We Praise Thee, O God

The First Sunday after Pentecost: Trinity Sunday
June 16, 2019

 Today is Trinity Sunday, our "feast of title" and the traditional end of the program year (and the Cathedral Choir year) at Trinity Cathedral. 
Trinity icon, Andrei Rublev, 15th century
This is the Sunday to sing many of the great hymns in praise of the Holy Trinity. The entrance hymn, "God of hope and joy and wonder," is the newest example. It was written ten years ago for our cathedral by Nebraska hymn poet, Rae E. Whitney. The author of over 500 hymns, Whitney's work is found in the hymnals of most denominations and is celebrated around the world. It is sung to the classic English tune, Westminster Abbey.

Our final hymn is the beloved "Holy, holy, holy! Lord God Almighty!" Sung to the stately, soaring tune, Nicaea, this hymn includes a classic soprano descant by David McK. Williams (1887-1978), a composer who grew up in Denver and later served from 1920-1947 as organist/choirmaster at St. Bartholomew's Episcopal Church in New York City. Watch and listen for all the references to the Holy Trinity in today's hymns and anthems!

Charles Villers Stanford
Today's offertory anthem is an Anglican classic: "Te Deum in B-flat Major" by Charles Villiers Stanford (1852-1924). Here's a classic BBC broadcast recording; the entire text is found in the comments section. Stanford Te Deum 

A canticle is a non-metrical song used in Christian worship. The words are often drawn from the Bible or other ancient liturgical sources. (Read a detailed definition here: canticle.) Te Deum laudamus - "We praise thee, O God" -  exists in a document dating to approximately 690, but references to its use are found in even older sources. It appears in two different translations in The Book of Common Prayer. The version closest to the text Stanford set is found on pages 52-53. The Trinitarian focus of the canticle makes it especially appropriate for this day. 

This choral setting of the Te Deum was written early in Stanford's tenure as organist at Trinity College, Cambridge and premiered in 1879, when Stanford was in his late twenties. It is a masterfully crafted composition, yet filled with youthful exuberance.

This canticle is typical of English cathedral style choral writing. After a grand organ introduction, the full choir enters with the memorable opening theme ("We praise thee, O God"). The ascending melodic motive depicts our praises rising before God and propels the music forward. Stanford repeats this melodic idea three times in succession - surely, in my opinion, a Trinitarian reference leading to the magnificent "Holy, holy, holy."

The next section of the anthem is scored for double choir. Choir 1 ("Decani") is seated on the dean's side, and Choir 2 ("Cantoris") is seated on the Canon Precentor's side. This typically British seating arrangement evolved from centuries of chanting psalms antiphonally, alternating "choirs" on each verse. Stanford almost playfully casts the two choirs in dramatic roles, depicting the different groups of saints mentioned in the text: apostles, prophets, and martyrs. The full choir then returns, representing "the holy church throughout all the world." 

Later, we hear a semi-chorus of five voices ("We therefore pray thee, help thy servants"), providing an additional contrast in texture and key. The full choir returns softly and prayerfully ("O Lord, save thy people"). In one of the most memorable moments in all of Stanford's choral writing, we hear a brief but riveting modulation leading to a completely surprising and unrelated key - C major - for a single brilliant, luminous phrase: "Govern them and lift them up for ever." 

The opening theme then returns in the original key of B-flat major ("Day by day, we magnify thee"), coming to a strong cadence at "world without end." Stanford then adds a coda (an extended musical ending) with softer prayers and plaintive octave leaps on the words "O Lord" sung by the tenors and sopranos. The canticle ends with a massive crescendo, a dramatic grand pause, and full choir and organ to the end: "O Lord, in thee have I trusted: let me never be confounded." 

 We hope that today's music enriches worship as we celebrate the Holy Trinity, Confirmation, and the ministry we share at Trinity Cathedral!

 Music for The First Sunday after Pentecost: Trinity Sunday
June 16, 2019

Hymns
"God of hope and joy and wonder," Westminster Abbey
370, "I bind unto myself to day," St. Patrick's Breastplate
366, "Holy God, we praise thy name" Grosser Gott
565, "He who would valiant be," Monk's Gate
365, "Come, thou almighty King," Moscow
362, "Holy, holy holy! Lord God Almighty," Nicaea

Service Music
Canticle 13, S-236, A Song of Praise   -John Rutter
Sanctus, S-128   -William Mathias
Memorial Acclamation, S-138   -McNeil Robinson II
Great Amen, S-146   -Robinson
Fraction Anthem, S-152   -Ambrosian chant, adapt. Mason Martens

Anthems
Te Deum in B-Flat Major     -Charles Villers Stanford
(from Service in B-Flat Major, Opus 10)
Hymn to the Trinity   -Dale Wood

Organ Voluntaries
Fanfare for Organ   -Ronald Arnatt
Rondeau   -Jean-Joseph Mouret

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