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This article is about the hymn tune. For the "Sex and the City" episode, see Oh Come All Ye Faithful (SATC episode).  "Adeste Fideles" is the name of a hymn tune attributed to John Francis Wade and the first line of the Latin text for which the tune was written. The text itself has unclear beginnings, and may have been written in the 13th century, though it has been concluded that Wade was probably the author,[1] and it has been interpreted as a Jacobite birth ode to Bonnie Prince Charlie.[2] The original four verses of the hymn were extended to a total of eight, and these have been translated into many languages many times, though the English "O Come All Ye Faithful" translation by Frederick Oakeley[3] is particularly widespread.
[edit] Tune
Before the emergence of John Francis Wade as the probable composer, the tune had been purported to be written by several musicians; from John Reading and his son, to Handel including a Portuguese musician, Marcos Antonio da Fonseca who wasn't born until after the tune was first published. There are several similar musical themes written around that time, though it can be hard to determine whether these were written in imitation of the hymn, the hymn was based on them, or they are totally unconnected. The earliest existing manuscript shows both words and tune. It was published in the 1760 edition of Evening Offices of the Church. John Francis Wade included it in his own publication of Cantus Diversi (1751). It also appeared in Samuel Webbe's An Essay on the Church Plain Chant (1782). [edit] TextThe original text was at one time attributed to various groups and individuals, including claims that it was written by the 13th century St. Bonaventure or King John IV of Portugal. Though it was more commonly believed that the text was written by an order of monks, the Cistercian, German, Portuguese and Spanish orders have, at various times been given credit. The original text consisted of four Latin verses, and it was with these that the hymn was originally published, however The Abbé Etienne Jean Francois Borderies wrote an additional three verses in the early 18th century. These are normally printed as the third to fifth of seven verses, while another anonymous additional Latin verse is rarely printed. The text has been translated innumerable times, but the most used version today is the English "O Come, All Ye Faithful". This is a combination of one of Frederick Oakeley's translations of the original four verses, and by William Thomas Brooke of the remainder, which was first published in Murray's Hymnal in 1852. [edit] King John IVThe most commonly named Portuguese author is King John IV of Portugal (Portuguese: João IV de Portugal, pronounced [ʒuˈɐ̃ũ]). "The Musician King", born in 1603, was a patron of music and the arts, and a considerably sophisticated writer on music; in addition to this, he was a composer and during his reign he collected one of the largest libraries in the world. 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 there at his Vila Viçosa's palace that the two manuscripts of the "Portuguese Hymn" have been found. Those manuscripts (1640) are earlier than the 1760 Wade's manuscript. Among his writings is a Defense of Modern Music (Lisbon, 1649). It was on that year (1649) that King Joao IV had a huge struggle to get instrumental music approved by the Vatican on Catholic Church. His other famous composition is a setting of the Crux fidelis, a work that remains highly popular during Lent amongst church choirs. [edit] Jacobite connectionIt is also possible that the tune was written by one of Wade's contemporary Roman Catholic Jacobites, though it does seem likely that Wade himself wrote the words and then the tune to fit. Professor Bennett Zon, head of music at Durham University, claims the carol is actually a birth ode to Bonnie Prince Charlie, the secret political code being decipherable by the "faithful" — the followers of the Pretender, James Francis Edward Stuart. Bethlehem is a common Jacobite cipher for England and Regem Angelorum is a well-known pun on Angelorum (Angels) and Anglorum (English), thus "Come and behold him, born the King of the English."[2] From the 1740s to 70s 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.[4] [edit] PerformanceIn performance verses are often omitted, either because the hymn is too long in its entirety or because the words are unsuitable for the day on which they are sung. For example the eighth anonymous verse is only sung on Epiphany, if at all; while the last verse of the original is normally reserved for Christmas day or midnight Mass. In the United Kingdom and United States it is often sung today in an arrangement by Sir David Willcocks, which was originally published in 1961 by Oxford University Press in the first book in the Carols for Choirs series. This arrangement makes use of the basic harmonisation from The English Hymnal but adds a soprano descant in verse 6 (verse 3 in the original) with its reharmonised organ accompaniment, and a last verse harmonisation in verse 7 (verse 4 in the original), which is sung in unison. This carol has served as the second-last hymn sung at the Festival of Nine Lessons and Carols in King's College, Cambridge, after the last lesson from Chapter 1 of the Gospel of John. [edit] Cover versions
[edit] The Portuguese Hymn
The hymn was known for a while as the Portuguese Hymn after the Duke of Leeds in 1795 heard the hymn being sung at the Portuguese embassy in London and assumed that it had originated from Portugal.[1] The translation that he heard differs greatly from the Oakeley-Brooke translation. [edit] References
'Musica Sacra em Minas Gerais no século XVIII', ISSN nº 1676-7748 - n25 1998, Professor José Maria Neves [edit] External links
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