The French Te Deum From 1677-1744: ITS HISTORY, DEVELOPMENT AND

PERFORMANCE
Author(s): DAVID B. STEIN
Source: The Choral Journal , APRIL 1978, Vol. 18, No. 8 (APRIL 1978), pp. 5-10, 12-14
Published by: American Choral Directors Association

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 The French Te Deum From 1677-1744:
ITS HISTORY, DEVELOPMENT AND PERFORMANC

DAVID B. STEIN ting by Sweelinck in 1619, a setting for doubl

instruments by Schiitz in 1668; a setting by Colo
Only in recent years has much extensive research been
a setting by Legrenzi in 1687 ; an eightvoice settin
undertaken concerning French sacred choral music fromorchestra
the and organ by Caldara in 1724; an early
mid-seventeenth to the mid-eighteenth century. This research
century setting by Alessandro Scarletti ; four kno
has been most specifically concerned with the grand Hasse,
motet one in 1751; a setting by Popora in 175
tingmo
genre. This article is devoted to a special type of grand in 1762, by C. H. Graun. The style of the
tet — the Te Deum. It is unfortunate that choral music from
flects, in general, the character of festival music
this period in France has been largely overlooked by choral
and as a rule, the pieces were composed for presc
conductors. However, many fine settings of sacred texts or secular festive and celebrative occasions.
exist
that are worthy of performance and represent French Baroque Fourteen Te Deum compositions by the following French
choral music at its best.
composers have been found: Campra, Gervais, Charpentier
The evolution of the grand motet form in France stemmed
(4), Blanchard, Lully, Delalande, Madin, Philidor, Desmar
directly from the Venetian polychoral style through the music
etc (2), and de Blamont. Many composers are known to
of Eustache du Caurroy (d. 1609). Later French composers have written Te Deum settings, but the scores of these could
who aided in the development of this concerted form were not be found and many are certainly no longer extant.
Nicolas Forme (d. 1633), Antoine Boësset (d. 1643), and
Jean Veillot (d. 1662). Further evolution occurred in the HISTORIC AND ESTHETIC BACKGROUND
motets of Henry Rumont (d. 1684). It was at this stage that
The impact of the long reign (1643-1715) of L
Lully firmly established the grand motet form as a highly
on France is incalculable. While Louis's rule was less than
elaborate, multi-movement composition for soloists, Petit and
enlightened, it was vitally important in giving the country
grand choirs, and instruments: his was the first Te Deum to
be composed in this style. an orderly government, a national unity and a cultural sple
Polyphonic Te Deum settings are not exclusively French. dor which made France the unquestionable leader of Europe
The earliest extant example of these settings is a three-voice Within this absolute monarchy, Louis gave great importanc
to the stimulation of intellectual activity and artistic endeav
fragment from MS 334, Gonville and Caius College, Cam
bridge, which dates from the second half of the thirteenth All art produced in France ultimately was influenced by
the taste and approval or disapproval of Louis himself.
century. The next polyphonic settings are found in Italian
and German sources of the second half of the fifteenth cen Académies were formed to control both the inspiration and
policy of the various arts. The discipline imposed by the
tury, and include one by Binchois. Only about seventy Latin
académies produced a highly ordered art. But classical ideals
Te Deum compositions are known from this date to the
of order dignity and good form, while confirming to the king's
seventeenth century. For the most part, the late fifteenth
taste, tended to thwart individuality. Everything was forced
and sixteenth century Te Deums were occasional works of
to submit to order and regularity ; as a result, art mirrored
local significance only, composed mainly "pro gratiarum
the elite, ceremonious court, and was completely divorced
actione" (as thanks for beneficial actions that were thought
from the majority of the people of France.
to have happened through divine intervention), for consecra
tions, ordinations, and coronations, as processionals, and for It was during the early years of Louis XIV's reign that
the classic esthetic ideals of the fine arts was at its height in
festival occasions such as military victories or important
France. The classicism of French music is strikingly alluded
political events.
to by many writers of the period. Francois Raguenet, in his
These works are inextricably bound to compositional
Parallèle des Italiens et des Français (1702) says:
developments that occur in the motet. But, at the same time, The French would think themselves undone if they
the Te Deum, like the Magnificat, psalm and hymn, becomes offended in the least against the rules ; they flatter, tickle,
a special and independent form. Nearly all the settings of and court the ear and are still doubtful of success, though
the Te Deum, until the second half of the sixteenth century,
everything done with an exact regularity. ( 1 )
utilize a cantus firmus structure. Also characteristic of these Fifty years later, J. J. Quantz offers much the same opinion
works is their dependence upon the verse structure for their in his Versuch einer Anweisung die Fióte traversière su
form; the majority are set in alternatim style with the even spielen :
numbered verses set polyphonically. The French, in composition, are lively, expressive,
Seventeenth century settings become more elaborate and natural, pleasing and intelligible to thç public, and more
diverse in style. The extent of the diversity ranges from four correct in their meter than the Italians ; at the same time,
part homophonic compositions to multi-choral works with in they are neither profound nor bold but on the contrary
struments. Prior to the seventeenth century, Heugel had com very narrow-minded, servile, always the same, common
posed a twelve-voice Te Deum (1535). By 1618, with Schein's place in their way of thinking, dry in invention ... In
setting, the addition of the trumpet became almost obligatory. a word, the Italian music is arbitrary and the French
His setting is scored for four choirs, two groups of instru narrow-minded .. .(2)
ments and basso ccntinuo. Trumpets and timpani were com In the seventeenth century, a central thesis of the phil
bined in the Pfleger Te Deum of 1665. osophy of musical expression was that music must be united
A few of the more prominent Latin Te Deum settings to emotion. This thesis was founded on the belief that music
from the seventeenth and eighteenth centuries, other than was a language with the means of expressing the affections.
those from France, are seven by Praetorius in the Musae The affections were thought of as clear, static states of mind,
Sionise of 1607, 1609 and 1613; a six-voice a cappella setting and the realization of these states in music was achieved by
by Demantius in 1618; a five-voice with basso continuo set following stereotyped sets of figures and patterns. A musical

