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On Eagle's Wings" is a devotional hymn composed by Michael Joncas. Its words are based on Psalm 91 , [ 1 ] Book of Exodus 19, and Matthew 13 . [ 2 ] Joncas wrote the piece in either 1976 [ 3 ] or 1979, [ 1 ] [ 4 ] after he and his friend, Douglas Hall, returned from a meal to learn that Hall's father had died of a heart attack. [ 5 ]
Safely abide forever under his wings. I shall not fear. I'm in the shadow of his wings, and I shall dwell in the house of the Lord forever. I will sing: He is my fortress, my Redeemer. I will worship Christ the King, and he shall hide me under his wings. Under his wings, my soul shall abide, Safely abide forever.
Alleluia! Sing to Jesus; Alma Redemptoris Mater; Angels We Have Heard on High; Anima Christi (Soul of my Saviour) Asperges me; As a Deer; As I Kneel Before You (also known as Maria Parkinson's Ave Maria) At That First Eucharist; At the Lamb's High Feast We Sing; At the Name of Jesus; Attende Domine; Aurora lucis rutilat; Ave Maria; Ave maris ...
"Thy Holy Wings" (originally "Bred dina vida vingar" literally "Spread your wide wings") is a Swedish metrical psalm setting with lyrics by Lina Sandell [1] in 1860 and reworked in 1865 to a Danish or Swedish folk melody.
It was later set to music and renamed by Charles Crozat Converse, becoming the hymn "What a Friend We Have in Jesus". [ 1 ] [ 4 ] Scriven did not have any intentions nor dream that his poem would be for publication in the newspaper and later becoming a favorite hymn among the millions of Christians around the world.
"You give him dominion over the work of Your hands"—referring to Joshua, who made the sun and moon stand still (Joshua 10:12-13); "You put all things beneath his feet"—referring to David, whose enemies fell before him (II Samuel 22:43); "Sheep and oxen, all of them"—referring to Solomon, who understood the language of beasts (I Kings 5:13);
The Hymn of Jesus was so great a success as to bewilder its composer; he quoted the Biblical verse, "Woe to you when all men speak well of you!". [17] One of the performers at the original Royal College of Music performance later remembered that "To many the work was like a trumpet call in the renaissance of English creative music. To some of ...
The hymn also has many versions with different lyrics in multiple languages. The Handbook to the Lutheran Hymnal notes, "In spite of the fact that this hymn, with its tune, has been criticized as being too much on the order of the sentimental gospel type, its popularity remains strong, and the hymn retains a place in modern hymnals."