(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—
Fantazia of 4 pts.
The Lord of Salisbury his Pavin.
The Queene's Command.
[ 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. ]