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A Hymn of Glory Let Us Sing
Author: The Venerable Bede; Benjamin Webb Meter: 8.8.8.8 with alleluias Appears in 46 hymnals First Line: A hymn of glory let us sing, New songs throughout the world shall ring (Webb)
A Hymn of Glory Let Us Sing
LASST UNS ERFREUEN
Meter: 8.8.8.8.8.8 with alleluias Appears in 521 hymnals Composer and/or Arranger: Ralph Vaughan Williams, 1872-1958 Tune Sources: Geistliche Kirchengesäng, Köln, 1623 Tune Key: D Major Incipit: 11231 34511 23134 Used With Text: A Hymn of Glory Let Us Sing
LASST UNS ERFREUEN
DEO GRACIAS
Meter: 8.8.8.8 Appears in 105 hymnals Composer and/or Arranger: Alfred V. Fedak Tune Sources: “The Agincourt Song,” c. 1415 Tune Key: c minor Incipit: 11717 76511 75454 Used With Text: A Hymn of Glory Let Us Sing!
DEO GRACIAS
ST. PATRICK
Meter: 8.8.8.8 Appears in 53 hymnals Composer and/or Arranger: Erik Routley Tune Key: B Flat Major Incipit: 51175 73543 32242 Used With Text: A Hymn of Glory Let Us Sing
ST. PATRICK
A Hymn of Glory Let Us Sing
Author: Venerable Bede, 673-735; Benjamin Webb, 1819-1885 Hymnal: Hymns for Youth #95 (1966) Meter: 8.8.4.4.8.8 with alleluias Lyrics: 1. A hymn of glory let us sing;
New songs throughout the world shall ring;
Alleluia! Alleluia!
Christ, by a road before untrod,
Ascendeth to the throne of God.
Alleluia! Alleluia!
Alleluia! Alleluia!
Alleluia!
2. The holy apostolic band
Upon the Mount of Olives stand;
Alleluia! Alleluia!
And with His followers they see
Jesus' resplendent majesty.
Alleluia! Alleluia!
Alleluia! Alleluia!
Alleluia!
3. O risen Christ, ascended Lord,
All praise to thee let earth accord,
Alleluia! Alleluia!
Who art, while endless ages run,
With Father and with Spirit one.
Alleluia! Alleluia!
Alleluia! Alleluia!
Alleluia!
Languages: English Tune Title: LASST UNS ERFREUEN
A Hymn of Glory Let Us Sing
A Hymn of Glory Let Us Sing
Author: The Venerable Bede, d. 735; Benjamin Webb Hymnal: The Lutheran Hymnal #212 (1941) Lyrics: 1 A hymn of glory let us sing;
New songs thro'out the world shall ring:
Alleluia! Alleluia!
Christ, by a road before untrod.
Ascendeth to the throne of God.
Alleluia! Alleluia!
Alleluia! Alleluia! Alleluia!
2 The holy apostolic band
Upon the Mount of Olives stand;
Alleluia! Alleluia!
And with His followers they see
Jesus' resplendent majesty.
Alleluia! Alleluia!
Alleluia! Alleluia! Alleluia!
3 To whom the angels, drawing nigh,
"Why stand and gaze upon the sky?
Alleluia! Alleluia!
This is the Savior," thus they say;
"This is His noble triumph-day."
Alleluia! Alleluia!
Alleluia! Alleluia! Alleluia!
4 "Again shall ye behold Him so
As ye today have seen Him go.
Alleluia! Alleluia!
In glorious pomp ascending high
Up to the portals of the sky."
Alleluia! Alleluia!
Alleluia! Alleluia! Alleluia!
5 Oh, grant us thitherward to tend
And with unwearied hearts ascend,
Alleluia! Alleluia!
Unto Thy kingdom's throne, where Thou,
As is our faith, art seated now.
Alleluia! Alleluia!
Alleluia! Alleluia! Alleluia!
