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[El Señor es mi Pastor, ¿qué me faltará?]
Appears in 3 hymnals Composer and/or Arranger: Joseph Gelineau Tune Key: E Flat Major Incipit: 35666 5323 Used With Text: Salmo 23
[El Señor es mi Pastor, ¿qué me faltará?]
Salmo 23–El Señor es mi Pastor
Hymnal: El Himnario Presbiteriano #411 (1999) Meter: Irregular First Line: El Señor es mi Pastor, ¿qué me puede faltar? Refrain First Line: El Señor es mi Pastor Lyrics: Antífona:
El Señor es mi Pastor;
nada me puede faltar.
1 El Señor es mi Pastor.
¿qué me puede faltar?
En praderas cubiertas de verdor.
Él me lleva a descansar.
Condúceme a las aquas de quietud
y mi alma reconforta.
2 Él me guía por rectos senderos
por amor de su nombre.
Aunque cruce por obscuras quebradas,
ningún mal temeré.
Tu cayado y tu bastón cerca de mi,
ellos son todo mi consuelo.
3 Ante mi Tú preparas una mesa
frente a mis enemigos.
Tú perfumas con óleo mi cabeza
y mi copa rebosa.
4 Tu gracia y tu favor me seguirán
a lo largo de mi vida;
y viviré en la casa del Señor
por muy largo tiempo.
5 Demos gloria al Padre poderoso,
a Jesús, el Señor,
al Espíritu que habita en nuestras almas
por los siglos de los siglos.
Topics: Salmos; Dios Su Protección; Salmos; Seguridad; Confianza Scripture: Psalm 23 Languages: Spanish Tune Title: GELINEAU
Salmo 23–El Señor es mi Pastor
Salmo 23–El Señor es mi Pastor
Hymnal: El Himnario #411 (1998) Meter: Irregular First Line: El Señor es mi Pastor, ¿qué me puede faltar? Refrain First Line: El Señor es mi Pastor Topics: Salmos; Trust; Dios Su Protección; God His Protection; Salmos; Psalms; Seguridad; Security; Confianza Scripture: Psalm 23 Languages: Spanish Tune Title: GELINEAU
Salmo 23–El Señor es mi Pastor
Joseph Gelineau
1920 - 2008 Composer of "[El Señor es mi Pastor, ¿qué me faltará?]" in Cántico Nuevo 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
