All Glory, Laud, and Honor

Festive Processional on "All Glory, Laud, and Honor"
St. Theodulph, Melchior Teschner (1584-1635)

Date Completed

March 4, 1996


Festival Hymn Setting (more like this)


Congregation and SATB Choir; optional Children's Choir


Trumpet and Organ



Difficulty Level

Moderately Easy

Liturgical Use

Palm Sunday, Passion Sunday




Theodulph of Orleans (c.760–821), translated John Mason Neale (1818–1866), altered


All Glory, Laud, and Honor


English translation of Latin text

Date Written

1991, 1995


All glory, laud, and honor to you, Redeemer, King!
To whom the lips of children made sweet hosannas ring.

You are the King of Israel, and David's royal Son,
Now in the Lord's Name coming, our King and Blessed One.


The company of angels are praising you on high;
And mortals, joined with all things created, make reply.


The people of the Hebrews with palms before you went:
Our praise and prayers and anthems before you we present.


To you before your passion they sang their hymns of praise:
To you, now high exalted, our melody we raise.


Their praises you accepted, accept the prayers we bring,
Great source of love and goodness, our Savior and our King.


Your sorrow and your triumph grant us, O Christ, to share,
That to the holy city together we may fare.

For homage may we bring you our victory o'er the foe,
That in the Conqueror's triumph this strain may ever flow:
Hosanna, hosanna, hosanna in the highest!


Hosanna, hosanna, hosanna in the highest!

(Hosannas were added by the composer)




Publication Data

Publisher Name

Avalable from Kessler Park Press

Date Published


Catalog Number

ISBN 0-19-386066-X






Commissioned for the Chancel Choir of First United Methodist Church, Plano, Texas, in memory of Marjorie S. Dunbar. Premiered by the same on Palm Sunday, 1996. Gift of David Dunbar.

Joel's Comments

This work is intended to accompany a long procession at the beginning of Palm Sunday liturgies. It begins with a fanfare/trumpet tune for Organ and Trumpet which serves as an introduction to congregational singing. The standard five stanzas printed in most of the current denominational hymnals are set in various ways (reharmonized, given descants, etc.), interspersed with the refrain, then a section for a cappella SATB Choir is appears utilizing two additional stanzas. This modulates to C major, and the Trumpet and Organ enter with a brief interlude derived from the opening material preceding the final refrain and descant. A choral "Hosanna in the Highest" section concludes the work.

My original contact at First UMC Plano was my friend Mark Unkenholz who was at that time the church's Director of Music.

The published octavo contains the Trumpet part, as well as a Congregational Page which may be reprinted.



User Comments



"Make no mistake — this is a processional anthem of tremendous proportions, in high festive mode. The text is most appropriate for Palm Sunday, although it would serve any feast day calling for extra exuberance.

Variety resides in every verse, and the whole is neatly packaged so that transitions work well and will not confuse the congregation. Some festive anthems add the congregation at the last verse only, the congregation plays a vital role here, even from the opening words. Martinson often assigns the melody to the congregation, while the choir sings an alternative harmonization or a descant. Alternatively, the trumpet plays an obbligato while the choral forces belt forth the melody.

One quieter moment occurs at stanza six as the choir sings of sorrow and passiontide. An alternative harmonization is present, and the organ falls silent. Some entrances are staggered, allowing for textural variety. Only in this stanza is the choral writing moderately challenging. After a triumphant "hosanna" closes out the verse (3/4 alternating with 6/8 — a welcome touch indeed!), the home stretch comes into view, leading to the expected fireworks of the final measures.

The keyboard part could be played on the piano; it cries out for a pipe organ and its powerful sound. Martinson has made this anthem more accessible, however, by writing only one brass part. The organ part could easily be transcribed for brass quintet, but more parishes will find this anthem within their reach if only one brass player is needed.

A part for trumpet in C is included (why no trumpet in Bb?), and a reproduceable [sic] congregation page is provided, complete with permission to photocopy. There is nothing earth shattering in this octavo, however, church choir directors will appreciate its balance of forces, ease of preparation, and pleasant challenges."

— Jeffrey Carter · School of Music · Ball State University, Muncie, IN · Choral Journal, March 2002

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