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The hymn was sung to the melody Sarum, by the Victorian composer Joseph Barnby, until the publication of the English Hymnal in 1906. This hymnal used a new setting by Ralph Vaughan Williams which he called Sine Nomine (literally, "without name") in reference to its use on the Feast of All Saints, 1 November (or the first Sunday in November, All Saints Sunday among some Lutheran church bodies ...
On high, the armies of angels give glory; below, men, standing in church forming a choir, emulate the same doxologies. Above, the Seraphim declaim the thrice-holy hymn; below, the multitude of men sends up the same. A common festival of the heavenly and the earthly is celebrated together; one Eucharist, one exultation, one joyful choir.
The Book of Common Praise: being the hymn book of The Church of England in Canada: 1939: 805 Hymns Ancient & Modern, Revised: 1950: 579 Songs of Praise for Schools: 1957: 49 Church Hymnal, Fourth Edition: 1960: 312 Hymns Ancient & Modern, New Standard Edition: 1983: 295 Common Praise: A new edition of Hymns Ancient and Modern: 2000: 355 Church ...
"All Glory, Laud and Honour" is an English translation by the Anglican clergyman John Mason Neale of the Latin hymn "Gloria, laus et honor", which was written by Theodulf of Orléans in 820. [1] It is a Palm Sunday hymn, based on Matthew 21:1–11 and the occasion of Christ's triumphal entry into Jerusalem. [2]
According to the tradition of the King's College Choir, the soloist of this hymn is usually chosen right before the performance, when the choirmaster decides whose voice is the strongest on the day, prior to the start of the broadcast. [6] This carol was the first recording that the King's College Choir under Boris Ord made for EMI in 1948. [7]
This carol has served as the penultimate hymn sung at the Festival of Nine Lessons and Carols by the Choir of King's College, Cambridge, after the last lesson from Chapter 1 of the Gospel of John. Adeste Fideles is traditionally the final anthem during Midnight Mass at St. Peter's Basilica in the Vatican. [22]
1911: King George V, Hubert Parry Parry revised his 1902 version by adding an introduction, antiphonal choir effects and brass fanfares [4] 1953: Queen Elizabeth II, Hubert Parry [4] At the coronation of Elizabeth II in 1953, the acclamation took the form of "Vivat Regina Elizabetha" [3] 2023: King Charles III and Queen Camilla, Hubert Parry [8]
An Anglican choir typically uses "SATB" voices (soprano or treble, alto or counter-tenor, tenor, and bass), though in many works some or all of these voices are divided into two for part or all of the piece; in this case the two halves of the choir (one on each side of the aisle) are traditionally named decani and cantoris which sing ...