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Christ our Passover is sacrificed for us
Appears in 107 hymnals Used With Tune: [Christ our Passover is sacrificed for us]
Christ our Passover is sacrificed for us
[Christ our Passover is sacrificed for us]
Appears in 83 hymnals Composer and/or Arranger: Farrant Tune Key: F Major Incipit: 11235 43221 Used With Text: Easter Day
[Christ our Passover is sacrificed for us]
EASTER CHANT
Appears in 34 hymnals Composer and/or Arranger: Joseph Barnby (1838-1896) Incipit: 13655 17665 54366 Used With Text: Christ our Passover is sacrificed for us
EASTER CHANT
[Christ our Passover is sacrificed for us]
Appears in 34 hymnals Composer and/or Arranger: P. Humphrey Tune Key: B Flat Major Incipit: 11177 11171 Used With Text: Easter Day
[Christ our Passover is sacrificed for us]
Fraction Anthem: Christ our Passover
Hymnal: The Hymnal 1982 #S152 (1985) First Line: Alleluia, Christ our Passover is sacrificed for us Lyrics: Alleluia.
Christ our Passover is sacrificed for us;
Therefore let us keep the feast.
Alleluia. Languages: English Tune Title: [Alleluia. Christ our Passover is sacrificed for us]
Fraction Anthem: Christ our Passover
Fraction Anthem: Christ our Passover
Hymnal: The Hymnal 1982 #S153 (1985) First Line: Christ our Passover is sacrificed for us Lyrics: Christ our Passover is sacrificed for us;
Therefore let us keep the feast. Languages: English Tune Title: [Christ our Passover is sacrificed for us]
Fraction Anthem: Christ our Passover
Christ our Passover is sacrificed for us
Hymnal: The Hymnal 1982 #S17 (1985) Lyrics: 1. Alleluia, alleluia.
Alleluia, alleluia.
2. Christ our Passover is sacrificed for us
therefore let us keep the feast,
3. Not with old leaven,
neither with the leaven of
malice and wickedness,
but with the unleavened bread of sincerity and truth.
4. Alleluia, alleluia.
Alleluia, alleluia.
5. Christ being raised from the dead dieth no more
death hath no more dominion over him.
6. For in that he died, he died unto sin once;
but in that he liveth, he liveth unto God.
7. Likewise reckon ye also yourselves to be dead
indeed unto sin,
but alive unto God through Jesus Christ our Lord.
8. Alleluia, alleluia.
Alleluia, alleluia.
9. Christ is risen from the dead,
and become the first fruits of them that slept.
10. For since by man came death,
by man come also the resurrection of the dea.
11. For as in Adam all die,
even so in Christ shall all be made alive.
12. Alleluia, alleluia.
Alleluia, alleluia.
Glory to the Father and to the Son,
and to the Holy Spirit:
As it was in the beginning is now,
and will be for ever. Amen.
Alleluia, alleluia.
Alleluia, alleluia. Topics: The Daily Office Daily Morning Prayer I Languages: English Tune Title: [Christ our Passover is sacrificed for us]
Christ our Passover is sacrificed for us
John Goss
1800 - 1880 Person Name: J. Goss Composer of "[Christ our Passover is sacrificed for us]" in The Hymnal of the Protestant Episcopal Church in the United States of America 1940 John Goss (b. Fareham, Hampshire, England, 1800; d. London, England, 1880). As a boy Goss was a chorister at the Chapel Royal and later sang in the opera chorus of the Covent Garden Theater. He was a professor of music at the Royal Academy of Music (1827-1874) and organist of St. Paul Cathedral, London (1838-1872); in both positions he exerted significant influence on the reform of British cathedral music. Goss published Parochial Psalmody (1826) and Chants, Ancient and Modern (1841); he edited William Mercer's Church Psalter and Hymn Book (1854). With James Turle he published a two-volume collection of anthems and Anglican service music (1854).
Bert Polman
John Goss
John Stainer
1840 - 1901 Person Name: John Stainer, 1840-1901 Composer of "[Christ our Passover is sacrificed for us]" in The Hymnal 1982
John Stainer
Richard Farrant
1525 - 1580 Person Name: Farrant Composer of "[Christ our Passover is sacrificed for us]" in The Hymnal, Revised and Enlarged, as adopted by the General Convention of the Protestant Episcopal Church in the United States of America in the year of our Lord 1892 Like many composers of his day, the early years of Richard Farrant’s (c.1525- November 30, 1580) life are not well documented. The first acknowledgment of him is in a list of the Gentleman of the Chapel Royal in 1552. It is assumed from that list that his birth was around 1525. Although, that cannot be accurately determined. During his life he was able to establish himself as a successful composer, develop the English drama considerably, founded the first Blackfriar Theatre, and be the first to write verse-anthems. He married Anne Bower, daughter of Richard Bower who was Master of the Chapel Royal choristers at the time. With Anne he conceived ten children, one of whom was also named, Richard.
As a member of the Gentleman of the Chapel Royal, Farrant was active in ceremonies surrounding the royal family. He began his work with the Chapel Royal around 1550 under the reign of Edward VI. Fortunately, for Farrant, this is a time that saw huge developments in Latin Church Music. Composers like William Byrd and Christopher Tye were busy expanding and elaborating on the Church Music of the day. In Farrant's twelve years with the Chapel Royal, he was able to participate in funerals for Edward VI and Mary I, and coronations for Mary I and Elizabeth I. After his work there, he took up a post as organist at St. George’s Chapel at Windsor.
For Farrant, the post at at Windsor became a permanent one that he retained for the rest of his life. Along with this, he also acquired the position of Master of the Chapel Royal choristers in November of 1569. Having the choirs of both of these institutions at his disposal gave him an outlet to showcase all of his compositions and plays. In fact, every winter he was able to produce a play for the Queen herself. These positions also allowed him to move back to London in 1576 and begin a public theater of sorts where he rehearsed some of his choir music openly. It was soon after, in 1580, that he passed away, having left his house to his wife.
Unlike many composers of his day that stuck to only music composition, Farrant also wrote many plays. One of his most important contributions to drama in England is of course the creation of the first Blackfriars Theatre. This eventually became one of the most important places in London for drama to develop during the Renaissance. Farrant is also one of the earliest and most well known composers that began to mix the two mediums of music and drama. It was this uncommon mixture that allowed him to begin to develop the composition style of 'verse.' This becomes prominent in a lot of his pieces including the anthems "When as we sat in Babylon" and "Call to remembrance" and "Hide not thou thy face."
--en.wikipedia.org/wiki/
Richard Farrant
