Salve regina [333]

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SR333 Vita dulcedo 4 vv ; [2.p.] Ad te suspiramus 4 vv ; [3.p.] Et Jesum 4 vv ; [4.p.] O pia 4 vv

Type

Motet

Partitions

[1] Vita dulcedo

Polyphonic ensemble STBX

[D]-C1; Ct-C4; T-C4; B-F4. Alternatim setting. Chant (App. 4) and
the borrowed Dutch liedeken, Mijns liefkens bruun ooghen,[1] primarily relegated to T, equally influence structure of the antiphon; the complementary melodies share mode 1 and principal pitches a and d. “Vita” (“salve”) motto in D is supported by a rhythmically active Ct; D also carries chant in pars 2 (“Ad te suspiramus,” mm. 35-43 and “in hac lacrimarum valle,” mm. 77-81). Except for the abbreviated “Et Jesum” motive (B) and chant associated with “nobis post hoc exilium” (Ct, D, B, mm. 115-21) and the initial pitches of “O pia,” (Ct and D, mm. 132-6) chant plays a minor role in partes 3 and 4. Selected melodic phrases of the Dutch song are systematically used throughout Salve regina.
The initial phrase[2] of Mijns liefkens serves as a cantus firmus (T) with the first six pitches cast as breves concluding with cadential material; the T of “Et Jesum” has identical treatment. Pars 1 concludes with the same phrase (first six pitches as semibreves) in canon at the upper fourth and distance of five breves between B and T. Pars 2 contains a twelve-pitch ostinato cantus firmus (T) based upon the sixth textual phrase, “Dat claeg ick God en mynen ooghen.” The cantus firmus constitutes six ostinato statements plus an extended statement (mm. 59-74) that suggests an additive process (i.e., pitches separated by rests: 1, 2, 4, 7, 9, 11). Following the “Et Jesum” prelude, the remainder of pars 3 includes the melody associated with the third textual phrase “Die doen my pyn en dooghen” in D and T (“benedictum”) of a paired imitation segment (mm. 93-103) continuing with two statements of the first textual phrase (Ct, mm. 103-9 and T, mm. 102-15), concluding with the ostinato of pars 2 (T, mm. 119-26). Like the “benedictum” section of pars 3, “O pia,” (4.p.) has the same melody as a cantus firmus (T). The author of Myn liefkens feels betrayed that he cannot see or speak to his love. Text underlay of limited concern. Final d (1.p., 2.p., 3.p.), a (4.p.)

1. Tielman Susato, Musyck Boexken, Books 1 and 2, Dutch Songs for Four Voices, [RISM 1551|18 and 1551|19], edited by Timothy McTaggart, RRMR 108 (Madison, A-R Editions, Inc., 1997); Susato’s Book 1 contains a setting of Myns liefkens bruyn ooghen by Susato, No. 9, and another by Swillart [Carolus Souliaert?], No. 12. McTaggart suggests that the Dutch liedeken in this Salve regina is modeled on the tenor of the anonymous three-voice setting in GB-LonBL 35087, ff. 19v-21. RRMR 108, p. 252.

2. B. Appenzeller’s Salve regina, SR020, includes the first phrase of Myns liefkens as a cantus firmus. See SR020 for text and translation.
[2] Ad te suspiramus

Polyphonic ensemble STBX

[3] Et Jesum

Polyphonic ensemble STBX

[4] O pia

Polyphonic ensemble STBX

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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.

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Contributeurs

Harry Elzinga - Project manager ; Scientific editor

Ailin Arjmand - Collaborative work

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https://ricercardatalab.cesr.univ-tours.fr/works/2282/

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Salve regina [333], dans RicercarDataLab [https://ricercardatalab.cesr.univ-tours.fr/works/2282/] (accessed 01 février 2026).

Dernière modification : 4 décembre 2025