Regina caeli (Francisco Guerrero)

New York Polyphony sings this beautiful piece, composed by Guerrero (1528-1599) and recorded this past May at the Church of St. Mary the Virgin:

Regina coeli laetare, Alleluia.
Quia quem meruisti portare, Alleluia.
[Iam] Resurrexit sicut dixit, Alleluia.
Ora pro nobis Deum. Alleluia.


Queen of Heaven, rejoice, alleluia.
For He whom you were worthy to bear, alleluia.
[Now] has risen, as He said, alleluia.
Pray for us to God, alleluia.

More about Regina Caeli (or Coeli) here.

The Marian Antiphons: Regina Caeli

Regina Caeli is the Marian antiphon sung at Compline from Easter Eve until Pentecost.

This is the antiphon sung to the Simple Tone, by the Benedictine monks of Santo Domingo de Silos. (Chant score from the Liber Usualis (1961), p.278.)



Here's the chant score of the Simple Tone version, from the Liber Usualis:

Here it is sung the Solemn Tone, by the Benedictine Monks of the Abbey of Saint Maurice et Saint Maur de Clervaux. (Chant score from the Liber Usualis (1961), p. 275.)



Here's the chant score of the Solemn Tone version, from the Liber Usualis:

This is from "Singing the Four Seasonal Marian Anthems," by Lucy Carroll, published in Adoremus:

Regina Caeli

Regina Caeli is perhaps the second-most familiar of the four texts, having been set to music by so many composers over the centuries, and frequently heard at Easter Vigil Mass. It is sung from Easter Vigil through Pentecost Sunday.

The text first appeared about the year 1200, and is often credited to Pope Gregory V (+998); the chant melody probably dates from the 14th century.

Regina caeli, laetare, alleluia; quia quem meruisti portare, alleluia; resurrexit sicut dixit, alleluia; ora pro nobis Deum, alleluia.

(A note on the Latin: caeli is sometimes spelled coeli. The oe vowel format was integrated into Latin from the Greek, and the more accepted spelling today of this word for heaven is the fully Latinized ae version.)

This translation is by the Reverend Adrian Fortescue, 1913:

Queen of heaven, rejoice, alleluia; for He whom thou was chosen to bear, alleluia; has risen as He said, alleluia; pray for us to God, alleluia.

It is certainly indicative of the Easter season, this hymn, filled with alleluias after a Lent where no alleluia is sung.

Another form of this text is in Regina Caeli Jubilo, dating from the 17th century. Its English form survives in the hymn “Be Joyful Mary” (melody by Johann Leisentritt (1527-1586).

Here's a terrific Regina Caeli by Czech composer P. J. Vejvanovský (~1633-1693), in that Grands Motets style I like so much:


This comes from Wikipedia:

The Regina Cæli or Regina Cœli ("Queen of Heaven", pronounced [reˈdʒiːna ˈtʃɛːli] in ecclesiastical Latin), is an ancient Latin Marian Hymn of the Christian Church.
It is one of the four seasonal Marian antiphons of the Blessed Virgin Mary, prescribed to be sung or recited in the Liturgy of the Hours at the conclusion of the last of the hours to be prayed in common that day, typically night prayer (Compline or Vespers). The Regina Caeli is sung or recited in place of the Angelus during the Easter season, from Holy Saturday through Pentecost Sunday.

And this is from TPL:

The author of Regina Caeli is unknown, but by virtue of its presence (or absence) in manuscripts, it had to have been composed sometime between the 9th and 12th centuries. One possible author in that time period is Pope Gregory V (+998). Its original use appears to have been in Rome where it was used as an Antiphon for Vespers at Easter. Today the Regina Caeli is used as hymn of joy during the Easter Season (Easter Sunday until Trinity Sunday) when it is used in place of the Angelus and prescribed to be recited at Compline. (see Angelus).

Perhaps the most interesting legend surrounding the prayer has it being composed, in part, by St. Gregory the Great. The legend has it that in the year 596, during Easter time, a pestilence was ravaging Rome. St. Gregory the Great requested a procession be held to pray that the pestilence be stopped. On the appointed day of the procession he assembled with his clergy at dawn at the church of Ara Coeli. Holding in his hand the icon of our Lady that was said to have been painted by St. Luke, he and his clergy started out in procession to St. Peter's. As he passed the Castle of Hadrian, as it was called in those days, voices were heard from above singing the Regina Caeli. The astonished Pope, enraptured with the angelic singing, replied in a loud voice: "Ora pro nobis Deum. Alleluia!" At that moment an angel appeared in a glorious light, sheathed the sword of pestilence in its scabbard, and from that day the pestilence ceased. In honor of this miraculous event, the name of the castle was then changed to Sant' Angelo and the words of the angelic hymn were inscribed upon the roof of the Church of Ara Coeli.

