Handel: Dixit Dominus

The program booklet contains the following information about the work:

Dixit Dominus is a setting of Psalm 110 (109 in the Latin Vulgate) which Handel composed in 1707, when he was only 22. Along with other Latin psalm settings and motets composed at about the same time, it very probably formed part of a setting of the Carmelite Vespers for the feast of the Madonna del Carmine. The work is in eight movements, scored for five-part chorus, soloists, strings and continuo.

At that time the talents of the finest Italian instrumentalists were regularly on display in the brilliant concertos of Vivaldi, Corelli and others, and singers were similarly able to parade their skills in opera, the exciting new musical theatre that had become all the rage, thanks to composers such as Alessandro Scarlatti and Antonio Caldara. Dixit Dominus is a showpiece for both singers and players alike, and whilst its unremitting energy and dramatic intensity presents all the musicians with considerable challenges, the demands that Handel makes on the choir are extremely testing, and seldom equalled in his later works. The piece is an extraordinary tour-de-force, particularly for a 22-year-old composer, and demonstrates Handel’s precocious mastery of counterpoint, of harmonic and melodic invention and, perhaps most impressively, of powerful dramatic gesture. Clearly, he viewed the commission as an opportunity to display his total command of the Italian style, and so make the most memorable impression possible on his hosts. Not surprisingly, Dixit Dominus is regarded as one of his finest works The psalm is set by Handel to music of exceptional brilliance, the dramatic contrasts within and between movements vividly illustrating and reinforcing the words. The work is unified by a plainsong cantus firmus - a melody in greatly extended notes, against which the remaining parts weave decorative lines - which appears in both the opening and closing movements. After the energetic opening chorus comes a simple and elegant alto solo, followed by a beautifully lyrical movement for soprano, built on a repeated triplet figure. The drama resumes in the fourth movement, one of alternating slow and fast sections, the measured ‘Juravit Dominus’ being notable for its daring chromatic harmony and bold dissonances. The sixth and longest movement combines verses 5 and 6 of the psalm text. The unmistakable influence of Corelli can be heard in the instrumental introduction, with the two violin parts and then the voices constantly overlapping in a series of striking suspensions. The ensuing section, ‘Judicabit in nationibus’, is a busy fugato which appropriately disintegrates at the word ‘ruinas’. There follows one of the most remarkable passages in this unique work: a series of percussive chords repeated to the same syllable (a device very reminiscent of Monteverdi) graphically depicts a crushing military victory. The Gloria brings back the cantus firmus, this time set against even more brilliant figuration than in the opening movement, and the work closes with an extended and superbly executed fugue.

We faced many difficulties while working on this piece, which we prepared in about 1.5 months. Of course, the conductor's job is to constantly solve problems and ensure that the piece is ready. In this process, our choir conductor Çiğdem Aytepe coordinated all the components and ensured that the work emerged with all her strength. After these works, we did very detailed and deep work with our conductor Tolga Atalay Ün to reveal the energy of Dixit Dominus. We thank them very much for their love, devotion, faith and patience.

As SFK, one of the greatest joys we have experienced this year has been the addition of voice trainers to our family:

• Özlem Kılıç (Soprano parts)

• Nihan İnan Özbayrak (Alto)

• Oğulcan Gökalp (Tenor)

• Noyan Coşgun (Bass)

From the Bach Magnificat to the present day, their work has improved our choir's vocal technique, fitness and awareness. The incredible phrases and passages of Dixit Dominus would not have been possible without them. We extend our sincere thanks.

It was the group work that enabled us to learn the piece in a very limited time. We would like to thank our group work supervisors who took responsibility in this process and worked devotedly for each party in coordination with our chef:

• Gizem Nur Ertürk (S1)

• Canan Temel Sayın (S2)

• Banu Arkan Manap (A)

• Samed Kahreman (A, T)

• Erkut Caglak (T)

• Ersin Arslanturk (B)

For works performed outside Bilkent MSSF;

• Pınar Alpay Yüksel at SCA Music Foundation

• Canan Temel Sayın Fine Arts High School

• Halise Devrimci Özgüven, at home 

hosted the members of the choir and gave vital support to the choir's work. We extend our sincere thanks.