musica Dei donum
CD reviews
George Frideric HANDEL (1685 - 1759): "Dixit Dominus - Laudate pueri - Nisi Dominus"
Caroyn Sampsona, Johanna Winkelb, Viktoria Wilsonc, soprano;
Alex Potter, altod;
Hugo Hymas, tenore;
Andreas Wolf, bassf
RIAS Kammerchor Berlin;
Akademie für Alte Musik Berlin
Dir: Justin Doyle
rec: August 2022, Sept 2023, Berlin, Haus des Rundfunks (Großer Sendesaal)
Harmonia mundi - HMM 902723 (© 2024) (60'56")
Liner-notes: E/D?; lyrics - translations: E/D/F
Cover, track-list & booklet
Scores
Spotify
Dixit Dominus (HWV 232)bcdef;
Laudate pueri (HWV 237)a;
Nisi Dominus (HWV 238)bcdef
There we go again: another recording of Handel's Dixit Dominus. It has gained almost cult status, comparable with Bach's Mass in b minor, with which it shares its catalogue number (232). The three works brought together on this disc were written in 1707 and 1708, when Handel lived and worked in Rome. I really would like performers to investigate other music from this period, by Italian composers who don't receive that much attention. There is much that is hardly known, and deserves to be performed.
It is not known for which occasion Handel composed his Dixit Dominus. It has been suggested it was written for a performance of the Vespers as part of the celebrations of the feast of Our Lady of Mount Carmel by the Carmelite order in Rome, but there seems to be no firm evidence of that. Even so, Stephen Pettit in his liner-notes repeats it as if it is an established fact. It has also been suggested that Handel started the composition when he was still in Germany. If that is correct he can't have written it for the Carmelite Vespers. In this work Handel connects the past with the present: it is scored for five voices - two sopranos, alto, tenor, bass - and five-part strings, with split violas - a practice common in the 17th century. Most of the verses are for the tutti but include solo episodes which in most performances are sung by members of the choir, but here by additional soloists. On the other hand, the dramatic setting of some of the verses - especially those about the Lord's wrath - and the operatic traces in the solo sections point in the direction of the increasingly theatrical treatment of sacred texts in the course of the 18th century. There are only three solo sections: 'Virgam virtutis tuae' is for alto, 'Tecum principium' for soprano and the lyrical 'De torrente' is a duet for two sopranos.
The performance of choir and orchestra leave little to be desired. The dramatic features come off very well, and both tempi and dynamic shading are convincing. As is so often the case, the solo contributions are the problem. Johanna Winkel and Viktoria Wilson use quite a lot of vibrato, which is out of place here, and results in an opening chorus, which lacks coherence, especially as Alex Potter uses very little vibrato. In 'Virgam virtutis tuae' he is his brilliant self; one would wish the other solo parts to be sung this way. As I wrote, there are quite a number of recordings of this work on the market, and I don't think we need another one, especially as this recording does not add anything substantial.
As the tenor and bass have little to do in the Dixit Dominus, it is nice that they have the opportunity to sing solo in Nisi Dominus. Pettitt again states that this was written for the Carmelite Order, but in the work-list on gfhandel.org it is merely stated that it was probably written for the feast day of Our Lady of Mount Carmel. One would wish authors of liner-notes being more cautious, not confusing facts and possibilities. Nisi Dominus is one of the Vesper Psalms, which explains why it has been set so often in the course of history. Handel's setting is for five-part choir - extended to eight-part double choir in the doxology - and an orchestra of four violins and two violas - again a reminiscence of the past. The opening verse and the doxology are for the tutti, the verses in between are solos for alto, tenor and bass respectively. 'Cum dederit dilectis suis' (When he shall give sleep to his beloved) is sung with wonderful subtlety by Potter. Hugo Hymas has a strong and firm voice, which he uses well in his two solos. Andreas Wolf takes the most dramatic verse, 'Sicut sagittae in manu potentis' (As arrows in the hand of the mighty)', with flair, and the orchestra makes the arrows fly. Nisi Dominus is the best part of this disc.
The third work is again a setting of a Vesper Psalm, Laudate pueri. It is scored for soprano, choir and an orchestra of two oboes, strings and basso continuo. The work includes some marked text illustration, for instance in the verse 'A solus ortu': "From the rising of the sun unto the going down of the same (...)". Handel uses several composition techniques common at the time, such as counterpoint vs homophony, imitation, concertino vs tutti, the ritornello form and a trio texture. The soloist is Carolyn Sampson; this work was recorded on a different date. Does this mean that Johanna Winkel, the first soprano in Dixit Dominus, was not available? With Carolyn Sampson I have often problems: she can sing really well, but more often than not her incessant and sometimes pretty wide vibrato puts me off. That is the case here as well. It damages the opening verse, and manifests itself again in 'Excelsus super omnes gentes Dominus'. On the other hand, the second section, 'Sit nomen Domini benedictum', is sung very nicely, and she uses hardly any vibrato. It seems that especially at a fast tempo her voice starts to flutter. It is this inconsistency which makes it hard to really appreciate this performance, despite the excellent contributions of the choir and the orchestra.
To sum up: there are more consistent performances of Dixit Dominus. In the case of Laudate pueri I have not encountered a satisfying performance. There seem not to be that many recordings of this work available, which is rather odd. As I mentioned, the Nisi Dominus is the most satisfying part of this disc.
Johan van Veen (© 2024)
Relevant links:
Hugo Hymas
Alex Potter
Carolyn Sampson
Andreas Wolf
RIAS Kammerchor Berlin
Akademie für Alte Musik Berlin