Album insights
When Handel arrived in London towards the end of 1710, he was mainly recognized as a composer of Italian operas. He swiftly showcased his talent in this realm with a successful staging of Rinaldo in February 1711. Additionally, he excelled in composing sacred choral music, a skill he honed while studying under Friedrich Wilhelm Zachow in Halle. Although no surviving works from this early period exist, their quality likely matched his earliest known compositions, including three Vesper Psalms written in Rome in 1707, notably the spectacular Dixit Dominus. During that time, opera was primarily for solo voices and lacked choral sections, prompting Handel to venture into contributing to English church music upon his arrival in London. Establishing contact with the Chapel Royal musicians, he penned his first English Anthem around 1712, titled As pants the hart (HWV251a).
In 1717, the iconic royal boat trip on the River Thames took place, with Handel and his musicians performing the Water Music on a neighboring vessel while King George I and noble guests enjoyed the spectacle. Subsequently, Handel joined James Brydges' household at Cannons, where he served as a house composer. Brydges, the future Duke of Chandos, had amassed wealth during the War of the Spanish Succession and built a grand villa at Cannons in Edgware. Handel was entrusted with composing church music, and under his tenure, the impressive Chandos Anthems were born. These works, along with the Te Deum and Jubilate, were crafted for St Paul's Cathedral in 1713. The Villa of Cannons, however, faced financial challenges and met a swift demise after Brydges' passing in 1744.
The Chandos Anthems, though initially performed with a modest ensemble, featured solos, choir, and instrumental backing. Handel's innovative approach, drawing from Psalms and metrical adaptations, reflected his Latin Psalm settings. Flexibility in ensemble size allowed these anthems to resonate powerfully in both intimate and grand settings. Musical material from earlier compositions was repurposed and refined in these works, underscoring Handel's lasting impact in the genre of church music. The anthems' structure, notably with trios and four-part choruses, revealed Handel's masterful ability to create grand effects with modest means.
The Anthems of praise offer a blend of intricate solos, emotive choral arrangements, and skillful instrumentals. From the moving O praise the Lord with one consent to the vigorous Let God arise, the anthems showcase Handel's versatility and orchestral mastery. My song shall be alway, drawing from Psalm 89, features instrumental motifs recycled from previous works, embodying a harmonious blend of musical innovation and reverence. Handel's skillful adaptations and thematic interplay resonate throughout these anthems, with each piece offering a unique blend of introspection and exaltation, culminating in a triumphant musical journey.