It is used in the _Gesangbuch mit Noten_ to the words “_Es ist ein Born, d’raus heil’ges Blut_.” HIS TRIUMPHAL ENTRY 100. All glory laud and honor _St. Theodulph of Orleans_, _c._ 820 _Tr. John M. Neale_, 1854 From a long Latin hymn of 39 couplets, based on Psalm 24:7-10; Psalm 118:25-26; Matthew 21:1-17; and Luke 19:37-38. Gloria, laus et honor tibi sit, rex, Christe, redemptor, cui puerile decus prompsit hosanna pium. Israel tu rex, Davidis et inclyta proles, nomine qui in Domini, rex benedicte, venis. Coetus in excelsis te laudat caelicus omnis et mortalis homo, cuncta creata simul. Plebs Hebraea tibi cum palmis obvia venit; cum prece, voto, hymnis adsumus ecce tibi. Hi tibi passuro solvebant munia laudis; nos tibi regnanti pangimus ecce melos. Hi placuere tibi; placeat devotio nostra, rex pie, rex clemens, cui bona cuncta placent. Amen. The hymn was used as the processional in the Palm Sunday service of the medieval church. St. Theodulph of Orleans composed the words about A.D. 820. He was probably born in Italy, though neither the date nor place of his birth are definitely known. Theodulph became the abbot of a monastery in Florence but was later brought to France and made bishop of Orleans. Emperor Louis the Pious imprisoned him on a false charge of conspiracy in 818. There is a legend, but only a legend, that this hymn was composed during the author’s confinement, and that St. Theodulph sang it at the window of his cell as the King passed the prison on the way to church and that the latter was so moved by it that he ordered the release of Theodulph and his restoration to his office as bishop. The translation was made by the learned John M. Neale (See 67) who wrote that “another verse was usually sung, until the 17th century, at the pious quaintness of which we can scarcely avoid a smile: “Be thou, O Lord, the rider, And we the little ass; That to God’s holy city Together we may pass.” _MUSIC._ ST. THEODULPH was composed by Melchior Teschner (c. 1615), a Lutheran pastor and musician. It was originally sung to the German chorale, _Valet will ich dir geben_ (“Farewell, I gladly bid thee”), a hymn for the dying. That the same tune is used to carry a cheerful, festive hymn, as well as a hymn for the dying, illustrates the plasticity of hymn tunes. Bach used the tune in his _St. John’s Passion_, and it is also associated with Gerhardt’s “_Wie soll ich dich empfangen_.” It is widely used as a Palm Sunday processional with St. Theodulph’s words. The refrain may be sung by the congregation, answering to the verses sung by the choir. Processional hymns were almost invariably sung that way in the medieval church and Canon Douglass suggests that “we should put this plan into far wider practice if we really desire to improve our congregational singing.”