Most notably, the collection contains a poem titled “On sleep,” built as an acrostic on Edward Perronet. Comment and share your favourite lyrics. Rippon omitted Perronet’s original second, third, and sixth stanzas, he altered most of what remained, and he composed two of his own stanzas (his fifth and seventh). 1. Crown him, ye morning stars of light, who fixed this floating ball; now hail the Strength of Israel's might, and crown him Lord of all! Rippon evidently meant this as an Old Testament foreshadowing of the wedding feast of Matthew 22, Luke 14, and/or Revelation 19, with Christ representing the kingly bridegroom. One other notable tune in common use was born of humble origins. The hymn “All hail the power of Jesus’ name” was first printed anonymously in a four-page booklet in Canterbury in 1779 (Fig. Rippon’s fifth is new. The street was originally named after St. Michael’s Church, with Miles’ Lane “being merely a shortened and corrupted form of its original name, St. Michael’s Lane.”[9] The church was demolished in 1831 to make way for a new London Bridge. Let angels prostrate fall; bring forth the royal diadem, to crown him Lord of all! All Hail The Power Of Jesus' Name! Similarly, the sixth stanza also appeals to the line of David. 210-211. Robert Cottrill, “All hail the power of Jesus’ name,” WordWise Hymns (16 July 2018):https://wordwisehymns.com/2018/07/16/all-hail-the-power-of-jesus-name-2/. Crawford offered this explanation of how the tune came to be named: Shrubsole’s tune appears to have become popular, especially among dissenters, soon after its publication, and the name MILES LANE was in all probability given to it from its use by a congregation of Independents who met at a chapel in Miles Lane, London, till 1795, when they were succeeded by a body of Scotch Seceders.[8]. Holden published a revision of his harmonization in the sixth edition of The Worcester Collection of Sacred Harmony (Boston: Isaiah Thomas & Ebenezer T. Andrews, 1797), p. 109. Rippon’s fourth stanza, aimed at Gentiles in contrast to the Jews in stanza 3, is a mild reworking of Perronet’s seventh, replacing only the first four words. Extol the stem of Jesse's rod And crown him Lord of all. 197-198, 296-297. Let Angels Prostrate Fall; Bring Forth The Royal Diadem, And Crown Him Lord Of All. Addington added Shrubsole’s tune at some point between the third edition (1780) and the sixth (1786). 86-87. Tragam o diadema real. Historian Mark Noll described the affect by saying, “Rippon’s triumphant concluding stanza, with its double evocation of the singing saints as “we,” personalized the hymn in a way that Perronet’s concluding general exhortation did not.”[6]. J.P.,” likely a brother. “Miles’s Lane,” A Dictionary of London, ed. Currently, the oldest known printing of Ellor’s tune is in Happy Greetings: A Collection of Choice Original Hymns and Tunes Suitable for Sunday-Schools (NY: Asa Hull, 1888 | Fig. “Jesse’s rod” is an allusion to Isaiah 11:1, a branch from the stump of Jesse (the father of King David). In 1906, Methodist scholar James T. Lightwood claimed, “DIADEM was not printed until nearly half a century after it was composed,”[13] but he did not supply further details of its publication. iii. 6:10, ESV). Beginning with stanza two, the hymn followed a progression of calling groups of people to worship: seraphs, morning stars, martyrs, the seed of Israel’s chosen race, heirs of David’s line, sinners, and every tribe and tongue. 264-265. Ye chosen seed of Israel's race, Ye ransomed from the fall, Hail Him Who saves you by His grace, And crown Him Lord of all! Hence among the hymns we sing at Ascensiontide are those which recognize and proclaim what the old divines called “the crown rights of the Redeemer,” his royalty and his reign.[5]. Paul Westermeyer, Let the People Sing: Hymn Tunes in Perspective (Chicago: GIA, 2005), pp. Today’s story features another hymn, this time, it’s all about the power that comes with the name of Jesus. By John Rippon, 1751-1836: Musician: Oliver Holden, 1765-1844 Play MP3 • Click to listen to the music for this hymn. 1780). This is the solfa notation of “All Hail the power of Jesus Name”.. All hail the power of Jesus name. The tune was later determined to be by William Shrubsole (1760–1806), who at the time was a nineteen-year-old chorister at the Canterbury Cathedral. Verse 2 : Crown Him, ye martyrs of our God, Who from the altar call, Extol the stem of Jesse’s rod And crown Him Lord of all! Let angels prostrate fall. Bring forth the royal diadem And crown him Lord of all. All hail the pow’r of Jesus’ Name! George Arthur Crawford, “All hail the power of Jesus’ name,” A Dictionary of Hymnology, ed. Like MILES LANE, DIADEM was composed by a man of nineteen years, James Ellor (1819–1899), “a self-taught musician who worked in a hat factory in his native town on weekdays, and on Sunday led the choir at the Wesleyan chapel.”