My Starred Hymns
My FlexScores
My Hymnals
My Purchased Files
Planning worship?
Check out our sister site, ZeteoSearch.org,
for 20+ additional resources related to your search.
- |
User Links
Search Results
Orlando Gibbons
1583 - 1625 Person Name: Orlando GIbbons (1858-1625) Meter: 7.7.7.6 Adapt. from of "SONG 13" in Seventh-day Adventist Hymnal 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
Thomas Benson Pollock
1836 - 1896 Person Name: Thomas B. Pollock (1836-1896) Meter: 7.7.7.6 Author of "Jesus, With Thy Church Abide" in Seventh-day Adventist Hymnal Pollock, Thomas Benson, M.A., was born in 1836, and graduated at Trinity College, Dublin, B.A. 1859, M.A. 1863, where he also gained the Vice-Chancellor's Prize for English Verse in 1855. Taking Holy Orders in 1861, he was Curate of St. Luke's, Leek, Staffordshire; St. Thomas's, Stamford Hill, London; and St. Alban's, Birmingham. Mr. Pollock is a most successful writer of metrical Litanies. His Metrical Litanies for Special Services and General Use, Mowbray, Oxford, 1870, and other compositions of the same kind contributed subsequently to various collections, have greatly enriched modern hymnbooks. To the 1889 Supplemental Hymns to Hymns Ancient & Modern, Mr. Pollock contributed two hymns, “We are soldiers of Christ, Who is mighty to save" (Soldiers of Christ), and "We have not known Thee as we ought" (Seeking God), but they are by no means equal to his Litanies in beauty and finish.
-- John Julian, Dictionary of Hymnology (1907)
===================
Pollock, T. B. , 900, i. We note:—
1. God of mercy, loving all. Litany for Quinquagesima. In the Gospeller, 1872.
2. Great Creator, Lord of all. Holy Trinity. In the Gospeller, 1876.
3. Holy Saviour, hear me; on Thy Name I call. Litany of the Contrite. In the Gospeller, 1870. From it "Faithful Shepherd, feed me in the pastures green," is taken.
4. Jesu, in Thy dying woes, p. 678, ii. 36. Given in Thring's Collection, 1882, in 7 parts, was written for the Gos¬peller.
5. My Lord, my Master, at Thy feet adoring. Passiontide. Translation of "Est-ce vous quo je vois, 6 mon Maître adorable!" (text in Moorsom's Historical Comp. to Hymns Ancient & Modern, 1889, p. 266), by Jacques Bridaine, b. 1701, d. 1767. Moorsom says he was born. at Chuselay, near Uzes, in Languedoc, and was a Priest in the French Church. The translation made in 1887 was included in the 1889 Supplemental Hymns to Hymns Ancient & Modern.
6. We are soldiers of Christ, p. 900, i. In the Gospeller, 1875.
7. Weep not for Him Who onward bears. Passiontide. No. 495 in the 1889 Suppl. Hymns to Hymns Ancient & Modern is part of a hymn in the Gospeller, 1870.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
Thomas Benson Pollock
John Bacchus Dykes
1823 - 1876 Person Name: John B. Dykes, 1823-1876 Meter: 7.7.7.6 Composer of "LITANY OF THE PASSION" in The Hymnal As a young child John Bacchus Dykes (b. Kingston-upon-Hull' England, 1823; d. Ticehurst, Sussex, England, 1876) took violin and piano lessons. At the age of ten he became the organist of St. John's in Hull, where his grandfather was vicar. After receiving a classics degree from St. Catherine College, Cambridge, England, he was ordained in the Church of England in 1847. In 1849 he became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals. He served the parish of St. Oswald in Durham from 1862 until the year of his death. To the chagrin of his bishop, Dykes favored the high church practices associated with the Oxford Movement (choir robes, incense, and the like). A number of his three hundred hymn tunes are still respected as durable examples of Victorian hymnody. Most of his tunes were first published in Chope's Congregational Hymn and Tune Book (1857) and in early editions of the famous British hymnal, Hymns Ancient and Modern.
