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Author: Robert Seymour Bridges; Anonymous Meter: 6.6.7.6.6.7 Appears in 55 hymnals First Line: O gladsome light, O grace Of God the Father's face Text Sources: Phos Hilaron, Greek hymn

Tunes

Tune authorities

ASCALON

Appears in 491 hymnals Composer and/or Arranger: Anon. Tune Sources: German Incipit: 11127 13333 42351 Used With Text: O gladsome Light, O Grace of God the Father's face

LE CANTIQUE DE SIMÉON

Meter: 6.6.7.6.6.7 Appears in 52 hymnals Composer and/or Arranger: Claude Goudimel Tune Key: F Major Incipit: 56543 24312 21155 Used With Text: O Gladsome Light

PHOS HILARON

Meter: 6.6.7.6.6.7 Appears in 1 hymnal Composer and/or Arranger: James Bingham (1945- ) Tune Key: F Major or modal Incipit: 12352 33216 56561 Used With Text: O Gladsome Light

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Instances

Published text-tune combinations (hymns) from specific hymnals

O Gladsome Light, O Grace

Author: Robert Seymour Bridges (1844-1930) Hymnal: Common Praise (1998) #13 (1998) Meter: 6.6.7.6.6.7 Lyrics: 1 O gladsome Light, O grace of God the Father’s face, the eternal splendour wearing; celestial, holy, blest, our Saviour Jesus Christ, joyful in your appearing. 2 As day fades into night, we see the evening light, our hymn of praise outpouring, Father of might unknown, Christ, his incarnate Son, and Holy Spirit adoring. 3 To you of right belongs all praise of holy songs, O Son of God, life-giver; you, therefore, O Most High, the world will glorify, and shall exalt forever. Topics: Evening; Jesus Christ, Light; Light; O Gracious Light Scripture: Matthew 3:13-17 Languages: English Tune Title: NUNC DIMITTIS

O Gladsome Light, O Grace

Author: Robert S. Bridges, 1844-1930 Hymnal: Lutheran Service Book #888 (2006) Meter: 6.6.7.6.6.7 Lyrics: 1 O gladsome Light, O Grace Of God the Father’s face, Eternal splendor wearing: Celestial, holy, blest, Our Savior Jesus Christ, Joyful in Thine appearing! 2 As daylight turns to night, We see the fading light, Our evening hymn outpouring, Father of might unknown, Thee, His incarnate Son, And Holy Ghost adoring. 3 To Thee of right belongs All praise of holy songs, O Son of God, Lifegiver; Thee, therefore, O Most High, The world doth glorify And shall exalt forever. Scripture: John 1:9 Languages: English Tune Title: NUNC DIMITTIS

O gladsome light, O grace

Author: Robert Bridges, 1844-1930 Hymnal: Common Praise #17 (2000) Meter: 6.6.7.6.6.7 Lyrics: 1 O gladsome light, O grace of God the Father’s face, the eternal splendour wearing; celestial, holy, blest, our Saviour Jesus Christ, joyful in thine appearing. 2 Now, ere day fadeth quite, we see the evening light, our wonted hymn outpouring; Father of might unknown, thee, his incarnate Son, and Holy Spirit adoring. 3 To thee of right belongs all praise of holy songs, O Son of God, lifegiver; thee therefore, O most high, the world doth glorify and shall exalt forever. Topics: Evening Scripture: 2 Timothy 1:10 Languages: English Tune Title: NUNC DIMITTIS

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People

Authors, composers, editors, etc.

Anonymous

Person Name: Anon. Composer of "ASCALON" in The Riverdale Hymn Book 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.

Claude Goudimel

1514 - 1572 Harmonizer of "LE CANTIQUE DE SIMÉON" in The Presbyterian Hymnal The music of Claude Goudimel (b. Besançon, France, c. 1505; d. Lyons, France, 1572) was first published in Paris, and by 1551 he was composing harmonizations for some Genevan psalm tunes-initially for use by both Roman Catholics and Protestants. He became a Calvinist in 1557 while living in the Huguenot community in Metz. When the complete Genevan Psalter with its unison melodies was published in 1562, Goudimel began to compose various polyphonic settings of all the Genevan tunes. He actually composed three complete harmonizations of the Genevan Psalter, usually with the tune in the tenor part: simple hymn-style settings (1564), slightly more complicated harmonizations (1565), and quite elaborate, motet-like settings (1565-1566). The various Goudimel settings became popular throughout Calvinist Europe, both for domestic singing and later for use as organ harmonizations in church. Goudimel was one of the victims of the St. Bartholomew's Day massacre of Huguenots, which occurred throughout France. Bert Polman