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Ave Maria d'Aosta

author of text
Antiphon for the Blessed Virgin Mary

The Ave Maria d’Aosta came about when Mäntyjärvi was teaching a course in choral composition at Aosta, in the northwestern corner of Italy. Students were asked to write pieces for the choir-in-residence, The Torino [Turin] Vocal Ensemble, to perform at the final concert. Mäntyjärvi’s Ave Maria emerged, he has said, as ‘a demonstration of a particular type of choral texture, with tonally oriented harmonies scored mainly in the low and middle ranges in eight parts and with plenty of octave doubling. As such, the texture bears more than a passing resemblance to the sounds of the Orthodox liturgy, in an ecumenical nod, as it were.’ The cool opulence of this brief setting arises from extensive division of all parts, with the basses required to plumb extreme depths, especially at the end. Just as academic forms of harmonic preparation, suspension and resolution are sometimes used, so too are incidental dissonances which enhance the triadic language without obfuscating it.

from notes by Francis Pott © 2020


Mäntyjärvi: Choral Music
Studio Master: CDA68266Studio Master FLAC & ALAC downloads available


Track 1 on CDA68266 [2'44]

Track-specific metadata for CDA68266 track 1

Recording date
12 January 2019
Recording venue
Trinity College Chapel, Cambridge, United Kingdom
Recording producer
Adrian Peacock
Recording engineer
David Hinitt
Hyperion usage
  1. Mäntyjärvi: Choral Music (CDA68266)
    Disc 1 Track 1
    Release date: October 2020
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