My dearest friend, my one and only, 2018 gave it to me for Christmas. Since then I just love it. She introduced me to it. May her health and well-being improve and her happiness return to her.
This performance is magnificent on so many levels. All the vocal and instrumental musicians are exquisite both technically and expressively. The conductor has used period instruments and paid the greatest possible attention to stylistic detail and most importantly, the over all effect is beautifully vivid and inspired.
Unglaublich spannend, temperamentvoll gestaltet gesungen und perfekt gespielt. Es ist eine grossartige Freude dem Chor und dem Orchester zuzuhören. Herzlichen Dank.
Fun! We did this in my college choir. We rehearsed all of once with the orchestra, who had never seen the score. Still, it was fun to perform. This choir is pretty much spot on. Well-done.
Goodness me, thank you for posting! I'm singing this tomorrow, and have been having fits with bars 141-166. I think I have FINALLY managed to learn it properly thanks to the clarity and accuracy of this recording.
Always one of my favorites. I've performed in this 5 times, 3 at Carnegie Hall. And I'll do it again in May, 2014 in New York City along with Lord Nelson Mass. A pleasure every time.
I've performed this twice myself, in church, once for a special celebration (I think it may have been a new division of the organ), and once as an Easter anthem - appropriate both times!
Stunningly beautiful and majestic. I feel the same awe when listening to the amazing duet Andrey Nemzer and Charlen Canty singing CANTICUM FRATRIS SOLIS. Such humility and inspiration!
Stunningly beautiful and majestic. I feel the same awe when listening to the amazing duet Andrey Nemzer and Charlene Canty singing CANTICUM FRATRIS SOLIS. Such humility and inspiration!
the tune gives it the original and greater sound.. i love it also very well played. it is without a doubt the best on youtube. Haydn admired mozart but mozart admired him too :-) it was really a two way admiration. sans conteste la meilleur interprétation que j'ai vu ou entendu :-)
@TEgnoto89 This ensemble has tuned to A=430, which among original instrument players is known as "classical pitch". A=440 is "modern", and A= 415 "baroque". This why the instrumentalists are using reproduction of historic instruments; natural trumpets, skin covered timpani, small bore alto, tenor & bass trombones (sackbuts).
Brings back memories... one of the first classical concerts I ever attended. Thanks for posting! The other works that evening were Haydn's Drum Roll Symphony' and his 'Harmony Mass'', performed in an equally crisp manner.
Ahhhh my choir performing this on Tuesday with about 6 hours of practice under our belt. It is a really difficult piece and requires a lot of musicianship but it is beautiful!
Sigiswald and his sibling Wieland are two tremendous and gifted musicians with whom I had my first acquaintance when they released their award winning Corelli concerti with the La Petite Bande. sd goh (malaysia)
Stunningly beautiful and majestic. I feel the same awe when listening to the amazing ANDREY NEMZER singing CANTICUM FRATRIS SOLIS. Such humility and inspiration!.
Listening to this one really understands how brilliant Haydn's music can be, how he was surely exposed to Handel, how he influenced Beethoven, also also where he was exceeded by even a teenage Mozart.
K A Nesiah Let’s stick to Haydn as a correct spelling. You’ve made three good points, but should have put a full stop/period after ‘...Beethoven’. No serious listener with even an elementary knowledge of music would even begin to argue that the 13 year old Mozart’s setting of the Te Deum (K141) written in 1769 exceeds Haydn’s setting of 1799/1800 which is universally accepted as one of the greatest settings of these words ever. More widely, very little of what Mozart was producing as a teenager exceeded what Haydn was producing at the time (the sturm und drang symphonies eg 26, 44, 45, 49, quartets Opus 20, piano sonatas Hob. XVI:20, and 46, et cetera). It is far better to try to understand why the two composers had such a deep admiration for each others’ works than to try to compare the incomparable which inevitably ends in most people making their own subjective judgements.
@@elaineblackhurst1509 Why 13? 19 is also teenage and by then Mozart's rhetorical and technical sophistication was already beyond this excellent work by Haydn. ruclips.net/video/u5dGgwydwG4/видео.html
@@mrknesiah Why 13 ? Because this thread is about Haydn’s late second Te Deum (there is an earlier setting from 1762 or 1763), and you raised Mozart who also wrote one when he was 13. I’m not getting involved in any qualitative comparisons between Mozart and Haydn because it’s as pointless as comparing red with blue. The observation you make about ‘…rhetorical and technical sophistication’ implies a rather deeper knowledge and understanding of one composer over the other, and was certainly something not recognised by Mozart himself. It’s far better - as the two composers did themselves - to try to appreciate their totally different compositional styles; that is what fascinated Mozart about Haydn, and Haydn about Mozart. As a point of interest - or debate - I think Mozart’s first unqualified masterpiece was the piano concerto No 9 ‘Jenamy’ (K271) written in 1777 when he was 21. Some of the teenage prodigy mythology relating to Mozart is in reality, more Amadeus than actual, though many of his youthful works were truly astonishing for one so young, but they were not unique (Mendelssohn for example). The Misericordias Domini is minor, but effective, Salzburg-style piece, and Mozart thought enough of it to send a copy to Padre Martini in Bologna, I think he was particularly pleased with the counterpoint and it appears that he was anxious to receive the imprimatur of the greatest pedagogue of the age.
@@elaineblackhurst1509 Personally, I could think of a few other potential candidates for Mozart’s earliest masterpiece. The Haffner Serenade, Serenata Notturna, any (or all) of the 5 Violin Concerti, Symphony No. 29, but I personally would give that distinction to Symphony No. 25. That being said, however, Mozart at this stage as a symphonist clearly owed a lot to the example put forth by Haydn in the “Sturm und Drang” symphonies particularly. I must admit, I also chose this example because Mozart was a teenager when he wrote No. 25, meaning we can actually compare a teenage Mozart to Haydn. At best, and I’m being charitable, Symphony No. 25 is a match for the “Sturm und Drang” Symphonies of Haydn. By the time Haydn composed this Te Deum, he had evolved well beyond that point and perfected the symphonic model with the London Symphonies. I realize I’m trying to quantify something as qualitative as music, but I’m confident that Mozart himself would agree with the general assessment that Haydn from even the Paris symphonies onward is absolutely miles ahead of where Mozart was when he composed No. 25. Don’t get me wrong, Mozart would certainly come into his own with his own later symphonic attempts, but the very existence of works like the Haydn Quartets prove just how deeply Mozart respected Haydn as a composer and how valuable Haydn’s example was to his own personal development.
Te Deum laudamus: te Dominum confitemur. Te aeternum patrem, omnis terra veneratur. Tibi omnes angeli, tibi caeli et universae potestates: tibi cherubim et seraphim, incessabili voce proclamant: « Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra maiestatis gloriae tuae. » Te gloriosus Apostolorum chorus, te prophetarum laudabilis numerus, te martyrum candidatus laudat exercitus. Te per orbem terrarum sancta confitetur Ecclesia, Patrem immensae maiestatis; venerandum tuum verum et unicum Filium; Sanctum quoque Paraclitum Spiritum. Tu rex gloriae, Christe. Tu Patris sempiternus es Filius. Tu, ad liberandum suscepturus hominem, non horruisti Virginis uterum. Tu, devicto mortis aculeo, aperuisti credentibus regna caelorum. Tu ad dexteram Dei sedes, in gloria Patris. Iudex crederis esse venturus. Te ergo quaesumus, tuis famulis subveni, quos pretioso sanguine redemisti. Aeterna fac cum sanctis tuis in gloria numerari. Salvum fac populum tuum, Domine, et benedic hereditati tuae. Et rege eos, et extolle illos usque in aeternum. Per singulos dies benedicimus te; et laudamus nomen tuum in saeculum, et in saeculum saeculi. Dignare, Domine, die isto sine peccato nos custodire. Miserere nostri, Domine, miserere nostri. Fiat misericordia tua, Domine, super nos, quemadmodum speravimus in te. In te, Domine, speravi: non confundar in aeternum. ------------ À toi Dieu, notre louange ! Nous t’acclamons, tu es Seigneur ! À toi Père éternel, L’hymne de l’univers. Devant toi se prosternent les archanges, les anges et les esprits des cieux ; ils te rendent grâce ; ils adorent et ils chantent : Saint, Saint, Saint, le Seigneur, Dieu de l’univers ; le ciel et la terre sont remplis de ta gloire. C’est toi que les Apôtres glorifient, toi que proclament les prophètes, toi dont témoignent les martyrs ; c’est toi que par le monde entier l’Église annonce et reconnaît. Dieu, nous t’adorons : Père infiniment saint, Fils éternel et bien-aimé, Esprit de puissance et de paix. Christ, le Fils du Dieu vivant, le Seigneur de la gloire, tu n’as pas craint de prendre chair dans le corps d’une vierge pour libérer l’humanité captive. Par ta victoire sur la mort, tu as ouvert à tout croyant les portes du Royaume ; tu règnes à la droite du Père ; tu viendras pour le jugement. Montre-toi le défenseur et l’ami des hommes sauvés par ton sang : prends-les avec tous les saints dans ta joie et dans ta lumière.
Fabulous!!! What a great performance--clear, agile, stylistic, gorgeous and appropriate sound. Wow. Yes, the pitch is slightly under 440, but what of it? The performance doesn't suffer at all.
Haydn was not the teacher of Mozart, and he only taught Beethoven counterpoint - a form of musical grammar - for about 14 months in between his two long visits to England. Beethoven famously reported that from these lessons he ‘…learned nothing from Haydn’, and refused to add the words ‘Pupil of Haydn’ to his Opus 2 piano sonatas dedicated to his so-called ‘teacher’. You’re quite right about the genius bit, something that was recognised unequivocally by Mozart, and rather tetchily by Beethoven.
The unison fortissimo passages in the first Allegro are powerful. As a singer, they bring chills to your spine. The fugue on the final Allegro is what makes this such a challenging piece to perform. The middle Adagio is dramatic, dark, and beautiful. It's a magnificent composition, and both a challenge and fun to perform.
@Timrath I agree on everything, but what you say on the strings. I feel that they really help make this piece what it really is. But that is my opinion, and everyone has their own opinion and I respect that.
When a conductor has energy, it usually helps the group with determination to match it. Sorry if you don't fit in with that, but statistically that's what happens.
J'aime la "direction" de l'Orchestre et du choeur. Par contre, pour diffuser sur RUclips, cela aurait été sublime de chanter pratiquement par coeur....Je pense donc comprendre la raison pour laquelle certains internautes mélomanes et puristes votent avec le pouce en bas !!! Car musicalement, c'est plutôt Bon... !!! Ne trouvez-vous pas que le Chef ressemble à Michel Platini ??? Deux petits mots encore pour vous dire que nous aurons le plaisir de chanter cette oeuvre en clôture du festival d'Antibes le 18 septembre 2015 avec le choeur d'Alain Joutard et avec l'orchestre de Cannes dirigé par Wolfgang Doerner. A condition de bien regarder le Chef, ce n'est pas très difficile... Ensuite nous aurons 2 petites pièces de Mozart et enfin, après entracte, son Requiem... Une très belle soirée en perspective ....
Robert Howard You’re right; Haydn’s Latin was excellent, but the unfamiliar words, along with the elision needed to sing them correctly is much more difficult for non-Latin speakers. Incidentally, Haydn’s French was more than tolerable too, both written and spoken (there are extant letters from Haydn to publishers in England asking them to reply in French), and he made excellent progress with his English after 1791 to the degree that he could write and receive letters to and from Dr Burney in English after he returned to Vienna in 1795, rather than the Italian they had used before. German was of course his madrelingua, and Haydn’s Italian was native fluent* - these were his two natural languages of preference; it’s interesting that Mozart’s beautiful and moving dedication to Haydn at the top of the six ‘Haydn’ quartets was written in Italian rather than their mutual native German. * Some years ago I read a study which had identified that Haydn’s written Italian contained less errors than that of Mozart; I have since unfortunately been unable to track it down.
antiseri The thirteen year old Mozart’s Te Deum (K141) written in 1769 cannot be meaningfully compared with Haydn’s late second setting of the Te Deum (Hob. XXIIIc.2) written thirty years later which is arguably one of the very greatest settings of these words by any composer. A more meaningful comparison with K141 would be with Haydn’s first, much earlier, and rather more old-fashioned setting of c.1762 (Hob. XXIIIc.1).
Mason Goddard One of the most useful cultural related things the EU could do is to establish an accurate, correct and standardised pronunciation of Latin across Europe. Many fine performances are disfigured by grotesque ‘local’ mispronunciations of the language which grate badly on listeners from other countries to the point that some are unendurable.
