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Abide with meA TREASURY OF

CLASSIC HYMNS

CHOIR OF TRINITY COLLEGE

UNIVERSITY OF MELBOURNE

Michael Leighton Jones

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1 Praise to the Lord (Tune: Lobe den Herren) 3’13Words: Joachim Neander 1650-1680, translated by Catherine Winkworth 1827-1878 and othersMusic: Melody from Erneuertes Gesangbuch, Stralsund, 1665, harmonised by William Sterndale Bennett 1816-1875, arranged by Christopher Willcock SJ b. 1947

2 I vow to thee, my country (Tune:Thaxted) 3’01Words: Cecil Arthur Spring Rice 1859-1918Music: Gustav Holst 1874-1934. Verse 2 arr. Michael Leighton Jones b. 1947

3 Be still, my soul (Tune: Finlandia) 4’16Words: Katharina von Schlegel 1697-??, translated by Jane Borthwick 1813-1897 alt.Music: Jean Sibelius 1865-1957Soprano solo: Suzanne Shakespeare

4 Be thou my vision (Tune: Slane) 2’13Words: 8th-century Irish, transl. Mary Elizabeth Byrne 1880-1931; versified by Eleanor Henrietta Hull 1860-1935 alt.Music: Traditional Irish melody, harm. David Evans 1874-1948, arr. Christopher Willcock

5 Lord of earth and all creation (Tune: Westminster Abbey) 3’03Words: Michael Rayner Thwaites 1915-2005 and Honor Mary Thwaites 1914-1993Music: Henry Purcell 1659-1695, adapted by Ernest Hawkins 1802-1868. Verse 2 arr. MichaelLeighton Jones. Verse 3 descant by Christopher Gower b. 1939, edited by Michael Leighton Jones

6 O sacred head sore wounded (Tune: Passion Chorale [Herzlich thut mich verlangen]) 2’41Words: Attrib. St Bernard of Clairvaux 1091-1153; German words by Paul Gerhardt 1607-1676, transl. James Waddell Alexander 1804-1859, rev. Henry Williams Baker 1821-1877 alt.Music: Melody by Hans Leo Hassler 1564-1612, harm. Johann Sebastian Bach 1685-1750

7 Glory be to Jesus (Tune: Caswall) 3’00Words: Late 18th-century Italian, transl. Edward Caswall 1814-1878 alt.Music: Friedrich Filitz 1804-1876, arr. Michael Leighton Jones

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8 Holy Father, God of might (Tune: Catherine) 1’59Words: Richard Connolly b. 1927 alt.Music: Richard Connolly, harm. Charles Louis Fouvy b. 1928. Verse 4 arr. Philip Nicholls b. 1976

9 All my hope on God is founded (Tune: Michael) 3’31Words: Joachim Neander, transl. Robert Seymour Bridges 1844-1930 alt.Music: Herbert Howells 1892-1983. Descant by John Rutter b. 1945. Arr. Michael Leighton Jones

0 I bind unto myself today (Tune: St Patrick’s Breastplate/Deirdre) 7’43Words: Attrib. St Patrick c. 387-c. 461, 11th-century Irish manuscript, transl. Whitley Stokes 1830-1909, versified by Cecil Frances Alexander 1818-1895Music: Traditional Irish melody, arr. Charles Villiers Stanford 1852-1924

! All praise to thee, my God, this night (Tune:Tallis’ Canon) 2’20Words: Thomas Ken 1637-1711 alt.Music: Thomas Tallis c. 1505-1585, arr. Michael Leighton Jones

@ All creatures of our God and King (Tune: Lasst uns erfreuen) 4’50Words: St Francis of Assisi 1182-1226, transl. William Henry Draper 1855-1933 alt.Music: Melody from Ausserlesene catholische geistliche Kirchengesäng, Cologne, 1623. Verse 1 harm. Ralph Vaughan Williams 1872-1958; verses 2, 3 and 4 arr. Michael Leighton Jones

£ The day you gave us, Lord, is ended (Tune: St Clement) 3’32Words: John Ellerton 1826-1893 alt.Music: Clement Cotterill Scholefield 1839-1904. Verse 5 descant by Michael Leighton Jones

$ Abide with me (Tune: Eventide) 5’17Words: Henry Francis Lyte 1793-1847Music: William Henry Monk 1823-1889, arr. Michael Leighton JonesSoprano solo: Suzanne Shakespeare. Tenor solo: Benjamin Namdarian. Trumpet solo: Mark Fitzpatrick

% The Lord’s my shepherd (Tune: Crimond/Brother James’ Air) 3’08Words: Psalm 23, Scottish Psalter, 1650Music: Jessie Seymour Irvine 1836-1887 and David Grant 1833-1893, arr. Michael Leighton Jones.Verse 5 descant by William Baird Ross 1871-1950

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^ Eternal Father, strong to save (Tune: Melita) 3’07Words: William Whiting 1825-1878 alt.Music: John Bacchus Dykes 1823-1876. Verse 4 arr. Michael Leighton Jones

& Love divine, all loves excelling (Tune: Hyfrydol) 3’57Words: Charles Wesley 1707-1788 alt.Music: Melody by Rowland Huw Prichard 1811-1887, harm. Ralph Vaughan Williams. Verse 3 arr. Michael Leighton Jones

* Praise, my soul, the King of heaven (Tune: Praise my Soul [Lauda anima]) 3’26Words: Henry Francis LyteMusic: John Goss 1800-1880

( All people that on earth do dwell (Tune: Old Hundredth) 5’39Words: William Kethe d. 1594 alt.Music: Genevan Psalter, 1551, fourth line fitted to English versions 1561-63, arr. by Ralph Vaughan Williams. Verse 4 harm. John Dowland 1563-1626

) Come down, O Love divine (Tune: Down Ampney) 4’00Words: Bianco of Siena d. 1434, transl. Richard Frederick Littledale 1833-1890 alt.Music: Ralph Vaughan Williams. Verses 2, 3 and 4 arr. Michael Leighton Jones

¡ For all the saints (Tune: Sine nomine) 3’34Words: William Walsham How 1823-1897Music: Ralph Vaughan Williams, arr. Christopher Willcock

Total Playing Time 78’00

Choir of Trinity College, University of Melbourne

Australian Chamber Brass Ensemble

Jonathan Bradley organ

Michael Leighton Jones director

Hymns are the lifeblood of modern-day worship,and it is easy to forget that until the Reformationthere was no congregational participation in themusic of the church. In the introduction to hisCommentary on the Psalms, the 13th-centurytheologian Thomas Aquinas defined hymns as‘the praise of God with song’, and song as ‘theexultation of the mind dwelling on eternalthings, bursting forth in the voice’. But he did notenvisage everyone singing. Christian hymnsdeveloped from ancient Greek poems to thegods. Throughout the first 1500 years of theChristian church, hymns were chanted by thosein religious orders, in Latin, during the monasticoffices. Along with the introduction of printing,the changes wrought by Luther and Calvinduring the Protestant Reformation, particularlythe use of the vernacular instead of Latin, nowmeant that the people themselves – or thechoirs made up of their representatives – couldparticipate fully in the praising for which hymnswere designed.

