Salve regina [128]

Josse Lebloitte alias Josquin des Prez

Titre complet / Autres titres

SR128 Salve regina 5 vv ; [2.p.] Eja ergo 5 vv ; [3.p.] Et Jesum 5 vv

Type

Motet

Partitions

[1] Salve regina

Polyphonic ensemble STBXX

S-C1; Ct I-C3; T-C3; Ct II-C2; B-C4. High clefs. Entire range, B♭-g’’. A two-fold scaffold constitutes the framework of the antiphon.[1] The Salve regina chant[2] pitched on d’’ is paraphrased in S in1.p. and 2.p. In a not uncommon practice, Josquin places chant in B to underscore “Et Jesum” in homorhythmic style; chant continues in T and S (“fructus ventris tui”) and A (“nobis”) returning to S until verse 9 at which point chant appears to have been discontinued. An ostinato in T consists of the “salve” motto pitched alternately on g’ and d’ separated by three breve rests;[3] the strict ostinato pattern of fourteen breves occurs twelve times six in 1.p., two in 2.p. and four in 3.p.), a possible representation of extra-musical symbolism.[4] A third structural device involves another ostinato figure stated in B six times with text “salve regina” (verse 1) and in Ct II, Ct I/B and Ct II/B (in tenths) and Ct I (mm. 25-33) with text “vita, dulcedo” (verse 2). Furthermore, verses 1 and 2 are linked through repetition of full texture (mm. 17-22=31-6) with respect to “misericordiae” and “et spes nostra salve.” In the other verses with identical chant (verses 7 and 8, “O clemens” and “O pia”) Josquin also repeats the full texture (mm. 151-56=156-61). Chant motives are integrated within continually changing texture and spatial relationships (e.g., “gementes,” mm. 65-8). Final g, b♭ signature.

1. For analyses of Josquin’s motet, see Christle Collins Judd, “Josquin des Pres: Salve regina (à 5),” In Models of Musical Analysis Music Before 1600, edited by Mark Everist, (Oxford: Blackwell Publishers, 1992), and John Milson, “Analysing Josquin,” in The Josquin Companion, edited by Richard Sheer, (Oxford: Oxford University Press, 2000). Grayson Wagstaff poses the “hypothesis that Josquin’s [tripartite] Salve influenced Spanish composers to move away from their traditional ‘alternatim-like’ Salves that strictly followed a division of the text into distinct versicles.” “Mary’s Own. Josquin’s Five-Part “Salve regina” and Marian Devotions in Spain,” Tijdschrift van de Konklijke Vereniging voor Nederlands Muziekgeschiedenis, Deel 52, No. 1 (2002), pp. 3-34. See SR159.

2. Chant melody closely follows the 16th-c. Franciscan antiphonaries except for insertion of pitch “c” between initial pitches (d, c, f) of verses 3 and 4 in Salve regina included in a printed antiphonary (1508-18) in Cambrai, Médiathèque Muncipale, XVI C 4, ff. 227v-8. (See App. 4).

3. The rubric “Qui perseveraverit usque in finem, hic salvus erit” (Who perseveres [in singing this motive] will be saved) accompanies the ostinato in ModD 9; an abbreviated form, “Qui perserveraverit salvus erit,” appears in 1521|5 and VatS 24.

4. Elders believes that the twelve repetitions of the motto cycle represent an association between Mary and the text of Revelation 12:1: ‘And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars.’
[2] Eja ergo

Polyphonic ensemble STBXX

[3] Et Jesum

Polyphonic ensemble STBXX

Description

Josquin’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.


External link:
CPDL 66780 [Choral Public Domain Library]

Personnes associées

Josse Lebloitte alias Josquin des Prez - Composer

Lieu et date de création

Aucune information.

Sources associées

Textes

Copié !

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

[Josquin Desprez et Duffin, 1999]

Josquin Desprez et Duffin, R. W., 1999, Josquin anthology, Oxford/New York.
(n° 9)

[Monuments of Renaissance music 8]

Antico, A. et Picker, M., 1987, The Motet books of Andrea Antico, Chicago.
(n° 29)

[New Josquin Edition 25]

Elders, W., 2009, Motets on Non-Biblical Texts. 3, De Beata Maria Virgine. 1: Critical Commentary, Utrecht.
(n° 25.5)

[Smijers, 1934]

Smijers, A. (éd.), 1934, Treize Livres de Motets Parus Chez Pierre Attaingnant En 1534 et 1535, Paris and Monaco.
(n° 12)

[Werken van Josquin des Prés 35]

Josquin, s. d., Werken van Josquin des Prés Afl. 35 Motetten, Deel 3, Bundel 11, Amsterdam.
(n° 48)

Références

Aucune information.

Contributeurs

Harry Elzinga - Project manager ; Scientific editor

Ailin Arjmand - Collaborative work

Partager

Permalien
Copié !

https://ricercardatalab.cesr.univ-tours.fr/works/2077/

Citation
Copié !

Salve regina [128], dans RicercarDataLab [https://ricercardatalab.cesr.univ-tours.fr/works/2077/] (accessed 30 janvier 2026).

Dernière modification : 26 novembre 2025