Handel: Dixit Dominus, HWV 232

The two great works brought together on this recording, the Dixit Dominus and the Deus Judicium tuum give us some idea of the splendid music that held such appeal for the church, courts and concert audiences in early 18th-century Europe. Written by two German composers for Rome and Paris respectively, they illustrate the blending of German, French and Italian styles, as well as the variety, yet unity, that was to be found in European music of that time.

Composed to celebrate the birthday of Queen Anne of England, this Ode was subtitled 'Ode for the Peace' in reference to the Treaty of Utrecht which the monarch was about to sign, marking the end of the War of the Spanish Succession. Six years earlier, the 22-year-old composer exploited in his sacred music what he had just learnt from Italian opera: the result was the powerful, intensely passionate Dixit Dominus. For almost fifteen years,Andreas Scholl has consistently collected the top international awards for his many solo and ensemble recordings (Diapason d'Or in 1996 and Gramophone Award for Vivaldi's Stabat Mater [see our special box sets!]; another Gramophone Award and Diapason d'Or for Caldara's Maddalena ai piedi di Cristo, under the direction of Rene Jacobs, and Singer of the Year Award at the Classical Brits in 2006. He now appears in the world's foremost concert halls and festivals. He has worked with the finest orchestras, and with such conductors as Philippe Herreweghe, René Jacobs,William Christie, Chiara Banchini, Sir John Eliot Gardiner, Christophe Rousset, and Paul McCreesh. In 1998, his operatic debut at Glyndebourne in Handel's Rodelinda (Bertarido) won unprecedented praise from the British press. He made his debut at the New York Metropolitan Opera in this role in 2006.

The Sixteen adds to its stunning Handel collection with a brand new recording of Dixit Dominus set alongside a little know treasure - Agostino Steffani’s Stabat Mater. Full of virtuosity, vibrant colour and dynamic energy, Handel’s Dixit Dominus captures absolutely the Italian style of the period. Handel’s control of forces is masterly and the range of texture and style is breathtaking. Written during the composer’s time in Italy in the early eighteenth century it is amongst his first autographed works and also one of his finest. By comparison Agostino Steffani’s little known Stabat Mater was one of his last compositions. Written for the Academy of Vocal Music in London, this work is the most powerful expression of Steffani’s religious fervour and, outside opera, his largest, most varied and most heartfelt composition.

George Frideric Handel was born in Halle, a son of a barber-surgeon of some distinction who was 63 when Handel was born. His aptitude for music presented itself early and he was soon performing to the royalty and aristocracy. At 18 he moved to Hamburg but his real chance to develop his musical talents came when he moved to Rome in 1706. His Dixit Dominus – a setting of Psalm 109 – is now thought to have been written for the festival of Our Lady of Mount Carmel the following year. It shows how well Handel, a German Protestant, had been accepted by his hosts that the Cardinal should commission him to provide music for such a Catholic occasion. Ten years later Handel was in England and the provision of the Water Music for an excursion by barge on the Thames so delighted the new King George I (previously Elector of Hannover) that he duly forgave the composer for his behaviour whilst in his service in Germany.

In 1727 Handel provided four anthems for the Coronation of King George II of which one, Zadok the Priest, has been performed at every subsequent Coronation. The final work in this set is the Music for the Royal Fireworks written to celebrate the Peace of Aix-la-Chapelle in 1749.