Arthur Sullivan - Te Deum laudamus

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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

Te ergo quaesumus, tuis famulis subveni: quos pretioso sanguine redemisti
Aeterna fac cum sanctis tuis in gloria numerari
Salvum fac populum tuum, Domine, et benedic hereditati tuae
Et rege eos, et extolle illos usque in aeternum
Per singulos dies benedicimus te: et laudamus nomen tuum in saeculum, et in saeculum saeculi
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 aeternum

Release Date: April 22, 2024

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Arthur Sullivan

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Sir Arthur Sullivan (1842-1900) is best known as the musical half of the partnership of Gilbert and Sullivan, but also wrote numerous serious concert works on his own that were exceptionally popular in their time, including grand operas, oratorios, orchestral works, and vocal works. Descended from a musical family, he was acclaimed from an early age but found that his musical compositions did not pay well until his meeting with W.S. Gilbert in 1871 and the start of their partnership four years later under the auspices of theatrical producer Richard D'Oyly Carte. Sullivan chafed against the popular entertainments that funded his lavish lifestyle but distracted him from his serious efforts, and he died believing that he had prostituted his art. This opinion has not been widely shared by modern critics or audiences, who have found the Savoy operas excellent vehicles for Sullivan’s skills at parodying musical styles.