Te Deum laudamus: te Dominum confitemur. Te æternum Patrem omnis terra veneratur. Tibi omnes Angeli; tibi cæli et universæ Potestates; Tibi Cherubim et Seraphim incessabili voce proclamant: Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt cæli et terra maiestatis gloriæ tuæ Te gloriosus Apostolorum chorus, Te Prophetarum laudabilis numerus, Te Martyrum candidatus laudat exercitus. Te per orbem terrarum sancta confitetur Ecclesia, Patrem immensæ maiestatis: Venerandum tuum verum et unicum Filium; Sanctum quoque Paraclitum Spiritum. Tu Rex gloriae, Christe. Tu Patris sempiternus es Filius. Tu ad liberandum suscepturus hominem, non horruisti Virginis uterum. Tu, devicto mortis aculeo, aperuisti credentibus regna caelorum. Tu ad dexteram Dei sedes, in gloria Patris. Iudex crederis esse venturus. Te ergo quaesumus, tuis famulis subveni: quos pretioso sanguine redemisti. Aeterna fac cum sanctis tuis in gloria numerari. (Adicionado posteriormente, contendo trechos do Salmos:) Salvum fac populum tuum, Domine, et benedic hereditati tuae. Et rege eos, et extolle illos usque in aeternum. Per singulos dies benedicimus te; Et laudamus Nomen tuum in saeculum, et in saeculum saeculi. Dignare, Domine, die isto sine peccato nos custodire. Miserere nostri Domine, miserere nostri. Fiat misericordia tua, Domine, super nos, quemadmodum speravimus in te. In te, Domine, speravi: non confundar in aeternum.
I've sung this many times. "In te domini sperav"i is my favorite section. I love the way the different voice parts each get their chance to shine
It's one of the few choral pieces that allow the altos to carry the melody while the sopranos handle the harmony.
Absolutely! 💯
This is my favorite piece of choral music of all time.
My dearest friend, my one and only, 2018 gave it to me for Christmas. Since then I just love it. She introduced me to it. May her health and well-being improve and her happiness return to her.
Merveilleux!!! le maitre est présent!
My choir has sung this, fabulous piece of music what a thrill to sing such genius.
Finaly... after so many years i found this piece...
Im gonna use this in my film one day.
Grandissimo capolavoro. Capisco che sia stato il capostipite dei grandi Mozart e Beethoven. Grazie Mr Hayden
Haydn viene sia prima che dopo Mozart; ‘il capostipite’ è fuorviante.
This performance is magnificent on so many levels. All the vocal and instrumental musicians are exquisite both technically and expressively. The conductor has used period instruments and paid the greatest possible attention to stylistic detail and most importantly, the over all effect is beautifully vivid and inspired.
I do agree it is a magnificent performance, and I think the conductor knew it, his expression at the end says all.
Unglaublich spannend, temperamentvoll gestaltet gesungen und perfekt gespielt. Es ist eine grossartige Freude dem Chor und dem Orchester zuzuhören. Herzlichen Dank.
Absolument magnifique : son et image, en plus d'une performance musicale fascinante, précise et d'une musicalité étonnante et appréciée. Bravo !!!
Fun! We did this in my college choir. We rehearsed all of once with the orchestra, who had never seen the score. Still, it was fun to perform. This choir is pretty much spot on. Well-done.
This work by Haydn is truly breathtaking - full of passion, energy & excitement - truly monumental! Can't stop listening to it!...
=)
Such a magnificent piece, so nicely performed. When the contrapuntal "In te Domine speravi" comes, I can't help giggle gleefully to myself!
Goodness me, thank you for posting! I'm singing this tomorrow, and have been having fits with bars 141-166. I think I have FINALLY managed to learn it properly thanks to the clarity and accuracy of this recording.
Música que eleva a alma a Deus. Grato pela alegria de ouvir este canto Te Deum. Deus vos abençoe.
Awesome performance of a work I'm listening to for the first time...WOW!!
What lovely work. God bless
Always one of my favorites. I've performed in this 5 times, 3 at Carnegie Hall. And I'll do it again in May, 2014 in New York City along with Lord Nelson Mass. A pleasure every time.
Mark Rubin This setting and Marc Antoine Charpentier's are the best for this liturgical piece!
It’s a piece that singers genuinely love to do. It’s got all sorts of wonderful musical effects, and you don’t have to worry about making mistakes!
I've performed this twice myself, in church, once for a special celebration (I think it may have been a new division of the organ), and once as an Easter anthem - appropriate both times!
Stunningly beautiful and majestic. I feel the same awe when listening to the amazing duet Andrey Nemzer and Charlen Canty singing CANTICUM FRATRIS SOLIS. Such humility and inspiration!
