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Glory Be to the Father
Appears in 988 hymnals Scripture: Psalm 96:8 Lyrics: Glory be to the Father
and to the Son,
and to the Holy Ghost;
As it was in the beginning,
is now, and ever shall be,
world without end. Amen, Amen. Topics: Service Music Used With Tune: MEINEKE Text Sources: Lesser Doxology, 3rd-4th C.
Glory Be to the Father
¡Gloria a Dios en las alturas!
Author: Juan Bautista Cabrera Meter: 8.7.8.7.8.8.7.7.7.7 Appears in 24 hymnals Scripture: Psalm 96:1-6 Lyrics: 1 ¡Gloria a Dios en las alturas!
pues mostró su gran amor,
dando a humanas criaturas
un potente Salvador.
Con los himnos de los santos
hagan coro nuestros cantos
de alabanza y gratitud
por la divinal salud;
y digamos a una voz:
¡En los cielos gloria a Dios!
2 ¡Gloria a Dios! la tierra cante
al gozar de su bondad,
pues le brinda paz constante
en su buena voluntad.
Todo pueblo y lenguas todas
al Excelso eleven odas,
gratos himnos a Emmanuel,
el Ungido de Israel;
y prorrumpan a una voz:
¡En los cielos gloria a Dios!
3 ¡Gloria a Dios! la iglesia entona
libre de su esclavitud,
por Jesús, que es su corona,
su cabeza y plenitud.
Vigilante siempre vive,
a la lucha se apercibe
mientras llega su solaz
en aquella eterna paz,
cuando exclame a una voz:
¡En los cielos gloria a Dios! Topics: Navidad; Navidad Used With Tune: ST. GEORGE'S WINDSOR
¡Gloria a Dios en las alturas!
Great Is the Lord
Author: Michael W. Smith; Deborah D. Smith Meter: Irregular Appears in 22 hymnals Scripture: Psalm 96:4 First Line: Great is the Lord and worthy of glory Refrain First Line: Great is the Lord, he is holy and just Topics: God Holiness; God Holiness; God Majesty; God Mercy; Praise of God Used With Tune: GREAT IS THE LORD
Great Is the Lord
[Great is the Lord, worthy of praise]
Appears in 5 hymnals Composer and/or Arranger: Robert J. Batastini; Joseph Gelineau Scripture: Psalm 96 Tune Sources: Psalm tone: Chant tone 5 Tune Key: B Flat Major Incipit: 21612 161 Used With Text: Psalm 96: Great Is the Lord
[Great is the Lord, worthy of praise]
GONFALON ROYAL
Meter: 8.8.8.8 Appears in 62 hymnals Composer and/or Arranger: Percy C. Buck Scripture: Psalm 96:10 Tune Key: A Flat Major Incipit: 56143 23166 27514 Used With Text: The Royal Banners Forward Go
GONFALON ROYAL
GREAT IS THE LORD
Meter: Irregular Appears in 22 hymnals Composer and/or Arranger: Michael W. Smith; Deborah D. Smith Scripture: Psalm 96:4 Tune Key: C Major Incipit: 32344 32543 32143 Used With Text: Great Are You, Lord (Great Is the Lord)
GREAT IS THE LORD
Give unto the Lord the glory due unto his name:
Hymnal: Seventh-day Adventist Hymnal #858 (1985) Scripture: Psalm 96:8-9 Topics: Calls to Worship
Give unto the Lord the glory due unto his name:
Gloria Patri
Hymnal: Worship the Lord #10 (1989) Scripture: Psalm 96:8 First Line: Glory be to the Father, and to the Son Topics: God Praise to God Tune Title: GLORIA PATRI
Gloria Patri
Gloria Patri
Hymnal: Hymns for a Pilgrim People #558 (2007) Scripture: Psalm 96:8 First Line: Glory be to the Father Lyrics: Glory be to the Father,
and to the Son, and to the Holy Ghost;
As it was in the beginning,
is now, and ever shall be,
world without end. Amen, Amen. Topics: Service Music Languages: English Tune Title: [Glory be to the Father]
Gloria Patri
Joseph Gelineau
1920 - 2008 Scripture: Psalm 96 Composer (Antiphon and tone) of "[Great is the Lord, worthy of praise]" in Gather Comprehensive Joseph Gelineau (1920-2008)
Gelineau's translation and musical settings of the psalms have achieved nearly universal usage in the Christian church of the Western world. These psalms faithfully recapture the Hebrew poetic structure and images. To accommodate this structure his psalm tones were designed to express the asymmetrical three-line/four-line design of the psalm texts. He collaborated with R. Tournay and R. Schwab and reworked the Jerusalem Bible Psalter. Their joint effort produced the Psautier de la Bible de Jerusalem and recording Psaumes, which won the Gran Prix de L' Academie Charles Cros in 1953.
The musical settings followed four years later. Shortly after, the Gregorian Institute of America published Twenty-four Psalms and Canticles, which was the premier issue of his psalms in the United States. Certainly, his text and his settings have provided a feasible and beautiful solution to the singing of the psalms that the 1963 reforms envisioned. Parishes, their cantors, and choirs were well-equipped to sing the psalms when they embarked on the Gelineau psalmody.
Gelineau was active in liturgical development from the very time of his ordination in 1951. He taught at the Institut Catholique de Paris and was active in several movements leading toward Vatican II. His influence in the United States as well in Europe (he was one of the founding organizers of Universa Laus, the international church music association) is as far reaching as it is broad. Proof of that is the number of times "My shepherd is the Lord" has been reprinted and reprinted in numerous funeral worship leaflets, collections, and hymnals.
His prolific career includes hundreds of compositions ranging from litanies to responsories. His setting of Psalm 106/107, "The Love of the Lord," for assembly, organ, and orchestra premiéred at the 1989 National Association of Pastoral Musicians convention in Long Beach, California.
--www.giamusic.com
Joseph Gelineau
Orlando Gibbons
1583 - 1625 Person Name: Orlando Gibbons, 1583 - 1625 Scripture: Psalm 96 Composer of "SONG 67 (GIBBONS)" in The Hymnary of the United Church of Canada 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
