Chandos Anthems • Arcangelo

Known both as the Chandos Anthems and the Anthems for Cannons, the latter showcasing the name of an estate, Handel was, in 1717, a composer-in-residence for an aristocrat and wrote a collection of ten anthems for use within the Anglican church. Four are included here:

• HWV 329b,
• HWV 248,
• HWV 251b, and
• HWV 256a.

Each opens with an instrumental sinfonia, with a slow-fast movement. We can imagine, therefore, small forces required for these pieces, featuring many solos. Eight singers are used in the recording; the instrumental forces are likewise tight, with five violins, a cello, double bass, oboe, bassoon, lute, organ, and harpsichord. These would have originally been performed in the nearby church, as Duke of Chandos’ own chapel was not yet ready for occupation.

It’s possible to imagine Handel’s Italian exposure earlier to this present in his writing. The influence is reinforced with the use of lute.

For me, the singers are easier to understand than most Handel presentations I have heard, however they do employ some manner of vibrato. That said, I found their vocal tone and use of vibrato preferable to the results from the Choir of Trinity College and the Orchestra of the Age of Enlightenment’s efforts for Hyperion in 2013. Not only that, but Arcangelo’s playing was more direct and affective. The approach taken by the choir and orchestra of Margueritte Louise I think is a better fit (Editions by Chateau de Versailles Spectacles), in terms of vocal style; the problem with this recording is the balance, using larger forces throughout makes the solos overpowered by instruments. With Jonathan Cohen’s album, I’m in the same space with everyone, and the recording benefits us with its greater transparency.

Highlights include the 22nd track, “Put thy trust in God,” a solo by Hugo Hymas, maybe one of the ensemble’s stronger singers. The tightness between singers and instruments in the 24th track, the first vocal number in HWV 256a, is strongly articulate. Handel’s use of counterpoint, giving us a vocal and instrumental fugue in the 27th track, too from HWV 256a, is refreshing, showcasing his gifts of composition. I’ve often felt these pieces weren’t Handel’s best efforts, even so, they can have their special moments. The balance Cohen achieves in this track is remarkable, for its complexity alone. While some may prefer the sound of a larger choir, it’s hard to get balance right, and Arcangelo have it. Another highlight is the violin playing by Louis Creac’h in the opening of HWV 249b; the oboe playing throughout by Clara Blessing also deserves praise.

I auditioned this album using headphones and enjoyed the grit and bounce of the continuo team. Using a smaller team made for an agile-feeling recording. My few reservations include the aforementioned use of vibrato by soloists and choir, although Hymas is the least offensive in this regard. The second is the length of the album, I would have liked for the full collection of ten anthems. Perhaps in a future release?