Rovetta was overshadowed by Monteverdi, whose pupil he probably was, and whose influence shows in his music but sometimes you can hear a more distinctive voice as in both of his settings of the Salve regina. He wrote two of these the first of which the Salve regina of op.1 is a fine tenor duet written in the mid-1620s, it's an interesting piece characterised by by declamatory dialogue, brilliant counterpoint and striking changes of mood. Rovetta's second setting of the Salve regina which is the subject of this posting was published in Venice in 1647 in Motetti concertati, Op 10. Rovetta set it for countertenor, with two violins, two violas, bass violin, theorbo, and organ providing the very rich accompaniment. Apart from the fact that it's a nice setting it's of historical interest because Rovetta took the daring step of having the instruments accompany the voice as well as alternating with it. This may seem obvious to us now but in Venice in 1647 it was a very radical step to take. The result is very pleasing with rich musical textures thst complement and highlight the text being sung. It was a hit with his contemporaries – so much so that a version of it safely scrubbed of Marian sentiment for sensitive Lutheran ears appears in the musical records of the Royal Swedish Court and attributed (God knows why) to Franz Tunder. It's sung below by Robin Blaze accompanied by The Parley Of Instruments. Enjoy :-).