3-1

of this is, no doubt, due to the fact that his contributions to Sacred Music have been one of the great possessions of our Cathedra

h as turned his mind naturally, though

s elder brother, Edward Gibbons, was Organist of the College. It might be noted in passing that this Edward Gibbons was himself a B.Mus. of both Universities; and, after occupying an appointment at Bristol at the

-for music composed "in festo Dominae Reginae," and also in the two latter years for music for the Purification. No Christian name is given, but there is little doubt it was Orlando Gi

d Bull in a work called Parthenia, a collection of pi

ORLANDO GIBBONS, Batchelor of Music, Organist of H. M. Chapel in Ordinary. The work is dedicated to Sir Christopher Hatton, and the dedication runs thus: "They were most of them composed in your owne house and doe therefore properly belong to you. The language you provided them, I only furnished them with tongues to utter the same." It is thought from this that Sir C. Hatton wrote the words, as Gibbons was on te

secular or vocal compositions exist in MS. except a kind o

d ecclesiastical melody. This Plainsong melody is to be found in the Sarum Missal to the words "Gloria Tibi Trinitas," and, curiously enough, the same Plainsong is used by many composers of "In Nomines," Byrd and Ferabosco amongst others. But this is the only example I have come across where a sacred melody is introduced in connection with secular, and, in the case of Cryes, somewhat humourous words. Examples of the introduction of secular tunes into the sacred works by composers of the Italian school of the 16th century are, of course, very common. This is a curious reversal of the custom, i.e. the introduction of a sacred tune into a secular vocal work. It says much for Gibbons' skill that he is able to write very effective and flowing Viol parts and to introduce so many examples of the old Cryes, quite untrammelled by the Plainsong per

ancies by Byrd and others. No doubt the veneration for Gibbons and the rightful appreciation of his fine Cathedral music made the members of the old and valuable Musical Antiquarian Society more ready to edit his Fancies than to select from less eminent Church writers. But one cannot have much respect for Burney's j

ngs. The Viols were later in forsaking the vocal polyphonic style than the keyed instruments, simply because the vocal style suited the bowed instruments so much better than the Cl

lorid figuration like the early organ preludes) and a quite remarkable Fantasia in four parts-remarkable because rather exceptional as a Clavier piece, and also because of its protracted and serious working in the Canzona style

sing, or of expression. To this fact is probably due some of their loss of popularity. They require artists to interpret them, and in good hands are capable of considerable effect in the old qua

he collection and may therefore be a later composition, I cannot say; but there is a distinctly more modern spirit about this "Fancy." It is more rhythmic, the sections are more ma

s to any great extent) Gibbons' splendid Service in F was always an item to which we looked forward. And he has left us almost as great a collection of anthems as Purcell did in later years. Many of them were composed for special occasions. One was a wedding Anthem "for my Lord

, President of St John's, Oxford, for St John Baptist's Day." Another "Behold thou hast made my days"

it with the following inscription upon it: "Dr Heyther's Commencement Song Composed by Dr Orlando Gibbons". They both took their degrees at Oxford on the same occasion viz: the foundation of the Camden History Professorship. Heyther w

ng tribute: "He hath chosen to make his music agreeable to the matter, and what the common apprehension can be

y Muniment Room some years ago. I believe this is the only letter of Gibbons' that is known. It is addresse

redy cut him off ten shillings therfore I pray despathe him, for

do Gi

by "cutting him off ten shillings"

Supper we are told "The Embassadors, with the Nobles and Gentlemen in their Company, were brought in at the North Gate of the Abbey, which was stuck with Flambeaux everywhere that strangers might cast their eyes upon the stateliness of the Church. At the Door of the Quire the Lord Keeper besought their Lordships to go in and take their

sweetest music both for the organ and for voices of all parts, that ever was heard in English music. In those days the Abbey and the Jerusalem Chamber, where he gave entertainment to his friends, were the votaries of the Choicest Songs that the Land has heard. The greate

ther Dean. This was Dean Earle, the first Dean after the Restoration. But the work from which I quote was first printed in 1628, so that it is only a year or two after the time of Gibbons. Earle was not Dean of Westminster until more than 30 years later. The book is entitled Microcosmographie: a pi

ging-men in Ca

ter, for they learne it commonly before they read it, yet the old Hebrew names are little beholden to them, for they mis-call them worse then one another. Though they never expound the Scripture, they handle it much, and pollute the Gospell with two things, their Conversation and their thumbes. Upon worky-dayes they behave themselves at Prayers as at their pots, for they swallow them downe in an instant. Their Gownes are lac'd [=streaked] commonly with steamings of ale, the superfluities of a cup or throat ab

eophrastus' Characters published in 1592. It consists of 77 "Characters," some of them serious studies, and others, such as the above, humorous or satirical sketches, not intended

did violently and sodenly without cause runne upon Mr Gibbons, took him up and threw him down upon a Standard whereby he receiv

anterbury of Henrietta Maria, on the occasion of her marriage with Charles

to be incorrect. In a letter, which he found among the State Papers, from Sir Albertus Morton to Lord Edward Conway, and endorsed "Mr Secretary Morton, touching the Musician that dyed at Canterburie and supposed to have died of the plague,

a fine monument with an excellent bust was erecte

in Canterbury Cathedral, was unveiled. It has always seemed to me a reflection upon the Abbey that no memorial to the greatest of its organists-save Purcell-should be found there. This Festival created very great interest, and brought a munificent offe