Strictly speaking, a hymn (in this Protestanttradition) is a spiritual song in strict metre, withoriginal words, although these are frequentlybased on biblical passages. Specifically, hymnsare different from versified bible passages,especially those of the Psalms. In commonusage, however, metrical psalms and hymns aresimilar, as they are both designed forcongregational participation, unlike motets andAnglican chant settings of the Psalms. Calvin

believed that texts ought to come directly fromthe Bible, so he concentrated on the Psalms,which lent themselves easily to versification (%,(). Today, many psalm tunes and their texts areindistinguishable from hymns.

The Lutheran tradition (1, 9) relied more thandid the Calvinists on an individual’s response totheir religion, with carols and even popularsongs pressed into service as the basis forhymns. For much of the 16th and 17th centuries,the English church limited itself almost solely tometrical psalms. It was not until the 1700s thatthe English began to look to Luther’s models,with Thomas Ken’s hymns being early examples(!). The achievements of the Wesley brothers,Charles and John, expanded the repertoiregreatly (&) and, by the 19th century, manyhundreds of hymns, especially from German,but also from Latin and Celtic sources, werebeing translated (4, 0). The rise of the surplicedchoir (child and adult choristers dressed inCathedral robes and seated in choir stalls, nearthe altar) in English churches around 1860 led tohigher musical standards, and the desire for newarrangements (2, 3) for the many newhymnbooks then being produced. Today there is still a great demand for new hymns withupdated texts (5) and modern accompaniments(8). Here is a small selection of some of the best-known and best-loved pieces in the hymnbook.

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1 Praise to the Lord

Praise to the Lord is one of the most widely-known hymns both in Germany and – since itstranslation by Catherine Winkworth in 1863 forthe Chorale Book for England – in the English-speaking world. In 1680, the year of his death,Joachim Neander published over fifty hymn textsin his A und Ω, Glaub- und Liebesübung (‘Alphaand omega: exercises in faith and love’). Neanderhimself appears to have adapted the tune, firstfound in Ander Theil des Erneuerten Gesangbuch(‘Revised Hymnbook, Part Two’,Bremen, 1665)with the secular text Hast du denn, Liebster,dein Angesicht gänzlich verborgen (‘Dearest,have you hidden your face completely?’), to fit his words. The harmonisation by WilliamSterndale Bennett was that used in the ChoraleBook for England and subsequently in HymnsAncient and Modern (1904) and The EnglishHymnal (1906). The present arrangement forchoir, organ, brass quartet and timpani wasrequested from the Melbourne-based composerChristopher Willcock especially for this recording.

Praise to the Lord, the Almighty, the King of creation. O my soul, praise him, for he is your health and salvation. Come all who hear, Brothers and sisters draw near; Praise him in glad adoration!

Praise to the Lord, who shall prosper our work and defend us; Surely his goodness and mercy shall daily attend us.Ponder anew What the Almighty can do, As with his love he befriends us.

Praise to the Lord! O let all that is in me adore him! All that has life and breath, come now with praises before him! Let the ‘Amen’ Sound from his people again; Gladly forever adore him.

2 I vow to thee, my country

Sir Cecil Spring Rice, KCMC, KRVO, was a careerdiplomat who served in the British Foreign Officeand then in Berlin, Constantinople, Tehran, Cairo,St Petersburg and Stockholm. His final posting,from 1912, was as Ambassador to the UnitedStates. Spring Rice wrote his poem, titled UrbsDei (‘The City of God’) but often known as ‘TheTwo Fatherlands’, during his Stockholm posting(1908-1912); the first verse concerns allegianceto one’s country, while the second parallels thiswith religious faith in heaven. After his sacking asambassador in 1918 (and only weeks before hisdeath), a depressed Spring Rice rewrote the firstverse to reflect the losses of the world war. Thepoem was published in a posthumous collectionin 1920. At that time, Spring Rice’s daughterMary was attending St Paul’s Girls’ School inLondon, as was Gustav Holst’s daughter Imogen;Holst was Director of Music there from 1905 to1943. Perhaps at the urging of the girls, in about1921, Holst set the poem to the ‘Jupiter’ themefrom his orchestral suite The Planets, which hadhad its first public performance the previousyear. He named the tune ‘Thaxted’ after theEssex village where he lived, and where he hadwritten much of The Planets.

I vow to thee, my country – all earthly things above –Entire and whole and perfect, the service of my love,The love that asks no question: the love that stands the test,That lays upon the altar the dearest and the best:The love that never falters, the love that pays the price,The love that makes undaunted the final sacrifice.

And there’s another country I’ve heard of long ago –Most dear to them that love her, most great to them that know –We may not count her armies; we may not see her King,Her fortress is a faithful heart, her pride is suffering –And soul by soul and silently her shining bounds increase,And her ways are ways of gentleness and all her paths are Peace.

3 Be still, my soul

Katharina von Schlegel’s six-verse hymn Stille,mein Wille; dein Jesus hilft siegen (‘Be still, mysoul, your Jesus will help you overcome’)appeared in a book of sacred songs in 1752, andBorthwick’s translation was published inEdinburgh in 1855 in a series called Hymns fromthe Land of Luther. In 1899, Sibelius composeda series of dramatic historical tableaux as acontribution to the anti-Russian PressCelebrations held in November. The followingyear, Sibelius rearranged the seventh tableau,‘Finland Awakes’, into the orchestral pieceFinlandia, but it was not provided with wordsuntil 1937, after which Sibelius rearranged it as amale-voice nationalist song (1938) and finally formixed voices in 1948. It is not known who firstdecided that the tune was suited to Schlegel’sGerman hymn, but its earliest appearance in

English is in the Revised Church Hymnary(Church of Scotland) of 1927, well before its useas a hymn in Finland itself.

Be still, my soul: the Lord is on your side; Bear patiently the cross of grief and pain; Leave to your God to order and provide; In every change he faithful will remain. Be still, my soul: your best, your heavenly friend Through thorny ways leads to a joyful end.

