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Gift of Finest Wheat
Author: Omer Westendorf, 1916-1997 Meter: 8.6.8.6 D Appears in 45 hymnals Scripture: 1 Corinthians 10:16-17 First Line: As when the shepherd calls his sheep Refrain First Line: You satisfy the hungry heart Topics: Eucharist; Good Shepherd; Hunger; Unity; Service Music for Mass Communion Song; The Liturgical Year The Most Holy Body and Blood of Christ (Corpus Christi); The Liturgical Year The Most Sacred Heart of Jesus Used With Tune: BICENTENNIAL
Gift of Finest Wheat
Glorious Things of Thee Are Spoken
Author: John Newton Meter: 8.7.8.7 D Appears in 1,295 hymnals Scripture: 1 Corinthians 10:4 Lyrics: 1 Glorious things of thee are spoken,
Zion, city of our God;
he whose word cannot be broken
formed thee for his own abode;
on the Rock of Ages founded,
what can shake thy sure repose?
With salvation's walls surrounded,
thou may'st smile at all thy foes.
2 See the streams of living waters,
springing from eternal love,
well supply thy sons and daughters,
and all fear of want remove;
who can faint while such a river
ever flows their thirst t'assuage?
Grace, which like the Lord, the giver,
never fails from age to age.
3 Round each habitation hov'ring,
see the cloud and fire appear
for a glory and a cov'ring,
showing that the Lord is near;
thus deriving from their banner
light by night and shade by day,
safe they feed upon the manna
which he gives them when they pray.
4 Savior, if of Zion's city
I, thro' grace, a member am,
let the world deride or pity,
I will glory in thy name;
fading is the worldling's pleasure,
all his boasted pomp and show;
solid joys and lasting treasure
none but Zion's children know. Topics: Christ Abiding with Believers; Christ As Head of the Church; Christ As Rock; Church; Church Christ's Presence in; Church As Covenant People; Church Security of; Grace; Water of Life; Zion Used With Tune: AUSTRIAN HYMN
Glorious Things of Thee Are Spoken
Give Me a Foothold
Author: Thos. MacKellar Appears in 6 hymnals Scripture: 1 Corinthians 10:4 First Line: Give me a foothold on the rock Used With Tune: [Give me a foothold on the rock]
Give Me a Foothold
[Gentile or Jew, servant or free]
Appears in 37 hymnals Composer and/or Arranger: John B. Foley, SJ Scripture: 1 Corinthians 10:16-17 Tune Key: G Major Incipit: 11215 55431 24321 Used With Text: One Bread, One Body
[Gentile or Jew, servant or free]
GIFT OF FINEST WHEAT
Meter: 8.6.8.6 D Appears in 44 hymnals Composer and/or Arranger: Robert E. Kreutz Scripture: 1 Corinthians 10:16-17 Tune Key: D Flat Major Incipit: 31235 65316 65355 Used With Text: You Satisfy the Hungry Heart
GIFT OF FINEST WHEAT
GOTTLOB, ES GEHT NUNMEHR ZU ENDE
Meter: 8.8.8.8 Appears in 35 hymnals Scripture: 1 Corinthians 10:16 Tune Sources: Sammlung alter und neuer...Melodien, 1742; Lutheran Service Book, 2006 (Setting) Tune Key: F Major Incipit: 31343 21233 36711 Used With Text: The Death of Jesus Christ, Our Lord
GOTTLOB, ES GEHT NUNMEHR ZU ENDE
Guide Me, O Thou Great Jehovah
Author: William Williams; Peter Williams; William Williams Hymnal: Glory to God #65 (2013) Meter: 8.7.8.7.8.7.7 Scripture: 1 Corinthians 10:1-4 Lyrics: 1 Guide me, O thou great Jehovah,
pilgrim through this barren land.
I am weak, but thou art mighty.
Hold me with thy powerful hand.
Bread of heaven, bread of heaven,
feed me till I want no more;
feed me till I want no more.
2 Open now the crystal fountain,
whence the healing stream doth flow.
Let the fire and cloudy pillar
lead me all my journey through.
Strong deliverer, strong deliverer,
be thou still my strength and shield;
be thou still my strength and shield.
3 When I tread the verge of Jordan,
bid my anxious fears subside.
Death of death, and hell's destruction,
land me safe on Canaan's side.
Songs of praises, songs of praises
I will ever give to thee;
I will ever give to thee.
