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54-521: The Te Deum ( / t eɪ ˈ d eɪ əm / or / t iː ˈ d iː əm / , Latin: [te ˈde.um] ; from its incipit , Te Deum laudamus ( Latin for 'Thee, God, we praise')) is a Latin Christian hymn traditionally ascribed to a date before AD 500, but perhaps with antecedents that place it much earlier. It is central to the Ambrosian hymnal , which spread throughout

108-566: A religious profession , the publication of a treaty of peace, a royal coronation, etc. It is sung either after Mass or the Divine Office or as a separate religious ceremony. The hymn also remains in use in the Anglican Communion and some Lutheran Churches in similar settings. Originally, the hymn Te Deum was written on a Gregorian chant melody. The petitions at the end of the hymn (beginning Salvum fac populum tuum ) are

162-418: A Te Deum service on December 31 of each year. It is also celebrated in some South American countries such as Argentina , Chile , and Peru on their national days. The text has been set to music by many composers, with settings by Zelenka , Handel , Haydn , Mozart , Berlioz , Verdi , Bruckner , Furtwängler , Dvořák , Britten , Kodály , and Pärt among the better known. Jean-Baptiste Lully wrote

216-512: A dramatic performance of the initial part of the Te Deum at the end of Act I. The traditional chant melody was the basis for elaborate Te Deum compositions by notable French composer organists, Louis Marchand , Guillaume Lasceux , Charles Tournemire (1930), Jean Langlais (1934), and Jeanne Demessieux (1958), which are still widely performed today. A version by Father Michael Keating is popular in some Charismatic circles. Mark Hayes wrote

270-525: A miniature or an illuminated or historiated letter . Traditionally, papal bulls and encyclicals , documents issued under the authority of the Pope , are referenced by their Latin incipit. Some of the mantras , suktas from the hymns of the Vedas , conform to this usage. The idea of choosing a few words or a phrase or two, which would be placed on the spine of a book and its cover, developed slowly with

324-721: A number of Canticles taken from the Old Testament. Prior to the Pope Pius X 's 1911 reforms , the following cycle of seven Old Testament Canticles was used at Lauds : These are rather long, and the weekday ones display something of a penitential theme, but some were not often used, as all feasts and the weekdays in Eastertide had the Canticle of Daniel, assigned to Sunday. The 1911 reform introduced for weekdays not of penitential nature, and for lesser feasts and days of

378-479: A selection of verses from the book of Psalms , appended subsequently to the original hymn. The hymn follows the outline of the Apostles' Creed , mixing a poetic vision of the heavenly liturgy with its declaration of faith. Calling on the name of God immediately, the hymn proceeds to name all those who praise and venerate God, from the hierarchy of heavenly creatures to those Christian faithful already in heaven to

432-700: A setting of Te Deum for the court of Louis XIV of France , and received a fatal injury while conducting it. Michel Richard de Lalande wrote a setting of the Te Deum, S.32. The prelude to Marc-Antoine Charpentier's setting ( H.146 ) is well known in Europe on account of its being used as the theme music for Eurovision network broadcasts of the European Broadcasting Union , most notably the Eurovision Song Contest and Jeux Sans Frontières . He wrote also three other settings of

486-412: A setting of the text in 2005, with Latin phrases interpolated amid primarily English lyrics. In 1978, British hymnodist Christopher Idle wrote God We Praise You , a version of the text in 8.7.8.7.D meter, set to the tune Rustington . British composer John Rutter has composed two settings of this hymn, one entitled Te Deum and the other Winchester Te Deum . Igor Stravinsky set the first 12 lines of

540-543: A short refrain inserted between each verse. Eventually, short verses ( troparia ) were composed to replace these refrains, a process traditionally inaugurated by Saint Andrew of Crete . Gradually over the centuries, the verses of the Biblical Canticles were omitted (except for the Magnificat) and only the composed troparia were read, linked to the original canticles by an Irmos . During Great Lent however,

