Salve regina [273]

Robert Wilkinson

Full title / Other titles

SR273 Salve 9 vv ; regina 4-9 vv ; Ad te clamamus 3-9 vv ; Benedictum 3-9 vv ; Virgo mater 2-3 vv ; O clemens 9 vv ; Virgo clemens 3 vv ; Exaudi preces 3 vv ; O pia 9 vv ; Funde preces 3 vv ; Et pro nobis 4 vv ; O dulcis Maria, salve 9 vv

Type

Motet

Scores

[1] Salve

Polyphonic ensemble SSATBBXXX

Qt-G2; Tb-G2; M-C2; Ct I-C4; CtII-C4; T-C4; Ct III-C4; B I-F4; B II-F4. The antiphon Assumpta est Maria[1] at Lauds, Prime, and Second Vespers on the Assumption of the B.V.M. (Aug. 15) serves as a cantus firmus (T) primarily as long-note values in full-voice sections. Like Sutton’s seven-voice Salve regina (SR245), Wylkynson’s setting includes three complete statements of the cantus firmus. Segments of Assumpta est Maria allocated to specific nine-voice sections include: pitches 1-11 in rhythmic gestures similar to other voices, “salve,” (mm. 1-6); pitches 1-11, verses 4, 5, and “Et Jesum,” (mm. 29-52); pitches 12-7, “ostende,” (mm. 66-74); pitches 18-21, “O clemens,” (mm. 102-8); pitches 22-8, “O pia,” (mm. 154-62). A complete cantus firmus statement (T) accompanying verse 9, “O dulcis Maria, salve” (mm. 212-28) begins with identical rhythmic gestures of the initial “salve.” The third cantus firmus statement makes a unique appearance in the Tb of “Et pro…potato,” (mm. 185-211) the second half of verse 3 of trope Virgo mater[2] (In no other Salve regina that includes the Virgo mater trope is a foreign melody quoted.) Textual phrases are differentiated through contrast of a two-voice section (“Virgo mater…gloriae, mm. 75-88), several three-voice segments and one four-voice section (“Et pro…potato,” mm. 185-211) with full-voice segments as well as contrasting duple and triple mensurations. Like other Salve reginas in the Eton Choirbook, florid voice parts within a dense contrapuntal texture prevail. Typical of Salve regina setting by English composers are the trope verses inserted before the respective acclamations (verses 7-9). Final F, b♭ signature.

1. Antiphonale Sarisburnse, edited by W. F. Frere, (London, 1901-25), Vol. 5, p. 499. See transcription in MB, Vol. 10, Appendix I, No. 5.
Assumpta est Maria in caelum: gaudent Angeli, laudantes benedicunt Dominum.
Mary has been taken up into heaven. The angels are rejoicing; praising they bless the Lord.

2. Virgo mater ecclesiae, / Virgin mother of the church
aeterna porta gloriae, / eternal gate to glory,
esto nobis refugium / be a refuge for us
apud Patrem et Filium. / before the Father and the Son,

O clemens! / O gentle one;

Virgo clemens, virgo pia, / Gentle virgin, virgin holy,
virgo dulcis, O Maria, / O sweet virgin Mary,
exaudi preces omnium / hear the prayers of all
ad te pie clamantium. / Who make their dutiful cry to you,

O pia! / O loving one;

Funde preces tuo nato / Pour out your prayers to your Son,
crucifixo, vulnerato, / crucified, wounded,
et pro nobis flagellato / and scourged for our sake,
spinis puncto, felle potato, / pierced with thorns, given gall to drink.

O dulcis Maria, salve. / O sweet Mary, hail!
[2] Regina

Polyphonic ensemble SSATBBXXX

[3] Ad te clamamus

Polyphonic ensemble SSATBBXXX

[4] Benedictum

Polyphonic ensemble SSATBBXXX

[5] Virgo mater

Polyphonic ensemble

[6] O clemens

Polyphonic ensemble SSATBBXXX

[7] Virgo clemens

Polyphonic ensemble

[8] Exaudi preces

Polyphonic ensemble

[9] O pia

Polyphonic ensemble SSATBBXXX

[10] Funde preces

Polyphonic ensemble

[11] Et pro nobis

Polyphonic ensemble

[12] O dulcis Maria, salve

Polyphonic ensemble SSATBBXXX

Description

Wylkynson’s Salve regina is the first nine-voice piece in the history of Western music. To intensify his praise of Mary as she is received into heaven, the composer depicts and enlists the nine orders of angels in the initial letters of respective voices: Qt, Seraphyn; Tb, Cherubyn; Ct I, M-Throni; Dominaciones; Ct II, Principatus; T, Poestates; Ct III, Virtutes; B I, Angeli; and B II, Archangeli.

Associated people

Robert Wilkinson - 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

[The Eton choirbook 10]

Harrison, F. L. (éd.), 1956, The Eton choirbook, London.
(n° 9)

References

No information.

Contributors

Harry Elzinga - Project manager ; Scientific editor

Ailin Arjmand - Collaborative work

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Salve regina [273], in RicercarDataLab [https://ricercardatalab.cesr.univ-tours.fr/works/2222/] (accessed 21 January 2026).

Last modification: Dec. 3, 2025