March 23, 2014

Each week, you may find information here about the organ music and hymns in the traditional worship services at First United Methodist Church in Lewisville, Texas.  Some of this information is original; much of it is "borrowed" from other sources such as Wikipedia, GBOD, and hymnary.org.  It is my hope that this information will enhance your understanding and enrich your worship experience.  

About the Organ Music:

Lord Jesus, Think on Me – Bert Carlson

Synesius (370-430), a native of Cyrene, was Bishop of Ptolemaïs.  As he believed a Neo-Platonic philosophy, there has been debate as to his belief, with many labelling him a “semi-Christian”.  Allen Chatfield, who has translated his Odes in his Songs and Hymns of the Greek Christian Poets, 1876, contends that his tenth Ode "Lord Jesus, think on me," proves that he was a Christian and that he held the doctrine of the Resurrection. This tenth ode is the only Ode of Synesius, which is in common use.  The tune, Southwell, was written by William Daman (1540-1591; aka Gulielmo Damano) who was an Italian-born composer living in England.  He arrived in England in 1566 as a servant of Sir Thomas Sackville, and in 1576, he became a recorder player at the Court of Elizabeth I.

             Lord Jesus, think on me And purge away my sin;
             From earthborn passions set me free And make me pure within.

Lord Jesus, think on me, With many a care oppressed;
Let me Thy loving servant be And taste Thy promised rest.

Lord Jesus, think on me Nor let me go astray;
Through darkness and perplexity Point Thou the heavenly way.

Lord Jesus, think on me That I may sing above
To Father, Spirit, and to Thee The strains of praise and love.

J. Bert Carlson (b. 1937), retired pastor, holds a master of music from Duquesne University School of Music and has served as pastor of Christ Lutheran Church, Whiting, NJ since 1997. Carlson wears many diverse hats as a piano teacher, organ recitalist, tenor soloist, musical director, and conductor as well as cofounder of the Chicago Oratorio Society and clinician for numerous workshops with an emphasis on choral methods, organ and hymn composition. His prodigious list of publications includes anthems, vocal songs, organ works, and piano works.

Rock of Ages, Cleft for Me – Dale Wood

Augustus Montague Toplady (1740 to 1778), was an unusual child. His father died when he was very young and so he was raised by his mother who adored and spoiled him. He was not very well liked by his peers or his relatives, partly because they did not relate to his extreme intelligence, and partly because he was sickly and neurotic.  By age 12 he was preaching sermons, and at age 14 he began writing hymns. He was ordained as an Anglican priest at the age of 22. Although some thought him to be arrogant and obstinate, excerpts from his writings verify that he was a devoted and humble follower of Christ.

An excerpt from his personal journal, at age 27: O, my Lord let not my ministry be approved only, or tend to be no more than conciliating the esteem and affections of my people to thy unworthy messenger; but to do the work of thy grace upon their hearts: call in thy chosen; seal and edify thy regenerate; and command thy everlasting blessing upon their souls! Save me from self-opinion, and from self-seeking; and may they cease from man, and look solely upon thee.

Toplady was a staunch Calvinist, and a very outspoken opponent of John Wesley's theology. In 1776, two years before his death, he wrote an article on God's forgiveness. The purpose of this publication was to rebut statements made by Wesley. The article concluded with Toplady's poem, “Rock of Ages”; a poem that would many years later find its way into the very same hymnals as many of John's brother, Charles Wesley's songs.

Rock of ages, cleft for me let me hide myself in thee;
let the water and the blood, from thy wounded side which flowed,
be of sin the double cure; save from wrath and make me pure.

Not the labors of my hands can fulfill thy law's commands;
could my zeal no respite know, could my tears forever flow,
all for sin could not atone; thou must save, and thou alone.

Nothing in my hand I bring, simply to the cross I cling;
naked, come to thee for dress; helpless, look to thee for grace;
foul, I to the fountain fly; wash me, Savior, or I die.

Dale Wood (1934-2003) was a prominent composer, organist, choral director, and clinician.  He was honored many times by the American Society of Composers, Authors, and Publishers (ASCAP) for his “very important contribution towards the creation and development of contemporary American church music”.  He wrote many collections of organ works, most of which are based on both old and new hymn tunes.  Over eight million copies of his publications have been purchased in over 50 countries.

Lift High the Cross – Charles Ore

George W. Kitchin (1827-1912) wrote the original version of this text in 1887 for the Society for the Propagation of the Gospel. The hymn was intended to be used for a festival service at Winchester Cathedral, England. Michael R. Newbolt (1874-1956) revised the text for the 1916 Supplement to Hymns Ancient and Modern.  Sir Sydney H. Nicholson (1875-1947) composed the tune “Crucifer” for the text as revised by Newbolt. The tune name means "cross-bearer" and refers to one who carries the cross in a liturgical procession.  Often considered Nicholson's finest tune, “Crucifer” has broad melodic gestures and an effective cadence to the stanzas, which leads right back into the refrain without interruption, pause, or slowing down. Perhaps similar to Constantine's vision of Christ's cross, this text makes clear that the cross is a symbol of Christ's love. "Lift High the Cross" reveals many implications of Christ's cross: Christ rallies his people behind him (st. 1-2); Christ gathers his people from throughout the world (st. 3-5); Christ gives healing to the despair of the world (st. 6); Christ's victory enjoins our praise to him (st. 7).

Lift high the cross, the love of Christ proclaim,
Till all the world adore His sacred Name.

Led on their way by this triumphant sign,
The hosts of God in conquering ranks combine.

