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"Gwahoddiad" The Roberts (Gwyllt) translation has four verses. The first verse is a virtual equivalent of Hartsough's original (see infra).Roberts essentially skipped Hartsough's second verse and then conflated the remaining three verses into similar but not verbatim thoughts matching Welsh to the metrical pattern of Hartsough's tune.
"Glory to His Name" (also called "Down At The Cross") is a hymn written by Elisha A. Hoffman in 1878. It is thought that Hoffman was reading about the crucifixion of Jesus in the Bible and began to think about how God saved men from their sins by allowing Jesus to die on the cross. The poem Hoffman wrote based on these thoughts was called ...
"At the Name of Jesus" is a hymn with lyrics written by Caroline Maria Noel. It was first published in 1870, in an expanded version of Noel's collection The Name of Jesus and Other Verses for the Sick and Lonely. At the time, Noel herself experienced chronic illness, which persisted until her death.
An enlarged edition was issued in 1870, which contained her most well-known composition, the hymn "At the Name of Jesus". [4] More pieces were added in subsequent editions, bringing the total to 78, [ 4 ] and the title was shortened to The Name of Jesus and Other Poems.
The Hymn of Jesus, H. 140, Op. 37, is a sacred work by Gustav Holst scored for two choruses, semi-chorus, and full orchestra. It was written in 1917–1919 and first performed in 1920. One of his most popular and highly acclaimed compositions, it is divided into two sections.
"How Sweet the Name of Jesus Sounds" is a hymn by the evangelical Anglican cleric John Newton. It was published in Olney Hymns in 1779. [1] Of a metaphorical nature, it focuses on the power of the name of Jesus. [2] It is often sung to the tune of Saint Peter by Alexander Reinagle and less frequently to Ortonville by Thomas Hastings. [3]
The Rev. John Newton's hymn "Amazing Grace" has become a national hymn, uniting people of all walks of life and reflecting the Christian view of man as a fallen creature who can do nothing to save ...
It also appears as a hymn tune in Joachim Oudaen's 1685 psalter, "David's Psalmen" as a setting for "Hoe groot de vruchten zijn", [12] [10] a paraphrase of 1 Corinthians 15:12-23. In both instances the ascending repeats of the final line of the refrain effectively support the respective central messages of the paraphrased Bible verses.