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Compositions created specially for funeral use or as a memorial to a deceased person or persons. Settings of the requiem mass can be found in that subcategory. Subcategories
"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]
Top funeral scripture can be used in a speech, on a funeral program or headstone. Skip to main content. 24/7 help. For premium support please call: 800-290-4726 more ...
"Eternal Father, Strong to Save" is a British hymn traditionally associated with seafarers, particularly in the maritime armed services. Written in 1860, its author, William Whiting, was inspired by the dangers of the sea described in Psalm 107.
In 1927, William Henry O'Connell, the Catholic Archbishop of Boston, banned the use of the tune in funerals, calling the hymn "inane" and "trashy." Cardinal O'Connell was concerned it was among a group of songs composed by authors whose "maudlin sentiment" overshadowed their faith.
Over the following years new, expanded editions of Sacred Songs were produced, containing many standard hymns as well as revivalist songs, the final edition from the 1900s containing 1,200 pieces. Sankey wrote the words for very few of these, but he composed and/or arranged new tunes for many of the hymns in the collection, particular for those ...
"Thine Be the Glory, Risen Conquering Son" (French: À toi la gloire O Ressuscité), also titled "Thine Is the Glory", [1] is a Christian hymn for Easter, written by the Swiss Protestant minister, Edmond Budry (1854–1932), and set to the tune of the chorus "See, the Conqu'ring hero comes" from the third section of Handel's oratorio Judas Maccabaeus.
The song has been sung at many funerals, including at the funeral of American president Dwight D. Eisenhower at the National Cathedral in Washington, D.C., in March 1969. [9] Apart from its obvious martial associations, the song has been associated with protest against the established order, particularly in the case of the civil rights movement.