Scripture References:
st. 2 = Rev. 5:5, Gen. 3:15
st. 3 = Col. 1:15-18

Written in Latin by Bishop Fulbert of Chartres (b. Italy, c. 960; d. Chartres, France, 1028) early in the eleventh century, this Easter text originally began "Chorus novae Jerusalem." The text was used in British cathedrals and monasteries during the Easter season.

After studying at Rheims, Fulbert became head of the Cathedral School in Chartres. He lectured on various subjects, including medicine, and was able to attract many well known scholars to the school; thus the Chartres institution was one of the best schools of its time. Appointed bishop of Chartres in 1007, Fulbert entered into the political and theological controversies of his day. He left a substantial body of writings, including hymns, some of which were used in the British medieval Sarum Breviary.

Robert Campbell's English translation in six stanzas, which originally began “Ye choirs of new Jerusalem,” was published in Campbell's Hymns and Anthems (1850). The original stanzas 3 and 5 are omitted. Referring to the songs of Revelation 4, 5, and 7, stanza 1 expresses the triumph of Christ's "paschal victory"; stanza 2 speaks of Christ as “Judah's Lion,” who has “crushed the serpent's head”; stanza 3 is inspired by Colossians 1:15-18, and stanza 4 is a familiar Trinitarian doxology.

Liturgical Use:
Easter; Ascension; other occasions when a more elaborate musical setting would be helpful to ascribe glory to Jesus; the final stanza makes a fine doxology for any service.

--Psalter Hymnal Handbook

LYNGHAM is a fuguing tune by Thomas Jarman (b. Clipston, Northamptonshire, England, 1776; d. Clipston, 1862), published in his Sacred Music (around 1803). Jarman was a tailor by vocation, but he much preferred his musical avocation. He composed many hymn tunes, which were published in seventeen collections, including The Northamptonshire Harmony (1826), as well as in The Wesleyan Methodist periodical. Jarman was a popular choral director at the Clipston Baptist Chapel and at music festivals in neighboring villages.

Typical of fuguing tunes, LYNGHAM begins chordally and then moves to imitative lines that require part singing as well as repetition of some of the textual phrases. The tune has also been effectively set to "Oh, for a Thousand Tongues to Sing" (501).

The tune works well for choral singing and for congregational singing in parts. The rhythmic vitality of the music needs brisk organ accompaniment, but keep the accompaniment light as well as vigorous!

--Psalter Hymnal Handbook