Cantate Domino is a setting of Psalm 96(95):1-2, for a cappella SATB choir, marked Con moto, alla danza — with motion, dance-like. It takes the form of a prelude and fugue, an apt shape for a psalm that calls for a new song. The music is itself about the act of singing praise, written for a competition on the theme of “music about music.” It did not place, but I reworked it afterward into the better piece it is now.

The prelude opens fortissimo in C minor, the voices proclaiming Cantate! (“sing!”). A canonic texture follows, with individual voices entering in imitation, each new passage answered at a different interval. The counterpoint builds through omnis terra (“all the earth”) to a broad E-flat chord, before changing the mood at benedicite (“bless”). The music modulates to A-flat and now incorporates a dotted, decorated rhythm to carry an extended treatment of the text. The prelude culminates in a brilliant A-flat major cadence at nomini eius (“his name”).

Maestoso block chords on Annuntiate announce the fugue subject in E-flat major, marked lo stesso tempo, the same tempo as the prelude. Its subject, built on a striding leap of a fifth, is stated by the basses and answered in turn by tenors, altos, and sopranos. As the fugue develops, the free counterpoint becomes thick with stretti. A great crescendo arrives at salutare (“salvation”) on the final page, where the divided basses provide pedal points, and the first sopranos soar above the staff. The fugue presses on, marked poco meno mosso ma superbo, a little less motion but proud. At the last repetition of salutare eius (“his salvation”) the music calms, coming to rest on a quiet, tightly voiced E-flat chord.

The first audio sample is from the opening; the second begins at the fugue, measure 74. Here are the Latin and English texts: