Salve regina [341]

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Titre complet / Autres titres

SR341 Salve regina 3 vv ; Eya ergo 3 vv

Partitions

[1] Salve regina

Polyphonic ensemble STX

[C]-C2; Ct-C4; T-C4. Entire range, A-c’’. “Salve” intonation (C). Paraphrased chant (App. 4) in T conforms with the rhythmic activity of other voices. Autonomous voices within a homorhythmic texture characterize the antiphon. Cantus predominantly proceeds in stepwise motion, whereas Ct includes several segments with disjunct motion. Triple mensuration with hemiola (sesquialtera)[1] sections (e.g., “vita,” mm. 14-7, “salve.” mm. 25-8; “suspiramus,” mm. 48-50; and “eya,” mm. 65-7) defines the antiphon. Final d; b♭ included in MS source but editorial b-flats required.

1. Use of black notes within white notation.

[2] Eya ergo

Polyphonic ensemble STX

Description

The antiphon believed to be of English origin. See Charles Hamm, “A Catalogue of Anonymous English Music in Fifteenth-Century Continental Manuscripts,” Musica Disciplina 22 (1968), 75.

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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.

Bibliographie

Éditions modernes

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Références

[Hamm 1968]

Hamm, C., 1968, A Catalogue of Anonymous English Music in Fifteenth-Century Continental Manuscripts, Musica Disciplina, 22, p. 47‑76 http://www.jstor.org/stable/20532030 (consulté le 6 décembre 2016).

Contributeurs

Harry Elzinga - Project manager ; Scientific editor

Ailin Arjmand - Collaborative work

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https://ricercardatalab.cesr.univ-tours.fr/works/2290/

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Salve regina [341], dans RicercarDataLab [https://ricercardatalab.cesr.univ-tours.fr/works/2290/] (accessed 16 mars 2026).

Dernière modification : 4 décembre 2025