Max Bruch’s “Ave Maria” is a poignant concert piece for violoncello and orchestra, inspired by the sixth movement—a prayer scene—from his cantata “Das Feuerkreuz” (The Fiery Cross), Opus 52. The cantata, drawing from Sir Walter Scott’s “Lady of the Lake,” underwent a lengthy creative process before reaching completion in 1888-89.

Bruch’s deep affection for the Prayer Scene led him to publish it separately for voice and orchestra. However, at the urging of his friend, cellist Robert Hausmann, he reimagined it in 1892 for violoncello and orchestra, transposing it from D minor to A minor. This transformation allowed it to stand alongside his successful work “Kol Nidrei,” Opus 55.

Here is an arrangement for cello and string orchestra.