Amongst Handel’s sacred works, the “Te Deum” for James Brydges at Cannons is one of the least well-known. Now its publication in the Complete Edition enables authentic performances to be given once more.

The new edition of George Frideric Handel’s Te Deum in B flat Major, HWV 281, which will appear in the Halle Handel Edition (III/7), will make a substantial but little-known work available to scholars, performers and music lovers. Composed in 1718 for the musical establishment of James Brydges, then Earl of Carnarvon and later First Duke of Chandos, it was first performed at Brydges’ country estate of Cannons, from which it derives its designation as the “Cannons” Te Deum. Largely because it calls for unusual performing forces, including two violins but no viola, trumpet in a single movement, and a vocal ensemble of soprano, three tenors and bass, there have been few performances in the ensuing 300 years. That situation should change with the appearance of the new edition, for which Bärenreiter will also make available a piano/vocal score and performing material.

The task of editing this piece was straightforward. The autograph score is complete and the musical text is generally clear. Difficult passages were deciphered with the assistance of Dr. Annette Landgraf from the HHA Redaktion. Because the Cannons Te Deum was never performed again under the composer’s direction, there is no trail of subsequent revisions and alterations to account for.

The main challenge was to provide a scholarly edition that is also helpful to performers, and there were two areas of particular concern. The first has to do with the instrumental bass line, which is designated “Contin:” in the autograph with no indication of specific instruments. It is clear from external evidence that at least one cellist was involved in the first performance, but there are indications that a string bass and a bassoon may also have been used. A manuscript part labelled “Contrabasso,” prepared shortly after the first performance and apparently intended for the library at Cannons, has served as the basis for editorial instructions for its use included in the HHA score. Suggestions for possible use of bassoon are included in the Preface.

The second question is how to allow for modern performances involving a chorus. At Cannons each vocal line was almost certainly sung by an individual singer – although there may have been as many as three boys on the treble line. Handel’s indications of “Solo” against individual lines in the autograph score were apparently intended to advise the singers that they were either singing alone or with a reduced ensemble beginning at that point.  Fortunately, Handel’s “Solo” designations are perfectly appropriate when there are more singers available. Likewise, the HHA edition uses the editorial designation “Chorus” to indicate when the entire five-voice ensemble is singing, regardless of how many singers that involves.
The Cannons Te Deum will be performed from the new HHA edition by soloists and the London Handel Orchestra under the direction of Adrian Butterfield at this year’s Handel Festival in Halle, and a recording by the same forces will also be released this year.

Graydon Beeks
(from [t]akte 1/2018)