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Handel: Dixit Dominus; Coronation Anthem No. 1
CD DetailsComposer: George Frederick Handel Conductor: John Eliot Gardiner Performer: Charles Brett Performer: John Angelo Messana Performer: Nicholas Kraemer Orchestra: Monteverdi-Orchester München Performer: Malcolm Hicks Performer: Margaret Marshall Performer: Richard Morton Performer: Alastair Thompson Performer: Felicity Palmer Edition: Music CD CD Release Date: 1992-09-08 Music Label: Erato Soundtracks: - Dixit Dominus
- Dixit Dominus: Virgam virtutis tuae
- Dixit Dominus: Tecum principium in die virtutis
- Dixit Dominus: Juravit Dominus
- Dixit Dominus: Tu es sacerdos in aeternum
- Dixit Dominus: Dominus a dextris tuis
- Dixit Dominus: De torrente in via bibet
- Dixit Dominus: Gloria Patri e Filio
- Coronation Anthem No. 1
Music reviews of Handel: Dixit Dominus; Coronation Anthem No. 1Music Review: LORDS, KINGS ET AL Rating: 4 Stars
This performance of the Dixit Dominus seems to me quite outstanding, one that I can recommend without an instant's hesitation. The short measure offered by the disc overall would not have prevented me from awarding a fifth star: what does that is an account of my beloved Zadok the Priest that doesn't suit me at all.
I may never hear my perfect Zadok in this world (and there may not be another to hear it in) but I have several other performances and the one from Pinnock comes fairly close. The Dixit Dominus is not so easy to come by. It is distinctly difficult for amateur singers, the professionals tend to give it a wide berth, so I would have been grateful for a lesser effort than Gardiner turns in here. I give this performance full marks, or as near as makes no difference. The seven soloists are excellent, particularly the two sopranos, and the chorus are if anything even better. The demands made on the singers are of a kind I associate much more with Bach than with Handel. Bach's vocal writing is profoundly influenced by instruments, and so is Handel's at this early stage of his career - the result, presumably, of German compositional training. Bach wrote for voices like this to the end of his days, whereas Handel struck out in a very different direction after he came to England. His style at age 22 is absolutely fascinating. He never gave up coloratura writing to say the least (in `For unto us' in Messiah the word `born' is set to an unbroken trait of 57 notes) but he developed a more distinctively vocal manner for it. Some signs of the later Handel are already here - the changes of pace and the stops and starts are most un-Bachian - but some other characteristics like the trademark cadence that is ubiquitous in his later output do not occur here at all so far as I remember. Nor do I believe that the English Handel would have ended a work like this in the minor key. There are also Italian elements in his style that he brought with him to Italy from his earlier studies, and the spectacular setting of `conquassabit', influenced I dare say by Monteverdi, looks forward to the prophetic old testament graphicness with which he would astound us years later.
The performance and recording do this early masterpiece justice. I'm not sure what notes may be available in which countries, but in case it needs saying `confregit' in the chorus `Dominus a dextris' means `has shattered' not `shall wound'; and the words of the aria `tecum principium' mean `Kingship be [or `is' or `will be'] with you in the day of your supremacy amid the glory of the saints: I have begotten you from the womb before the dawn.'
Not everyone will have a choice of versions of Zadok so I feel, reluctantly, that this reading denies the disc a fifth star. This is not a matter of niceties - it is far too slow and completely lacking in the electricity that this great piece should give off. If you can overlook this you will find here a splendid account of a thrilling early masterpiece that deserves to be better known.
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