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Te Deum stained glass window by Christopher Whall at St Mary's church, Ware, Hertfordshire. The Te Deum (/ t eɪ ˈ d eɪ əm / or / t iː ˈ d iː əm /, [1] [2] Latin: [te ˈde.um]; from its incipit, Te Deum laudamus (Latin for 'Thee, God, we praise')) is a Latin Christian hymn traditionally ascribed to a date before AD 500, but perhaps with antecedents that place it much earlier. [3]
The Festival Te Deum, Op. 32, a sacred choral piece by the English composer Benjamin Britten, is a setting of the Te Deum from the Book of Common Prayer. It was composed in 1944 to celebrate the centenary of St Mark's Church, Swindon , and was first performed there in 1945.
The Te Deum in C major, WAB 45, is a setting of the Te Deum hymn, composed by Anton Bruckner for SATB choir and soloists, orchestra, and organ ad libitum. History [ edit ]
"Holy God, We Praise Thy Name" (original German: "Großer Gott, wir loben dich") is a Christian hymn, a paraphrase of the Te Deum. The German Catholic priest Ignaz Franz wrote the original German lyrics in 1771 as a paraphrase of the Te Deum, a Christian hymn in Latin from the 4th century. It became an inherent part of major Christian ...
The Te Deum in C is a sacred choral composition by Benjamin Britten, a setting of the Te Deum on the English text from the Book of Common Prayer. Britten wrote it between 11 July and 17 September 1934. It is scored for a treble solo, four-part choir and organ.
Te Deum laudamus; Te gloriosis Apostelarum; Tu, Rex gloriae, Christe; Salvum fac populum tuum, Domine; The first movement begins with a quotation of the Gregorian melody of the Te Deum in the bandoneon. The hymn of praise "Te Deum laudamus" (We praise Thee, oh Lord) is set in Tango rhythm. [4] The second movement contains the praise of apostles ...
Te Deum is a setting of the Latin Te Deum text, also known as the Ambrosian Hymn attributed to Saints Ambrose, Augustine, and Hilary, by Estonian-born composer Arvo Pärt, commissioned by the Westdeutscher Rundfunk in Cologne, Germany, in 1984.
Howells successfully produced a setting of the Te Deum; he later remarked that it was "the only Te Deum to be born of a decanal bet". [2] Following the challenge made at the Deanery tea, other settings followed: the Jubilate for Mattins in 1944, and in 1945 he completed the Magnificat and Nunc dimittis for Choral evensong.