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Cristo me ama
Appears in 6 hymnals First Line: De su trono mi Jesús Used With Tune: CRISTO ME AMA Text Sources: Estrella de Belén
Cristo me ama
JESUS LOVES ME
Appears in 353 hymnals Composer and/or Arranger: William B. Bradbury (1816-1868) Tune Key: C Major Incipit: 53323 55661 66555 Used With Text: De su trono, mi Jesús
JESUS LOVES ME
GIBBONS (SONG THIRTEEN)
Meter: 7.7.7.7 Appears in 130 hymnals Composer and/or Arranger: Orlando Gibbons, 1583-1625 Tune Key: E Flat Major Incipit: 34562 23567 16653 Used With Text: De su trono mi Jesús
GIBBONS (SONG THIRTEEN)
De su trono mi Jesús
Hymnal: Culto Cristiano #361 (1964) Meter: 7.7.7.7 Lyrics: 1 De su trono mi Jesús
A morir aquí bajó,
Y clavado en una cruz,
Mis pecados Él quitó.
2 Bien me quiere el Salvador
Que sufrió por mi maldad:
Te bendigo, mi Señor,
Reconozco tu bondad.
3 Guarda fiel mi corazón,
Tú que en vela estás por mí;
Y haz que en tierna devoción
Viva siempre yo por Ti. Topics: Himnos y Cantos Para Los Niños; Cuaresma; Semana Santa; Lent; Hymns and Songs for Children; Holy Week Languages: Spanish Tune Title: GIBBONS (SONG THIRTEEN)
De su trono mi Jesús
De su trono, mi Jesús
Hymnal: Himnario Adventista #514 (1962) Refrain First Line: Sí, Cristo me ama Languages: Spanish Tune Title: [De su trono, mi Jesús]
De su trono, mi Jesús
De su trono, mi Jesús
Author: Anna B. Warner (1820-1915) Hymnal: Himnario Adventista del Séptimo Día #119 (2010) Refrain First Line: Sí, Cristo me ama Topics: Jesucristo Amor de Cristo; Jesus Christ Love of Christ Scripture: Ephesians 5:2 Languages: Spanish Tune Title: JESUS LOVES ME
De su trono, mi Jesús
Anna Bartlett Warner
1824 - 1915 Person Name: Anna B. Warner (1820-1915) Author of "De su trono, mi Jesús" in Himnario Adventista del Séptimo Día Warner, Anna, daughter of Henry W. Warner, and sister of Sarah Warner, author of Queechy, and other novels, was born near New York City about 1822. She is the author of the novel, Say and Seal, 1859, and others of a like kind. She also edited Hymns of the Church Militant, 1858; and published Wayfaring Hymns, Original and Translated, 1869. Her original hymns in common use include:—
l. Jesus loves me, this I know. The love of Jesus. In Say and Seal. 1859.
2. 0 little child, lie still and sleep. A Mother's Evening Hymn. In Temple Choir. 1867.
3. One more day's work for Jesus. Evening. From Wayfaring Hymns. 1869.
4. The world looks very beautiful. A Child Pilgrim, circa 1860. [Rev. F. M. Bird, M.A.]
-- John Julian, Dictionary of Hymnology (1907)
Pseudonym: Amy Lothrop
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See also in:
Hymn Writers of the Church
Anna Bartlett Warner
William B. Bradbury
1816 - 1868 Person Name: Guillermo B. Bradbury Composer of "[De su trono, mi Jesús]" in Himnario Adventista William Bachelder Bradbury USA 1816-1868. Born at York, ME, he was raised on his father's farm, with rainy days spent in a shoe-shop, the custom in those days. He loved music and spent spare hours practicing any music he could find. In 1830 the family moved to Boston, where he first saw and heard an organ and piano, and other instruments. He became an organist at 15. He attended Dr. Lowell Mason's singing classes, and later sang in the Bowdoin Street church choir. Dr. Mason became a good friend. He made $100/yr playing the organ, and was still in Dr. Mason's choir. Dr. Mason gave him a chance to teach singing in Machias, ME, which he accepted. He returned to Boston the following year to marry Adra Esther Fessenden in 1838, then relocated to Saint John, New Brunswick. Where his efforts were not much appreciated, so he returned to Boston. He was offered charge of music and organ at the First Baptist Church of Brooklyn. That led to similar work at the Baptist Tabernacle, New York City, where he also started a singing class. That started singing schools in various parts of the city, and eventually resulted in music festivals, held at the Broadway Tabernacle, a prominent city event. He conducted a 1000 children choir there, which resulted in music being taught as regular study in public schools of the city. He began writing music and publishing it. In 1847 he went with his wife to Europe to study with some of the music masters in London and also Germany. He attended Mendelssohn funeral while there. He went to Switzerland before returning to the states, and upon returning, commenced teaching, conducting conventions, composing, and editing music books. In 1851, with his brother, Edward, he began manufacturring Bradbury pianos, which became popular. Also, he had a small office in one of his warehouses in New York and often went there to spend time in private devotions. As a professor, he edited 59 books of sacred and secular music, much of which he wrote. He attended the Presbyterian church in Bloomfield, NJ, for many years later in life. He contracted tuberculosis the last two years of his life.
John Perry
William B. Bradbury
Orlando Gibbons
1583 - 1625 Person Name: Orlando Gibbons, 1583-1625 Composer of "GIBBONS (SONG THIRTEEN)" in Culto Cristiano 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
