The “Ave Merris Stella” is a pure, sacred hymn was produced by the “Guillame Dufay”. This beautiful hymn is about 600 years old. The form of this hymn is Strophic in nature and display the medieval mode. It is such an incredible piece of music as one can feel that how it would sound in the Cathedrals of the Middle Ages, because of its unique acoustics.
This hymn is an excellent display of the Early Renaissance “Style” and “Sound”. The start of Dufay’s setting of “Ave Maris Stella” displays the use of fauxbourdon. The initial and the last lines are freely composed. In the original chant, the middle lines are designated by the use of “fauxbourdon” followed by the top line, but exactly a perfect fourth below.
While discussing the history of this hymn, it was sung in its original version until it was composed in its French version. The credit to convert this in French lyrics goes to Jacinthe Laforest. However, the original French version still has the essence of original hymn, because the first verse is still in Latin. The beautiful hymn is having a sacred genre and composed of seven stanzas, each having four lines. The music was quite famous in the Middle Ages because of its musical setting for the Mass, specifically for the Divine Hours.
The hymn is sacred because it was composed in honor of the Virgin Mary. The message within this hymn is of sacred nature. The beauty of this hymn encompasses the use of two high voices and the bassus in the beginning with close simulation on the chant incipit. The important thing here is to note that the chant remained in the highest voice comparing to the other two voices that offer the supporting texture. Moreover, these two voices are complete with the cadential transformation between the phrases of the hymn and sequential “tag” at the end of the last verse.
The opening of this composition is smooth and delicate with regards to the “Mother of God”. As the composition proceeds the choir becomes calm and represents the Eve’s original sin. The style of the choir changes with the beginning of the rapid plea to Mary. As soon the plea becomes stronger the volume and the intensity of the music grows. The use of dissonance as well as asymmetrical meter throughout the composition is quite evident. The slow and calm proceedings in start making a platform and the gradual shift to the high notes are intensifying the drama that was the prime objective of this beautiful hymn.
With regards to the style and setting of the Guillaume DuFay’s “Ave Maris Stella,” we can say that this sacred hymn was composed actually with plainchant melody with preceding every stanza. The hymn is written with three voices. Furthermore, the composition style is an enchanting example of the utilization of the fauxbourdon. Within these three voices, the middle voice is a bit lower comparing to the highest voice. However, this lower voice within this hymn is quite active. The each part of this beautiful hymn is having plainchant melody that can be seen in the stanzas. It appears that special care has been taken while placing the text for this sacred hymn.
There are numerous versions of “Ave Maris Stella”, but two of the types are quite similar. The two of this similar version depict the plain chant within the odd verses of the “Ava Maris Stella”, but the even verses are quite similar and showing the bass and Cantus melodies. However, the main difference between two of these versions is the third voice, which in one version appears to be the Altus performing a fauxbourdon on the cantus.
In the second version, this third voice appears to be the independent tone melody. While digging out more about this sacred hymn, the both of this version are having the same edition. One can easily decipher the SAB in verses 2 and 6 and use of STB In verses 4 and 7. Furthermore, we can delineate that this hymn can be sung by vocal quarter, but never sung by more than three persons at the same time.
While comparing this hymn with “Guillame Dufay’s” another work “Kyrie”, one can clearly see that while singing this hymn the use of thirds and sixths are more common, comparing to the interval of the fourth voice between the upper and the middle voices. The basic reason behind is that in “Kyrie”, there are total four voices as compared to the “Ave Maris Stella” where three voices have been used. Likewise, the interval within the hymn shows the English style and for that reason, Dufay has used intervals.
In a nutshell, this composition is sacred because the initial stanzas are about to get rid of sins and to move away from evils and requesting Mary to ask good things for us from God. It is requested to Virgin Mary to ask for forgiveness for our sins. In the fourth stanza, there is a special request to Mary to obtain purity of life as well as a safe pilgrimage to be united with the heavenly vision of Jesus. The last stanza entirely focuses on the praise of God “The Father” and “The Lord Jesus” as well as the “Holy Ghost.” The setting of the bottom lines are normally, but not always below the top line. It is embroidered and reaches to the main tempo of the hymn on the octave.
Work Cited
J. Clark, Richard. "Mass in Honor of the Blessed Virgin Mary, Star of the Sea." Corpus Christi Watershed. Corpus Christi Watershed, 30 May 2014. Web. 14 Apr. 2016. <http://www.ccwatershed.org/blog/2014/may/30/mass-honor-blessed-virgin-mary-star sea-Olbash/>.