594-401: A use is an incipit and not a title is most obvious when the line breaks off in the middle of a grammatical unit (e.g., Shakespeare 's sonnet 55 "Not marble, nor the gilded monuments"). Latin legal concepts are often designated by the first few words, for example, habeas corpus for habeas corpus ad subjiciendum ("may you have the person to be subjected [to examination]") which are itself

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648-537: Is called Me-ematai ("From when"). This word is printed at the head of every subsequent page within that chapter of the tractate. In rabbinic usage, the incipit is known as the "dibur ha-matḥil" (דיבור המתחיל), or "beginning phrase", and refers to a section heading in a published monograph or commentary that typically, but not always, quotes or paraphrases a classic biblical or rabbinic passage to be commented upon or discussed. Many religious songs and prayers are known by their opening words. Sometimes an entire monograph

702-500: Is in thee. O Lord, in thee have I trusted : let me never be confounded. O God, we praise you; O Lord, we acclaim you. Eternal Father, all the earth reveres you. All the angels, the heavens and the Pow'rs of heaven, Cherubim and Seraphim cry out to you in endless praise: Holy, Holy, Holy Lord God of hosts, heaven and earth are filled with the majesty of your glory. The glorious choir of Apostles sings to you,

756-675: Is known by its "dibur hamatḥil". The published mystical and exegetical discourses of the Chabad-Lubavitch rebbes (called "ma'amarim"), derive their titles almost exclusively from the "dibur ha-matḥil" of the individual work's first chapter. The final book of the New Testament , the Book of Revelation , is often known as the Apocalypse after the first word of the original Greek text, ἀποκάλυψις apokalypsis "revelation", to

810-513: Is named for the first words spoken in the episode (leading to episode titles such as "What I don't understand is this..." and "Um...I know what you're thinking"). Musical incipits are printed in standard music notation. They typically feature the first few bars of a piece, often with the most prominent musical material written on a single staff (the examples given at right show both the single-staff and full-score incipit variants). Incipits are especially useful in music because they can call to mind

864-730: Is retained by many churches of the Reformed tradition . The hymn is in regular use in the Catholic Church , Lutheran Church, Anglican Church and Methodist Church (mostly before the Homily) in the Office of Readings found in the Liturgy of the Hours , and in thanksgiving to God for a special blessing such as the election of a pope, the consecration of a bishop, the canonization of a saint,

918-584: Is used. These follow a weekly cycle, with some exceptions. Additionally, the following Canticles from the Gospel of Luke (also called the “Evangelical Canticles”) are said daily: This usage is also followed by Lutheran churches. In the Church of England , Morning and Evening Prayer according to the Book of Common Prayer make extensive use of canticles, specifically those below and also in some enumerations,

972-481: The Book of Common Prayer , verse is written in half-lines, at which reading pauses, indicated by colons in the text. The Enchiridion Indulgentiarum of 2004 grants plenary or partial indulgence under certain circumstances. A Te Deum service is a short religious service, based upon the singing of the hymn, held to give thanks. In Sweden , for example, it may be held in the Royal Chapel in connection with

1026-587: The Latin Church with other parts of the Ambrosian Rite of Milan in the 6th to 8th centuries. It is sometimes known as the Ambrosian Hymn, although authorship by Saint Ambrose is unlikely. The term Te Deum can also refer to a short religious service (of blessing or thanks) that is based upon the hymn. It continues in use in many contexts by several denominations. In particular it is

1080-644: The Old Testament each day at Lauds , "each weekday of the four-week cycle [has] its own proper canticle and on Sunday the two sections of the Canticle of the Three Children may be alternated". The liturgy prior to the reform after Vatican II used fourteen Old Testament Canticles in two weekly cycles. At Vespers according to the Liturgy of the Hours , a Canticle from the New Testament