6 Be Thou our Joy and strong Defense,
Who art our future Recompense:
Alleluia! Alleluia!
So shall the light that springs from Thee
Be ours through all eternity.
Alleluia! Alleluia!
Alleluia! Alleluia! Alleluia!
7 O risen Christ, ascended Lord,
All praise to Thee let earth accord,
Alleluia! Alleluia!
Who art, while endless ages run,
With Father and with Spirit One.
Alleluia! Alleluia!
Alleluia! Alleluia! Alleluia!
Amen. Topics: The Church Year Ascension Scripture: Acts 1:11 Languages: English Tune Title: LASST UNS ERFREUEN
A Hymn of Glory Let Us Sing
A Hymn of Glory Let Us Sing
Author: The Venerable Bede, 673-735; Benjamin Webb Hymnal: Trinity Hymnal (Rev. ed.) #289 (1990) Meter: 8.8.8.8 with alleluias Refrain First Line: Alleluia! Alleluia! Lyrics: 1 A hymn of glory let us sing;
new songs thro'out the world shall ring:
Alleluia! Alleluia!
Christ, by a road before untrod,
ascendeth to the throne of God.
Alleluia! Alleluia! Alleluia! Alleluia! Alleluia!
2 The holy apostolic band
Upon the Mount of Olives stand;
Alleluia! Alleluia!
and with his followers they see
Jesus' resplendent majesty.
Alleluia! Alleluia! Alleluia! Alleluia! Alleluia!
3 To whom the angels, drawing nigh,
"Why stand and gaze upon the sky?
Alleluia! Alleluia!
This is the Savior," thus they say,
"this is his noble triumph day."
Alleluia! Alleluia! Alleluia! Alleluia! Alleluia!
4 "Again shall ye behold him so
as ye today have seen him go,
Alleluia! Alleluia!
in glorious pomp ascending high,
up to the portals of the sky."
Alleluia! Alleluia! Alleluia! Alleluia! Alleluia!
Topics: Jesus Christ His Ascension; Christ Praise of; Christ Second Coming and Judgment of Scripture: Acts 1:9-11 Languages: English Tune Title: LASST UNS ERFREUEN
A Hymn of Glory Let Us Sing
The Venerable Bede
673 - 735 Person Name: The Venerable Bede, 673-735 Author of "A Hymn of Glory Let Us Sing" in Trinity Hymnal (Rev. ed.) Bede (b. circa 672-673; d. May 26, 735), also known as Saint Bede or the Venerable Bede, was an English monk at Northumbrian monastery at Monkwearmouth (now Jarrow). Sent to the monastery at the young age of seven, he became deacon very early on, and then a priest at the age of thirty. An author and scholar, he is particularly known for his Ecclesiastical History of the English People, which gained him the title “Father of English History.” He also wrote many scientific and theological works, as well as poetry and music. Bede is the only native of Great Britain to have ever been made a Doctor of the Church. He died on Ascension Day, May 26, 735, and was buried in Durham Cathedral.
Laura de Jong
==========================
Bede, Beda, or Baeda, the Venerable. This eminent and early scholar, grammarian, philosopher, poet, biographer, historian, and divine, was born in 673, near the place where, shortly afterwards, Benedict Biscop founded the sister monasteries of Wearmouth and Jarrow, on an estate conferred upon him by Ecgfrith, or Ecgfrid, king of Northumbria, possibly, as the Rev. S. Baring-Gould, Lives of the Saints (May), p. 399, suggests, "in the parish of Monkton, which appears to have been one of the earliest endowments of the monastery." His education was carried on at one or other of the monasteries under the care of Benedict Biscop until his death, and then of Ceolfrith, Benedict's successor, to such effect that at the early age of nineteen he was deemed worthy, for his learning and piety's sake, to be ordained deacon by St. John of Beverley, who was then bishop of Hexham, in 691 or 692. From the same prelate he received priest's orders ten years afterwards, in or about 702. The whole of his after-life he spent in study, dividing his time between the two monasteries, which were the only home he was ever to know, and in one of which (that of Jarrow) he died on May 26th, 735, and where his remains reposed until the 11th century, when they were removed to Durham, and re-interred in the same coffin as those of St. Cuthbett, where they were discovered in 1104.
