Ave Maris Stella - Medieval Hymn
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- เผยแพร่เมื่อ 4 เม.ย. 2023
- Arrangement & vocals by Farya Faraji. This is a Medieval Marian hymn. Whilst many authors are credited to it and there is no clear consensus as to who it is, the majority consensus seems to be that the hymn originated around the 9th century. Having been found in the Abbey of Saint-Gall, the time and place puts it at the epicenter of the Carolingian era. Therefore, I was interested in performing a historically informed version of the piece, hoping to immerse the listener as if they were listening to it in a cathedral during the era of the Carolingians. This took effect in two ways:
The first is the vocal production, highly melismatic and relying on microtonal inflections to a limited but present degree. The Carolingian Era sees the formation of Romano-Frankish chant, which grew out of Old Roman Chant, the earliest liturgical style of Christian chant that was present in Rome. This newly formed Romano-Frankish chant would eventually become the repertoire known as Gregorian, however, at this early stage in its history, it was still under high influence of Roman chant, and that is seen in the highly melismatic and florid vocal production that I conveyed here. This form of florid vocal delivery would remain in usage throughout Western Europe up until the 1200's, where melismas would begin to die out and the last indications of microtonal inflection in manuscripts disappear: see my video on the subject for more in depth information and sources in the description of that video: • The Medieval European ...
The second historical aspect involves the usage of early Organum, which is the origin point of modern European harmony as we know it. Organum in its earliest stages consisted of a second voice transposing the original melody unto a fourth or fifth; in this case I went for the fifth. This style of parallel come across as strange to many of us, especially those trained in the modern Classical style where parallel fifths are one of the fundamental taboos of the style; but Medieval Europeans would have found it familiar and beautiful. With the presence of melismas, microtonal inflections and early Organum, all present in the Carolingian era, this rendition may hopefully provide an insight into the quite different sounds that Christian chant undertook over its long evolution.
The pronunciation seems to be some variant of regional Medieval Latin pronunciations, although I wouldn't be able to tell which. The image is a Carolingian era representation of the Virgin Mary.
Lyrics in Latin:
Ave, maris stella,
Dei mater alma,
atque semper virgo,
Felix cæli porta.
Sumens illud Ave
Gabrielis ore,
funda nos in pace,
mutans Evæ nomen.
Solve vincla reis,
profer lumen cæcis,
mala nostra pelle,
bona cuncta posce.
Monstra te esse matrem,
sumat per te precem
qui pro nobis natus
tulit esse tuus.
Virgo singularis,
inter omnes mitis,
nos culpis solutos
mites fac et castos.
Vitam præsta puram,
iter para tutum,
ut videntes Jesum
semper collætemur.
Sit laus Deo Patri,
summo Christo decus,
Spiritui Sancto
tribus honor unus. Amen.
English translation:
ail, star of the sea,
Nurturing Mother of God,
And ever Virgin
Happy gate of Heaven
Receiving that "Ave" (hail)
From the mouth of Gabriel,
Establish us in peace,
Transforming the name of "Eva" (Eve).[14]
Loosen the chains of the guilty,
Send forth light to the blind,
Our evil do thou dispel,
Entreat (for us) all good things.
Show thyself to be a Mother:
Through thee may he receive prayer
Who, being born for us,
Undertook to be thine own.
O unique Virgin,
Meek above all others,
Make us, set free from (our) sins,
Meek and chaste.
Bestow a pure life,
Prepare a safe way:
That seeing Jesus,
We may ever rejoice.
