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 ...(+)
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.
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.
The work was originally composed for eight soloists and
choir, accompanied with the instrumental ensemble of
one violin, two violas, double bass violon, flute,
oboe, and bassoon. The continuo part would have been
performed by organ, and was supported by a viola da
gamba. I created this arrangement for Woodwind Quartet
(Flute, Oboe, Bb Clarinet and Bassoon).