Antonio Vivaldi and George Frideric Handel were two of the most prominent Baroque composers, each leaving an indelible mark on sacred music. Their choral masterpieces, Gloria and Magnificat (Vivaldi) and Dixit Dominus (Handel), exemplify the grandeur, complexity, and spiritual depth of Baroque liturgical compositions. These works, rooted in biblical texts and composed for religious services, remain celebrated for their intricate choral writing, dynamic contrasts, and expressive melodic lines. This analysis explores the historical context, musical structure, and stylistic elements of these compositions, highlighting their significance in the Baroque era.

Vivaldi’s Gloria (RV 589)

Vivaldi’s Gloria is one of the most well-known and frequently performed sacred works of the Baroque period. Composed around 1715 for the Ospedale della Pietà in Venice, a charitable institution for orphaned and illegitimate girls, the work reflects Vivaldi’s expertise in choral and orchestral writing. The Gloria (Latin for “Glory”) is a setting of the Gloria in excelsis Deo, a traditional hymn of praise used in the Catholic Mass.

Structure and Musical Elements

The Gloria is divided into twelve movements, each highlighting different textual and musical aspects:

1. Gloria in excelsis Deo – A bright and jubilant opening featuring a full choral and orchestral texture.
2. Et in terra pax – A more subdued movement emphasizing peace through expressive harmonic shifts.
3. Laudamus te – A lively soprano duet showcasing intricate vocal interplay.
4. Gratias agimus tibi – A homophonic choral passage with a solemn tone.
5. Propter magnam gloriam – A continuation of the grandeur, featuring rhythmic vitality.
6. Domine Deus – A lyrical and expressive soprano aria with delicate instrumental accompaniment.
7. Domine Fili unigenite – A dynamic choral movement emphasizing Christ’s divine nature.
8. Domine Deus, Agnus Dei – A poignant alto aria, later taken up by the chorus.
9. Qui tollis peccata mundi – A deeply expressive section with dramatic harmonic shifts.
10. Qui sedes ad dexteram Patris – A lively alto aria with dance-like rhythms.
11. Quoniam tu solus sanctus – An energetic chorus building toward the final movement.
12. Cum Sancto Spiritu – A magnificent fugue concluding the work with exuberance.

The Gloria exhibits Vivaldi’s signature style, characterized by rhythmic drive, harmonic clarity, and a balance between homophony and counterpoint. The alternation of solo arias, duets, and full choral sections provides contrast and dramatic effect, ensuring the work’s enduring popularity.

Vivaldi’s Magnificat (RV 610)

The Magnificat (Latin for “My soul magnifies the Lord”) is a canticle from the Gospel of Luke, traditionally sung at Vespers. Vivaldi composed his setting for the Ospedale della Pietà, likely intended for performance by the institution’s talented female musicians.

Structure and Musical Highlights

Vivaldi’s Magnificat is divided into several movements, each corresponding to different verses of the biblical text:

1. Magnificat anima mea – A dramatic opening with bold orchestral chords and choral statements.
2. Et exsultavit spiritus meus – A lively and joyful movement expressing personal exaltation.
3. Quia respexit humilitatem – A more contemplative section highlighting humility.
4. Quia fecit mihi magna – A triumphant passage celebrating God’s greatness.
5. Et misericordia eius – A moving duet with expressive chromaticism.
6. Fecit potentiam – A forceful and rhythmically driven choral movement.
7. Deposuit potentes – A dramatic contrast depicting the reversal of fortunes.
8. Esurientes implevit bonis – A lyrical section featuring delicate vocal lines.
9. Suscepit Israel – A warm and expressive choral movement.
10. Sicut locutus est – A final grand fugue, reminiscent of the Gloria’s conclusion.

The Magnificat showcases Vivaldi’s ability to blend theatrical drama with sacred text setting, utilizing varied textures and dynamic contrasts to bring the text to life.

