375. All Glory, Laud, and Honor
st. 1-3 = Matt. 21:1-17, Mark 11:1-10, Luke 19:28-38, John 12:12-13
st. 2 = Rev. 5:11-12
Theodulph, bishop of Orleans, wrote this text around 820 while he was imprisoned at Angers, France, for conspiring against King Louis the Pious. A probably apocryphal story from the early sixteenth century states that in a Palm Sunday procession King Louis passed the prison in which Theodulph was housed and heard the imprisoned bishop singing this hymn. According to the legend the king was so moved that he freed Theodulph and decreed the singing of "All Glory, Laud, and Honor" on all subsequent Palm Sundays.
The text was originally in thirty-nine Latin couplets, although only the first twelve lines were sung in ancient liturgical use (since a late-ninth-century manuscript from St. Gall). John M. Neale (PHH 342) translated the text into English in his Medieval Hymns and Sequences (1851). Neale revised that translation for The Hymnal Noted (1854); a further altered text was included in the original edition of Hymns Ancient and Modern (1861).
Based on Matthew 21:1-11 (and similar passages in Mark 11, Luke 19, and John 12), the text was originally written for a Palm Sunday procession. Thus it reflects on the original Palm Sunday's hymns of praise by the Jews as well as on our praise today.
Palm Sunday morning processional; possibly during Advent.
--Psalter Hymnal Handbook
Now often named ST. THEODULPH because of its association with this text, the tune is also known, especially in organ literature, as VALET WILL ICH DlR GEBEN.1t was com¬posed by Melchior Teschner (b. Fraustadt [now Wschowa, Poland], Silesia, 1584; d. Oberpritschen, near Fraustadt, 1635) for 'Valet will ich dir geben," Valerius Herberger's hymn for the dying. Teschner composed the tune in two five-voice settings, published in the leaflet Ein andächtiges Gebet in 1615.
Teschner studied philosophy, theology, and music at the University of Frankfurt an-der-Oder and later studied at the universities of Helmstedt and Wittenberg, Germany. From 1609 until 1614 he served as cantor in the Lutheran church in Fraustadt, and from 1614 until his death he was pastor of the church in Oberpritschen.
ST. THEODULPH is a vigorous, bar form (AAB) tune with a strong ascending figure in the opening line. The tune has an exuberance marred only by the low-pitched ending, some congregations may prefer C major.
Two harmonizations are provided. The one at 375 by William H. Monk (PHH 332) was first published in Hymns Ancient and Modern (1861). The harmonization at 376 is by Johann S. Bach (PHH 7), taken from his St. John Passion. For either one use a large organ registration, perhaps with brass fanfares/interludes. Try using the fine double descant by Randall De Bruyn (b. Portland, OR, 1947) for stanza 3 with a ritardando at the very end of the stanza (376).
De Bruyn attended Lewis and Clark College, Portland, Oregon, and the University of Illinois (M.M. and D.M.A.). Many of his compositions and arrangements have been published by Oregon Catholic Press, where he has been music editor and currently serves as staff composer and arranger. His Traditional Choral Praise (1992) contains at least 160 hymn arrangements for SATB and SAB choirs with vocal and instrumental descants.
Many composers have composed organ music on this tune. Hal Hopson's The Singing Bishop, a children's musical based on this hymn, could provide an effective prelude for a Palm Sunday service.
--Psalter Hymnal Handbook