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Would You Bless Our Homes and Families
Author: Walter Farquharson Meter: 8.7.8.7 D Appears in 6 hymnals Topics: The Church at Worship Special Days, Seasons, Occasions: Home and Families; Family Used With Tune: AITKIN
Would You Bless Our Homes and Families
All People That on Earth Do Dwell
Author: William Kethe, d. ca. 1594 Meter: 8.8.8.8 Appears in 721 hymnals Topics: Global Family; Global Family; Global Family Lyrics: 1 All people that on earth do dwell,
Sing to the Lord with cheerful voice;
Him serve with mirth, his praise forth tell,
Come we before him, and rejoice.
2 Know that the Lord is God indeed;
Without our aid he did us make;
We are his folk, he does us feed,
And for his sheep he does us take.
3 O enter then his gates with praise;
Approach with joy his courts unto;
Praise, laud, and bless his Name always,
For it is seemly so to do.
4 For why? the Lord our God is good:
His mercy is for ever sure;
His truth at all times firmly stood,
And shall from age to age endure.
5 To Father, Son, and Holy Ghost,
The God whom heav'n and earth adore,
From us and from the angel host
Be praise and glory evermore. Scripture: Psalm 2:11 Used With Tune: OLD HUNDREDTH
All People That on Earth Do Dwell
For the Beauty of the Earth (Family Worship Setting)
Author: Folliott S. Pierpoint Meter: 7.7.7.7.7.7 Appears in 633 hymnals Topics: The Family at Worship First Line: For the beauty of the earth Lyrics: 1 For the beauty of the earth,
For the glory of the skies,
For the love which from our birth
Over and around us lies;
Refrain:
Lord of all, to Thee we raise
This our hymn of grateful praise.
2 For the wonder of each hour
Of the day and of the night,
Hill and vale and tree and flower,
Sun and moon and stars of light: [Refrain]
3 For the joy of human love,
Brother, sister, parent, child;
Friends on earth and friends above;
For all gentle thoughts and mild: [Refrain] Used With Tune: DIX
For the Beauty of the Earth (Family Worship Setting)
GIFT OF LOVE
Meter: 8.8.8.8 Appears in 205 hymnals Composer and/or Arranger: Hal Hopson Topics: Home and Family Tune Key: G Major Incipit: 51232 16551 71234 Used With Text: The Gift of Love
GIFT OF LOVE
Would You Bless Our Homes and Families
Author: Walter Farquharson Hymnal: Voices United #556 (1996) Meter: 8.7.8.7 D Topics: The Church at Worship Special Days, Seasons, Occasions: Home and Families; Family Tune Title: AITKIN
Would You Bless Our Homes and Families
God Made from One Blood
Author: Thomas H. Troeger Hymnal: Voices United #554 (1996) Meter: 11.11.11.11 Topics: The Church at Worship Special Days, Seasons, Occasions: Home and Families; Family First Line: God made from one blood all the families of earth Languages: English Tune Title: NORMANDY
God Made from One Blood
You Formed Us in Your Image, Lord
Author: Carolyn Winfrey Gillette Hymnal: Songs of Grace #60 (2009) Meter: 8.7.8.7 with refrain Topics: Families and Marriage First Line: You formed us in your image, Lord; You call us your own children Scripture: 2 Timothy 1:5 Languages: English Tune Title: GREENSLEEVES
You Formed Us in Your Image, Lord
Orlando Gibbons
1583 - 1625 Person Name: Orlando Gibbons, 1583-1625 Topics: Family of God Composer of "SONG 1" in Singing the New Testament 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
Rowland Hugh Prichard
1811 - 1887 Person Name: R. H. Prichard, 1811-1887 Topics: Marriage and Family Composer of "HYFRYDOL" in Evangelical Lutheran Hymnary Rowland H. Prichard (sometimes spelled Pritchard) (b. Graienyn, near Bala, Merionetshire, Wales, 1811; d. Holywell, Flintshire, Wales, 1887) was a textile worker and an amateur musician. He had a good singing voice and was appointed precentor in Graienyn. Many of his tunes were published in Welsh periodicals. In 1880 Prichard became a loom tender's assistant at the Welsh Flannel Manufacturing Company in Holywell.
Bert Polman
Rowland Hugh Prichard
William Gardiner
1770 - 1853 Person Name: William Gardiner (1770-1853) Topics: The Holy Spirit The Church Celebrates - Family, Friendship, and Marriage Composer of "BELMONT" in Church Hymnary (4th ed.) William Gardiner (b. Leicester, England, 1770; d. Leicester, 1853) The son of an English hosiery manufacturer, Gardiner took up his father's trade in addition to writing about music, composing, and editing. Having met Joseph Haydn and Ludwig van Beethoven on his business travels, Gardiner then proceeded to help popularize their compositions, especially Beethoven's, in England. He recorded his memories of various musicians in Music and Friends (3 volumes, 1838-1853). In the first two volumes of Sacred Melodies (1812, 1815), Gardiner turned melodies from composers such as Haydn, Mozart, and Beethoven into hymn tunes in an attempt to rejuvenate the singing of psalms. His work became an important model for American editors like Lowell Mason (see Mason's Boston Handel and Haydn Collection, 1822), and later hymnbook editors often turned to Gardiner as a source of tunes derived from classical music.
Bert Polman
William Gardiner
