Ave regina caelorum [170]

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AC170 Ave regina caelorum 6 vv

Type

Motet

Scores

Polyphonic ensemble SSATTB

CI-C1; CII-C1; A-C3; TI-C4; TII-C4; B-F4. Equal C voices share same range, d’-d’’. No evidence of chant. Textual phrases and specific words (e.g., “ave”) are differentiated through contrast of texture, mensuration and antiphonal treatment. Suggesting a dramatic opening to the antiphon, “ave” for the two initial phrases (“ave…coelorum” and “ave…angelorum”) is cast in semibreves and breves in full voice texture (mm. 1-2, D-G and 5-6, C-F) surrounding a duo for CI and CII consisting of minums and semiminums (mm. 2-4 in g). Antiphonal treatment defines “salve…porta” (CI, CII, A, TI vs. A, TI, TII, B, mm. 10-14). The phrase “gaude…speciosa,” (mm. 19-34) in triple mensuration[1] and full voice homophonic texture contrasts with the surrounding material. Antiphonal treatment also characterizes the concluding phrases (“valle…decora” and “et pro…exora”); with several text repetitions the final phrase, “et…exora,” constitutes more than a quarter of the antiphon. A syllabic style characterizes the setting of the Tridentine text. Final g, b♭ signature; e-flats are included in the MS.

1. To emphasize textual/musical structure and complement trochaic prosody of “gaude…speciosa,” triple mensuration and homophony defines Ave regina caelorum settings by G. Aichinger (AC002 & AC003), F. Anerio (AC006), G. Bassano (AC016 & AC017), A. Gabrieli (AC047), R. de Lassus (AC072), G. de Macque (AC076), G. P. Palestrina (AC099), P. Philip (AC106), E. Saÿve (AC121), F. Soriano (AC123), F. Stivori (AC126), T. Victoria (AC136), Anon (AC170), Anon (AC184) and F. Anerio (AC232).

Description

D-Mbs Mus.ms. 8 (dated 1611) opens with an unattributed cycle of the four Marian antiphons (SR326, AR121, AC170 & RC270), all for 6 vv with similar style characteristics, most likely by Giacomo Perlazio (d 1612). The Veronese priest was Vizekapellmeister at the Bavarian court chapel (1609-12) but had been associated with the Munich chapel since 1592. He is reported to have assembled a bound book “mit Magnificat und andern Kirchengesang.” In addition to the four antiphons, D-Mbs Mus.ms. 8 also includes eight Magnificats and 4 additional pieces, all anonymous. Alexander Fisher, “Celestial Sirens and Nightingales: Change and Assimilation in the Munich Anthologies of Georg Victorinus,” JSCM (2008) Vol. 14, ftnt. 67.

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Associated sources

Sung texts

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Ave, regina caelorum,
Ave, domina angelorum:
Salve, radix, salve, porta,
Ex qua mundo lux est orta:

Gaude, virgo gloriosa,
Super omnes speciosa,
Vale, o valde decora,
Et pro nobis Christum exora.

***

Pre-Tridentine version:

Ave regina coelorum,
Ave, domina angelorum,
Salve radix sancta
Ex qua mundo lux est orta:

Gaude gloriosa,
Super omnes speciosa:
Vale, valde decora,
Et pro nobis semper Christum exora.
Et pro nobis Christum exora.

***

Tridentine version:

Ave regina coelorum
Ave, domina angelorum,
Salve radix, salve porta
Ex qua mundo lux est orta:

Gaude virgo gloriosa,
Super omnes speciosa:
Vale, o valde decora,
Et pro nobis Christum exora.

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References

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Contributors

Harry Elzinga - Project manager ; Scientific editor

Ailin Arjmand - Collaborative work

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Ave regina caelorum [170], in RicercarDataLab [https://ricercardatalab.cesr.univ-tours.fr/works/1486/] (accessed 20 January 2026).

Last modification: Jan. 20, 2026