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Browse our Lectionary Calendar.
Christ the Lord is Risen Today
Author: Wipo; Jane Eliza Leeson Meter: 7.7.7.7.7.7.7.7 Appears in 87 hymnals First Line: Christ the Lord is risen today, Christians, haste your vows to pay Text Sources: Latin sequence, c. 1100
Christ the Lord is Risen Today
Rejoice, the Lord is King!
Author: Charles Wesley Meter: 6.6.6.6.8.8 Appears in 742 hymnals Topics: Ascension and Reign; Christ Ascension; Worship First Line: Rejoice, the Lord is King: Your Lord and King adore Refrain First Line: Lift up your heart, lift up your voice Lyrics: 1 Rejoice, the Lord is King:
Your Lord and King adore!
Rejoice, give thanks and sing,
And triumph evermore.
Lift up your heart,
Lift up your voice!
Rejoice, again I say, rejoice!
2 Jesus, the Savior, reigns,
The God of truth and love;
When He has purged our stains,
He took his seat above;
Lift up your heart,
Lift up your voice!
Rejoice, again I say, rejoice!
3 His kingdom cannot fail,
He rules o'er earth and heav'n;
The keys of death and hell
Are to our Jesus giv'n:
Lift up your heart,
Lift up your voice!
Rejoice, again I say, rejoice!
4 Rejoice in glorious hope!
Our Lord and judge shall come
And take His servants up
To their eternal home:
Lift up your heart,
Lift up your voice!
Rejoice, again I say, rejoice!
Baptist Hymnal, 1991
Rejoice, the Lord is King!
He Is Lord
Appears in 57 hymnals Topics: Easter; Ascension; Choruses; Christ the King/Reign of Christ; Sunday of the Passion; Witness First Line: He is Lord, he is Lord Lyrics: He is Lord, he is Lord,
he is risen from the dead and he is Lord;
ev'ry knee shall bow, ev'ry tongue confess
that Jesus Christ is Lord. Scripture: Philippians 2:10-11 Used With Tune: HE IS LORD Text Sources: Philippians 2:10-11, adapt.
He Is Lord
SALZBURG
Meter: 7.7.7.7 D Appears in 182 hymnals Composer and/or Arranger: Jakob Hintze, 1622-1702; J. S. Bach, 1685-1750 Topics: Easter Season; Sacred Heart of Jesus; Eucharist; Celebration; Feast; Jesus Christ; Lamb of God; Love of God for Us; New Life; Paschal Mystery; Praise; Salvation; Song; Sunday Tune Key: D Major Incipit: 51565 43554 32215 Used With Text: At the Lamb's High Feast We Sing
SALZBURG
PRAISE HIM
Meter: 12.10.12.10.11.10.12.10 Appears in 244 hymnals Composer and/or Arranger: Chester G. Allen, 1838-1878 Topics: Ascensiontide; Joy, Praise and Thanksgiving; Year A Dedication Festival; Year A Palm Sunday: Liturgy of the Palms; Year B Advent 2; Year B Easter 4; Year B Palm Sunday: Liturgy of the Palms; Year C Lent 3 Tune Key: G Major Incipit: 35132 32176 51351 Used With Text: Praise him, praise him
PRAISE HIM
ABERYSTWYTH
Meter: 7.7.7.7 D Appears in 255 hymnals Composer and/or Arranger: Joseph Parry, 1841-1903 Topics: 7th Sunday of Easter Ascension Tune Key: d minor Incipit: 11234 53213 21712 Used With Text: Jesus, Lord, We Look to Thee
ABERYSTWYTH
Alleluia for the Easter Season (Aleluya para Pascua)
Hymnal: Journeysongs (3rd ed.) #262 (2012) Topics: The Liturgical Year Easter (Sundays and Weekdays) First Line: Christ, our paschal lamb (Ha sido immo lada nuestra víctima pascual) Refrain First Line: Alelluia! Alleluia! Alleluia! Languages: English; Spanish Tune Title: O FILII ET FILIAE
Alleluia for the Easter Season (Aleluya para Pascua)
Psalm 118: This Is the Day
Author: Scott Soper, b. 1961 Hymnal: Glory and Praise (3rd. ed.) #191 (2015) Topics: Easter Sunday; The Liturgical Year Easter Sunday; The Liturgical Year Easter (Sundays and Weekdays) First Line: Give thanks to God; the Lord is good Refrain First Line: This is the day that the Lord has made Scripture: Psalm 118:1-2 Languages: English Tune Title: [Give thanks to God; the Lord is good]
Psalm 118: This Is the Day
Psalm 118: This Is the Day