Handel’s Dixit Dominus (HWV 232)

Handel composed Dixit Dominus in 1707 while in Italy, specifically for the Carmelite Vespers in Rome. Based on Psalm 110 (Psalm 109 in the Latin Vulgate), the work is a strikingly ambitious setting for five-part chorus, soloists, and orchestra. Dixit Dominus is widely regarded as one of Handel’s most virtuosic and dramatic choral works.

Structure and Musical Characteristics

The work is divided into several distinct movements, each emphasizing different aspects of the psalm’s text:

1. Dixit Dominus Domino meo – A bold and aggressive opening featuring rapid melismatic passages and intense harmonies.
2. Virgam virtutis tuae – A lyrical yet rhythmically precise choral passage.
3. Tecum principium – A serene and elegant soprano solo.
4. Juravit Dominus – A dramatic movement underscored by shifting harmonies.
5. Tu es sacerdos – A stately declaration with rich counterpoint.
6. Dominus a dextris tuis – A fiery and rhythmically complex section.
7. Judicabit in nationibus – A vigorous choral movement with rapid fugato passages.
8. De torrente in via bibet – A quiet and mysterious setting.
9. Gloria Patri – A grand double fugue serving as a triumphant conclusion.

Stylistic Analysis

Handel’s Dixit Dominus is marked by its relentless energy, elaborate counterpoint, and dramatic text painting. The choral writing is exceptionally demanding, requiring agility, precision, and dynamic control. Unlike Vivaldi’s more straightforward approach, Handel’s use of chromaticism, dissonance, and extended melismas reflects the influence of Italian polyphony and opera.

Comparative Analysis

While Vivaldi’s Gloria and Magnificat and Handel’s Dixit Dominus share common Baroque stylistic traits, they also exhibit distinct national characteristics:

• Vivaldi’s music is inherently Venetian, emphasizing clarity, rhythmic drive, and lyrical beauty. His choral works balance homophonic grandeur with moments of intricate counterpoint.
• Handel’s composition reflects the grandeur of Roman sacred music, incorporating more complex fugues and virtuosic vocal writing.
• Text setting varies, with Vivaldi often focusing on contrast between light and shade, while Handel employs more continuous dramatic tension.
• Instrumental writing in Vivaldi’s works is idiomatic and supportive, whereas Handel integrates instrumental lines more deeply into the choral texture.

Conclusion

Vivaldi’s Gloria and Magnificat and Handel’s Dixit Dominus remain masterworks of the Baroque sacred repertoire. Each showcases the composers’ ingenuity in text setting, harmonic richness, and expressive depth. While Vivaldi’s works exemplify the warmth and clarity of Venetian sacred music, Handel’s Dixit Dominus represents a more dramatic, contrapuntal approach influenced by Italian polyphony. Together, these compositions offer a profound insight into the spiritual and artistic sensibilities of the Baroque era, continuing to captivate audiences and performers alike.

Organiser

Enquiries: theatre.manager@durham.ac.uk

Phone Number: 0191 334 1419

We are thrilled to welcome Durham University Choral Society, praised by The Guardian for their “gloriously warm and finely balanced sound” at their recent concert at The Glasshouse International Centre for Music.

Under the baton of conductor John Forsyth MBE, the choir will present an energetic programme of Baroque masterpieces in the magnificent surroundings of our Cathedral.

Featuring showpieces such as Vivaldi’s ever-popular ‘Gloria’ alongside Handel’s ‘Dixit Dominus’, this concert promises unremitting energy and dramatic intensity from one of the finest choirs in the region.

Please note:

• An external organisation hosts this concert, and booking fees may apply.
• For ticket enquiries, please email theatre.manager@durham.ac.uk or call 0191 334 1419.
• Carer tickets are available via the ticketing booking website.
• Refreshments will be available during an interval from the Friends of Nicholas, a group dedicated to supporting and promoting the heritage of Newcastle Cathedral.

Events such as this help raise funds to maintain this beautiful building, continue our charitable work and keep our doors open for all.