I was in close-contact isolation, so joined the event via the livestream. Our new ‘Covid normal’ continues to be a strange time!
A new commission for the 150th anniversary of Trinity College, the oldest residential college in Australia, and where I have been tutor, Head of Academic Programs, SCR President, Council member, honorary Faculty and continue to be on the Academic Committee of the Theological School.
The words for the new anthem ‘O lux beata Trinitas’ weave together a Latin hymn by St Ambrose with newly written poetry by me, set to music by Michael Leighton Jones (former Director of Music and frequent collaborator). Performed by the Choir of Trinity College and conducted by Christopher Watson.
The work starts about 30-ish minutes into the video.
Katherine Firth and Andreas Loewe hold their new book.
Co-authored with the Dean of Melbourne, this book has a new accessible biography of Bonhoeffer, new translations of his poems, close readings from the Bible and The Cost of Discipleship, reflections, prayers and questions for individual or group study.
Bonhoeffer wrote The Cost of Discipleship while leading an ‘underground’ seminary, in hiding from the Nazi government and the church leaders who supported Hitler.
The work is both timeless and timely. Next year, it will be 75 years since Bonhoeffer was executed in a concentration camp, and 75 years since the end of World War II. At the same time, people around the world are working against current oppression and exclusion.
A book launch will be held at St Paul’s Cathedral Melbourne on 24 November, followed by events in Sydney and other cities.
‘Restless, yearning, sick, like a bird in a cage… hungry for colours, for life, for birdsong’. From ‘Who Am I?‘
Dietrich Bonhoeffer is a theologian for our times: an intellectual who worked across barriers of race, denomination and language. For his role in heading an underground seminary, and his work with the resistance against the Nazi regime, he was imprisoned, interned in concentration camps and executed. Bonhoeffer’s writings invite us to ask about what captivity really means, and what it is to have freedom.
And here is a recording of Morning Prayer to whet the appetite:
An article on how Ezra Pound uses ideas and practices of musical modernism to shape his Pisan Cantos. In particular, the chapter debunks the idea that a ‘fugue’ controls the formal aspects of the poem, demonstrating rather the freedom and looseness of the fugue form, and instead demonstrating Pound’s use of small musical moments of coherence through close examination of primary recordings of Pound reciting his poetry, through examination of letters and commentary, and through a deep understanding of early and modern musicology.