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Thread: Salve Regina #1 and #2

  1. #1

    Default Salve Regina #1 and #2


    Two Salve Regina, #1 ZWV140 and #2 ZWV136, are available at, manuscripts Mus2358-E-14-1&2. Mp3s and scores are in the repository.

    #1 : S in cantus firmus above unleashed ATB, a gem well hidden behind the faded staves.
    #2 : mix of Solo and Choir with peculiar ornamentation.

    Last edited by skiaouros; 06-05-2011 at 01:51 PM.

  2. #2

    Default Re: Salve Regina #1 and #2

    Listened to ZWV136 and the movement sounds very Zelenka. Like it. Thank you, SK, for making this mp3 and sharing it. Looking forward to Zwv 140 ...

  3. #3
    Join Date
    Apr 2008

    Default Re: Salve Regina #1 and #2

    I'm trying to decipher the ZWV 140 myself. It raises some difficult questions. First, my opinion is, judging from the inscription on the front page, that the oboe should double the soprano in the "Vivace" part. I would keep it silent before. But that's a minor thing.

    The main problem is the violin part. We can see it jumps straight to the basso clef - far below the instrument's register - early on, and goes back only at the end. It follows the BC in general, but at times it is more mobile.

    Even the first entrance of the altos in Vivace is, when you look at the score, supposed to be doubled by the violins an octave BELOW THE BC! Very, very weird.

    It's not possible that the basso clef is a mistake - if you switch to the violin clef weird harmonies arise.

    So: my hypothesis is that one should transpose (in the proper places) the violin voice an octave higher. Perhaps it was written in the basso clef out of haste, since it made it almost identical to the BC voice. But that's still weird. Does anyone else have an opinion on this?

  4. #4
    Join Date
    Apr 2008

    Default Re: Salve Regina #1 and #2


    here's the seemingly final version of my ZWV 140 score:

    First: Germund and skiaouros, there were some (I dare say) mistakes in the middle voices in your version, I believe I corrected them. We sang the whole thing with the choir last week and it's beautiful!

    Second: Janice Stockigt offered advice on the weird violin notion: her opinion is that it means that the violins play "col basso", so the violin part should "follow the bass line in their lowest register-making jumps up the octave whenever the bass line takes them out of their range." I incorporated this advice in the score. I hope it's readable, if anyone wants the source code just say so (I made it using the fantastic free tool called Lilypond).

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