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The Church's one foundation
Author: S. J. Stone Meter: 7.6.7.6 D Appears in 856 hymnals Topics: Dedication of Building First Line: The Church's one foundation Is Jesus Christ her Lord
The Church's one foundation
Lord, Speak to Me That I May Speak
Author: Frances Ridley Havergal Meter: 8.8.8.8 Appears in 452 hymnals Topics: Dedication of Life First Line: Lord, speak to me, that I may speak
Lord, Speak to Me That I May Speak
EIN FESTE BURG (ISORHYTHMIC)
Meter: 8.7.8.7.6.6.6.6.7 Appears in 636 hymnals Composer and/or Arranger: Martin Luther; Johann S. Bach, 1685-1750 Topics: Commitment & Dedication; Commitment & Dedication Tune Key: C Major Incipit: 11156 71765 17656 Used With Text: A Mighty Fortress Is Our God
EIN FESTE BURG (ISORHYTHMIC)
God Is Here!
Author: Fred Pratt Green Hymnal: The Worshiping Church #701 (1990) Meter: 8.7.8.7 D Topics: Dedications of Possessions; Dedications of Life; Dedications of Possessions First Line: God is here! As we his people meet Lyrics: 1 God is here! As we his people
meet to offer praise and prayer,
may we find in fuller measure
what it is in Christ we share:
here, as in the world around us,
all our varied skills and arts
wait the coming of his Spirit
into open minds and hearts.
2 Here are symbols to remind us
of our lifelong need of grace;
here are table, font and pulpit,
here the cross has central place:
here in honesty of preaching,
here in silence, as in speech,
here in newness and renewal
God the Spirit comes to each.
3 Here our children find a welcome
in the Shepherd's flock and fold;
here as bread and wine are taken,
Christ sustains us as of old;
here the servants of the Servant
seek in worship to explore
what it means in daily living
to believe and to adore.
4 Lord of all, of church and kingdom,
in an age of change and doubt,
keep us faithful to the gospel,
help us work your purpose out;
here, in this day's dedication,
all we have to give, receive;
we who cannot live without you,
we adore you! we believe.
Scripture: Exodus 33:14 Languages: English Tune Title: BEECHER
God Is Here!
Praise the Savior, Ye Who Know Him
Author: Thomas Kelly; Bryan Jeffery Leech Hymnal: The Worshiping Church #125 (1990) Meter: 8.8.8.5 Topics: Dedications of Possessions; Dedications of Life; Dedications of Possessions Lyrics: 1 Praise the Savior, ye who know him!
Who can tell how much we owe him?
Gladly let us render to him
all we are and have.
2 Jesus is the name that charms us;
he for conflict fits and arms us;
nothing moves and nothing harms us
while we trust in him.
3 Trust in him, ye saints, forever;
he is faithful, changing never;
neither force nor guile can sever
those he loves from him.
4 Keep us, Lord, on thee relying
whether living, whether dying:
let no bitterness or sighing
mar our trust and praise.
Scripture: Psalm 16:8 Languages: English Tune Title: ACCLAIM
Praise the Savior, Ye Who Know Him
When in Our Music God Is Glorified
Author: Fred Pratt Green Hymnal: The Worshiping Church #402 (1990) Meter: 10.10.10 with refrain Topics: Dedications of Choirs; Dedications of Choirs; Dedications of Musical Instruments/Hymnals Lyrics: 1 When in our music God is glorified,
and adoration leaves no room for pride,
it is as though the whole creation cried,
"Alleluia!" Alleluia! Alleluia!
2 How often, making music, we have found
a new dimension in the world of sound,
as worship moved us to a more profound
Alleluia! Alleluia! Alleluia!
3 So has the Church, in liturgy and song,
in faith and love, through centuries of wrong,
borne witness to the truth in every tongue,
Alleluia! Alleluia! Alleluia!
4 And did not Jesus sing a psalm that night
when utmost evil strove against the Light?
Then let us sing, for whom he won the fight;
Alleluia! Alleluia! Alleluia!
5 Let every instrument be tuned for praise!
Let all rejoice who have a voice to raise!
And may God give us faith to sing always:
"Alleluia!" Alleluia! Alleluia! Scripture: Psalm 98:4-6 Languages: English Tune Title: CELEBRATION '85
When in Our Music God Is Glorified
Felice Giardini
1716 - 1796 Person Name: Felice de Giardini, 1716-1796 Topics: Dedication of Church Building Composer of "ITALIAN HYMN" in Hymnal of the Church of God Felice Giardini, born in Italy. When young, he studied singing, harpsichord, and violin. He became a composer and violin virtuoso. By age 12 he was playing in theatre orchestras. His most instructive lesson: While playing a solo passage during an opera, he decided to show off his skills by improvising several bravura variations that the composer, Jommelli, had not written . Although the audience applauded loudly, Jomelli, who happened to be there, went up and slapped Giardini in the face. He learned a lesson from that. He toured Europe as a violinist, considered one of the greatest musical artists of his time. He served as orchestra leader and director of the Italian Opera in London, giving concerts. He tried to run a theatre in Naples, but encountered adversity. He went to Russia, but had little fortune there, where he died.
John Perry
Felice Giardini
George Frideric Handel
1685 - 1759 Person Name: George Frederick Handel (1685-1759) Topics: Self-Dedication Denial Composer of "CHRISTMAS" in Many Voices; or, Carmina Sanctorum, Evangelistic Edition with Tunes George Frideric Handel (b. Halle, Germany, 1685; d. London, England, 1759) became a musician and composer despite objections from his father, who wanted him to become a lawyer. Handel studied music with Zachau, organist at the Halle Cathedral, and became an accomplished violinist and keyboard performer. He traveled and studied in Italy for some time and then settled permanently in England in 1713. Although he wrote a large number of instrumental works, he is known mainly for his Italian operas, oratorios (including Messiah, 1741), various anthems for church and royal festivities, and organ concertos, which he interpolated into his oratorio performances. He composed only three hymn tunes, one of which (GOPSAL) still appears in some modern hymnals. A number of hymnal editors, including Lowell Mason, took themes from some of Handel's oratorios and turned them into hymn tunes; ANTIOCH is one example, long associated with “Joy to the World.”
Bert Polman
George Frideric Handel
Orlando Gibbons
1583 - 1625 Person Name: Orladno Gibbons Topics: Self-Dedication Composer of "SONG 67" in The Hymnal of the Protestant Episcopal Church in the United States of America 1940 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