The traditional concluding versicle and collect, which are not part of the original antiphon, are also given below.

REGINA, caeli, laetare, alleluia: Quia quem meruisti portare, alleluia, Resurrexit sicut dixit, alleluia. Ora pro nobis Deum, alleluia.	O QUEEN of heaven rejoice! alleluia: For He whom thou didst merit to bear, alleluia, Hath arisen as he said, alleluia. Pray for us to God, alleluia.
V. Gaude et laetare, Virgo Maria, alleluia, R. Quia surrexit Dominus vere, alleluia.	V. Rejoice and be glad, O Virgin Mary, alleluia. R. Because the Lord is truly risen, alleluia.
Oremus Deus, qui per resurrectionem Filii tui, Domini nostri Iesu Christi, mundum laetificare dignatus es: praesta, quaesumus; ut, per eius Genetricem Virginem Mariam, perpetuae capiamus gaudia vitae. Per eundem Christum Dominum nostrum. Amen.	Let us pray O God, who gave joy to the world through the resurrection of Thy Son, our Lord Jesus Christ; grant, we beseech Thee, that through His Mother, the Virgin Mary, we may obtain the joys of everlasting life. Through the same Christ our Lord. Amen.

---

From the Roman Breviary.

Here's Filippo Lippi's Madonna of Palazzo Medici-Riccardi:

This is from the Wikipedia link above:

The Madonna of Palazzo Medici-Riccardi is a painting by the Italian Renaissance artist Filippo Lippi. It is housed in the Palazzo Medici-Riccardi ofFlorence, central Italy.

History

Rear view.

The painting was found by art historian Giuseppe Poggi in 1907 in the psychiatric hospital of San Salvi in Florence. There are several theories about the provenance of the panel: Poggi assigned it to the Villa of Castelpulci, owned by the Riccardi family, who bought Palazzo Medici in 1655. According to another, the Madonna was instead part of the original decoration of the palace.

After having been acquired by the Italian state, it was moved to Palazzo Medici-Riccardi, where now is displayed in the Hall of the Triumphs and Arts in the first floor, near the gallery of Luca Giordano. It has been restored in 2001 by the Opificio delle Pietre Dure.

Description

The model of the painting had been used by Lippi since as early as 1436: it portrays the Madonna's half-bust in a niche with a shell-shaped dome, holding the Child; in this case, he stands on a marble parapet. The style is however typical of his late career, not far from the frescoes in the Cathedral of Spoleto, and is thus generally considered on the of the artists' last panels.

The rear of the panel has a drawing with St. Jerome's head.

The Marian Antiphons: Ave, Regina Caelorum

Here's something about this hymn from "Singing the Four Seasonal Marian Anthems," by Lucy Carroll, published in Adoremus:

Ave Regina Caelorum

This anthem is sung from after Purification (February 2 or Candlemas) until Easter Vigil. Its earliest appearance was in the 12th century, although some also attribute this text to Herimann the Lame.

Ave regina caelorum, ave domina angelorum: salve radix, salve porta, ex qua mundo lux est orta: Gaude Virgo, gloriosa, super omnes speciosa, vale o valde decora, et pro nobis Christum exora.

This translation was done for our monastery by Dr. Rudolph Masciantonio, president of the Philadelphia Latin Liturgy Association:

Hail, queen of heaven, hail lady of the angels. Hail, root, hail the door through which the Light of the world is risen. Rejoice, glorious Virgin, beautiful above all. Hail, O very fair one, and plead for us to Christ.

Here's the antiphon sung to the Simple Tone by the Benedictine Monks of the Abbey at Ganagobie.  (Chant score from the Liber Usualis (1961), p. 278.)



Here's the chant score of the Simple Tone version, from the Liber Usualis:

Here's the Solemn Tone version of the antiphon, sung by the Benedictine Monks of Santo Domingo de Silos. (Chant score from the Liber Usualis (1961), pp. 274-275.)




