To Purcell's labours of this year, 1694, we are indebted for the music to the plays of _Don Quixote_, Parts I. and II. Purcell only composed a portion of the music required, but amongst the number are two worthy of particular mention,--a duet, "Sing all ye Muses," and a bass song, "Let the dreadful engines." The libretto was the work of D'Urfey.
Purcell also wrote music for a comedy called the _Married Beau_, by Crowne; for the _Double Dealer_, a comedy by Congreve; for the _Fatal Marriage_, a tragedy by Southerne; and also for _Love Triumphant_, a tragi-comedy by Dryden[47].
To these must be added another "Ode for the Queen's Birthday," beginning, "Come ye sons of art;" and last and best of all, the great "Te Deum and Jubilate" in D, composed with orchestral accompaniments, the first example of such a work this country had seen.
Composed expressly for the festival of St. Cecilia's Day, 1694, the music was published by Purcell's widow in 1697, with the following dedication:--
"To the Right Reverend Father in God, Nathaniel, Lord Bishop of Durham. My Lord, the ambition I have to do the greatest honour I can to the memory of my Dear Husband, by inscribing some of his best compositions to the best Patrons both of the science he profess'd, and of his performances in it, is the fairest Apology I can make to your Lordship; as it was the main Inducement to myself for placing your Lordship's Name before this Piece of Musick. The Pains he bestow'd in preparing it for so Great and Judicious an Auditory, were highly rewarded by their kind Reception of it when it was first Perform'd, and more yet by their Intention to have it repeated at their _Annual Meeting_; but will receive the last and highest Honour by your Lordship's favourable Reception of it from the Press, to which I have committed it, that I might at once gratifie the Desires of several gentlemen to see the Score, and at the same time give myself an opportunity to acknowledge, in the most Publick and Gratefull Manner, the many Favours Your Lordship has bestow'd on my Deceased Husband, and consequently on
"Your Lordship's Most oblig'd and most Humble Servant, F. PURCELL."
The intention of annually performing the "Te Deum and Jubilate" must have been formed in 1697, the year of publication, as we know that in 1696 Dr. Blow composed a "Te Deum and Jubilate" which were performed. Purcell's work was immediately adopted by the "Corporation of the Sons of the Clergy"[48] for performance at their Annual Festival, and its use continued until Handel, in 1713, composed his "Te Deum and Jubilate" for the Peace of Utrecht. After that time the works of Purcell and Handel were performed alternately until 1743, when Handel's new work composed for the victory at Dettingen displaced the two former compositions. Of course Handel must have often heard Purcell's "Te Deum;" and that he greatly profited by it is evident from the striking resemblance of many passages in his own _Te Deum_, when compared with that of his illustrious predecessor.