(Original setting is F. 180a for SAB, Flute, Handbells (two octaves). Also available as F. 180b for SAB and Organ.)
The chant Divinum mysterium imbues this Christmas text with wonder and is one of my favorite chants. A new Christmas tradition in my family is my writing a Christmas carol arrangement for my mom’s choir (the perks of having a composer as a son…), and this year she requested Of the Father’s love begotten for bells and SAB choir. My goal was to write something very easy to prepare (especially since our choirs are just getting back to singing after a two-year hiatus because of COVID). When a flautist became available for the premiere performance, I jumped on the opportunity to include it because I thought the flute nicely complemented the bells and would create interest without making the choir or handbell parts more difficult. Finally, I also created an SAB and Organ arrangement to make this piece accessible to more choirs.
The key to a successful performance is remembering how celebratory this text is: the Father so loved the world that he sent his only begotten son to save us! The handbells provide the gladsome tolling bells, but a quicker tempo is critical to maintaining a festive atmosphere.
The Text
Of the Father’s love begotten
Of the Father’s love begotten,
ere the worlds began to be,
he is Alpha and Omega,
he the source, the ending he,
of the things that are, that have been,
and that future years shall see,
evermore and evermore!O that birth for ever blessed,
when the Virgin, full of grace,
by the Holy Ghost conceiving,
bore the Savior of our race;
and the Babe, the world’s Redeemer,
first revealed his sacred face,
evermore and evermore!Let the heights of heaven adore him;
angel hosts, his praises sing;
powers, dominions bow before him,
and extol our God and King:
let no tongue on earth be silent,
every voice in concert ring,
evermore and evermore!Words: Marcus Aurelius Clemens Prudentius (348-410?); tr. John Mason Neale (1818-1866) and Henry Williams Baker (1821-1877)
Music: Divinum mysterium, 11th cent; adapt. Piae Cantiones, 1582; arr. Christopher Lee Fraley, 2022
