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Hyperion Records

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Track(s) taken from CDA67586
Recording details: February 2006
Westminster Abbey, London, United Kingdom
Produced by Jeremy Summerly
Engineered by Simon Eadon
Release date: September 2006
Total duration: 8 minutes 51 seconds

'Anglican music can be heard at its best from Westminster Abbey … a varied programme stylishly performed' (Choir & Organ)

'Early notice is served of how well the Abbey's choristers are currently singing … an admirably varied programme, with excellent Hyperion recording' (BBC Music Magazine)

'Exhilarating performances' (The Daily Telegraph)

'As with the previous releases in this series, the choir (and organist Robert Quinney, who here ends the disc in spectacular fashion with Jeanne Demessieux's Te Deum), under the fluent direction of James O'Donnell, is above reproach' (International Record Review)

'After eight years James O'Donnell has brought a new sound to the choir of Westminster Abbey. The boys show the greater improvement, a firmer, more solid tone, but the men also now sound like the best adult choirs … the acoustics of the Gothic building are superb, and the organ makes magnificent sounds' (Fanfare, USA)

'The range of musical styles is as varied as could be … the standard of singing and recording is fully equal to such demanding music, but it is equally satisfying to hear psalms and familiar canticles, Stanford in C (Morning) and Purcell in G minor (Evening) performed with such loving care. An excellent disc, highly recommended' (Cathedral Music)

Te Deum, Op 11
composer
1965

Te Deum Op 11  [8'51]

Introduction  EnglishFrançaisDeutsch
This Te Deum, for solo organ, was composed by the French woman organist Jeanne Demessieux. A student of Marcel Dupré, Demessieux (1921–1968) had a brilliant international career as a virtuoso and was particularly renowned for her improvisations. She was the first female organist to perform at Westminster Abbey. The Te Deum, Op 11, was written in 1965. It is closely based on the plainsong melody and, unlike many organ works based on the chant, is not an improvisatory fantasia, but instead builds up tension through the use of ostinatos and driving rhythms, allied to a powerful, sometimes dissonant harmonic language. Finally the tension erupts into a wilder, freer section resulting in a resplendent final E major chord.

from notes by James O'Donnell © 2006

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