Vivaldi Gloria / Handel Coronation Anthems Programme Notes

Vivaldi Gloria It would seem a natural assumption that a composer who was also an ordained priest would devote a significant portion of his career to the composition of music for the church. The worklist of Antonio Vivaldi, “The Red Priest,” however, is dominated by some five hundred instrumental concertos and forty-five operas. Only in the 1920s, when the extensive collection of the Turin National Library was catalogued, was it discovered that Vivaldi had also composed a significant quantity of sacred music. Much of this music was composed for the Ospedale della Pietà, the orphanage-cum-conservatory where Vivaldi was employed as Maestro de’ concerti. The Pietà’s Maestro di coro, Francesco Gasparini, asked for a leave of absence in 1713, and never returned to the post. His replacements during Vivaldi’s lifetime often proved inadequate, and the more gifted Vivaldi was frequently called upon to provide new compositions. Sixty of Vivaldi’s church compositions have survived, including settings of portions of the Mass, psalms, antiphons, and hymns, as well as several solo motets. Of all Vivaldi’s extant choral music, the Gloria RV 589 is certainly the best known today. The circumstances of its composition are not known, but the unusually light scoring — one trumpet without timpani, one oboe, and only soprano and alto soloists — suggests a commission for the Pietà.

Handel Coronation Anthems The four anthems in this week’s programme were written for the coronation of King George II and Queen Caroline, which took place in Westminster Abbey on October 11, 1727. George Frideric Handel had become a naturalized British subject earlier that year, enabling the Hanoverian successor to call upon the German-born composer to provide music for this most British of occasions. The more obvious choice would have been Maurice Greene, the leading British composer at the Chapel Royal but, according to the outspoken George III, the new king “forbad […] that wretched little crooked ill natured insignificant Writer, Player and Musician […] and ordered that G.F. Hendel should not only have that great honour, but, except for the first, choose his own words.”

According to an anecdote related by Charles Burney, texts for the anthems were brought to Handel by “the bishops.” Handel rejected them, stating, “I have read my Bible very well, and shall chuse for myself.” Handel’s choice was based largely on the coronation service of 1685, the most recent to include both a king and a queen consort. Let thy hand by strengthened was sung at the Recognition, Zadok the priest at the Anointing, The king shall rejoice at the Crowning, and My heart is inditing after the Anointing and Coronation of the Queen. The music aroused so much public interest that an attempt was made to keep the date and time of the rehearsal secret “lest the Crowd of People should be an Obstruction to the Performers.” Regardless, there was present “the greatest Concourse of People that has been known.” The performing forces were extensive, and impressively arranged in pyramids in galleries on either side of the altar.

The anthems enjoyed great popularity both during and after Handel’s lifetime. Handel advertised his first English oratorio performance in a London theatre (Esther, in 1732) with the explanation “The Music to be disposed after the Manner of the Coronation Service.” Esther included the music of My heart is inditing, as well as the opening and closing portions of Zadok the Priest. The following year, Deborah incorporated movements from the other two anthems. Zadok the Priest, with its inspired opening, has remained a special favourite and has been performed at every British coronation since its premiere 288 years ago.