At last someone has decided to record all of Handel's Chandos Anthems, and who better, perhaps, than Chandos Records; this is Vol. 1. Handel entered the service of James Brydges, Earl of Carnarvon, later Duke of Chandos, in 1717. Chandos kept his own band of singers and players; indeed, according to Defoe no nobleman in England and few in Europe lived in greater splendour than this Paymaster-General during the Marlborough battles. Handel, as the Earl's composer in residence, provided him with 11 anthems and several other works including Acis and Galatea and the first version of Esther. The anthems date from the years 1717-18 and were first performed at the church of St Lawrence, Whitchurch, close to the Earl's opulent palace at Cannons, near Edgware. Eventually, Brydges built his own domestic chapel adjoining the palace but this was opened only in 1720 by which time Handel had left his service.
Some of the music derives from earlier pieces—O be joyful for instance is a reworking of the Utrecht Jubilate—and much of it reflects Handel's cosmopolitan outlook in that elements of English, German and Italian styles make their contribution. Handel's basic orchestra for the anthems is one of violins and oboe with continuo, usually a bassoon and on two occasions a pair of treble recorders. The vocal textures vary between two and four soloists with three- to five-part choruses all but two of which exclude an alto line. The performances give a lively account of the music. The director of The Sixteen, Harry Christophers, draws some splendid sonorities from the choir and is well backed up by an experienced team of instrumentalists. Continuo playing is alert and light-footed and there are strong woodwind contributions from Valerie Darke (oboe) and Jeremy Ward (bassoon). Sometimes I felt that Christophers could have brought out a little more of Handelian character in the music. The opening Sonata of In the Lord put I my trust is gracefully played but fails to realize that element of grandeur present in its first section. Some choruses, too, might benefit from being more crisply articulated and more sharply focused; extended lengths of legato phrasing do not always make the most of Handel's robust writing. The solo line-up of Lynne Dawson, Ian Partridge and Michael George is first rate; indeed, Partridge provides a fine example of how apposite phrasing and articulation can enliven and intensify musical affect. The ensemble numbers allotted to these three are a real delight.
In spite of small reservations, then, a warm welcome to this first volume of Chandos Anthems.'