Born in 1660, André Campra studied music with Guillaume Poitevin, maître de chapelle at the Saint-Sauveur choir school at the cathedral of Aix-en-Provence, where he trained several renowned musicians (including Jean Gilles). After leaving Aix-en-Provence, Campra, whose life seems to have been eventful, obtained several appointments in the south of France. In 1694, he moved to Paris and was appointed Master of Notre-Dame Cathedral. He resigned in 1700 to devote himself freely to an equally exceptional operatic career, which led him to become director of the Académie royale de musique in 1730. In 1723, Philippe d’Orléans entrusted him with one of the quarters of the Chapelle royale, replacing Lalande. Campra composed or reworked most of the great motets that have come down to us. He died in 1744.

In Convertendo Dominus, Psalm 125, is a grand motet whose laudatory text depicts the gratitude of God's people for their deliverance. The Versailles style, influenced by Lalande, tended to prevail, with its verse divisions contrasted by character, instrumentation, and tempi. For liturgical use, the duration is standardised at around twenty minutes.

This version was published in 1703 (Nine Motets for 1 and 2 Voices, with Basso Continuo, Paris, Ch. Ballard). This is the first version of this grand motet, which was extensively revised in 1726 by Campra for the Chapelle royale. The discourse is generally more developed, and the orchestration still bears the mark of the Lullian organisation, inherited from the 24 Violons du roi, with five string parts. The orchestra therefore includes the woodwinds (only the oboes and bassoons are indicated), dessus, hautes-contre, tailles, quintes and basses de violon and basso continuo. 5 solo singers are required (2 dessus, haute-contre, taille, basse-taille and basse) – the two female voices being used only in a 6-measure “petit chœur” with the haute-contre, and it is also possible to use only the three solo male voices – and a 5-part “French style” chorus (dessus (divided), hautes-contre, tailles, basses-tailles and basses).