Handel: Dettingen Te Deum [Import]

Gerorge Frideric Handel (Composer), Simon Preston (Conductor), Trevor Pinnock (Conductor), Westminster Abbey Cho (Performer) | Format: Audio CD

Product Details

• Performer: Westminster Abbey Cho
• Conductor: Simon Preston, Trevor Pinnock
• Composer: Gerorge Frideric Handel
• Audio CD (May 18, 1984)
• SPARS Code: DDD
• Number of Discs: 1
• Format: Import
• Label: Archiv / Polygram Int'l
• ASIN: B00000E2NZ
• In-Print Editions: MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
• Amazon Best Sellers Rank: #106,430 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

25 of 26 people found the following review helpful:

5.0 out of 5 stars MUSIC'S OWN MICHELANGELO, March 21, 2004

By 

DAVID BRYSON (Glossop Derbyshire England) - See all my reviews
(TOP 500 REVIEWER)    (VINE VOICE)    (REAL NAME)   

This review is from: Handel: Dettingen Te Deum (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.

8 of 8 people found the following review helpful:

5.0 out of 5 stars Augustan Pomp, Piety and Pathos, February 2, 2008

By 

Leslie Richford (Selsingen, Lower Saxony) - See all my reviews
(REAL NAME)   

This review is from: Handel: Dettingen Te Deum (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!