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"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]
However, in the meantime, other followers continued to write, arrange, and collect hymns. The first Latter-day Saint hymns were published by W. W. Phelps in June, 1832 in Independence, Missouri. These appeared as text only (no music) in The Evening and the Morning Star, the church's semimonthly newspaper. Many of these lyrics were written by ...
The later hymn "Veni Creator Spiritus" borrows two lines from the hymn (Infirma nostri corporis — Virtute firmans perpeti). "Veni redemptor gentium" was particularly popular in Germany where Martin Luther translated it into German as "Nun komm, der Heiden Heiland," which then he, or possibly Johann Walter, set as a chorale, based on the original plainchant. [3]
"This hymn spans all of salvation history, from creation to the end of time when the entire created order will be redeemed and caught up in the life of the Trinity." [3] The hymn has been mainly used in the Divine Office at Vespers. Because the Christian Church has inherited the Jewish practice of reckoning days from sunset to sunset, many ...
The song, in eight stanzas of four lines each, expresses first the request for the coming of a redeemer of all people, including the heathens or gentiles, born of a virgin. It reflects his origin from the Father, to whom he will return after going to Hell. The last stanza is a doxology, translating a medieval appendix to Ambrose's hymn. [13]
The following lists contains all the hymns composed by Sankey that are found in the "1200" edition of Sacred Songs and Solos. Many of these hymns are also found in the six-volume collection, Gospel Hymns and Sacred Songs , which Sankey edited with Philip Bliss and others, which was published in the United States between 1876 and 1891.
This hymnal "consisted entirely of versions of Latin hymns, designed for use as Office hymns within the Anglican Church despite the fact that Office hymns had no part in the authorized liturgy. The music was drawn chiefly from plainchant", as was the case with the Veni Emmanuel tune for "O Come, O Come Emmanuel", the combination of which has ...
The author draws from the rabbinic interpretation of the Song of Songs, suggested as linguistically originating in the 3rd century BCE, in which the maiden is seen as a metaphor for an ancient Jewish population residing within Israel's biblical limits, and the lover (dod) is a metaphor for God, and from Nevi'im, which uses the same metaphor. [6]