verse, 'Æterna fac' ('Make them to be numbered'), the Melody passes into the Fourth Mode, with a marked allusion to the Fourth Gregorian Tone, of which S. Ambrose knew nothing.
This phrase, therefore, conclusively proves, either that the latter portion of the Melody is a comparatively modern addition to the original form; or, that the whole is of much later date than has been generally supposed. We are strongly in favour of the first supposition; but the question is open to discussion on both sides.
The beauty of the old Melody has led to its frequent adoption as a Canto fermo for Polyphonic Masses; as in the case of the fifth and sixth Masses—'In Te, Domine, speravi,' for 5 voices, and 'Te Deum laudamus,' for 6—in Palestrina's Ninth Book. But the number of Polyphonic settings is less than that of many other Hymns of far inferior interest. The reason of this must be sought for in the immense popularity of the Plain Chaunt Melody in Italy, and especially in the Roman States. Every peasant knows it by heart; and, from time immemorial, it has been sung, in the crowded Roman Churches, at every solemn Thanksgiving Service, by the people of the city, and the wild inhabitants of the Campagna, with a fervour which would have set Polyphony at defiance.[1] There are, however, some very beautiful examples; especially, one by Felice Anerio, printed by Proske, in vol. iv. of 'Musica Divina,' from a MS. in the Codex Altaemps. Othobon., based on the antient Melody, and treating the alternate verses only of the text—an arrangement which would allow the people to take a fair share in the singing. The 'Tertius Tomus Musici operis' of Jakob Händl contains another very fine example, in which all the verses are set for two Choirs, which, however, only sing alternately, like the Decani and Cantoris sides in an English Cathedral.
Our own Polyphonic Composers have treated the English paraphrase, in many instances, very finely indeed: witness the settings in Tallis's and Byrd's Services in the Dorian Mode, in Farrant's in G minor, in Orlando Gibbons's in F (Ionian Mode transposed), and many others too well known to need specification. That these fine compositions should have given place to others, pertaining to a School worthily represented by 'Jackson in F,' is matter for very deep regret. We may hope that that School is at last extinct: but, even now, the 'Te Deum' of Tallis is far less frequently heard, in most Cathedrals, than the immeasurably inferior 'Boyce in A'—one of the most popular settings in existence. The number of settings, for Cathedral and Parochial use, by modern Composers, past and present, is so great that it is difficult even to count them.[2]
It remains to notice a third method of treatment by which the text of the 'Te Deum' has been illustrated, in modern times, with extra-ordinary success. The custom of singing the Hymn on occasions of national Thanksgiving naturally led to the composition of great works, with Orchestral Accompaniments, and extended movements, both for Solo Voices and Chorus. Some of these works are written on a scale sufficiently grand to place them on a level with the finest Oratorios; while others are remarkable for special effects connected with the particular occasion for which they were produced. Among these last must be classed the Compositions for many Choirs, with Organ and Orchestral Accompaniments, by Benevoli, and other Italian Masters of the 17th century, which were composed for special Festivals, and never afterwards permitted to see the light. Sarti wrote a 'Te Deum' to Russian text, by command of the Empress Catherine II, in celebration of Prince Potemkin's victory at Otchakous, in which he introduced fireworks and cannon. Notwithstanding this extreme measure, the work is a fine one; but far inferior to that composed by Graun, in 1756, by command of Frederick the Great, in commemoration of the Battle of Prague, and first performed at Charlottenburg, in 1762, at the close of the Seven Years' War. This is unquestionably the most celebrated 'Te Deum' ever composed on the Continent; and also one of the finest. Among modern Continental settings, the most remarkable is that by Berlioz, for two Choirs, with Orchestra and Organ obbligato, of which he says that the Finale, from 'Judex crederis,' is 'without doubt his grandest production.' Of this work (op. 22) nothing is yet known in England; but it was performed at Bordeaux, Dec. 14, 1883. [App. p.798 "add that Berlioz's work was performed at the Crystal Palace, April 18, 1885, and by the Bach Choir, May 17, 1887. The latter body sang the work again, with several anthems, etc., in Westminster Abbey June 28, 1888, the Jubilee of Her Majesty's coronation."] Cherubini, in early youth, wrote a Te Deum, the MS. of which is lost; but, strangely enough, his official duties at the French Court never led him to reset the Hymn.
But the grandest Festal settings of the 'Te Deum' have been composed in England. The earliest of these was that written by Purcell for S. Cecilia's Day, 1694; a work which must at least rank as one of the greatest triumphs of the School of the Restoration, if it be not, indeed, the very finest production of that brilliant period. As this work has already been described in our account of that School,[3] it is unnecessary again to analyse it here. It is, however, remarkable, not only as the first English 'Te Deum' with Orchestral Accompaniments; but also as having stimulated other English Composers to the production of similar works. In 1695, Dr. Blow wrote a 'Te Deum,' with Accompaniments for 2 Violins, 2 Trumpets, and Bass—
- ↑ An exceedingly corrupt excerpt from the Roman version—the verse 'Te æternum Patrem'—has long been popular here, as the 'Roman Chant.' In all probability it owes its introduction to this country to the zeal of some traveller, who 'picked it up by ear.'
- ↑ A second setting in the Dorian mode, and a third in F, by Tallis, both for 5 voices, are unfortunately incomplete. [See p. 54.]
- ↑ See vol. iii. pp. 284–285.
