Handel's fresh and vigorous psalm setting Dixit Dominus (''The Lord said unto my Lord'') is one of the Latin pieces which the 22-year-old Lutheran wrote for the Catholic church during his stay in rome. It follows a standard pattern which divides the psalm into a number of items shared out between soloists and chorus. It radiates confidence but the contrapuntal tracery of the choruses, sometimes with quite high-spirited treatment of the words, demands an energy which must seem effortless—a situation parallel to the work of ballet dancers. Winchester Cathedral Choir respond well to this challenge and the matching of voices with instruments is very satisfying. Boys and men produce a light and easy tone which dances well. Contrasts are well calculated. For example, the sudden brightness at the start of the Gloria follows a particularly solemn verse, and the effect is like a sunburst. There is much delightful singing from the soloists, though Charles Brett's words are hard to catch. The Winchester Baroque Ensemble, led by Roy Goodman, musters nine players, plus James Lancelot (chamber organ), and their well-varied textures sing with pleasing clarity. The balance is most helpful. I wonder a little whether it is wise to forsake the cathedral for the New Hall of Winchester College. Although the vigorous moments sound right, more plaintive sections would have benefited from a little more acoustic juice. Nisi Dominus may be a lesser masterpiece in size, but it is full of elegant and happy music which the performers make no bones about enjoying. Under Martin Neary's bouncing direction, their pleasure is communicated generously.
The Swedish performance of Dixit Dominus enjoys more of an acoustic glow. The Stockholm Bach Choir field just under 40 singers whose plummy-topped sopranos are no match for the Winchester boys. The two female vocalists flood the building with rich and even tone but the words take second place. The tenor and bass soloists are comparatively light-weight and somewhat outshone. On the other hand, there is a good sense of bustle, much of it generated by the orchestra of 17 players, including the harpsichordist. Altogether, a freer, less stylish performance, but zestful. The G minor Concerto grosso is played with well-balanced cheerfulness. Compact Disc makes everything seem bigger and emphasizes the slightly carefree nature of the presentation.
Equally big-sounding, bigger perhaps, is the Monteverdi Choir record under John Eliot gardiner (Erato). Though it's a classier sort of singing, the total effect is rather overpowering and I don't think I could live with it, despite some splendid solo singing (including a closer-miked Charles Brett). The King's College, Cambridge/Willcocks HMV recording was first issued in 1966 and is now at bargain price. It has the acoustic lacking at Winchester and there is insistence, at least much of the time, on clear enunciation from the choir (''Dick sit'' for example) but the impetus isn't maintained so well as at winchester. Nevertheless, it is good value. I have no doubt I would pick the Winchester recording, knowing that it would wear well.'