This edition was prepared by Christopher Boveroux — free to download, print, rehearse and perform.
Dixit Dominus a 4
Staff Notation • Sacred, Motets
Preview
0
0
22 editions of this piece
Different typesettings and voicings of the same work. This page shows the main edition; the others are below.
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
SSAA · Christopher Boveroux
Preview
Subscribed as
Want Sunday picks sent to another address too?
Free weekly email
Your choir should not be left out in what's trending
Sunday mass selections, psalms, and trending songs in your area — straight to your inbox.
Dixit Dominus a 4 by Nicola Porpora — Lyrics
Psalmus David. Dixit Dominus Domino meo: sede a dextris meis, donec ponam inimicos tuos
scabellum pedum tuorum.
Virgam virtutis tuae emittet Dominus ex Sion: dominare in medio
inimicorum tuorum.
Tecum principium in die virtutis tuae in splendoribus sanctorum:
ex utero, ante luciferum, genui te.
Read full lyrics
About Dixit Dominus a 4
Nicola Porpora, a leading composer of the Neapolitan school, wrote this vibrant setting of Psalm 109 (Dixit Dominus) for SSAA voices in Latin. The text, a messianic psalm, proclaims God's promise to his anointed son, foretelling his dominion over his enemies and his eternal priesthood. Porpora’s music reflects the text’s majestic and powerful pronouncements with rich, complex vocal writing. The antiphonal possibilities inherent in the four-part SSAA texture are exploited, creating a grand and dramatic musical statement suitable for liturgical use or concert performance.
