Regina caeli [195]

Jean Rousée

Full title / Other titles

RC195 Regina caeli 8 vv ; 2.p. Resurrexit 8 vv

Type

Motet

Scores

[1] Regina caeli

Polyphonic ensemble SSTTBBXX

Two equal choirs. Chr. I: S I-C1; Ct I-C3; T I-C4; B-1-F4. Chr. II:
S II-C1; Ct II-C3; T II-C4; B II-F4.[1] Entire range, F-d’’. Initial pitches of chant (App. 3) introduce textual phrases followed by new material within an imitative, contrapuntal fabric. Textual phrases (e.g., “laetare, alleluia”) or words such as “alleluia” (mm. 96-108) are clearly defined through contrast of texture and cadential patterns. Treated as an introduction (mm. 1-15), “regina caeli” is first presented in Chr. I followed by an overlapping repetition for Chr. II concluding with a tutti. “Laetare…alleluia,” entrusted to Chr. I and “quia…portare” assigned to Chr. II begin with paired imitation. Antiphonal treatment and homorhythmic texture define the “alleluia” segment (mm. 97-108) that concludes pars 3. Emphasing the symmetry of the setting, the final textual section “ora…Deum,” like “regina caeli” and “laetare,” begins with antiphony between Chrs. I and II. The combined final “alleluia” sections of 1.p. and 2.p. constitute two fifths (respectively, 27 and 36 mm.) of the entire antiphon primarily due to repetition or varied repetition of material. Except for melismatic treatment of specific words (“portare,” “dixit” and an occasional “alleluia,” a syllabic text setting prevails. Final F, b♭ signature.

1. Rousée’s Regina caeli is one of the early examples of polychoral writing.
[2] Resurrexit

Polyphonic ensemble SSTTBBXX

Description

External link:
CPDL 56236 [Choral Public Domain Library]

Rousée’s Regina caeli, one of seventeen Marian antiphons included in Pierre Attaingnant’s print of 1535, was intended for use at Salve services in honor of the Virgin. Pierre Attaingnant’s print (1535|4) consists entirely of seventeen settings of three Marian antiphons, (2 Ave regina caelorum, 8 Regina caeli and 7 Salve regina). As its title indicates (“musicales ad virginem christiparam salutationes”), Attaingnant compiled these works for use at Salve services in honor of the Virgin. The seventeen antiphons, attributed to French and Franco-Flemish composers, include the respective chant quotations, often paraphrased, within an imitative, polyphonic texture. Only two of the antiphons had been published prior to Attaingnant’s Lib. Duodecimus: Josquin’s 5-voice Salve regina (SR128) and J. Richafort’s 5-voice Salve regina (SR230). Willaert’s 5-voice Regina caeli (RC222) first appeared in 1535|4, but was also published in subsequent printed editions. The remainder of the antiphons are available only in Attaingnant’s publication: M. Sohier, AC122; M. Georget, AC052; M. Sohier, SR237; M. Sohier, RC199; P. Moulu, RC148; J. Rousée, RC195; Gombert, RC090; P. Vermont, RC209; F. Bourguignon, RC035; A. De Silva, RC061; C. de Sermisy, SR236; J. Conseil, SR066; J. Lhéritier, SR148; and H. Barra, SR034.

Associated people

Jean Rousée - Composer

Creation place and date

No information.

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

[Carver, 2009]

Carver, A. F., 2009, Cori spezzati. 2, An anthology of sacred polychoral music, Cambridge [etc.].
(pp. 12-25)

[Smijers, 1934]

Smijers, A. (éd.), 1934, Treize Livres de Motets Parus Chez Pierre Attaingnant En 1534 et 1535, Paris and Monaco.
(n° 7)

References

No information.

Contributors

Harry Elzinga - Project manager ; Scientific editor

Ailin Arjmand - Collaborative work

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Regina caeli [195], in RicercarDataLab [https://ricercardatalab.cesr.univ-tours.fr/works/1744/] (accessed 24 January 2026).

Last modification: Nov. 21, 2025