Bert Polman
John Bacchus Dykes
SEPTEM VERBA
Meter: 7.7.7.6 Appears in 11 hymnals Composer and/or Arranger: Bernhard Schumacher, 1886-1978 Tune Key: d minor Incipit: 12334 45345 56671 Used With Text: Jesus, in Your Dying Woes
SEPTEM VERBA
GOWER'S LITANY
Meter: 7.7.7.6 Appears in 55 hymnals Composer and/or Arranger: John Henry Gower Tune Key: D Major Incipit: 33235 22443 46555 Used With Text: Jesus, with Thy Church Abide
GOWER'S LITANY
Faith Is Patience in the Night
Author: Mary Nelson Keithahn Meter: 7.7.7.6 Appears in 2 hymnals Lyrics: fight. Spirit God give us faith. 2 ... Used With Tune: FAITHSONG
Faith Is Patience in the Night
Jesus, With Thy Church Abide
Author: Thomas B. Pollock (1836-1896) Meter: 7.7.7.6 Appears in 103 hymnals First Line: Jesus, with Thy church abide; Be her Savior, Lord, and Guide Lyrics: 1 Jesus, with Thy church abide; Be her Savior, Lord, and Guide, While on earth her faith is tried: We beseech Thee, hear us. 2 May her voice be ever clear, Warning of a judgment near, Telling of a Savior dear: We beseech Thee, hear us. 3 May she guide the ... Topics: Christian Church Mission of the Church Used With Tune: SONG 13
Jesus, With Thy Church Abide
Lord, Your Hands Have Formed
Author: Ramon Oliano; Sario Oliano; James Minchin, b. 1942; Delbert Rice Meter: 7.7.7.6 Appears in 8 hymnals First Line: Lord, your hands have formed this world Lyrics: Lord, your hands have formed this ... Topics: Morning; Growth; Morning Used With Tune: GAYOM NI HIGAMI
Lord, Your Hands Have Formed
Faith Is Patience in the Night
Author: Mary Nelson Keithahn Hymnal: Sing the Faith #2211 (2003) Meter: 7.7.7.6 Lyrics: fight. Spirit God give us faith. 2 ... Languages: English Tune Title: FAITHSONG
Faith Is Patience in the Night
Faith Is Patience in the Night
Author: Mary Nelson Keithahn Hymnal: The Faith We Sing #2211 (2001) Meter: 7.7.7.6 Lyrics: fight. Spirit God give us faith. 2 ... Topics: Grace Strength in Tribulation Languages: English Tune Title: FAITHSONG
Faith Is Patience in the Night
Lord, Your Hands Have Formed
Author: Ramon Oliano; Sario Oliano; James Minchin, b. 1942; Delbert Rice Hymnal: Evangelical Lutheran Worship #554 (2006) Meter: 7.7.7.6 First Line: Lord, your hands have formed this world Lyrics: Lord, your hands have formed this ... Topics: Morning; Growth; Morning Languages: English Tune Title: GAYOM NI HIGAMI
Lord, Your Hands Have Formed
Small Church Music
Meter: 7.7.7.6 Editors: Thomas Benson Pollock Description:
The SmallChurchMusic site was launched in 2006, growing out of the requests from those struggling
to provide suitable music for their services and meetings. Rev. Clyde McLennan was ordained in mid
1960’s and was a pastor in many small Australian country areas, and therefore was acutely aware of
this music problem. Having also been trained as a Pipe Organist, recordings on site (which are a subset
of the smallchurchmusic.com site) are all actually played by Clyde, and also include piano and piano
with organ versions. All recordings are in MP3 format.
Churches all around the world use the recordings, with downloads averaging over 60,000 per
month.
The recordings normally have an introduction, several verses and a slowdown on the last verse.
Users are encouraged to use software: Audacity (http://www.audacityteam.org) or Song Surgeon (http://songsurgeon.com) (see http://scm-audacity.weebly.com for more information) to adjust the MP3 number of verses, tempo
and pitch to suit their local needs.
Copyright notice: Rev. Clyde McLennan, performer in this collection, has assigned his performer rights in this collection to Hymnary.org. Non-commercial use of these recordings is permitted. For permission to use them for any other purposes, please contact manager@hymnary.org.
Home/Music(smallchurchmusic.com)
List SongsAlphabetically
List Songsby Meter
List Songs byTune Name
About
Small Church Music