Be still, my soul: when dearest friends departAnd all is darkened in the vale of tears,Then you shall better know his love, his heart,Who comes to soothe your sorrow, calm your fears.Be still, my soul: for Jesus can restoreThe trust and hope that strengthened you before.

Be still, my soul: the hour is hastening on When we shall be for ever with the Lord, When disappointment, grief and fear are gone, Sorrow forgotten, love’s pure joy restored. Be still, my soul: when change and tears are past, All safe and blessèd we shall meet at last.

4 Be thou my vision

Mary Byrne made her translation of the ancientIrish manuscript, housed in the Royal IrishAcademy, in 1905, after which Eleanor Hullcreated her poetic rendering, published in 1912.The text, which begins Rob tu mo bhoile, aComdi cride, was altered slightly to fit a tunefound in Patrick Joyce’s 1909 collection of 842‘Irish airs and songs hitherto unpublished’,where it bore the words ‘With my love on theroad’. The now justly famous association of

Lord, life-giving healing Spirit,On our hurts your mercy shower;Lead us by your inward dwelling,Guiding, guarding, every hour.Bless and keep our land Australia:In your will her peace and power.

6 O sacred head sore wounded

The seven-verse extended prayer Salve mundiSalutare (‘Hail, Saviour of the world’) istraditionally ascribed to St Bernard, although theearliest source dates from some three hundredyears later. The verses deal in turn with the feet,knees, hands, side, breast, heart and face of thecrucified Jesus, and were designed for privatemeditation on each of the seven days of HolyWeek. Paul Gerhardt’s German translation of thelast prayer, which begins Salve, caputcruentatum (‘Hail, bloodied head’), appeared inthe 1656 hymnbook Praxis pietatis melica (‘Thetuneful practice of piety’). There are numerousEnglish translations of Gerhardt’s Lutheranhymn, but that used here is based on HenryBaker’s 1861 reworking for Hymns Ancient andModern of the 1830 translation by JamesAlexander. The tune is familiar to many throughJ.S. Bach’s harmonisations in his St MatthewPassion (one of which is used here), but itoriginates in the secular song Mein G’müt istmir verwirret (‘My feelings are all in a whirl’) thatHassler published in 1601. It was first used forthe hymn Herzlich tut mich verlangen (‘My heartis filled with longing’) in 1613, and thenappeared with Gerhard’s text in 1656. Bach usedthe tune both for the passion chorale O Haupt

voll Blut und Wunden (‘O head, covered in bloodand wounds’) and for Wie soll ich dich empfangen(‘How should I receive you’), the chorale thatconcludes his Christmas Oratorio, but since itsuse in Hymns Ancient and Modern its associationwith Passiontide has been almost absolute.

O sacred head sore wounded,With grief and shame weighed down;O kingly head surrounded With thorns your only crown;Death’s shadows rise before you,The glow of life decays;Yet hosts of heaven adore youAnd tremble as they gaze.

In this your bitter Passion,Good Shepherd, think of me,Look on me with compassion,Unworthy though I be:Beneath your cross abidingFor ever would I rest,In your dear love confiding,And with your presence blessed.

7 Glory be to Jesus

This hymn is a rendering of texts from Romans,Isaiah, 1 Peter, John, Genesis, Luke andRevelation, by an unknown author, and was firstpublished in a book of indulgences in Rome in1807. The original prayer, beginning Viva! Viva!Gesù, che per mio bene (‘Glory! Glory to Jesus,who for my benefit’), was translated by Caswalland first published in 1857 in his Hymns for theUse of the Birmingham Oratory. The tune, whichhas in English taken the name of the translator,

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words and music is due to their publication,edited by David Evans, in the Revised ChurchHymnary in 1927. The tune, ‘Slane’, takes itsname from the hill in Ireland where St Patrick lita Paschal fire in 433 AD, pre-empting the lightingof the spring (Easter) festival fire by the king.King Loegaire mac Neill summoned Patrick tohis court to explain his actions, giving Patrick theopportunity to bring the gospel to the kingdom.

Be thou my vision, O Lord of my heart,Naught be all else to me, save that thou art –Thou my best thought, by day or by night, Waking or sleeping, thy presence my light.

Riches I scorn and the world’s empty praise,Thou my inheritance, now and always:Thou and thou only the first in my heart; High King of heaven, my treasure thou art.

High King of heaven, after victory won, May I reach heaven’s joys, O bright heaven’s Sun! Heart of my own heart, whatever befall, Still be my vision, O ruler of all.

5 Lord of earth and all creation

The tune ‘Westminster Abbey’ is most oftenassociated with the hymn Christ is made thesure foundation. It is drawn from the finalsection of the verse anthem O God, Thou Art MyGod composed around 1681 by Henry Purcell(who was organist at the Abbey from 1679), andsurviving in a collection of Cathedral musicpublished by William Boyce in 1760. It wasarranged as an independent tune by ErnestHawkins for publication in Vincent Novello’s 1843

collection of psalms and hymn tunes (where ithad the name ‘Belleville’), but was notassociated with the hymn text until the 1939edition of Hymns Ancient and Modern. In theecumenical Together in Song: The AustralianHymn Book II, published in 1999, ‘WestminsterAbbey’ is set as an alternative tune for Lord ofearth and all creation, one of the fewrecognisably Australian hymns to be found there.After World War II, Michael, a Rhodes Scholar,and Honor Thwaites, an honours graduate inlanguages, returned to Australia, where Michaellectured in English and then worked for ASIO.Both Michael and Honor wrote poetrythroughout their lives, with Michael winningseveral prizes at Oxford, and Honor contributingmany new translations to the Australian HymnBook, on whose Literary Committee she alsoserved. This jointly authored hymn, to whichthey gave the title ‘For Australia’, was sung atseveral formal ceremonies during the Australianbicentennial celebrations in 1988.

Lord of earth and all creation,Let your love possess our land:Wealth, and freedom, far horizons,Mountain, forest, shining sand:May we share, in faith and friendship,Gifts unmeasured from your hand.

People of the ancient Dreamtime,They who found this country first,Ask with those, the later comers,Will our dream be blessed or cursed?Grant us, Lord, new birth, new living,Hope for which our children thirst.

