TE DEUM LAUDAMUS for Organ
Commissioned by and dedicated to Larry King (1932-1990)
TOCCATA - THE ACKNOWLEDGMENT uses the traditional solemn tone for the first verse
of the Latin hymn Te Deum as a cantus firmus in the bass. The two phrases of the chant form the
opening and closing sections of this movement while the middle section is a short fugue based on
the melody of the first phrase.
FOUR FANTASIES - THE ADORATION is really four short sketches strung together, each
representing one of the four bodies of persons or souls which offer praise to God in the hymn Te
Deum. The apostles´ praise is cast in twelve-tone procedure. The outer portions of this ABA
section make reference to the cantus firmus mostly through sustaining of the pitches of the chant
melody as they occur in the order of the row. The prophets´ praise utilizes the whole-tone scale
mostly in ascending thirds. The shape of the chant melody can be recognized in the fugal
episodes of this section. The martyrs´ praise is characterized by boldly juxtaposed major triads.
Like the section immediately before it, the martyrs´ praise utilizes the chant melody in fragments,
treating it in rhythmic patterns. The Holy Church´s praise is heralded by the same fanfare used to
begin the first movement. In this five-voice section the cantus firmus is stated by the upper pedal
voice.
RECITATIVE AND HYMN - THE HUMBLING begins as an improvisatory flute solo line. In
the central section of this movement fragments of the chant melody and recitative are in dialogue.
The final section brings the recitative together with the Christmas hymn Divinum mysterium (Of
the Father´s love begotten), the melody of which occurs in the upper pedal voice.
INTRODUCTION, FUGUE AND CHACONNE - THE OPENING OF HEAVEN begins as
Dies irae and Victimae paschali - two ancient Latin sequences respectively speaking of death
and life - are pitted against one another in jagged rhythm and fiery reed color. At the peak of
combat, a short cadenza re-introduces the tone row of the apostles´ praise (second movement) and
climaxes with a recollection of a now altered form of the fanfare figure heard before in the first
and second movements. The Chaconne emerges quietly out of the combat. The fifteen
variations on a ground, derived from the tone-row of the Apostles´ praise, call to remembrance
the various melodies, textures and colors of all that has gone before in this and other movements,
casting it all upward in a triumphal crescendo toward Christ in glory at the right hand of God.
The first complete performance of this score was given by Larry King on Tuesday evening, 20
July 1982 at the Riverside Church in New York City.
David Hurd
18 August 1982