1134-629: The Triduum ) and on all ferias during Eastertide . Before the 1961 reforms of Pope John XXIII , neither the Gloria nor the Te Deum were said on the feast of the Holy Innocents , unless it fell on Sunday, as they were martyred before the death of Christ and therefore could not immediately attain the beatific vision . In the Liturgy of the Hours of Pope Paul VI , the Te Deum is sung at

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1188-963: The Venite (Psalm 95) . Nonetheless, the only text called a canticle in the rubrics of the Book of Common Prayer is the Benedicite, while the Song of Solomon is called the Canticles in the Lectionary. In the Eastern Orthodox and Eastern Catholic Churches there are nine Biblical Canticles (or Odes) that are chanted at Matins . These form the basis of the Canon , a major component of Matins. The nine Canticles are as follows: Originally, these Canticles were chanted in their entirety every day, with

1242-592: The 20th century, especially Ernst Kähler (1958), have shown the association with "Nicetas" to be spurious. The Te Deum has structural similarities with a eucharistic prayer and it has been proposed that it was originally composed as part of one. The hymn was part of the Old Hymnal since it was introduced to the Benedictine order in the 6th century, and it was preserved in the Frankish Hymnal of

1296-463: The 20th century, the association with Nicetas has been deprecated, so that the hymn, while almost certainly dating to the 4th century, is considered as being of uncertain authorship. Authorship of Nicetas of Remesiana was suggested by the association of the name "Nicetas" with the hymn in manuscripts from the 10th century onward, and was particularly defended in the 1890s by Germain Morin . Hymnologists of

1350-690: The 8th century. It was, however, removed from the New Hymnal which became prevalent in the 10th century. It was restored in the 12th century in hymnals that attempted to restore the praiseful intent of the Rule of St. Benedict, Chap. 12: How the Morning Office Is to Be Said. In the traditional office , the Te Deum is sung at the end of Matins on all days when the Gloria is said at Mass; those days are all Sundays outside Advent , Septuagesima , Lent , and Passiontide ; on all feasts (except

1404-761: The Canticle following the First Lesson. It is appointed for (1) Sundays except in Pre-Lent and Lent, (2) Feasts and Solemnities, and (3) all days during the Octaves of Christmas, Easter, and Pentecost. It is also used together with the standard canticles in Morning Prayer as prescribed in the Anglican Book of Common Prayer , as an option in Morning Prayer or Matins for Lutherans , and

1458-455: The Church spread throughout the world. The hymn then returns to its credal formula, naming Christ and recalling his birth, suffering and death, his resurrection and glorification. At this point the hymn turns to the subjects declaiming the praise, both the universal Church and the singer in particular, asking for mercy on past sins, protection from future sin, and the hoped-for reunification with

1512-761: The Lord. All the earth doth worship thee : the Father everlasting. To thee all Angels cry aloud : the Heavens, and all the Powers therein. To thee Cherubin and Seraphin : continually do cry, Holy, Holy, Holy : Lord God of Sabaoth; Heaven and earth are full of the Majesty ;: of thy glory. The glorious company of the Apostles ;: praise thee. The goodly fellowship of

1566-629: The Peace Hour): Daniel 3:29-34, Luke 2:29-32, Luke 1:16-55. This list does not take into account citations of these texts in the Divine Liturgy (Armenian: Պատարագ patarag ) or in the movable Old Testament verse material or in hymnody. In the Coptic Orthodox Church there are four Biblical Canticles (or ϩⲱⲥ (hos, literally praise/song)) that are chanted during midnight praises . The fourth of these canticles

1620-717: The Prophets ;: praise thee. The noble army of Martyrs : praise thee. The holy Church throughout all the world : doth acknowledge thee; The Father : of an infinite Majesty; Thine honourable, true : and only Son; Also the Holy Ghost ;: the Comforter. Thou art the King of Glory : O Christ. Thou art the everlasting Son : of the Father. When thou tookest upon thee to deliver man : thou didst not abhor

