Glory Be to the Father
Glory be to the Father and to the Son
The Gloria Patri affirms Nicene Trinitarian theology, confessing co-equal glory to Father, Son, and Holy Spirit throughout all ages. For Lutherans, it serves as a concise doctrinal statement expressing orthodox Trinitarian faith and the eternal nature of God's majesty.
History & Background
The Gloria Patri originates in the early church (2nd-3rd century) as a doxological response to psalms and Scripture readings. It became a standard element of Christian liturgy and has been used continuously in worship for nearly 1,900 years.
This Gloria Patri text is usually known as the “Lesser Doxology” (what is known as the “Greater Doxology” begins “Gloria in excelsis Deo”; see 247). It is a liturgical text common to most Christian traditions and is often appended to the singing of Old Testament psalms or New Testament canticles. The traditional version of this text is found here, while a more modern translation occurs at 636. The initial part of the Gloria Patri may be traced back to the Trinitarian baptismal formula recorded in Matthew 28:19; it was probably used by early Christians as an acclamation. The second part, which begins “as it was in the beginning,” was added in the fourth century as a response to the Arian heresy. Thus the text reflects the ortho dox insistence on the consubstantiality of the Son with the Father and the eternal unity and equality of the three persons in the Trinity. Time Charles (Christoph) Meineke (b. Oldenburg, Germany, 1782; d. Baltimore, MD, 1850) immigrated from Germany to England in 1810, then came to the United States in 1820. He composed the MEINEKE chant for an “Evening Prayer” to be used at St. Paul Episcopal Church, Baltimore, where Meineke was organist. The tune was published in his collection of psalm and hymn tunes and service music for St. Paul’s congregation, Musicfor the Church (1844). Otherwise quite serviceable, MEINEKE is marred by one mismatched textual and musical phrase—the rhythms and melodic contour for “and to the Son” do not work 809 THE PSALMS, BIBLE SONGS, AND HYMNS well for those words. In spite of this obvious fault “Glory Be to the Father” is hallowed by tradition. Sing in harmony with conviction and with appropriate rhythmic vigor. liturgical Use Traditionally used at the end of Old Testament psalms and New Testament canticles and at the conclusion of certain prayers or creedal statements; a general doxology. 636 BETHEL PARK Glory to the Father j=72 Text “Glory to the Father” is a modern translation of the traditional Latin Gloria Patri or “Lesser Doxology” (see PHH 635 for discussion of that text). This translation is similar to one recommended by the International Consultation on English Texts (ICET), which reads as follows: Glory to the Father, and to the Son, and to the Holy Spirit; as it was in the beginning, is now, and will be forever. Amen. —ICET version, 1975
Hymnal Appearances
- Chalice Hymnal — 734
- Evangelical Lutheran Worship — 867
- The Hymnal 1982 — S280
- Lutheran Book of Worship — 166
- Lutheran Service Book — 946
- Lutheran Worship — 221
- New Century Hymnal — 759
- Psalter Hymnal — 635
- The Lutheran Hymnal — 237
- United Methodist Hymnal — 70
- Voices Together — 876
- With One Voice — 740
Translation
Bulletin Note
The Gloria Patri, attributed to the ancient Church (c. 200), stands as Christendom's oldest doxology. Lutherans retained it as doctrinal confession affirming the co-equal glory of the Trinity against all heresy.
Preaching Connection
This doxology crystallizes Nicene orthodoxy in song, allowing the congregation to confess Trinitarian faith as the fitting response to hearing Law and Gospel proclaimed.
Stanza Arc
The narrative or theological arc traced by this tune's stanzas: Trinitarian praise ascending from temporal acknowledgment to eternal affirmation; movement from present worship to timeless reality
Themes
Doxology Trinitarian praise Liturgical response Eternal glory Liturgical tradition