Confitebor tibi, Domine
Urtext
[S,mix ch,bc] solo: S – choir: SATTB – bc
vocal text: ItalianDescription
Psalm 110, “Conjitebor tibi, Domine,” was part of the Vespers service on Sundays and on numerous saints’ days throughout the liturgical year during Monteverdi’s tenure at San Marco in Venice. As the second psalm in the customary series of five, it followed the introductory “Dixit Dominus”; according to the cathedral’s rubrics, it was to be performed in a concertato setting. The fact that Monteverdi set this psalm text to music on multiple occasions may be due to the numerous occasions on which the text was fixed in the liturgy of San Marco. The fact that the composer was able to develop ever-new formal models—beyond the varying instrumentation—in his numerous settings of the same text speaks to a rich imagination full of forward-looking ideas.
The composition edited here stands out for two key characteristics: its idiosyncratic style deviates from the usual framework, as does the dual mode of performance permitted by the composer. The style designated as “alla francese,” unique in Monteverdi’s church music, is shared by our composition with two madrigals from the eighth book of madrigals printed in 1638, “Dolcissimo uscignolo” and “Chi vuol haver felice e lieto il core.”
PB 5323
score
EAN: 9790004210468
40 pages / 23 x 30.5 cm / 162 g / softcover
Description
Description
Psalm 110, “Conjitebor tibi, Domine,” was part of the Vespers service on Sundays and on numerous saints’ days throughout the liturgical year during Monteverdi’s tenure at San Marco in Venice. As the second psalm in the customary series of five, it followed the introductory “Dixit Dominus”; according to the cathedral’s rubrics, it was to be performed in a concertato setting. The fact that Monteverdi set this psalm text to music on multiple occasions may be due to the numerous occasions on which the text was fixed in the liturgy of San Marco. The fact that the composer was able to develop ever-new formal models—beyond the varying instrumentation—in his numerous settings of the same text speaks to a rich imagination full of forward-looking ideas.
The composition edited here stands out for two key characteristics: its idiosyncratic style deviates from the usual framework, as does the dual mode of performance permitted by the composer. The style designated as “alla francese,” unique in Monteverdi’s church music, is shared by our composition with two madrigals from the eighth book of madrigals printed in 1638, “Dolcissimo uscignolo” and “Chi vuol haver felice e lieto il core.”
