Traditional Hymns
All Hail the Power of Jesus' Name (for violin)
All Hail the Power of Jesus' Name (for violin)
Listen to:
All Hail the Power of Jesus' Name For violin (.mp3)
1. All hail the power of Jesus' name! 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.
2. 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. hail him who saves you by his grace, and crown him Lord of all.
3. Sinners, whose love can ne'er forget the wormwood and the gall, go spread your trophies at his feet, and crown him Lord of all. go spread your trophies at his feet, and crown him Lord of all.
4. Let every kindred, every tribe on this terrestrial ball, to him all majesty ascribe, and crown him Lord of all. to him all majesty ascribe, and crown him Lord of all.
5. Crown him, ye martyrs of your God, who from his altar call; extol the Stem of Jesse's Rod, and crown him Lord of all. extol the Stem of Jesse's Rod, and crown him Lord of all.
6. O that with yonder sacred throng we at his feet may fall! We'll join the everlasting song, and crown him Lord of all. We'll join the everlasting song, and crown him Lord of all.
The Story of the Hymn "All Hail the Power of Jesus' Name"
"All Hail the Power of Jesus' Name" is one of the most beloved and enduring Christian hymns, often called the "National Anthem of Christendom" for its widespread use across denominations and cultures.
Its triumphant call to crown Jesus as Lord has inspired believers for over two centuries.
Edward Perronet (1726–1792), a descendant of French Huguenot refugees, wrote the lyrics. His father was an Anglican vicar, and Perronet initially collaborated closely with John and Charles Wesley in the Methodist movement.
He preached powerfully but faced controversy, including physical abuse from mobs opposed to Methodist evangelists. Perronet disagreed with the Wesleys on issues like separating from the Church of England and wrote a satirical pamphlet, The Mitre, which strained his relationship with patroness Selina, Countess of Huntingdon.
Eventually, he pastored an independent congregation in Canterbury, England. Perronet began writing hymns later in life, publishing them anonymously or under pseudonyms because he sought no personal credit. The hymn first appeared anonymously in November 1779 in The Gospel Magazine (edited by Augustus Toplady, author of "Rock of Ages"), with the full eight stanzas in April 1780.
An early printing occurred in a 1779 booklet titled "On the Resurrection, the Lord is King." John Rippon, a Baptist pastor, made significant alterations in his 1787 hymnal A Selection of Hymns, adding a new stanza and refining others to emphasize a heavenly coronation scene (drawing from Song of Songs 3:11).
Rippon's version became the standard in most modern hymnals, typically using 4–6 stanzas.
