Preview
Ave Maria
| Publisher | CHURCH MUSIC SOCIETY |
| Composer | Richard Dering |
| Arranger/Editor | Richard Lyne (Ed) |
| Voice/Instrument | SATTB |
| Accompaniment | Organ |
| Difficulty | Unrated |
for SATTB and organ continuo
Edited by Richard Lyne
Continuing the Society's series of Dering motets, this setting of Ave Maria from the 1617 Cantiones Sacra is mainly homophonic, with a few imitative phrases. It displays Dering's love of the augmented triad and, with an organ continuo part, it is within the reach of a competent church choir.
Richard Dering (1580-1630)
Richard Dering (c.1580-1630) was an English Roman Catholic composer active in the early seventeenth century. Dering spent many years abroad, and it is now assumed that he converted to Catholicism during a stay in Italy, after having trained as a musician in England where he obtained a B.Mus. from Christ Church, Oxford, in 1610. Dering spent time in Brussels as organist to a convent for English nuns, and was later awarded royal appointments as organist to Queen Henrietta Maria and as 'musician for the lutes and voices' to King Charles I. Dering thus became highly proficient in the contemporary styles of both England and Italy: his English music, which includes Anglican repertoire, was all published posthumously; his Italianate music includes Latin sacred works for the Catholic church, and secular Italian madrigals.
Published: 01 October 2015
Duration: 2 minutes
Difficulty: Easy
ISBN: 9780193954090
Reviews:
"The setting is largely homophonic, thus devoid of the contrapuntal fireworks of his other motets. Dering's love of daring harmonies remains, however, with plenty of surprising tonal twists, cross relations, and unprepared dissonances. Although the organ was certainly used originally, as with all works from the Tudor period, the anthem would be equally effective unaccompanied. For those wishing to have the organ support the voices, Lyne provides a stylistic continuo realization that is more interesting than a simple reduction of the choir's pitches. If the usual settings of the Ave Maria are feeling a bit stale, this gem might furnish a breath of fresh air." - Jason Overall, Journal of the Association of Anglican Musicians, May 2016
"The motet's musical style owes much to the madrigals of Monteverdi, being essentially homophonic in style with predominantly syllabic text setting and rhythmic figures thrown between the parts. The edition converts the Mixolydian mode into G major and halves the note values, and interpreters are left to infuse the music with whatever level of fervent expression they may choose." - Geoffrey Webber, Choir & Organ, May 16
