About the Song:

Giovanni Croce's "Cantate Domino" represents Venetian polychoral style at its most accessible. Written for two four-part choirs (SATB/SATB), the work demonstrates the spatial music practices of St. Mark's Basilica, where Croce served as vice-maestro under Zarlino and later as maestro di cappella. The piece sets Psalm 96:1-3, calling all nations to "sing unto the Lord a new song" and declare his glory.

Croce employs the cori spezzati (separated choirs) technique characteristic of the Venetian school, alternating between antiphonal exchanges and combined eight-voice textures. Unlike the more complex works of his contemporaries like the Gabrielis, Croce's writing remains largely homophonic, prioritizing textual clarity and harmonic richness over intricate counterpoint. This accessibility made his works popular throughout Europe and particularly useful for church choirs beyond Venice's exceptional musical resources.

The harmonic language stays within Renaissance modal conventions while incorporating the occasional chromatic inflection that hints at the emerging Baroque. Croce structures the piece in clear phrases that breathe naturally, with each choir's entrance carefully dovetailed to maintain momentum. The final "alleluia" section typically features all eight voices in celebration, though Croce keeps the voice leading simple enough that amateur choirs can manage the density without becoming muddy.

About the composer:

https://en.wikipedia.org/wiki/Giovanni_Croce

• Please translate the lyrics directly and poetically before the first rehearsal of this song. Know the meaning of what you are singing.

• Tempi will be slightly different than the recordings

• Use open vowels vs. closed

• This will be sung a cappella

• ms. 18-19, half note = dotted half note

• ms. 25-26, dotted half note = whole note

• ms. 54, cut off after beat two for a quick breath then look up for entrance on beat three. Beat three of ms 54 to end, whole note = half note

• ms. 57, Alto, ritardano on the moving notes

• ms. 57-58, all, watch for ritardano and final cutoff

• Breath marks:

  • Soprano

    • ms. 1-4, no breath

    • ms. 8, breath at comma

    • ms. 8-13, no breath

    • ms. 13, breath at comma

    • ms. 15-19, no breath

    • ms. 23-26, no breath

    • ms. 35, breathe after beat 2

    • ms. 35-40, no breath

    • ms. 49, breathe after beat 2

    • ms. 50-54, no breath

    • ms. 54, breathe after beat 2

  • Alto

    • ms. 4, observe the comma, no breath

    • ms. 5, breathe at comma

    • ms. 8, breathe at comma

    • ms. 8-13, no breath

    • ms. 11, observe the comma, no breath

    • ms. 13, breath at comma

    • ms. 15-19, no breath

    • ms. ms. 23-26, no breath

    • ms. 35, breathe after beat 2

    • ms. 35-40, no breath

    • ms. 49, breathe after beat 2

    • ms. 50-54, no breath

    • ms. 54, breathe after beat 2

  • Tenor

    • ms. 8, breathe at comma

    • ms. 8-13, no breath

    • ms. 16, lower the G to the B-flat on the middle line of the staff

    • ms. 14-19, no breath

    • ms. 23-26, no breath

    • ms. 35, breathe after beat 2

    • ms. 49, breathe after beat 2

    • ms. 50-54, no breath

    • ms. 54, breathe after beat 2

  • Bass

    • ms. 7-13, no breath (stagger breathe)

    • ms. 14-19, no breath

    • ms. 23-26, no breath

    • ms. 30, breath at the comma

    • ms. 30-35, no breath

    • ms. 35, breathe after beat 2

    • ms. 44, breathe after beat 2

    • ms. 49, breathe after beat 2

    • ms. 50-54, no breath

    • ms. 54, breathe after beat 2