A Dictionary of Music and Musicians/Gibbons
GIBBONS. The name of a noted family of English musicians.
1. The Rev. Edward Gibbons, Mus. Bac., born about 1570, was probably son of William Gibbons, one of the Waits of the town of Cambridge. He graduated as Bachelor of Music at Cambridge, and on July 7, 1592, was incorporated at Oxford. About the same time he was appointed organist of Bristol Cathedral and also priest-vicar, sub-chanter, and master of the choristers there. He resigned these appointments in 1611 on receiving those of organist and custos of the college of priest-vicars in Exeter Cathedral, which he retained until the silencing of the organ and choir in 1644. Hawkins says he was sworn a gentleman of the Chapel Royal March 21, 1604; but that is a mistake, as his name is not to be found in the cheque book of the Chapel, and the date given is that of the admission of his younger brother, Orlando, as organist. Some compositions of his are preserved in the Music School at Oxford; and an anthem, 'How hath the city sate solitary!' with a prelude for the organ and accompaniments for viols is contained in the Tudway collection, British Museum (Harl. MS. 7340). He is said to have advanced £1000 to Charles I. during the civil war, for doing which his estate was confiscated, and himself and three grandchildren compelled to quit his house when he was upwards of 80 years of age. Matthew Locke was his pupil at Exeter.
2. Ellis, brother of the preceding, was organist of Salisbury Cathedral at the latter end of the 16th century, He contributed two madrigals—'Long live fair Oriana,' and 'Round about her chariot'—to'The Triumphs of Oriana,' 1601. About the same time he ceased to be organist of Salisbury, but whether by death or resignation does not appear.
3. Orlando Gibbons, Mus. Doc., younger brother of the two preceding, born at Cambridge 1583, was one of the finest organists and composers of his time, and indeed one of the greatest musical geniuses of our country. It is probable that he received his early musical education in the choirs of some of the college chapels at Cambridge. On March 21, 1604, he was admitted to the place of organist of the Chapel Royal in the room of Arthur Cock, deceased. About 1610 he published 'Fantasies in three parts,' composed for viols, 'cut in copper, the like not heretofore extant,' being the first music printed in England from engraved plates. In the following year he joined with Byrd and Dr. Bull in the production of the collection of music for the virginals published under the title of 'Parthenia.' (Both these works were republished by the Musical Antiq. Society in 1843 and 4.) In 1612 he published 'The first set of madrigals and motets of 5 parts.' In 1614 he contributed two pieces to Leighton's 'Teares or Lamentacions of a Sorrowfull Soule.' He also composed some tunes in two parts for George Wither's 'Hymns and Songs of the Church.' In May, 1622, he accumulated the degrees of Bachelor and Doctor of Music at Oxford [App. p.647 "Mr. Cummings ('Musical Society,' April, 1886) says he took the Mus.B. Degree at Cambridge in 1606"], a distinction conferred at the request of his friend Camden, the historian. His exercise on the occasion was the eight-part anthem, 'O clap your hands,' printed in Boyce's Cathedral Music. It has been asserted that this anthem was also allowed to serve as the exercise of William Heyther, who was admitted to the same degrees at the same time, but it is highly improbable that such an absurdity was perpetrated. The probability is that Heyther, being at the time the bearer to the University of the deed of endowment of the professorship of history founded by Camden, had his degrees conferred on him 'honoris causa,' and was not called upon to produce an exercise. In 1623 Gibbons was appointed organist of Westminster Abbey in succession to John Parsons. In 1625 he was summoned to Canterbury to attend the marriage of Charles I, for which he had composed an ode and some instrumental music, and whilst there was attacked by the smallpox [App. p.647 "apoplexy. A post-mortem was held on him, the report of which is preserved in the Record Office, and was printed in the 'Athenæum,' Nov. 14, 1885."], which terminated his existence on Whitsunday, June 5, 1625. He was buried in the cathedral [App. p.647 "June 6"], where a monument to his memory is placed against the wall of the north aisle of the nave. Gibbons had by his wife, Elizabeth Patten, seven children, six of whom (two sons and four daughters) survived him. Both his surviving sons, Christopher and Orlando, became musicians. Besides the before-named compositions Gibbons wrote some 'Fancies & Songs made at K. James ye first's being in Scotland,' 'A Song for Prince Charles for 5 voices to be sung with wind instruments,' and some 'Toys in five parts,' and canons. A MS. Madrigal 'The Cry of London' in 3 parts for 5 voices, is in the Library of the Sacred Harmonic Society, No. 1881. But Gibbons's reputation as a composer will ever rest on his magnificent church music, which for fine harmony and simple solemn grandeur stands unexcelled, and has gained for its composer the title of 'The English Palestrina.' Much of it was printed in Barnard's Church Music (1641), and in Boyce's Cathedral Music. The remainder was published in 1873 in a volume edited by the Rev. Sir F. A. G. Ouseley. His Madrigals (re-published by the Musical Antiquarian Society in 1841), are among the best of the English school.
A portrait of Orlando Gibbons is preserved in the Music School, Oxford. [App. p.647 "the portrait referred to is a copy from a lost original once in the possession of a Mrs. Fussell."] His printed works are as follows:—
First Preces. 5 voices, in F.
Second Do. Do. G.
Morning and Evening Service, 4v. F, including Venite (Ouseley).
Te Deum and Jubilate, Magnificat and Nunc Dimittis. 5v., with verses and organ part. D minor.
Full Anthem, clap your hands. 8v.
Do. (2nd pt.) God is gone up.
Do. Hosanna, 6v.
Do. Lift up your heads. 6v.
Do. O Lord In Thee. 5v.
Do. Almighty and everlasting. 4v.
Do. Why art thou so heavy. 4v.
Do. Blessed be the Lord God. 4v.
Do. O Lord, increase my faith. 4v.
Do. Deliver us, O Lord. 4v.
Do. (2nd pt.) Blessed be the Lord God.
Verse Anth. Behold Thou hast made. 5v.
Do. This is the record of John. 5 v.
Do. Behold I bring you glad tidings. 5v.
Do. If ye be risen again. 5v.
Do. We praise Thee, O Father. 5v.
Do. Lord, grant grace. 5v.
Do. Glorious and powerful God. 5v.
Do. See, see, the Word is Incarnate. 6v.
Do. Sing unto the Lord. 5v.
Do. Blessed are all they. 5v.
Do. Great King of Gods. 5v., with viols.
Do. O all true faithful hearts. 5v., with viols.
Hymn. O Lord, how do. 4v.
Hymn, O Lord, I lift. 5v.
Psalm to 1st Preces, Thou openest.
4 Hymn tunes.
Madrigals and Motets. 5v.
The Silver Swan.
O that the learned poets.
I weigh not fortune's frown.
(2nd pt.) I tremble not.
(3rd pt.) I see ambition.
(4th pt.) I feign not friendship.
How are those thrall'd.
(2nd pt.) Farewell all joys.
Dainty fine bird.
Fair ladles that to love.
(2nd pt.) 'Mongst thousands good.
Now each flow'ry bank.
Lais now old.
What is our life?
Ah! dear heart.
Fair is the rose.
Nay, let me weep.
(2nd pt.) Ne'er let the sun.
(3rd pt.) Yet if that age.
Trust not too much.
Fantasies in 3 parts, for strings, 9 in number.
6 Pieces (xvi–xxi) for the Virginals in 'Parthenia,' above mentioned—
Gallardo.
Fantazia of 4 pts.
The Lord of Salisbury his Pavin.
Gallardo.
The Queene's Command.
Preludium.