Ave Maria (Schubert)

Schubert's Ave Maria was not composed as a setting of the Catholic prayer. It emerged in 1825 as Ellen's Third Song (D. 839), part of a song cycle based on Sir Walter Scott's poem The Lady of the Lake.

In the narrative, Ellen Douglas hides in the "Goblin's Cave" on a Scottish mountain. Her father has refused to join a rebellion; war surrounds them. It is night, and Ellen prays to the Virgin Mary for protection, accompanied by an elderly bard's harp.

This context provides a profound funeral parallel: Ellen prays in extremis, facing darkness and uncertain fate—just as mourners face the darkness of loss. When Ellen sings "Safe may we sleep beneath thy care," she means physical safety in a cave. In funerary recontextualization, this becomes the "eternal sleep" of the deceased.

Two versions dominate funeral consciousness, often causing confusion:

Schubert (1825): The flowing, arpeggiated accompaniment mimics a harp. The melody is distinctly vocal and lyrical. Its affect is consolation and melancholy.

Bach/Gounod (1859): Charles Gounod superimposed a new melody over Bach's Prelude No. 1 in C Major—music written 130 years earlier. It's more "cerebral" and structured, often used at weddings due to its processional nature.

Why Schubert wins for funerals: The melody "speaks" in a narrative arc that mirrors grief—pleading, rising to a climax, subsiding into peace. Bach/Gounod maintains a relatively static emotional plateau.

There's also the "Caccini" version (actually composed by Vladimir Vavilov in 1970)—darker, in a minor key, emphasizing tragedy rather than hope.

The transformation from Ellen's Third Song to liturgical hymn was not Schubert's doing—it was posterity's.

The opening words "Ave Maria" proved too tempting for church musicians. In 1842, Schubert's brother Ferdinand arranged the piece for tenor, choir, and orchestra, stripping the German text and applying the Latin liturgical prayer.

The critical change: The Latin prayer includes "nunc et in hora mortis nostrae"—"now and at the hour of our death." This explicit reference to dying makes the song indispensable for funerals.

German version: A narrative song about a prayer. The listener observes Ellen praying.
Latin version: A direct prayer. The singer becomes the supplicant, interceding on behalf of the deceased.

The arpeggiated accompaniment: Continuous groups of six notes (sextuplets) undulate beneath the melody. This was designed to imitate a harp—culturally associated with angels and heaven. The constant, rolling motion is self-soothing, lowering heart rates and inducing a meditative state.

The vocal line: Long, sustained lines mimic slow, controlled breathing. The singer must navigate between chest and head voice smoothly—creating a tone that bridges earth and heaven.

Major-key melancholy: Schubert composed in B-flat Major—unusual for funeral music. Yet he infuses major keys with melancholy, frequently hinting at G minor before resolving back. This oscillation reflects Christian theology: the sadness of loss (minor) contained within the hope of resurrection (major).

Despite its popularity, the Ave Maria was placed on the "Black List" by the St. Gregory Society in the late 19th and early 20th centuries. The reasoning:

• Secular in origin (Scott's poem)
• Overly sentimental
• Drew attention to the soloist's virtuosity rather than the liturgy

Older or traditional priests may still cite this history to deny requests. However, in the post-Vatican II era, strictness has largely relaxed in favor of pastoral care and family preference.

In Poland, the piece is sometimes strictly banned from weddings and funerals—viewed as "concert music" incompatible with the sacrament.

John F. Kennedy (1963): Tenor Luigi Vena sang Schubert's Ave Maria at St. Matthew's Cathedral. The performance was broadcast globally, linking the song with high-profile mourning.

Robert F. Kennedy (1968): Andy Williams, a close family friend, sang a soaring, emotional rendition at St. Patrick's Cathedral.

Kobe Bryant Memorial (2020): Christina Aguilera performed Schubert's Ave Maria, providing the traditional liturgical moment while Beyoncé performed personal tributes.

The Diana misconception: Many believe Ave Maria was sung at Princess Diana's funeral. It wasn't. The confusion stems from Andrea Bocelli performing it at the 2007 Concert for Diana memorial.

Best liturgical placement (Catholic):

• Offertory: The ideal spot—fills silence while the altar is prepared
• Communion Meditation: After the congregation has received; sitting in silence
• Prelude: 5-10 minutes before Mass begins—safest for strict parishes

Duration warning: The full original runs 6-7 minutes at funeral tempo. Standard practice is two verses, bringing it to 3-4 minutes. Avoid looping recordings—the piece must have a definitive conclusion.

Voice selection:

• Soprano: Evokes angelic purity; often preferred for funerals of children or women
• Tenor: Heroic, clarion quality; suggests strength in grief; cuts through cathedral acoustics
• Instrumental (Violin/Cello): For interfaith services avoiding Marian lyrics. Cello is perceived as more "soulful" and melancholic