Gossec : Te Deum a Grand Orchestre by Jacques Grimbert & Choeur et Orchestre de Paris So

Gossec : Te Deum a Grand Orchestre like

by Jacques Grimbert & Choeur et Orchestr...

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1	play	Add to Playlist	Te Deum	3:51	€1.19	Buy Share This Song like
2	play	Add to Playlist	Te Aeternum Patrem	3:07	€1.19	Buy Share This Song like
3	play	Add to Playlist	Tibi Omnes Angeli	5:14	€1.19	Buy Share This Song like
4	play	Add to Playlist	Te Gloriosus	8:52	€1.19	Buy Share This Song like
5	play	Add to Playlist	Tu Rex Gloriae	0:47	€1.19	Buy Share This Song like
6	play	Add to Playlist	Tu Devicto Mortis Aculeo	2:50	€1.19	Buy Share This Song like
7	play	Add to Playlist	Tu Ad Dexteram Dei	0:31	€1.19	Buy Share This Song like
8	play	Add to Playlist	Judex Crederis	2:31	€1.19	Buy Share This Song like
9	play	Add to Playlist	Te Ergo Quaesumus	4:15	€1.19	Buy Share This Song like
10	play	Add to Playlist	Aeterna Fac	3:28	€1.19	Buy Share This Song like
11	play	Add to Playlist	Et Laudamus	5:33	€1.19	Buy Share This Song like
12	play	Add to Playlist	Dignare Domine	6:25	€1.19	Buy Share This Song like
13	play	Add to Playlist	Non Confundar	4:34	€1.19	Buy Share This Song like

Album Info

The « Te Deum à grand orchestre » which had its first performance in the Paris Notre-Dame cathedral in June the 3rd 1779 (Corpus Christi), seems at first glance to be scored in the classical French tradition, recalling the « Grand Motet » style. The choir and soloists are bath scored in five parts: « 1er dessus », « 2nd dessus » (1st and 2nd sopranos), « haute-contre », « taille » (tenor) and « basse-taille » (bass). The soloists are referred to collectively as « coriphées » and the choir as « Grand Choeur » , as opposed to a smaller « Petit Choeur » which is used in only one of the work's 13 parts « n° 10 ». The scoring of inner parts for divided violas is also recognizable in contrast to the classical German-Italian tradition of scoring for strings. Immediately at the beginning of the work (n° 1: « Te Deum laudamus ») a prevailing atmosphère of grand majesty, typical of music inlending to express thanks for divine mercy at the end of Louis XVI' s reign; is creased by the grandly unfolded harmonies of the choir and the resplendent orchestration. However stylistic variety is directly apparent in n° 2 ( « Te aeternum Patrem) in passages of extreme delicacy and sweetness (« très doux ») and the tension that results from the contrast between the « coriphées » and the insistant pleading of the choral interventions. Number 3 (« Tibi omnes angeli ») is an aria for « dessus » which is thrice punctuated by the choir and brought to a close by a splendid choral larghetto, « Pleni sunt caeli ». Here follows the first piece n° 4 (« Te gloriosus ») for soloists alone (1 st and 2nd « dessus », « haute-contre » and « basse-taille », thus reinforcing the effect of contrast when the choir enter for the « Tu rex gloriae » (n° 5). These kinds of contrasting forms are present troughout the work : after an aria for « basse-taille » (n° 6 : « Tu devicto mortis aculeo » ) which proclaims victory over death, and the choir's brief and simple « larghetto maestoso » (n° 7 : « Tu ad dexteram Dei ») which imparts a feeling of confidence, emerges a dramatic commencement to n° 8 (« Judex crederis ») which evokes ulterior « Tuba mirum » settings and invites comparison with Berlioz's style. After the bass soloist's declamatory phrase, to be sung« phropheticaliy » (« epropbétiquemera »), a tumultuous passage ensues utilizing an important group of wind and brass instruments (doubled flutes, oboes, clarinets, bassoons and trumpets, four horns and three trombones), string tremolos and timpani as weil as a bass drum (« grosse caisses ») « struck with timpani sticks ». The dynamic effects of the choral and orchestral attacks could hardly be surpassed for their dramatic impact. The following piece (n° 9 : « Te ergo quaesumus »), which begins pianissimo in the choir, is amazingly evocative of passages in Mozart's Requiem before developing into a dialogue between solo soprano and « Grand Choeur ». In n° 10 (« Aeterna fac ») a new expressive sound is introduced with the «Petit Choeur » - here without basses - in an exchange with the soprano soloist. The brief allegro conclusion (« Per singulos dies ») - now with basses - leads directly to the work's first important fugue (n° 11 : « Et laudamus »). With this piece the masterful contrapuntal style of the composer is deployed, the choir and « coriphées » being treated as independant groups throughout. Number 12 (« Dignare Domines ») is a dialogue between the two soprano soloists and the choir which sensitively highlights the most important words of the Latin prosody. The piece gradually builds up to a choral conclusion which expresses confidence in an almost dance-like passage (« In te Domine speravi »). This leads to the great final fugue (n° 13 : « Non confundar »), which offers a gigantic contrapuntal structure in a serie of fugally treated expositions in the choir and episodes sung by the « coriphées ». The work ends with a triumphant coda, designated « bouquet », in which the choir, orchestra and soloists, through series of harmonic sequences, seem to be directly drawn to immeasurable heights. Beate Angelika Kraus

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