Hymnal: Glory and Praise (3rd. ed.) #192 (2015) Topics: Easter Sunday; The Liturgical Year Easter Sunday; The Liturgical Year Easter (Sundays and Weekdays) First Line: Give thanks to the LORD for he is good Refrain First Line: This is the day the Lord has made Scripture: Psalm 118:1-2 Languages: English Tune Title: [Give thanks to the LORD for he is good]
Psalm 118: This Is the Day
Rowland Hugh Prichard
1811 - 1887 Person Name: Rowland H. Prichard, 1811-1887 Topics: The Liturgical Year Easter (Sundays and Weekdays) Composer of "HYFRYDOL" in Glory and Praise (3rd. ed.) Rowland H. Prichard (sometimes spelled Pritchard) (b. Graienyn, near Bala, Merionetshire, Wales, 1811; d. Holywell, Flintshire, Wales, 1887) was a textile worker and an amateur musician. He had a good singing voice and was appointed precentor in Graienyn. Many of his tunes were published in Welsh periodicals. In 1880 Prichard became a loom tender's assistant at the Welsh Flannel Manufacturing Company in Holywell.
Bert Polman
Rowland Hugh Prichard
George J. Elvey
1816 - 1893 Person Name: George J. Elvey, 1816-1893 Topics: The Liturgical Year Easter (Sundays and Weekdays) Composer of "DIADEMATA" in Glory and Praise (3rd. ed.) George Job Elvey (b. Canterbury, England, 1816; d. Windlesham, Surrey, England, 1893) As a young boy, Elvey was a chorister in Canterbury Cathedral. Living and studying with his brother Stephen, he was educated at Oxford and at the Royal Academy of Music. At age nineteen Elvey became organist and master of the boys' choir at St. George Chapel, Windsor, where he remained until his retirement in 1882. He was frequently called upon to provide music for royal ceremonies such as Princess Louise's wedding in 1871 (after which he was knighted). Elvey also composed hymn tunes, anthems, oratorios, and service music.
Bert Polman
George J. Elvey
Johann Sebastian Bach
1685 - 1750 Person Name: Johann Sebastian Bach, 1685-1750 Topics: The Liturgical Year Easter (Sundays and Weekdays) Adapter of "SALZBURG" in Glory and Praise (3rd. ed.) Johann Sebastian Bach was born at Eisenach into a musical family and in a town steeped in Reformation history, he received early musical training from his father and older brother, and elementary education in the classical school Luther had earlier attended.
Throughout his life he made extraordinary efforts to learn from other musicians. At 15 he walked to Lüneburg to work as a chorister and study at the convent school of St. Michael. From there he walked 30 miles to Hamburg to hear Johann Reinken, and 60 miles to Celle to become familiar with French composition and performance traditions. Once he obtained a month's leave from his job to hear Buxtehude, but stayed nearly four months. He arranged compositions from Vivaldi and other Italian masters. His own compositions spanned almost every musical form then known (Opera was the notable exception).
In his own time, Bach was highly regarded as organist and teacher, his compositions being circulated as models of contrapuntal technique. Four of his children achieved careers as composers; Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Brahms, and Chopin are only a few of the best known of the musicians that confessed a major debt to Bach's work in their own musical development. Mendelssohn began re-introducing Bach's music into the concert repertoire, where it has come to attract admiration and even veneration for its own sake.
After 20 years of successful work in several posts, Bach became cantor of the Thomas-schule in Leipzig, and remained there for the remaining 27 years of his life, concentrating on church music for the Lutheran service: over 200 cantatas, four passion settings, a Mass, and hundreds of chorale settings, harmonizations, preludes, and arrangements. He edited the tunes for Schemelli's Musicalisches Gesangbuch, contributing 16 original tunes. His choral harmonizations remain a staple for studies of composition and harmony. Additional melodies from his works have been adapted as hymn tunes.
--John Julian, Dictionary of Hymnology (1907)
Johann Sebastian Bach
