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"All I Ask of You" was written and produced by Andrew Lloyd Webber, while Charles Hart and Richard Stilgoe provided the lyrics for the track. [1] It was created specifically for the 1986 English musical The Phantom of the Opera , which was developed by Lloyd Webber and served as a live adaptation of Gaston Leroux 's 1910 novel of the same name .
All Glory, Laud and Honour; All of seeing, all of hearing; Alleluia! Alleluia! Praise the Lord; Alleluia! Alleluia! Sing a New Song to the Lord; Alleluia! Sing to Jesus; Alma Redemptoris Mater; Angels We Have Heard on High; Anima Christi (Soul of my Saviour) Asperges me; As a Deer; As I Kneel Before You (also known as Maria Parkinson's Ave ...
Perhaps the best summary of Repp's theology can be found in Song of Micah [6] in his work Ever Bless (1985). This song is based on Micah 6:3–8: This is all I ask of you, this is the only praise I seek: That your love be gentle and your lives be just, and humbly walk along with me.
O Holy Mother, may you do that, fix the wounds of the cross mightily in my heart. Of your wounded son, [who] so deigned to suffer for me, Share [his] penalties with me. Make me cry dutifully with you, to suffer (with him) on the cross, as long as I shall have lived. To stand by the Cross with you, to unite me to you in weeping [this] I desire.
The hymn has been used by numerous composers, including Johann Sebastian Bach. There is a version for organ, BWV 720, written early in his career, possibly for the organ at Divi Blasii, Mühlhausen. [20] He used the hymn as the basis of his chorale cantata Ein feste Burg ist unser Gott, BWV 80 written for a celebration of Reformation Day.
The Scriptural text for both hymns might well be II Cor., v, 14, 15, or perhaps better still I John, iv, 19 – "Let us therefore love God, because God hath first loved us". The text of both hymns is given in Daniel's "Thesaurus Hymnologicus", II, 335; of the second hymn, with notes, in March's "Latin Hymns", 190, 307 etc.
[6] [7] Rarely separated from the lyrics since then, [1] [3] it has been noted as one of the composer's finest and shares resemblances with a 16th-century Lutheran chorale, "Wachet auf, ruft uns die Stimme" by Philipp Nicolai. [3] It is a good example of Victorian hymn tune writing, with "solid harmonies and subtle chromaticism."
Several versions of the hymn are in use in different parts of the world. Many of them are original sets of lyrics in various languages, set to the same tune, theme, and refrain. A popular version dating to 1952 [4] is as follows: Immaculate Mary, your praises we sing, You reign now in splendor with Jesus our King. Ave, Ave, Ave Maria! Ave, Ave ...