Each newborn servant of the Crucified
Bears on the brow the seal of Him Who died.

O Lord, once lifted on the glorious tree,
As Thou hast promised, draw the world to Thee.

So shall our song of triumph ever be:
Praise to the Crucified for victory.

In addition to being an accomplished organ recitalist, Dr. Charles Ore (b. 1936) composes organ and choral music, and is a leader in the use and development of improvisation in organ playing. He is organist at First Presbyterian Church in Lincoln, Neb.

About the Hymns:

To God Be the Glory

Fanny Jane Crosby (1820-1915), born in New York and died in Connecticut, wrote over 8,500 gospel hymns. In 1972, Hope Publishing Co. found over 1,000 unpublished manuscripts. Her work defined what it meant to be a successful writer of gospel hymns.  By the age of six weeks, Fanny Crosby was completely blind. She entered the New York School for the Blind at age twelve. She began writing hymns and poetry at age twelve.  Her collaborators in publishing gospel hymns included the most successful and popular composers of her day, including William Bradbury, William Doane, Robert Lowry, Ira Sankey, and William Kirkpatrick. Crosby used numerous pen names in publishing her songs, including: Ella Dale, Mrs. Kate Gringley and Miss Viola V. A.  She married blind musician Alexander Van Alstyne, and the British most often refer to her by her married name rather than Fanny Crosby.  She was a lifelong Methodist and her contributions to The United Methodist Hymnal (1989) include: “Blessed Assurance,” “Close to Thee,” “I Am Thine, O Lord,” “Jesus, Keep Me Near the Cross,” “Pass Me Not, O Gentle Savior,” “Rescue the Perishing,” and “To God Be the Glory.”

Frances Jane Crosby’s hymns have historically been among the most popular songs sung by Methodists.  “To God be the glory” was included in William Doane’s Songs of Devotion in 1870.  Ira Sankey probably saw the hymn in Doane’s collection and incorporated it into the first edition of his Sacred Songs and Solos (1875).  Dwight Moody and Ira Sankey helped to establish the hymn’s popularity during their revivals in Great Britain in the late 19th century.  It also appeared in some British hymnals including the Methodist Hymn Book (1933).

However, it was not until the 1954 Billy Graham Crusade in Nashville that Cliff Barrows introduced this song to congregations in the United States.  Mr. Graham and Mr. Barrows had learned the song during the 1952 revivals they had conducted in Great Britain.  Hymnologist William J. Reynolds, writing in his hymnal companion Hymns of Faith (1964), documented the return of this hymn to the USA: “It is most extraordinary that this long-forgotten American gospel song should have been imported from England and become immensely popular during the last decade.” 

Nothing But the Blood

Robert Lowry (1826-1899) has provided us with many of the most venerable nineteenth-century texts and tunes from the United States. The Philadelphia-born author and composer of this hymn was a popular Baptist preacher and educator who served churches in Pennsylvania, New York City, Brooklyn, and Plainfield, New Jersey. Lowry, a graduate of Bucknell University, was a professor of belles lettres in the University, receiving a D.D. in 1875. He became known for his gospel songs while ministering in Brooklyn, collaborating often with William H. Doane in producing some of the most popular Sunday school song collections of his day.

"Nothing but the Blood" has all the earmarks of a classic gospel song. It focuses on a single theme and hammers it home. The singer will repeat the text, "nothing but the blood of Jesus" twelve times if he or she sings all four stanzas.  The theme of cleansing from sin is prominent in gospel song literature.  Hebrews 9:22 appeared originally above the hymn in the original publication by Lowry and William H. Doane entitled Gospel Music (1876). The passage reads: "Without the shedding of blood there is no remission of sin."

It is perhaps this hymn, along with others such as William Cowper’s "There Is a Fountain Filled with Blood" that offends the sensibilities of many twenty-first-century singers and, as a result, causes them to reject any hymn that mentions blood. However, a more discerning singer will look at each occurrence of the word in its context.  It clearly equates the results of the shedding of Christ’s blood with mercy and love.  Though many might relegate "Nothing but the Blood" to the past, it lives on in modern renditions, especially in evangelical contexts.

Lord, I Want to be a Christian

In Negro Slave Songs in the United States (1953), Miles Mark Fisher suggests that this African American spiritual could well have originated in Virginia in the 1750s, based on this story from Hanover, Virginia, 1756: "A black slave asked Presbyterian preacher William Davies, 'I come to you, sir, that you may tell me some good things concerning Jesus Christ and my duty to God, for I am resolved not to live any more as I have done. . . Lord [Sir], I want to be a Christian.'"  Both text and tune were first published in Folk Songs of the American Negro (1907), compiled by brothers Frederick Work and John W. Work, Jr.

Jesus, Thine All-Victorious Love

The hymns of Charles Wesley have held a place of prominence in Methodism ever since "Where Shall My Wondering Soul Begin," which was written by Charles upon his conversion in 1738. Both the quality and the quantity of his more than 6,500 hymns make Charles the most important hymn writer of the eighteenth century. The work of his brother, John, as hymn translator, compiler, editor, and distributor makes him the leading figure in English hymnody of that century. The sixty-four collections they published between 1738 and 1785 contain the substance of Wesleyan theology. Wesley hymns have always been important in Methodist devotion, instruction, proclamation, and public worship. Indeed, even today many would agree that it is the body of our Wesley hymnody that continues to give our denomination a sense of identity and unity during a period of theological, liturgical, and political diversity.  “Jesus, Thine All-Victorious Love” is found in all five of the official United Methodist hymnals.