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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

    New Bulletin Article • “12 October 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 (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th 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. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

Palestrina wrote two Masses in honor of the Blessed Virgin—one “a 6” before the Council of Trent, consequently with the tropes, and first published in 1570. In 1599 it was republished in Palestrina “Missarum Liber III” with the tropes removed, and in their place the liturgical words of the “Gloria” reiterated.

— Henry Coates

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