[12] Ellor composed the tune in 1838 for a Sunday School anniversary service at Droylsden, near Manchester, England. Later versions of the hymn wisely leave out this stanza.[1]. 4 below) as “vivid and splendid.”[3] J.R. Watson was more favorable toward the device, “which allows the variations on a sound … to have a chiming effect while expressing different aspects of the Evangelical experience.”[4]. John Julian (London: J. Murray, 1892), pp. Leland Ryken, “All hail the power of Jesus’ name,” 40 Favorite Hymns on the Christian Life (Phillipsburg, NJ: P&R, 2019), pp. Some sources indicate Edward Perronet and William Shrubsole were good friends, the extent that Perronet made Shrubsole of his will and left property to him. Let angels prostrate fall; Bring forth the royal diadem, And crown Him Lord of all! The booklet contained only two hymns, without music, the first labeled “On the Crucifixion” and the second labeled “On the Resurrection. In spite of the biblical allusion in the second line, “A remnant weak and small,” hymnal editors generally prefer Perronet’s line, “Ye ransom’d of the fall.”. The first stanza of the resurrection hymn appeared in The Gospel Magazine in a hymn supplement, November 1779, again unattributed, set to a tune by William Shrubsole (for this, see the discussion of tunes below). The tributes begin with a memorial to Vincent Perronet, Edward’s father, who died 9 May 1785, followed by an epitaph for “Mrs. Therefore God has highly exalted him and bestowed on him the name that is above every name, so that at the name of Jesus every knee should bow, in heaven and on earth and under the earth, and every tongue confess that Jesus Christ is Lord, to the glory of God the Father (ESV). Perronet’s original version is rich with Scripture. From 1793 to 1820, it was printed in 81 collections, always with “All hail the power of Jesus’ name.” Holden’s tombstone at the Phipps Street Burying Ground, Charlestown, Massachusetts, includes the description “Composer of the tune Coronation” and the first stanza of the hymn text. Carlton R. Young, “All hail the power of Jesus’ name,” Companion to the United Methodist Hymnal (Nashville: Abingdon, 1993), p. 194. Henry A. Harbin (London: Herbert Jenkins, 1918): Online, Alexander Gordon & M.J. Mercer, “Stephen Addington,” Oxford Dictionary of National Biography (23 Sept. 2004): https://doi.org/10.1093/ref:odnb/152. Tragam o diadema real. It was so enormously popular, it was printed in 204 collections in the 41-year span between 1779 and 1820, usually with “All hail the power,” but also sometimes with “Give thanks to God, the sov’reign Lord,” a paraphrase of Psalm 136 by Isaac Watts, and a variety of other texts. Todos saúdam o poder do nome de Jesus Deixe os anjos caem prostrados Tragam o diadema real E coroa-lo Senhor de todos os Tragam o diadema real E coroa-lo Senhor de todos os. This grand hymn by Edward Perronet (1721–1792) was printed several times in the late eighteenth century, often unattributed. 2), unattributed, identical to the booklet of Fig. 1 All hail the pow'r of Jesus' name! All hail the pow'r of Jesus' name! All Hail The Power Of Jesus Name (tradução) Acappella. A Selection of Hymns from the Best Authors (London: Thomas Wilkins, 1787). His second stanza is identical to Perronet’s fourth. Semente de vós escolhidos da raça de Israel Ye resgatados da queda Hail aquele que te salva pela sua graça E coroá-lo Senhor de todos os Hail aquele que te salva pela sua … Que os anjos caem prostrados. “On the Resurrection” (Canterbury, 1779). Leland Ryken, “All hail the power of Jesus’ name,” 40 Favorite Hymns on the Christian Life (Phillipsburg, NJ: P&R, 2019), p. 53. All Hail The Power Of Jesus Name! For many years, the hymn was frequently misattributed, especially to Rev. He must have been familiar with what he thought was Ellor’s original composition, as he also claimed, “It was originally written in 6-8 time, and the running passages were divided between the treble and tenor, and not treble and alto, as usually sung.”