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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

Greatest Choral Piece Ever Written? • It Might Be Marenzio’s “Salve Regina”

Jeff Ostrowski · March 1, 2023

HE GENERAL CONSENSUS vis-à-vis the “greatest composers” of the High Renaissance would be: Palestrina, Lassus, Guerrero, and Victoria. I personally would add Morales to that list, although he came earlier chronologically. [Indeed, Father Morales died the year Marenzio was born.] Those four composers certainly deserve to be ranked above all others—although I confess to not being as familiar with Orlando de Lassus. Then again, few scholars know Lassus’ oeuvre thoroughly—since he composed more than 2,000 works! But when it comes to the greatest choral piece ever written, my vote would be for Luca Marenzio’s Salve Regina [à5], the centerpiece of the upcoming Sacred Music Symposium. The 2023 participants will sing this piece during once-in-a-lifetime sessions conducted by the renowned Dr. Alfred Calabrese, professionally filmed for posterity. With the help of Corrinne May and Claire Coulombe, we have attempted a “mock recording” to demonstrate how this piece sounds:

M Rehearsal videos for each individual voice (and free PDF score) await you at #42237.

Note: Most readers won’t click on that 42237 link, which contains meticulously-created rehearsal videos for each individual voice. I cannot express to you how unhappy that state of affairs makes me.

Point #1 • Marenzio’s Salve Regina is based upon the ancient Gregorian Chant. If you’re unfamiliar with the Solemn Salve Regina (PDF), you won’t be able to understand what Marenzio is doing. As a result, you won’t be able to appreciate how wonderful his setting is. Therefore, I urge you at your earliest convenience to listen to this recording. Throughout this astounding composition, Marenzio takes themes from the plainsong. See if you agree that he forms a beautiful palindrome (“symmetry”) in the first movement:

Point #2 • As we discussed at the Symposium last year, all great Renaissance composers use “reverse exposition” to provide interest and contrast to the listener. In the first movement, the order of appearance is: Soprano, Alto, Quintus, Tenor, Bass. In the second movement, he “reverses” the order: Tenor, Bass, Alto, Soprano. In the third movement, Marenzio begins with full, gorgeous, thick chords—and that provides another type of contrast. The second movement might be considered “a study in stepwise motion”—and the results are breathtaking.

Point #3 • This piece really does “have it all.” There is luscious tone-painting (e.g. suspirámus). There are pedal tones (e.g. misericórdiae and nostra in the Bass). He gives some nice homophonic sections to balance his mind-blowing contrapuntal sections. Indeed, Marenzio proves himself a peerless master of harmonies, counterpoint, and dissonance vs. consonance. I don’t have words to describe how spectacular the melodies are—for each voice—when it comes to the “O Clemens” section.

Point #4 • Perhaps the most amazing thing about Marenzio’s incomparable setting is the way he juxtaposes multiple points of imitation simultaneously. In other words, he’s not content to focus on one point of imitation at a time; he blends them together, adding infinite interest. In addition to everything else, Marenzio makes frequent use of a technique that (later on) would become a favorite of Johann Sebastian Bach: viz. “augmentation,” when the cantus firmus is sung very slowly. For example, towards the end of the piece Marenzio resurrects the original motif in the Soprano, augmented:

Who Was Marenzio? • The Avvisi Di Roma referred to Luca Marenzio (d. 1599) on 12 August 1595 as “the foremost musician in Rome.” Palestrina compared Marenzio to Francesco Soriano (d. 1621), who served as choirmaster at the most illustrious basilicas in Rome. According to Steven Ledbetter, Marenzio’s high standing at the papal court is shown by the commission he received (21 December 1594) from Pope Clement VIII to revise to the ROMAN GRADUAL. (Palestrina and Zoilo had begun these revisions, in accordance with the needs of the Counter-Reformation, but they had not completed the task.) In the summer of 1595 Marenzio was ordered by the pope to take over as maestro di cappella of the Polish King Sigismund III’s court. By March 1596 Marenzio had arrived in Poland, and in October Marenzio directed a Mass he had written in the form of an echo (but the MS. is lost). In a letter to the King of Poland, Cardinal Aldobrandini (d. 1610) wrote that Marenzio was “second to none in Italy” as a composer. Marenzio was an expert lutenist, an outstanding singer, and a respected choirmaster. Nevertheless, he seemed to be most highly regarded as a composer—especially of secular works—and considered by some to be the greatest of all madrigalists.

* As I noted in the email ‘blast’ I sent regarding this, I am not saying Marenzio was the greatest composer in the world. Nor am I here speaking of Mass settings.

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

Filed Under: Articles, Featured, PDF Download Tagged With: Gregorian Chant, Luca Marenzio Composer, salve regina Last Updated: May 18, 2024

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “The Worm That Dieth Not”
    My pastor asked me to write a column for our parish bulletin with reflections on the sacred liturgy and church music. In my most recent article, I discuss “The Worm That Dieth Not.” At this website, you can access it conveniently; simply scroll down to the one dated 31 August 2025.
    —Jeff Ostrowski
    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski
    “Music List” • 21st in Ordinary Time (Year C)
    Our choir returns on Sunday, 24 August 2025. Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for it, which is the 21st 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. When it comes to the feast of the Assumption (15 August 2025), I have uploaded the music list for that Mass—but not the “bi-lingual” Mass in the evening (Spanish, Latin, and English) which has completely different music.
    —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

“During Lent…the use of musical instruments is allowed only so as to support the singing. Nevertheless, Laetare Sunday (the Fourth Sunday of Lent), Solemnities and Feasts are exceptions to this rule.”

— ‘Roman Missal, 3rd Edition (2011)’

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