(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.
Christopher Gibbons, Mus. Doc., second son of the celebrated Orlando Gibbons, was born in 1615. He was educated in the choir of Exeter Cathedral under his uncle, Edward. About 1640 he succeeded Randal Jewitt as [App. p.647 "In 1638 he succeeded Thomas Holmes as"] organist of Winchester Cathedral, which appointment he was compelled to quit in 1644, when he joined the Royalist army. In 1660 he was appointed organist of the Chapel Royal, private organist to Charles II, and organist of Westminster Abbey. [App. p.647 "He resigned his Winchester appointment June 23, 1661, and was succeeded by John Silver. After him came Randal Jewett, who held the post from 1667 to 1675."] On July 7, 1664, the University of Oxford conferred on him the degree of Doctor of Music, 'per literas regias,' on which occasion the Dean and Chapter of Westminster made him a present of £5. He died Oct. 20, 1676, and was buried in the cloisters of Westminster Abbey. Some anthems of his composition are extant in MS., and some of his hymns are printed in the second set of Dering's 'Cantica Sacra,' 1674, but he excelled more as a performer than a composer. A portrait of him is preserved in the Music School at Oxford.
[ W. H. H. ]
GIGUE or GIGA is an old Italian dance which derives its name (or vice versa) from the Giga, Gigue, Geige, or early fiddle. It was written indiscriminately in 3-8, 6-8, 3-4, 6-4, and 12-8 time, and was in two strains or sections, each of which was repeated. The time was lively, and it was usually employed to finish up a Suite. A good example is that which winds up No. 8 of Corelli's 12 solos.
Bach also employs them to close his Suites, and has left an immense variety, not a few of which are in common time, as well as 9-16 and 12-16. The well-known one in the Partita in B♭ is in 4-4, and that in the last Partita of the same set in 8-4. Handel's 16 Suites contain 13 Gigues, one of which fills 6½ pages. Mozart has left a very fine little specimen (Köchel 574) which he wrote in an album at Leipsic after a surfeit of Bach.
English Jigs seem to have no special characteristics. The word came to be synonymous with any light irreverent rhythm, giving the point to Pope's line
- 'Make the soul dance upon a jig to heaven.'
[ G. ]
GILES, Nathaniel, Mus. Doc., was born in or near Worcester about the middle of the 16th century. In 1559 he was admitted a chorister of Magdalen College, Oxford, which office he resigned in 1561. In 1577 he was appointed a clerk in the same chapel, but retained the place only until the next year. He graduated at Oxford as Bachelor of Music June 26, 1585. On Oct. 1, 1595, he received the appointments of clerk, organist, and master of the choristers of St. George's Chapel, Windsor. On the death of William Hunnis in June, 1597, he was appointed gentleman and master of the children of the Chapel Royal. Having supplicated for the degree of Doctor of Music in 1607, but from some unknown reason not having performed the exercise for it, he proceeded to it July 5, 1622. It has been asserted that on the accession of Charles I. he was appointed organist of the Chapel Royal, but there is no record of such an appointment in the Cheque Book. Giles contributed to Leighton's 'Teares or Lamentacions of a Sorrowfull Soule,' 1614; a service and an anthem by him were printed in Barnard's Church Music, 1641, and other anthems are extant in MS. A curious 'Lesson of Descant of thirtie eighte Proportions of sundrie kindes' by him is printed in the appendix to Hawkins's History of Music. Giles died Jan. 24, 1633, and was buried in one of the aisles of St. George's
