Marc-Antoine Charpentier - Te Deum for Soloists, Chorus and Orchestra | Текст песни

• Тексты песен
• Marc-Antoine Charpentier
• Te Deum for Soloists, Chorus and Orchestra

Pesni.guru - сайт для Гуру

Marc-Antoine Charpentier
Te Deum for Soloists, Chorus and Orchestra
Transcription and realisation by Roger Blanchard
Prelude (Marche en rondeau)
Te Deum laudamus (bass solo)
Te aeternum Patrem (chorus and SSAT solo)
Pleni sunt caeli et terra (chorus)
Te per orbem terrarum (trio, ATB)
Tu devicto mortis aculeo (chorus, bass solo)
Te ergo quaesumus (soprano solo)
Aeterna fac cum sanctis tuis (chorus)
Dignare, Domine (duo, SB)
Fiat misericordia tua (trio, SSB)
In te, Domine, speravi (chorus with ATB trio)

Elsa Saque, Joana Silva, sopranos
John Williams, counter-tenor
Fernando Serafim, tenor
Philippe Huttenlocher, baritone
José Oliveira Lopes, bass
Bernard Gabel, trumpet
Antoine Sibertin-Blanc, organ
Chorus and Symphony Orchestra of the Gulbenkian Foundation, Lisbon
Michel Corboz, conductor

Marc-Antoine Charpentier composed his grand polyphonic motet Te Deum (H. 146) in D major probably between 1688 and 1698, during his stay at the Jesuit Church of Saint-Louis in Paris, where he held the position of musical director. The work is written for the group of soloists, choir, and instrumental accompaniment.
Charpentier authored six Te Deum settings, although only four of them have survived. It is thought that the composition have been performed to mark the victory celebrations and the Battle of Steinkirk in August, 1692.
Charpentier considered the key D-major as \"bright and very warlike\". The instrumental introduction, composed in the form of rondo, precedes the first verset, led by the bass soloist. The choir and other soloists join gradually. Charpentier apparently intended to orchestrate the work according to the traditional exegesis of the Latin text. The choir thus predominates in the first part (verset 1-10, praise of God, heavenly dimension), and individual soloists in the second part (verset 10-20, Christological section, secular dimension). In subsequent versets, nos. 21-25, both soloists and choir alternate, and the final verset is a large-scale fugue written for choir, with a short trio for soloists in the middle.