Giovanni Paolo Cima (1570- 1630): Confitemini Domino

Back in May of last year when I was writing about Cima’s musical style I wrote this:

Stylis­tical­ly I’d de­scribe his vocal sac­red music as a mix of moderate re­form­ism and con­ser­vat­ism in which polyp­hony gradual­ly gave way to some solo motets in a style, similar to Viadana’s. Similar, but not ident­ical, be­cause Cima’s music was far more in­fluen­ced by con­tem­pora­ry secular vocal mono­dy than that of Viadana. If you ex­plore Cima’s music you’ll notice that he’s very happy to ex­peri­ment with de­clama­tion and to embellish his sub­jects with or­namen­ta­tion. It’s this mix­ture of Re­nais­sance co­un­terpoint and 17th-century Avant-garde mus­ical trends that makes his music so in­terest­ing he may not have left us much but that which he did leave dis­tils one of the most musically com­plex and rich per­iods of European mus­ical his­to­ry down to its ess­ence.

You can hear what I meant by that very clearly in Cima’s setting of the first verse of Psalm 117 in the Vulgate it does sound at first hearing quite like  something Viadana might have written but Cima takes it far further and with greater vitality that Viadana would ever have done. Enjoy :-).


Giovanni Paolo Cima (1570- 1630): Confitemini Domino

Confitemini Domino, quoniam bonus, quoniam in sæculum misericordia ejus.Give praise to the Lord, for he is good: for his mercy endureth for ever.

Performers: Musica Figurata, Marcello Vargetto – bass.

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