Anton Bruckner (arr. Mark Reid)
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II
Horn in F I-II
- Crash Cymbals
- Suspended Cymbal
None discovered thus far.
Anton Bruckner (1824 - 1896) is a celebrated composer, organist, and teacher. While there are many setting of the sacred Ave Maria text, only Bruckner's 1861 composition captures and translates the powerful presence of the organ to the choral idiom. Given the tone colour potential in the modern wind ensemble, Bruckner's brilliant blend of Renaissance melodic lines with chromaticism and harmonic language of the Romantic era make this transcription an appropriate extension of Bruckner's musical tastes. It is reasonable, then, to imagine Bruckner's approval for this transcription for wind ensemble.
This transcription was commissioned by Douglas Macaulay and Susan Magnan, Founders of the Con Brio Whistler Music Festival. It is dedicated to Elizabeth H. Rickman, a passionate, committed, and caring music educator who passed away long before the full effect of her excellent teaching were realized. Her belief in student leadership and pursuit of musical excellence are revered by colleagues and students. The premiere performance was given on April 29th, 2012 at the Con Brio Whistler Music Festival by more than 1400 student-musicians performing in the festival's Mass Band.
- Program Note from publisher
In memory of inspiring music educator Elizabeth R. Rickman. Commissioned by the Massed Band of the 2012 Con Brio Whistler Music Festival.
- Program Note from score
Ave Maria is a supplication to the Virgin Mary, drawn from the text of the annunciation. Bruckner's Ave Maria dates from 1861 and features three parts for female voice and four for male. It is one of the motets that are a staple of the choral repertory. The transcription assigns the voices primarily in consorts, assigning the female voices to the woodwinds and the male voices to the conical brass.
Ave Maria is a motet. Though the motet is mainly associated with the Medieval and Renaissance periods, composers of all periods wrote them. It is loosely defined as a vocal composition on a sacred Latin text, and next to the mass was seen as the highest form of sacred musical expression in earlier periods.
- Program Note Edwin Powell from Teaching Music Through Performance in Band
None discovered thus far.
To submit a performance please join The Wind Repertory Project
- O'Fallon (Ill.) District 90 Junior High Band – 4 May 2018
Works for Winds by This Composer
- Adagio from Symphony No 7 (arr. Schmalz) (1881-83/1995)
- Adagio from Symphony No 7 (arr. Walker) (1881-83/2000)
- Antiphon (arr. Gordon) (1884/1976)
- Apollo March (arr. Leidzen) (1862/1951)
- Apollo March (arr. Rhodes) (1862/1986)
- Ave Maria (trans. Buehlman) (1861/)
- Ave Maria (arr. Doss) (1861/2012)
- Ave Maria (trans. Kreines) (1882/2006)
- Ave Maria (arr. Leinhart) (1861/2012)
- Ave Maria (arr. Malecki) (1861/?)
- Ave Maria (arr. Marlatt) (1861/)
- Ave Maria (trans. Powell) (1861/2012)
- Ave Maria (trans. Reid) (1861/2013)
- Cathedral Music (arr. Daehn) (1885/2005)
- Christus Factus Est (arr. Thurston). see: Two Solemn Pieces
- Christus Factus Est (setting Wilds) (1884/2018)
- Drei Satze und Marsch in D Moll (arr. Schrijvers) (1862/2008)
- Ecce Sacerdos Magnus (arr. O'Neil) (1885/)
- Festive Cantata (1862)
- Germanenzug (1863-64)
- Hunt Scherzo from Symphony No 4 (arr. Dytrt) (1878/1979)
- Hymn of Praise (arr. Gordon) (1885/1969)
- Locus iste (arr. Grevenbroek) (1869/1998)
- March in E-flat (arr. Tousignant) (1865/2013)
- March in E-flat Major (arr. Leidzen) (1865/1951)
- March in Es-dur (arr. Takahashi) (1865/2011)
- Marsch in Es-dur (ed. Bornhöft) (1865/1996)
- Mass No. 2 in E minor (1866/1882)
- Mass No. 2 in E minor (tr. Scatterday) (1866/1882/)
- Motets for Band (arr. Grevenbroek) (2000)
- Os Justi (arr. Doss) (1879/2004)
- Os Justi (arr. Forbes) (1879/2017)
- Os Justi (arr. Meyer) (1879/)
- Prayer and Alleluia (arr. Marlatt) (1868/2009)
- Symphony No 4, Movement 1 (arr. Schmalz) (1874/1878/)
- Symphony Nr 5: Finale (arr. Jenssen) (1975-78/2004)
- Three Preludes (arr. Broege) (1836/1996)
- Two Solemn Pieces (arr. Thurston)
- Christus Factus Est (arr. Thurston) (1884/1999)
- Vexilla Regis (arr. Stevens) (1892/1995)
- Perusal score
- Powell, Edwin. "Ave Maria." In Teaching Music through Performance in Band. Volume 9, edit. & comp. by Richard Miles, 128-132. Chicago: GIA Publications, 2013.