Te Deum
op. 103, 1892
In 1892 Dvorák received a prestigious commission from New York to write a festive cantata to commemorate the 400th anniversary of Christopher Columbus’s discovery of America. In response he wrote an impressive work in a very short space of time – his Te Deum, which expresses in celebratory style the old hymn of praise in four effective, contrasting sections. In preparing the Carus edition, a careful assessment has been made of the variant readings of the autograph score and first printed edition, drawing on these as sources. The result is that the work is newly available in a modern, scholarly edition. The complete performance material is available on sale.
Thanks to an arrangement by J. Linckelmann (Carus 27.189/50), it is possible to perform the work in smaller settings.
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Composer
Antonín Dvorák
| 1841-1904Antonín Dvorák (1841-1904), next to Smetana and Janacek the most important exponent of specifically Czech music, now ranks (also in general) as one of the most popular composers of the nineteenth century. The son of a butcher-innkeeper in the Bohemian town of Nelahozeves (Mühlhausen) near Kralup, he first became known in his homeland for his patriotic hymn "The Heirs of the White Mountain" for chorus and orchestra, op.30, that he wrote in 1872. His road out into the world was opened by a commission consisting of Johannes Brahms, Eduard Hanslick and Johann von Herbeck, that selected him for an Austrian government stipend. Brahms, who was seven years the elder, took a friendly interest in his younger colleague whose eminent talent he had recognized and had come to admire. (Brahms: "That fellow has more ideas than all of us together. Every other composer could cull main themes from what he throws away.") Brahms recommended Dvo"rák to his Berlin publisher, Simrock, who later became Dvo"rák's chief publisher though he was obstinate and at first quite difficult. International fame came to Dvo"rák as a composer and – beginning in 1884 – as conductor of his own works mainly through his sensational successes in England (he went there for lengthy sojourns a total of nine times) and in the United States (two long visits spent in teaching and composing). His success was sparked chiefly by a sacred work, his Stabat Mater that was written in 1876 (Carus 27.293/03). Right until his late period, church music was never missing from the list of his important compositions: the symphonic poems, the operas (among them "Rusalka"), the symphonies, the string quartets and other chamber music works, the oratorio "St. Ludmila" - and the Slavonic Dances op.46 and op.72. To the Stabat Mater op.58 (1876/77) mentioned above, he added the "149th Psalm" op.79 (1879/87), the Requiem op.89 (1890) (Carus 27.323) and the Te Deum op.103 (1892) (Carus 27.189). Personal details
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Editor
Lucie Harasim
| 1979
Reviews
... Dieses von einem außerordentlich breiten Spektrum an Ausdrucksmöglichkeiten geprägte Opus ist mit dieser makellosen Edition zweifellos in die bedeutende Reihe seiner übrigen kirchenmusikalischen Werke, „Stabat mater“, Requiem“ und „Messe D-Dur“ einzugliedern. (ab)
Kirchenmusik im Bistum Limburg, 1/ 2019
... Daraufhin komponierte er [Dvorak] binnen kurzer Zeit ein imponierendes Werk - sein „Te Deum“, das in vier effektvoll kontrastierenden Teilen dem alten Lobgesang feierlichen Ausdruck verleiht. Die Carus-Edition zieht in sorgfältiger Abwägung der Lesarten Partiturautograph und Erstdruck als Quellen heran und macht so das Werk in einer modernen wissenschaftlichen Ausgabe neu zugänglich.
musik & liturgie, 6.18 und Kirchenmusikalische Mitteilungen der Diözese Rottenburg-Stuttgart, April 2018
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