Praise be to God the Father,
To the Most High Christ (be) glory,
To the Holy Spirit
(Be) honour, to the Three equally. Amen. - เพลง
Arrangement & vocals by Farya Faraji. This is a Medieval Marian hymn. Whilst many authors are credited to it and there is no clear consensus as to who it is, the majority consensus seems to be that the hymn originated around the 9th century. Having been found in the Abbey of Saint-Gall, the time and place puts it at the epicenter of the Carolingian era. Therefore, I was interested in performing a historically informed version of the piece, hoping to immerse the listener as if they were listening to it in a cathedral during the era of the Carolingians. This took effect in two ways:
The first is the vocal production, highly melismatic and relying on microtonal inflections to a limited but present degree. The Carolingian Era sees the formation of Romano-Frankish chant, which grew out of Old Roman Chant, the earliest liturgical style of Christian chant that was present in Rome. This newly formed Romano-Frankish chant would eventually become the repertoire known as Gregorian, however, at this early stage in its history, it was still under high influence of Roman chant, and that is seen in the highly melismatic and florid vocal production that I conveyed here. This form of florid vocal delivery would remain in usage throughout Western Europe up until the 1200's, where melismas would begin to die out and the last indications of microtonal inflection in manuscripts disappear: see my video on the subject for more in depth information and sources in the description of that video: th-cam.com/video/hxcH7S2BaiQ/w-d-xo.html
The second historical aspect involves the usage of early Organum, which is the origin point of modern European harmony as we know it. Organum in its earliest stages consisted of a second voice transposing the original melody unto a fourth or fifth; in this case I went for the fifth. This style of parallel come across as strange to many of us, especially those trained in the modern Classical style where parallel fifths are one of the fundamental taboos of the style; but Medieval Europeans would have found it familiar and beautiful. With the presence of melismas, microtonal inflections and early Organum, all present in the Carolingian era, this rendition may hopefully provide an insight into the quite different sounds that Christian chant undertook over its long evolution.
The pronunciation seems to be some variant of regional Medieval Latin pronunciations, although I wouldn't be able to tell which. The image is a Carolingian era representation of the Virgin Mary.
Lyrics in Latin:
Ave, maris stella,
Dei mater alma,
atque semper virgo,
Felix cæli porta.
Sumens illud Ave
Gabrielis ore,
funda nos in pace,
mutans Evæ nomen.
Solve vincla reis,
profer lumen cæcis,
mala nostra pelle,
bona cuncta posce.
Monstra te esse matrem,
sumat per te precem
qui pro nobis natus
tulit esse tuus.
Virgo singularis,
inter omnes mitis,
nos culpis solutos
mites fac et castos.
Vitam præsta puram,
iter para tutum,
ut videntes Jesum
semper collætemur.
Sit laus Deo Patri,
summo Christo decus,
Spiritui Sancto
tribus honor unus. Amen.
English translation:
ail, star of the sea,
Nurturing Mother of God,
And ever Virgin
Happy gate of Heaven
Receiving that "Ave" (hail)
From the mouth of Gabriel,
Establish us in peace,
Transforming the name of "Eva" (Eve).[14]
Loosen the chains of the guilty,
Send forth light to the blind,
Our evil do thou dispel,
Entreat (for us) all good things.
Show thyself to be a Mother:
Through thee may he receive prayer
Who, being born for us,
Undertook to be thine own.
O unique Virgin,
Meek above all others,
Make us, set free from (our) sins,
Meek and chaste.
Bestow a pure life,
Prepare a safe way:
That seeing Jesus,
We may ever rejoice.
Praise be to God the Father,
To the Most High Christ (be) glory,
To the Holy Spirit
(Be) honour, to the Three equally. Amen.
Any chance we could see a Rolandskavedt video? After diving into medieval music, and then finding your channel, and hearing your more historically informed interpretations, its made me wonder what songs like Estampie or Rolandskavedt with this style would sould like.
Were they really keeping the C's hard in the "sce" cluster during the medeival period?
Dear Farya Which melodic variant did you use as the basis for this study?
Sardinia, Dalmatia.
Happy Easter to all Christians ! ✝️☦️
Thank you so much! 🙏
May Jesus, our Lady and St.Joseph protect you!✝️
Not very inclusive.. smh
🙏 thanksss
@@fyfcgydvyf6510 ..Because easter is a christian holiday.
@@OrthoKarter no it isn't hahaha
Unironically, despite me studying linguistics, I learn more latin vocabulary from your music than from my classes. ¡Kudos to you, grātiās agō!
Kinda trippy hearing a non-classical pronunciation, but that's good considering the time period and I appreciate the difference. Also, vowel lengths are throwing me off, as they should, as they would've changed the vowel lengths for the song
Music is a great way to begin learning a language!
Thank you for singing a hymn from my religion, thank you my friend and may God bless you.