APRIL 1978

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TE DEUM ... A piece of music should be natural, expressive, har
monious ... I call natural, in the literal sens
figure was used throughout a movement to express an affec- which is composed o
tion, and became very significant in giving structural unity ally, which is not c
to a composition. Abstract emotions were thus rendered con- or out of the ordin
cretely, at least to the satisfaction of the seventeenth cen- not loaded with
tury mind. pressive an air of which the notes are perfectly suited
Early in the eighteenth century, a new point of emphasis to the words, and a symp
became apparent in musical thought. Now, emotions were what it aims to expr
discussed with regard to the reaction of the listener. The pleasing, the music which
emotion which the listener experienced when hearing the ear.(5)
music was the same as that expressed by the composer in Church music was not left out of the esthetic thinki
writing it. One of the primary functions of any art in the of the period. This is seen most clearly in Sébastien de Bro
eighteenth century was to please; good musical compositions sard's definitions of stilo and stilo ecclesiastico in his Dicti
demanded from a composer the ability to combine sounds that naire de musique of 1702:
were agreeable to the ear. This concept was expounded by stilo : the style of church music is much differe
Lecerf de la Viéville in his Comparaison of 1705: than the style of theater or chamber music; the style of
A musician who composes a motet only then lend the Italian compositions is piquant, excited, expressive; the
sounds to the one who speaks in the church, and the per- style of French compositions is natural, flowing, tender,
fection of these sounds will be necessarily suited to the and so forth.(6)
one to whom they are given. This is then always the stilo ecclesiastico : it is a style full of majesty,
basis of this beauty. This is then this grand propriety grave and serious, capable of inspiring devotion and of
which the men of antiquity, and those of our present day carrying the soul to God, consequently, proper for the
men who debate with them, propose as the general goal church. (7)
of beautiful works.(3) Lecerf further states:
Lecerf de la Viéville's writings are the embodiment of The music o
French musical esthetic ideals of the period. Among the simple, agreea
many statements asserting these ideals contained in his Com- in that it shou
paraison, is one that succinctly places him as a true classicist: degree, and c
"There are two great ways of knowing good and bad things: church should
by our inward feeling and by the rules."(4) Accordingly, ...The sc
he further relates the three rules which he contends produce church more t
the best music: than the science of truly and pertinently moving...

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 It should be simple both because otherwise it will tions which were thought to be more devotional and inspiring.
be neither expressive nor agreeable, and because the rea- Sacred music then becomes elevated to a higher esthetic level
sons of propriety ... proscribe to it a lofty simplicity. than secular music, but in actuality, becomes depressed in
The respect due to God, to his temple, to his scripture, musical invention. The composer who tried to adhere to the
to his services does not tolerate babble. It demands a principle of bienséance could not justify experiment with
restrained and concise eloquence. musical style in a sacred work, for this experimentation would
Finally, it should be agreeable ... a motet should have been less appropriate for inspiring devotion.
be melodious and harmonious... a motet sung before In regard to the qualities of "expressive" and "simple,"
listeners whose ears are conditioned to being soothed at the distinction between sacred and secular music becomes
the same time the heart is touched. It is not forbidden clearer. Operatic music of the period was not simple, and
for a composer to try to give the second pleasure the had no need to be, for it was not addressed to God. The ex
most... It is up to him (the composer) to see what sort pressive quality of music was clearly recognized, but expres
of ornaments may be naturally and properly suited to sive of different emotions and passions. Lecerf shed further
the words... the expression is above all a duty and the illumination on the question of expressivity when he stated
ornament an elegance.. .(8) that "the passions of an opera are cold in comparison with
The three terms which Lecerf contends are necessary those that one depicts in our church music."(9) Further,
qualities for the motet — "expressive," "simple," "agreeable," "the sentiments of our motets are infinitely more important
are vague and elusive. The same may be said for Brossard's than those of our airs, demanding an expression infinitely
definitions. Not surprisingly, these terms are typical of the greater."( 10) Simple expression of Christian passions was
confusion and ambiguity which existed in the writings of the more acceptable to God and more meaningful to the listener.
French estheticians when they confronted the problem of try- Lecerf spared no verbiage to demonstrate this point firmly.
ing to deal verbally with the meaning of music. It is clear, ncnrAnuroc
. r . . f, ., .. ., . ., • . TE DEUM COMPOSERS AND PERFORMERS
however, from the statements of both writers, that
ed a definite distinction bewteen secular and sacred music.
The primary factor behind this delineation was the French While their composition was not new in France
notion of propriety or bienséance. Thus Lecerf argues that seventeenth century, it was only with the advent of
church music should be "expressive" and "simple," and less XIV that Te Deums were elevated to a very important
concerned about being "agreeable," for this quality is of great- tion in the ceremonies of the Versailles court. Prior t
er importance to secular music (opera). It was not considered Te Deums were prescribed for only two specific occ
appropriate for church music to contain musical devices that "actions de Graces" and "un événement heureux." How
were closely akin to the confines of the opera house. For events requiring the performance of a Te Deum greatl
Lecerf, bienséance was equated with "agreeable," and thus creased in number owing to the huge expansion of the
church music had to be composed within certain style limita- ernment and the court establishment under Louis XI

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APRIL 1978

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TE DEUM . . . to a high court official or the royal family, for high official
marriage ceremonies, for baptisms, anniversaries, corona
the new military and diplomatic ventures Louis undertook. tions, for services invoking God's help in times of danger
The primary responsibility for the composition and direction to the king or the people, for ceremonies of thanksgiving for
of the Te Deum rested with the soas-maitre de la chapelle at victories, peace treaties, for the king's recovery from illness,
Versailles. Each sous-maitre was required to have composed and for the nation's well-being, for the dedication of new
at least one Te Deum and to be prepared to perform it with chapels, and, after 1725, as concert works at the public Con
little notice. cert spirituel. However, the majority of the newly commis
Of the composers who wrote the Te Deums to be con- sioned Te Deum
sidered here, all except Charpentier and Desmarets were em- field of battl
ployed at Versailles under Louis XIV or Louis XV. The to be considered he
following list gives the dates of service of those court com- to celebrate su
posers: ing table presents a few of the more important documented
Jean-Baptiste de Lully 1652-1687 performances of the various Te Deums.
Michel-Richard Delalande 1683-1726 Lully (Composer) — 1677:
André Campra 1723-1744 1677 at Fontainebleau for Baptism of Lully's son; 1677 at
Charles Gervais 1723-1744 St. Germain-en-Laye for Marriage of Marie-Louise d'Or
François Colin de Blamont 1719-1760 leans; 1687 at Paris, Convalescence
Anne-Danican Philidor 1698-1728 18th century at Paris, Convalescence of the Monseigneur;
Henry Madin 1738-1748 1721 at Church of Saint-Omer, Convalescence of Louis XV.
Esprit-Joseph-Antoine Blanchard 1738-1770 Delalande (Composer) — 1684:
Marc-Antoine Charpentier served from 1684-1698 as 1684 at Versailles for ?; 1706 at Chapel of Invalides for
Maître de musique at the church of St. Paul-St. Louis in Chapel dedication; 1721 at Chapel of the Louvre for Con
Paris; and from 1698 until his death in 1704, he served in valescence of Louis XV; 1725 - 1750's at Paris, for Concert
the same capacity at the Sainte-Chapelle de Palais in Paris. spirituel; 1730 at Rennes for Birth to the Queen; 1744 at
Henry Desmarets succeeded Charpentier at St. Paul-St. Louis Church of the Augustins for Convalescence of Louis XV.
in 1698, moved to Brussels in 1699, to Madrid in 1701, and Desmarets (composer) 1687, (G minor) :
finally, in 1707, became Superintendent de la musique at the 1687 at Church of the Pères de l'Oratoire for Convalescence
court of Lorraine where he remained until his retirement in of Louis XIV; 1725 at Paris?, Birthday of Louis XV;
1737. 1707 (C major) 1737 at Lorraine for Marriage of the King
There is evidence that Te Deums were composed and of Sardinia,
performed for a wide variety of occasions under Louis XIV Charpentier (Composer) 1687 (C major) 1702-1703? (D a
and Louis XV. They were ordered sung to celebrate a birth major) : 1687 at Chapel of the Louvre for Convalescenc

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 of Louis XIV; 1702 at Sainte-Chapelle for Victory in Italy ; reveals that there is also evidence of performances of Te
1702 at Sainte-Chapelle for Victory in Germany; 1703 at Deums written by the following composers: Gilles, Gorin,
Sainte-Chapelle for Capture of Kell ; 1703 at Sainte Chapelle Minoret, Oudot, Lallouette, Bernier, de la Guerre, Morin,
for Victory in Flanders; 1703 at Sainte-Chapelle for Cap- Lemaire, de Gomay, Hornet, Destouches, Mouret, L. N. Clér
ture of Brisac ; 1703 at Sainte-Chapelle for Capture of Lan- ambault, Gamier and de Calvière. It is easily observed that
dau; 1704 at Sainte-Chapelle for Capture of Augsburg; the Te Deum was an extremely popular text, that it served
Campra (Composer) 1694?: 1694 at Notre-Dame for Capture a purely utilitarian function, and that almost every composer
of Gerone; 1704 at Church of the Pères de l'Oratoire for in a position to do so wrote at least one setting.
Birth to the Duke of Bretagne; 1721 at Church of the Au- French musical developments spanning the sixty-seven
gustins for Convalescence of Louis XV ; 1728 at Versailles years from 1677 to 1744, are manifested in the Te Deum set
for Convalescence of Louis XV. tings explained in this study. While these works are too few
Gervais (Composer) 1721?: 1721 at Church of Saint Hippo- to draw far-reaching general conclusions on F
lite des Gobelins for Convalescence of Louis XV ; 1732 at style as a whole in this period, it is possible to
Church of the Pères de l'Oratoire for Convalescence of the conclusive evidence concerning the style devel
Duke of Chartres. Te Deum.
de Blamont (Composer) 1725: 1725 at Fonta
Marriage of Louis XV ; 1726 at Paris for Concert spi
1727 at Versailles for Convalescence of the Queen
Versailles for Birth to the royal family; 1729 at
Concert François ; 1730 at ? for Birth to the Duk
1732 at Church of the Temple for ?; 1733 at Pari
cert spirituel; 1734 at Versailles for Capture of P
1738 at Paris for Concert spirituel. also seems, from contemporary evidence, that with the ma
Philidor (Composer) after 1725?: 1734 at Paris for Concert jority of the Te Deum performances, an exceptionally lar
des Tuileries. musical organization was assembled to give the work an in
Blanchard (Composer) 1744: 1744 at Versailles for Capture creased grandeur; the m
of Ypres ; 1744 at Versailles for Convalescence of Louis XV. ments of the text were
Madin (Composer) 1744: 1744 at Paris for Capture of Fri- timpani likewise served
bourg; 1745 at Versailles for Capture of Tournay; 1757 While the Te Deum w
ât Versailles for ? ing this period, very little evidence exists to suggest that the
The above composers are by no means the only ones who text was set in only one accepted man
set the Te Deum text, but they are the only ones whose works, formal construction among the settings is
so far as is known, remain extant. Further investigation from twenty-two textual movements in

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TE DEUM . . .

four in the four-voiced D major setting of Charpentier.

Twelve to sixteen movements is the overall norm. It is evi
dent that a change of method takes place about the turn of the
eighteenth century, for those Te Deums composed after 1707
show a definite lessening as well as a stabilization of the
number of movements. There is no seeming correlation be
tween the number of movements and total length of the in
dividual settings. Where Lully's Te Deum is divided into
twenty-two sections and is 1,233 measures in length, Blanch
ard's setting has only twelve sections, but is 1,301 measures
long. Further observations of the textual divisions of the Te
Deums reveals that with most works, verses one and two are
usually either treated as a single movement or two separate
movements, and the final verse of the text is always set as a
single movement. A majority of the composers also begin new
movements with verses fourteen, twenty, twenty-four, twenty
six and twenty-nine. In a typical Te Deum, the largest group
ings of performing forces are concentrated at the beginning
and end of the text ; between these outer movements are well
planned movements lighter in scoring. Often, one of two fully
scored movements will appear in the middle. This large or
ganization is quite symmetrical, reflecting the importance of
symmetry in French esthetic concepts.
Two primary tonalities seem to have been favored by
the composers, for with one exception (Desmarets, G minor) Closely related to the usage of chromaticism is the com
all the Te Deums are set in either C major or D major, with posers' employment of dissonance as a compositional device.
the latter having a numerical advantage. In characterizing The usual dissonant devices such as passing tones, suspen
the modes in his Regles de composition, Charpentier terms sions, appoggiatures, anticipations and auxiliary tones are im
D major a key with "joyful and very militant" qualities, C portant parts of French style. Basically, the style is quite
major is said to be "gay and militant." The key of G minor, consonant. Extreme dissonances are rare and occur as a re
on the other hand, is characterized as "serious and magnifi sult of a compositional idiosyncrasy or of unusual voice-lead
cent.'^ 11) The choice of key, then, reflects the composers' ing. An instance of the former is Charpentier's use of th
concern for an overall esthetic effect which would mirror the
9th, which, while prepared as a suspension, does not resolve
sentiments of the text. until much later than expected, as may be seen in Example 2
Key changes between movements are primarily to closely
related keys, with more frequent and less conservative key Example 2 — Charpentier (D Major), meas. 187-189.
changes in the later Te Deums. Common key shifts between
movements include excursions from the main tonic key to (\MMtjàtteZ
jfcteZ
the dominant, subdominant, relative minor and parallel minor.
Further change between subsequent movements is closely
related to the above key shifts, where such tonal centers as
the supertonic, submediant and related parallel or relative
minors are reached.
Modulations within individual movements are also very
conservative. While most modulations move toward the sharp
side of the key, a preference for moving to tonalities on the
flat side is shown by some composers. Also common are
moves to the relative or parallel minor or major keys. These
sudden shifts from major to minor or vice versa give a bi
modal character to the Lully, Desmarets (G minor), Campra
and Gervais Te Deums. Most modulation within the move
ments is accomplished by bass movement through the circle
of fifths. Less usual is movement to a new key through the
use of chromaticism in the bass voice or through melodic al
teration, as is shown in Example 1. (All musical examples
have been transcribed by the author.)

Example 1 — de Blamont, Movt. VII, meas. 68-85.

?!<>:* B

When one views the melodic designs of these works as

a whole, it is clear that the composers preferred conjunct
melodic lines, in contrast to Italian composers of the period.
One striking example of an exception to this rule is found
in Madin's Te Deum.

10 THE CHORAL JOURNAL

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TE DEUM maining predominantly syllabic in style, the later Te Detims
do contain more melismatic sections.
Example 3 — Madin, Movt. IX, meas. 1-12. Seventeenth and eighteenth century compositional prac
Çi-M tice in France was primarily limited to a quasi-contrapuntal
style, thoroughly founded upon a vertical concept of harmony.
f\j*t 1t oUoeU
oboeU
♦
♦ ,
.
Thus, contrapuntal devices that depend on a horizontal con
cept, such as canon or fugue are absent from these works.
^^ J1 W
J
s.t.
s.t. xi is.
ta Furthermore, intricate contrapuntal devices were viewed as
,J J J J
1.1 academic, a concept not compatible with French esthetic
M
MWW T«
t« " - V v --
-
- -
- -- IJ
u «i-*,
M|W« , £fc•«•.tit
—.— >»» ■Vv - \$
thought. The only example of contrapuntal ingenuity found
in the Te Deums exists in the C major Te Deums of Des
Te
Ttn»<
marets, four movements of which are constructed on ground
H basses. Example 4 illustrates a portion of one of these.
Example 4 — Desmarets, Movt. XI, meas. 1-17.
.

CU.tS i\oV»v\
K A " » -
VS
x.
i.

Ivi X f , I J
1 J J.
1 JJ J
j i1 m
ft
□f—T 1
1
' M
M
t i + i

1
mm fr r v i" r r
c ^
(i 1
i
q' ; J
JJ4 ■' J

k
ft. fm
r—F—+f |-f—p-| 1" tf
».k -
f-b - -
- -
- -
- .-
.- V*
vc \t J
r V*
ft
"■, f...—h \ « \*
-1
i»b
(»b
U
- .
k_-l
*r-ï .- —t
} 1—M*
j
à i Jbt
6t:J^
mm e * l*
mm
£ J—
%-> ~
s-« - — - S
» J
iji
*T>«It <1*
T>W t •Mvtif Vv *H (A> ««. n%
n % , ,. «w-V*
^ V*

Tc
Te -.
V

Vv ■

ft», a n -TT*
-Y*
■v r r r v

Melodic sequence and imitation are frequently employed

devices in the French style of this period. A gradual in
crease in the amount of imitation can be noted from Lully to
Madin. While most composers use imitation, its duration is
relatively limited and often not all the voice parts are sub
jected to it. It is also true that the later the date of composi
tion, the greater the amount of melodic sequence that appears.
But, rarely does the sequence exceed three successive repiti
tions. Sequence, in all its form, is without a doubt the French Lack of rhythmic energy and vitality is another char
composers' primary means of unification and extension, but acteristic of these Te Deum settings. Few very small note
melodic development is not an important aspect of French values appear ; much more common are half, quarter and
compositional style. eighth notes. Generally prevalent in all the Te Deums is the
Very few differences can be noted among the Te Deums dotted rhythmic pattern which first appeared in Lully's music
in regard to declamation, Lully's model being emulated, toand became a symbol for the Sun King, Louis XIV. But
some degree, by all the French composers of the period. even this device is not able to propel these settings toward
Basically, the rhythm of the words determines the rhythm of a greater rhythmic drive.
the music : the declamation is primarily syllabic, with melismas In their great desire for order, the French composers
given to more important words; the text is set according to devise ingenious methods of formal organization. Phrase
clause or phrase structure; syllable accentuation and articustructure, while seeming to be irregular in length, often is
lation are closely adhered to in musical rhythm; and import nicely balanced. For example, in Charpentier's C major set
ant parts of the text are repeated a number of times within ting, the first section of the third movement is constructed
a musical section. Beginning with Delalands, the composers, pairing phrase lengths:
by
to a certain degree, break away from the bounds imposed by 2 t 2 » 3 ♦ 3 . 2% ♦ 2% » 4 ♦ 4
Lully's practice of allowing the word rhythm to determine Another type of balance is achieved on a somewhat larger
musical rhythm. Accented syllables are still often given longer scale. Movement nine of the Delalands Te Deum contains the
note values than those that are unaccented, but, while re following phrase arrangement:
12
THE CHORAL JOURNAL

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 ' i I i (A and B are full choir and orchestra, C is SSA and or
4»4.4»6t 4t 4 + 6 *4 ♦ 4 ♦ 4 » 6 i 4 chestra and D is orchestra alone). Similar procedures ap
1 - ~1 pear in the works of Charpentier.
De Blamont's organizational metho
Orchestral introductions also contain regularity in phrase tlle larSe
structure. The scheme of 4 plus 5 plus 4 plus 5 plus 4 plus sma11 mot
4 plus 5 appears in Philidor's introduction. various pitch lev
The principal large organizational forms employed by as •
the composers include single period form, binary, ABA, ABC, ^ 's interesting to note that among the Te Deum
ABACA, free-rondo form, through-composed and ground were composed in the second quarter of the eighteen
bass. But other means of organization also appear. Des- tury (de Blamont, Philidor, Blanchard and Madin)
marets organizes some movements by balancing sections which fny> stylistic traits of the emerging style galant appear.
are similar in their scoring. Thus, movement five in his G 's n°t surprising, however, considering that it is churc
minor Te Deum is: that remains the most conservative in manner of composition
throughout
1 tnrougnout me the
eignteenin eighteenth
century, century, not only in Fr
I I in the remainder of Europe as well
ABCBCBCBD Although it is possible to point to a few compositional

Choral Music
from the
Romantic Era CHORAL
(Keyboard accompaniment unless
otherwise indicated.)

Johannes Brahms MUSIC

FOUR FOLK SONGS

INSTITUTE
(SATB a cap.) 60
HOW LOVELY IS THY
DWELLING PLACE (SATB) 50
LOST YOUTH
(SATB — arr. Field) 35
NIGHT WATCH (SSATBB a cap. JULY 2-8
— arr. Field) 40
O JESUS, TENDER SHEPHERD,
HEAR (SATB — arr. Hilton) 30
O LOVELY MAY! Southwestern University
(SATB a cap.) 30
THERE IS A SIGHING IN
THE WOOD (SATB a cap. —
arr. Field) 35 Georgetown, Texas
Anton Bruckner
ETERNAL SPIRIT, WE CONFESS
(SATB a cap. — arr. Ehret) 35
STAFF
LORD HAVE MERCY UPON US
(SSAATTBB — arr. Field) 55 BEVERLY HENSON, Clinician
Antonin Dvorak ROGER DESCHNER, Dean
BLESSED JESU, FOUNT OF
MERCY (SATB) 35 ELLSWORTH PETERSON, ROSEMARY HEFFLEY,
SONGS FILLED MY HEART
ROGER MELONE, KENNY SHEPPARD, CAROL SMITH
(SATB) 40
UP SPRANG A BIRCH TREE
OVERNIGHT (SATB a cap.) 40
Choral techniques, conducting, research techniques,
Sir Edward Elgar
AS TORRENTS IN SUMMER youth choirs, sight-singing techniques,
(SATB) 30
new music, and much more!
Franz Liszt
HOLY, HOLY, HOLY (SATB —
arr. Ehret) 35
This summer's main event will be the study, rehearsal,
Sergei Rachmaninoff
BLESSING AND GLORY (SATB — and public performance of Haydn's
arr. Markaroff) 35
LORD NELSON MASS
Peter Tchaikovsky
(Solo
CHERUBIM SONG (SATB a cap.). .30 auditions on campus)
Giuseppe Verdi
AVE MARIA (SATB a cap. LIMITED ENROLLMENT • MODERATE COST
— arr. Ehret) 50
Excellent Recreational Facilities
For FREE reference copiesFor of any 5,
information, simply
write to Dean Theodore Lucas,
write on organizational letterhead to:
School of Fine Arts, Southwestern University,
Theodore Presser Co.
Georgetown, Texas 78626
Dept. XJ-8

^ Bryn Mawr, Pa. 19010

APRIL 1978 13

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TE DEUM . . . France exhibits a poverty of invention when contrasted to
contemporary works from other countries. Excess in French
elements in these four Te Deums that later also appear in music never abounds during this period, even in the most
classical style, such as a greater transparency of texture, ques progressive works that were being performed in Paris. In
tion and answer phrase structure, slower harmonic rhythm deed, because French music was confined to a preconceived
and change of the basic emotion of a movement, one can only style which was thought to be proper and ideal for purpose
tenuously consider these elemeants (essentially Baroque in ful expression, no other musical development was thought
origin) as classical, when used by the relatively conserva necessary. Not until the revolution was this to change. As
tive French court composers. These composers' awareness of J. J. Quantz explained it, ". . . the taste in music has in
new compositional techniques (if it existed) would not tend Italy been constantly and very noticeably changing, as every
to be apparent in works written for Versailles, but rather one knows, while in France it has remained precisely the
in works written for public performance in Paris where a same . . . neither profound nor bold, . . . always the same,
more progressive musical attitude pevailed. common place in their way of thinking . . ."(13)
It has been noted that few stylistic conventions exist To Be Continued Next Month
among the various French Te Deums. But when compared
FOOTNOTES
with Te Deums by the contemporary Italian composers, such
as Alessandro Scarlatti, Francesco Urio and Antonio Caldara, 1. O'iver Strunk, Source Readings in Music History, (New
York: W. W. Norton, 1950), p. 477.
(12) the French works exhibit a conservatism in harmonic 2. Ibid., p. 594.
activity, a melody which is easily assimilated, simple melodic 3. Lecerf de la Viéville, Comparison de la musique Ital
contours, less melodic sequence and use of long melismas, ienne et da la musique Françoise, reprint, (Graz, Austria:
repetition of text phrase rather than a word, a reserved setting Akademische Druck-u. Verlagsanstalt, 1966) IV, p. 34.
4. Strunk, Source Readings, p. 491.
of the text which allows no excess of emotion and expressivity,
5. Ibid., p. 493.
and the concept of propriety which would not allow any 6. Sébastien de Brossard, Dictionnaire de musique, 2d ed.
musical excesses to appear in music meant for the church 1705, reprint, (Hilversum: Fritz Knuf, 1965), p. 115.
7. Ibid.
or court. Grandeur, one of the more nebulous characteristics
8. Lecerf de la Viéville, Comparaison, IV, pp. 58, 60. 62-
which writers of the period require in sacred music is lack 9. Ibid., pp. 58-59.
ing in the Italian examples. Louis XIV considered perform 10. Ibid., p. 69.
ances of a Te Deum. or other ceremonial music, to be very 11. Marc-Antoine Charpenetier, "Règles de composition,"
closely associated with the prestige of the monarchy. A grand trans. Lillian Ruff, The Consort 24 (1967), p. 251.
12. Francesco Antonio Urio, "Te Deum," Supplement to
Te Deum immortalized Louis's deeds, for whatever increased
Handel's Werken, ed. by Friedrich Chrysander, (Leipzig:
his own personal glory, benefited all of France. Musical Stich und Druck der Gesellschaft, 1902) ; Alessandro Scarlatti,
grandeur would dazzle his subjects and make them respect "Te Deum Laudamus," ed. by John Castellini, (Bryn Mawr:
ful. This use of music as a political tool was not an important Theodore Presser, 1954); Antonio^ Caldara, "Te Deum," ed. b
Eusebius Mandyczewski, Denkmaler der Tonkunst In Oster
element for Italian composers. reich, (Graz: Akademische Druck-u. Verlagsanstalt, 1959)
It is because of the close adherence by the composers to Jahrg. XIII/1, Vol. 26, pp. 115-143.
contemporary esthetic principles that the choral music of 13. Strunk, Source Readings, pp. 593-594.

iiiiiiiMiiiiiiiiiiiiiimiiiiimiiimiiiiiiiiiiiiiiiiiwiiiimiiimiimiiiiiiiiiiiii Illlllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll

LETTER TO PRESIDENT CARTER Whereas, the American Choral Di should be coordinated under the unified
leadership; and
rectors Association believes that frequent
February 6, 1978interaction with the arts is important for Whereas, a cabinet-level voice can best
President Jimmy Carter all people and that a vital arts environ bring about a higher priority for Amer
The White House ment is extremely important for the en ican education;
Washington, D.C. richment and general wellbeing of our Be It Therefore Resolved, that the
nation ; and American Choral Directors Association
Dear President Carter :
On January 14, 1978, the ExecutiveWhereas, the Association recognizes support in principle Senate Bill 991 for
Committee of the American Choral Di that Federal government support for arts the establishment of a United States De
rectors Association, representing 8,700 education is grossly inadequate; partment of Education ;
choral directors and several million of Be It Therefore Resolved, that the and
American Choral Directors Association
their singers, passed the following resolu Whereas, the function of the National
tions : strongly endorse the position of theEndowment
As for the Arts has been pri
sembly of National Arts Education Organ marily concerned with the support and
DIRECTOR OF CHORAL ACTIVITIES
izations in advocacy of a comprehensive encouragement of professional activities
program of categorical aid for theother im than education in the arts;
(Asst. or Assoc.)
provement of education in the arts, as
Non-continuing leave replacement, 2nd se Be It Resolved, that, as the American
presented for the Hearing Record of the
mester 78-79. Conduct choir, chorus, prepare
United States Senate Committee on Hu Choral Directors Association hopes a De
Musical Union for orchestra; teach advanced
partment of Education will result in
choral conducting; supervise candidates in man Resources (Subcommittee on Edu
5 yr. M.Mus. conducting; partipate in meet cation, Arts, and Humanities (October greater attention and support for arts edu
ings, auditions, examinations. B.A. and or cation in the United States, the Associa
5, 1977).
advanced degrees (M.M. or D.M.A.) or pro tion strongly recommend that the Na
fessional experience. Submit credentials by and
tional Endowment for the Arts remain
April 7, 1978 to Dean Boe, Music Conserv Whereas, education in the United
atory, Oberlin College, Oberlin, Ohio 44074. organizationally and functionally inde
To be filled by May 15, 1978; 4/9 of annual States today is in need of a higher priori
pendent of a Department of Education.
salary range of $12,600 or higher, depend ty of attention from the Federal govern
ing on experience and qualifications. ment ; and Sincerely yours,
Affirmative Action (M/F) Whereas, the various educational re /s/Walter S. Collins
Equal Opportunity Employer
sponsibilities of the Federal government ACDA President

14 THE CHORAL JOURNAL

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