Prelude

First time buyers get 20% off *

Prelude (1643)

from the Te Deum (H.146)

Marc-Antoine Charpentier (1643–1704)

Saxophone Quartet with optional instruments

Prelude by Marc-Antoine Charpentier arranged for Saxophone Quartet with optional instruments. Even if you’ve never heard of Charpentier, you may be familiar with the opening Prelude of his Te Deum. It is has been the signature tune for the European Broadcasting Union for the last six decades, and is played during the opening of Eurovision events. It is frequently used in film soundtracks and as wedding music. It is sometimes referred to as “March en rondeau”.

With this arrangement of Prelude to Te Deum (H.146) you get:

1 copy SATB Saxophone quartet score (transposed) showing optional instruments (trumpet, timpani), 8 pages including covers. 9″ x 12″.

Parts: 1 copy each, 1 page, 9″ x 12″ with cover

• Soprano Saxophone
• Alto Saxophone [A], soprano sax alternate – not shown in score
• Alto Saxophone
• Tenor Saxophone
• Baritone Saxophone
• OPTIONAL B flat Trumpet
• OPTIONAL Timpani

Originally in the key of D major, this arrangement of Prelude to Te Deum is transposed to the key of B flat. It has a 2/2 time signature. SATB or AATB saxophone quartet with optional trumpet and timpani. This short (less than 2 minutes) piece features a loud and boisterous march theme that repeats 3 times. Between the repeats are two quieter interludes. The limited range and rhythmic simplicity make this a good selection for young-to-intermediate quartets. The alto sax alternate for soprano is somewhat more difficult due to its higher range. The work is suited for any festive occasion, especially if the alternate trumpet and timpani are added.

The range for each saxophone part is shown below.
Audio and score excerpts are available above.

Saxophone Ranges for Prelude to Te Deum (H.146)

About the Composer

Marc-Antoine Charpentier (1643–1704) was one of the most prolific and versatile French composers of the baroque era. Charpentier dominated the Baroque musical scene in seventeenth century France because of the quality of his prolific output. He mastered all genres, and his skill in writing sacred vocal music was especially hailed by his contemporaries. Less successful than his Paris contemporary Jean Baptiste Lully, Charpentier nevertheless won considerable esteem. He composed secular works, stage music, operas, cantatas, sonatas, symphonies, as well as sacred music. At his death, Charpentier’s complete works comprised about 800 opus numbers, but today only 28 autograph volumes remain, or more than 500 pieces that he himself classified.

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