Jubilate Deo

Jubilate Deo omnis terra,
quia sic benedicitur homo quitimet Dominum.

Jubilate Deo omnis terra.
Deus Israel conjugat vos, et ipse sit vobiscum.

Mittat vobis auxilium de sancto:
et de Sion tueatur vos.

Jubilate Deo omnis terra.
Benedicat vobis Dominus ex Sion,
qui fecit caelum et terram.

Jubilate Deo omnis terra.
Servite Domino in laetitia.

Terjemahan bebas:
Bersorak-soraklah bagi Tuhan, hai seluruh bumi!
Karena diberkatilah setiap orang yang takut akan Tuhan. (Mzm 128,1)
Bersorak-soraklah bagi Tuhan, hai seluruh bumi!
Kiranya Allah Israel mempersatukan engkau satu sama lain
dan mempersatukan diri-Nya dengan engkau
Kiranya dikirimkan-Nya bantuan kepadamu dari tempat kudus
dan disokong-Nya engkau dari Sion. (Mzm 20,3)

Bersorak-soraklah bagi Tuhan, hai seluruh bumi!
Kiranya Tuhan yang menjadikan langit dan bumi,
memberkati engkau dari Sion. (Mzm 134,3)

Bersorak-soraklah bagi Tuhan, hai seluruh bumi!
Beribadahlah kepada Tuhan dengan sukacita. (Mzm 100,1-2)

(Sumber: http://facstaff.uww.edu/allsenj/MSO/NOTES/0304/4Dec03.htm)



Tentang Giovanni Gabrieli:

The "most serene republic" of Venice was among the political and economic superpowers of the Renaissance. Music and ceremony were very much a part of Venice's civic pride, particularly the stellar musical establishment at the city's principal church, the basilica of San Marco. After witnessing a festival at the basilica in 1611, the English tourist Thomas Coryat wrote that the music at San Marco was "...so good, so delectable, so rare, so admirable, so superexcellent, that it did ravish and stupefy all those strangers who had never heard the like. But how the others were affected by it I know not; for mine own part I can say this, that I was for the time even rapt up with Saint Paul into the third heaven." Among the music that ravished Coryat was the work of Giovanni Gabrieli (1553-1612), perhaps the finest of the many composers who occupied the organ bench at San Marco in this period. Gabrieli wrote masses and motets for use in the lavish liturgy at San Marco, organ works and fine instrumental ensemble music, and madrigals. Though the precise occasion for his motet Jubilate Deo is unknown, it appears to be among his later works. (Gabrieli set this exultant Psalm-like text no less than four times.) [see text & translation] In this case, he does not follow the more usual Venetian practice of dividing his forces into two or more choirs, but instead sets the text in dense eight-part counterpoint. As in contemporary madrigals, he includes some subtle "word-painting. For example, at the word conjugat ("binds together") the texture suddenly changes to close, intense imitation. Similarly, he highlights the words in laetitia ("with gladness") by shifting to dancelike triple meter. The choir at San Marco was often supplemented by the many instrumentalists employed by the basilica. At this program, the vocal lines are doubled by brass players from the orchestra.

(Sumber: http://facstaff.uww.edu/allsenj/MSO/NOTES/0304/4Dec03.htm)