Vaet composed no fewer than eight settings of
Salve regina, the most popular of all motet texts in the fifteenth and sixteenth centuries. The present version is in six parts and, unlike the majority of Vaet’s settings, is polyphonic throughout: more often he alternates polyphonic verses with plainchant, following a long tradition of setting the 'Salve' in this way. Although the chant is not incorporated directly, the melodic material of the motet is closely based on it, and even at times quotes it directly. A contrasting central section is scored for three upper voices only, before the full choir returns, completing the prayer with a final section in triple time.
from notes by Stephen Rice © 2009
