"Emmanuel: A Musical Celebration of the Life of Christ" Lyrics

"Emmanuel: A Musical Celebration of the Life of Christ" Soundtrack Description

Overview

How do you condense the entire gospel narrative into one album without sounding like a medley? Emmanuel does it by sequencing original songs, recitatives, and orchestral interludes so the story reads like a through-line—from prophecy to passion to glory. Sparrow Records issued the project in 1996 as a studio “all-star” concept recording featuring Amy Grant, Michael W. Smith, Sandi Patty, BeBe Winans, Larnelle Harris, Anointed, Point of Grace, Margaret Becker, Twila Paris, and more. Trusted source: Christian Music Archive.

The musical spine is symphonic: Ronn Huff’s orchestrations (with The Nashville String Machine and the London Session Players) carry connective tissue between featured vocals. Guitars (Dann Huff), classic Nashville rhythm section touches, and scripture-based recitatives keep the narrative intact. Street date lands in late October 1996—right before the Advent season—on Sparrow. Trusted source: Discogs.

Questions & Answers

Is there an official album?

Yes. Sparrow Records released the studio album in 1996 on CD and cassette; it remains cataloged as a Various Artists project.

Who produced it?

Greg Nelson produced the album; Bob Farrell is associated on project leadership and writing across related works of the period.

Who arranged and conducted the orchestra?

Ronn Huff arranged and conducted; the sessions feature The Nashville String Machine and the London Session Players.

What artists appear?

Michael W. Smith & Amy Grant (“Emmanuel”), Sandi Patty & BeBe Winans (“Behold, a King Shall Reign”), Larnelle Harris (“Rejoice Emmanuel”), Point of Grace & Clay Crosse (“Follow the Star”), Anointed (“The Word Was Made Flesh”), Margaret Becker (“Daughter of Zion”), Twila Paris & Chris Willis (“From the Fullness of His Love”).

Is it a live cantata or a studio concept record?

It’s a studio concept record (with recitatives and orchestral links), not a single live performance.

Was there a tour or staged version?

Promotional activity included live presentations; artist pages from the era reference a tour slot connected with the project.

Release date?

Late October 1996 (U.S.); UPC commonly listed as 0724385155628.

Notes & Trivia

• Label of record: Sparrow Records; format on release: CD and cassette. Trusted source: retail/catalog listings.
• Session forces include The Nashville String Machine (U.S.) and the London Session Players (U.K.).
• Key chair credits seen in liner data: Ronn Huff (orchestrations/conductor), Dann Huff (guitars), Shane Keister (programming), Farrell Morris (percussion).
• Project timing (Oct 1996) positioned the set for Advent/Christmas programming.
• Several artists here also appear on adjacent Sparrow Christmas anthologies the following year.

Genres & Themes

Symphonic CCM: orchestral overture + pop-gospel vocals = devotional lift and narrative continuity.

Scripture-led recitative: short spoken/intoned passages advance plot beats (prophecy → birth → ministry → passion → glory).

Gospel inflections: choir-like layering and call-and-response on angelic/ascension moments.

Tracks & Scenes

(Selected highlights only; not a full tracklist.)

“Emmanuel Theme” — The Nashville String Machine; Ronn Huff
Where it sits: Opening prelude. Orchestral statement of the main motif; establishes reverent tone.
Why it matters: Sets the narrative frame before the first lyric lands.

“Rejoice Emmanuel” — Larnelle Harris
Where it sits: Advent/prophecy slot early in the arc.
Why it matters: Tenor authority sells anticipation without bombast.

“Behold, a King Shall Reign” — Sandi Patty & BeBe Winans
Where it sits: Messianic proclamation (Isaiah language).
Why it matters: Operatic CCM meets gospel melisma; a hinge from promise to arrival.

“For Unto Us” — David Hamilton with the London Session Players
Where it sits: Orchestral interlude around Nativity scriptures.
Why it matters: Gives breath between big vocal features; keeps the scripture voice upfront.

“Glory to God in the Highest” — Gary Chapman & Susan Ashton
Where it sits: Angels’ song after the birth scene.
Why it matters: Duet transparency over lush strings; credible “field-to-heaven” lift.

“The Word Was Made Flesh” — Anointed
Where it sits: Incarnation crystallized (John 1:14).
Why it matters: R&B phrasing deepens the theology without losing clarity.