He was a voluminous author upon almost every subject, and as an historian his contribution to English history in the shape of his Historia Ecclesiastica is invaluable. But it is with him as a hymnist that we have to do here.
I. In the list of his works, which Bede gives at the end of his Ecclesiastical History, he enumerates a Liber Hymnorum, containing hymns in “several sorts of metre or rhyme." The extant editions of this work are:—
(1) Edited by Cassander, and published at Cologne, 1556; (2) in Wernsdorf's Poetae Latin Min., vol. ii. pp.239-244.
II. Bede's contributions to the stores of hymnology were not large, consisting principally of 11 or at most 12 hymns; his authorship of some of these even is questioned by many good authorities.
While we cannot look for the refined and mellifluous beauty of later Latin hymnists in the works of one who, like the Venerable Bede, lived in the infancy of ecclesiastical poetry; and while we must acknowledge the loss that such poetry sustains by the absence of rhyme from so many of the hymns, and the presence in some of what Dr. Neale calls such "frigid conceits" as the epanalepsis (as grammarians term it) where the first line of each stanza, as in "Hymnum canentes Martyrum," is repeated as the last; still the hymns with which we are dealing are not without their peculiar attractions. They are full of Scripture, and Bede was very fond of introducing the actual words of Scripture as part of his own composition, and often with great effect.
That Bede was not free from the superstition of his time is certain, not only from his prose writings, but from such poems as his elegiac "Hymn on Virginity," written in praise and honour of Queen Etheldrida, the wife of King Ecgfrith, and inserted in his Ecclesiastical History, bk. iv., cap. xx. [Rev. Digby S. Wrangham, M.A.]
-- Excerpts from John Julian, Dictionary of Hymnology (1907)
The Venerable Bede
Ronald F. Krisman
Person Name: Ronald F. Krisman, b. 1946 Translator (Spanish) of "A Hymn of Glory Let Us Sing! (¡Al mundo "Gloria" Prolcamad!)" in Oramos Cantando = We Pray In Song
Ronald F. Krisman
Ralph Vaughan Williams
1872 - 1958 Harmonizer of "LASST UNS ERFREUEN" in The Worshiping Church Through his composing, conducting, collecting, editing, and teaching, Ralph Vaughan Williams (b. Down Ampney, Gloucestershire, England, October 12, 1872; d. Westminster, London, England, August 26, 1958) became the chief figure in the realm of English music and church music in the first half of the twentieth century. His education included instruction at the Royal College of Music in London and Trinity College, Cambridge, as well as additional studies in Berlin and Paris. During World War I he served in the army medical corps in France. Vaughan Williams taught music at the Royal College of Music (1920-1940), conducted the Bach Choir in London (1920-1927), and directed the Leith Hill Music Festival in Dorking (1905-1953). A major influence in his life was the English folk song. A knowledgeable collector of folk songs, he was also a member of the Folksong Society and a supporter of the English Folk Dance Society. Vaughan Williams wrote various articles and books, including National Music (1935), and composed numerous arrangements of folk songs; many of his compositions show the impact of folk rhythms and melodic modes. His original compositions cover nearly all musical genres, from orchestral symphonies and concertos to choral works, from songs to operas, and from chamber music to music for films. Vaughan Williams's church music includes anthems; choral-orchestral works, such as Magnificat (1932), Dona Nobis Pacem (1936), and Hodie (1953); and hymn tune settings for organ. But most important to the history of hymnody, he was music editor of the most influential British hymnal at the beginning of the twentieth century, The English Hymnal (1906), and coeditor (with Martin Shaw) of Songs of Praise (1925, 1931) and the Oxford Book of Carols (1928).
Bert Polman
Ralph Vaughan Williams
