Chandos Anthem No. 6a: As Pants the Hart for Cooling Streams, HWV 251b (2nd version; Fiebig/Schneider): Cantata / Oratorio, Orchestra Accompaniment, Choral Octavo

This Chandos Anthem sits at a sweet spot for ambitious choirs seeking early Baroque repertoire that doesn't demand massive forces. The omission of altos and violas creates a lean, transparent texture that highlights Handel's contrapuntal writing without requiring specialized vocal ranges, and the intimate scoring actually enhances the clarity of text and musical detail. Directors programming a concert around Baroque sacred music will find this genuinely rewarding to teach, with solos that can showcase strong singers and chorus passages that reward careful attention to phrasing and articulation.

The music unfolds with the grace and restraint characteristic of chamber-scale Baroque composition, yet Handel's harmonic language carries genuine emotional weight. The setting of Psalm 42's yearning text emerges through clear textures where each voice line remains audible, creating an intimate conversation between soloists and chorus. There's an elegant formality in the piece, with moments of expressive depth that arise not through orchestral grandeur but through the careful placement of a phrase or a suspended dissonance.

This work suits choirs with solid fundamentals in part-singing and some exposure to Baroque style. The reduced forces (no altos, no violas) make it accessible for smaller ensembles that might hesitate before tackling full-scored Bach or Handel, while the contrapuntal substance keeps experienced singers engaged. It's particularly valuable for programs exploring early 18th-century English sacred music or for choirs seeking soloistic opportunities within an ensemble context.

• Balance the solo passages (soprano, tenor, and bass are featured throughout) so they emerge naturally from the texture rather than dominating it; the accompaniment should support but never overpower the singer's line.
• Shape the string writing with attention to Baroque bowing conventions. Even in passages without explicit articulation marks, consider using separate bows for clarity and forward motion rather than sustained legato.
• Allow the organ or harpsichord continuo to anchor the harmonic foundation. Work with your keyboard player to establish clear, consistent harmonic support that gives singers confidence in their intonation.
• Treat the text of Psalm 42 with interpretive depth. The imagery of thirst and longing calls for expressive singing, but maintain the Baroque aesthetic of controlled emotion rather than Romantic excess.

Program this as part of a concert exploring Handel's church music, pairing it with other Chandos Anthems or works by his English contemporaries for a cohesive concert statement. The modest forces and chamber-music character make it suitable for smaller venues or special occasions where intimate sacred music is desired. Consider using it in a program that contrasts earlier, simpler anthems with later, more elaborate ones, allowing audiences to follow the trajectory of Handel's thinking across the Chandos commission.

• Reading Baroque vocal lines with appropriate phrasing and articulation
• Balancing solo and choral textures in multi-movement ensemble writing
• Singing in four-part harmony without alto voices, requiring adapted voice distributions
• Responding to continuo-based accompaniment and singing with harmonic awareness
• Interpreting English text in the context of early 18th-century sacred music