Marc-Antoine Charpentier (1643-1704) was a French composer of the Baroque e… Read Full Bio ↴Marc-Antoine Charpentier (1643-1704) was a French composer of the Baroque era.
He was a prolific and versatile composer, producing music of the highest quality in several genres. His mastery in the composition of sacred vocal music was recognised and acknowledged by his contemporaries.
Charpentier was born in or near Paris, the son of a master scribe who had very good connections to influential families in the Parlement of Paris. Marc-Antoine received a very good education, perhaps with the help of the Jesuits, and registered for law school in Paris when he was eighteen.
He was in Rome, probably between 1667 and 1669, and studied with Giacomo Carissimi. There is a legend that Charpentier initially travelled to Rome to study painting before he was discovered by Carissimi. This story is undocumented and possibly untrue. Regardless, he acquired a solid knowledge of the contemporary Italian practice that he brought to France upon his return.
Most likely he worked for Marie de Lorraine, duchesse de Guise on his return to France, as her house composer, until her death in 1688. During this time he composed a considerable quantity of dramatic secular vocal works, as well as Psalm settings, hymns, a Magnificat setting, a mass, and motets, which he called stories and canticum.
Beginning around 1672, he worked with Molière, after Molière's falling out with Jean-Baptiste Lully. During the 1680s Charpentier served as maître de musique at the Jesuits' Paris church of St. Louis. In addition, Charpentier served as the music teacher to Philippe, Duke of Chartres. Charpentier was appointed Maître de musique à la Sainte Chapelle in 1698, a post he held until his death on 24th February 1704. One of his most famous compositions during his tenure was the Mass "Assumpta Est Maria" (H.11).
His compositions include oratorios, masses, operas, and numerous smaller pieces that are difficult to categorise. Many of his smaller works for one or two voices and instruments resemble the Italian cantata of the time, and share most features except for the name: Charpentier calls them airs sérieux or airs à boire if they are in French, but cantata if they are in Italian.
He was a prolific and versatile composer, producing music of the highest quality in several genres. His mastery in the composition of sacred vocal music was recognised and acknowledged by his contemporaries.
Charpentier was born in or near Paris, the son of a master scribe who had very good connections to influential families in the Parlement of Paris. Marc-Antoine received a very good education, perhaps with the help of the Jesuits, and registered for law school in Paris when he was eighteen.
He was in Rome, probably between 1667 and 1669, and studied with Giacomo Carissimi. There is a legend that Charpentier initially travelled to Rome to study painting before he was discovered by Carissimi. This story is undocumented and possibly untrue. Regardless, he acquired a solid knowledge of the contemporary Italian practice that he brought to France upon his return.
Most likely he worked for Marie de Lorraine, duchesse de Guise on his return to France, as her house composer, until her death in 1688. During this time he composed a considerable quantity of dramatic secular vocal works, as well as Psalm settings, hymns, a Magnificat setting, a mass, and motets, which he called stories and canticum.
Beginning around 1672, he worked with Molière, after Molière's falling out with Jean-Baptiste Lully. During the 1680s Charpentier served as maître de musique at the Jesuits' Paris church of St. Louis. In addition, Charpentier served as the music teacher to Philippe, Duke of Chartres. Charpentier was appointed Maître de musique à la Sainte Chapelle in 1698, a post he held until his death on 24th February 1704. One of his most famous compositions during his tenure was the Mass "Assumpta Est Maria" (H.11).
His compositions include oratorios, masses, operas, and numerous smaller pieces that are difficult to categorise. Many of his smaller works for one or two voices and instruments resemble the Italian cantata of the time, and share most features except for the name: Charpentier calls them airs sérieux or airs à boire if they are in French, but cantata if they are in Italian.
Te Deum
Marc-Antoine Charpentier Lyrics
We have lyrics for 'Te Deum' by these artists:
Antoni Wit Warsaw National Philharmonic Choir and Orchestra Te Deum laudamus Te Dominum confitemur Te aeternum patrem Om…
Benedictine Monks Of The Abbey Of St Maurice & St Maur Clervaux Te Deum laudamus: te Dominum confitemur. Te aeternum Patrem …
Benedictine Monks of the Abbey of St. Maurice & St. Maur Clervaux We praise thee, O God: we acknowledge thee to be…
Benedictine Monks of the Abbey of St. Maurice & St. Maur Clevaux We praise thee, O God: we acknowledge thee to be…
Benjamin Nicholas We praise thee, O God: we acknowledge thee to be…
Choir Of St. John's College Cambridge George Guest & Peter White We praise thee, O God: we acknowledge thee to be…
Coro Arquidiocesano de Santa Fé De la Vera Cruz Te Deum laudamus: te Dominum confitemur. Te aeternum patrem,…
Fvck_kvlt Oh konečne cítim tú nádej Je falošná a krátka Studená ako zá…
George Guest Peter White & St. John's College Choir Cambridge We praise thee, O God: we acknowledge thee to be…
Harry Christophers: The Sixteen Choir & Orchestra Te Deum laudamus Te Dominum confitemur Te aeternum patrem Om…
John Michael Talbot Te Deum Laudamus You are God and we praise You You are…
London Symphony Orchestra Te Deum laudamus Te Dominum confitemur Te aeternum patrem Om…
Padre João Carlos Te Deum laudamus Te Deum laudamus A ti ó Deus, louvamos, A …
St. Thomas Aquinas Seminary We praise thee, O God: we acknowledge thee to be…
The Priests Te te Deum laudamus* Te te Dominum confitemur Te aeternum Pa…
We have lyrics for these tracks by Marc-Antoine Charpentier:
Intro Let me pop my shit right fast A Yea Yea (Yea…
Les Pleurs ALCIONE Quoi, les soupirs et les pleurs d’Alcione Ne pourron…
Prelude PELÉE Ô nuit ! Redouble des ténèbres, Délivre mes regards d…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Aleksandr Solzhenitsyn
1.
