
ThePenitential Psalms orPsalms of Confession, so named inCassiodorus's commentary of the 6th century AD, are thePsalms6,31,37,50,101,129, and142 (6, 32, 38, 51, 102, 130, and 143 in theHebrew numbering).
These psalms are expressive of sorrow for sin. Four were known as 'penitential psalms' bySt. Augustine of Hippo in the early 5th century. The fiftieth Psalm (Miserere) was recited at the close of daily morning service in theearly Church. Translations of the penitential psalms were undertaken by some of the greatest poets in Renaissance England, includingSir Thomas Wyatt,Henry Howard, Earl of Surrey, and SirPhilip Sidney. Before the suppression of theminor orders andtonsure in 1972 byPaul VI, the seven penitential psalms were assigned to new clerics after having been tonsured.[1]
With thebullSupremi omnipotentis Dei of 11 March 1572,Pope Saint Pius V granted anindulgence of 50 days for those who recite the penitential psalms.[2]
The 2004Enchiridion Indulgentiarum granted a partial indulgence to those who pray the penitential psalms in preparation for theSacrament of Penance.[3]
Perhaps the most famous musical setting of all seven is byOrlande de Lassus, with hisPsalmi Davidis poenitentiales of 1584. There are also settings byAndrea Gabrieli and byGiovanni Croce. The Croce pieces are unique in being settings of Italian sonnet-form translations of the Psalms byFrancesco Bembo. These were widely distributed; they were translated into English and published in London as Musica Sacra; and were even translated (back) into Latin and published in Nürnberg as Septem Psalmi poenitentiales.William Byrd set all seven Psalms in English versions for three voices in hisSongs of Sundrie Natures (1589). Settings of individual penitential psalms have been written by many composers. Well-known settings of theMiserere (Psalm 50/51) include those byGregorio Allegri andJosquin des Prez; yet another is byBach. Settings of theDe profundis (Psalm 129/130) include two in theRenaissance byJosquin.[citation needed]