“Emmanuel” — Michael W. Smith & Amy Grant
Where it sits: Post-Nativity summit; refrain binds earlier themes.
Why it matters: Signature CCM pairing; melody designed for congregational memory.

“Follow the Star” — Point of Grace & Clay Crosse
Where it sits: Magi journey segment.
Why it matters: Pop-bright chorus maps the literal travel beat.

“Daughter of Zion” — Margaret Becker
Where it sits: Foreshadowing Jerusalem entry/identity questions.
Why it matters: A darker color that points the story toward the cross.

“From the Fullness of His Love” — Twila Paris & Chris Willis
Where it sits: Ministry focus; grace language from John 1.
Why it matters: Lyric theorem of the album—fullness → gift → response.

“Man of Sorrows” — Larnelle Harris
Where it sits: Passion section.
Why it matters: Text-heavy, restrained arrangement avoids sentimentality.

“Is This Not the Carpenter?” — Sandi Patty & Susan Ashton
Where it sits: Identity and rejection motifs near trial scenes.
Why it matters: Call-and-answer writing underlines public doubt vs. revelation.

“The Punishment of Our Peace” — Bob Bailey, Kim Fleming, Vicki Hampton
Where it sits: Isaiah 53 focus during crucifixion sequence.
Why it matters: Choral textures and meter changes mark the gravity of atonement.

“We Beheld His Glory” — Sandi Patty & Larnelle Harris
Where it sits: Resurrection/ascension epilogue.
Why it matters: Returns to the prologue’s melodic DNA; closes the circle.

Music–Story Links

• Prophecy to presence: Advent-language songs pivot into Incarnation cuts; key signatures brighten at “Emmanuel.”
• Ministry to passion: harmonic minor and tighter orchestration signal the turn to the cross.
• Glory refrains: reprises (“Glory… Reprise,” “Emmanuel Theme – Reprise”) function as curtain calls.

How It Was Made

Production. Greg Nelson helmed the set; Bob Farrell’s name is closely tied to the creative leadership around these Sparrow special-event albums of the mid-90s. Trusted source: project credits/artist histories.

Orchestration. Ronn Huff’s charts anchor continuity across a large cast—U.S. (The Nashville String Machine) and U.K. (London Session Players) sessions interleave smoothly.

Players & chairs. Credits on packaging/libraries point to Dann Huff (guitars), Shane Keister (programming), Farrell Morris (percussion), among others—classic Nashville A-team bench strength.

Reception & Quotes

“A delightful musical offering… blessed me beyond what I was expecting.” Amazon listener review

“Year: 1996; Label: Sparrow Records.” Christian Music Archive

Among CCM listeners, the album’s appeal rests on top-tier vocals and a symphonic backbone that reads like a seasonal cantata but plays like a studio record.

Additional Info

• UPC frequently listed: 0724385155628; common U.S. street date appears as October 29, 1996.
• Some retailer and secondary-market entries note later re-press details (same program, updated distribution line).
• Artist pages from the era mention a promotional tour slot; one vocal group cites being replaced by another act due to scheduling.
• Packaging typically credits both U.S. and U.K. orchestral personnel.
• The album often sits beside God With Us (1997) in Sparrow’s seasonal anthology line.

Technical Info

• Title: Emmanuel: A Musical Celebration of the Life of Christ
• Year / Type: 1996 / Studio concept album (Various Artists)
• Label: Sparrow Records
• Producers: Greg Nelson (project lead); Bob Farrell (creative leadership/writing association)
• Orchestrator/Conductor: Ronn Huff
• Primary ensembles: The Nashville String Machine; London Session Players
• Key featured artists: Amy Grant; Michael W. Smith; Sandi Patty; BeBe Winans; Larnelle Harris; Anointed; Point of Grace; Clay Crosse; Margaret Becker; Twila Paris; Chris Willis
• Formats: CD, Cassette
• Notable cuts (selected): “Emmanuel Theme,” “Behold, a King Shall Reign,” “The Word Was Made Flesh,” “Emmanuel,” “Follow the Star,” “Man of Sorrows,” “We Beheld His Glory”

Canonical Entities & Relations

Sources: Christian Music Archive; Discogs; Invubu (album listing); retailer catalog/UPC entries; Point of Grace artist page (context); Amazon listener notes.

November, 08th 2025