MCE 06-05 Ave regina caelorum mater : Ave corpus domini

Edition

Motet

See the general ‘Evaluation of the sourcesʼ at the level of the cycle.

Text (ed. by Eva Ferro)

Edition	English translation
Ave, regina caelorum, Mater regis angelorum.	Hail, queen of heaven, mother of the king of the angels.
O Maria, flos virginum, Velut^[i] rosa vel lilium, Funde preces^[1] ad filium Pro salute fidelium.	O Mary, flower of virgins, like a rose or lily, pour out prayers before your son, for the salvation of the faithful.
Ave, corpus domini, Munus et finale, Corpus iunctum homini, In memoriale Cum finalis termini Mundo dixit^[2]: ‘Vale’.	Hail, body of the Lord and final gift, a body joined to a man, when in remembrance of the final end he said to the world: ‘Farewell’.

^[1] preces] preses Librone 2, A

^[2] mundo dixit] Librone 2, A wrote mundixit

^[i] velut] velud Librone 1, C A T B

This edition is based on Librone 1, ff. 138v–139r and Librone 2, ff. 49v–50v. It was written by the same scribe (Scribe A) in both sources. While the text of Librone 2 presents some mistakes (in the Altus the word preces was copied as ‘preses’ and the two words mundo dixit were melted into one and read ‘mundixit’), in Librone 1 there are no mistakes, except for the spelling of velut as ‘velud’, a phonetic variant typical of medieval Latin.
The text draws from two different sources: for stanzas 1 and 2 the source text is a rhymed antiphon for the Virgin Mary (MONE 2, p. 202), while stanza 3 was drawn from the hymn for the Eucharist Ave vivens hostia (AH 31, no. 105, p. 111). The last stanza was also used as a devotional prayer ad Elevationem; it can be found, for example, in a late sixteenth-century Jesuit prayerbook.^[1] In this light, and for the clear and polysemic references to Christ’s body (‘Ave, corpus domini’ and ‘Cum finalis termini / Mundo dixit: ‘Vale’’) this stanza is suitable for an Elevation motet.

^[1] See Walter S. Melion, ‘Libellus Piarum Precum (1575): Iterations of the Five Holy Wounds in an Early Jesuit Prayerbook’, in Jesuit Image Theory, ed. Wietse de Boer, Karl A. E. Enenkel, and Walter S. Melion, Intersections 45 (Leiden; Boston: Brill, 2016), 189–253, at 200.

