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THE DETTINGEN TE DEUM

George Frideric Handel Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)
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1. The Dettingen Te Deum: We Praise Thee, O God
2. The Dettingen Te Deum: All The Earth Doth Worship Thee
3. The Dettingen Te Deum: To Thee All Angels Cry Aloud
4. The Dettingen Te Deum: To Thee Cherubim And Seraphim
5. The Dettingen Te Deum: The Glorious Company Of Th'apostles
6. The Dettingen Te Deum: Thine Honourable, True, And Only Son
7. The Dettingen Te Deum: Thou Art The King Of Glory
8. The Dettingen Te Deum: When Thou Tookest Upon Thee
9. The Dettingen Te Deum: When Thou Hadst Overcome The Sharpness Of Death
10. The Dettingen Te Deum: Thou Didst Open The Kingdom Of Heaven
11. The Dettingen Te Deum: Thou Sittest At The Right Hand Of God
12. The Dettingen Te Deum: (Adagio)
13. The Dettingen Te Deum: We Therefore Pray Thee
14. The Dettingen Te Deum: Make Them To Be Number'd
15. The Dettingen Te Deum: Day By Day We Magnify
16. The Dettingen Te Deum: And We Worship Thy Name
17. The Dettingen Te Deum: Vouchsafe, O Lord
18. The Dettingen Te Deum: O Lord, In Thee Have I Trusted
19. The Dettingen Anthem: The King Shall Rejoice
20. The Dettingen Anthem: His Honour Is Great
See all 23 tracks on this disc

Product Description

Product Description

Handel composed this massive Dettingen Te Deum to commemorate the British defeat of the French in 1743. It's a grand work very much like his famous Messiah composed the previous year though Handel employs even larger orchestral and choral forces here. Director Simon Preston wastes no time in pulling out all the stops and all (especially the brass and percussion sections!) deliver highly rousing, exciting performances throughout. Included also is Handel's Dettingen Anthem- the perfect though strangely rarely recorded sensible coupling. Archiv's full-bodied, richly-detailed sound as well is absolutely stupendous!

Amazon.ca

Preston et Pinnock font toujours le pari de la puissance et de la persuasion lourde quant à l'approche de l'oeuvre de Haendel. Et cela marche ! Avec pour soutiens Stephen Varcoe (baryton), Christopher Tipping (haute-contre) ainsi que l'imposant choeur de l'Abbaye de Westminster, l'English Concert de Pinnock traverse cette oeuvre imposante avec une même constance : un désir gourmand de livrer une interprétation héroïque. Mission accomplie. --Eric Frank

