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| Composer : | Gounod, Charles (1818 - 1893) | ||
| Instrumentation : | Horn and harp | ||
| Style : | Romantic | ||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Publisher : | MAGATAGAN, MICHAEL | ||
| Date : | 1876 | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 14 Oct 2013 Charles Gounod was born in Paris, the son of a pianist mother and an artist father. His mother was his first piano teacher. Under her tutelage, Gounod first showed his musical talents. He entered the Paris Conservatoire, where he studied under Fromental Halévy and Pierre Zimmermann. He is best known for his operas Faust and Romeo et Juliette and for his Ave Maria (1859). Except for concertos, he composed music in the major genres, but with varying success in the instrumental realm. Gounod was more at home in the vocal arena, particularly in opera and sacred music. Though his reputation began to fade even before he died, he is still generally regarded as a major figure in nineteenth century French music. Stylistically, he was a conservative whose influence nevertheless extended to Bizet, Saint-Saëns, and Massenet. He could not be called a trailblazer or the founder of any movement or school. His works are tuneful, his vocal writing imaginative, and orchestral scoring masterly. Gounod's compositions, even his two symphonies and lesser known operas, are occasionally explored today, and the aforementioned Faust and Romeo et Juliette and Ave Maria are widely performed and recorded. Ave verum corpus is a short Eucharistic hymn that has been set to music by various composers. It dates from the 14th century and has been attributed to Pope Innocent VI. During the Middle Ages it was sung at the elevation of the host during the consecration. It was also used frequently during Benediction of the Blessed Sacrament. The hymn's title means "Hail, true body", and is based on a poem deriving from a 14th-century manuscript from the Abbey of Reichenau, Lake Constance.The poem is a meditation on the Catholic belief in Jesus's Real Presence in the sacrament of the Eucharist, and ties it to the Catholic conception of the redemptive meaning of suffering in the life of all believers. Although originally written for Voice (Soprano or tenor) and Piano, I created this arrangement for French Horn & Concert (Pedal) Harp. | |||
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