Hymn to the Lord of Light - Litang (Kiko) Shao скачать в хорошем качестве

Hymn to the Lord of Light - Litang (Kiko) Shao

Recorded live on Saturday 1 March 2025 in the Church of the Holy Name of Jesus, Oxford Road, Manchester. Performed by the combined choirs of Salford Cathedral. Conductor: Alex Patterson Guzheng: Zi Lan Liao Piano: Anthony Hunt Commissioned by Multitude of Voyces and Salford Cathedral and made possible with funding from the Postlethwaite Music Foundation. Words: Kenson Li Music: Litang (Kiko) Shao LYRICS: The world was constant, true and calm, The Lord Most High as Spirit came, Swept over the grey space and made light, Goodness and all things living. We turned away like wandering sheep, And lost our goodness simple and pure, We walked in our own way, and ignored Our God’s call to us to all return. So may we open wide our hearts and eyes today To care for one another, to see our common need. And may we carry in this simple raft Light, peace, blessing and health for all. O Lord Jesu, as Tao made flesh, Share with us here your light, joy and life As bread broken, as drink poured out at ev’ry table every day. Come let us all give of ourselves, Rest in the same peace, and forgive; And may we help others to reach that shore, our common life of growth and love. So may we open wide our hearts and eyes today To care for one another, to see our common need. And may we carry in this simple raft Light, peace, blessing and health for all. Kenson Li writes: The Xi'an Stele, or The Nestorian Stele, is a Tang Dynasty (618–907) stone monument first erected in 781 that chronicles 150 years of early Christianity in China. The Stele records the names of some of the earliest missionaries and bishops who built churches and propagated the Christian faith in China, who arrived in the Capital city of Xi’an from 635. The text refers to parts of Genesis, it speaks of the cross as a Christian symbol and baptism as the rite of admission into the Christian faith. In terms of doctrine, the text emphasises the idea of the Trinity and the Incarnation, but does not mention Christ’s Crucifixion or Resurrection. It also records what the author considered as virtues practiced by Christians, such as not keeping slaves and holding possession in common, as well as worship patterns of daily offices and Sunday worship, and the pastoral ministries of the church. Towards the end of the inscription there is an Ode to God framed around the merits and achievements of different missionaries. I drew inspiration for the hymn from the vivid imagery and key concepts in the text of the Stele. One such idea is the notion of humans as pilgrims on a raft or boat, a metaphor that resonates in both Western Christian mysticism (as seen in the icon of the Holy Church) and traditional Chinese thought. Conveying the Stele’s complex ideas and prose in a way that’s accessible to children has been a challenge, but perhaps that challenge itself mirrors the story told by the Stele—people who shared the Word of God in simple, faith-driven ways, seeking to enlighten all and contribute to the society they find themselves in. Litang (Kiko) Shao writes: Hymn to the Lord of Light incorporates the pentatonic scale as its primary pitch material, bringing a distinctly Chinese musical flavour to the music. One of the highlighted instrumental features of this piece is the use of the guzheng (古箏), a traditional Chinese plucked string instrument with over 2,500 years of history. The guzheng’s resonant timbre, expressive glissandi, and delicate ornamentations add unique characters to the choral texture, intertwining the voices with the rich sonorities of Chinese classical and folk traditions.