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5.0 out of 5 stars MUSIC'S OWN MICHELANGELO March 21 2004
Format:Audio CD
Given the right performance, Handel's Dettingen Te Deum is one of the most marvellous musical experiences I know. It was written, like the much slighter Dettingen anthem, to celebrate the comic-opera victory of King George the second over a startled Franco-Bavarian army in 1743. His Majesty's Anglo-Hanoverian troops had seemingly been trapped, but the King's horse bolted, his army took the spectacle for a heroic charge and followed with such gusto that the opposing forces snatched improbable defeat from the jaws of seeming victory. Thus cast as an unlikely war hero, the runcible monarch saw his chance and commissioned the two works from Handel.
A good many years ago a French performance with English soloists helped restore the Te Deum to the repertory after doing the necessary research into Handel's real intentions and restoring a proper balance between chorus and soloists to what had been presented previously as a lumbering and monotonous effort consisting almost entirely of chorus, and in consequence very understandably ignored. The performance was not particularly successful, and very dully recorded into the bargain, but it laid the groundwork for later interpreters more at home with the style. Listening to this absolutely superlative account from Preston and his Westminster Abbey performers I still feel a sense of gratitude to its predecessor for making me familiar with the work in the first place. There still seems to be a minor area of doubt regarding the precise nature of the some of the solos - the French version from Grimbert has two sopranos, Preston has a male alto but no women soloists and whether for that reason or simply through a better stylistic grasp the effect here is much preferable.
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Amazon.com: 4.8 out of 5 stars  8 reviews
30 of 31 people found the following review helpful
5.0 out of 5 stars MUSIC'S OWN MICHELANGELO March 21 2004
By DAVID BRYSON - Published on Amazon.com
Format:Audio CD
Given the right performance, Handel's Dettingen Te Deum is one of the most marvellous musical experiences I know. It was written, like the much slighter Dettingen anthem, to celebrate the comic-opera victory of King George the second over a startled Franco-Bavarian army in 1743. His Majesty's Anglo-Hanoverian troops had seemingly been trapped, but the King's horse bolted, his army took the spectacle for a heroic charge and followed with such gusto that the opposing forces snatched improbable defeat from the jaws of seeming victory. Thus cast as an unlikely war hero, the runcible monarch saw his chance and commissioned the two works from Handel.
A good many years ago a French performance with English soloists helped restore the Te Deum to the repertory after doing the necessary research into Handel's real intentions and restoring a proper balance between chorus and soloists to what had been presented previously as a lumbering and monotonous effort consisting almost entirely of chorus, and in consequence very understandably ignored. The performance was not particularly successful, and very dully recorded into the bargain, but it laid the groundwork for later interpreters more at home with the style. Listening to this absolutely superlative account from Preston and his Westminster Abbey performers I still feel a sense of gratitude to its predecessor for making me familiar with the work in the first place. There still seems to be a minor area of doubt regarding the precise nature of the some of the solos - the French version from Grimbert has two sopranos, Preston has a male alto but no women soloists and whether for that reason or simply through a better stylistic grasp the effect here is much preferable.
It is not really very long ago that a fatuous sport consisting of tracing alleged borrowings by Handel was played out on Israel in Egypt and this Te Deum as favourite turfs. It was great fun in its silly way. This work was charged as having been largely borrowed from a Te Deum by one Urio, and a counter-charge by Handel's loyal if uninformed champions maintained that Urio was a place not a person and that Handel was himself the author of the Urio Te Deum. Tovey was not especially well versed in the issue but he said the most sensible thing in many years when he remarked simply that the phrases being battled over were tags that anyone at all might have written and that trying to draw any conclusions from them out of context was completely pointless and futile. Tovey rightly drew attention to the magnificence of the start, and his vivid phrase came back to me as I heard that on this disc, where `the orchestra...batters out a sledgehammer tattoo on the tonic and dominant'. In the sheer power of making a musical statement, in the sheer sense of how to put words to music, in his instinct for timing and in his feeling for choral tone Handel at his greatest has an uncomfortable way of making every other composer seem almost an amateur. The great opening proclamations with their long pauses marked out by a ticking beat on the violins, and the intonations of `Holy, holy, holy' which the cherubim and seraphim continually do cry `continually, continually, continually, continually...', things like this were never borrowed from Urio or from anyone.
The performance seems to me completely outstanding in its professionalism, instinct for the idiom of the time and the idiom of this composer in particular. The recording matches it, as you will appreciate straightaway in the opening phrases. As a makeweight I am very pleased also to have the Dettingen anthem, not a masterpiece comparable with its great companion, but something that if I had been George II I would have thought myself lucky enough to have received as a tribute just on its own.
10 of 10 people found the following review helpful
5.0 out of 5 stars Augustan Pomp, Piety and Pathos Feb. 2 2008
By Leslie Richford - Published on Amazon.com
Format:Audio CD
George Frideric Handel (1685-1759): Dettingen Te Deum and Dettingen Anthem. Performed by the Choir of Westminster Abbey (soloists: Christopher Tipping, alto, Harry Christophers, tenor, Stephen Varcoe, bass, and Michael Pearce, bass), the English Concert, Trevor Pinnock (organ), directed by Simon Preston. Recorded at the Henry Wood Hall, London, England in 1982/1983. Released in 1984 as Deutsche Grammophon Archiv 410 647-2. Total playing time approx. 53 minutes.

After listening to this CD, the first thing I wanted to do was to celebrate Handel, who, although today rightly acclaimed as a composer of opera, was a masterful writer of occasional festive music for the Royal household. The music on this disc is all that the lover of "Messiah" could desire: Festive trumpets, a delightfully English-sounding choir with boy trebles and male altos, a male alto soloist who, to my ears, was just the right man for the job, and an English Concert which supports the choir with spot-on playing (apart from the three trumpets, there are timpani, four oboes, two bassoons, twelve violins, three cellos, two violones and organ). Oh, and there are those wonderful Biblical texts, taken mainly but not solely from the Psalms, which, although perhaps used rather freely to celebrate the English King, resound with a piety which, unfortunately, has been lost since that time (1743). As someone else has written a brilliant review with more background, I needn't say more - except that Deutsche Grammophon's fantastic engineering will not disappoint you. If you have enjoyed the last part of "Messiah" or the "Coronation Anthems", then you won't want to miss this!
1 of 1 people found the following review helpful
4.0 out of 5 stars Interesting June 20 2013
By James Freeman - Published on Amazon.com
Format:Audio CD|Verified Purchase
This is a CD replacement for an older LP version no longer available. It reflects the current fashion for 'Original instrument' productions of Baroque and earlier work. It is well, but unexcitingly, performed with the precision I have come to expect from the conductor, Simon Preston.
1 of 1 people found the following review helpful
5.0 out of 5 stars Handel Te Deum June 13 2013
By kiddiecarr - Published on Amazon.com
Format:Audio CD|Verified Purchase
It's beautiful, as is Handel always. I enjoy the familiar sounds of the handelian progressions, ending always in IV-I.I'm glad you called it to my attention. Thanks.
1 of 1 people found the following review helpful
5.0 out of 5 stars An Excellent Recording Using Historical Instruments! Jan. 27 2013
By HillClimber - Published on Amazon.com
Format:Audio CD|Verified Purchase
This composition is not heard as often as Handsl's Messiah. But, it is of equal brilliance. In particular, Handel makes more outstanding use of natural trumpets and tympani in a plethora of passages. The rapid lip trills implemented on natural trumpets are truly impressive.
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