The structure of the anthems is guided by ever new applications of the concertato technique and by an ever fresh sensitivity to the text, so that poignant contrasts occur within a formal unity created by dominant “affections”. Striking variety arises within the six works through the choice of texts itself. Moving prayer (Psalm 51) stands against jubilant praise (Psalm 145) and terse drama (Psalm 11). In distinction to the Latin Psalms, which Handel set in their entirety (and this was still the case in Psalm 100), the English Psalms appear in sparse selection. Handel took a hand in designing the form of his texts, choosing verse by verse, and a process of text compilation begins here which became of greatest importance in Handel’s later biblical works and which shows the church composer as experienced dramatist.