Andrea Gabrieli: Psalmi Davidici qui penitentiales nuncupantur

Andrea Gabrieli: Penitential Psalms
Netherlands Chamber Choir
Instrumentalists from the Huelgas Ensemble - Paul van Nevel
Globe 5210


  1. Domine, ne in furore tuo arguas me (Ps 6)(7:05);
  2. Beati quorum remissae sunt iniquitates (Ps 32)(8:57);
  3. Domine ne in furore tuo arguas me (Ps 38)(11:51);
  4. Misere mei Deus (Ps 51)(10:21);
  5. Domine exaudi orationem meam (Ps 102)(12:27);
  6. De profundis clmavi ad te Domine (Ps 130)(5:20);
  7. Domine exaudi orationem meam (Ps 143)(8:37);

Playing time: 64:41

Recording date and location: May 2000, the Hague, the Netherlands

Netherlands Chamber Choir: Soprano Barbara Borden, Helena Wilklund, Tannie Willemstijn; Contralto Ananda Goud, Myra Kroese, Heleen resoort, Sytse Buwalda, countertenor; Tenor Marcel Beekman, Robert Coupe, Robert Getchell, Michiel ten Houte de lange, Christopher kale, Bruce Sellers; Bass David Barick, Jelle Draijer, Peter Dijkstra, Lodewijk Meeuwsen, Hans Pootjes.

Instrumentalists: Cornetto Bork-Frithjof Smith; Renaissance Recorder Bart Coen; Alto & Tenor Trombone Dominique Lortie, Simen van Mechelen; Tenor Trombone Cas Gevers; Bass & Tenor Trombone Wim Bécu; Renaissance Violin An van Laethem; Renaissance Alto & Tenor Gamba Christine Kyprianides; Renaissance Treble & Alto Gamba Sophie Watilon; Sotto Basso de viole Matthieu Lusson; Renaissance Tenor Gamba & Lyrone Paulina van Laarhoven; Renaissance Bass Gamba Piet Strijckers; Italian Renaissance Harpsichord Frank Agsteribbe.

Andrea Gabrieli's penitential psalms à 6, published three years before his death in 1583, form a sort of musical testament. Dedicated to pope Gregory XIII (1502 - 1585) and making explicit use of instruments, they set out to portray the emotions inherent in the psalms set, which according to the composer had not been achieved up to that time. Counterpoint only occurs in brief snatches; instead frequent changes of scoring are employed as an expressive device and effects are generally subtle; few obvious madrigalisms are present. Some options for performance are present by the express wish of the composer, who stated voices and instruments could be used together or in isolation.

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