Regina caeli [180]

Francesco Portinaro

Full title / Other titles

RC180 Regina celi 7 vv

Type

Motet

Scores

Regina celi

Polyphonic ensemble SAATTBX

C-C1; A-C3; A II-C3; T-C4; [T II]-C4; Q-F4; B-F4. Similar range for B (F-a) and Q (F-b♭). The lowest five voices (A II, T, T II, Q & B) lie within the range F-f’ resulting in considerable voice crossing. Chant influences structure with segmented cantus firmus (T) and an ostinato (A II). The cantus firmus,[1] pitched on f, enters in measure 12, a measure (breve) following the entrance of the ostinato. The first textual phrase, “regina…alleluia,” cast in breves, consists of two segments (“regina celi” and “letare, alleluia”) separated by two measures of silence; subsequent segments devoted to textual phrases “Qui…resurrexit” (mm. 29-47) and “Ora…Deum” (mm. 56-61), or specific phrases (e.g., “sicut dixit,” mm. 49-50) are primarily cast as semibreves. Plainsong melismas are abbreviated to three initial pitches (e.g., “letare”) or to principal pitches (“portare” and “alleluia” sections). The ostinato consists of 13 pitches and corresponds with “Regina celi letare, alleluia” segment of the cantus firmus (mm. 12-26). Pitched on c’ and cast as thirteen semibreves with a breve rest between “celi” and “letare,” the ostinato begins in m. 11 followed by three repetitions that are separated by four-and-a half breves; a final statement is presented in augmentation (breves, mm. 59-76). Additionally, plainsong, usually cast in long-note values, introduces each of the four textual phrases within an imitative texture: “Regina…alleluia” (T II, Q, A, C, B, mm. 1-10; “quia…alleluia” (B, C, Q, T II, A, mm. 24-9); “resurrexit…alleluia” (T II, B, C, A, Q, mm. 44-9); and “ora…alleluia” (Q, C, B, T II, A, mm. 53-8). Following the entrance of the two structural voices (A II & T), a six or seven-voice texture prevails; the five voices surrounding A II & T contrast rhythmically (minums and semiminums) and melodically with the two structural voices in longer note values. A syllabic text setting prevails with the exception of melismas concording with “letare” and “alleluia” statements. Final F, b♭ signature.

1. Portinaro’s two Regina celi settings display similar as well as contrasting structural procedures related to treatment of the segmented cantus firmi. Comparable plainsong quotations and abbreviations of melismas characterize both antiphons; only the final “alleluia” segments differ. The phrase “Regina celi letare,” cast as breves, defines both antiphons; however, semibreves, or a combination of breves and semibreves typify subsequent segments. The most conspicuous contrast occurs in Portinaro’s five-voice setting with transposition of restated segments at the interval of the upper fifth in pars 2. On the other hand, SR180 with a cantus firmus and ostinato (five statements) is unique to the Regina caeli repertoire.

Description

Concerning the symbolism of seven voices, see Festa’s Regina caeli (Renaissance composers infrequently created works for seven voices; Festa’s Regina caeli was mostly likely composed to commemorate the Seven Dolours of the BVM) and Lassus’s Regina caeli (Of the 24 Marian antiphon credited to Lassus, this is the only setting for seven voices. Seven-voiced settings of the Marian antiphons are unusual and may represent the BVM and perfection (Elders, 1968, pp. 108-20).

Associated people

Francesco Portinaro - 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

No information.

References

[Studien zur Symbolik in der Musik der alten Niederlander]

Elders, W., 1968, Studien zur Symbolik in der Musik der alten Niederlander: Proefschrift ... Rijksuniversiteit te Utrecht, Bilthoven.
(pp. 108-20)

Contributors

Harry Elzinga - Project manager ; Scientific editor

Ailin Arjmand - Collaborative work

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Regina caeli [180], in RicercarDataLab [https://ricercardatalab.cesr.univ-tours.fr/works/1729/] (accessed 21 January 2026).

Last modification: Nov. 21, 2025