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58
TAN-TA-RA.
TARANTELLA.

But the word is as old as Ennius, who has

At tuba terribili sonitu taratantara dixit.

And the same form occurs in Grimald (1557) and Stanyhurst (1583).

[ G. ]

TANTO, i.e. 'too much,' as in Beethoven's String Trio (op. 9, no. 1)—'Adagio ma non tanto,' i.e. Slow, but not too slow. Tanto has practically the same force as 'Troppo.'

[ G. ]

TANTUM ERGO. The first words of the last two stanzas of the Hymn 'Pange lingua gloriosi Corporis Mysterium,' written by S. Thomas Aquinas, for the Festival of Corpus Christi.[1]

The extreme solemnity of the circumstances under which 'Tantum ergo' is sung in the Roman Catholic Church, renders its adaptation to solemn Music more than ordinarily imperative. It is used whenever the Eucharist is carried in Procession; at the conclusion of the Ceremony of Exposition; and at the Office of Benediction: and never heard but in the presence of the Eucharist. Except, of course, in Processions, it is sung kneeling.

The Plain Chaunt Melody of 'Tantum ergo' is the same as that used for 'Pange lingua.' The purest printed version is that given in the new Ratisbon Office-Books; but, owing to the excision of certain 'grace-notes,' this version is, at present, less popular than that printed in the Mechlin Vesperal.[2] The pure version stands thus—

Modus I.
From the Ratisbon Vesperal
{ \relative d' { \override Score.TimeSignature #'stencil = ##f \cadenzaOn \override Score.Stem #'stencil = ##f d\breve d1 d c f f g( a\breve) a1 \bar "|" a1( c) bes4 a1 a g\breve bes!4 a1( g f) \bar "|" a1 g bes! a g f4 g\breve g1 \bar "|" %end lne 1 g a f e d\breve d4 g\breve f1( d c) \bar "|" f\breve f1 f\breve d1 e f g( f) g \bar "|" g a f\breve f1 d\breve c4 d1 \bar "||" d( e d) d \bar "|." } \addlyrics { Tan -- tum er -- go Sa -- cra -- men -- tum Ve -- ne -- re -- mur cer -- nu -- i: Et an -- ti -- quum doc -- u -- men -- tum No -- vo ce -- dat ri -- tu -- _ i: Præs -- tet fi -- des sup -- ple -- men -- tum Sen -- su -- um _ de -- fec -- tui. A -- men. } \addlyrics { Gen -- i -- to -- ri gen -- i -- to -- que Laus et ju -- bi -- la -- ti -- o: Sa -- lus, ho -- nor, vir -- tus quo -- que Sit et ben -- e -- dic -- ti -- _ o. Pro -- ce -- den -- ti ab u -- tro -- que Com -- par sit lau -- da -- ti -- o. } }


The antient Melody has been frequently treated in Polyphonic form, and that very finely; but no setting will bear comparison with the magnificent 'Pange lingua' in Palestrina's 'Hymni totius anni,' which concludes with a 'Tantum ergo' for 5 Voices, in which the Melody is assigned, entire, to the First Tenor, while the remaining Voices accompany it with Harmonies and Points of Imitation. Vittoria has also written a very beautiful 'Pange lingua,' which, unhappily, treats the alternate stanzas only; the first stanza of 'Tantum ergo' is therefore omitted, though the music written for the second—'Genitori, Genitoque'—may very consistently be sung to it.

The almost daily use of 'Tantum ergo' at the Office of Benediction has led to the fabrication of an immense number of modern Melodies, of more or less demerit. One of the best of these—a really good one—attributed to Michael Haydn, is extremely popular, in England, as a Hymn-Tune—8.6.8.6.8.6—under the title of 'Benediction.'[3] Another, said to be 'Gregorian,' and probably really of Plain-Chaunt origin, is scarcely less popular, under the title of S. Thomas.'[4] A third, set for two Voices by V. Novello, is equally pleasing, though wanting in solemnity. These, however, are quite exceptionally good specimens. Notwithstanding the beauty of the text, and the solemnity of the occasions on which it is sung, it is doubtful whether any Hymn has ever been fitted to so much irreverent music as 'Tantum ergo.' The present Cardinal Archbishop of Westminster has sternly condemned the use of such Music in England, and his remonstrance has not been without effect; but hitherto the reform has only been a partial one.

Of orchestral settings of 'Tantum ergo,' the two finest are unquestionably those by Mozart—Nos. 142 and 197 in Köchel's Catalogue—for 4 Voices, with accompaniments for Stringed Instruments, 2 Trumpets, and Organ. Schubert has left three; one, op. 45, and one in MS., both in C, and both for quartet, orchestra, and organ; and one in E♭ (MS., 1828).

[ W. S. R. ]

TAPPERT, Wilhelm, German critic and writer on music, born Feb. 19, 1830, at Ober-Thomaswaldau in Silesia; began life as a school-master, but in 1856 adopted music, under Dehn for theory and Kullak for practice. Since that time he has resided in Berlin, where he is well known as a teacher and musical writer, and an able and enthusiastic partisan of Wagner. He was a teacher in Tausig's school for higher PF.-playing. His 'Wagner Lexicon' (1877) contains a collection of all the abuse that has been lavished on that composer and his friends—a useless and even mischievous labour. Much more important are his researches into ancient Tablatures, on which it is to be hoped he will soon publish something. From 1876–80 he edited the 'Allgemeine Deutsche Musikzeitung.' He is a contributor to the 'Musikalisches Wochenblatt' and has published several pamphlets, especially one on consecutive fifths, 'Das Verbot von Quintenparallelen' (1869).

[ G. ]

TARANTELLA, a South Italian dance, which derives its name from Taranto, in the old province of Apulia. The music is in 6-8 time, played at continually increasing speed, with irregular alternations of minor and major. It is

  1. ↑ Not to be mistaken for the Hymn (better known in England), sung, under the same title, during Holy Week—'Pange lingua gloriosi Lauream certaminis.'
  2. ↑ For a free reading of the impure version, see 'Hymns Ancient and Modern,' Hymn 309, no. 3, new ed.
  3. ↑ Hymns Ancient and Modern, Hymn 67, new ed.
  4. ↑ Ibid., Hymn 51, ibid.
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