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Marianna von Martines's Dixit Dominus

an orchestral introduction, the first presentation (mm. dominant for an extended passage, and then returns; the
26-79) sees each phrase of text—“Dixit Dominus Dom- second section begins in the tonic key, quickly changes
ino meo,” “sede a dextris meis,” “donec ponam inimi- direction in m. 85 to explore other tonalities (vi and ii),
cos tuos scabellum pedum tuorum,” plus a reiteration and quickly returns in m. 94, continuing to present earli-

of the final words, “scabellum pedum tuorum”—set to er material transposed up a perfect fourth as a Classical
new and distinct choral material. A half cadence at m. sonata might (Table 4 on page 11).
79, followed by a rest with a fermata, divides the two While noting the binary qualities of this form, Godt’s
sections; in m. 80, the opening material (in the tonic key) analysis of the movement emphasizes these sonata-like
returns, signaling the beginning of the second half (Fig- characteristics, arguing that the movement “departs
ure 1). from the conventions of binary form and can more
In the second presentation (mm. 80-135), the same revealingly be heard as a sonata-form movement with
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text returns in the same order, with the same musical a long coda.” Godt hears the opening statement of
material and orchestration at nearly the same scale. “Dixit Dominus Domino meo: sede a dextris meis” as
(Some passages are slightly shortened or extended, but at an exposition (mm. 26-59), followed by a “development”
54 and 56 measures, the two sections are virtually iden- on the text “Donec ponam inimicos tuos scabellum pe-
tical in overall length.) The only meaningful diff erence dum tuorum” (mm. 59-79). The fi nal two statements of
between the two sections is their tonal plan. The fi rst “sede a dextris meis” (mm. 40-54) presumably function
section begins in the tonic key of D major, moves to the as a transitional passage, but Godt does not state this ex-

10 CHORAL JOURNAL April 2021 Volume 61 Number 9