Songs of Praise the Angels Sang

Songs of Praise the Angels Sang is a hymn text by James Montgomery (1819) in C.M. meter. Found in elw 841, h82 426, lbw 399, lsb 953. Sung to BELMONT.

The hymn celebrates the unity of all creation in praising God, connecting Old Testament creation theology with New Testament incarnational faith. It emphasizes that worship is both a heavenly and earthly reality, uniting the church militant with the church triumphant in common adoration.

History & Background

Written by James Montgomery in 1819, this hymn was published in his 'Christian Psalmody' and has become a beloved Christmas hymn emphasizing the continuity of angelic praise from creation through the incarnation. It draws inspiration from Job 38:7 where the morning stars sang together at creation.

Hymnal Appearances

• Evangelical Lutheran Worship — 841
• The Hymnal 1982 — 426
• Lutheran Book of Worship — 399
• Lutheran Service Book — 953
• Lutheran Worship — 447
• The Lutheran Hymnal — 35

Bulletin Note

James Montgomery (1771–1854), English Moravian hymnist, composed this carol in 1819 for Christmas. It uniquely weaves creation theology with incarnational joy, making the angels' praise our own through grace.

Preaching Connection

This hymn embodies the Gospel's cosmic scope: it proclaims that in Christ's incarnation, all creation—angelic and human—finds its true purpose in unified worship before the throne of grace.

Catechism & Confessional Connections

• Of Justification Augsburg Confession

Stanza Arc

The narrative or theological arc traced by this tune's stanzas: From conviction of sin and burden (Law) to confidence in Christ's hearing and answering (Gospel) to assurance of complete provision (Gospel) to commitment in pilgrimage (Gospel)

Overview

James Montgomery traces 'songs of praise' through salvation history: angels sang at creation (st. 1), at Christ's birth and his ascension leading captivity captive (st. 2); songs will greet the new heavens and earth (st. 3). Should humans alone be silent? No — the Church sings psalms, hymns and spiritual songs (st. 4); the saints learn here the songs they will sing above (st. 5); and songs of praise, borne on the dying breath, conquer death (st. 6). A fine hymn on why the Church sings.

Central theme: Praise as the thread of salvation history, from creation to new creation, which the Church learns and sings now

Structure

Six 7.7.7.7 quatrains. Creation (1) — Incarnation and Ascension (2) — new creation (3) — the Church (4) — saints learning (5) — death conquered (6).

Law & Gospel Shape

Gospel/praise. Christ 'captive led captivity' (2) and praise 'conquers death' (6).

Confessional Connections

The Church's song as confession of the Gospel (Col 3:16: the word of Christ dwelling richly in 'psalms and hymns and spiritual songs'). Luther: God has made our hearts glad through his Son, and whoever believes this cannot help singing of it (Preface to the Babst hymnal, 1545). Christ's ascension as victory (Eph 4:8; FC VIII). New creation (AC XVII).

Liturgical Use (Study Notes)

Christmas; Ascension; Cantate (Easter 5); music Sundays; choir festivals.

Historical Notes

Montgomery published it in 1819 for Christmas.

About the Tune

INNOCENTS (TLH: French melody, 13th century — an attribution later scholars doubt; the tune circulated from The Parish Choir, 1850).

Scripture References

Job 38:4-7 Gen 1:3 Ps 33:9 Luke 2:13-14 Isa 9:6 Eph 4:8 Ps 68:18 2 Pet 3:10-13 Rev 21:1, 5 Luke 19:40 Eph 5:19 Col 3:16 Rev 14:3 1 Cor 15:54-57 Rev 5:9-13

Stanza by Stanza

Themes

Angelic praise Creation Incarnation Universal worship Divine majesty

Look Further

• Search Hymnary.org for "Songs of Praise the Angels Sang" ↗
• Search IMSLP for public-domain scores of "BELMONT" ↗