Regina caeli [297]

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RC297 Inviolata integra et casta/Regina celi 4 vv ; [2.p.] Tu das perprecata dulcissima/Resurrexit 4 vv

Type

Motet

Scores

[1] Inviolata integra et casta/Regina celi

Polyphonic ensemble SATB

[C]-C1; [A]-C3; [T]-C4; [B]-F4. Chant (App. 3) significantly influences the structure and fabric of the composition. The antiphon chant, as a cantus firmus (T) is set apart in breves and semibreves but is also paraphrased at the conclusion of textual phrases; within an imitative, contrapuntal texture the antiphon chant also permeates the Ct and B at beginning of phrases. To heighten the expression of devotion for Mary, the sequence Inviolata integra et casta es Maria[1] is presented as a cantus firmus (C) and treated rhythmically in a manner similar to that of the antiphon chant. Between mm. 26-44 the second and third sequence versicles (respectively, “quae es effecta fulgida celi porta” and “O mater alma Christi charissima”) are included in A but without the accompanying chant melody; the supporting B has the antiphon text “quia…portare,” and the T is silent. All voices are engaged for the final “alleluia.” Except for a few ornamented passages, a syllabic text setting prevails in C. On the other hand, text underlay in Ct and B is inconsistent. Antiphon chant is stated at pitch and sequence an octave higher. Final F, b♭ signature.

1. Inviolata, integra et casta est Maria originated in the 11th century as a prosula for the Marian responsory Gaude Maria and became associated with the feast of Purification (2 February). The chant in Chapelle’s setting precisely conforms with the version found in a late 14th-century antiphonal of the O.L.V.-Basiliek (Church of Our Lady) in Tongeren, Belgium. For a transcription of the sequence, see Willem Elders, NJE, Vol. 24, De beata Maria virgine 2, Critical Commentary, (Amersfoort: Koninklijke Vereniging voor Nederlandse Muziekgeschieden: 2010), 63-6.

Inviolata, integra, et casta es Maria: / Inviolate, unblemished, and pure are you, O Mary,
Quae es effecta fulgida coeli porta. / Who made the gates of heaven shine.
O Mater alma Christi charissima: / O kind and dearest mother of Christ,
Suscipe pia laudum praeconia. / Accept our faithful hymns of praise,
Nostra ut pura pectora sint et corpora. / That our devout hearts and bodies may be pure,
Te nunc flagitant devota corda et ora: / Which now our devout souls and mouths entreat you.
Tu das [tua] per precata dulcisona: / Grant this through your sweet-sounding prayers,
Nobis concedas veniam per secula. / May you grant us forgiveness forever.
O benigna! O Regina! O Maria! / O kindly one! O Queen! O Mary!
Quae sola inviola permansisti.[2] / who alone remains undefiled.

2. LU 1861-2.
[2] Tu das perprecata dulcissima/Resurrexit

Polyphonic ensemble SATB

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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.

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Contributors

Harry Elzinga - Project manager ; Scientific editor

Ailin Arjmand - Collaborative work

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Regina caeli [297], in RicercarDataLab [https://ricercardatalab.cesr.univ-tours.fr/works/1846/] (accessed 21 January 2026).

Last modification: Nov. 26, 2025