The Dettingen Te Deum.
On the 27th of June, 1743, the British army and its allies, under the command of King George II. and Lord Stair, won a victory at Dettingen, in Bavaria, over the French army, commanded by the Maréchal de Noailles and the Duc de Grammont. It was a victory plucked from an expected defeat, and aroused great enthusiasm in England. On the King's return, a day of public thanksgiving was appointed, and Handel, who was at that time "Composer of Musick to the Chapel Royal," was commissioned to write a Te Deum and an anthem for the occasion. The original score, a large folio volume in the Royal Collection, is headed "Angefangen Juli 17, 1743." There is no date at the end; but as the beginning of the Dettingen Anthem is dated July 30, it is probable that the Te Deum was finished between the 17th and 30th. Both works were publicly rehearsed at the Chapel Royal, Whitehall, on the 18th and 25th of the ensuing November, and formed part of the thanksgiving services on the 27th at the Chapel Royal of St. James, in the presence of the King and royal family.
The Dettingen Te Deum has been universally considered as one of the masterpieces among [156] Handel's later works. Never was a victory more enthusiastically commemorated in music. It is not a Te Deum in the strict sense, but a grand martial panegyric, and, as Rockstro says:--
"It needs no great stretch of the imagination to picture every drum and trumpet in the realm taking part in the gorgeous fanfare of its opening chorus, while the whole army, with the King at its head, joins the assembled nation in a shout of praise for the escape which was so unexpectedly changed into a memorable victory."
Schoelcher, in his reference to this work, notes that Handel set the hymn of St. Ambrose to music five different times in thirty years, and always with new beauty and fresh color, though it is somewhat remarkable that he gave each time a plaintive character to the verse, "To Thee all angels cry aloud,"--a fact also observed by Burney, who says:--
"There is some reason to suspect that Handel, in setting his grand Te Deum for the peace of Utrecht, as well as in this, confined the meaning of the word 'cry' to a sorrowful sense, as both the movements to the words 'To Thee all angels cry aloud' are not only in a minor key, but slow and plaintive."
Burney further says, speaking of its performance at the great Handel Commemoration in Westminster Abbey in 1784:--
"As it was composed for a military triumph, the fourteen trumpets, two pairs of common kettledrums, two [157] pairs of double drums from the Tower, and a pair of double-bass drums made expressly for this occasion, were introduced with great propriety; indeed, these last drums, except the destruction, had all the effect of the most powerful artillery."
The Te Deum contains eighteen short solos and choruses, mostly of a brilliant, martial character, the solos being divided between the alto, baritone, and bass. After a brief instrumental prelude, the work opens with the triumphant, jubilant chorus with trumpets and drums, "We praise Thee, O God," written for five parts, the sopranos being divided into firsts and seconds, containing also a short alto solo leading to a closing fugue. The second number ("All the Earth doth worship Thee") is also an alto solo with five-part chorus of the same general character. It is followed by a semi-chorus in three parts ("To Thee all Angels cry aloud"), plaintive in style, as has already been observed, and leading to the full chorus ("To Thee Cherubim and Seraphim"), which is majestic in its movement and rich in harmony. The fifth number is a quartet and chorus ("The glorious Company of the Apostles praise Thee"), dominated by the bass, with responses from the other parts, and followed by a short full chorus ("Thine adorable, true, and only Son"). The seventh number is a stirring bass solo with trumpets ("Thou art the King of Glory"), leading without break into a stately choral enunciation of the same words. The eighth is a slow and plaintive bass solo, [158] usually sung by a tenor ("When Thou tookest upon Thee to deliver Man"), followed by a grave and impressive chorus ("When Thou hadst overcome the Sharpness of Death"). The next number is a trio for alto, tenor, and bass ("Thou sittest at the Right Hand of God"), closing with a beautiful adagio effect. A fanfare of trumpets introduces the next four numbers, all choruses, set to four verses of the hymn:--
"We therefore pray Thee, help Thy servants: Whom Thou hast redeemed with Thy precious blood.
"Make them to be numbered with Thy Saints: in glory everlasting.
"O Lord, save Thy people: and bless Thine heritage.
"Govern them: and lift them up forever.
"Day by day: we magnify Thee:
"And we worship Thy Name! ever, world without end."
In this group of choruses the art of fugue and counterpoint is splendidly illustrated, but never to the sacrifice of brilliant effect, which is also heightened by the trumpets in the accompaniments. An impressive bass solo ("Vouchsafe, O Lord") intervenes, and then the trumpets sound the stately symphony to the final chorus, "O Lord, in Thee have I trusted." It begins with a long alto solo with delicate oboe accompaniment that makes the effect very impressive when voices and instruments take up the phrase in a magnificent outburst of power and rich harmony, and carry it to the close.
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