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Gloria Patri
Author: Anonymous Appears in 990 hymnals First Line: Glory be to the Father and to the Son Text Sources: Gloria Patri, the Lesser Doxology, 2nd cent
Gloria Patri
Doxology
Author: B. M. A. Appears in 12 hymnals First Line: Glory be to the Father Lyrics: 1 Glory be to the Father,
Glory be to the Son,
Glory be to the Holy Ghost;
As it was in the beginning,
Is now, and ever shall be,
World without end. Amen, amen. Used With Tune: [Glory be to the Father]
Doxology
Doxology
Author: B. M. A. Appears in 5 hymnals First Line: Glory be to the Father Lyrics: 1 Glory be to the Father,
Glory be to the Son,
Glory be to the Holy Ghost;
As it was in the beginning,
Is now, and ever shall be,
World without end.
Amen, amen. Used With Tune: [Glory be to the Father]
Doxology
GLORIA PATRI (Scottish)
Appears in 42 hymnals Tune Sources: Scottish chant Tune Key: G Major Incipit: 17123 34323 Used With Text: Glory Be to the Father
GLORIA PATRI (Scottish)
Glory Be to the Father
Hymnal: Prayer and Praise #379 (1883) First Line: Glory be to the Father, Glory be to the Son, Glory be to the Holy Ghost Languages: English Tune Title: [Glory be to the Father, Glory be to the Son, Glory be to the Holy Ghost]
Glory Be to the Father
Gloria Patri, No. 5
Hymnal: The Morning Hour #S13 (1896) First Line: Glory, glory, be to the Father, glory be to the Son Languages: English Tune Title: [Glory, glory, be to the Father, glory be to the Son]
Gloria Patri, No. 5
Gloria Patri, No. 6
Hymnal: The Morning Hour #S14 (1896) First Line: Glory be to the Father, glory be to the Son Languages: English Tune Title: [Glory be to the Father, glory be to the Son]
Gloria Patri, No. 6
Anonymous
Author of "Glory Be to the Father" in Celebrating Grace Hymnal In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.
Anonymous
Joseph Barnby
1838 - 1896 Composer of "[Glory be to the Father] (Barnby)" in The Hymnal Joseph Barnby (b. York, England, 1838; d. London, England, 1896) An accomplished and popular choral director in England, Barby showed his musical genius early: he was an organist and choirmaster at the age of twelve. He became organist at St. Andrews, Wells Street, London, where he developed an outstanding choral program (at times nicknamed "the Sunday Opera"). Barnby introduced annual performances of J. S. Bach's St. John Passion in St. Anne's, Soho, and directed the first performance in an English church of the St. Matthew Passion. He was also active in regional music festivals, conducted the Royal Choral Society, and composed and edited music (mainly for Novello and Company). In 1892 he was knighted by Queen Victoria. His compositions include many anthems and service music for the Anglican liturgy, as well as 246 hymn tunes (published posthumously in 1897). He edited four hymnals, including The Hymnary (1872) and The Congregational Sunday School Hymnal (1891), and coedited The Cathedral Psalter (1873).
Bert Polman
Joseph Barnby
Thomas Tallis
1505 - 1585 Person Name: Tallis Arranger of "[Glory be to the Father] (Tallis)" in The Hymnal Thomas Tallis (b. Leicestershire [?], England, c. 1505; d. Greenwich, Kent, England 1585) was one of the few Tudor musicians who served during the reigns of Henry VIII: Edward VI, Mary, and Elizabeth I and managed to remain in the good favor of both Catholic and Protestant monarchs. He was court organist and composer from 1543 until his death, composing music for Roman Catholic masses and Anglican liturgies (depending on the monarch). With William Byrd, Tallis also enjoyed a long-term monopoly on music printing. Prior to his court connections Tallis had served at Waltham Abbey and Canterbury Cathedral. He composed mostly church music, including Latin motets, English anthems, settings of the liturgy, magnificats, and two sets of lamentations. His most extensive contrapuntal work was the choral composition, "Spem in alium," a work in forty parts for eight five-voice choirs. He also provided nine modal psalm tunes for Matthew Parker's Psalter (c. 1561).
Bert Polman
Thomas Tallis