9 All my hope on God is founded

Neander published his original German text,beginning Meine Hoffnung stehet feste (’Myhope stands firm’) in his A und Ω, Glaub- undLiebesübung of 1680. Robert Bridges’ Englishtranslation – a free poetic intepretation,sometimes owing more to Bridges thanNeander – did not appear until 1898 when it waspublished in Hymns in Four Parts with EnglishWords, reprinted the following year as theYattendon Hymnal. Howells wrote the tunearound 1930, especially for these words, jottingit down during his breakfast as he read the letterof request from Thomas Fielden, Director ofMusic at Charterhouse school. It was sung therefrom Howells’ manuscript until incorporated intothe Clarendon Hymn Book in 1936. The nowfamiliar descant by John Rutter was written withthe approval of Howells. Leighton Jones’ festivearrangement for choir, organ and eight-part brasswas made especially for this recording.

All my hope on God is founded;All my trust he will renew,Through all change and chance he guides me,Only good and only true.God unknown, He aloneCalls my heart to be his own.

Human pride and earthly glory,Sword and crown betray our trust;All we build with care and labour,Tower and temple, fall to dust.But God’s power,

Hour by hour,Is my temple and my tower.

God’s great goodness lasts forever,Deep his wisdom, passing thought;Splendour, light and life attend him,Beauty springing out of naught.Evermore From his storeNew-born worlds rise and adore.

Daily the almighty giverWill his bounteous gifts bestow;In his will our souls find pleasure,Leading us where’er we go.Love will stand At his hand;Joy shall wait for his command.

Still from earth to God eternalSacrifice of praise be done,High above all praises praisingFor the gift of Christ his Son.Hear Christ call One and all:Those who follow shall not fall.

0 I bind unto myself today

The words are translated from a Gaelic poemcalled ‘St Patrick’s Lorica’ (a lorica being agarment with mystical powers to protect thewearer from evil) that begins Atomriug indiuniurt tríun togairm Tríndóite. In 1889, the Dean ofthe Chapel Royal at Dublin Castle, H.H. Dickinson,asked Cecil Frances Alexander, wife of the

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is by the German music academic Friedrich Filitz.It first appeared (set to the Heinrich S. Oswaldhymn Wem in Leidenstagen, ‘In the day of hissuffering’) in Filitz’s own VierstimmigesChoralbuch, published in Berlin in 1847.

Glory be to Jesus,Who in bitter painsPoured for me the life bloodFrom his sacred veins!

Grace and life eternalIn that blood I find;Blessed be his compassion,Infinitely kind.

Blessed through endless agesBe the precious streamWhich from endless tormentDid the world redeem.

Abel’s blood for vengeancePleaded to the skies;But the blood of JesusFor our pardon cries.

Oft as it is sprinkledOn our guilty hearts,Satan in confusionTerror-struck departs.

Oft as earth exultingWafts its praise on high,Angel hosts rejoicingMake their glad reply.

Let us lift our voices,Swell the mighty flood;Louder still and louderPraise the precious blood.

8 Holy Father, God of might

Sydney-born Richard Connolly studied in Romeand at the University of Sydney. From 1956, heworked for the then Australian BroadcastingCommission, becoming Director of Radio Dramaand Features. This hymn first appeared in WeOffer the Mass, the 1959 collection of hymns byConnolly and the poet James McAuley. The tune,‘Catherine’, is named after a member ofConnolly’s family. It was harmonised forinclusion in the Australian Hymn Book (1977) byLouis Fouvy, a member of the hymn bookcommittee. The arrangement of the last verse isby Philip Nicholls and was written in 2005 for theSesquicentennial Eucharist for Christ Church,South Yarra, where he is Director of Music.

Holy Father, God of might,Throned amid the hosts of light,Take our life, our strength, our love,King of earth and heaven above.

Hear the songs your people raise,Songs of joyful thanks and praise,Calling all created thingsTo adore you, King of kings.

Christ, be with us as we go,Let this blind world see and know,Burning in our lives, the sightOf its only saving light.

So will all exalt your name,And your kingship all proclaim,Heaven and earth in unityPraise the blessèd Trinity.

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Christ beneath me, Christ above me,Christ in quiet, Christ in danger,Christ in hearts of all that love me,Christ in mouth of friend and stranger.

I bind unto myself the name,The strong name of the Trinity,By invocation of the same,The Three in One, and One in Three,Of whom all nature hath creation,Eternal Father, Spirit, Word.Praise to the Lord of my salvation:Salvation is of Christ the Lord. Amen.

! All praise to thee, my God, this night

Thomas Ken may well have written his famousMorning and Evening hymns while Chaplain tothe Bishop of Winchester, twenty years beforethey first appeared in print in the 1690s. The firstwords of this hymn may be more familiar as‘Glory to thee, my God’, which is how theyappeared in some early printings. Ken drew onthe Psalms (36:7, 91:4, 4:8) and Proverbs (3:24)for his original twelve-verse text. The hymn hasfrom its beginnings been sung to Tallis’ tune,which in this shortened form is from ThomasRavenscroft’s Psalms of 1621. It appearedoriginally in an appendix to Archbishop Parker’sPsalter, printed in the 1560s, which containednine psalm tunes by Tallis. The harmonisationused here first appeared in The English Hymnalof 1906, with the canon (a type of round)appearing in the soprano and tenor voices, thetwo other parts being free.

All praise to thee, my God, this night For all the blessings of the light:Keep me, O keep me, King of kings, Beneath thine own almighty wings.

Forgive me, Lord, for thy dear Son, The ill that I this day have done, That with the world, myself, and thee I, ere I sleep, at peace may be.

O may my soul on thee repose, And may sweet sleep my eyelids close – Sleep that may me more vigorous make To serve my God when I awake.

When in the night I sleepless lie,My soul with heavenly thoughts supply;Let no ill dreams disturb my rest,No powers of darkness me molest.

Praise God, from whom all blessings flow, Praise God, all creatures here below,Praise God above, you heavenly host, Praise Father, Son and Holy Ghost.

@ All creatures of our God and King

In 1225, St Francis of Assisi, who was by thisstage almost completely blind and nearing theend of his life, dictated his Canticle of the Sun toone of his Franciscan brothers. William HenryDraper, rector of a parish in Yorkshire, wrote hisfree translation for the Leeds Whitsuntidechildren’s festival around 1910. An early versionof the tune – with fewer alleluias – appears inthe Ausserlesene catholische geistlicheKirchengesäng (‘Selected Catholic spiritualhymns’) of 1623, to the Easter hymn Lasst uns

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Bishop of Armagh and a prolific writer of over200 hymns (including All things bright andbeautiful ), to create a poetic translation in orderto ‘fill a gap’ in the new Irish Church Hymnal.Charles Villiers Stanford, born in Dublin, studiedmusic at Cambridge, and in 1883, aged only 30,he was appointed inaugural Professor ofComposition at the Royal College of Music. Hewas associated with choirs all his life,conducting the London Bach Choir from 1885 to1902, and writing many anthems, part-songs andother choral settings. ‘St Patrick’s Breastplate’,as the tune is known, first appeared as ananthem in 1912, where Stanford harmonised atraditional Irish melody that he had published inhis 1902 edition of The Complete PetrieCollection of Ancient Irish Music. Stanford didnot originally use the tune ‘Deirdre’ (firstpublished in Edward Bunting’s 1841 AncientMusic of Ireland ) for the penultimate verse,preferring the tune known as ‘Gartan’. ‘Deirdre’was substituted when Stanford’s setting waspublished as a hymn in the 1916 supplement toHymns Ancient and Modern. Stanford chose toset each verse to a different accompaniment, sothat the organ patterns and vocal textures arevaried to draw out the meaning of the text.

