Mautaur Confitebor conditebor Domine, In toto corde meo; In consilio justorum, Conritebor congregatione. The Sacred Music, Vol. Virtutem operum suorum Annuntiabit populo suo. Bartolomeo Magni, in Selva Morale e Spirituale Genre Categories Psalms ; Religious works ; For 5 voices, continuo ; For voices with continuo ; Scores featuring the voice ; Scores featuring the soprano voice ; Scores featuring the alto voice ; Scores featuring the tenor voice ; Scores featuring the bass voice ; Scores with basso continuo ; For voice, 4 violas, continuo montevedri Scores featuring the viola ; For voices with solo instruments ; Latin language.

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Confitebor tibi Domine, quoniam iratus es mihi, conversus est furor tuus et consolatus es me. Ecce Deus salvator meus, fiducialiter agam et non timebo, quia fortitudo mea et laus mea Dominus et factus est mihi in salutem.

Haurietis aquas in gaudio de fontibus salvatoris et dicetis in illa die: Confitemini Domino et invocate nomen eius. Notas facite in populis adinventiones eius.

Mementote quoniam excelsum est nomen eius. Cantate Domino quoniam magnifice fecit, annuntiate hoc in universa terra. Exulta et lauda habitatio Sion, quia magnus in medio tui Sanctus Israel. English translation I will give thanks to thee, O Lord, for thou wast angry with me: thy wrath is turned away, and thou hast comforted me. Behold, God is my saviour, I will deal confidently, and will not fear: because the Lord is my strength, and my praise, and he is become my salvation.

Make his works known among the people: remember that his name is high. Sing ye to the Lord, for he hath done great things: shew this forth in all the earth. Rejoice, and praise, O thou habitation of Sion: for great is he that is in the midst of thee, the Holy One of Israel.


Confitebor tibi, Domine I, motet for 1 voice & 2 violins (from Missa รก 4 voci et Salmi), SV 193

In the case of one piece, the third setting of the Vesper Psalm Confitebor tibi Domine, Monteverdi even includes a rubric indicating its style: alla francese. His publication of the Scherzi musicali a tre voci suggests in its introduction that he brought a musical style alla francese to Italy from the North in It seems more likely, however, that the composer merely intended to imitate French styles of singing: two pieces in his eighth book of madrigals instruct the performers to sing "with a full voice, in the French manner. This textural contrast is set up at the outset, as the first Psalm verse appears twice -- once with solo soprano and basso continuo, a second time in full choral textures possibly further supported by four stringed instruments.


Confitebor tibi Domine [III], SV 267



Messa a quattro voci et salmi concertati (Claudio Monteverdi)


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