Of the remaining two songs, one was for a male ensemble and the other for a female ensemble. The songs are not intended for a single performer: the three songs of Ellen are for a woman's voice with piano accompaniment, while the songs for Norman and Malcolm Graeme were intended for the baritone Johann Michael Vogl. They were published in 1826 as his Opus 52. In 1825, Schubert composed a selection of seven songs from Scott's The Lady of the Lake. The Latin version of the "Ave Maria" is now so frequently used with Schubert's melody that it has led to the misconception that he originally wrote the melody as a setting for the "Ave Maria".
#Ave maria hail mary in latin full
The opening words and refrain of Ellen's song, namely " Ave Maria" (Latin for "Hail Mary"), may have led to the idea of adapting Schubert's melody as a setting for the full text of the traditional Roman Catholic prayer " Ave Maria".
Schubert's setting is said to have first been performed at the castle of Countess Sophie Weissenwolff in the little Austrian town of Steyregg and dedicated to her, which led to her becoming known as "the lady of the lake" herself. Roderick Dhu pauses, then goes on to battle. Roderick Dhu, the chieftain of Clan Alpine, sets off up the mountain with his warriors, but lingers and hears the distant sound of the harpist Allan-bane, accompanying Ellen who sings a prayer addressed to the Virgin Mary, calling upon her for help. In Scott's poem, the character Ellen Douglas, the Lady of the Lake ( Loch Katrine in the Scottish Highlands), has gone with her exiled father to stay in the Goblin's cave as he has declined to join their previous host, Roderick Dhu, in rebellion against King James. The piece was composed as a setting of a song (verse XXIX from Canto Three) from Walter Scott's popular narrative poem The Lady of the Lake, in a German translation by Adam Storck (1780–1822), and thus forms part of Schubert's Liederzyklus vom Fräulein vom See. 1879 painting of Ellen's Isle, Loch Katrine
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