Stunningly beautiful and majestic. I feel the same awe when listening to the amazing duet Andrey Nemzer and Charlene Canty singing CANTICUM FRATRIS SOLIS. Such humility and inspiration!
I hope some people are still able to create music as magnificient as this one in our world, today...
Adoro este Tedeum, es maravilloso
Sang this in college in the 1970s. Great to hear it. Might listen alot and sing along.
Having been looked for this video over 4 years.........Thanks RUclips!
What a great performance! Thank you for this jewel🌷
the tune gives it the original and greater sound.. i love it also very well played. it is without a doubt the best on youtube. Haydn admired mozart but mozart admired him too :-) it was really a two way admiration.
sans conteste la meilleur interprétation que j'ai vu ou entendu :-)
@TEgnoto89
This ensemble has tuned to A=430, which among original instrument players is known as "classical pitch". A=440 is "modern", and A= 415 "baroque". This why the instrumentalists are using reproduction of historic instruments; natural trumpets, skin covered timpani, small bore alto, tenor & bass trombones (sackbuts).
Brings back memories... one of the first classical concerts I ever attended. Thanks for posting!
The other works that evening were Haydn's Drum Roll Symphony' and his 'Harmony Mass'', performed in an equally crisp manner.
Really good recording. We're singing it with only a piano accompanying us. The orchestra adds alot.
Ahhhh my choir performing this on Tuesday with about 6 hours of practice under our belt. It is a really difficult piece and requires a lot of musicianship but it is beautiful!
Sigiswald and his sibling Wieland are two tremendous and gifted musicians with whom I had my first acquaintance when they released their award winning Corelli concerti with the La Petite Bande. sd goh (malaysia)
Stunningly beautiful and majestic. I feel the same awe when listening to the amazing ANDREY NEMZER singing CANTICUM FRATRIS SOLIS. Such humility and inspiration!.
Ils sont très performants. Le choeur n'est pas étoffé et pourtant ils sont bien présents. Belles voix, beaux jeux. Bravo!!
krása! úžasný zvuk sboru.
That was awesome and it sounded great.
Congratulations! Great performance!
Listening to this one really understands how brilliant Haydn's music can be, how he was surely exposed to Handel, how he influenced Beethoven, also also where he was exceeded by even a teenage Mozart.
K A Nesiah
Let’s stick to Haydn as a correct spelling.
You’ve made three good points, but should have put a full stop/period after ‘...Beethoven’.
No serious listener with even an elementary knowledge of music would even begin to argue that the 13 year old Mozart’s setting of the Te Deum (K141) written in 1769 exceeds Haydn’s setting of 1799/1800 which is universally accepted as one of the greatest settings of these words ever.
More widely, very little of what Mozart was producing as a teenager exceeded what Haydn was producing at the time (the sturm und drang symphonies eg 26, 44, 45, 49, quartets Opus 20, piano sonatas Hob. XVI:20, and 46, et cetera).
It is far better to try to understand why the two composers had such a deep admiration for each others’ works than to try to compare the incomparable which inevitably ends in most people making their own subjective judgements.
@@elaineblackhurst1509 Why 13? 19 is also teenage and by then Mozart's rhetorical and technical sophistication was already beyond this excellent work by Haydn. ruclips.net/video/u5dGgwydwG4/видео.html
@@mrknesiah
Why 13 ?
Because this thread is about Haydn’s late second Te Deum (there is an earlier setting from 1762 or 1763), and you raised Mozart who also wrote one when he was 13.
I’m not getting involved in any qualitative comparisons between Mozart and Haydn because it’s as pointless as comparing red with blue.
The observation you make about ‘…rhetorical and technical sophistication’ implies a rather deeper knowledge and understanding of one composer over the other, and was certainly something not recognised by Mozart himself.
It’s far better - as the two composers did themselves - to try to appreciate their totally different compositional styles; that is what fascinated Mozart about Haydn, and Haydn about Mozart.
As a point of interest - or debate - I think Mozart’s first unqualified masterpiece was the piano concerto No 9 ‘Jenamy’ (K271) written in 1777 when he was 21.
Some of the teenage prodigy mythology relating to Mozart is in reality, more Amadeus than actual, though many of his youthful works were truly astonishing for one so young, but they were not unique (Mendelssohn for example).
