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[We shall go up with joy]
Appears in 3 hymnals Composer and/or Arranger: Joseph Gelineau, SJ; A. Gregory Murray; Gregory J. Polan, OSB Hymnal Title: Worship (4th ed.) Tune Sources: Gelineau tone: Mode Mi; Conception Abbey Tone: Mode 4 Tune Key: D Major Incipit: 35676 56 Used With Text: Psalm 122
[We shall go up with joy]
I Rejoiced When I Heard Them Say
Author: The Grail Appears in 2 hymnals Hymnal Title: Catholic Book of Worship III Refrain First Line: We shall go up with joy Topics: Advent; End Times; Gathering; Order of Christian Funerals Vigils - Psalms Scripture: Psalm 122 Used With Tune: [We shall go up with joy]
I Rejoiced When I Heard Them Say
Psalm 122
Author: The Grail Appears in 7 hymnals Hymnal Title: Worship (4th ed.) First Line: I rejoiced when they said to me Refrain First Line: We shall go up with joy Topics: Psalms Scripture: Psalm 122 Used With Tune: [We shall go up with joy] Text Sources: Verses: The Revised Grail Psalms
Psalm 122
I Rejoiced When I Heard Them Say
Author: The Grail Hymnal: Catholic Book of Worship III #588 (1994) Hymnal Title: Catholic Book of Worship III Refrain First Line: We shall go up with joy Topics: Advent; End Times; Gathering; Order of Christian Funerals Vigils - Psalms Scripture: Psalm 122 Languages: English Tune Title: [We shall go up with joy]
I Rejoiced When I Heard Them Say
Psalm (121) 122
Hymnal: Worship (3rd ed.) #67 (1986) Hymnal Title: Worship (3rd ed.) First Line: We shall go up with joy Topics: Psalter Scripture: Psalm 122 Languages: English Tune Title: [We shall go up with joy]
Psalm (121) 122
Laurence Bévenot
1901 - 1990 Person Name: LB Hymnal Title: Worship (3rd ed.) Composer (Psalm tone) of "[We shall go up with joy]" in Worship (3rd ed.)
Laurence Bévenot
Joseph Gelineau
1920 - 2008 Person Name: Joseph Gelineau, SJ Hymnal Title: Worship (4th ed.) Composer (Gelineau Tone) of "[We shall go up with joy]" in Worship (4th ed.) 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