Topics: Death; Dying in Christ; Funeral; God's Covenant with Israel; Guidance; Healing; Living in Christ Languages: English Tune Title: CWM RHONDDA
Guide Me, O Thou Great Jehovah
Guidance
Author: William Williams Hymnal: Laudes Domini #369 (1888) Scripture: 1 Corinthians 10:4 First Line: Guide me, O thou great Jehovah Lyrics: 1 Guide me, O thou great Jehovah,
Pilgrim through this barren land;
I am weak, but thou art mighty;
Hold me with thy powerful hand;
Bread of heaven,
Feed me till I want no more.
2 Open thou the crystal fountain
Whence the healing streams do flow;
Let the fiery, cloudy pillar
Lead me all the journey through;
Strong Deliverer,
Be thou still my Strength and Shield.
3 When I tread the verge of Jordan,
Bid my anxious fears subside;
Death of death! and hell's Destruction!
Land me safe on Canaan's side;
Songs of praises
I will ever give to thee.
Topics: Christ Bread of Life; Christians Encouragements; Courage Languages: English Tune Title: SEGUR
Guidance
Glorious Things of Thee Are Spoken
Author: John Newton Hymnal: Trinity Psalter Hymnal #403 (2018) Meter: 8.7.8.7 D Scripture: 1 Corinthians 10:4 Lyrics: 1 Glorious things of thee are spoken,
Zion, city of our God;
he whose word cannot be broken
formed thee for his own abode;
on the Rock of Ages founded,
what can shake thy sure repose?
With salvation's walls surrounded,
thou may'st smile at all thy foes.
2 See the streams of living waters,
springing from eternal love,
well supply thy sons and daughters,
and all fear of want remove;
who can faint while such a river
ever flows their thirst t'assuage?
Grace, which like the Lord, the giver,
never fails from age to age.
3 Round each habitation hov'ring,
see the cloud and fire appear
for a glory and a cov'ring,
showing that the Lord is near;
thus deriving from their banner
light by night and shade by day,
safe they feed upon the manna
which he gives them when they pray.
4 Savior, if of Zion's city
I, thro' grace, a member am,
let the world deride or pity,
I will glory in thy name;
fading is the worldling's pleasure,
all his boasted pomp and show;
solid joys and lasting treasure
none but Zion's children know. Topics: Christ Abiding with Believers; Christ As Head of the Church; Christ As Rock; Church; Church Christ's Presence in; Church As Covenant People; Church Security of; Grace; Water of Life; Zion Languages: English Tune Title: AUSTRIAN HYMN
Glorious Things of Thee Are Spoken
Orlando Gibbons
1583 - 1625 Person Name: Orlando Gibbons, 1583-1625 Scripture: 1 Corinthians 10:16-17 Composer of "SONG 67" in Common Praise Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day.
Gibbons was born in Cambridge and christened at Oxford the same year – thus appearing in Oxford church records.
Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. A suspicion immediately arose that Gibbons had died of the plague, which was rife in England that year. Two physicians who had been present at his death were ordered to make a report, and performed an autopsy, the account of which survives in The National Archives:
We whose names are here underwritten: having been called to give our counsels to Mr. Orlando Gibbons; in the time of his late and sudden sickness, which we found in the beginning lethargical, or a profound sleep; out of which, we could never recover him, neither by inward nor outward medicines, & then instantly he fell in most strong, & sharp convulsions; which did wring his mouth up to his ears, & his eyes were distorted, as though they would have been thrust out of his head & then suddenly he lost both speech, sight and hearing, & so grew apoplectical & lost the whole motion of every part of his body, & so died. Then here upon (his death being so sudden) rumours were cast out that he did die of the plague, whereupon we . . . caused his body to be searched by certain women that were sworn to deliver the truth, who did affirm that they never saw a fairer corpse. Yet notwithstanding we to give full satisfaction to all did cause the skull to be opened in our presence & we carefully viewed the body, which we found also to be very clean without any show or spot of any contagious matter. In the brain we found the whole & sole cause of his sickness namely a great admirable blackness & syderation in the outside of the brain. Within the brain (being opened) there did issue out abundance of water intermixed with blood & this we affirm to be the only cause of his sudden death.
His death was a shock to peers and the suddenness of his passing drew comment more for the haste of his burial – and of its location at Canterbury rather than the body being returned to London. His wife, Elizabeth, died a little over a year later, aged in her mid-30s, leaving Orlando's eldest brother, Edward, to care for the children left orphans by this event. Of these children only the eldest son, Christopher Gibbons, went on to become a musician.