I bind unto myself todayThe strong name of the TrinityBy invocation of the same,The Three in One, and One in Three.

I bind this day to me forever,By power of faith, Christ’s incarnation,

His baptism in Jordan river,His death on cross for my salvation,His bursting from the spicèd tomb,His riding up the heavenly way,His coming at the day of doom;I bind unto myself today.

I bind unto myself the powerOf the great love of Cherubim,The sweet ‘Well done’ in judgment hour,The service of the Seraphim,Confessors’ faith, Apostles’ word,The Patriarchs’ prayers, the Prophets’ scrolls,All good deeds done unto the Lord,And purity of virgin souls.

I bind unto myself todayThe virtues of the star lit heaven,The glorious sun’s life-giving ray,The whiteness of the moon at even,The flashing of the lightning free,The whirling wind’s tempestuous shocks,The stable earth, the deep salt seaAround the old eternal rocks.

I bind unto myself todayThe power of God to hold and lead,His eye to watch, his might to stay,His ear to hearken to my need,The wisdom of my God to teach,His hand to guide, his shield to ward,The word of God to give me speech,His heavenly host to be my guard.

Christ be with me, Christ within me,Christ behind me, Christ before me,Christ beside me, Christ to win me,Christ to comfort and restore me,

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Hymns with Tunes. The composer was ClementScholefield, the youngest son of WilliamScholefield, Member of Parliament fromBirmingham; Clement read Arts at St John’sCollege, Cambridge, and was ordained deacon in1867 and priest in 1869. He served as Curate ofHove, Sussex; St Peter’s, South Kensington; andSt Luke’s, Chelsea, and was also Conduct ofEton and Lecturer of St Mary-le-Bow, London,He served as Vicar of Holy Trinity, Knightsbridge,until his retirement in 1895.

The day you gave us, Lord, is ended,The darkness falls at your behest;To you our morning hymns ascended, Your praise shall sanctify our rest.

We thank you that your church unsleeping, While earth rolls onward into light,Through all the world her watch is keeping, And rests not now by day or night.

Across each continent and island As dawn leads on another day, The voice of prayer is never silent, Nor dies the strain of praise away.

The sun that bids us rest is wakingOur friends beneath the western sky,And hour by hour fresh lips are makingYour wondrous doings heard on high.

So be it, Lord; your throne shall never, Like earth’s proud empires, pass away;Your kingdom stands, and grows forever, Till all your creatures own your sway.

$ Abide with me

Henry Lyte won prizes for poetry while a studentat Trinity College, Dublin, and was ordained soonafter graduating. He wrote Abide with me a fewmonths before his death from illness, writing tohis future daughter-in-law that it was his ‘latesteffusion’. It was published in a collection of hispoetry in 1850 and, with his own tune, wasprinted as a hymn-sheet in Bristol in 1863. In1861, however, it had appeared in Hymns Ancientand Modern, set to a specially composed tune byWilliam Henry Monk (one of the hymnbook’seditors), with which it has been associated eversince. Now one of the most famous of all hymns,the poem takes its theme from Luke 24:29 – atthe end of life’s brief span, the faithful ask God tostay with them through the darkness, until theyawake in the light of heaven.

Abide with me; fast falls the eventide:The darkness deepens; Lord, with me abide: When other helpers fail, and comforts flee, Help of the helpless, O abide with me.

Swift to its close ebbs out life’s little day; Earth’s joys grow dim, its glories pass away. Change and decay in all around I see: O thou who changest not, abide with me.

I fear no foe with thee at hand to bless; Ills have no weight, and tears no bitterness.Where is death’s sting? Where, grave, thy victory? I triumph still, if thou abide with me.

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erfreuen herzlich sehr (‘Let us rejoice with all ourhearts’), hence the modern name of the tune,‘Lasst uns erfreuen’, which is also sometimesknown as ‘Cologne’ or ‘Easter Song’. Thatversion is still in use in Germany today, while avariant published in Cologne in 1625, with amore liberal sprinkling of alleluias, was chosenby Heinrich Reimann for his 1895 collection Dasdeutsche geistliche Lied (‘The German spiritualsong’). This formed the basis of VaughanWilliams’ harmonisation, written for J.A.L. Riley’snew hymn Ye watchers and ye holy ones in theEnglish Hymnal of 1906. The tune particularlysuits Draper’s festal text; this arrangement, forchoir, organ, brass and timpani, in which theinstrumentation reflects the sense of the text for each verse, was written especially for this recording.

All creatures of our God and King,Lift up your voice and with us sing,O praise him, alleluia;O burning sun with golden beam,And silver moon with softer gleam,O praise him, O praise him,Alleluia, alleluia, alleluia!

Swift-rushing winds that are so strong,And clouds that sail in heaven along,O praise him, alleluia.Fresh-rising morn, in praise rejoice,And lights of evening, find a voice:O praise him, O praise him,Alleluia, alleluia, alleluia!

O flowing water, pure and clear,Make music for your Lord to hear,

O praise him, alleluia!O fire, so masterful and bright,Providing us with warmth and light,O praise him, O praise him,Alleluia, alleluia, alleluia!

And you, most kind and gentle death,Waiting to hush our latest breath,O praise him, alleluia!You lead to heaven the child of God,And Christ our Lord the way has trod:O praise him, O praise him,Alleluia, alleluia, alleluia!

Let all things their Creator bless,And worship him in humbleness;O praise him, alleluia.Praise, praise the Father, praise the Son,And praise the Spirit, Three in One:O praise him, O praise him,Alleluia, alleluia, alleluia!