Here's the chant score of the Solemn Tone version, from the Liber Usualis:

Here's a bit about Ave, Regina Caelorum from Wikipedia:

Ave Regina Caelorum is one of four Marian antiphons, with following versicles and prayers, traditionally said or sung after each of the canonical hours of the Liturgy of the Hours.^[1][2] The prayer is used especially after Compline, the final canonical hour of prayer before going to sleep. It is said from the Feast of the Presentation (February 2) through Wednesday of Holy Week.^[3] The origins of the prayer are unknown but it can be found included in a twelfth century manuscript.^[4]

And this is from TPL:

Ave Regina Caelorum is a popular Marian antiphon from around the 12th century. It appears to be of monastic origin and the author is unknown. Herman Contractus (+1054) is often suggested as the author, for he wrote several popular Marian antiphons arround then. This antiphon is one of the traditional concluding antiphons for Compline in use since the 13th century. It is traditionally recited from the Feast of the Purification (Feb. 2) until Wednesday in Holy Week. The traditional collect, which is not a part of the antiphon proper, is also given below. As noted by St. Jerome, the versicle and response originally appeared in the writings of St. Ephrem the Syrian (306-373).

AVE, Regina caelorum, Ave, Domina Angelorum: Salve, radix, salve, porta, Ex qua mundo lux est orta:	HAIL, O Queen of Heav'n enthron'd, Hail, by angels Mistress own'd Root of Jesse, Gate of morn, Whence the world's true light was born.
Gaude, Virgo gloriosa, Super omnes speciosa, Vale, o valde decora, Et pro nobis Christum exora.	Glorious Virgin, joy to thee, Loveliest whom in Heaven they see, Fairest thou where all are fair! Plead with Christ our sins to spare.
V. Dignare me laudare te, Virgo sacrata. R. Da mihi virtutem contra hostes tuos.	V. Allow me to praise thee, holy Virgin. R. Give me strength against thy enemies.
Oremus Concede, misericors Deus, fragilitati nostrae praesidium; ut, qui sanctae Dei Genetricis memoriam agimus; intercessionis eius auxilio, a nostris iniquitatibus resurgamus. Per eundem Christum Dominum nostrum. Amen.	Let us pray Grant, O merciful God, to our weak natures Thy protection, that we who commemorate the holy Mother of God may, by the help of her intercession, arise from our iniquities. Through the same Christ our Lord. Amen.

---

From the Roman Breviary. Translation of the antiphon itself by Fr. Edward Caswall (1814-1878).

Here's another Rafael madonna:

From Wikipedia:
The Madonna della tenda is a 1514 painting by theItalian renaissance artist Raphael.^[1] It shows Mary embracing the child Christ, while the young John the Baptist watches. The design of the painting resembles that of the Madonna della seggiola from the same period.

The Marian Antiphons: Alma Redemptoris Mater

The four Marian Antiphons have traditionally been sung at the end of Compline - each one during a particular season of the Church Year.  Here's a bit about Alma Redemptoris Mater, from "Singing the Four Seasonal Marian Anthems," by Lucy Carroll, published in Adoremus:

Alma Redemptoris Mater

Sung from the first Sunday of Advent until the Feast of the Purification on February 2 (the original ending date of the Christmas season), this prayer tells of Gabriel’s announcement, and of Mary’s divine motherhood. The text is credited to Herimann the Lame, a monk of Reichenau (1013-1054). Herimann’s Latinized name was Hermanus Contractus and he is sometimes also credited with the chant melody.

Alma Redemptoris Mater, quae pervia caeli porta manes et stella maris, succurre cadenti, surgere qui curat, populo: tu quae genuisti, natura mirante, tuum sanctum genitorem, Virgo prius, ac posterius, Gabrielis ab ore sumens illud ave, peccatorum miserere.

This translation is by the Reverend Adrian Fortescue, 1913:

Holy mother of our Redeemer, thou gate leading to heaven and star of the sea; help the falling people who seek to rise, thou who, all nature wondering, didst give birth to thy holy Creator. Virgin always, hearing the greeting from Gabriel’s lips, take pity on sinners.

Here's the Simple Tone version, sung by "the Benedictine Monks of the Abbey at Ganagobie." (Chant score is in the Liber Usualis (1961), p. 277.)



Here's the chant score of the Simple Tone version, from the Liber Usualis:

And here it is sung to the Solemn Tone, sung by "the Benedictine nuns of the Abbey of Notre Dame (d'Argentan)." (The chant score from the Liber Usualis (1961), p. 273-274.)





Here's the chant score of the Solemn Tone version, from the Liber Usualis:

Here's more about the hymn, from Wikipedia:

Alma Redemptoris Mater (Ecclesiastical Latin: [ˈalma redɛmpˈtoris ˈmatɛr]; English: Loving Mother of our Savior) is a Marian hymn, written in Latin hexameters, and one of four liturgical Marian antiphons (the other three being: Ave Regina caelorum, Regina coeli and Salve Regina), and sung at the end of the office of Compline. Hermannus Contractus (Herman the Cripple) (1013–1054) is said to have authored the hymn based on the writings of Ss. Fulgentius, Epiphanius, and Irenaeus of Lyon.^[1] It is mentioned in "The Prioress's Tale", one of Geoffrey Chaucer's Canterbury Tales. Formerly it was recited at compline only from the first Sunday in Advent until the Feast of the Purification (February 2).

