Psalmvertonungen als dramatische Konzeption. Händels
Dixit Dominus im venezianischen Umfeld
Handel’s setting of the psalm Dixit Dominus stands out by virtue of two characteristics:
its impressive length (30-40 minutes) and its varied dramatic content.
These features give the piece a unique compositional structure. Nothing is known
regarding the occasion for which this work was composed, its performance or
its patron. It is certain only that it was finished in Rome during April 1707. The
Venetian influences in the music – for example, the solo concertare of the violins
– cannot be denied. This essay sets out to define Handel’s conception on the basis
of a detailed analysis and comparison with two other settings of the Dixit Dominus
by two of the principal figures in Venice: Johann Rosenmuller and Antonio
Vivaldi. The analysis focuses on four topics: 1. the formal arrangement of the
psalm-verses; 2. the various compositional techniques used to create the dramatic
scenario, above all in vv. 4, 5 and 6; 3. the use of what, for the Dixit Dominus,
was the very uncommon key of G Minor; 4. the use of double choir. Not only did
Handel bear in mind the Venetian tradition of psalm-settings, but he also regarded
the Old Testament text as a dramatic libretto offering astonishingly elaborate richness
for formal and stylistic devices. The composition points directly to his later
oratorios.