£ The day you gave us, Lord, is ended

John Ellerton studied at Trinity College,Cambridge, and was ordained in 1850. He wroteor translated over 80 of the hymns contributedto Hymns Ancient and Modern. The words tothis hymn come from Ellerton’s A Liturgy forMissionary Meetings, published in 1870. QueenVictoria chose this hymn to be sung at the 60thanniversary of her reign in 1897; it was alsosung at the ceremony when Britain returnedcontrol of Hong Kong to China in 1997. The tune,‘St Clement’, was written for this text, and firstappeared in Sir Arthur Sullivan’s 1874 Church

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both sides of the Atlantic, and many new verseshave been written to honour particular branchesof the navy and other services, including the airforce and even space travellers.

Eternal Father, strong to save,Whose arm has bound the restless wave,Who bidst the mighty ocean deepIts own appointed limits keep:O hear us when we cry to theeFor those in peril on the sea.

O Christ, whose voice the waters heardAnd hushed their raging at thy word,Who walkedst on the foaming deep,And calm amid the storm didst sleep:O hear us when we cry to theeFor those in peril on the sea.

O Holy Spirit, who didst broodUpon the waters dark and rude,And bid their angry tumult cease,And give for wild confusion, peace:O hear us when we cry to theeFor those in peril on the sea.

O Trinity of love and power, Our people shield in danger’s hourFrom rock and tempest, fire and foe,Guard them wherever they may go:Thus evermore shall rise to theeGlad hymns of praise from land and sea.

& Love divine, all loves excelling

Charles Wesley wrote over six thousand hymns,and is almost certainly the most frequent authorin all English hymnals published since his death;

the Australian Hymn Book includes more than50 of his hymns (about 10 per cent) andTogether in Song over 40. Love divine, all lovesexcelling, one of his best-loved, first appeared inHymns for those that Seek, and those that Have,Redemption in the Blood of Christ in 1747. It waslikely to have been written to be sung to the tuneof the aria Fairest Isle, all Isles excelling fromPurcell’s opera King Arthur (1691), and the similarityto the opening words by Dryden is obvious.Perhaps better known as a setting for WilliamChatterton Dix’s hymn Alleluia, sing to Jesus (as itwas first in the English Hymnal of 1906), ‘Hyfrydol’is now the more common tune for Love divine inAustralia. Pritchard’s tune (hyfrydol is Welsh for‘joyful’, ‘pleasant’, or ‘good cheer’) dates fromaround 1830, and was published in 1844 in Cyfaill y Cantorion (‘The Singer’s Companion’) along with40 of his other tunes.

Love divine, all loves excelling, Joy of heaven, to earth come down,Fix in us thy humble dwelling, All thy faithful mercies crown:Jesus, thou art all compassion, Pure unbounded love thou art; Visit us with thy salvation; Enter every trembling heart.

Come, almighty to deliver, Let us all thy life receive; Suddenly return, and never, Never more thy temples leave: Thee we would be always blessing, Serve thee as thy hosts above,

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Hold thou thy cross before my closing eyes; Shine through the gloom, and point me to the skies:Heaven’s morning breaks, and earth’s vain shadows flee;In life, in death, O Lord, abide with me.

% The Lord’s my shepherd

A metrical setting of Psalm 23, this is one of thebest-loved of all hymns. The complete psalter,translated and versified for use in the Church ofScotland, was first widely available in 1564, andmore than fifty different versions were publishedover the next ninety years. The now well-knowntext sung here is an amalgam of various authors’work – including that of William Whittingham(1556), Francis Rous (1643) and William Barton(1644) – compiled in 1650. The tune was firstpublished in 1872 in William Carnie’s NorthernPsalter to accompany another hymn, I am theway, the truth, the life. There are competingclaims to its authorship, so while the tune isperhaps by Jessie Irvine, whose father wasminister in the town of Crimond inAberdeenshire, the harmonisation (and possiblythe tune as well) is certainly by David Grant.Michael Leighton Jones here cannily employsone of the alternate tunes, ‘Brother James’ Air’,for the organ interludes and, in an appropriateminor harmonisation, for verse three. Thedescant, by W. Baird Ross, has been popularsince it was sung at the Queen’s wedding toPrince Philip in 1947.

The Lord’s my shepherd, I’ll not want.He makes me down to lie

In pastures green, he leadeth meThe quiet waters by.

My soul he doth restore again;And me to walk doth makeWithin the paths of righteousness,Even for his own name’s sake.

Yea, though I walk through death’s dark vale,Yet will I fear no ill:For thou art with me; and thy rodAnd staff me comfort still.

My table thou hast furnishèdIn presence of my foes;My head thou dost with oil anoint,And my cup overflows.

Goodness and mercy all my lifeShall surely follow me:And in God’s house for evermoreMy dwelling-place shall be.

^ Eternal Father, strong to save

Frequently called the ‘Naval Hymn’, the wordsare by William Whiting, Master of WinchesterCollege Choir School for 36 years from 1842.Whiting wrote his poem in 1860 for a studentabout to embark for America. The composer,John Bacchus Dykes, was precentor at DurhamCathedral from 1849 to 1862, and wrote over300 hymn tunes. Eternal Father, strong to savefirst appeared in Hymns Ancient and Modern in1861. Dykes named his tune ‘Melita’ after theisland (modern day Malta) where the ApostlePaul came ashore after being shipwrecked (Acts28:1). The hymn has been adopted by navies on

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Kethe, a Protestant working in exile in Genevaduring the reign of Queen Mary. His paraphrasewas published in Four Score and Seven Psalms(Geneva, 1560), John Day’s The Whole Book ofPsalmes (London, 1562), and the Scottish Psalter(1564). So fine is the text and so famous its tune,that the ‘Hundredth Psalm’ received mention inworks such as Shakespeare’s The Merry Wivesof Windsor and Bunyan’s The Pilgrim’s Progress.Kethe’s text has never been sung to any tune butthat given in those early psalters, particularly the1562 edition of the complete psalms bySternhold and Hopkins. The tune itself is at leastpartially by Louis Bourgeois, who worked withCalvin in Geneva; as well as contributing to the1551 edition of the Genevan Psalter (translationsof the psalms into the French vernacular, set tomelodies which were sung in unison, with noinstrumental accompaniment), Bourgeoisproduced harmony settings of several of thepsalms for performance outside church. VaughanWilliams wrote two arrangements of this psalm,one in 1929, and the other, sung here – withtrumpets, and incorporating a faux-bourdonsetting by John Dowland – for the 1953coronation of Queen Elizabeth II.

All people that on earth do dwell, Sing to the Lord with cheerful voice:Him serve with mirth, his praise forth tell; Come ye before him and rejoice.

Know that the Lord is God indeed;Without our aid he did us make:

We are his folk, he doth us feed, And for his sheep he doth us take.