1674-729: The Te Deum: H.145, H.147, H.148. Henry Desmarets , two settings of Te Deum (1687). Louis-Nicolas Clérambault wrote three settings of the Te Deum: C.137, C.138, C.155. Earlier it had been used as the theme music for Bud Greenspan 's documentary series, The Olympiad . Sir William Walton 's Coronation Te Deum was written for the coronation of Queen Elizabeth II in 1953. Other English settings include those by Thomas Tallis , William Byrd , Henry Purcell , Edward Elgar , Richard St. Clair and Herbert Howells , as well as five settings by George Frideric Handel and three settings by Charles Villiers Stanford . Puccini 's opera Tosca features

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1728-1054: The Virgin's womb. When thou hadst overcome the sharpness of death :   thou didst open the Kingdom of Heaven to all believers. Thou sittest at the right hand of God : in the glory of the Father. We believe that thou shalt come : to be our Judge. 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. [added later, mainly from Psalm verses:] O Lord, save thy people :   and bless thine heritage. Govern them : and lift them up for ever. Day by day : we magnify thee; And we worship thy Name : ever world without end. Vouchsafe, O Lord : to keep us this day without sin. O Lord, have mercy upon us : have mercy upon us. O Lord, let thy mercy lighten upon us :   as our trust

1782-948: The Virgin's womb; you overcame the sting of death and opened wide the Kingdom of Heaven to those who put their faith in you. You are seated at the right hand of God in the glory of the Father. We believe you are the Judge who is to come.   And so we beg you, help your servants, redeemed by your most precious blood. Number them among your saints in eternal glory. [added later, mainly from Psalm verses:] Save your people, Lord, and bless your inheritance. Shepherd them and raise them to eternal life. Day by day, we bless you and praise your name for endless ages evermore. Be gracious, Lord, on this day, and keep us from all sin. Have mercy on us, O Lord, have mercy. May your mercy be upon us, Lord, as we place our trust in you. In you, O Lord, I rest my hope: let me never be put to shame. In

1836-576: The archives, and the width of a clay tablet and its resolution did not permit long entries. An example from Lerner (1998): Honored and noble warrior Where are the sheep Where are the wild oxen And with you I did not In our city In former days Many books in the Hebrew Bible are named in Hebrew using incipits. For instance, the first book (Genesis) is called Bereshit ("In the beginning ...") and Lamentations , which begins "How lonely sits

1890-513: The biblical psalms used as prayers during services are always titled with the first word or words of the text. Protestant hymns of the eighteenth and nineteenth centuries are also traditionally titled with an incipit. In computer science, long strings of characters may be referred to by their incipits, particularly encryption keys or product keys . Notable examples include FCKGW (used by Windows XP ) and 09 F9 (used by Advanced Access Content System ). Other sources Canticle In

1944-676: The birth of printing , and the idea of a title page with a short title and subtitle came centuries later, replacing earlier, more verbose titles. The modern use of standardized titles, combined with the International Standard Bibliographic Description (ISBD), have made the incipit obsolete as a tool for organizing information in libraries. However, incipits are still used to refer to untitled poems, songs, and prayers, such as Gregorian chants , operatic arias, many prayers and hymns, and numerous poems, including those of Emily Dickinson . That such

1998-599: The birth of a prince or princess, christenings, milestone birthdays, jubilees and other important events within the royal family of Sweden. In Luxembourg , a service is held annually in the presence of the grand-ducal family to celebrate the Grand Duke's Official Birthday , which is also the nation's national day, on either 23 or 24 June. In the Autonomous Region of Madeira , the Bishop of Funchal holds

2052-485: The city...", is called Eykha ("How"). A readily recognized one is the "Shema" or Shema Yisrael in the Torah : "Hear O Israel..." – the first words of the proclamation encapsulating Judaism's monotheism (see beginning Deuteronomy 6:4 and elsewhere). All the names of Parashot are incipits, the title coming from a word, occasionally two words, in its first two verses. The first in each book is, of course, called by

