Salve regina [236]

Claudin de Sermisy

Titre complet / Autres titres

SR236 Salve Regina 4 vv ; [2.p.] Eia ergo 3 vv ; [3.p.] Et Jesum 4 vv

Type

Motet

Partitions

[1] Salve Regina

Polyphonic ensemble STBX

S-C1; Ct-C4; T-C4; B-F4. Chant (App. 4) performs a significant role in Sermisy’s Salve regina wherein rhythmicized plainsong permeates the imitative texture but also serves as cantus firmus; in both cases the entire melody associated with textual phrases is represented. Cantus firmus treatment appears in pars 3 to emphasize “Et Jesum benedictum” (B, mm. 116-24), and the three acclamations: S, “O clemens,” mm. 151-9; B, “O pia,” mm. 160-8; T, “O dulcis Maria,” mm. 168-75. To complement the identical plainsong for verses 1 and 2, the entire texture for “salve…” (mm. 5-17) is repeated for “vita…” (mm. 20-33).[1] The tripartite structure of the antiphon is emphasized by reduction of voices (Ct, T, B) for 2.p. (verse 5). The words “mater” in verse 1 and “virgo” in verse 9 are omitted. Declamatory text setting prevails. Final d.

1. Salve regina settings by Arcadelt, SR021, Beausseron, SR037, Josquin, SR127, Misonne, SR172, Palestrina, SR195, Praetorius, SR216, Reiner, SR225, Richafort, SR230, and anonymous settings SR339 SR349, SR358, SR376, SR382, SR393, SR395 and SR476 follow the same procedure.
[2] Eia ergo

Polyphonic ensemble

[3] Et Jesum

Polyphonic ensemble STBX

Description

Sermisy’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 69648 [Choral Public Domain Library]

Personnes associées

Claudin de Sermisy - Composer

Lieu et date de création

Aucune information.

Textes

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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

[Smijers, 1934]

Smijers, A. (éd.), 1934, Treize Livres de Motets Parus Chez Pierre Attaingnant En 1534 et 1535, Paris and Monaco.
(n° 13)

Références

Aucune information.

Contributeurs

Harry Elzinga - Project manager ; Scientific editor

Ailin Arjmand - Collaborative work

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https://ricercardatalab.cesr.univ-tours.fr/works/2185/

Citation
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Salve regina [236], dans RicercarDataLab [https://ricercardatalab.cesr.univ-tours.fr/works/2185/] (accessed 31 janvier 2026).

Dernière modification : 26 novembre 2025