The Misericordias Domini is minor, but effective, Salzburg-style piece, and Mozart thought enough of it to send a copy to Padre Martini in Bologna, I think he was particularly pleased with the counterpoint and it appears that he was anxious to receive the imprimatur of the greatest pedagogue of the age.
@@elaineblackhurst1509 Personally, I could think of a few other potential candidates for Mozart’s earliest masterpiece. The Haffner Serenade, Serenata Notturna, any (or all) of the 5 Violin Concerti, Symphony No. 29, but I personally would give that distinction to Symphony No. 25.
That being said, however, Mozart at this stage as a symphonist clearly owed a lot to the example put forth by Haydn in the “Sturm und Drang” symphonies particularly. I must admit, I also chose this example because Mozart was a teenager when he wrote No. 25, meaning we can actually compare a teenage Mozart to Haydn. At best, and I’m being charitable, Symphony No. 25 is a match for the “Sturm und Drang” Symphonies of Haydn. By the time Haydn composed this Te Deum, he had evolved well beyond that point and perfected the symphonic model with the London Symphonies. I realize I’m trying to quantify something as qualitative as music, but I’m confident that Mozart himself would agree with the general assessment that Haydn from even the Paris symphonies onward is absolutely miles ahead of where Mozart was when he composed No. 25. Don’t get me wrong, Mozart would certainly come into his own with his own later symphonic attempts, but the very existence of works like the Haydn Quartets prove just how deeply Mozart respected Haydn as a composer and how valuable Haydn’s example was to his own personal development.
It's a good performance. Thank you.
Te Deum laudamus:
te Dominum confitemur.
Te aeternum patrem,
omnis terra veneratur.
Tibi omnes angeli,
tibi caeli et universae potestates:
tibi cherubim et seraphim,
incessabili voce proclamant:
« Sanctus, Sanctus, Sanctus
Dominus Deus Sabaoth.
Pleni sunt caeli et terra
maiestatis gloriae tuae. »
Te gloriosus Apostolorum chorus,
te prophetarum laudabilis numerus,
te martyrum candidatus laudat exercitus.
Te per orbem terrarum
sancta confitetur Ecclesia,
Patrem immensae maiestatis;
venerandum tuum verum et unicum Filium;
Sanctum quoque Paraclitum Spiritum.
Tu rex gloriae, Christe.
Tu Patris sempiternus es Filius.
Tu, ad liberandum suscepturus hominem,
non horruisti Virginis uterum.
Tu, devicto mortis aculeo,
aperuisti credentibus regna caelorum.
Tu ad dexteram Dei sedes,
in gloria Patris.
Iudex crederis esse venturus.
Te ergo quaesumus, tuis famulis subveni,
quos pretioso sanguine redemisti.
Aeterna fac cum sanctis tuis in gloria numerari.
Salvum fac populum tuum, Domine,
et benedic hereditati tuae.
Et rege eos,
et extolle illos usque in aeternum.
Per singulos dies benedicimus te;
et laudamus nomen tuum in saeculum,
et in saeculum saeculi.
Dignare, Domine, die isto
sine peccato nos custodire.
Miserere nostri, Domine,
miserere nostri.
Fiat misericordia tua, Domine, super nos,
quemadmodum speravimus in te.
In te, Domine, speravi:
non confundar in aeternum.
------------
À toi Dieu, notre louange !
Nous t’acclamons, tu es Seigneur !
À toi Père éternel,
L’hymne de l’univers.
Devant toi se prosternent les archanges,
les anges et les esprits des cieux ;
ils te rendent grâce ;
ils adorent et ils chantent :
Saint, Saint, Saint, le Seigneur,
Dieu de l’univers ;
le ciel et la terre sont remplis de ta gloire.
C’est toi que les Apôtres glorifient,
toi que proclament les prophètes,
toi dont témoignent les martyrs ;
c’est toi que par le monde entier
l’Église annonce et reconnaît.
Dieu, nous t’adorons :
Père infiniment saint,
Fils éternel et bien-aimé,
Esprit de puissance et de paix.
Christ, le Fils du Dieu vivant,
le Seigneur de la gloire,
tu n’as pas craint de prendre chair
dans le corps d’une vierge
pour libérer l’humanité captive.
Par ta victoire sur la mort,
tu as ouvert à tout croyant
les portes du Royaume ;
tu règnes à la droite du Père ;
tu viendras pour le jugement.
