The Penitential Psalms or Psalms of Confession, so named in Cassiodorus's commentary of the 6th century AD, are the Psalms 6, 31, 37, 50, 101, 129, and 142 (6, 32, 38, 51, 102, 130, and 143 in the Hebrew numbering).
These psalms are expressive of sorrow for sin. Four were known as 'penitential psalms' by St. Augustine of Hippo in the early 5th century. The fiftieth Psalm (Miserere) was recited at the close of daily morning service in the early Church. Translations of the penitential psalms were undertaken by some of the greatest poets in Renaissance England, including Sir Thomas Wyatt, Henry Howard, Earl of Surrey, and Sir Philip Sidney. Before the suppression of the minor orders and tonsure in 1972 by Paul VI, the seven penitential psalms were assigned to new clerics after having been tonsured. [1]
With the bull Supremi omnipotentis Dei of 11 March 1572, Pope Saint Pius V granted an indulgence of 50 days for those who recite the penitential psalms. [2]
The 2004 Enchiridion Indulgentiarum granted a partial indulgence to those who pray the penitential psalms in preparation for the Sacrament of Penance. [3]
Perhaps the most famous musical setting of all seven is by Orlande de Lassus, with his Psalmi Davidis poenitentiales of 1584. There are also settings by Andrea Gabrieli and by Giovanni Croce. The Croce pieces are unique in being settings of Italian sonnet-form translations of the Psalms by Francesco Bembo. These were widely distributed; they were translated into English and published in London as Musica Sacra; and were even translated (back) into Latin and published in Nürnberg as Septem Psalmi poenitentiales. William Byrd set all seven Psalms in English versions for three voices in his Songs of Sundrie Natures (1589). Settings of individual penitential psalms have been written by many composers. Well-known settings of the Miserere (Psalm 50/51) include those by Gregorio Allegri and Josquin des Prez; yet another is by Bach. Settings of the De profundis (Psalm 129/130) include two in the Renaissance by Josquin.[ citation needed ]
Giovanni Gabrieli was an Italian composer and organist. He was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms.
An Act of Contrition is a Christian prayer genre that expresses sorrow for sins. It may be used in a liturgical service or be used privately, especially in connection with an examination of conscience. Special formulae for acts of contrition are in use in the Anglican, Catholic, Lutheran, Methodist and Reformed Churches.
Miserere is a setting of Psalm 51 by Italian composer Gregorio Allegri. It was composed during the reign of Pope Urban VIII, probably during the 1630s, for the exclusive use of the Sistine Chapel during the Tenebrae services of Holy Week, and its mystique was increased by unwritten performance traditions and ornamentation. It is written for two choirs, of five and four voices respectively, singing alternately and joining to sing the ending in one of the most recognised and enduring examples of polyphony, in this case in a 9-part rendition.
Psalm 51, one of the penitential psalms, is the 51st psalm of the Book of Psalms, beginning in English in the King James Version: "Have mercy upon me, O God". In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 50. In Latin, it is known as Miserere, in Ancient Greek: Ἥ Ἐλεήμων, romanized: Hḗ Eleḗmōn), especially in musical settings. The introduction in the text says that it was composed by David as a confession to God after he sinned with Bathsheba.
The Office of the Dead or Office for the Dead is a prayer cycle of the Canonical Hours in the Catholic Church, Anglican Church and Lutheran Church, said for the repose of the soul of a decedent. It is the proper reading on All Souls' Day for all departed souls (Purgatory), and can be a votive office on other days when said for a particular decedent. The work is composed of different psalms, scripture, prayers and other parts, divided into The Office of Readings, Lauds, Daytime Prayer, Vespers and Compline.
Psalm 130 is the 130th psalm of the Book of Psalms, one of the penitential psalms and one of 15 psalms that begin with the words "A song of ascents". The first verse is a call to God in deep sorrow, from "out of the depths" or "out of the deep", as it is translated in the King James Version of the Bible and the Coverdale translation, respectively. In Latin, it is known as De profundis.
