In February I reviewed the first volume in what is to be a complete set of Handel's Chandos Anthems. Handel's basic orchestral forces for these works, which date from 1717–18, consist of violins and oboe with continuo to which a bassoon is often added. The vocal textures vary between two and four soloists with three- to five-part choruses, all but two of which exclude the alto line.
I confess to being disappointed with Vol. 2. The problem lies mainly, but not exclusively, with the violins. Ensemble is poor at the outset of the Anthem I will magnify thee and the dismal showing at bar 7 of the opening instrumental Andante should certainly have been sorted out. Lacklustre and scrawny string playing of this kind ill serves any music but Handel's wonderful melodies require much more in the way of phrasing and sustained sound. Matters hardly improve later on with a wholly inadequate performance of the Sonata belonging to As pants the hart. Here the solo violin seems only just able to stay the course in the first movement, with very poor intonation which infects most elements of the ensemble. In the subsequent Allegro, furthermore, there is an unsettling accelerando at bar 35, too marked to be overlooked.
Little of Handel's supple writing or ebullience is captured and the performances are only saved by some strong contributions from the solo vocalists and from the choir of The Sixteen. In short, the essential spirit of these splendid anthems is only intermittently captured. The orchestra sound as if they need much more direction and, dare I say, much more rehearsal time. There is a lack of conviction here; few seem to have worked out what to do with the music. Enthusiasts for Lynne Dawson's singing—and I am one of them—will not be disappointed but the overwhelming feeling I have on listening to this volume is of a missed opportunity. There is a wealth of expressive invention in the music ranging from the tender to the robust, but sadly in this instance it is seldom realized.'