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Confitebor tibi Domine

author of text
Psalm 110 (111)

While ostensibly composed for two equal groups of four singers, Confitebor tibi is not written for two physically separated choirs. The two groups are not used consistently but voices are gathered into continuously varied combinations. Full tuttis are rare, largely confined to the end of each of the motet’s two halves. The texture is mainly chordal, broken up by scales and other figures. These techniques expand on those used in Palestrina’s six-voice Missa Papae Marcelli, which became the classic model for combining musical interest with clarity of word-setting. The end of the second part of Confitebor tibi is particularly appealing, with the word ‘Exsulta’ (‘Rejoice’) highlighted by long roulades in all parts, followed by some beautiful antiphonal dialogue on ‘Sanctus Israel’ (‘the Holy One of Israel’) before a final sonorous tutti rounds off the piece. The text, chapter 12 of the Book of Isaiah, is essentially a psalm of praise in two sections interposed into the prophetic text. It has the usual structure of a psalm: a series of short verses divided in the middle, with each half-verse complementing the meaning of the other half.

from notes by Noel O'Regan © 2018


Palestrina: Missa Confitebor tibi Domine & other works
Studio Master: CDA68210Studio Master FLAC & ALAC downloads available


Track 1 on CDA68210 [6'02]

Track-specific metadata for CDA68210 track 1

Recording date
14 November 2014
Recording venue
Christ Church, New Haven, Connecticut, USA
Recording producer
Andrew Walton
Recording engineer
Mateusz Zechowski
Hyperion usage
  1. Palestrina: Missa Confitebor tibi Domine & other works (CDA68210)
    Disc 1 Track 1
    Release date: February 2018
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