O enter then his gates with praise,Approach with joy his courts unto; Praise, laud and bless his name always, For it is seemly so to do.

For why? the Lord our God is good;His mercy is for ever sure; His truth at all times firmly stood, And shall from age to age endure.

Praise God the Father, God the Son,And God the Spirit, evermore.All praise to God the Three-in-One:Let heaven rejoice and earth adore. Amen.

) Come down, O Love divine

The first publication to include Bianco of Siena’s15th-century poem Discendi, amor santo (‘Comedown, O love divine’) was Telesforo Bini’s 1851collection of Italian vernacular devotional songsLaudi spirituali del Bianco da Siena (‘Spiritualsongs by Bianco of Siena’). The poem wasreduced to four verses and translated by RichardLittledale for use in The People’s Hymnal in 1867.Far from being the universally popular hymn thatit is today, it was little known until The EnglishHymnal published it in 1906 with VaughanWilliams’ specially written tune, named after hisbirthplace in Gloucestershire.

Come down, O Love divine, Seek now this soul of mine,And visit it with your own ardour glowing; O Comforter, draw near,

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Pray, and praise thee, without ceasing, Glory in thy perfect love.

Finish then thy new creation, Pure and spotless let us be,Let us see thy great salvation, Perfectly restored in thee:Changed from glory into glory,Till in heaven we take our place,Till we cast our crowns before thee, Lost in wonder, love and praise.

* Praise, my soul, the King of heaven

In 1834, Henry Lyte published almost 300 psalmparaphrases in The Spirit of the Psalms. Praise,my soul is based on Psalm 103, and was writtenfor the people of his parish of Lower Brixham inDevon, where he spent the final 24 years of hislife. John Goss’ now justly famous tune waswritten in July 1869, and first appeared in thethird edition of Brown-Borthwick’s SupplementalHymn and Tune Book the same year. Twoversions were printed, one in four-part harmonyand another (in a different key) for unison voiceswith organ accompaniment. Most hymnbookssince have adjusted the keys and printed acombined version using, as here, the unisonsetting for verses one, three and five. This hymnwas sung at the weddings of both Prince Albert(later George VI) to Lady Elizabeth Bowes-Lyonin 1923, and their daughter Elizabeth to PrincePhilip in 1947, one hundred years to the day (20November) after Lyte’s death.

Praise, my soul, the King of heaven, To his feet your tribute bring; Ransomed, healed, restored, forgiven, Who like me his praise should sing?Praise him, praise him, alleluia,Praise the everlasting King!

Praise him for his grace and favour To his people in distress; Praise him still the same as ever, Slow to chide, and swift to bless: Praise him, praise him, alleluia,Glorious in his faithfulness!

Fatherlike he tends and spares us; Well our feeble frame he knows; In his hands he gently bears us, Rescues us from all our foes:Praise him, praise him, alleluia,Widely as his mercy flows!

Frail as summer’s flower we flourish,Blows the wind and it is gone;But while mortals rise and perishGod endures unchanging on.Praise him, praise him, alleluia,Praise the high eternal one!

Angels, help us to adore him, You behold him face to face; Sun and moon, bow down before him,Dwellers all in time and space: Praise him, praise him, alleluia,Praise with us the God of grace!

( All people that on earth do dwell

This famous text, a metrical paraphrase of Psalm100 (Jubilate Deo), is almost certainly by William

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Choir of Trinity College,

University of Melbourne

The Choir of Trinity College has built a reputationfor its fine singing of music of the AnglicanCathedral tradition, from the Renaissance to themodern day. Its major weekly commitment isthe singing of Evensong, a wonderful Anglicanservice of praise and reflection through music, in the College Chapel every Sunday during term.The Choir records, broadcasts and toursregularly nationally and internationally.

Two Organ Scholarships and up to twenty-fourChoral Scholarships are awarded each year, forwhich auditions are held in the first two weeksof December. Residence in College is desirable,but not a pre-requisite, for being a Choral Scholar.

The Choir has recorded for and given livebroadcasts on BBC Radio 4, US public radio,ABC Classic FM and 3MBS-FM. It sang in Bach2000 for the Melbourne Festival and alsoparticipated in the Melbourne Federation Festivalin 2001. It has also performed concerts for theMelbourne International Festival of Choirs andMelbourne Autumn Music Festival, as well asfestivals in Australia and overseas.

The Choir has also toured the United Kingdom(1998, 2001 & 2003), singing the Daily Serviceon BBC Radio, as well as lunchtime concertsand Evensongs in major cathedrals throughoutEngland and in Oxford and Cambridge collegechapels. A debut tour of North America in 2004 –San Francisco, Houston, Dallas, New York,

Boston and Quebec City – met with criticalacclaim, and further tours are planned to South-East Asia, the United Kingdom and the USA.

Sopranos

Kristy BiberSophie ChapmanGeorgina EmselleClare KenyonLizzie O’SheaCynthia SearSuzanne ShakespeareEmily Woods

Altos

Amelia BallardAdam BoytPeter CampbellHelen HughsonAlice O’KaneFiona Scarlett

Tenors

Nicholas Chenu Adam CookPeter McInnisBenjamin NamdarianMichael Rooke

Basses

Nicholas Carter Thomas DrentThomas Pearce Julien Robinson Kieran RowePaul Tulloch

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Within my heart appearAnd kindle it, your holy flame bestowing.

There let it freely burn, Till earthly passions turn To dust and ashes, in its heat consuming; And let your glorious light Shine ever on my sight And clothe me round, the while my path illuming.

Let holy charity My outer garment be,And lowliness become my inner clothing:True lowliness of heart, Which takes the humbler partAnd o’er its own shortcomings weeps with loathing.

And so the yearning strong With which the soul will longShall far outpass the power of human telling;For none can guess its grace, Till we become the place Wherein the Holy Spirit makes his dwelling.

¡ For all the saints

William How was educated at Oxford andDurham. He was Bishop of Bedford and then,from 1888, of the newly created see ofWakefield. He had written hymns since a child,publishing many, and editing several hymnbooks,including the chief rival to Hymns Ancient andModern, the evangelical Church Hymns of 1871.For all the saints first appeared in the 1864Hymns for Saints’ Days, and other Hymns,published in the hope that its contents may beconsidered for inclusion in a mooted revision of

the Sarum Hymnal. How’s hymn was publishedthere in 1868. The tune ‘Sine nomine’ (meaning‘without name’) was written by VaughanWilliams for these words, to be included in the1906 first edition of The English Hymnal (whichhe co-edited). It was revised slightly for thesecond edition in 1933.

