Domine Dominus Noster a 5 (Andrea Gabrieli)
- Editor: Allen Garvin (submitted 2018-11-15). Score information: Letter, 7 pages, 135 kB Copyright: CC BY NC
- Edition notes:
- Editor: Alistair Kirk (submitted 2015-07-09). Score information: A4, 7 pages, 149 kB Copyright: CPDL
- Edition notes: Down a fourth for lower voices (as suggested by Gabrieli's use of high clefs). Various voice combinations might work: STTTB, ATTTB, STTBarB, ATTBarB, STBarBarB, ATBarBarB. However, the Lilypond source code is specially designed to be easy to transpose, change clefs, change music font size, change paper size etc, so users are encouraged to experiment. Corrections and constructive criticism welcomed.
- Editor: Alistair Kirk (submitted 2015-07-09). Score information: A4, 7 pages, 151 kB Copyright: CPDL
- Edition notes: Original source is in high clefs, so performance pitch was probably lower. With this score I've chosen to go down a tone for SATTB or possibly AATTB. However, the Lilypond source code is specially designed to be easy to transpose, change clefs, change music font size, change paper size etc, so users are encouraged to experiment. Corrections and constructive criticism welcomed.
Title: Domine Dominus Noster a 5
Composer: Andrea Gabrieli
Description: Gabrieli has produced quite a modern setting for 1565, with a great deal of monophonic declamation and pictorial madrigalian touches, of this vesper psalm. The motet is substantial (it is in two parts and is 120 breves long) and is one of the few in the collection not to begin with an extended point of imitation. A sense of structure comes from the harmonically-coloured repeated refrain (spot the false relation) at the beginning and end - a device inherited from the psalm text of course. In common with other vesper psalms from this collection, Gabrieli does not provide a polyphonic Gloria Patri.
Source: Andreae Gabrielis Sacrae Cantiones […], Liber Primus, published Antonio Gardano, Venice 1565. See the main CPDL page for this publication for more commentary and links to the other motets in the volume. This is Gabrieli's first published collection of his compositions and shows his early style. 1565 is an interesting date as Gabrieli's star was just rising in Venice - he had travelled to Munich in 1562, befriending Orlandus Lassus, and then he became organist at San Marco in 1566. Quite possibly this collection, dedicated to Prince Albert, Duke of Bavaria and probably at least partially composed while in Munich, helped Gabrieli to gain the post.
As suggested on the 1565 title page, instrumental support or substitution is optional but worth considering. The source is in high clefs, so downward transposition for performance was likely.
Original text and translations
Original text and translations may be found at Psalm 8.