And still more, from TPL, including some Collects and Verse-Responses:

Alma Redemptoris Mater was composed by Herman Contractus (Herman the Cripple) (1013-1054). It is mentioned in The Prioress' Tale in Chaucer's Canterbury Tales, which testifies to its popularity in England before Henry VIII. Contractus composed it from phrases taken from the writings of St. Fulgentius, St. Epiphanius, and St. Irenaeus. At one time Alma Redemptoris Mater was briefly used as an antiphon for the hour of Sext for the feast of the Assumption, but since the 13th century it has been a part of Compline. Formerly it was recited only from the first Sunday in Advent until the Feast of the Purification (Feb. 2), but with the revision of the Liturgy of the Hours, it can be recited anytime during the year. The traditional collects, which are not part of the original prayer, are also given below.

ALMA Redemptoris Mater, quae pervia caeli Porta manes, et stella maris, succurre cadenti, Surgere qui curat, populo: tu quae genuisti, Natura mirante, tuum sanctum Genitorem Virgo prius ac posterius, Gabrielis ab ore Sumens illud Ave, peccatorum miserere.	MOTHER of Christ, hear thou thy people's cry Star of the deep and Portal of the sky! Mother of Him who thee made from nothing made. Sinking we strive and call to thee for aid: Oh, by what joy which Gabriel brought to thee, Thou Virgin first and last, let us thy mercy see.
Tempus Adventus	During Advent
V. Angelus Domini nuntiavit Mariae. R. Et concepit de Spiritu Sancto.	V. The Angel of the Lord announced unto Mary. R. And she conceived by the Holy Spirit.
Oremus Gratiam tuam, quaesumus, Domine, mentibus nostris infunde: ut qui, Angelo nuntiante, Christi Filii tui incarnationem cognovimus; per passionem eius et crucem, ad resurrectionis gloriam perducamur. Per eundem Christum Dominum nostrum. Amen.	Let us pray Pour forth, we beseech Thee, O Lord, Thy grace into our hearts: that as we have known the incarnation of Thy Son Jesus Christ by the message of an Angel, so too by His Cross and passion may we be brought to the glory of His resurrection. Amen.
Donec Purificatio	From Christmas Eve until the Purification
V. Post partum, Virgo, inviolata permansisti. R. Dei Genetrix, intercede pro nobis.	V. After childbirth thou didst remain a virgin. R. Intercede for us, O Mother of God.
Oremus Deus, qui salutis aeternae, beatae Mariae virginitate fecunda, humano generi praemia praestitisti: tribue, quaesumus; ut ipsam pro nobis intercedere sentiamus, per quam meruimus auctorem vitae suscipere, Dominum nostrum Iesum Christum, Filium tuum. Amen.	Let us pray O God, who, by the fruitful virginity of blessed Mary, hast bestowed upon mankind the reward of eternal salvation: grant, we beseech Thee, that we may experience her intercession, through whom we have been made worthy to receive the author of life, our Lord Jesus Christ, Thy Son. Amen.

---

From the Roman Breviary.

Here's Rafael's Madonna Tempi:

From Wikipedia:

The Tempi Madonna is an oil painting by the ItalianHigh Renaissance painter Raphael. Painted for the Tempi family, it was bought by Ludwig I of Bavaria in 1829. It is housed in the Alte Pinakothek in Munich. It is thought to have been made in 1508, at the end of the artist's Florentine period.^[

Salve Regina - Cristóbal de Morales

Here's another Salve Regina, this time by Cristóbal de Morales. Gorgeous. I'll try to find out what he's doing here with the chant alternatim; not sure if that's the Gregorian melody or not....

[EDIT:  Yes, the chant alternatim uses the Solemn Tone version of the Gregorian Salve Regina; see it on this page.]

Salve Regina, mater misericordiae, vita, dulcedo, et spes nostra salve. Ad te clamamus, exules filii Evae. Ad te suspiramus, gementes et flentes, in hac lacrimarum valle. Eia ergo, advocate 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.

Hail holy queen, mother of mercy, hail our life, our sweetness, and our hope. To thee do we cry, poor banished children of Eve. To thee do we send up our sighs, mourning and weeping in this vale of tears. Turn then most gracious advocate, thine eyes of mercy towards us. And after this, our exile, show unto us the blessed fruit of thy womb, Jesus. O clement, o loving, o sweet Virgin Mary.

