Ave regina caelorum [232]

Felice Anerio

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AC232 Ave regina caelorum 8 vv

Type

Motet

Scores

Polyphonic ensemble SSAATTBBXX

Two equal choirs. C-C1; A-C3; T-C4; B-F4; Bc-F4 & C4. An independent Bc supports a duo that consists of the C voice of each choir (“Ave,” mm. 1-3); though the Bc enhances the duo, the two voices are independent. The remainder of the Bc is a basso seguente. No evidence of chant. Defined by antiphony, “regina caelorum,” first presented by Chr. I, is followed by two identical overlapping statements (Chr. II & Chr. I), and concludes with a fourth statement (mm. 4-9, F-C). In contrast to the initial “Ave” for two voices, the “Ave” introducing line 2 involves antiphonal statements of salutations consisting of a variety of melodic and rhythmic gestures (mm. 9-14) for both choirs. The remainder of the verse (“Domina…orta”) consists of antiphony concluding with full-voice texture for “ex qua mundo lux est orta” (mm. 30-1). Anerio articulates the first and third lines of stanza 2 (“Gaude…speciosa” and “Vale…exora”) with full-voice chords for “Gaude” (m. 32, F); “Vale” (two chords on C, m. 57) dramatically introduces the final textual phrase cast for four independent voices (C & A of Chrs. I & II, mm. 58-66). A second statement of “Vale” for Chrs. I & II (chords on F, m. 67) initiates antiphonal treatment of “valde decora” and the concluding text “et pro…exora” for eight independent voices (mm. 68-82). Triple mensuration[1] defines “Gaude…speciosa” (mm. 33-56) with segments of quasi-independent voices (e.g., “Gaude…gloriosa,” mm. 33-38) and homophonic/homorhythmic sections (e.g., “super…speciosa,” mm. 50-6). Except for melismas associated with “ave” and “salve,” a syllabic text setting defines the Pre-Tridentine text. Skilled in composing polyphony in late 16th-century style, Anerio also demonstrates his acquaintance with new techniques of the early 17th century. Final F, b♭ signature.

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).

Associated people

Felice Anerio - Composer

Creation place and date

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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.

Bibliography

Modern editions

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References

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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/1548/

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Ave regina caelorum [232], in RicercarDataLab [https://ricercardatalab.cesr.univ-tours.fr/works/1548/] (accessed 21 January 2026).

Last modification: Dec. 12, 2025