Here from All Nations

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Scripture References

Further Reflections on Scripture References

In Revelation 7:9-17 the apostle John records his vision of a great multitude of God's children "from every nation, tribe, people, and language" standing before the Lamb and singing doxologies. The text is a most comforting description of the end of human troubles: no more thirst or hunger, no more griefs or trials. Now the people live by streams of living water under the care of their Shepherd–the complete fulfillment of

Psalm 23!

Confessions and Statements of Faith References

Further Reflections on Confessions and Statements of Faith References

Finally, believers will experience the church of all peoples gathered before God. When singing “Here from all nations, all tongues and all peoples, countless the crowd, but their voices are one,” consider the words of Our World Belongs to God, paragraph 30: “The Spirit gathers people from every tongue, tribe and nation into the unity of the body of Christ.” This diversified unity will become obvious when he brings the new heaven and earth.


Here from All Nations

Tune Information

F Major

Musical Suggestion

"Here from All Nations" is a beautifully fitting hymn for the Easter cycle (six Sundays following Easter). It is especially appropriate for the celebration of the ascension of Christ, who now "reigns from the throne."
The triumphant and majestic joy of this hymn will prompt the organist to pull all the stops, particularly for the last stanza. If the resources are available, this hymn is well served with choir or trumpet using the descant on the last stanza.
(from Reformed Worship, Issue 14)
— Marnie Giesbrecht Segger & Joachim Segger

Here from All Nations

Hymn Story/Background

O QUANTA QUALIA is a chant tune from the Paris Antiphoner of 1681 and represents the "new" breed of French Roman Catholic diocesan tunes of the seventeenth and eigh­teenth centuries. The tune is often associated with Peter Abelard's twelfth-century hymn "O What Their Joy and Their Glory Must Be," which also has a new-heaven-and­-earth focus. The tune name comes from the original Latin incipit of Abelard's text: "O quanta qualia…." Antiphonal singing may be desirable, as is singing in harmony, but the final stanza should be sung in unison and at a majestic pace as a finale/ doxology­ preferably with other instruments to enhance the festivity.
Christopher Idle effectively captures John’s vision in Revelation 7:9-17 in words that encourage all Christians. This text and music were first united in the British hymnal, Psalm Praise (1973).
— Bert Polman

Author Information

Christopher Martin Idle (b. Bromley, Kent, England, 1938) wrote this versification in 1969; it was first published in Psalm Praise (1973). Idle suggests that "the fourth stanza seems to have a message peculiarly relevant to a world where many in east and west boast of their weapons of war and rely on them to preserve 'peace.'" Idle was educated at Elthan College, St. Peter's College, Oxford, and Clifton Theological College in Bristol, and was ordained in the Church of England. He served churches in Barrow-in-­Furness, Cumbria; London; and Oakley, Suffolk; and then returned to London, where he is involved in various hymnal projects. A prolific author of articles on the Christian's public responsibilities, Idle has also published The Lion Book of Favorite Hymns (1980) and at least one hundred of his own hymns and biblical paraphrases. Some of his texts first appeared in hymnals published by the Jubilate Group, with which he is associated. He was also editor of Anglican Praise (1987).
— Bert Polman

Composer Information

As a young child John Bacchus Dykes (b. Kingston-upon-Hull' England, 1823; d. Ticehurst, Sussex, England, 1876)  took violin and piano lessons. At the age of ten he became the organist of St. John's in Hull, where his grandfather was vicar. After receiving a classics degree from St. Catherine College, Cambridge, England, he was ordained in the Church of England in 1847. In 1849, he became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals. He served the parish of St. Oswald in Durham from 1862 until the year of his death. To the chagrin of his bishop, Dykes favored the high church practices associated with the Oxford Movement (choir robes, incense, and the like). A number of his three hundred hymn tunes are still respected as durable examples of Victorian hymnody. Most of his tunes were first published in Chope's Congregational Hymn and Tune Book (1857) and in early editions of the famous British hymnal, Hymns Ancient and Modern.
— Bert Polman
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