Composer: Georg Friedrich Handel
Works: Coronation Anthems, Ode for the Birthday of Queen Anne
Performers: Susan Gritton (soprano), Robin Blaze (countertenor), Michael George (bass), Choir of King’s College, Cambridge, Academy of Ancient Music, Pavlo Beznosiuk (director), Alastair Ross (harpsichord continuo), Stephen Cleobury (conductor)
Recording: January 2001, King’s College, Cambridge
Label: EMI
Handel’s Coronation Anthems, particularly renowned for their exuberance and grandeur, serve as a testament to the composer’s mastery in choral orchestration and dramatic expression. Written for the coronation of King George II in 1727, these works reflect the political and cultural aspirations of the time, imbuing the ceremonial occasion with a sense of divine authority and national pride. The additional inclusion of the Ode for the Birthday of Queen Anne provides a further glimpse into Handel’s versatility and profound ability to blend the sacred with the celebratory.
Stephen Cleobury’s interpretation of these anthems is marked by a deep understanding of Handel’s idiom, with the Choir of King’s College delivering a performance that is both majestic and nuanced. The opening “Zadok the Priest” demonstrates the choir’s capacity for blending power with clarity; the rhythmic drive of the chorus engages the listener immediately, while the subsequent sections reveal a remarkable lightness of texture that is often elusive in larger ensembles. The “Alleluia” from “The King shall rejoice” is particularly noteworthy, showcasing the ensemble’s ability to generate buoyant energy and vocal cohesion. Cleobury’s choices to emphasize the contrasting dynamics within the choral parts allow for a rich tapestry of sound that honors Handel’s intricate counterpoint.
The technical aspects of this recording merit commendation, as the sound engineering achieves a balance that brings forth the distinct timbres of each voice while also capturing the choir’s full-bodied resonance. Although there are moments where the loudest passages risk blurring the clarity of individual lines, the overall sonic landscape remains impressively detailed. The recording’s acoustics, resonating beautifully with the historical ambiance of King’s College, serve to enhance the celebratory nature of the music.
The Ode for the Birthday of Queen Anne, occupying nearly half of the disc, presents a more solemn yet equally engaging contrast to the coronation anthems. Here, we witness Handel’s ability to weave a narrative through music, as the three soloists—Gritton, Blaze, and George—bring forth both character and emotional depth. Blaze’s countertenor resonates with a warmth that captures the reflective nature of the text, while Gritton’s soprano shines with a brightness that elevates the more jubilant sections. Michael George’s bass offers a grounding presence, particularly in the more somber moments. Each soloist navigates their respective roles with a keen sense of phrasing and articulation, revealing the lyrical beauty inherent in Handel’s writing.
This recording stands as a vibrant and compelling representation of Handel’s choral works, underpinned by the exceptional artistry of Cleobury and the King’s College Choir. While there are other notable recordings of these anthems, such as those conducted by Sir Neville Marriner and John Eliot Gardiner, Cleobury’s interpretation offers a refreshing blend of reverence and vitality. The emotional trajectory of the performance captures both the ceremonial grandeur and the nuanced joys of Handel’s music, making it a highly recommendable addition to any classical music collection. The interplay of historical context, superb performances, and thoughtful interpretation culminate in a recording that resonates with both immediacy and depth, reaffirming Handel’s enduring legacy.
