Beatus vir qui timet Dominum (Anonymous)

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Editor: Daniel Clark (submitted 2011-02-05).   Score information: Letter, 13 pages, 230 kB   Copyright: CPDL
Edition notes: Includes a keyboard reduction of the a cappella choral score.
Editorial Method: The incipit, which comes before the first measure, indicates original clefs, mensural signature, note values, the first pitch (preceded by any rests) and the original mode for the Psalm. Musica ficta is placed above the notes and courtesy accidentals are in parentheses within the music. A solid line bracket indicates ligatures and a dotted line bracket shows coloration. Any text underlay by the editor is in parentheses and stressed syllables are in bold text. The tenor and bass parts have been exchanged in measures nineteen through twenty-five because of extreme ranges.

General Information

Title: Beatus vir
Composer: Anonymous
Source of text: Psalm 112

Number of voices: 4vv   Voicing: SATB
Genre: SacredMotet

Language: Latin
Instruments: A cappella

First published: Circa 1650

Source: The source for this psalm is found in manuscript and microfilm. The manuscript was prepared in the middle of the seventeenth century and is located in the archives in the Cathedral of Puebla de los Angeles, Mexico. Copies of the original manuscript can be found in the University of South Carolina Music Library and the Library of Congress in the form of microfilm.

Performance Suggestions: A keyboard reduction is provided for rehearsal purposes; however, if support is needed in performance a light organ sound, preferable a portative, would be appropriate. Occasionally, the range of the alto line is low and may need the support of one or two tenor voices. The fermatas within the score represent a rest in the polyphony as in chant. They should not be metered and their length is at the discretion of the conductor. All solo lines would be chanted giving close attention to the stress of the text. Even though a tenor is suggested, because of historical accuracy, a group of men or a lower male voice may also be used; it was typical for women to chant only when men were not available. The meter change at the end of the piece is a triple alla breve relationship, meaning that the beat changes from the quarter note to the measure, hence the quarter note to dotted-half relationship.

External websites:

Original text and translations

Original text and translations may be found at Psalm 112.