Montre-toi le défenseur et l’ami
des hommes sauvés par ton sang :
prends-les avec tous les saints
dans ta joie et dans ta lumière.
Thank you so much for posting this!
Excellent, thank you.
BRAVO! BEAUTIFUL!
Fabulous!!! What a great performance--clear, agile, stylistic, gorgeous and appropriate sound. Wow. Yes, the pitch is slightly under 440, but what of it? The performance doesn't suffer at all.
Not for nothing Haydn was teacher of Mozart and beethoven!!!!! Great genius!
Haydn was not the teacher of Mozart, and he only taught Beethoven counterpoint - a form of musical grammar - for about 14 months in between his two long visits to England.
Beethoven famously reported that from these lessons he ‘…learned nothing from Haydn’, and refused to add the words ‘Pupil of Haydn’ to his Opus 2 piano sonatas dedicated to his so-called ‘teacher’.
You’re quite right about the genius bit, something that was recognised unequivocally by Mozart, and rather tetchily by Beethoven.
1:28 Sanctus
1:57 Te gloriosus
2:39 Tu Rex
3:35 Te ergo
4:53 Aeterna
5:45 Dignare
6:16 Miserere
6:40 In te Domino
Excelente
todo maravillosooooo
The three people who dislike this must have had a bad experience with singing this piece, either that or the just have a hard time admiring epic hair.
That was excellent. I think the "pumpkin pie" is the key to the conductor's consummate skill. My hat is all the way off to Sir Pumpkin-Hair.
Now I play it in the orchestra :D in my school
It's beautiful
Dalian 19 Haydn Du bist sdem Ruhm
Magnificent! Flawless.
Beautiful music !
Awesome the very nice choral sound -Ok
After the Bruckner, this is my favorite setting of the Te Deum.
Brilliant!
Magnifique !!!
Love it!
asombrosoooooo....
So succinct, played with everything Hayden would have found agreeable... bravo
Magnificent!
i love this piece im going to post a recording of 1999 tmea all-state choir they did a wonderful recording of this
Great performance of a jubilant piece, and well-recorded. Thanks.
The opening 0:46 has so much energy. :)
Wow the director has awesome hair!
stupendo!!!
opening stanza just extraordinary
The unison fortissimo passages in the first Allegro are powerful. As a singer, they bring chills to your spine. The fugue on the final Allegro is what makes this such a challenging piece to perform. The middle Adagio is dramatic, dark, and beautiful. It's a magnificent composition, and both a challenge and fun to perform.
love it :D x
Bravo
c trés bien fait voila a+ gg
@Timrath I agree on everything, but what you say on the strings. I feel that they really help make this piece what it really is. But that is my opinion, and everyone has their own opinion and I respect that.
What an impressive antidote to dark times!
Parts of the intro are straight from the Heavens are Telling.
The Berioz-like conductor's hair are awesome!
G.R.E.A.T !
When a conductor has energy, it usually helps the group with determination to match it. Sorry if you don't fit in with that, but statistically that's what happens.
Excellent interpretation. Can't help thinking that Kuijken is the spitting image of Berlioz, however!
'tis very interesting to compare this setting with those of Berlioz and Bruckner.
J'aime la "direction" de l'Orchestre et du choeur. Par contre, pour diffuser sur RUclips, cela aurait été sublime de chanter pratiquement par coeur....Je pense donc comprendre la raison pour laquelle certains internautes mélomanes et puristes votent avec le pouce en bas !!! Car musicalement, c'est plutôt Bon... !!! Ne trouvez-vous pas que le Chef ressemble à Michel Platini ???
Deux petits mots encore pour vous dire que nous aurons le plaisir de chanter cette oeuvre en clôture du festival d'Antibes le 18 septembre 2015 avec le choeur d'Alain Joutard et avec l'orchestre de Cannes dirigé par Wolfgang Doerner. A condition de bien regarder le Chef, ce n'est pas très difficile... Ensuite nous aurons 2 petites pièces de Mozart et enfin, après entracte, son Requiem... Une très belle soirée en perspective ....
Le chef ressemble à Michel Platini en effet 😅
geniale
Nunca había visto a un mimo dirigir una orquesta.
The conductor's hair is mesmerizing XD
I get the feeling that's a little how Beethoven looked when he conducted.
HAHAHAHAH!!!