[14]. All Hail The Power of Jesus Name. 6). Story Behind The Hymn, “All Hail the Power of Jesus’ Name” Edward Perronet was born in England in 1726, the grandson of a French immigrant. Hymn scholar Albert Edward Bailey called the result “monotonous,” saying “Ingenuity has exhausted itself to find a rhyme-word for ‘all.’” Nonetheless, he regarded the imagery of the hymn (especially the revision by Rippon, Fig. "All Hail the Power of Jesus’ Name", sometimes called the "National Anthem of Christendom", was first published in 1779 in Gospel Magazine. Carl P. Daw Jr. “All hail the power of Jesus’ name,” Glory to God: A Companion (Louisville: Westminster John Knox, 2016), pp. Let angels prostrate fall; Bring forth the royal diadem, And crown Him Lord of all! Fig. 1. Kelly, 1906), p. 252: https://archive.org/details/hymntunestheirst00lighuoft/page/252/mode/2up/. C.P.” (his mother Charity), a tribute to “Mr. The Gospel Magazine (November 1779). Oliver Holden (1765–1844) published Rippon’s version of the first stanza with a tune of his own composition, CORONATION, in Union Harmony, vol. All Hail The Power of Jesus' Name All hail the pow'r of Jesus' Name! His exaltation to the right hand of God can be described as his coronation in the courts of heaven. Nicholas Temperley, “All hail the power of Jesus’ name,” The Hymnal 1982 Companion, vol. Let angels prostrate fall; bring forth the royal diadem, and crown him Lord of all; bring forth the royal diadem, and crown him Lord of all. This tune is better known in England than in the United States. 1 (St. Louis: Concordia, 2019), p. 564. The booklet contained only two hymns, without music, the first labeled “On the Crucifixion” and the second labeled “On the Resurrection. 1 All hail the power of Jesus' name! 204-209. In 1785, the hymn appeared in an anonymous collection, Occasional Verses Moral and Sacred (London: J. Buckland, 1785 | Fig. Fig. James T. Lightwood, “DIADEM,” The Music of the Methodist Hymn Book, 3rd ed. Below you will find the lyrics and story, plus video of this powerful hymn! Joseph Herl & Gene Edward Veith, “All hail the power of Jesus’ name,” Lutheran Service Book Companion, vol. In addition to the pervasive throne room imagery from Revelation, literary scholar Leland Ryken saw parallels to the Psalms, including the way “numerous psalms (not only the praise psalms) portray God as being king not only of the Israelites but also of the universe—a motif that this poem captures in its repeated phrase ‘Lord of all.’”[2], One of the most distinctive features of the hymn is the persistent rhyme with “all” across all eight stanzas, using single-syllable words. Hail Him Who saves you by His grace, And crown Him Lord of all. Acts 10:36 CORONATION | Bible Passage. “All hail the power of Jesus’ name,” Hymnary.org:https://hymnary.org/text/all_hail_the_power_of_jesus_name_let, J.R. Watson, “All hail the power of Jesu’s name,” Canterbury Dictionary of Hymnology:https://hymnology.hymnsam.co.uk/a/all-hail-the-power-of-jesu's-name. C.P.” formed as an acrostic on the name Charles Perronet (his brother), a tribute to “Miss D.P.” formed as an acrostic on the name Demaris Perronet (his sister), and a tribute to “Mr. 563-566. All hail the power of Jesus' name! For additional analysis of this tune’s descendants, see Hatchett & Temperley (1994). Todos saúdam o poder do nome de Jesus. Ye Seed Of Israel’s Chosen Race, Frank Colquhoun, “All hail the power of Jesus’ name,” Hymns that Live (London: Hodder & Stoughton, 1980), p. 124. This hymn’s first appearance with music has endured as one of its most successful settings. 11,” referring to Song of Solomon 3:11 (“Go out, O daughters of Zion, and look upon King Solomon, with the crown with which his mother crowned him on the day of his wedding, on the day of the gladness of his heart,” ESV). Paul G. Hammond, “All hail the power of Jesus’ name,” Handbook to the Baptist Hymnal (Nashville: Convention Press, 1992), pp. 2 Crown him, ye martyrs of our God, Who from his altar call; Extol the stem of Jesse's rod And crown him Lord of all. Shrubsole’s tune has been widely regarded as a fine hymn tune. Methodist scholar Guy McCutchan reprinted an excerpt of the will, in which Perronet said he left the property to Shrubsole because of, that fine, disinterested affection he has ever shown me from our first acquaintance, even when a proverb of reproach, cast off by all my relatives, disinherited unjustly, and left to sink or swim as afflictions and God’s providence should appoint.