Ave Maria, WAB 7

 (Hail Mary), WAB 7, is a setting of the Latin prayer Ave Maria by Anton Bruckner.
History.
When staying in Wels during the summer of 1881 Bruckner met Luise Hochleitner, a singer with a beautiful alto voice. Bruckner promised to dedicate to her an "Ave Maria". The work, which was composed on 5 February 1882, —almost 20 years after his more famous motet— is for alto (or baritone) solo voice and keyboard (organ, piano or harmonium).
The original manuscript is lost, but there are fair copies of it at the "Österreichische Nationalbibliothek" and the Abbey of Kremsmünster. The work was published in 1902 as an appendix to No. 13 of the "Neue Musikzeitung", Stuttgart. The first public performance occurred during a concert of the "Wiener Akademischer Wagner-Verein" on 5 February 1903 by Gisella Seehofer, who then also premiered Bruckner's "Wie bist du, Frühling, gut und treu" and "Im April". The motet is put in Band XXI/29 of the "".
Setting.
The 81-bar demanding work, scored in F major, requires a singer with a two-octave broad tessitura.
Alike the two earlier settings of "Ave Maria" the name "Jesus" is sung thrice (bars 23–31). It is followed by an instrumental interlude (bars 32–38) and goes then on with the second part ("Sancta Maria"), which quotes the 20-year earlier setting. Thereafter (bars 53–58) "Nunc et in hora mortis nostrae" is sung "pianissimo" in unison. After a repeat of "Sancta Maria", it is ending by a two-octave descending arpeggio on "Amen" (from F5 to F3) and a short instrumental postlude (bars 76–81).
Selected discography.
The first recording was:
In the majority of the about 20 recordings the singer is skipping the lower octave of the "Amen". A selection among the few recordings, in which the singer is doing it faithfully: