Libera me de sanguinibus
During Lent we are called to penance, and how better to put our minds in a penitential spirit than the penitential psalms. The penitential psalms are as follows:
Psalm 6 – Domine, ne in furore tuo arguas me…
Psalm 31 (32) – Beati quorum remissae sunt iniquitates…
Psalm 37 (38) – Domine ne in furore tuo arguas me neque in ira tua corripias me.…
Psalm 50 (51) – Miserere mei, Deus…
Psalm 101 (102) – Domine, exaudi orationem meam, et clamor meus ad te veniat…
Psalm 129 (130) – De profundis clamavi ad te, Domine…
Psalm 142 (143) – Domine, exaudi orationem meam…
These are laments, cries for deliverance. Pope Innocent III prescribed that they should be prayed during Lent, most especially on Fridays. They are intended to be prayed kneeling, as a sign of our humble and repentant spirit.
For listening, here are polyphonic settings for each of the psalms, composed by the renowned renaissance composer Orlando di Lasso. This is over two hours of beautiful polyphony. His setting of psalm 129, the De Profundis is widely regarded as one of the heights of Late Renaissance Polyphony.
However, I should like to highlight the most prominent of the penitential psalms: Psalm 50(51), David’s psalm of lament following his adultery with Bathsheba and murder of Uriah the Hittite. In the traditional Divine Office, this psalm is actually prayed on every ferial day of Lent, replacing the first psalm of Lauds. It is the premiere psalm of the Lenten season. In congruence with the post on Verdi, I should like to focus on just one verse of the psalm: Libera me de sanguinibus Deus, Deus salutis meae: et exultabit lingua mea iustitiam tuam. (Deliver me from bloods O God, the God of my salvation: and my tongue shall extol thy justice. ) [Start at 15:22]
Notice how di Lasso highlights this verse. The preceding verses are steeped in overlapping polyphony and melodies, but when he hits the Libera me, everything drops out. Everything comes to a grinding halt as the psalmist begs for deliverance. The entire verse is sung in unison for a singular cry: Libera me de sanguinibus Deus, Deus salutis meae: et exultabit lingua mea iustitiam tuam. There’s a sort of expectation, that future active exultabit; my tongue shall extol thy justice, once I have been delivered.
David was guilty of the blood of Uriah, so he begs deliverance from it. But are we not all guilty of blood? By our sins have we not crucified the Lord of Glory? Libera me! we cry, a sentiment found here and throughout the penitential psalms, though in different terms (salva me, eripe me). Throughout Lent these words are always on our lips. Deliver me, O Lord from my sinful inclinations. Deliver me, O Lord, from my earthly attachments. Deliver me, O Lord, from my disordered love. Deliver me, O Lord, that I might sing Thy praises.
Only once we have been freed from sin and blood will our tongue be loosened to truly sing his praise. Again, see how the music shifts when di Lasso finishes this verse and begins the next: Domine labia mea aperies: et os meum annunciabit laudem tuam. This is said every morning to being Matins: O Lord open my lips that my mouth may sing Thy praise! It’s as if the tongues of his singers are now loosened and their mouths can sing His praise. Sing to the Lord, for He is wondrously triumphant!
Happy listening!
Sancta Caecilia, ora pro nobis!