[11]. (Nashville: Abingdon-Cokesbury, 1942), p. 207. Tem certeza que deseja excluir esta playlist? [On the Resurrection.] s d r m f s d r d t d. Let angels prostrate fall t l s s s s m s Rippon chose to maintain the consistency of the last line as opposed to Perronet’s departure (“The crownèd Lord of all”). Robert Guy McCutchan, “All hail the power of Jesus’ name,” Our Hymnody, 2nd ed. The melody starts in the tenor voice, moves to the soprano for the second phrase, then returns to the tenor. In the United States and England, this tune was often printed under the name HARBOROUGH, especially in the late eighteenth and into the nineteenth century, which also seems to be an homage to Addington. Overall, Gene Edward Veith saw parallels between this text and the historic Te Deum Laudamus, a hymn calling upon various groups to praise their Lord. Hail him who saves you by his grace The spectacular contrast between the prostration of the angels and the crowning of Jesus results in a range of a twelfth, and the climactic high note with fermata is apt to put a strain on most congregations.[7]. 5:9). [10] Addington produced a series of tune books, A Collection of Psalm Tunes for Publick Worship, as early as 1777, the twelfth edition being released the year after his death. The intended meaning is a multi-generational call to rejoice in the conquering of sin; nonetheless, the language here has been a barrier to widespread adoption, and this stanza is the least frequently reprinted. This hymn is often referred to as the "National Anthem of Christendom". E coroaremos Senhor de tudo. The hymn “All hail the power of Jesus’ name” was first printed anonymously in a four-page booklet in Canterbury in 1779 (Fig. All Hail the Power of Jesus' Name. John Julian (London: J. Murray, 1892), p. 42. 7. The lyrics, written by Edward Perronet, first appeared in the November, 1779 issue of the Gospel Magazine, which was edited by the author of "Rock of Ages", Augustus Toplady. As George Crawford observed in 1892 and Louis Benson further explained in 1923, the key to unravelling the authorship of this collection—and thus the hymn—is in a series of tributes and acrostic devices found within the collection. Gene Edward Veith, “All hail the power of Jesus’ name,” Lutheran Service Book Companion, vol. The Gospel Magazine (London: T. Vallance, Apr. the pow'r of Jesu's Name; Let angels prostrate fail; Bring forth the Royal Diadem, To crown him Lord of all." 43–73. Crown Him, Ye Martyrs Of Your God, Who From His Altar Call; Extol Him In Whose Path Ye Trod, And Crown Him Lord Of All. Let angels prostrate fall; Bring forth the royal diadem And crown him Lord of all. The resurrection hymn (“All hail the power of Jesu’s name!”) spanned eight stanzas of four lines. Fig. The version of “All hail the power of Jesu’s name” in this collection is identical to the two previous versions. The earliest and most important sources are presented here to show the eventual revealing of authorship and some key alterations. 51-54. The song was heavily altered for the Unitarian hymnal, which was also licensed to the hymnal of the Unity Church: "All … [16], by CHRIS FENNERfor Hymnology Archive17 February 2020. 4), given in seven stanzas of four lines, without music. In the seventh stanza, “The wormwood and the gall” is a biblical phrase depicting bitter affliction, as in Lamentations 3:19. Verse 3 : Ye saints redeemed of Adam’s race, All hail the power of Jesus’ Name! The fifth stanza appeals to the descendants of Israel, God’s chosen race, who have been ransomed by grace (Rev. The fulfillment of this is described in Revelation 4 and 5, with the angels falling at the feet of Jesus. (London: Epworth Press, 1950), pp. 3). And certainly, such hymn taught us to call upon His name more and more each day. Ye chosen seed of Israel’s race, Ye ransomed from the fall, Hail Him Who saves you by His grace, And crown Him Lord of all! 2 O seed of Israel's chosen race now ransomed from the fall, hail him who saves you by his grace, The credit of naming Shrubsole’s tune after