John Merbecke Gloria, ICEL 2010 version
  • SalieriSalieri
    Posts: 3,177
    I had posted this here previously, but it became lost to history. Some people have asked for it, so I am reposting it. This is John Merbecke's setting of the Gloria from "The Booke of Common Praier Noted" (1550), adapted to the 2010 ICEL text for the Roman Rite (Novus Ordo).

    If printing in a worship aide, please just list it as being "from The Book of Common Prayer Noted, 1550, by John Merbecke; adapted, Anonymous XXI. cent."

    Merbecke Gloria.pdf
    25K
    Thanked by 1CHGiffen
  • Liam
    Posts: 4,955
    I have a question about that (I am not familiar with Merbecke's settings as such, just familiar with his role in setting the BCP to music) - I am one of those musicians who gets bothered when "Lord God, heavenly king, O God Almighty Father" (the culminating/concluding clause for all that precedes it) has a melodic cadence that does not seem to have arrived at a tonic, but instead is driving directly into the next section as if it were not a new section of text (certainly, in recitation and in a lot of musical performance, the text often gets parsed that way, unfortunately). I am wondering if that may be in play here with Merbecke's melodic form for that passage as compared to what follows. Thoughts?
  • Richard MixRichard Mix
    Posts: 2,769
    Just as great a 'problem' (if it really bothers one) is keeping up the momentum at "Gratias agimus propter magnam gloriam tuam." This version keeps close to the original: "…great glory" (fa-mi) "…Father Almighty." (do-sol, with tonic chord in H1940 accmpt).

    We've gone into this in another thread somewhere. I can't think of a single Josquin mass that doesn't drive to "…Filius Patris." Are there any in all of Palestrina that articulate at "Deus Pater Omnipotens"?
  • SalieriSalieri
    Posts: 3,177
    I don't have Merbecke's "originall" with me at the moment, but my recollection in doing this was to keep as close as possible to what he did in the original composition, even if I would have personally done it differently: particularly so that Organists could use accompaniments that are readily available (like the 1940, et cet.), making any changes where needed.
Add a Comment