One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well known verse anthem is This is the record of John, which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is an extended composition, combining verse and full sections. Gibbons's full anthems include the expressive O Lord, in thy wrath, and the Ascension Day anthem O clap your hands together for eight voices.
He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard.
In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favorite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of." In one interview, Gould compared Gibbons to Beethoven and Webern:
...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the Salisbury Galliard, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board.
To this day, Gibbons's obit service is commemorated every year in King's College Chapel, Cambridge.
--wikipedia.org
Orlando Gibbons
Eric Gunnison
b. 1956 Scripture: 1 Corinthians 10:16-17 Arranger (keyboard) of "[Is not the bread we break]" in Gather Comprehensive ERIC GUNNISON - Pianist / Composer / Bandleader / Educator
Based in Denver since 1980, pianist and composer Eric Gunnison has led a distinguished career during which he has not only established himself as one of the mainstays of the Mile High City’s vibrant jazz scene as an instrumentalist, bandleader and educator, but has also attracted a global following performing, touring and recording with internationally renowned jazz artists, particularly jazz vocalists.
Born on March 26, 1956 in Canandaigua outside Rochester in New York State’s Finger Lakes region, Gunnison was raised in Buffalo and graduated from the Berklee College of Music in Boston in 1979. After playing piano for The Lettermen during the famed male vocal group’s 1980 tours of Asia and the U.S., he toured and recorded as the pianist and synthesizer player for the popular vocal quartet Rare Silk from 1982 to1986. From 1986 to 1991 he toured internationally and recorded as the pianist and arranger for the legendary jazz vocalist Carmen McRae and was the pianist accompanying McRae on her tours of Switzerland in 1988 and of Cuba in 1999 with Dizzy Gillespie. He also played keyboards for and toured with Nelson Rangell from 1993-1996 U.S and appeared on several recordings the saxophonist made for GRP during those years.
Gunnison’s current associations include touring internationally as well as recording with the sensational vocalist Roberta Gambarini, whom he has accompanied since 2001, and, since 2005, as pianist with the Dizzy Gillespie All-Stars Big Band and Sextet with which he has toured the U.S., Europe and Asia. He has also performed with vocalist Rene Marie and the Christian McBride Big Band among others.
Fellow Denver-based artists Gunnison has worked with extensively include trumpeter Ron Miles with whom he has toured and recorded since 1997 including appearing as a clinician and pianist with Miles’s quartet at the 1st Annual Thailand Jazz Conference and at the Bangkok Jazz Festival in 2009. Gunnison has also been the pianist and a composer/arranger for the cooperative band Convergence, one of Denver’s leading jazz ensembles, since 1991. In addition to releasing several recordings, Convergence hosts a monthly series of appearances with special guest jazz artists at Denver’s premier jazz club Dazzle that since February 2010 has featured Roberta Gambarini, Rene Marie, Randy Brecker, Jim McNeely, Chris Potter, Christian McBride, Wallace Roney and Bobby Watson among others. Gunnison has also been leading and performing his own music with Wake Up Call, a fusion-oriented quintet he formed in 1991 featuring keyboards/synthesizers, saxophone, guitar, bass guitar and drums.
Active for more than 30 years as a sideman and studio musician on piano, synthesizers and other keyboards, Gunnison has also been a member of the adjunct faculty of the University of Denver’s Lamont School Of Music and on the faculty of the Colorado Conservatory for the Jazz Arts since 2000.
Mitchell Feldman – June 2011
--www.ericgunnison.com/bio
Eric Gunnison
Fred Pratt Green
1903 - 2000 Person Name: Fred Pratt Green, 1903-2000 Scripture: 1 Corinthians 10:16-17 Author of "An Upper Room did our Lord prepare" in Singing the Faith The name of the Rev. F. Pratt Green is one of the best-known of the contemporary school of hymnwriters in the British Isles. His name and writings appear in practically every new hymnal and "hymn supplement" wherever English is spoken and sung. And now they are appearing in American hymnals, poetry magazines, and anthologies.
Mr. Green was born in Liverpool, England, in 1903. Ordained in the British Methodist ministry, he has been pastor and district superintendent in Brighton and York, and now served in Norwich. There he continued to write new hymns "that fill the gap between the hymns of the first part of this century and the 'far-out' compositions that have crowded into some churches in the last decade or more."
--Seven New Hymns of Hope , 1971. Used by permission.
Fred Pratt Green
