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Händel, Georg Friedrich: Te Deum

complete edition

Edited by Beeks, Graydon
器乐创作: Mixed Choir(STTTB),Recorder,Ob,Trp,2V,Bassi(Vc,Db,Org)
时期: Baroque
Weight: 0.91 kg
出版者: Bärenreiter
刊物代码: BA10708-01
其他出版代码: BA10708-01
ISMN: 9790006550272
Handel composed his 'Te Deum' in B flat major HWV 281 in 1718 for the future Duke of Chandos, which explains the nickname 'Chandos Te Deum'. In this edition, the work is named after the place of its first performance: 'Te Deum for Cannons'.
The unusual instrumentation consisting of flute, oboe (one of each), one bassoon, one trumpet, two violins, basso continuo, and choir (one soprano, three tenors, and one bass) might have been a result of the number of musicians available for performance. Incidentally, the masque 'Acis und Galatea', composed around the same time, is also scored for three tenors. The work bears some resemblance to the 'Utrecht Te Deum', however, the intimate scoring results in a chamber music feel.
This academic-critical edition reflects the most current research in musical, philological, and historical respects. As the scoring is somewhat unusual and the work's transmission rather complex, the part of the preface dealing with performance practice should be of s pecial interest.
100 Years of Bärenreiter

In the autumn of 1923, a young man produced the first music editions of his newly founded publishing house in his parents’ living room. He named his company Bärenreiter. In the spring of 1924 when Karl Vötterle came of age, he was able to register it with the German Publishers and Booksellers Association. At first, he mainly put out folk song collections, church as well as organ music including early music by Leonhard Lechner and Heinrich Schütz, at the time primarily known in specialist circles.

During the last months of the Second World War, the publishing house in Kassel was destroyed and once more a fresh beginning had to be made. With the start of the extensive German music encyclopaedia MGG – "Musik in Geschichte und Gegenwart" – as well as numerous series of scholarly-critical complete editions such as the “New Mozart Edition” and the “New Bach Edition”, the visionary founder of the publisher created the basis for the further development of Bärenreiter. The musicological editions increasingly aroused interest abroad, and Bärenreiter found itself on an expansion course.

When Karl Votterle died in 1975, his daughter Barbara took over the helm, supported by her husband Leonhard Scheuch. Under their leadership, the catalogue grew significantly and the brand BÄRENREITER URTEXT was established. Finally, in 2003, their son Clemens Scheuch joined the publisher which today he is managing together with his parents. Thus Bärenreiter has remained a family business to this day and has become a company of international standing in the world of classical music.

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