2106-730: The context of Christian liturgy , a canticle (from the Latin canticulum , a diminutive of canticum , "song") is a psalm -like song with biblical lyrics taken from elsewhere than the Book of Psalms , but included in psalters and books such as the breviary . Of special importance to the Divine Office are three New Testament Canticles that are the climaxes of the Offices of Lauds , Vespers and Compline ; these are respectively Benedictus (Luke 1:68-79), Magnificat (Luke 1:46-55) and Nunc dimittis (Luke 2:29-32). There are also

2160-455: The core of a short church service of thanksgiving held, often at short notice, to celebrate good news such as a military victory, the signing of a peace treaty, or the birth of a royal child. Authorship of the hymn is traditionally ascribed to Saint Ambrose (died 397) or Saint Augustine (died 430). In 19th-century scholarship, Saint Hilary of Poitiers (died 367) and Saint Nicetas of Remesiana (died 414) were proposed as possible authors. In

2214-487: The development of titles , texts were often referred to by their incipits, as with for example Agnus Dei . During the medieval period in Europe, incipits were often written in a different script or colour from the rest of the work of which they were a part, and "incipit pages" might be heavily decorated with illumination . Though the word incipit is Latin, the practice of the incipit predates classical antiquity by several millennia and can be found in various parts of

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2268-1687: The elect. Te Deum laudámus: te Dominum confitémur. Te ætérnum Patrem omnis terra venerátur.   Tibi omnes Angeli; tibi cæli et univérsae potestátes. Tibi Chérubim et Séraphim incessábili voce proclámant: Sanctus, Sanctus, Sanctus, Dóminus Deus Sábaoth. Pleni sunt cæli et terra majestátis glóriæ tuæ. Te gloriósus Apostolórum chorus; Te Prophetárum laudábilis númerus; Te Mártyrum candidátus laudat exércitus. Te per orbem terrárum sancta confitétur Ecclésia: Patrem imménsæ majestátis; Venerándum tuum verum et únicum Fílium; Sanctum quoque Paráclitum Spíritum. Tu Rex glóriæ, Christe. Tu Patris sempitérnus es Fílius. Tu ad liberándum susceptúrus hóminem, non horruísti Vírginis úterum. Tu, devícto mortis acúleo,   aperuísti credéntibus regna cælórum. Tu ad déxteram Dei sedes, in glória Patris. Judex créderis esse ventúrus. Te ergo quǽsumus, tuis fámulis súbveni,   quos pretióso sánguine redemísti. Ætérna fac cum sanctis tuis in glória numerári. [added later, mainly from Psalm verses:] Salvum fac pópulum tuum, Dómine,   et bénedic hæreditáti tuæ. Et rege eos, et extólle illos usque in ætérnum. Per síngulos dies benedícimus te. Et laudámus nomen tuum in sǽculum, et in sǽculum sǽculi. Dignáre, Dómine, die isto sine peccáto nos custodíre. Miserére nostri, Dómine, miserére nostri. Fiat misericórdia tua, Dómine, super nos,   quemádmodum sperávimus in te. In te, Dómine, sperávi: non confúndar in ætérnum. We praise thee, O God : we acknowledge thee to be

2322-648: The end of the Office of Readings on all Sundays except those in Lent, on all solemnities, on the octaves of Easter and Christmas, and on all feasts. The revised Handbook of Indulgences (fourth edition) grants a plenary indulgence , under the usual conditions, to those who recite it in public on New Year's Eve . In the Daily Office of the Catholic Ordinariates the Te Deum is sung at Morning Prayer as

2376-541: The key words of a much longer writ. Many word processors propose the first few words of a document as a default file name, assuming that the incipit may correspond to the intended title of the document. The space-filling, or place-holding, text lorem ipsum is known as such from its incipit. Occasionally, incipits have been used for humorous effect, such as in the Alan Plater -written television series The Beiderbecke Affair and its sequels, in which each episode