What a pity it's not performed more often. In the UK, if not elsewhere, it seems to have been overshadowed by The Creation and various masses
I noticed in the description you said that this is a short piece, but when you have to learn this all for honors choir, its a pretty long piece lol
I think what makes the piece tricky for chorus is the extensive latin text that must be deliver at a rapid tempo.
Robert Howard
You’re right; Haydn’s Latin was excellent, but the unfamiliar words, along with the elision needed to sing them correctly is much more difficult for non-Latin speakers.
Incidentally, Haydn’s French was more than tolerable too, both written and spoken (there are extant letters from Haydn to publishers in England asking them to reply in French), and he made excellent progress with his English after 1791 to the degree that he could write and receive letters to and from Dr Burney in English after he returned to Vienna in 1795, rather than the Italian they had used before.
German was of course his madrelingua, and Haydn’s Italian was native fluent* - these were his two natural languages of preference; it’s interesting that Mozart’s beautiful and moving dedication to Haydn at the top of the six ‘Haydn’ quartets was written in Italian rather than their mutual native German.
* Some years ago I read a study which had identified that Haydn’s written Italian contained less errors than that of Mozart; I have since unfortunately been unable to track it down.
6:40 best part
OTTIMO
😍
bravi !
Excelente.
Michel Platiní es el director?
the size of the orchestra is not in proportion to the chorus which is small
@indians032691
In fact, he looks like an Oopa-Loompa. But he's a great conductor!
arrassu i nui e i tutti!!!!!!!!!!!!!!!!!!
@belianis : try to hear the "Mozart" Te Deum ... maybe change your mind! :-)
antiseri
The thirteen year old Mozart’s Te Deum (K141) written in 1769 cannot be meaningfully compared with Haydn’s late second setting of the Te Deum (Hob. XXIIIc.2) written thirty years later which is arguably one of the very greatest settings of these words by any composer.
A more meaningful comparison with K141 would be with Haydn’s first, much earlier, and rather more old-fashioned setting of c.1762 (Hob. XXIIIc.1).
Am I the only one to hear a windows error-sound right at the end of the video?
You obviously don't understand what a conductors energy does to the actual group singing.
I love this piece but hate that's it not tuned to a440
Very nice. One thing really bugged me, though: they sang "qu" as "kw, " instead of "kv."
Mason Goddard
One of the most useful cultural related things the EU could do is to establish an accurate, correct and standardised pronunciation of Latin across Europe.
Many fine performances are disfigured by grotesque ‘local’ mispronunciations of the language which grate badly on listeners from other countries to the point that some are unendurable.
Te Deum laudamus: te Dominum confitemur.
Te æternum Patrem omnis terra veneratur.
Tibi omnes Angeli; tibi cæli et universæ Potestates;
Tibi Cherubim et Seraphim incessabili voce proclamant:
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth.
Pleni sunt cæli et terra maiestatis gloriæ tuæ
Te gloriosus Apostolorum chorus,
Te Prophetarum laudabilis numerus,
Te Martyrum candidatus laudat exercitus.
Te per orbem terrarum sancta confitetur Ecclesia,
Patrem immensæ maiestatis:
Venerandum tuum verum et unicum Filium;
Sanctum quoque Paraclitum Spiritum.
Tu Rex gloriae, Christe.
Tu Patris sempiternus es Filius.
Tu ad liberandum suscepturus hominem,
non horruisti Virginis uterum.
Tu, devicto mortis aculeo,
aperuisti credentibus regna caelorum.
Tu ad dexteram Dei sedes, in gloria Patris.
Iudex crederis esse venturus.
Te ergo quaesumus, tuis famulis subveni:
quos pretioso sanguine redemisti.
Aeterna fac cum sanctis tuis in gloria numerari.
(Adicionado posteriormente, contendo trechos do Salmos:)
Salvum fac populum tuum, Domine, et benedic hereditati tuae.
Et rege eos, et extolle illos usque in aeternum.
Per singulos dies benedicimus te;
Et laudamus Nomen tuum in saeculum, et in saeculum saeculi.
Dignare, Domine, die isto sine peccato nos custodire.
Miserere nostri Domine,
miserere nostri.
Fiat misericordia tua, Domine, super nos,
quemadmodum speravimus in te.
In te, Domine, speravi: non confundar in aeternum.
The conductor looks to me a bit like Berlioz.... :D
This and Marc Antoine Charpentier's setting rule!
Almost sounds like the Hallelujah from Messiah. At least the orchestral introduction does.