Page:A Dictionary of Music and Musicians vol 4.djvu/83

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TEDESCA.

TE DEUM.

67

and again in the fifth movement of the B♭ quartet (op. 130)—

${ \relative d'' { \key g \major \time 3/8 \tempo "Alla danza tedesca. Allegro assai." d8( b d16) r | g,4. | a16( b c8 e16) r | g,8( fis4) } }$

[App. p.798 "add that in one of the sketches for this movement (in B♭) it is inscribed 'Allemande Allegro.'"] In a Bagatelle, No. 3 of op. 119, he uses the term in French—'A l'allemande,' but in this case the piece has more affinity to the presto of the sonatina than to the slower movement of the dance. All three are in G. The term 'tedesca,' says Bülow, has reference to waltz rhythm, and invites changes of time.—[See Teutsche.]

[ G. ]

TE DEUM LAUDAMUS (Eng. We praise Thee, O God). A well-known Hymn, called the Ambrosian Hymn, from the fact that the poetry is ascribed by tradition to S. Ambrose and S. Augustine. The English^[1] version, one of the most magnificent to be found even in the Book of Common Prayer, appears in the first of the English Prayer-books in the place which it now occupies. The custom of singing Te Deum on great Ecclesiastical Festivals, and occasions of special Thanksgiving, has for many centuries been universal in the Western Church; and still prevails, both in Catholic and Protestant countries. And this circumstance, even more than the sublimity of the Poetry, has led to the connection of the Hymn with music of almost every known School.

The antient Melody—popularly known as the 'Ambrosian Te Deum'—is a very beautiful one, and undoubtedly of great antiquity; though it cannot possibly be so old as the Hymn itself, nor can it lay any claim whatever to the title by which it is popularly designated, since it is written in the Mixed Phrygian Mode—i.e. in Modes III and IV combined; an extended Scale of very much later date than that used by S. Ambrose. Numerous versions of this venerable Melody are extant, all bearing more or less clear traces of derivation from a common original which appears to be hopelessly lost. Whether or not this original was in the pure Mode III it is impossible to say with certainty; but the older versions furnish internal evidence enough to lead to a strong conviction that this was the case, though we possess none that can be referred to the age of S. Ambrose, or within two centuries of it. This will be best explained by the subjoined comparative view of the opening phrases of some of the earliest known versions.

From the Dodecachordon of Glareanus (Basillæ, 1547).

${ \relative e' { \override Score.TimeSignature #'stencil = ##f \cadenzaOn e1 g( a) a a b\breve a1 \bar "|" e1 g a a g a b\breve g1 g \bar "|" c1 c b a b a e g a a g a b\breve b a1 g g \bar "||" } \addlyrics { Te De -- um lau -- da -- mus, Te Do -- mi -- num con -- fi -- te -- _ mur. Te æ -- ter -- num Pa -- trem om -- nis _ ter -- ra ve -- ne -- ra -- _ _ tur. } }$

The traditional Roman Version, from the Supplement to the Ratisbon Gradual.

${ \relative e' { \override Score.TimeSignature #'stencil = ##f \override Score.Stem #'stencil = ##f \cadenzaOn e\breve g1 a\breve a1 \bar "|" a1 g a b c\breve b1 a \bar "||" e\breve g1 a a4 a1 b g c b\breve a1 g \bar "||" c\breve c1 b\breve a1 b c b a \bar "|" e\breve g1 a a\breve a1 b g c b\breve a1 g \bar "||" } \addlyrics { Te De -- _ um lau -- _ da -- _ _ _ mus, Te Do -- _ mi -- _ num con -- fi -- te -- _ mur. Te æ -- ter -- num Pa -- _ _ trem om -- nis _ ter -- ra _ ve -- ne -- ra -- _ tur. } }$

Early Anglican Version, from Marbecke's 'Booke of Common Praier noted' (London, 1550).

${ \relative e' { \override Score.TimeSignature #'stencil = ##f \cadenzaOn e1 g a b a\breve\fermata \bar "|" e1 g g a b a\breve g1 g\breve\fermata \bar "||" g1 a c b a g a e g g a b a\breve g\breve\fermata \bar "|" } \addlyrics { We prayse the o "lorde,(sic)" we know -- lege the to be the lorde. All the Earth doth wor -- shipp the, the fa -- ther eu -- er -- last -- ing. } }$

In all these cases, the music to the verse 'Te æternum Patrem' ('All the earth doth worship Thee') is adapted, with very little change, to the succeeding verses, as far as 'Te ergo quæsumus' ('We therefore pray Thee'), which verse, in Catholic countries, is sung kneeling. The only exception to this is the phrase adapted to the word 'Sanctus' ('Holy'), which, in every instance, differs from all the rest of the Melody.^[2] As far, then, as the verse 'Te ergo quæsumus' inclusive, we find nothing to prevent us from believing that the Music is as old as the text; for it nowhere deviates from the pure Third Mode, as sung by S. Ambrose. But, at the next

↑ In one verse only does this grand paraphrase omit a characteristic expression in the original—that which refers to the White Robes of the Martyrs:

'Te Martyrum candidatus laudat exercitus.'
'The noble army of Martyrs praise Thee.'

The name of the translator is not known.
↑ Marbecke, however, makes another marked change at 'Thou arte the Kyng of Glorye.'

[1] In one verse only does this grand paraphrase omit a characteristic expression in the original—that which refers to the White Robes of the Martyrs:

'Te Martyrum candidatus laudat exercitus.'
'The noble army of Martyrs praise Thee.'

The name of the translator is not known.

[2] Marbecke, however, makes another marked change at 'Thou arte the Kyng of Glorye.'

[1]

[2]