For all the saints, who from their labours rest, Who thee by faith before the world confessed, Thy name, O Jesus, be forever blessed. Alleluia, alleluia!

O blest communion, fellowship divine! We feebly struggle, they in glory shine; Yet all are one in thee, for all are thine. Alleluia, alleluia!

But lo! there breaks a yet more glorious day;The saints triumphant rise in bright array:The King of glory passes on his way.Alleluia, alleluia!

From earth’s wide bounds, from ocean’s farthest coast, Through gates of pearl streams in the countless host, Singing to Father, Son and Holy Ghost: Alleluia, alleluia!

Peter Campbell

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The ACBE made its debut performance at theMelbourne International Festival of Brass 2004under the direction of Fabian Russell and hassince performed at the Castlemaine StateFestival 2005 and Melbourne InternationalFestival of Brass 2005.

Trumpets

Tristram WilliamsShane HootonMark FitzpatrickJohn CollinsonHuw Dann

Trombones

Michael BertoncelloRobert CollinsCharles MacInnes

Tuba

Dave Martin

Timpani

Christopher Lane

Percussion

Stephen Fitzgerald

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Michael Leighton Jones

Michael Leighton Jones has been associatedwith music all his life – his mother was aprofessional singer – and he received his earliestmusical training in Australia. Postgraduatestudies took him from his native New Zealand toEngland, where he sang in the Choirs of King’sCollege, Cambridge (with Sir David Willcocks),and Westminster Abbey. For ten years he was amember of the London-based vocal quintet TheScholars, singing over one thousand concerts inmore than forty countries, before joining themusic staff at the University of Queensland. InBrisbane, he formed the vocal sextet Jones &Co, with whom he toured both nationally andinternationally.

He has always maintained a busy solo career,performing operatic roles and singing inoratorios and recitals, including many firstperformances and appearances in leadingfestivals. Michael Leighton Jones regularlyperforms with Australia’s symphony orchestrasand chamber music groups, including theAustralia Ensemble, Perihelion and Arcadia. He isalso active as a composer, arranger andconductor. He has been Director of Music atTrinity College, University of Melbourne since 1997.

Jonathan Bradley

Organist Jonathan Bradley began playing thepiano at the age of 10. He holds a Bachelor ofMusic Performance degree from the VictorianCollege of the Arts, and a Master’s degree fromMonash University. He regularly presentsrecitals in Australia, and has appeared asconcerto soloist with the Australian PopsOrchestra, Melbourne Youth Orchestra and theAustralian Classical Players. Other engagementshave included concerts in the United Kingdom,New Zealand, the US and Asia. He has alsogiven a recital at the Moscow home ofcomposer Alexander Scriabin, now a museum.As an organist, Jonathan Bradley has performedin such prestigious venues as St Paul’sCathedral, London; Christ Church Cathedral,Oxford; and Salzburg Cathedral. He is the BruceMunro Organ Scholar at Trinity College, as wellas senior accompanist of the AustralianChildren’s Choir and the Royal MelbournePhilharmonic.

Australian Chamber Brass Ensemble

The Australian Chamber Brass Ensemble (ACBE)is an exciting new ensemble on the Australianchamber music stage. Founded by the directorsof the Melbourne International Festival of Brass,this dynamic ensemble comprises many ofAustralia’s most outstanding brass performersfrom the symphony orchestras of Australia andprominent orchestras overseas.

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Trinity College

Founded in 1872 as the first college of theUniversity of Melbourne, Trinity College is aunique tertiary institution that provides a diverserange of high quality academic and extra-curricular programs for over 1500 talentedstudents from across Australia and around theworld. These programs include the residentialCollege for undergraduate and postgraduatestudents of the University of Melbourne; TrinityCollege Foundation Studies, a special one-yearcourse which prepares able overseas studentsfor undergraduate entry to the University ofMelbourne and other leading Australianuniversities; Trinity College Theological School,which trains Anglican clergy and offers coursesin theology for lay people, on campus, online,and in parishes; International Summer Schoolsfor secondary school students; and CriticalThinking Workshops for senior decision-makers.

Trinity College actively contributes to the life ofthe wider University and its main campus is setwithin the University grounds. An Anglicaninstitution, Trinity welcomes people of all faithsand none. The College celebrates, and isenriched by, the diversity of backgrounds of itsstaff and students.

www.trinity.unimelb.edu.au

The Trinity College Chapel

Designed and built in Australian neo-Gothic stylebetween 1911 and 1917 by Tasmanian architectAlexander North, the distinctive red-brick Chapelhad significant restoration work completed in1984, and in 1998 a new organ, built by KennethJones of Dublin, was installed. At services,recitals, and as a regular accompaniment to theChoir of Trinity College, this magnificentinstrument takes full advantage of the Chapel'sexcellent acoustics.

This Anglican Chapel is a place of worship, aquiet place for reflection and prayer and, aboveall, a sacred space where all are welcome.Regular services in the Chapel – ChoralEvensong on Sunday evenings, and a weeklyCollege Eucharist during term – are open to thegeneral public. The Chapel is also widely usedfor weddings, funerals, concerts, and otherappropriate events.

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Executive Producers Robert Patterson, Lyle ChanRecording Producer Stephen SnellemanRecording Engineer Jim AtkinsEditing Jim Atkins, Michael Leighton JonesMastering Virginia ReadEditorial and Production Manager Hilary ShrubbPublications Editor Natalie SheaBooklet Design Imagecorp Pty LtdPhotos pp 2-3, 23, 24 and Cover Photo

Rosemary SheludkoPhotos pp 4 and 27 Philip HolbertonBack Cover Photo Adrian Lander

Recorded 28-30 November and 1-2 December 2005in Trinity College Chapel, Royal Parade, Parkville,Melbourne.

ABC Classics thanks Rosemary Sheludko, JohnCollinson and Emma Alessi.

In accordance with the practice in many modernhymnals, the words of several of the hymns on thisdisc have been altered slightly to conform to modernconventions of language use (e.g. ‘you’ instead of‘thee’) and punctuation, and to avoid gender-exclusive language and imagery. Where changes aremore substantive, the indication ‘alt.’ (altered) hasbeen added after the name of the author.

2006 Australian Broadcasting Corporation. © 2006 Australian Broadcasting Corporation. Distributed in Australia and New Zealand by Universal Music Group,under exclusive licence. Made in Australia. All rights of theowner of copyright reserved. Any copying, renting, lending,diffusion, public performance or broadcast of this recordwithout the authority of the copyright owner is prohibited.

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