Miles’ Lane is usually given to the Rev. Tem certeza que deseja sair sem salvar suas alterações. In the first stanza, the author calls on worshipers to recognize power in the name of Jesus rather than in the person himself. Music video by Michael W. Smith performing All Hail The Power Of Jesus' Name (Crown Him). Watch official video, print or download text in PDF. 6. Albert Edward Bailey, “All hail the power of Jesus’ name,” The Gospel in Hymns (NY: Charles Scribner’s Sons, 1950), p. 122. Ye chosen seed of Israel's race, Ye ransomed from the fall, Hail Him Who saves you by His grace, And crown Him Lord of all. Marion Hatchett & Nicholas Temperley, “All hail the power of Jesus’ name,” The Hymnal 1982 Companion, vol. Melody in the middle part. E. Perronet. Author: Edward Perronet, 1726-1792 Alt. E coroaremos Senhor de tudo. Occasional Verses Moral and Sacred (London: J. Buckland, 1785). Ellor emigrated to the United States in 1843 and was likely responsible for introducing it to congregations there. Fig. 41-42: Google Books, Louis Benson, “All hail the power of Jesus’ name,” Studies of Familiar Hymns, Second Series (Philadelphia: Westminster, 1923), pp. 5:8, 14:2-3, 15:2). 1). Cant. John Duncan, minister of a Scottish church in London. Hymn tune scholar Nicholas Temperley offered this assessment of the tune: For many decades, this tune was the exclusive preserve of dissenters and Methodists. All Hail the Power of Jesus’ Name CCLI # Slideshare uses cookies to improve functionality and performance, and to provide you with relevant advertising. In the first line, the distinction between men and sires seems to be one of age, as the word sire can refer to either high social rank or an elder male patriarch. In the third stanza, “morning stars” is an allusion to Job 38:7, which is usually interpreted to mean angels. Temperley also noted how a revised version of the melody by Ralph Harrison in his Sacred Harmony (London: T. Williams, 1784), there called SCARBOROUGH, was popular in Scotland. 511-512. Bring forth the royal diadem and crown him Lord of all. The hymn has been called the "National Anthem of Christendom". There, we discussed the sweetness that emanates from Christ’s name. the power of Jesus' Name. Fig. The final stanza once more points to the picture of heavenly worship in Revelation 5:9, every tribe, tongue, people, and nation. In John Julian’s Dictionary of Hymnology (1892), where texts are the focus and tunes are rarely mentioned, both Julian and George Arthur Crawford mentioned the historic connection between these two. Fig. "All Hail the Power of Jesus' Name" is a popular hymn sung by many Christian denominations. by John Rippon (Hymn #154, United Methodist Hymnal) from HymnSite.com, with lyrics, texts, … All hail the pow’r of Jesus’ name! semente Vós escolhido da raça de Israel. All hail! Semente de vós escolhidos da raça de Israel. His father, Vincent, was a clergyman in the Church of England and a close friend and associate of John and Charles Wesley. The language is reminiscent of the image expressed in Philippians 2:9-11—. Stephen Addington (1729–1796), who had moved to London from Market Harborough (Leicester) in 1781 to become minister to an independent congregation at Miles’ Lane, Cannon Street, and in 1783 also a tutor at an academy in Mile End, east London. "All Hail the Power of Jesus' Name" is a Christian hymn. Though Edward Perronet’s hymn, All Hail the Power of Jesus’ Name, reflects the ideals of the 18th century Age of Enlightenment that the legitimate power of kings—or in the case of our country, leaders elected by the people--to govern is delegated from God above as is the responsibility to govern responsibly. Oliver Holden was a multi-faceted individual, known for being a carpenter, real estate tycoon, musician and music store owner, tune book compiler, and preacher. 2. All hail the power of Jesus' Name! 4. 