Salve Regina (Takach)

Performance Notes
The (ah) syllable found in m. 7, 13 and 21 should be sung as the same vowel of the following word – “ad.”

The straight lines between notes as found in m. 44. 48, 49, etc. should be sung as glissandi between the two notes. A tied note that precedes a glissando should be sustained for full value first (Choir I in m. 49).

Program Notes
When I was commissioned by the University of Notre Dame’s DeBartolo Performing Arts Center, I was mostly in conversation with the Glee Club’s conductor, Dan Stowe. He was imagining a piece that would be a companion to the setting of “Ave Maria” by Franz Biebl and that the two could be performed back to back. This pairing informed a lot of the larger decisions I made during the writing process. The choice to voice the piece in two contrasting choirs comes directly from the language of Biebl’s setting. There are other similarites as well, including the bookends of an opening chant line and the closing stepwise harmonic and melodic motion that grows and grows. But the main character of the piece was a decided departure from the affect of “Ave Maria.” That piece has a grounded, mantra-like feeling accompanying each repeat of the text and is a strong but calming prayer. My “Salve Regina” is a more fervent and aggressive plea, owning up to our faults and exposing a more raw need for redemption.

“Salve Regina” had its premiere on February 17, 2013 at the DeBartolo Performing Arts Center with Cantus singing Choir 1 and the Notre Dame Glee Club singing Choir 2. Depnding on the size of the performing ensemble, the piece works well with either a smaller semi-chorus on Choir 1 or having more equal forces on each choir.