The Church's One Foundation
Eleanor Daley

Composer Eleanor Daley
Text Samuel John Stone, 1866
Voicing SATB, organ
Topics Dedication, New Heaven and Earth, Peace (God's)
Lectionary usage Epiphany
Price $2.65 (U.S.)
Length 4' 55" Released 1/2020
Catalog no. 425-705
Difficulty Mod. easy

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This vibrant festival anthem by Eleanor Daley combines her own music with the traditional tune AURELIA. After three choral verses (two with organ and one unaccompanied), the final stanza invites the congregation to join in singing AURELIA under a choral descant.

The church's one foundation
is Jesus Christ her Lord;
she is his new creation
by water and the word;
from heav'n he came and sought her
to be his holy bride;
with his own blood he bought her,
and for her life he died.

Elect from ev'ry nation,
yet one o'er all the earth,
her charter of salvation
one Lord, one faith, one birth,
one holy name she blesses,
partakes one holy food,
and to one hope she presses,
with ev'ry grace endued.

'Mid toil and tribulation
and tumult of her war,
she waits the consummation
of peace forevermore,
till with the vision glorious
her longing eyes are blest,
and the great church victorious
shall be the church at rest.

Yet she on earth hath union
with God the Three in One,
and mystic sweet communion
with those whose rest is won.
O happy ones and holy!
Lord, give us grace that we,
like them, the meek and lowly,
on high may dwell with thee.

--Samuel J. Stone, 1866

review copy

"Four stanzas of the familiar text appear in this conventional hymn anthem. Daley omits the text of the stanza beginning 'Though with a scornful wonder men see her sore oppressed,' (stanza three in The Hymnal 1982). The first three stanzas of Daley's setting use her original tune in typical guises. Verse one begins and ends in unison with harmony only on one phrase. Verse two has unison tenors and basses with a wordless descant for divided sopranos and altos. Verse three is given to four-part homophony in the choir without organ. Parts divide on this verse, and smaller choirs might require some subtle doubling from the organ. The final verse has altos, tenors, and basses (along with optional congregation) singing the familiar S. S. Wesley tune with a soaring two-part soprano descant. A twelve-measure coda on 'Amen' for choir rounds out the piece in truly festive fashion." -AAM Journal, March 2020



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