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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Masterful “Salve Regina” by 17th-Century Portuguese Composer

Fr. David Friel · April 30, 2017

IOGO DIAS MELGÁS is a name that, until last week, meant nothing to me. I had never heard of him, nor had I heard any of his music, so far as I am aware. That changed during a concert given by the combined choirs of The Catholic University of America at the Cathedral of St. Matthew the Apostle in downtown DC.

Melgás was a Cuban-born Portuguese composer of the late Renaissance, having lived in the seventeenth century. He first became acquainted with sacred music as a choirboy at the Cathedral of Évora. He died blind and poor, remaining relatively unknown until the publication of his complete works in modern notation in 1978.

What caught my attention during this concert was not, at first, Melgás. It was, rather, the text of the Salve Regina, which is one of my favorite prayers. Because I like the text so much, I thought I would listen extra hard. That extra listening effort was rewarded both by the quality of the performance and by the ingenuity of the composition.

The treatment Melgás gives to this prayer is very affective—an example of extreme word painting. This style is likely to turn off some listeners. For me, however, I found it particularly appropriate that such an affective prayer should receive an equally affective treatment.

Three sections of the piece especially strike me. First is the four-bar section that creatively presents the words spes nostra salve. The pitter-patter of alternation between the keys of D minor and A, combined with the rhythmic opposition of soprano and bass against the interior voices, creates a brief passage with a very playful sound.

The second section that I find delightful is the nearly staccato setting of the words ad Te suspiramus, followed immediately by the flowing richness of the phrase gementes et flentes. The contrast makes the sentiment come alive.

The third section of this work that inspires me is the meditative approach to the words O clemens, O pia, O dulcis. These are, in my opinion, among the sweetest words of any of our traditional Catholic prayers. They deserve an equally sweet musical treatment, and this they receive at the hands of Melgás.

T STRUCK ME during the concert that this particular setting of Salve Regina is great not merely because it is inventive or novel or musically interesting. It is a great piece of music because it clearly emanates from the heart of a composer who had a fertile interior life. This is the sort of setting that could only have derived from faith and grown out of the experience of praying these words repeatedly and fervently. Personal faith, without a doubt, contributes something intangible to the composition of sacred music.

For an excellent recording of this piece, check out this YouTube video.

To obtain a free copy of the score for the piece, visit the Choral Public Domain Library here.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Sheet Music Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “7 September 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article is called: “Professor Bouyer’s Regret.”
    —Jeff Ostrowski
    Cardinal Ranjith on “Active Participation”
    From 2005–2009, Malcolm Cardinal Ranjith served as Secretary of the Congregation for Divine Worship and the Discipline of the Sacraments. He was considered ‘papabile’ during the last conclave. On 8 December 2008, he wrote this powerful statement concerning Gregorian Chant, participatio actuosa, celebration “ad orientem,” and other subjects. When it comes to the question of what “sacred” means, Monsignor Robert A. Skeris provides a marvelous answer.
    —Jeff Ostrowski
    “Music List” • 22nd in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 31 August 2025, which is the 22nd Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed
    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed

Random Quote

Nothing should be allowed that is unworthy of divine worship, nothing that is obviously profane or unfit to express the inner, sacred power of prayer. Nothing odd or unusual is allowable, since such things, far from fostering devotion in the praying community, rather shock and upset it—and impede the proper and rightful cultivation of a devotion faithful to tradition.

— Pope Paul VI • 10/13/1966

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