Marc Antoine Charpentier (1643-1704)
Te Deum en Do mayor, H 146 (Preludio)
ES UNA MÚSICA QUE TODOS ESCUCHAMOS con frecuencia, y por fuerza nos resulta conocida, porque ha sido adoptada como sintonía de Eurovisión. Posiblemente es justo la primera música que oímos una y otra vez todos los años, cuando Televisión Española conecta con ORF (Osterreicher Rundfunk) para transmitirnos desde Viena el Concierto de Año Nuevo. Esa melodía está tomada del preludio al Te Deum en Do Mayor compuesto por Marc Antoine Charpentier, uno de los músicos de corte del rey Luis XIV de Francia, con motivo de la batalla de Sternkirke, que en 1692 ganaron los franceses a los holandeses en una de las guerras de Flandes. Fue para Luis XIV, qué duda cabe, un motivo de alegría, y Charpentier quiso convertir esa alegría en un himno de triunfo, en acción de gracias a Dios, que es lo que en sentido estricto quiere reflejar un Te Deum.
Tiene, como todas las composiciones dedicadas al Rey Sol, un aire solemne y majestuoso. Puede parecernos un tanto extraño que una obra destinada a ser interpretada en el ámbito de una catedral esté encomendada a instrumentos tan ruidosos como las trompetas y los timbales; pero así lo exigían los cánones de aquellos tiempos. La melodía expresa un sentimiento no menos triunfal, que se advierte enseguida, en sus primeras notas (Sol-Do), dominante y tónica. La dominante es, en armonía, una nota que requiere resolución. La tónica es la nota resolutiva, definitiva, aquella a la que debe tender la melodía para resultar plenamente satisfactoria. Todas las obras musicales, desde un himno a una sinfonía, deben terminar en la tónica, esa nota que inconscientemente deseamos, para quedar satisfechos. En este caso, sentimos desde el primer momento el dominio de una expresión triunfal. Dominante-tónica, qué forma más triunfante de comenzar.
El tema principal de este preludio (el Te Deum propiamente dicho vendrá después) se construye sobre cuatro frases. En música, aunque tal vez en principio no seamos capaces de advertirlo, la melodía suele articularse en forma de versos (¡y esto es completamente indiferente de que esa melodía tenga letra o no!) que en cierto modo riman entre sí. ¿Verdad que en este preludio de Charpentier se advierte enseguida la rima? Primero un verso, solemne y triunfal como él solo. Después un segundo verso, que parece el comentario del primero. Es el primero el que se repite literalmente ahora como tercer verso. Parece como una insistencia, como si dijera: «Este verso es el principal, el que debe prevalecer sobre los demás». Y el cuarto verso no rima con el segundo, es como una conclusión triunfal. Basta recordar, o si queremos, tararear, esos cuatro versos musicales para reconocer su estructura. Podríamos pensar, sin necesidad de recordar a Hegel:
Tesis
Antítesis
Tesis
Síntesis
Esta combinación tesis-antítesis-tesis-síntesis es más frecuente de lo que suponemos en el lenguaje musical. Recordemos una vez más esa pequeña melodía de la sintonía de Eurovisión; si queremos la repetimos a nuestro gusto una y otra vez. Es verdad, son cuatro versos que riman, y el final no es ni el primero ni el segundo, sino una resolución la que nos deja plenamente satisfechos. Sin apenas darnos cuenta, sentimos que esos cuatro versos nos resultan satisfactorios, terminan como deberían terminar. Aquí está el secreto del lenguaje de la música: la búsqueda que llega a un desenlace nos deja satisfechos. El fin de la pequeña aventura ha sido feliz.
Cuando llegue la música romántica, no siempre todo termina de una manera tan sencilla y satisfactoria. También nos alimenta de alguna manera, y eso lo inventaron los griegos cuando escribieron tragedias para provocar la catarsis, una especie de purificación interior que no nos gusta del todo, pero que a veces nos conviene. La música “clásica”, la que predominó en el siglo XVIII, busca por lo general el final feliz: nos hace sentirnos reconfortados. La música romántica busca emocionarnos, aunque al final de una frase o de una obra larga, el argumento suele terminar bien.
Qué pequeña aventura esta de ponernos a repasar la breve sintonía de Eurovisión. Pero puede resultarnos útil si queremos iniciarnos en lo más elemental y sencillo de la arquitectura musical.
Ave Maria
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.
(Ad hoc versum omnes se inclinant)
Te ergo quaesumus, tuis famulis subveni:
quos pretioso sanguine redemisti.
Æterna fac cum sanctis tuis in gloria numerari.
Salvum fac populum tuum,
Domine, et benedic hereditati tuæ.
Et rege eos, et extolle illos usque in æternum.
Per singulos dies benedicimus te;
Et laudamus Nomen tuum in sæculum,
et in sæculum sæculi.
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 æternum.
Jevgenijs Jesilevskis
The person who chose this to be the Eurovision anthem is just a genius, c'est tout! 12 points!
Aleksa _leksa
Hahaahah
97kos
Exactly!
João Vitor Matos
Fun fact: this decision was made in the 50's when the Eurovision Network was not much more than a concept
Tom
Some frog no doubt.
Breadist State
@Tom-kt8lu That frog being you
The person that chose the song was genius
Taalneuroot
I’m a massive Eurovision fan. Whenever I hear this I get so excited and I can’t get that giant smile of my face. 😁🥰
Cavid Balamemmedov
mee too bruhh
BlueEyes Viking
Good evening, Europe!
Juan Carlos
New fan here