2430-491: The lesser octaves, the following Canticles: For weekdays in Advent , Pre-Lent , Lent and the quarterly Ember Days , if not superseded by higher-ranking feasts—due to the multitude of feasts in the rest of the year, these make up almost the totality of the days that did not have the Canticle of Daniel before—the original seven Canticles would still be used. The Liturgy of the Hours (introduced in 1971) uses one canticle from

2484-522: The musical tone of the day. These are, along with their respective portions of the Psalter and their tones: Note that Psalms 148-150 and Psalm 151 are not part of this system because they are read every day at the Morning Hour, following the canticles presented below. At the Morning Hour (Armenian: Յառաւուտու Ժամ haṟavoutou zham ), corresponding to Lauds, the following canticles are fixed parts of

2538-424: The noble company of prophets praises you, the white-robed army of martyrs glorifies you, Holy Church throughout the earth proclaims you, Father of boundless majesty, with your true and only Son, worthy of adoration, and the Holy Spirit, Paraclete. You, O Christ, are the King of glory, you are the Father's everlasting Son; when you resolved to save the human race, you did not spurn

2592-423: The original Biblical Canticles are still read. Another Biblical Canticle, the Nunc Dimittis ( Luke 2:29–32 ), is either read or sung at Vespers . At Matins (or Midnight Hour; Armenian: Ի մէջ Գիշերի i mej gisheri ), one canticle from the Old Testament is sung, associated with a reading from the Psalter, followed by hymns according to tone, season, and feast. There are eight such canticles which are determined by

2646-430: The point where that word has become synonymous with what the book describes, i.e. the End of Days ( ἔσχατον eschaton "[the] last" in the original). Each chapter in the Quran, with the exception of the ninth, begins with Bismillah Al-Rahman Al-Rahim -- meaning "in the name of God, the Most Compassionate, the Most Merciful." Incipits are generally, but not always, in red in medieval manuscripts. They may come before

2700-404: The reader's own musical memory of the work where a printed title would fail to do so. Musical incipits appear both in catalogs of music and in the tables of contents of volumes that include multiple works. In choral music, sacred or secular pieces from before the 20th century were often titled with the incipit text. For instance, the proper of the Catholic Mass and the Latin transcriptions of

2754-406: The same name as the book as a whole. Some of the Psalms are known by their incipits, most noticeably Psalm 51 (Septuagint numbering: Psalm 50), which is known in Western Christianity by its Latin incipit Miserere ("Have mercy"). In the Talmud , the chapters of the Gemara are titled in print and known by their first words, e.g. the first chapter of Mesekhet Berachot ("Benedictions")

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2808-486: The service each day: Following the Song of the Three Youths and the Prayer of Simeon there are sets of hymns as well as other texts which are proper to the commemoration of the day or of the liturgical season. In the other hours, sections of these and other canticles are included in fixed material, consisting of amalgams of verse material from the Old Testament: Ninth Hour: a citation of Daniel 3:35; Peace Hour (after Vespers): Isaiah 8:9–10 , Isaiah 9:26 ; Rest Hour (after

2862-404: The text as part of The Flood in 1962. Antony Pitts was commissioned by the London Festival of Contemporary Church Music to write a setting for the 2011 10th Anniversary Festival. The 18th-century German hymn Großer Gott, wir loben dich is a free translation of the Te Deum, which was translated into English in the 19th century as " Holy God, We Praise Thy Name ." Incipit Before

2916-420: The world. Although not always called by the name of incipit today, the practice of referring to texts by their initial words remains commonplace. In the clay tablet archives of Sumer , catalogs of documents were kept by making special catalog tablets containing the incipits of a given collection of tablets. The catalog was meant to be used by the very limited number of official scribes who had access to

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