Jesus clearly had special love for children (Mathew 19:14). He not only welcomed them into His presence, but also rebuked disciples who would try to keep them away. He said that unless one becomes like a child, they cannot enter the kingdom of heaven, and that of such is the kingdom. And He said that if anyone hindered these little ones, it would have been better that a millstone be hung around his neck and that he be drowned in the sea (Luke 17:2). Strong words, indeed!
There have been a substantial number of authors of hymn texts who have written especially for children. Think of Cecil Frances Alexander, wife of a 19th century Irish Anglican Archbishop who wrote hymns for children, based on each article of the Apostles’ Creed. And many of those hymns for children relate to the dramatic events in the life of the Lord Jesus, especially at Advent/Christmas and at Passion Week/Easter.
On Palm Sunday, the involvement of children took place as a kind of aftermath of the actual procession, as the Lord entered the temple precincts: “When the chief priests and scribes saw the wonderful things that He did, and the children crying out in the temple and saying, ‘Hosanna to the Son of David!’ they were indignant and said to Him, ‘Do You hear what these are saying?’ And Jesus said to them, ‘Yes. Have you never read, “Out of the mouth of babes and nursing infants You have perfected praise [quoting Psalm 8:2]”?’” (Matthew 21:15-16)
And that leads us to this wonderful hymn for Palm Sunday, “Hosanna, Loud Hosanna.” I wonder how many of us remember marching into worship on a sunny Palm Sunday morning, wearing their robes as part of the children’s choir, carrying palm branches (which was easy to do where I grew up in Miami … the big full-size ones, not the little miniatures!), and singing this hymn. It was our way of re-enacting and experiencing for ourselves Jesus’ triumphal entry into Jerusalem.
That event is obviously one of great theological importance, since the Holy Spirit caused it to be recorded in all four Gospels! We read the account in parallel passages in Matthew 21:1-11, 15-17; Mark 11:1-10; Luke 19:29-38; and in John 12:12-19. And we read that it took place to fulfill the prophecy in Zechariah 9:9, “Rejoice greatly, O daughter of Zion! Shout aloud, O daughter of Jerusalem! Behold, your king is coming to you; righteous and having salvation is He,
humble and mounted on a donkey, on a colt, the foal of a donkey.”
Knowing that He was appointed to fulfill that prophecy, Jesus sent disciples ahead to secure the animal. There must have been rumors, and then reports spreading through the city so that on short notice a throng gathered to celebrate His arrival, believing that their long-awaited Messianic king had come at last. They were right in expecting that this King would come in glory. But they had failed to understand prophecies like that in Isaiah 53 which made it clear that before the glory would come the cross.
Still, that Palm Sunday was indeed a celebration that Jesus is King. That’s the focus that preachers bring to their Palm Sunday messages. And what a rich truth that is, with dimensions that would feed sermonic ideas for a life time! And what a rich resources for hymnody, when we think of all the hymns about Jesus as King, even if there’s no mention of Palm Sunday. We could sing “Rejoice, the Lord is King,” “Come, Thou Almighty King,” “All Hail, King Jesus,” and many, many more!
But let’s turn our attention to this Palm Sunday hymn, “Hosanna, Loud Hosanna,” which was written in 1873 by Jeanette Threlfall (1821-1880). Miss Threlfall had a difficult childhood. Born in Blackburn, in Lancashire, England, both of her parents, Henry (a wine merchant) and Catherine, died when she was still young. She was raised by an aunt and uncle and then lived with other relatives throughout her life. In 1877, Threlfall slipped during a carriage accident. The injuries led to a leg amputation. A second accident rendered her a helpless invalid. Despite these handicaps, accounts of her life indicate that she was always cheerful. She found special joy in teaching Sunday School.
She loved to write poems and hymns, including this quote from a prayer in which she recognized that it was the Lord who gave the strength she needed. “O loving Father, give Thy poor child strength! Thou knowest she has none: O loving Father, give her strength to say, “Thy Will Be Done!” We can assume she must have loved to imagine the children running and shouting “Hosanna” and being welcomed into the arms of Jesus. Her poems were published in two volumes, “Woodsorrel: Leaves from a Retired Home” (1856) and “Sunshine and Shadow” (1873). “Hosanna, Loud Hosanna,” appearing first in “Sunshine and Shadow”, was then paired with the hymn tune ELLACOMBE and included in the Scottish “Church Hymnary” (1898). This was a successful hymnal that was revised and updated in four editions through 2005.
While we do not have a picture of this lady, there is this marker at her grave in Highgate Cemetery where she was laid to rest in 1880. The following was written at that time by the pastor of her church. “A few days ago there passed away a resident of this Parish, a member of this congregation, whose name many of the poor well know; who was their friend and their benefactor: who had the liberal hand and the large heart; who helped the charities of this parish with a spontaneous generosity which is extremely rare; whose purse was ever open, unasked, to every good work of which she heard; whose delicate mind was alive with Christian sympathy; who had pre-eminently “‘The faith, through constant watching wise, And the heart at leisure from itself, To soothe and sympathise.’”
As we sing the hymn, we should listen for children’s voices joining ours within the pews of our congregational Palm Sunday worship to sing the praise of the Savior, perhaps even waving their palm branches as the do so..
Stanza 1 invites us to listen to those children’s voices that day in Jerusalem. The Bible clearly says that children joined in the chorus of voices along the street (Matthew 21:15-17). It’s fascinating to wonder if some of those children might have been among those that Jesus previously blessed (Matthew 19:13-14).
Hosanna, loud hosanna the little children sang;
through pillared court and temple the lovely anthem rang.
To Jesus, who had blessed them, close folded to His breast,
the children sang their praises, the simplest and the best.
Stanza 2 makes it clear that there would have been extraordinary joy on that day, as the voices combined to form “an exultant crowd.” Certainly exaltation is a word that describes believers’ joy when they are celebrating the greatness of their royal Redeemer. What a beautiful contrast Threlfall has included in the hymn: the Lord of earth and heaven welcoming little children.
From Olivet they followed mid an exultant crowd,
the victory palm branch waving, and chanting clear and loud.
The Lord of earth and heaven rode on in lowly state,
nor scorned that little children should on His bidding wait.
Stanza 3 connects us with the story. We sing that same song today: “Hosanna in the highest.” Our praise will extend beyond an earthly Palm Sunday to become the song we will sing forever in His presence in glory.
“Hosanna in the highest!” That ancient song we sing,
for Christ is our Redeemer, the Lord of heaven, our King.
O may we ever praise Him with heart and life and voice,
and in His blissful presence eternally rejoice.
“Hosanna, Loud Hosanna” is most often sung to the hymn tune ELLACOMBE. The tune first appeared in the of the Catholic chapel of the Württemburg ducal court in 1784. The composer of this tune is unknown, but it was first harmonized by Victorian university professor and composer William Henry Monk (1823-1889). There is some speculation that the tune name honors Henry Thomas Ellacombe (1790-1885), “a campanologist (specialist in bell ringing) and Anglican clergyman, who devised an apparatus, now named for him, that allows one person to achieve the effect of several change ringers.” Because the first five notes of this tune resemble several bell patterns, it suggests the association with Ellacombe. Monk was also known to have named several other hymn tunes for his contemporaries. The repeated patterns of the tune echo the repetitive chant of the crowd as Jesus rode into Jerusalem.
Here is a congregational singing of this great Palm Sunday hymn.