O Beauty, Ever Ancient - OCP

1 2004, Robert F. O Connor, SJ. Published by OCP Publications, 5536 NE Hassalo, Portland, OR 97213. All rights beauty , Ever Ancientfor Bob Leiweke, S. , SAB Choir, Descant, Keyboard, Guitar, Violin, and CelloBased on a prayer fromRoc O Connor, S. Confessionsof St. AugustineArranged by Tony Ward&?##4444 KeyboardINTRO (q = ca. 88) C G C Am7 .. j Em7 &?## CAm7 GC Am7D . j EmC G From the collection MORNING LIGHT Songbook #12790 Compact Disc #127915536 NE Hassalo Portland OR 97213 OCP #201242 Edition 20124-Z O beauty , Ever Ancient &&?&?#####% VERSESD escant% Ihad MyThisIInOh,unhadyourcre C.

2 J wandered far,per. j loveatwanlovelateliedderedlinessworldfar ,nesshaveIisperyouI. J . J .. j G ceivingthatI rangloceivmadelovedfrom,rious,ingme,you, turnedyetthatinoh,toIIyour C Am7 . J walkedmy roada. j seekcouldwalkedgodlateyounotmylyinseeroa dimhaveallwithaageI. J . J .. j Em . -------------------&&?&?##### things,in, ;turned;thingsseeYe tbyturnedyouyouryouyourfrom CAm7 called, you shone, you lovecalled,graceseekfashliyouyouingioned asnessshone,haveyouabeyourein GC sum moned,and you pathhindsumnewedcreaway;all,moned,me;tur es,yetfindandletfleeItheyoumeing Am7D.

3 J drewmy spirit. j lostdrewlivegriefGivmyermymyandselfinspi rlifepainintheitinwith. J . J . j EmC home. ! G ----------------PreviewEdition #201243O beauty , Ever Ancient &?&?#### O REFRAIN. j beauty , ever. J . J .. j Ancient ,O Em . j beauty , ever. J . J . j AmG/B new: you, the Am/C Am -- ---&?&?####4242424244444444. j mirror ofmy. J . J .. j GBm lifere EmC newed,let me n n FF/C n n . j findmy lifein. J . J . j EmC --&?&?####. you!.. ww G . j EmC.

4 GC (Fine)(Fine)( )( )( )( ) U u UG UPreviewEdition #201244&#44 INTRO (q = ca. 88)(Keyboard)C G CAm7 Em7. J &#CAm7 GC Am7D EmC. j G &#% CMyThisIInOh,un-hadyourcre-. j Glove-wan -love-lateat-li -edderedli -nessworldfar,nesshaveIisper -youI CAm7ranglo -ceiv -madelovedfrom,rious,ingme,you,turnedyet thatinoh,toIIyour. J Emseekcouldwalkedgod-lateyounotmylyinsee roadim -haveallwith -a-ageI&# CAm7things,in, ;turned;thingsseeYe tbyturnedyouyouryouyourfrom GClove -called,graceseek -fash-li -youyouingioned asnessshone,haveyouabe -youre -in Am7 Dpath -hindsum-newedcrea -way;all,moned,me;tures,yetfindandletfle e -Itheyoumeing.

5 J EmClostdrewlivegriefGiv -my -ermymyandselfinspir -lifepainintheitinwith - ! # OREFRAIN. j Beau - ty, ev - er Eman - cient,O. J AmG/BBeau - ty, ev - er Am/C Amnew:you, the&#4244. j GBmmir-ror ofmy EmClifere- FF/Cnewed,let me. j EmCfindmy lifein&#. Gyou! EmC. j GC. (Fine)(U)G 2004, Robert F. O Connor, SJ. Published by OCP Publications, 5536 NE Hassalo, Portland, OR 97213. All rights beauty , Ever Ancientfor Bob Leiweke, (Guitar/ Vocal)Based on a prayer fromThe Confessionsof St. AugustineRoc O Connor, S. #201245&#44 INTRO (q = ca. 88) p ww &#4244 % VERSES 1-3 VERSE 2: Tacet 8 REFRAIN5 &#44 . J findmy life in p.

6 , 2 3 &#4244 VERSE 4 8 REFRAIN5 Let me . J P findmy &#. j w VERSE 5 j . j j &# . j 2. j &#FINAL REFRAIN F &#4244 n . j &#. j . J U 2004, Robert F. O Connor, SJ. Published by OCP Publications, 5536 NE Hassalo, Portland, OR 97213. All rights reserved.*A fiddle is a violin outfitted with steel strings and a flatter beauty , Ever AncientRoc O Connor, S. (FIDDLE*)Arranged by Adam LaMottePreviewEdition #201246?#44 INTRO (q = ca. 88) 7% VERSES 1-3 VERSE 2: Tacet w?#ww w?#4244 REFRAIN (Tacet 2nd time)pwww w ?#44 n . , 2 3 ?#..42 VERSE 4 8 REFRAINw ?

7 #4244 n w2(Fine)(U) ?#..VERSE 5 w w ww wO beauty , Ever AncientCELLORoc O Connor, S. J. 2004, Robert F. O Connor, SJ. Published by OCP Publications, 5536 NE Hassalo, Portland, OR 97213. All rights #201247 Performance NotesImagery/MeaningI based this song on the much-loved prayer by Saint Augustine (354 430) that comes from hisConfessions (ca. 400) and sums up his journey toward conversion to Christ: Late have I loved thee, OBeauty, ever Ancient , O beauty , ever new ; late have I loved It is a profound recognition of theperson s quest to encounter some ways, it is a prayer that can only be truly uttered by people who have lived long enough,suffered enough, and come to understand that conversion to Christ is a long and arduous process ofattraction and aversion.

8 Yet its appeal seems to go far beyond veterans of the spiritual life. HighlightsDepending on the liturgical situation, the song may be interpreted in a number of ways. It couldreflect halting recognition and petition for God s guidance, joyful acceptance of one s path toward God,or repentance and deeper acceptance of the Gospel. Any of these could serve as authentic interpretationof the liturgical use will determine whether the piece is a solo, a communal song or some othervariation. I recommend including assembly singing, at least on the refrains, after the final verses. Verses one and two center upon the experience of the one praying, saying, I have been caught up inthe attractions and distractions of life.

9 I lost myself in them because I fled pain and suffering. Here, theone praying offers a hopeful recognition of God s fidelity. It ends with a petition that God reveal the truthand meaning of life. Still, the person s focus remains on personal three begins to become more relational as the one praying addresses God from the experienceof being lost in the glorious world: I could not recognize you as the giver of all wonder. I was soenamored of it all! The refrain becomes more poignant as the one praying reaches out, straining to findlife in four takes this all a step further and acknowledges that God has been active within the person swanderings. Much like the prodigal son coming to his senses, the one praying discovers that amid thelonging for home and wholeness, God was present all the time.

10 Here, the refrain begins to take on acharacter of praise and joyful acknowledgment of the divine five is a hymn of praise to the creator and redeemer, the one who saved and sanctified the life ofthe ones praying. In the same way, the refrain is a paean of praise that leads to the recognition of one scontinued dependence on the guiding grace of SuggestionsThe whole piece should build throughout. A soloist for verse one might join a small group of singersfor verse two. Verses three and four might be divided between men and women singers. Verse fiveshould shine with joyful singing by UsageThe liturgical usage could determine when or if the assembly sings. Just because the song is thereflection of a single soul should not limit its use to a soloist s rendering of the song.