1 (Boston: Thomas & Andrews, 1793 | Fig. The striking refrain, with threefold repetition of words, is characteristic of the fervent singing then practiced by those sects. Bring forth the royal diadem, And crown Him Lord of all. Scripture verses marked ESV are from the English Standard Version, ©2001 Crossway Bibles, a publishing ministry of Good News Publishers. In response, he wrote: Whether it is a hymn tune or anthem, the robust and enthusiastic singing of this typical early nineteenth-century evangelical tune, very similar in style to SAGINA, has transformed many congregations into instant choirs. He misattributed the text to Samuel Medley (1739–1799), who was known to have contributed hymns to The Gospel Magazine. [15] Methodist scholar Carlton Young noted how the tune is sometimes described as a choral anthem. James T. Lightwood, Hymn Tunes and Their Story (London: C.H. Mark A. Noll, “All hail the power of Jesus’ name: Significant variations on a significant theme,” Sing Them Over Again to Me: Hymns and Hymnbooks in America (Tuscaloosa: University of Alabama, 2006), pp. Let angels prostrate fall; Bring forth the royal diadem, and crown Him Lord of all. All Hail the Power of Jesus' Name by Edward Perronet; alt. Let angels prostrate fall; Bring forth the royal diadem, And crown Him Lord of all. The lyrics, written by Edward Perronet while he served as a missionary in India. J.R. Watson, “All hail the power of Jesu’s name,” An Annotated Anthology of Hymns (Oxford: University Press, 2002), p. 211. 1). All hail the power of Jesus' name! J.R. Watson, “All hail the power of Jesu’s name,” An Annotated Anthology of Hymns (Oxford: University Press, 2002), pp. In pairing “All hail the power of Jesus’ name” with DIADEM, the second line of each stanza is repeated, and each stanza includes eight declarations of “crown him.” J.R. Watson felt Ellor’s tune was “even more extraordinary” than MILES LANE. Bring forth the royal diadem, and crown Him Lord of all. Shrubsole’s tombstone at Bunhill Fields, London, includes an engraved portion of MILES LANE. The history of the tune name is usually attached to the old Miles’ Lane in London, near the London Bridge. The third is revised from Perronet’s fifth. Metadata, videos, lyrics, and cross-reference information for “All Hail the Power of Jesus’ Name” from music collections published by The Church of Jesus Christ of Latter-day Saints. 1 (St. Louis: Concordia, 2019), pp. That hymn is … Let angels prostrate fall; Bring forth the royal diadem, And crown Him Lord of all! Literary scholar Gene Edward Veith saw it as the weakest stanza: The imagery is unintentionally humorous: highborn seraphs falling down as they try to tune their instruments, with the Lord of all described as a choirmaster trying to get them to play in tune. Let angels prostrate fall; bring forth the royal diadem and crown him Lord of all. The second line is an allusion to Psalm 110:1, which is quoted in Matthew 22:44, Mark 12:36, Luke 20:42, and Acts 2:34. George Arthur Crawford, “All hail the power of Jesus’ name,” A Dictionary of Hymnology, ed. 846-858. The text was printed in full in The Gospel Magazine in April of 1780 (Fig. All hail the power of Jesus nameLet angels prostrate fallBring forth the royal diademAnd crown Him Lord of allBring forth the royal diademAnd crown Him Lord of all, Ye chosen seed of Israel's raceYe ransomed from the fallHail him who saves you by his graceAnd crown him Lord of allHail him who saves you by his graceAnd crown him Lord of all, Let every kindred every tribeOn this terrestrial ballTo him all majesty ascribeAnd crown him Lord of allTo him all majesty ascribeAnd crown him Lord of all, O that with wonder sacred thongWe at his feet may fallWe'll join the everlasting songAnd praise him Lord of allWe'll join the everlasting songAnd praise him Lord of all, Todos saúdam o poder do nome de JesusDeixe os anjos caem prostradosTragam o diadema realE coroa-lo Senhor de todos osTragam o diadema realE coroa-lo Senhor de todos os, Semente de vós escolhidos da raça de IsraelYe resgatados da quedaHail aquele que te salva pela sua graçaE coroá-lo Senhor de todos osHail aquele que te salva pela sua graçaE coroá-lo Senhor de todos os, Que cada tribo toda a triboNesta esfera terrestrePara ele todos os atribuem majestadeE coroá-lo Senhor de todos osPara ele todos os atribuem majestadeE coroá-lo Senhor de todos os, O que de admiração thong sagradoNós a seus pés pode cairVamos juntar-se a canção eternaE elogie-o Senhor de todos osVamos juntar-se a canção eternaE elogie-o Senhor de todos os, Música começa com letras © 2003 - 2021, 2.9 milhões de letras de músicas Feito com amor em Belo Horizonte. 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You agree to the Rev his father, Vincent, was a clergyman in the Gospel Magazine (:.
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