Please turn to number 42 and join with the clarinets in “O Come, All Ye Faithful”.
Name: ADESTE FIDELIS
Tempo: In moderate time
Music: John F. Wade’s Cantus diversi, 1751
Text: Latin Hymn, XVIII cent.
Tr. Frederick Oakeley, 1802-80, and others
“Adeste Fidelis“, or “O Come, All Ye Faithful”, is another hymn whose origins are shrouded in mystery. Apparently, the earliest instances are from the notes of John Francis Wade, but others have been given credit for the origin, including a King of Portugal.
I hope you don’t mind me stealing more info from wikipedia articles. Who knew it would be such a great resource for information about old hymns? I guess the Christians are active on the Internet.
“The original text has been from time to time attributed to various groups and individuals, including St. Bonaventure in the 13th century or King John IV of Portugal in the 17th, though it was more commonly believed that the text was written by an order of monks, the Cistercian, German, Portuguese and Spanish orders having, at various times, been given credit.”
The most commonly named Portuguese author is King John IV of Portugal (Portuguese: D. João IV de Portugal, pronounced: [ʒuˈɐ̃w̃]). “The Musician King” (1604–1656, came to the throne in 1640) was a patron of music and the arts and a considerably sophisticated writer on music; in addition, he was a composer, and during his reign he collected one of the largest musical libraries in the world (destroyed in the Lisbon earthquake of 1755). The first part of his musical work was published in 1649. He founded a Music School in Vila Viçosa that ‘exported’ musicians to Spain and Italy and it was at his Vila Viçosa palace that the two 1640 manuscripts of the “Portuguese Hymn” were found. Those manuscripts predate Wade’s eighteenth-century manuscript. Among the King’s writings is a Defense of Modern Music (Lisbon, 1649). In the same year (1649) he had a huge struggle to get instrumental music approved by the Vatican for use in the Catholic Church. His other famous composition is a setting of the Crux fidelis, a work that remains highly popular during Lent amongst church choirs.
Interestingly, the song is also interpreted as a “Jacobite birth ode to Bonnie Prince Charlie”.
The hymn has been interpreted as a Jacobite birth ode to Bonnie Prince Charlie. Professor Bennett Zon, head of music at Durham University, claims that the carol is actually a birth ode to Bonnie Prince Charlie, the secret political code being decipherable by the “faithful” (the Jacobites), with “Bethlehem” a common Jacobite cipher for England and Regem Angelorum a pun on Angelorum (Angels) and Anglorum (English). Wade had fled to France after the Jacobite rising of 1745 was crushed. From the 1740s to 1770s the earliest forms of the carol commonly appeared in English Roman Catholic liturgical books close to prayers for the exiled Old Pretender. In the books by Wade it was often decorated with Jacobite floral imagery, as were other liturgical texts with coded Jacobite meanings.
Transposing it to b flat for the clarinet, does have the unfortunate side effect of changing already 4 sharps to 6 sharps. It’s hard to remember the a and e sharps, since they end up being b and fs: 042-ocomeallyefaithful
Whatever its origin or secret meaning, it is a wonderful hymn, and another of my favorites.
The current usual method, doubling all parts. Mixing across the field of hearing, then applying an Audacity reverb effect, in this case “Large Room”.