Salve Regina (Francesco Cavalli)

Before the Marian antiphon at Compline changes, this Sunday on Advent I, from Salve Regina to Alma Redemptoris Mater, I thought I'd post this lovely Salve Regina by Francesco Cavalli:

Salve Regina, mater misericordiae, vita, dulcedo, et spes nostra salve. Ad te clamamus, exules filii Evae. Ad te suspiramus, gementes et flentes, in hac lacrimarum valle. Eia ergo, advocate 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.

Hail holy queen, mother of mercy, hail our life, our sweetness, and our hope. To thee do we cry, poor banished children of Eve. To thee do we send up our sighs, mourning and weeping in this vale of tears. Turn then most gracious advocate, thine eyes of mercy towards us. And after this, our exile, show unto us the blessed fruit of thy womb, Jesus. O clement, o loving, o sweet Virgin Mary.

More about Salve Regina here. More about Marian antiphons here.

The Marian Antiphons: Salve Regina

Salve Regina is the Marian antiphon sung at Compline from the day after Pentecost Sunday until the first Sunday of Advent.  From "Singing the Four Seasonal Marian Anthems," by Lucy Carroll, published in Adoremus:

Visitors to our Carmelite monastery sometimes ask why we do two hymns at the end of Mass. We don’t; one is the seasonal Marian anthem, the other is a recessional hymn.

....

The four great seasonal Marian antiphons come from the Divine Office, office of Compline, the last of the sung hours of the day. At the close of Compline, one of the four seasonal Marian prayers was sung: Alma Redemptoris Mater, Ave Regina Caelorum, Regina Caeli, or Salve Regina.

Today the Divine Office is known as the Liturgy of the Hours, and Compline has become “Night Prayer”. Today there is the choice of those four hymns or a few others, including the Hail Mary. Traditionally, at Compline, the Latin anthem was followed by seasonal declamations and a prayer. When sung at the conclusion of Mass, only the anthem is sung.

In a Marian house, the seasonal anthem is sung on Sundays and Marian feasts throughout the year at the conclusion of Mass. At our monastery, the nuns, choir, and congregation all join in the Latin chant.

This custom is retained in many churches and cathedrals on Christmas (Alma Redemptoris) and Easter (Regina Caeli), as was seen in the Masses at the Vatican this past year.

Each anthem has a beautiful text, each chant is quite melodic. This is a tradition we at Carmel very much treasure. While we sing the traditional chant melodies at Carmel, these texts have been set to music for choirs by many composers over the ages, most notably Palestrina.

At the present moment, the Marian Anthem is Salve Regina.   Here's a video of the Simple Tone version of the antiphon, sung by the Benedictine Monks of Santo Domingo de Silos; chant score is from the Liber Usualis (1961), p 279.




Here's the chant score of the Simple Tone version, from the Liber Usualis:

And this is the Solemn Tone, sung by the Schola of the Hofburgkapelle Vienna (1984); chant score is from the Liber Usualis (1961), p 276.



Here's the chant score of the Solemn Tone version, from the Liber Usualis:

Here's more from the article linked above.

The Salve Regina has also been credited to Herimann the Lame (Hermanus Contractus), monk of Reichenau, but it is also attributed to Adhemar de Monteil (+1098) and Saint Bernard (+1153). It has become a traditional Carmelite hymn, sung at Carmelite events throughout the world. It is sung as a seasonal anthem from the day after Pentecost Sunday until the first Sunday of Advent. As a spoken prayer, it has also been added to the conclusion of the rosary, so it is perhaps the most familiar of these four texts to Catholics.

Salve Regina, mater misericordiae, vita, dulcedo, et spes nostra salve. Ad te clamamus, exules filii Evae. Ad te suspiramus, gementes et flentes, in hac lacrimarum valle. Eia ergo, advocate 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.

This early translation is by the Reverend Adrian Fortescue, 1913:

Hail holy queen, mother of mercy, hail our life, our sweetness, and our hope. To thee do we cry, poor banished children of Eve. To thee do we send up our sighs, mourning and weeping in this vale of tears. Turn then most gracious advocate, thine eyes of mercy towards us. And after this, our exile, show unto us the blessed fruit of thy womb, Jesus. O clement, o loving, o sweet Virgin Mary.

While parishes may not include the seasonal anthem each Sunday, it is to be recommended that the Regina Caeli be sung at Easter, and the Alma Redemptoris at Christmas Mass, and that the anthems be sung by choir and congregation sometime during the seasons.

This is Raphael's Madonna dell Granduca, from around 1505: