Essays on the History of English Music in Honour of John Caldwell Book contents
- Frontmatter
- Contents
- Acknowledgments
- Contributors
- Abbreviations and Library sigla
- Introduction
- Traces of Lost Late Medieval Offices? The Sanctilogium Angliae, Walliae, Scotiae, et Hiberniae of John of Tynemouth (fl.1350)
- The Saints Venerated in Medieval Peterborough as Reflected in the Antiphoner Cambridge, Magdalene College, f.4.10
- Interactions between Brittany and Christ Church, Canterbury in the Tenth Century: The Linenthal leaf
- A New Source of Late Seventeenth- and Early Eighteenth-Century English Harpsichord Music by Barrett, Blow, Clarke, Croft, Purcell and Others
- The Earliest Fifteenth-Century Transmission of English Music to the Continent
- ‘Phantasy mania’: Quest for a National Style
- Purcell's 1694 Te Deum and Jubilate: Its Successors, and Its Performance History
- Imitative Counterpoint in Mid-Fifteenth-Century English Mass Settings
- Double cantus firmus Compositions in the Eton Choirbook
- Englishness in a Kyrie (Mis)attributed to Du Fay
- Continuity, Discontinuity, Fragments and Connections: The Organ in Church, c. 1500–1640
- ‘As the sand on the sea shore’: Women Violinists in London's Concert Life around 1900
- The Carol in Anglo-Saxon Canterbury?
- Luisa de Carvajal y Mendoza and Music in an English Catholic House in 1605
- Music in Oxford, 1945–1960: The Years of Change
- Three Anglican Church Historians on Liturgy and Psalmody in the Ancient Synagogue and the Early Church
- Histories of British Music and the Land Without Music: National Identity and the Idea of the Hero
- John Caldwell (b 1938): Scholar, Composer, Teacher, Musician
- Index
- Tabula Gratulatoria
Purcell's 1694 Te Deum and Jubilate: Its Successors, and Its Performance History
Published online by Cambridge University Press: 02 March 2023
- Frontmatter
- Contents
- Acknowledgments
- Contributors
- Abbreviations and Library sigla
- Introduction
- Traces of Lost Late Medieval Offices? The Sanctilogium Angliae, Walliae, Scotiae, et Hiberniae of John of Tynemouth (fl.1350)
- The Saints Venerated in Medieval Peterborough as Reflected in the Antiphoner Cambridge, Magdalene College, f.4.10
- Interactions between Brittany and Christ Church, Canterbury in the Tenth Century: The Linenthal leaf
- A New Source of Late Seventeenth- and Early Eighteenth-Century English Harpsichord Music by Barrett, Blow, Clarke, Croft, Purcell and Others
- The Earliest Fifteenth-Century Transmission of English Music to the Continent
- ‘Phantasy mania’: Quest for a National Style
- Purcell's 1694 Te Deum and Jubilate: Its Successors, and Its Performance History
- Imitative Counterpoint in Mid-Fifteenth-Century English Mass Settings
- Double cantus firmus Compositions in the Eton Choirbook
- Englishness in a Kyrie (Mis)attributed to Du Fay
- Continuity, Discontinuity, Fragments and Connections: The Organ in Church, c. 1500–1640
- ‘As the sand on the sea shore’: Women Violinists in London's Concert Life around 1900
- The Carol in Anglo-Saxon Canterbury?
- Luisa de Carvajal y Mendoza and Music in an English Catholic House in 1605
- Music in Oxford, 1945–1960: The Years of Change
- Three Anglican Church Historians on Liturgy and Psalmody in the Ancient Synagogue and the Early Church
- Histories of British Music and the Land Without Music: National Identity and the Idea of the Hero
- John Caldwell (b 1938): Scholar, Composer, Teacher, Musician
- Index
- Tabula Gratulatoria
Summary
Purcell's Te Deum and Jubilate
Henry Purcell's orchestrally accompanied setting of the morning canticles, the Te Deum and Jubilate in D (z232), was first published in 1697 by J. Heptinstall for Purcell's widow; according to the title of this edition, the music was ‘made for St Cecilia's Day 1694’. This, in fact, appears to be the only evidence for the dating of the music. In the preface to the sixth volume of his manuscript collection of services and anthems from 1720 Thomas Tudway famously misdated Purcell's morning canticles and stated that Purcell composed them ‘principally against the Opening of St Paul’s, but did not live till that time’. Although the year 1694 is confirmed by the first edition there are still doubts as to whether Purcell composed the music specially for the St Cecilia's Day festival. Donald Burrows suggests that Purcell ‘originally hoped for a court performance on the Thanksgiving Day’ towards the end of 1694 to celebrate the King's return from a campaign in Ireland. Purcell's canticles were, in the end, performed at court only after the festival, in a service in the Chapel Royal on 11 December. However, it is feasible that Purcell had composed them with that in mind; one could speculate that they were included in the 1694 festival simply because Purcell had them ready and they matched the occasion. In any case, it is intriguing that the first performance of these grand compositions was not during an important, state thanksgiving service, but during the festival of St Cecilia, the patron saint of music, and thus during a celebration of music itself.
The celebration of St Cecilia's Day in an annual festival in London had been initiated by the Musical Society in 1683. Originally, the festival comprised a feast and a performance of an ode. Despite the fact that the festival was dedicated to a saint, it appears that a divine service was not part of it before 1693, the first year for which a printed sermon survives. From that year on, a service in St Bride's Church, Fleet Street, was part of the celebrations.
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- Essays on the History of English Music in Honour of John CaldwellSources, Style, Performance, Historiography, pp. 122 - 142Publisher: Boydell & BrewerPrint publication year: 2010