Regina caeli [123]

Jean Maillard

Full title / Other titles

RC123 Inviolata, integra/Regina coeli/Alma redemptoris/Ave regina 4 vv

Type

Motet

Scores

Inviolata, integra/Regina coeli/Alma redemptoris/Ave regina

Polyphonic ensemble STBX

S-G2; Ct-C3; T-C3; B-F3. High clefs. Entire range, B♭-f’’. Maillard combines the texts and corresponding chant melodies of the sequence, Inviolata, integra et casta es Maria[1] (S), and three seasonal Marian antiphons, Regina coeli (Ct), Alma redemptoris mater (T) and Ave regina coelorum[2] (B) within a contrapuntal fabric. Chant appears intact in semibreves for some textual passages (e.g., “Te nunc flagitant devota corda et orta” in S but more frequently paraphrased or with an extension of new material. Except for the initial staggered entrances, the setting is full voiced. Repetition of textual phrases or words is prevalent. The composer uses the Pre-Tridentine version of Ave regina coelorum. That the four chant melodies are assigned to modes 5 or 6, all with b♭, accommodates the union of these Marian texts. Final F, b♭ signature.

1. Gombert (SR105) places Inviolata, integra in the T of his Salve regina setting that also includes the seasonal antiphons Ave regina caelorum and Alma redemptoris mater as well as three additional Marian antiphons. Inviolata, integra et casta est Maria originated in the 11th century as a prosula for the Marian responsory Gaude Maria and became associated with the feast of Purification (2 February). The chant in Chapelle’s setting precisely conforms with the version found in a late 14th-century antiphonal of the O.L.V.-Basiliek (Church of Our Lady) in Tongeren, Belgium. For a transcription of the sequence, see Willem Elders, NJE, Vol. 24, De beata Maria virgine 2, Critical Commentary, (Amersfoort: Koninklijke Vereniging voor Nederlandse Muziekgeschieden: 2010), 63-6.

Inviolata, integra, et casta es Maria: / Inviolate, unblemished, and pure are you, O Mary,
Quae es effecta fulgida coeli porta. / Who made the gates of heaven shine.
O Mater alma Christi charissima: / O kind and dearest mother of Christ,
Suscipe pia laudum praeconia. / Accept our faithful hymns of praise,
Nostra ut pura pectora sint et corpora. / That our devout hearts and bodies may be pure,
Te nunc flagitant devota corda et ora: / Which now our devout souls and mouths entreat you.
Tu das [tua] per precata dulcisona: / Grant this through your sweet-sounding prayers,
Nobis concedas veniam per secula. / May you grant us forgiveness forever.
O benigna! O Regina! O Maria! / O kindly one! O Queen! O Mary!
Quae sola inviola permansisti.[3] / who alone remains undefiled.

2. The respective texts and melodies of the aforementioned antiphons are located in Appendices. 3, 1, and 2, respectively.

3. LU 1861-2.

Associated people

Jean Maillard - Composer

Creation place and date

No information.

Associated sources

Sung texts

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Regina caeli laetare, alleluia;
Quia quem meruisti portare, alleluia,
Resurrexit, sicut dixit, alleluia,
Ora pro nobis Deum, alleluia.

***

The Trope:

Alle Domine nate matris Deus alme nobis confer praestaque vivere:
Quam [quoniam] te decet laus honor O Domine qui de morte surgebas rex pie:
Fac nos tecum surgere, alleluia.

Bibliography

Modern editions

[Modulorum Ioannis Maillardi ...]

Rosenstock, R. H., 1987, Modulorum Ioannis Maillardi ...: the 4-part motets, Madison.
(n° 12)

References

No information.

Contributors

Harry Elzinga - Project manager ; Scientific editor

Ailin Arjmand - Collaborative work

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Regina caeli [123], in RicercarDataLab [https://ricercardatalab.cesr.univ-tours.fr/works/1672/] (accessed 22 January 2026).

Last modification: Nov. 20, 2025