Vaughan Williams had an abiding interest in church music, especially hymns. He arranged and harmonized many, and provided new melodies to more than a few. This one, "At the Name of Jesus Every Knee Shall Bow," is sometimes listed as King's Weston, its original title. Vaughan Williams first worked with the Rev. Percy Dearmer in the editing of the English Hymnal (1904 - 1906), a book containing 646 hymns. In 1925, he joined Dearmer once more as co-editor, along with Martin Shaw, of the Songs of Praise, a book of hymns in which "At the Name of Jesus" appeared as No. 443.

The words are by Caroline M. Noel, and were written in 1870. The title of the hymn is taken from the first two lines of its text, and they are followed by the words, "every tongue confess him/King of glory now." Vaughan Williams' melody flows reverently in its somewhat somber manner. It has strong appeal, not least because it features a lovely, mournful folklike quality that might well have served a secular setting as well. Thus, while the music is perfectly fitting for a religious hymn, its dual expressive manner gives it an unusual dimension. Is it not a bit of a puzzle, though, that Vaughan Williams, well known as an agnostic, consistently demonstrated rare talent and commitment in the church music and hymn genres?

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