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Cross of Jesus: 2003 Kristyn Getty: New Irish Hymns 2 — Every Breath: 2002 Kristyn Getty: Tapestry — Every Promise (Hymn of Response to the Word) 2005 Stuart Townend: New Irish Hymns 4: Story: Father in Heaven (The Lord's Prayer) Based on Matthew 6:9-13: 2002 Kristyn Getty: Songs That Jesus Said — Father, We Have Sinned (Repentance) 2003 ...
In 2002, Stuart Townend, the lyricist of the song, recorded it on his own album Lord of Every Heart [5] By 2005, it had been named by a BBC Songs of Praise survey as the ninth best-loved hymn of all time in the UK and then third in the same poll by the show in 2019; [6] By 2006, it rose to the No. 1 position on the United Kingdom CCLI ...
Christ after his Resurrection, with the ostentatio vulnerum, showing his wounds, Austria, c. 1500. The five wounds comprised 1) the nail hole in his right hand, 2) the nail hole in his left hand, 3) the nail hole in his right foot, 4) the nail hole in his left foot, 5) the wound to his torso from the piercing of the spear.
Daan Manneke: The Seven Last Words Oratorio for chamber choir (2011) Paul Carr: Seven Last Words from the Cross for soloist, choir and orchestra (2013) [9] Juan Jurado: Seven Words (2013) for mixed choir and four cellos. Rotting Christ: Ze Nigmar (2016) Richard Burchard: The Seven Last Words of Christ for choir, strings, and organ (2016) [10]
Jesus' First Miracle; Jesus' Last Words; Jesus' Opposition Is Established; Jesus' Second Coming; Jesus' Teachings; Jim, I Wore a Tie Today; Jingle Bells; Joe Bean; John 14-1-3; John Henry; John the Baptist; John the Baptist's Imprisonment And Death; John's; Johnny 99; Johnny Reb; Jordan; Joshua Gone Barbados; Joy to the World; The Junkie and ...
Instead, Jennens's text is an extended reflection on Jesus as the Messiah called Christ. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only "scene" taken from the Gospels. In Part II, Handel concentrates on the Passion of Jesus and ends with the Hallelujah chorus.
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The seven meditations on the Last Words are excerpted from all four gospels. The "Earthquake" movement derives from Matthew 27:51ff. Much of the work is consolatory, but the "Earthquake" brings a contrasting element of supernatural intervention—the orchestra is asked to play presto e con tutta la forza—and closes with the only fortississimo (triple forte) in the piece.