"Dixit Dominus" stands as Handel's masterful interpretation of Psalm 110: "The Lord Said." Composed by Handel at the young age of 22, following a two-year study tour in Italy, the piece represents a synthesis of insights gained from his exploration of Italian opera. It owes its vitality and emotional depth, characteristic of the Italian Baroque music of Handel's time, to his extensive knowledge of the works of Giacomo Carissimi and Arcangelo Corelli.
After his solo soprano and string composition "Laudate pueri" (HWV 236), "Dixit Dominus" is Handel's earliest surviving sacred work. In the same year, he composes two more psalm settings, "Laudate pueri" (HWV 237) and "Nisi Dominus" (HWV 238), as well as his first Italian opera, "Rodrigo," in October.
It is possible that Cardinal Carlo Colonna (1665-1739) commissioned Dixit Dominus. A performance on July 16-17, 1707, during the annual festival of the Carmelite Order at the Roman church of Santa Maria in Montesanto is likely. Handel may have conducted the music on one or both days of the festival.
This eight-movement composition, scored for five-part (SSATB) chorus and soloists in G minor, showcases Handel's prodigious talent. Demonstrating a remarkable command of counterpoint, harmonic and melodic invention, and powerful dramatic gestures, the work is a testament to Handel's precocious abilities at the age of 22.
Perhaps originally intended for a coronation, the text of "Dixit Dominus" found its place in the liturgy for Sunday vespers. Despite its current perception as bellicose, with lines such as "Sit at my right hand until I make your enemies your footstool," in Handel's day it would have been joyfully interpreted as a prophecy of Christ's triumph over earthly adversaries and evil. Even so, it is an unapologetic setting of some of the Bible's harshest words!
The energetic opening chorus gives way to a simple and elegant alto solo (with solo cello accompaniment), followed in turn by a beautifully lyrical movement for soprano. The "Juravit Dominus" of the fourth movement stands out for its daring chromatic harmony and bold dissonances. The sixth and longest movement combines verses 5 and 6, revealing Corelli's influence in the instrumental introduction. A particularly noteworthy passage depicts a military victory through percussive chords in the seventh movement - not so much liturgical music as a veritable war chant! The Gloria reintroduces the cantus firmus we heard at the beginning of the piece, and the work concludes with an extended and superbly executed fugue (this Gloria is the ninth movement, but as general doxology it is not part of the psalm).
Text.
After his solo soprano and string composition "Laudate pueri" (HWV 236), "Dixit Dominus" is Handel's earliest surviving sacred work. In the same year, he composes two more psalm settings, "Laudate pueri" (HWV 237) and "Nisi Dominus" (HWV 238), as well as his first Italian opera, "Rodrigo," in October.
It is possible that Cardinal Carlo Colonna (1665-1739) commissioned Dixit Dominus. A performance on July 16-17, 1707, during the annual festival of the Carmelite Order at the Roman church of Santa Maria in Montesanto is likely. Handel may have conducted the music on one or both days of the festival.
This eight-movement composition, scored for five-part (SSATB) chorus and soloists in G minor, showcases Handel's prodigious talent. Demonstrating a remarkable command of counterpoint, harmonic and melodic invention, and powerful dramatic gestures, the work is a testament to Handel's precocious abilities at the age of 22.
Perhaps originally intended for a coronation, the text of "Dixit Dominus" found its place in the liturgy for Sunday vespers. Despite its current perception as bellicose, with lines such as "Sit at my right hand until I make your enemies your footstool," in Handel's day it would have been joyfully interpreted as a prophecy of Christ's triumph over earthly adversaries and evil. Even so, it is an unapologetic setting of some of the Bible's harshest words!
The energetic opening chorus gives way to a simple and elegant alto solo (with solo cello accompaniment), followed in turn by a beautifully lyrical movement for soprano. The "Juravit Dominus" of the fourth movement stands out for its daring chromatic harmony and bold dissonances. The sixth and longest movement combines verses 5 and 6, revealing Corelli's influence in the instrumental introduction. A particularly noteworthy passage depicts a military victory through percussive chords in the seventh movement - not so much liturgical music as a veritable war chant! The Gloria reintroduces the cantus firmus we heard at the beginning of the piece, and the work concludes with an extended and superbly executed fugue (this Gloria is the ninth movement, but as general doxology it is not part of the psalm).
Text.
Listen to: hr-Sinfonieorchester – Frankfurt Radio Symphony ∙ Emőke Baráth, Soprano ∙Lea Desandre, Soprano ∙ Damien Guillon, Countertenor ∙ Patrick Grahl, Tenor ∙ Victor Sicard, Bass ∙ Chœur du Concert D’Astrée ∙ Emmanuelle Haïm, conductor.