DETTINGEN TE DEUM PDF

He was able to seize the chance of employment as organist at the Calvinist Cathedral the following month, holding the position for a year, until his departure for Hamburg, to work there at the opera, at first as a violinist and then as harpsichordist and composer, contributing in the latter capacity to the Italian operatic repertoire of the house. At the invitation of the son of the Medici Grand Duke of Tuscany, he travelled, in , to Italy, where he won considerable success during the next four years. Connections he had made in Venice, brought appointment in as Kapellmeister to the Elector of Hanover. From here he was granted immediate leave to fulfil a commission in London. The following year he took up residence at Burlington House in Piccadilly as a guest of Lord Burlington.

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Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Under its new director, the mercurial Stephen Layton, it has reached new heights of musical excellence in this latest disc for Hyperion. Unlike the context of most of his other organ concertos, Handel probably incorporated HWVa within the narrative of the main entertainment.

However, the conducting score of the ode shows that at some point—presumably —the end of the recitative was recomposed in order to allow a smooth transition to inserted music in A major, the key of the organ concerto.

On this recording two sections—the ad libitum and the opening of the Grave —are improvised by the organist Richard Marlow. Its text is paraphrased from 1 Kings 1: 38—40, and it has been performed at every subsequent British coronation. Handel presumably relished the opportunity to write grand ceremonial music for much larger forces than were available in the theatre an eyewitness of the rehearsal claims that there were 40 singers and players , but it seems that the musical contributions to the coronation service were far from smooth.

It is unlikely that Handel ever performed with such a large choir again. Although all four coronation anthems were incorporated into his theatre oratorios during the early s, his usual choir for such concerts was about half the size of the forces that had been specially amassed for an event of iconic national importance. Nevertheless, it is likely that he envisaged the opportunity to compose and perform a celebratory choral piece on a similarly ambitious scale in the summer of , when news reached London that on 27 June George II had led an army to victory against the French at the Battle of Dettingen.

An early conflict in the War of Austrian Succession, this was the last occasion on which a British monarch personally led an army and fought in battle. A thanksgiving prayer was issued to be read in all churches on Sunday 17 July , and that same day Handel seized the initiative by commencing work on a large-scale Te Deum.

If so, Handel miscalculated. Moreover, George had reputedly fought with a Hanoverian sash, not in British uniform. Most fundamentally, the battle at Dettingen was a peripheral skirmish, not one leading to an advantageous or desired peace treaty after a difficult prolonged war that was not to come until October , with the arguably unsatisfying Treaty of Aix-la-Chapelle.

The performance for the King eventually took place at the Chapel Royal morning service on Sunday 27 November, five months to the day since the Battle of Dettingen. Instead of a short verse anthem with a small band of instruments, a large group of musicians proceeded to play grand ceremonial music for nearly an hour.

The countertenor soloist was probably Anselm Bayly, but it seems that he was not fond of the piece. A modern listener might disagree that such energetic musical excitement is unattractive.

The stark militaristic opening gambit is like a battle drum, which hops between just two notes and swaggers with self-assurance; the antiphonal skirmish between the woodwind and brass with strings conveys a wonderful sense of momentum. For this, and also some other passages in the score, Handel was influenced by a Latin setting of the Te Deum by Francesco Antonio Urio.

Most surprising of all is the final movement. Mais, si tel fut bien son raisonnement, Haendel fit un mauvais calcul. Le dernier mouvement est le plus surprenant de tous. Das Autograph des Orgelkonzerts Nr. Anders als der Kontext der meisten seiner anderen Orgelkonzerte, wurde HWVa wahrscheinlich in die Handlung der Hauptveranstaltung eingebaut. Oktober zu schreiben. Der Text wird aus 1. Georg II. Das Anthem war am 3.

Paulskathedrale verblasste zusehends als klar wurde, dass Georg II. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Don't show me this message again. Under his fervent, energetic direction, Trinity College Choir topped by a notably pure soprano line strike a nice balance between choral-scholarly refinement and early, swashbuckling directness.

This recording shows off the piece's martial exuberance. Yet it's the disciplined refinement of the music-making that delivers the purest pleasure.

In addition to a substantial run of Italian operas between and , which included new works and plenty of revivals, his oratorios were all envisaged for performance in theatres. A few years after his introduction of English oratorio to the public in , Handel started to exploit his renown as a brilliant virtuoso organist by performing the solo part in concertos in between the acts of oratorios. Abgesehen von einer erheblichen Zahl italienischer Opern zwischen und , unter denen sich neue Werke und zahlreiche Wiederaufnahmen befanden, waren seine Oratorien genau, was man von einer Theatervorstellung erwartete.

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Dettingen Te Deum

On the King's return a day of public thanksgiving was appointed, and Handel, at that time "Composer of the Musick to the Chapel Royal," was commissioned to write a Te Deum and an anthem "The King Shall Rejoice" for the occasion. It contains eighteen short solos and choruses , mostly of a brilliant, martial character, the solos being divided between the alto , baritone , and bass. After a brief instrumental prelude , the work opens with the triumphant, jubilant chorus with trumpets and drums "We praise Thee, O God" , written for the five parts, the sopranos being divided into first and seconds, containing also a short alto solo leading to a closing fugue. The second number "All the earth doth worship Thee" is also an alto solo with five-part chorus of the same general character. It is followed by a semi-chorus in three parts "To Thee all Angels cry aloud" , plaintive in style, and leading to the full chorus "To Thee, Cherubin and Seraphim" , which is majestic in its movement and rich in harmony. The fifth number is a quartet and chorus "The glorious Company of the Apostles praise Thee" , dominated by the bass, with responses from the other parts, and is followed by a short, full chorus "Thine honourable, true, and only Son".

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