More than twenty-five years ago, when the first edition of Christian Hymns was published, the editors hardly anticipated that all these years later they would be involved in a revision of that volume. It has been the remarkably wide acceptance of that book, not only in the UK but in many other countries of the English-speaking world, that has led to this present publication.

As with the original book, we have sought the co-operation of a good number of churches from widely representative backgrounds. This has assisted us in discovering those hymns that have not been greatly used, and also in identifying the sort of compositions that are being sung with acceptance in many of our churches. The result has been the addition of well over 200 new items and the omission of about 190 little-used hymns from the first edition.

The last quarter of a century has seen many changes in worship style and practices, not least in the sung praise of God. Consequently we have included quite a number of more modern compositions, as well as rediscovering a few hymns from former generations that have either lingered in undeserved obscurity, or whose non-inclusion in the earlier edition created perhaps justifiable disappointment amongst many.

It has not been an easy task, not least because historically music has been such a powerful medium amongst the people of God. The hymns that poured from the pen of Charles Wesley had a powerful effect upon the Methodists. They learned their theology and had it confirmed to them very largely through the biblical truth often expressed in memorable poetic forms in his hymns.

A veritable torrent of material continues to pour forth, both from pens and keyboards, no doubt assisted, if not occasioned, by the technological revolution that has transformed the contemporary musical scene. Inevitably, a substantial amount that has come has already gone; of the rest, time will tell how much is ephemeral and what is of lasting value. It is the lot of editors to attempt some assessment of available material, and this we have tried to do - with how much success others must judge.

As with the first edition, and following the principle which determined C. H. Spurgeon's selection of hymns, we have resolutely refused to adopt a sectarian agenda and have considered each hymn on its biblical, spiritual and poetic merit, irrespective of the background of the author.

A new section of 'Songs and Choruses' has been included for those who like to make use of these items, and the number of Psalm versions and hymns based on Psalms has been considerably increased. As in the first edition, these are distributed throughout the book according to their appropriate classification. A separate index of these is provided to facilitate their selection.

With regard to tunes, we have aimed at a policy of flexibility that will accommodate the preferences of a wide variety of congregations. Such flexibility has been achieved in a number of cases by printing more than one tune to a hymn, and in others by providing cross-references to other suitable tunes found elsewhere in the book. Often a perceptive accompanist will be able to adapt to a particular spiritual mood by varying the tune to be chosen for a hymn.

We recognize that many tunes are 'wedded' to certain words and that it would be needlessly offensive to ride roughshod over such established usage. But sometimes a new or alternative tune can add freshness and new vigour to a hymn whose very familiarity has brought with it a tiredness that limits its usefulness. It is also true that within the wider context of evangelicalism there are a number of 'families', each of which connects certain tunes with particular words. A measure of cross-fertilization can be helpful and we have endeavoured to achieve this.Many readers will immediately notice one of the major differences between this book and its predecessor, namely that we have attempted a measure of modernization of the linguistic forms in which the hymns are expressed. This will be seen in the general adoption of 'You' in place of 'Thou', with the accompanying changes in verbal inflections. This has only been done if such substitutions have not played havoc with the author's original rhyming scheme, nor involved us attempting to replace poetry with our doggerel, even if the latter rhymes and scans. It has not been followed in a slavish manner, and in several hymns that justifiably could be regarded as 'classics' we have retained the older forms. We understand the arguments put forward on both sides of this contentious divide, and some might judge us to have adopted something of amediating position.

The Christian Hymns Committee (Left to Right - Robert Strivens, Graham Harrison, David Clark, Paul Cook)