Salve regina [034]

Hotinet (Jean) Barra

Full title / Other titles

SR034 Salve regina 4 vv ; [2.p.] Eia ergo 4 vv ; [3.p.] Et Jesum 4 vv

Type

Motet

Scores

[1] Salve regina

Polyphonic ensemble STBX

S-C1; Ct-C3; T-C4; B-F4. Though most defined in S, chant (App. 4) also permeates the imitative, contrapuntal texture at the beginning of textual phrases (e.g., “salve regina,” “vita,” “et spes,” and “illos tuos”) with rhythmic gestures common to all voices. Chant associated with “et Jesum” and relegated to A in breves, appears within a homorhythmic texture. “O dulcis” motive in breves introduces the final phrase “O dulcis virgo Maria.” To emphasize the concluding phrase of 1.p., “in hac lacrimarum valle,” the complete texture is repeated (mm. 50-1 equals mm. 52-54). The words “mater” in verse one and “virgo” of the final verse are omitted. A combination of syllabic and melismatic styles characterizes the text setting. The 1.p. is in triple mensuration, the remainder of the antiphon in duple mensuration. Final d, a few b-flats are included in 1535|4 but editorial b-flats are necessary.
[2] Eia ergo

Polyphonic ensemble STBX

[3] Et Jesum

Polyphonic ensemble STBX

Description

Barra’s Salve regina, one of seventeen Marian antiphons included in Pierre Attaingnant’s print of 1535, was intended for use at Salve services in honor of the Virgin. Pierre Attaingnant’s print (1535|4) consists entirely of seventeen settings of three Marian antiphons, (2 Ave regina caelorum, 8 Regina caeli and 7 Salve regina). As its title indicates (“musicales ad virginem christiparam salutationes”), Attaingnant compiled these works for use at Salve services in honor of the Virgin. The seventeen antiphons, attributed to French and Franco-Flemish composers, include the respective chant quotations, often paraphrased, within an imitative, polyphonic texture. Only two of the antiphons had been published prior to Attaingnant’s Lib. Duodecimus: Josquin’s 5-voice Salve regina (SR128) and J. Richafort’s 5-voice Salve regina (SR230). Willaert’s 5-voice Regina caeli (RC222) first appeared in 1535|4, but was also published in subsequent printed editions. The remainder of the antiphons are available only in Attaingnant’s publication: M. Sohier, AC122; M. Georget, AC052; M. Sohier, SR237; M. Sohier, RC199; P. Moulu, RC148; J. Rousée, RC195; Gombert, RC090; P. Vermont, RC209; F. Bourguignon, RC035; A. De Silva, RC061; C. de Sermisy, SR236; J. Conseil, SR066; J. Lhéritier, SR148; and H. Barra, SR034.

Associated people

Hotinet (Jean) Barra - Composer

Creation place and date

No information.

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.

Bibliography

Modern editions

[Smijers, 1934]

Smijers, A. (éd.), 1934, Treize Livres de Motets Parus Chez Pierre Attaingnant En 1534 et 1535, Paris and Monaco.
(n° 16)

References

No information.

Contributors

Harry Elzinga - Project manager ; Scientific editor

Ailin Arjmand - Collaborative work

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Salve regina [034], in RicercarDataLab [https://ricercardatalab.cesr.univ-tours.fr/works/1983/] (accessed 21 January 2026).

Last modification: Nov. 26, 2025