The viewer is loading…

Measure	Voice	Source	Category	Comment	Image
		I-Mfd1	designation of voices	–, Contra Altus, Tenor, Contra bassus
		I-Mfd2	designation of voices	–, [A]ltus, [T]enor, [B]assus
		I-Mfd1; I-Mfd2	clefs	original clefs: g2, c2, c3, c4
1-6	4	I-Mfd2	text underlay	Ave regina caelorum
4	4	I-Mfd2	coloration	c'-b in minor color
7-11	4	I-Mfd2	text underlay	text missing
7-16	1	I-Mfd1; I-Mfd2	text underlay	Ave...mater
9	3	I-Mfd2	pitch and rhythm	c' Br instead of two Sb
9	4	I-Mfd2	pitch and rhythm	a dotted Sb instead of Sb+Mi
11-14	2	I-Mfd1	text underlay	mater regis
12-13	4	I-Mfd1; I-Mfd2	text underlay	mater
14	1	I-Mfd2	pitch and rhythm	g' Br instead of two Sb
14-17	4	I-Mfd1; I-Mfd2	text underlay	regis angelorum
14-19	2	I-Mfd1	text underlay	angelorum
15-17	3	I-Mfd2	text underlay	mater
16-20	1	I-Mfd1; I-Mfd2	text underlay	regis angelorum
17-20	3	I-Mfd2	text underlay	regis angelorum
20	1	I-Mfd2	ligatures	lig. between c' and f''
20-24	2	I-Mfd1	text underlay	O Maria flos virginum
21-22	3	I-Mfd2	ligatures	lig. between f' and e'
21-24	2	I-Mfd2	text underlay	flos virginum
25-29	2	I-Mfd1	text underlay	velut rosa vel
25-29	2	I-Mfd2	text underlay	velut rosa
26	1	I-Mfd2	pitch and rhythm	d'' dotted Sb instead of Sb+Mi
27	3	I-Mfd2	pitch and rhythm	d' dotted Sb instead of Sb+Mi
29	1	I-Mfd2	pitch and rhythm	b' dotted Sb instead of Sb+Mi
30	1	I-Mfd1	text underlay	rosa missing
30-34	2	I-Mfd1	text underlay	lilium
30	3	I-Mfd2	pitch and rhythm	b dotted Sb instead of Sb+Mi
30	4	I-Mfd2	accidentals	e Sb without flat
32	1	I-Mfd2	pitch and rhythm	g' dotted Sb instead of Sb+Mi
32	2	I-Mfd2	musical symbols	sig. con. on the blackened Sb e'-flat
33	4	I-Mfd2	pitch and rhythm	g dotted Sb instead of Sb+Mi
38	4	I-Mfd2	musical symbols	sig. con. on the Sb a
46-47	3	I-Mfd2	pitch and rhythm	the last three notes (Mi d' and Sb e' and d') have a slightly different shape and smaller size; they are probably a correction on an erasure	Show
47-48	2	I-Mfd2	accidentals	Sb b' with flat
48-54	4	I-Mfd1	text underlay	pro salute
49-50	2	I-Mfd1; I-Mfd2	pitch and rhythm	Sb f' , Sm e' and d' and Sb c' instead of Sb g' , Sm f' and e' and Sb f'
54	4	I-Mfd2	musical symbols	sig. con. on the Sb rest
57-61	4	I-Mfd1; I-Mfd2	text underlay	fidelium
59-60	1	I-Mfd2	pitch and rhythm	a' dotted Mi + g' Sm instead of a' Sb
61-62	1 2 3 4	I-Mfd1	musical symbols	barline between mm. 61 and 62 (single in the C and double in the other voices)
61-62	1 2 3 4	I-Mfd2	musical symbols	double barline between mm. 61 and 62
66-67	1	I-Mfd2	pitch and rhythm	two Br b' both with fermatas instead of dotted Br with fermata+Sb
66-67	2	I-Mfd2	pitch and rhythm	d' and e' Br both with fermata instead of d' dotted Br with fermata + e' Sb
66-67	3	I-Mfd2	pitch and rhythm	two Br b both with fermata instead of dotted Br with fermata+Sb
66-67	4	I-Mfd2	pitch and rhythm	two Br g both with fermata instead of dotted Br with fermata+Sb
68-69	1 2 3 4	I-Mfd1	musical symbols	barline between mm. 68 and 69 (probably added later)
68-69	1 2 3 4	I-Mfd2	musical symbols	barline between mm. 68 and 69 (double in the T and probably drawn later in the A)
72	4	I-Mfd1; I-Mfd2	accidentals	flat not explicitly indicated before the second Sb e
76-77	2	I-Mfd2	ligatures	lig. between f and g
77	2	I-Mfd2	pitch and rhythm	g Br instead of two Sb
77	4	I-Mfd1; I-Mfd2	accidentals	flat not explicitly indicated before the second Sb e
88-90	2	I-Mfd1	pitch and rhythm	this passage has been completely erased and rewritten	Show
90	1	I-Mfd2	pitch and rhythm	f' Lo instead of Br
90	2	I-Mfd1	pitch and rhythm	d' Lo instead of Br
90	2 4	I-Mfd1	musical symbols	no fermata
90	1 3	I-Mfd2	pitch and rhythm	a Lo instead of Br
90	4	I-Mfd1	pitch and rhythm	d Mx instead of Br
90	1 2 3 4	I-Mfd2	musical symbols	custodes at the end of all the voices, at ff. 49v-50r, pointing to the motet O Maria clausus hortus on the following opening, and corresponding to the end of m. 90 in the edition
90	1 2 3 4	I-Mfd1	rubrics and verbal directions	‘Verte folium’ directions at the end of all the voices, at ff. 138v-139r, pointing to the motet O Maria clausus hortus on the following opening, and corresponding to the end of m. 90 in the edition
90	3 4	I-Mfd2	rubrics and verbal directions	‘Verte folium’ directions at the end of T and B, at ff. 49v-50r, pointing to the motet O Maria clausus hortus on the following opening, and corresponding to the end of m. 90 in the edition

Edition	English translation
Ave, regina caelorum, Mater regis angelorum.	Hail, queen of heaven, mother of the king of the angels.
O Maria, flos virginum, Velut rosa vel lilium, Funde preces ad filium Pro salute fidelium.	O Mary, flower of virgins, like a rose or lily, pour out prayers before your son, for the salvation of the faithful.
Ave, corpus domini, Munus et finale, Corpus iunctum homini, In memoriale Cum finalis termini Mundo dixit: ‘Vale’.	Hail, body of the Lord and final gift, a body joined to a man, when in remembrance of the final end he said to the world: ‘Farewell’.

This browser does not support javascript. You may download it to view it offline.