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.
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.
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!
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.
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.
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!
Unglaublich spannend, temperamentvoll gestaltet gesungen und perfekt gespielt. Es ist eine grossartige Freude dem Chor und dem Orchester zuzuhören. Herzlichen Dank.
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.
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!
@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).
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.
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!
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 :-)
Stunningly beautiful and majestic. I feel the same awe when listening to the amazing ANDREY NEMZER singing CANTICUM FRATRIS SOLIS. Such humility and inspiration!.
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)
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. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-u5dGgwydwG4.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.
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.
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.
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 RU-vid, 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 ....
@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.
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).
