Joao V, King of Portugal, is associated in musicians' minds with bringing Domenico Scarlatti to his court and so starting him on his memorable Iberian career; but this ultra-religious monarch (who obtained Papal authority to say Mass himself) encouraged native talents as well as employing distinguished foreigners. It was uncommon perspicacity on his part to send the ten-year-old Antonio Teixeira to Rome for a decade to study; but this paid off handsomely when the young man returned to Lisbon to take up an appointment in the Cathedral and to compose extensively, both sacred music and operas.
His Te Deum, written in his late twenties and performed on the last day of 1734, is a vast, indeed monumental work for eight soloists, five four-part choirs, an orchestra including flutes, oboes, horns and bassoon besides strings, and organ. (For forces of such a size the name The Sixteen seems to be following the example of Villa-Lobos, whose musical arithmetic was notoriously idiosyncratic.) It is a sobering experience to find that a composer virtually unknown today possessed not only impressive technical skills but considerable and striking invention and very definite individuality. His Te Deum covers a wide variety of styles, from imitative, contrapuntal and fugal writing and massive poly-choral effects to dramatic recitative and extremely ornate quasi-operatic solos (in which, without wishing to be invidious, the soprano Lynda Russell, with her pure intonation, and the tenor William Kendall perform feats of brilliant virtuosity).
Teixeira was clever, also, in 'placing' his effects: the orchestra (which is given plenty of independence) does not enter until about two minutes after the opening, and the first move into the minor mode does not occur until about 25 minutes in. Much of this celebratory Te Deum takes place at a high level of volume, with few really quiet parts, and it is no reflection on the outstanding singing and playing here to say that—heretical as it may seem—the work may perhaps be better appreciated if listening is split up into sections of shorter duration than the overall 80 minutes. But it's a real eye-opener that demands to be heard.'