Salve regina [212]

Costanzo Porta

Full title / Other titles

SR212 Salve regina 8 vv

Type

Motet

Scores

Polyphonic ensemble SAATTTBB

Two contrasting choirs. Chr. I, C-C1; A I-C3; T I-C4; B-F4. Range, G-d’’. Chr. II, A II-C3; T II-C4; T III-C4; B-F4. Range, G-a’. No evidence of chant. Textual phrases are differentiated through melodic material, harmonic goals, but primarily antiphonal treatment. Within a homorhythmic style and occasional pseudo-polyphonic texture, alternating choirs present successive overlapping textual phrases. Antiphonal treatment of both specific words (“misericordiae” of verse 1 and “et Jesum” of verse 6) with contrasting music, or varied statements (“O clemens/O pia,” mm. 53-61) are infrequent. Tutti sections that constitute slightly less than a third of the entire antiphon are assigned to concluding text of specific verses (verse 2, mm. 12-15 and verse 4, mm. 29-33) as well as “salve regina,” and the closing of verse 9 where identical harmonic progressions (D, g, D) enfold the motet. The word “mater” is omitted in verse 1. Declamatory setting in syllabic style prevails. Final d.

Associated people

Costanzo Porta - Composer

Creation place and date

No information.

Associated sources

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

[Porta, 1971]

Porta, C., 1971, Opera omnia, Cisilino S. et Luisetto G. M. (éd.), Padova.
(pp. 140-144)

References

No information.

Contributors

Harry Elzinga - Project manager ; Scientific editor

Ailin Arjmand - Collaborative work

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Salve regina [212], in RicercarDataLab [https://ricercardatalab.cesr.univ-tours.fr/works/2161/] (accessed 22 January 2026).

Last modification: Dec. 3, 2025