Chandos Anthem No. 1: O Be Joyful in the Lord, HWV 246 (Chandos Jubilate; Chrysander) Cover Image

Chandos Anthem No. 1: O Be Joyful in the Lord, HWV 246 (Chandos Jubilate; Chrysander): Cantata/ Oratorio, Keyboard Accompaniment, Vocal Score

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Chandos Anthem No. 1: O Be Joyful in the Lord, HWV 246 (Chandos Jubilate; Chrysander) Cover Image
Chandos Anthem No. 1: O Be Joyful in the Lord, HWV 246 (Chandos Jubilate; Chrysander): Cantata/ Oratorio, Keyboard Accompaniment, Vocal Score

Chandos Anthem No. 1: O Be Joyful in the Lord, HWV 246 (Chandos Jubilate; Chrysander): Cantata/ Oratorio, Keyboard Accompaniment, Vocal Score

By George Frideric Handel, ed. Friedrich Chrysander, Text from Psalm 100. German and English.

Item: 36-A263091
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Description
The CHANDOS ANTHEMS, HWV 246-256, are a collection of eleven anthems composed by George Frideric Handel (1685-1759) when he was composer in residence at Cannons, the court of James Brydges, newly the First Duke of Chandos in 1719. As the chapel was incomplete, Handel wrote these works with fairly intimate scoring, using the instruments he had available to him, which is why they generally do not include viola parts. As a result, the accompaniment for the usually small choirs take on the light texture of chamber music. The text for each of the CHANDOS ANTHEMS are different psalms selected by Handel himself. CHANDOS ANTHEM No. 1: O BE JOYFUL IN THE LORD, HWV 246, also commonly referred to as CHANDOS JUBILATE, was written between 1717 and 1718, and is a setting of Psalms 100. The omission of the alto voices from the chorus and the violas from the orchestra helps to make the work lighter and more similar to chamber music. This edition from the Deutsche Händelgesellschaft has been edited by Friedrich Chrysander. Reprint edition.

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Additional Details
Series: Kalmus Choral Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-810038-8
ISBN13: 979-8-89-810038-4
UPC: 660355157264
SKU: 36-A263091
Instrumentation: Soli STB: Mixed STB Chorus: Hpchd or Pno accomp.

More about this title

About the Composer: George Frideric Handel

George Frideric Handel (1685-1759) was a German-born composer who became one of the most influential figures in Baroque music and the dominant musical force in England during his lifetime. He arrived in London in 1710 and quickly established himself as a master of opera, oratorio, and instrumental music, earning the patronage of the royal court and the English nobility. His prolific output spans virtually every major genre of his era, and his dramatic gift for melody and command of large-scale form made him a model for composers across Europe.

Handel's appointment as composer in residence at Cannons (1717-1720), the seat of James Brydges, the First Duke of Chandos, yielded the eleven Chandos Anthems. These works represent a turning point in his career, marking his deepening engagement with English sacred music and the anthem tradition. Written for the chapel's modest vocal and instrumental resources, the Chandos Anthems showcase Handel's genius for adapting his compositional genius to available means, creating works of intimacy and refinement that remain essential to the choral repertoire.

Why we love this

This is an approachable entry into Handel's sacred vocal writing that doesn't demand the vast resources of his later oratorios. The omission of alto voices and violas creates a transparent texture that allows choral parts to breathe and soloists to shine without overwhelming accompaniment. Programming a Chandos Anthem offers choirs a genuine period piece that sounds fresh to modern ears while building singers' familiarity with Baroque style and English text setting.

What to expect

Joyful and vigorous, as the psalm text promises. The opening chorus moves with buoyant energy, supported by dialogue between soloists and the choir that feels conversational and direct. The whole work radiates Baroque optimism and clarity, with moments of lyrical repose that give singers room to explore expressive singing without artifice.

Who it's for

Intermediate to advanced community choirs, collegiate choral ensembles, and professional early music groups seeking authentic sacred repertoire. Directors working with singers who have at least two to three years of choral experience will find the part writing and tessitura manageable; soloists should have some facility with Baroque style.

How to get the most out of it

  • Shape the opening choruses with a lighter hand than you might assume. The chamber scoring here is intentional; resist the urge to add weight or volume. Let the text and melody carry.
  • Attend to the relationship between soloist and chorus. The dramatic exchanges between them are the structural spine of the work. Mark these transitions clearly in rehearsal so singers understand who owns each phrase.
  • Coordinate with your keyboard player on articulation and phrasing. A harpsichord or piano should mirror the singers' breathing and rhythmic intentions rather than impose its own interpretation.

How to use it

Pair this with other English Baroque sacred music for a complete choral concert, or use it as a centerpiece in a program exploring Handel's vocal works across different periods. Its modest duration and chamber scoring make it ideal for liturgical settings, educational concerts, or programs emphasizing music written for intimate venues.

Skills your students will build

  • Baroque text declamation and phrasing in English
  • Balancing soloist and chorus parts in chamber textures
  • Rhythmic clarity and pulse in Baroque idiom
  • Ensemble blend without modern vibrato conventions
  • Musical interpretation of psalm text through melodic line

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