The battle of Dettingen in 1743 – famously the last time‚ at least to date‚ that a British monarch led his or her troops on the field – drew from Handel a ceremonial Te Deum‚ first heard later the same year at the Chapel Royal. Its frequent resort to triumphal trumpetings speaks its origin clearly‚ and rather suggests that Handel had grander surroundings in mind. To be frank‚ its invention is not Handel at his best (indeed some of it isn’t Handel at all but ‘borrowed’ from a Te Deum by FA Urio)‚ but there are several rewarding movements‚ notably the solemn bass solo ‘Vouchsafe‚ oh Lord’‚ and some rousing choral writing in a typical celebratory D major manner. The performance here is a sound‚ solid account without perhaps quite making the best of it; it doesn’t seem as jubilant as it should. Wolfgang Helbich chooses tempos sensibly but lacks that feeling for the breadth of Handel’s rhythms that can animate the big choruses‚ and once or twice (in the trio ‘Thou sittest at the right hand of God’‚ for example) the effect is slightly lethargic. His carefully moulded cadences‚ too‚ sometimes seem to sap the music’s energy. There is some competent but not quite idiomatic solo singing‚ with a precise but rather bland and nasal­sounding contralto and a slightly effortful tenor but a very capable bass. Sometimes the balance of voices and instruments is uncertain‚ though possibly that is Handel’s fault as much as anyone’s. The only existing rival version‚ under Simon Preston‚ is altogether more idiomatic‚ with an excellent boys’ choir (Westminster Abbey) and soloists with a better feeling for the style – and Stephen Varcoe sings ‘Vouchsafe‚ oh Lord’ very beautifully‚ with gentle warmth. Preston’s recording supplies the anthem‚ The King shall Rejoice‚ also composed for the Dettingen celebrations. The new Naxos one offers what seems to be the only recording of the Te Deum in A‚ which is based on the Chandos Te Deum. This‚ less brilliant in manner and more in a chamber style‚ fares rather better even if some of the criticisms voiced above still apply. The chorus ‘Day by day’ is done in lively fashion. I should mention the often admirable solo woodwind playing‚ especially the busy bassoon. At times it is clear that the choir and some of the soloists are not singing in their native language.