ cuilae 510.41
~.11 51____________.15
IllII/";
~ poco w:
510.
raiL
2 J
~~

r #r
raIl.
----------------~ ==-

r
Z.8859
112
Sit Laus Deo Patri, Sum- mo
a tempo
3

smorzando

,
,
,
8-------=-=-:-,
:85

••
tre corde
'3}0.

Spiritui Sancto, Tri - bus ho - nor unus.

'ill.
men.

sempre piu p

103

pp perdendo IPPP

-e-
'3}0. * '3}0. '3}0. '3}0. '3}0. '3}0.

*) Beim Vortrag auf dem Harmonium ist hier und in Takt 92-93, * ) If the piece is performed on a harmonium-although Liszt did
obwohl von Liszt nicht gekennzeichnet, der untere Ton der not indicate this separately-the lower note in the octaves of
Oktaven der linken Hand nach dem Muster von Takt 94-95 the left hand should be omitted here and in bars 92-93, corre-
wegzulassen. sponding to 94-95.
Z.8859