Product Description
Ave Maria by Igor Stecko is an expansive choral work for mixed choir and soloists, written in a contemporary idiom that retains deep ties to sacred tradition. The composition is meditative and reverent in nature, combining lyrical phrasing with intricate polyphonic writing. The Latin liturgical text is treated with expressive sensitivity, using the full range of vocal colors and dynamic nuance.
Structure and Sections:
The piece follows a large-scale through-composed structure with sectional contrasts emerging organically through changes in tempo, voice distribution, and textural density. It opens with a Larghetto tempo, evolves into a Moderato section with fugal elements (alla fuga), and returns to a slower, reflective mood by the end, including several ritardando markings that signal closures of major formal divisions.
Important structural aspects include:
A homophonic and chant-like opening, establishing a sacred atmosphere
A contrapuntal middle section, with imitative textures and layered motifs
A final section with liturgical closure, emphasizing "Amen" repetitions and extended cadential gestures
Vocal Distribution:
The vocal forces consist of:
Soprano (S)
Mezzo-soprano (M-s)
Tenor (T)
Bass (B)
Each voice part is occasionally subdivided, creating rich textures up to eight or more parts. Stecko employs solo voices and ensemble passages interchangeably, giving certain lines individual expressivity while maintaining ensemble unity.
Soprano and Mezzo-soprano lines frequently carry melodic and expressive highlights, soaring over complex harmonic textures.
Tenors and Basses contribute grounding and harmonic depth, sometimes sustaining long pedal tones or participating in rhythmic layering.
Solo and tutti interplay is used to great effect, enhancing dramatic pacing and highlighting sacred phrases.
Harmonic Language:
The harmonic palette is rich and subtly modern, characterized by:
Modal inflections and extended tonality, avoiding traditional cadences in favor of continuous harmonic flow
Frequent use of cluster chords, parallel motion, and non-functional harmony to create a spiritual, floating sonority
Fugal and imitative passages, where harmonic development arises from the interaction of independent lines rather than vertical stacking
Strategic use of dissonance and resolution, particularly in cadential moments such as the recurring Amen motifs
The harmonic language supports the sacred text with emotional depth and stylistic restraint, balancing innovation with reverence.
This product was created by a member of ArrangeMe, Hal Leonard's global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.