One of the best versions! Thank you very much and let us praise the Lord and the Most Holy Theotokos! ☦️
Listening to Timur, thinking "can't wait for the next Farya Faraji song"
*BAM*, notification! Never fail to impress!
This is exactly how to sing Ave Maris Stella. I sung at two sacral choirs but people weren't confident enough to step out of simple tone and it's a hymn to Our Lady, it should be majestic. Your voice is fantastic.
Merci pour cette très belle et touchante version d'un des hymnes liturgiques plus chantés par nous catholiques dans la Ste Messe traditionnelle.Que la Bienheureuse Vierge Marie te bénisse et te protège ❤️
Travelling across the space and time with Farya...
As a Muslim,I have to admit how beautiful Christian music is. Here in Egypt,Both Christians and Muslims are celebrating their holy days at the same time, what a great occasion to celebrate our brotherhood. Thank you for this song farya,please make more Muslim music too!
Well, you can just appreciate medieval Latin music or Latin music in general, simply for the sake of art regardless of the religious content. But, indeed, Muslims, Christians and Jews are somewhat of cousins in faith (more or less) in that all three groups worship Yahweh - the God of Abraham, Moses, etc.
Thank you for this comment, I can tell you that unfortunatelly not many christistians today appreciate sacral music, especially catholic and eastern chants. And I'm so happy that Farya is making this.
Babe wake up new Farya Faraji song just dropped
Seriously though, awesome job as always. I especially like the chorus and that you're using the so-called Eastern style you discussed before. (I forget the technical term for it!)
@@dannaaay7542 Melismatic I think?
@@AlexiosTheSixth Thanks brother
The national anthem of my nation, Acadie🖤🖤
Happy Easter brothers ✝️☦️
С Благовещением ☦
One of my favorite hymns & titles of Our Lady.
Feliz Páscoa! Deus seja louvado! Cristo nos guie e nos cubra com o manto da Virgem Santíssima.
On l'a chantée dans ma chorale, toujours aussi beau cet hymne.
th-cam.com/video/F5g7DZq0-js/w-d-xo.html
Toujours du travail d'aussi belle qualité !
Beautiful piece. I can't help but see the historically-informed elements of your performance - which set it apart from modern European orthodoxy - as a kind of metaphorical reflection of our relationship to the past. This piece is at once familiar to and yet apart from our modern experience, much as the lives of historical people were themselves.
Blessed Theotokos, guide me ever closer to the Savior, your Son, and our God. Thank you Farya for this beautiful song. God bless.
Dios te salve María,
Llena eres de gracia,
El señor es contigo.
Bendita tu eres entre todas las mujeres y bendito es el fruto de tu vientre Jesús.
Santa María madre de Dios, ruega por nosotros pecadores, ahora y en la hora de nuestra muerte. Amén.
i never clicked on something this fast.
Feliz Semana Santa, Farya Faraji is best early music vocals channel....
Très belle version de ce magnifique chant.
Joyeuses fêtes de pâques à tous
Un chant de gratitude et de paix : l'importance de la mère comme phare et guide.
This is very amazing music for Easter
Chwała Bogurodzicy Matce Boga Żywego ,Pana Panów ,Króla Królów...
Mate you are literally a god...a god of music...
As a Catholic. Honestly thank you!
Absolutely stunningly beautiful. Thank you Farya.
What a wonderful piece for Holy Week, thank you Farya!
Love to see a Christian hymn on the channel. Would you ever consider doing a rendition of The Totentanz as well?
The CKIII sound track needs this
This is excellent. Would you consider making a tutorial video on how to incorporate microtonal and melismatic elements into one's singing?
Beautiful and moving!
Good to see the Persians mediating between Greek East and Latin West. No more cat and dog fight.
Your voice is so lovely and soothing! ❤
😍😍😍😍😍😍 your music never cease to amaze me
Sublimis. Optima musica divina fecisti.
Beautiful hymn, God Bless you farya.
Heavenly Father Lord Jesus Christ my saviour have mercy on me your unworthy son
Happy Easter
thank you Farya you 've made my day :)
Hello, I learned this pronunciation of the Latin language in high school, all high schools teach this accent in my country and in the surrounding countries. I was taught that this is a real accent, that is, a classical way of pronunciation and not just a regional one, from a professor of Latin language whose writings on Latin grammar are kept in the Vatican. This pronunciation is also used in the Vatican. The music you make is fantastic and really outstanding, well done.
This harmony would also fit great for Classical Latin. Awesome song bro!
Thank you so much for making such a thing of beauty and sharing it with us 😊
Found your channel via your Belisarius song- incredible!
happy Easter to all here❤❤❤
Beautiful, thank you.
Beautiful chant! There is also Cuncti Simus Concanentes, another beautiful chant. If you ever get a chance, maybe you can remake that one. It is a fairly complicated one, thou... Or so it seems to me 😊
Reminds me a little bit on the style of René Clemencic.
Trop content d'avoir ta version de ce chant !
Je t'invite à aller voir celle de Andréa Lena ! Elle a fait plusieurs chants chrétiens/traditionnels ça pourrait être une bonne source d'inspi :)
Amazing
This is the queens gambit song
Chills everytime
Will this be on spotify?😊
Hail Mary Star of the sea!
I am one of the biggest fan of yours. I have listed allmost all songs of yor channel.
Please create musics on Maurya Empire, Mughal Empire, Delhi Saltanat. ❤❤❤
from India.
Epic!
BELLISSIMO
Good afternoon, I am writing with the help of a translator, so there may be inaccuracies. But I think you'll understand. In general, as a Russian person and an Old Believer, I want to recommend that you try to sing something Old Believer, namely the znamenny chant. I think you will be interested in this genre in the spiritual singing of Eastern Orthodoxy, ancient singing.
First you must get rid of terrorist z-sign, miserable person.
fake country
Вроде бы встроенный автопереводчик тут есть. Да, старые распевы что у нас, что у католиков красивые и молитвенные, не то что современные чувственные и апостасийные. Найти бы хоть один храм, где не было бы "патресного" пения и натуралистичных икон... Старообрядцы раскольники, да их и нет по близости. Единоверческих ещё меньше...
@@sergejstartsev ну да, есть встроенный переводчик. Но мало ли, на всякий случай. На счёт того что "старообрядцы - раскольники"
Мягко говоря некорректно так говорить, а если честно то даже не по правде. Раскольники не мы, а как раз таки господствующая церковь. Не мы начали эти ненужные "реформы", а по сути порчу чинов, таинств и вообще живых традиций Церкви. Это все равно что Греко-Восточную Церковь времён 11 столетия обвинить в Великом Расколе. Тут так же.
Farya has done Byzantine themed music ; if you look at his other videos, Orthodox chanting is included in “Narses the Armenian” and “Battle of Nineveh” historical tracks. But if you are looking for wholly religious chants, search up Psalm 135 by Farya Faraji. He’s done Slavic music before, so maybe he will make an Orthodox Slavonic chant video in the future.
Can we expect an Orthodox Easter song too? :P
There is no better herritage from past humans than their songs..
Beautiful! A lullaby from son to Mother! 😂
It is typically sung at most Vespers (evening prayer) of Feasts of the Virgin
✝️🕯Our mother the Holy Mother of Father(God)🕊
Why you are not on Spotify?
Tot carmina tē nūper ēdidisse Latīna gaudeō, grātiās tibi agō.
fun fact: Ave maris stella is the "national" anthem of Acadia. :)
❤❤❤
🎉🎉🎉😊
It's very close to the pronunciation that is tought in polish schools as „traditional”. The "que" is read as "kve", ae is always long "e", etc.
Nice one tho
How come you don’t post any more on Spotify?
CRUSADER KINGS II
Happy easters from Tengrist Turk
🙏🙏🙏🙏🙏🙏🙏🕉🕉🕉🕉🕉🌷🌷🌷🌷🌷🌷🌷🌷god with all people ❤ god love all people ❤ god love u ❤ my bro
In addition to the "ornamentation" it also sounds like you changed the "skeleton" composition a bit too. You're singing a few key tones (like going down to Re on "semper", but there are 1 or 2 others) that I at least couldn't find in any version on GregoBase. I'm curious if you agree, and if you believe minor (but modally acceptable) adjustments to the written melodic "skeleton" should be considered an authentic practice.
