George Frideric HANDEL (1685-1759)
Dixit Dominus, Zadok the Priest, Ode for Queen Anne
[Processional]
Jean-Danican PHILIDOR (1657-1708)
Batteries de timballes* [2:00]
George Frideric HANDEL
Ode for the Birthday of Queen Anne (HWV 74)** [20:46]
Zadok the Priest (Coronation Anthem No. 1) (HWV 258) [6:13]
Plainchant
Dixit Dominus Domino meo [1:01]
George Frideric HANDEL
Dixit Dominus (HWV 232)*** [32:59]
Israel in Egypt (HWV 54):
The Lord shall reign [2:54]
Kiera Duffy**/***, Sandra Simon*** (soprano), Meg Bragle (mezzo)**/***, Scott
Mello (tenor)***, José Gotera (bass)***; Matthew Bassett (timpani)*
Apollo's Singers, Apollo's Fire (The Cleveland Baroque Orchestra)/Jeannette
Sorrell
rec. live, 2-3 February 2007 (HWV 232), 18-21 October 2008 (HWV 54, 74, 258),
St Paul's Church, Cleveland Heights, OH, USA. DDD
AVIE AV2270 [64:56]
This disc includes compositions of great stylistic difference from various
periods in Handel's life.
In her liner-notes Jeannette Sorrell writes: "While he [Handel] might
not have perfectly absorbed the languages of his different homelands, his
ability to absorb their musical styles was stunning". That seems to be
the subject of this disc and explains the selection of works.
Surprisingly the earliest piece comes last. Handel composed his setting of
Psalm 110 (Vulgate: 109), Dixit Dominus, in April 1707 in Rome. It
is scored for five solo voices and five-part strings with basso continuo.
There are two verses which are set in the form of arias, for soprano and alto
respectively. The other verses are set for the whole ensemble; these also
include passages for solo voices. The whole texture suggests that the solo
parts are to be sung by the members of the choir. I am not sure whether Kiera
Duffy and Meg Bragle are regular members of Apollo's Singers. They
are listed as such in the booklet, but that could just mean that they participate
in the tutti sections. There is some difference, though, in the way they sing
their solos and the performances of the other members of the choir in their
solo episodes. This is quite prominent, especially because Duffy and Bragle
use quite a lot of vibrato, much more than the other soloists. Their incessant
vibrato is damaging, even though it isn't that wide. Dixit Dominus
is a theatrical work, and especially the opening verse and the sixth verse,
'Dominus a dextris tui', are highly dramatic. That doesn't
really come off here. Dynamically the singing and playing are too flat, the
tempi are on the slow side and too little attention is paid to the text.
Dixit Dominus was composed for the nameday of the Spanish King Felipe
V, which was celebrated on 1 May in Frascati near Rome. In that respect it
wasn't very different from the Ode for the Birthday of Queen Anne,
composed in 1713. The author of the text of the Ode was Ambrose Philips who
praises the Queen's virtues as peacemaker. This is particularly expressed
in the first chorus (with alto solo): "The day that gave great Anna birth,
who fix'd a lasting peace on earth". This is used as a refrain
and refers to the Peace of Utrecht of 1713 which marked the end of the War
of the Spanish Succession. The opening movement is one of Handel's
most beautiful creations: a duet of alto and trumpet, over chordal string
playing, on the text "Eternal source of light divine! With double warmth
thy beams display, and with distinguish'd glory shine to add a lustre
to this day." It is again Ms Bragle's vibrato which impairs the
effect, especially as she doesn't blend that well with the trumpet.
The celebratory character isn't fully conveyed and the not very brilliant
recording does not help either. The last section is set for double choir,
and here the second choir, acting like an echo of the first, is placed behind
the second.
Zadok the Priest is one of Handel's most famous compositions.
It is one of his four Coronation Anthems, which were performed on
11 October 1727 at Westminster Abbey on the occasion of the coronation of
George II. It is still often performed at celebrations connected with the
British monarchy. It is the shortest piece of the four, comprising an instrumental
sinfonia and a chorus in two sections: 'Zadok the Priest' and
'God save the King!'. One of the features of the sinfonia is
the increase in drama, reflected by a dynamic acceleration. That comes off
only partially here. That said this piece is the most convincing on the disc.
The jubilation which is reflected in the text is realised rather well.
The Ode is introduced by a solo for the timpani whose composer is referred
to as "J.D. Philidor" in the track-list. In the liner-notes Ms Sorrell
mentions "André Philidor" as the composer. That is François-André
Danican Philidor, who spent some time in England and was also famous as a
chess-player. It is much more likely that the composer was in fact Jean-Danican
(1657-1708) as he was active as a wind player in the army, but also as a drummer.
He was never in England, and the inclusion of this piece in the programme
is rather odd. It may work well in a live performance, but a disc is different.
Also I cannot see the justification for including the plainchant psalm tone
of Psalm 110; it does not help that it is performed so artificially. As a
bonus we hear the double chorus which closes Israel in Egypt, 'The
Lord shall reign forever and ever'. This is often performed as an encore
in concerts of this ensemble. It is nicely sung, but its full power doesn't
come across.
On balance this recording has left me not very impressed. The dramatic character
of Handel's music is not fully conveyed, and the interpretations fail
to satisfy in terms of style. The alternative for the Ode is Robert
King (Hyperion, 1989), for Dixit Dominus Thomas Hengelbrock (review).
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
I am not that impressed.
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