Salve regina [371]

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SR371 [Salve] regina 4 vv ; [2.p.] Vita dulcedo 4 vv ; [3.p.] Ad te clamamus 4 vv ; [4.p.] Ad te suspiramus 4 vv ; [5.p.] Eia ergo 4 vv ; [6.p.] Et Jesum 4 vv ; [7.p.] O pia 4 vv ; [8.p.] O dulcis virgo Maria 4 vv

Type

Motet

Scores

[1] [Salve] regina

Polyphonic ensemble SATB

S-G3; A-C3; T-C4; B-F4. “Salve” intonation (S). Entire range, F-f’’. “O clemens,” verse 7, (mm. 202-13), concludes pars 6, “Et Jesum.” Textual phrases are differentiated through texture, contrasting mensuration and structural devices. Chant (App. 4) serves as cantus firmus, usually in long note values for segments of partes or entire partes (e.g., pars 1, 2, and 7), but also permeates the texture at the beginning of partes 2 and 5, as well as with specific words (e.g., “nobis,” 6.p., B, A, T, S, mm. 181-9). Plainchant in canon at upper 5th (T/A), at the distance of two breves appears in pars 3, mm. 45-56 and again at upper 5th (T/A) at the distance of three breves, mm. 56-64; in pars 4, canon at the upper octave (T/S) and distance of two breves, (mm. 99-112) serves as a structural and unifying device. Paired imitation (A/T and B/T) with plainsong (A & B) in breves introduces pars 2; instead of the usual “vita” motto (d, c, d, g), this motet has d, e♭, d, g, and the same pitch inflection is inserted with “dulcedo” (d, e♭, d, c, b♭, a, g).[1] Contrasting triple mensuration defines pars 7, as well as “et spes…salve,” mm. 30-40 of pars 2, “Ad te suspiramus,” mm. 82-5 of pars 4, “miserecordes oculos,” mm. 139-50 of pars 5, and “O dulcis,” the first ten measures of pars 8. To prepare the final cadence of pars 8, a dense texture comprised of a motive in tenths (B/A) and imitated in T an octave above B at the distance of a minum, rises stepwise sequentially to complement the rising stepwise chant that accompanies the word “Maria.” The word “mater” in verse 1 is omitted. Final g, d (6.p., 7.p.), b♭ signature; frequent inclusion of e♭ though additional editorial e-flats are required.

1. SR 368 and SR371 share presence of “salve” intonation, pitch inflection (e♭) inserted in plainsong associated with “regina” and “dulcedo,” deletion of first pitch of chant (“ad te”) for partes 3 and 4, segments in contrasting triple mensuration, transposition to g, cantus firmus treatment, omission of mater” in 1.p. but inclusion of “virgo” in 9.p. to suggest that both settings could be by the same composer.
[2] Vita dulcedo

Polyphonic ensemble SATB

[3] Ad te clamamus

Polyphonic ensemble SATB

[4] Ad te suspiramus

Polyphonic ensemble SATB

[5] Eia ergo

Polyphonic ensemble SATB

[6] Et Jesum

Polyphonic ensemble SATB

[7] O pia

Polyphonic ensemble SATB

[8] O dulcis virgo Maria

Polyphonic ensemble SATB

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Sung texts

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Salve, regina, mater misericordiae;

Vita, dulcedo et spes nostra, salve.

Ad te clamamus exsules filii Hevae.

Ad te suspiramus gementes et flentes in hac lacrimarum valle.

Eia ergo, advocata nostra, illos tuos misericordes oculos ad nos converte.

Et Jesum, benedictum fructum ventris tui, nobis post hoc exsilium ostende.

O clemens,

O pia,

O dulcis virgo Maria.

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Contributors

Harry Elzinga - Project manager ; Scientific editor

Ailin Arjmand - Collaborative work

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https://ricercardatalab.cesr.univ-tours.fr/works/2320/

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Salve regina [371], in RicercarDataLab [https://ricercardatalab.cesr.univ-tours.fr/works/2320/] (accessed 24 January 2026).

Last modification: Dec. 4, 2025