As an acclaimed opera composer, Georges Bizet admitted that he had no real sensibility for sacred music. His Te Deum is nonetheless a truly fascinating and highly expressive work. From the majestic “Te Deum laudamus”, to the skillful choral fugue of “Fiat misericordia tua”, and the opening’s powerful recapitulation, the composition shows no trace of the difficulties that beset the young Bizet by his own admission before he finally completed the work in 1858.

In the extensive trilingual preface to this Urtext edition, editor Marc Rigaudière illuminates the circumstances surrounding the composition of the Te Deum, a work which occupies a singular position in Bizet’s œuvre. The edition is based on the composer’s autograph score — the work’s only surviving source. 

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Full score, foreword in German, English and French Carus 27.187/00, ISMN 979-0-007-25459-9 88 pages, paperback
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Vocal score Carus 27.187/03, ISMN 979-0-007-25460-5 40 pages, paperback
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Choral score Carus 27.187/05, ISMN 979-0-007-25461-2 16 pages, DIN A4, without cover Minimum order quantity: 20 copies
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Set of parts, complete orchestral parts, for hire Carus 27.187/19, ISMN 979-0-007-30220-7 23 x 32 cm, without cover
  • 1 x Set of parts, harmony parts, for hire, flute 1, flute 2, oboe 1, oboe 2, clarinet 1, clarinet 2, bassoon 1, bassoon 2, trumpet 1 and 2, french horn 1, french horn 2, french horn 3, french horn 4, trombone 1, trombone 2, trombone 3 / ophicleide (tuba), timpani, harp (27.187/09)
     
    8 x Individual part, violin 1, for hire (27.187/11)
     
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Full score digital (download), pdf file Carus 27.187/00-010-000, ISMN 979-0-007-30181-1 88 pages, paperback
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Vocal score digital (download), pdf file Carus 27.187/03-010-000, ISMN 979-0-007-34746-8 40 pages
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Set of parts digital (download), zip file, pdf file, complete orchestral parts, for hire Carus 27.187/19-010-000 23 x 32 cm
  • 1 x Set of parts digital (download), zip file, pdf file, harmony parts, for hire (27.187/09-010-000)
     
    8 x Individual part digital (download), pdf file, violin 1, for hire (27.187/11-010-000)
     
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    6 x Individual part digital (download), pdf file, viola, for hire (27.187/13-010-000)
     
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    4 x Individual part digital (download), pdf file, double bass, for hire (27.187/15-010-000)
     
  • Georges Bizet (1838-1875) achieved one of the greatest successes in the history of the genre with his opera Carmen (1875). Although it was not particularly well received by audiences at first, contemporary composers such as Debussy, Tchaikovsky and Brahms recognised the qualities of the work, which was later reflected in its popularity. Today, the opera is one of the most popular in the repertoire. However, contemporary composers such as Debussy, Tchaikovsky and Brahms recognised the qualities of the work, which was later reflected in its popularity – today, the opera is one of the most performed worldwide. Apart from this opera, Bizet composed several other works despite his short life, including many songs, piano music and sacred music. Personal details
  • Marc Rigaudière is a professor of musicology at the University of Reims Champagne-Ardenne (URCA) and at the Center for Research and Higher Education in Cultural History (CERHiC) there. As early as 1993, Marc Rigaudière was the first prize-winner in the subject of musical analysis at the Paris Conservatoire (CNSMDP). This was followed by a doctorate from the University of Paris Sorbonne in 2002 and a habilitation in 2019. Marc Rigaudière has held teaching positions at various universities, including the conservatory in Metz and the Sorbonne in Paris. His main fields of research are music theory and musical analysis, among other things, he is concerned with Franco-German cultural transfer in the field of music theory. Since 2002, he has devoted himself to the scholarly editing of musical works in collaboration with Carus-Verlag. His complete list of publications can be found here: https://cv.hal.science/marc-rigaudiere Personal details

Reviews

… ein relativ kurzes, aber intensives und spannendes Werk … mit vier Teilen einer Aufführungsdauer von knapp 20 Minuten. … Der Druck und die Aufmachung der Urtext-Ausgabe sind sehr gut.
Württembergische Blätter für Kirchenmusik, Sept/Okt 2024

…ein faszinierendes, ausdrucksstarkes Werk. … Die Edition beruht auf der einzigen erhaltenen Quelle, dem Autograph des Komponisten. Erstmals ist das Werk mit dem kompletten Material käuflich erhältlich.
Musik & Liturgie, 05/2024

Die mustergültige musikwissenschaftliche Aufarbeitung spiegelt sich in dem ausführlichen Vorwort und einem kritischen Bericht wider.
Andreas Sagstetter, Musica Sacra, 02/2024

Die Ausgabe ist ansprechend und in gewohnter Qualität.
Kirchenmusik im Bistum Limburg, 01/2024

Vorbildlich ist dagegen das breite Angebot dieser Ausgabe, zu der nun erstmals neben der klar gestalteten Partitur und dem gut spielbaren Klavierauszug auch das Orchestermaterial käuflich erworben werden kann.
Chorzeit, Juli/Aug 2023

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Frequent questions about this work

What instrument, if any, can replace the ophicleide?

The historical ophicleide can be replaced by the tuba. In German-speaking countries, the ophicleide was little used, having been supplanted early on by the tuba. In France and many other countries, however, it was used throughout the 19th century.
Presumably the harp part was doubled.
In the French tradition, the word “dessus” refers to the highest voice of an instrument family and correspondingly also to the highest vocal voice. This can be divided into I and II. The “dessus II” therefore usually has a somewhat higher register than the alto of a choir; it corresponds more to a soprano II or mezzo-soprano. In the present work, therefore, some parts of the “dessus II” are quite high for the alto. Often, however, all voices run in unison there, so that low focussing is no problem. Other passages can be easily adapted with small modifications (please see the editor's notes in the preface).
Due to the instrumentation with only two timpani, as prescribed in the sources, the notes to be played lie outside the harmony in some places and dissonances arise. However, out-of-harmony notes in the timpani were commonplace in Bizet’s time, and listeners were used to them. Bizet prescribes only two timpani. Those who want to avoid dissonances use three timpani.
The work can be combined very well with the “Messe solennelle de sainte Cécile” of Charles Gounod (Carus 27.095/00).
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