Changing the skeleton of the melody is absolutely authentic too. I touch on it in this video: th-cam.com/video/hxcH7S2BaiQ/w-d-xo.htmlsi=hMWpKANdVhHxOhoC
The practice of altogether changing the melody itself to a certain degree was the norm not only in Medieval Europe, but still is throughout humankind. The one on one correspondence of melody with a canonical written notated version that is kept to religiously is an anomaly unique to the Western Classical tradition starting from the Viennese Classical era of the mid-18th century. Even European musicians of the Baroque era would have found not changing melodies as something strange.
@@faryafaraji Thanks, your answer makes sense. For me it does raise a question of what, if any, are the musical "limits" of this practice. I think that for you this question may seem strange, because your perspective is one of a curious and creative musician/composer, so you might wonder why someone is concerned with limits. By way of explanation I am a Catholic who leads music like this at my parish, which is regarded as a sacred repertoire. If one starts changing the skeleton of a melody as handed down, one immediately starts to wonder if that can be taken too far. I mentioned that the adjustments should remain within the mode, but aside from that I'm not sure what else. I wonder if you have any thoughts about that.
Just so you know what informs my response, I'll clarify my perspective, which I believe you may have misunderstood. Not only do I not find your concern with limits strange or foreign; concern with limits is the core of my entire work. I'm someone who performs examples of music from an ethnomusicological/historical angle. I'm offering a historical approximation of its 9th century sound based on rigorous research and slavish mimicry of the attested historical techniques. This video is as curious and creative as an archeologically informed approximation of an Ancient Greek vase is.
Having established the nature of my perspective; a dry and academic one concerned with historical evidence, I can answer your question using the results of research, which is my main tool, and not creativity; this distinction being paramount. As long as the melody largely sounds recognisably the same, monophonic modal traditions allow substitution of notes. That is true in the ethnographic record of modal musical traditions across the board. And what modal traditions consider to be the immutable core of a melody tends to correspond to the notes that provide pedal notes in Western music theory. As long as the general melodic contour is preserved, substitution of the notes in between is deemed acceptable in modal traditions.
The Medieval tradition before the rise of the Ars Nova typically viewed the general melodic contour as the immutable aspect, and everything in between as a guideline you followed generally, but played around with somewhat.
@@faryafaraji My apologies for misconstruing you, and thanks for taking the time to answer.
I understand your answer for the most part. In my milieu there is a tendency to see Gregorian Chant as an unheralded form of music, rather than position it as a member of a larger modal monophonic family. But as you say, once you position it that way, it clarifies the historical performance practice.
A few years ago I began adding a drone to the chant, because I read Alain Danielou's Music and the Power of Sound, and while it contains many controversial ideas, he convinced me that modal monophony is by inner logic intended to have a sounded pedal note. And empirically I did find that the melodies became more intelligible and more transifixing that way.
It didnt take long to discover that some of the chant Propers have passages that do not work well with a drone on the tonic, because the written melody temporarily 'modulates' to a dissonant tonality. I'm sure we could hash out views on dissonance (and actually, I would love to hear yours - perhaps you've already made a video?), but the bottom line is that I can't subject 150 Sunday worshippers to prolonged dissonance just because I have an opinion on modal music. This is when I feel sometimes "tempted" to alter a few notes - just enough to keep the tonic drone "working." Sometimes I do change a note in the melody line (say if a phrase ends on a lengthened major second) though usually I will either leave out the drone on those pieces, or do something with the drone like deflect to the subtonic, just like you do in this piece.
So as you can tell, if you're still with me, the issue of altering occasional notes is a live one for me, and I feel more confident about it after hearing from you. But I noted I wasn't able to follow part of your answer, the bit about the pedal tones, and I'm hoping you could direct me to some reading on that to help me learn more about distinguishing the essential notes. I have some intuitive understanding of it, but I like to do my research too. Thanks again!
Question what are your rules on using your music by other creators? I couldn’t find information about it yet
Sorry for the late reply! As long as it’s for non commercial endeavours like background music for TH-cam videos (not just reuploading the songs obviously) credits and a link to the channel will suffice
@@faryafarajithank you so much!
Aga bit uzun hava okurmusun ?
Blessed Eostre from the Priestesses
Buthelezi It’dll
DEUS VULT AVE MARIA AVE MARIA
Honey wake up new Farya Faraji song just dropped