Simon Bar Jona Madelka or Šimon Bariona Oppollensis was a Czech composer. In addition to being a composer, he was also a member of the butcher's guild in the Plzeň. Madelka published two music collections.
Psalm 6 is the sixth psalm of the Book of Psalms, beginning in English in the King James Version: "O LORD, rebuke me not in thine anger, neither chasten me in thy hot displeasure". In Latin, it is known as "Domine ne in furore tuo arguas me". This penitential psalm is traditionally attributed to David.
Psalm 17 is the 17th psalm of the Book of Psalms, beginning in English in the King James Version: "Hear the right, O LORD, attend unto my cry". In the Greek Septuagint and the Latin Vulgate, it is psalm 16 in a slightly different numbering system, "Exaudi Domine iustitiam meam". Its authorship is traditionally assigned to King David.
Psalm 25 is the 25th psalm of the Book of Psalms, beginning in English in the King James Version: "Unto thee, O LORD, do I lift up my soul.". The Book of Psalms is part of the third section of the Hebrew Bible, and a book of the Christian Old Testament. In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 24. In Latin, it is known as "Ad te Domine levavi animam meam". The psalm, attributed to David, has the form of an acrostic Hebrew poem.
Psalm 38 is the 38th psalm of the Book of Psalms, entitled "A psalm of David to bring to remembrance", is one of the 7 Penitential Psalms. In the slightly different numbering system used in the Greek Septuagint version of the Bible, and in the Latin Vulgate, this psalm is Psalm 37.
Psalm 143 is the 143rd psalm of the Book of Psalms, beginning in English in the King James Version: "Hear my prayer, O LORD". In the slightly different numbering system used in the Greek Septuagint version of the Bible, and the Latin Vulgate, this psalm is Psalm 142. In Latin, it is known as "Domine exaudi orationem meam". It is part of the final Davidic collection of psalms, comprising Psalms 138 to 145, which are specifically attributed to David in their opening verses. It is one of the seven Penitential Psalms. The New King James Version calls it "An Earnest Appeal for Guidance and Deliverance". The psalm has two equal sections, verses 1-6 and 7-12, separated by a Selah.
Psalm 138 is the 138th psalm of the Book of Psalms, beginning in English in the King James Version: "I will praise thee with my whole heart". In Latin, it is known as "Confitebor tibi Domine in toto corde meo". The psalm is a hymn psalm.
Psalm 86 is the 86th psalm of the Book of Psalms, beginning in English in the King James Version: "Bow down thine ear, O Lord, hear me: for I am poor and needy". In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 85. In Latin, it is known as "Inclina Domine". It is attributed to David.
Psalm 102 is the 102nd psalm of the Book of Psalms, beginning in English in the King James Version: "Hear my prayer, O LORD, and let my cry come unto thee." In Latin, it is known as "Domine exaudi orationem meam".
Psalm 115 is the 115th psalm of the Book of Psalms, beginning in English in the King James Version: "Not unto us, O LORD, not unto us, but unto thy name give glory". It is part of the Egyptian Hallel sequence in the fifth division of the Book of Psalms.
Beatus vir are the first words in the Latin Vulgate Bible of both Psalm 1 and Psalm 112. In each case, the words are used to refer to frequent and significant uses of these psalms in art, although the two psalms are prominent in different fields, art in the case of Psalm 1 and music in the case of Psalm 112. In psalter manuscripts, the initial letter B of Beatus is often rendered prominently as a Beatus initial.
Cantiones sacrae, Op. 4, is a collection of forty pieces of vocal sacred music on Latin texts, composed by Heinrich Schütz and first published in 1625. The pieces have individual numbers 53 to 93 in the Schütz-Werke-Verzeichnis (SWV), the catalogue of his works. The general title Cantiones sacrae was common at the time and was used by many composers, including Palestrina, Byrd and Tallis and Hans Leo Hassler (1591).