Trinity Booklet - Buywell

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1 Plainchant Benedicta sit 3’13 KENNETH LEIGHTON 1929-1988 2 A Hymn to the Trinity 3’06 JUAN ESQUIVEL c. 1563-after 1612 3 Duo seraphim 1’48 ORLANDE DE LASSUS 1532-1594 4 Tibi laus 1’25 PHILIP WILBY b. 1949 5 Vox Dei 3’48 PETER PHILIPS 1560/61-1628 6 Tibi laus 3’03 GIOVANNI DA PALESTRINA 1525-1594 7 O beata et benedicta 3’36 JOHN SHEPPARD c. 1515-1558 8 Libera nos 3’49 LOUIS HALSEY b. 1929 9 O lux beata Trinitas 1’36 WILLIAM BYRD c. 1540-1623 0 Te Deum from the Great Service 10’00 O Blessed Light In Praise of the Holy Trinity Choir of Trinity College, University of Melbourne Michael Leighton Jones director Philip Nicholls assistant director & conductor ! 2 ARTHUR WILLS b. 1926 ! The Praises of the Trinity 2’40 FRANCISCO GUERRERO 1528-1599 @ Duo seraphim 3’44 WILLIAM BYRD £ O lux beata Trinitas 4’48 $ Plainsong Benedicta sit Creatrix 2’15 NIGEL BUTTERLEY b. 1935 % Flower in the Crannied Wall 3’55 TOMÁS LUIS DA VICTORIA 1548-1611 ^ Duo seraphim 3’29 MICHAEL LEIGHTON JONES b. 1947 & O lux beata Trinitas 2’01 FRANCISCO GUERRERO * O lux beata Trinitas 2’42 CHARLES WOOD 1866-1926 ( Hail, Gladdening Light 3’43 ) Plainsong O lux beata Trinitas 1’50 Total Playing Time 66’42 In Praise of the Trinity The concept of the Trinity is a central one for the Christian church. Although liturgical, theological and denominational debates continue concerning the precise details, the mainstream church, particularly in the Roman Catholic and the Anglican tradition – of which Trinity College at the University of Melbourne is a part – adheres to a belief in a triune God, Father, Son and Holy Spirit: three different facets of the one essence. This central place leads to the frequent invocation of the Trinity in the liturgy for the church year, and there is a commensurate wealth of liturgical and occasional works by composers from many centuries. The most frequent occurrence of words praising the Trinity is the ‘lesser doxology’ that is added to every psalm and canticle said or sung during the daily offices: Glory be to the Father, and to the Son, and to the Holy Ghost; As it was in the beginning, is now, and ever shall be, world without end. Amen. Or, as it is now more commonly heard, in its modernised version: Glory to God, Father, Son and Holy Spirit; As in the beginning, so now, and for ever. Amen. 3 In the Western church (as opposed to the Orthodox), there is a tradition of celebrating the Feast of the Holy Trinity. Since Pope John XXII officially recognised it in 1334, Trinity Sunday has been observed on the first Sunday after Pentecost, thus symbolically being the final feast of the church year, and occurring immediately after the resurrection of Jesus the Son, his ascension to be with God the Father, and the descent of the Holy Spirit. The tradition is, however, much older, previously also being celebrated on the Sunday before Advent (and thus as the beginning of the church year), and is particularly strong in the Church of England, perhaps because Thomas à Becket was consecrated on Trinity Sunday in 1162. But hymns in praise of the Trinity go back still further, with perhaps the oldest surviving complete Christian hymn being the third-century Greek ‘Phos Hilaron’. This was not so much a congregational hymn to be sung in church (although in its Latin translation it quickly became one) as one for use in the home, while lamps were lit at dusk. In English, this Vesper hymn is best known as ‘Hail, gladdening Light’, after John Keble’s translation which first appeared in Hymns Ancient & Modern in 1875, but it is also sung in the Russian Orthodox tradition as ‘Svete tihiy, sviatiya slavi Bessmertnago’ (Gladsome Light of the holy glory of the Immortal One). The closely related Latin hymn ‘O lux beata Trinitas’ (O blessed light
of Trinity), by Ambrose of Milan, also dates from the third century. The most extended liturgical song in praise of the Trinity is the ‘Te Deum laudamus’ (We Praise Thee, O God). The ‘Te Deum’ is an ancient hymn of thanksgiving, sung at the conclusion of matins on Sundays, every day during the Feasts of Christmas and Easter, and on other high holy days. It is cast in three sections, the first of which (verses 1 to 13) is a hymn to the Trinity, the second (14 to 21) a hymn to Christ, and the third (22 to 29) some penitential versicles and responses. The works collected here represent but a small selection of the wealth of musical material suitable for Trinity Sunday, or for any day in celebration of the Holy Trinity. There is, of course, a leaning toward the great polyphonic works of the Roman church of the 16th century – notably those by Palestrina, Lassus, Victoria and Guerrero – and to the 20th-century English Cathedral tradition, but you will also find works by two slightly less well-known English composers from around Byrd’s generation, Peter Philips and John Sheppard, as well as two by contemporary Australian and New Zealand composers. The tradition of musical works ‘in praise of the Trinity’ continues unabated. 1 Plainchant Benedicta sit Introit for Trinity Sunday. Benedicta sit sancta Trinitas, atque indivisa Unitas: Confitebimur ei, quia fecit nobiscum misericordiam suam. Domine Dominus noster, Quam admirabile est nomen tuum in universa terra. Gloria Patri, et Filio, et Spiritu Sancto: Sicut erat in principio, et nunc et semper, et in saecula saeculorum. Amen. Blessed be the holy Trinity and undivided Unity: We will give glory to him, because he has shown his mercy to us. O Lord, our Lord, how wonderful is your name in all the earth! Glory be to the Father, and to the Son, and to the Holy Ghost, As it was in the beginning, is now, and ever shall be, world without end. Amen. 2 A Hymn to the Trinity Kenneth Leighton Leighton was a chorister at Wakefield Cathedral and read Classics and music under Bernard Rose at Queen’s College, Oxford. He studied composition with Goffredo Petrassi in Rome, and held positions at the Royal Naval School of Music and at the universities of Leeds, Edinburgh and Oxford before being appointed Reid Professor of Music at the University of Edinburgh in 1970, a post he held until his death. One of the most important British composers of the post-war period, he published over 100 works, many for church use, including eight mass settings. The extended anthem ‘A Hymn to the Trinity’ was written during 1974, and dedicated to Mairi Rolland and the Kinghorn Singers in celebration of their 21st anniversary. After its publication in Oxford’s Anthems for Choirs volume 4 in 1976, for which it was commissioned, ‘A Hymn to the Trinity’ (for SSATB unaccompanied choir) quickly became a favourite, enjoyed for its contemporary but approachable harmony, jaunty rhythms and spectacularly evocative setting of an anonymous poem. Let us now laud and magnify with music of concord The Father, the Son, and the Holy Ghost, one ever living Lord. With tuned notes that sweetly sound to praise our heavenly King, With cheerful hearts, with pleasant voice on this wise, let us sing: Glory be to the Trinity, one God and persons three; As it is now and ever was, and evermore shall be. Amen. 4 5
Page 1: 476 294-0 O Blessed Light O Blessed
Page 5 and 6: one appearing in Antwerp in 1612 -
Page 7 and 8: ! The Praises of the Trinity Arthur
Page 9 and 10: & O lux beata Trinitas Michael Leig

Trinity Booklet - Buywell

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