Layton never over-inflates the music but rather invigorates it through carefully detonated points of detail: the explosive choral entry which cuts the polite bluster introducing 'Let God Arise' is a good example.

Here are three of the 11 so-called ChandosAnthems composed for James Brydges, the Earl of Carnarvon (from 1719 the First Duke of Chandos). Handel's music was tailor-made for fewer performers than those featured here. Nevertheless, the 40 members of the Choir of Trinity College, Cambridge, sing with flexibility and lightness. The opening chorus of O praise theLord with one consent is crisply articulate and lightly shaped, and consonants are attacked with voracity. Most of the choral contributions have sweetness and delicacy. Stephen Layton lets the performers off the leash a little in the final pealing 'Alleluia' sections of each anthem, and in some dynamic passages of Let God arise, based on Dixit Dominus. The Academy of Ancient Music's playing is often understated, and the introductory sonatas of Let God arise and My song shall bealway feature convivial oboe solos played by Katharina Spreckelsen. The four illustrious soloists excel in numerous short movements.
Iestyn Davies navigates some difficult low passages in 'Praise him, all ye that in his house' (HWV254) without traces of strain. Neal Davies is authoritative, James Gilchrist is on fine dramatic form in 'Like as the smoke vanisheth' (HWV256a), and Emma Kirkby shows her stylistic intelligence and masterful communication of text in the radiant opening of HWV252. It is enjoyable to hear some of Handel's lesserknown and more intimate English church music performed with such elegant restraint and skill.

…the 40 members of the Choir of Trinity College, Cambridge, sing with flexibility and lightness. The opening chorus of O praise the Lord with one consent is crisply articulate and lightly shaped, and consonants are attacked with voracity. The four illustrious soloists excel in numerous short movements. It is enjoyable to hear some of Handel's lesser-known and more intimate English church music performed with such elegant restraint and skill.

The choir’s firm tone and tightly disciplined singing, coupled with the Academy’s polished ensemble and phrasing, are a considerable improvement on The Sixteen and O’Reilly’s sometimes raw and slightly untidy performances

The ten undergraduate sopranos here sing with charm, clarity and a bright tone that never strays into faux-treble territory, and their flexibility in this often very florid music is impressive...Vocal soloists are uniformly splendid. Thomas Hobbs has the lion’s share of the solo duties, and rises to the challenge with consistently beautiful tone and easy agility.

The choir sings with their usual purity of tone and clear diction while the Academy of Ancient Music plays with convincing vigour in the sprightly double-dotted passages.