Saeviat tellus

“Carmelitarium ut confirmet”

“O nox dulcis”

“Stella fidae”

“Sub tantae Virginis tutela”

“Alleluia”

There can be no doubt that the solo motet Saeviat tellus inter rigores was written for a Carmelite occasion, whether or not it was Feast of Our Lady of Mount Carmel in Rome referred to in the above note on Salve Regina. The word “Carmelite” occurs at least once in all except the last of the six movements Handel fashioned from the text (the Honorius mentioned in “Carmelitarium ut confirmet” is Pope Honorius III who ratified the Carmelite order in 1226). Whatever its occasion, it is an astonishing work, not least for a first movement which illustrates the Carmelite spirit with a formidable solo soprano part that in terms of virtuosity (including a high D) can match any kind of adversity the orchestra might confront her with. The first of the two other main movements, “O nox dulcis” is as serene as “Saeviet tellus” is turbulent but scarcely less of a challenge to the soloist in its long-sustained, apparently effortless vocal line. The closing “Alleluia,” another display of vocal virtuosity, clearly anticipates the equivalent movement of the much later and rather more famous motet Silete venti.