October 19, 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:

In Gottes Namen fahren wir – J. C. Bach

“In Gottes Namen fahren wir” is found in varying forms from the 14th to 16th century, and was very much used by travelers on land and water, by the crusaders, at pilgrimages and processions, and for the sending out of missionaries.  The oldest appearance is in a Munich manuscript of 1422.

In God’s name we go as one,

His help and consolation with us,

That when we come down to the place,

From all harm, God will protect us.

We ask you, Father in heaven,

Protect us as we dedicate body

And soul as you command.

Kyrie eleison.

Johann Sebastian Bach’s life was surrounded by Johann Christophs:  an uncle, a cousin, an older brother, and a son.  Here we have a chorale prelude by his 1st cousin once removed, who became the town organist in Eisenach in the year 1665 and court chamber musician there in 1700.  Prior to Johann Sebastian, Johann Christoph (1642-1703) would have been considered the most famous musician of the Bach family. His work is of the highest quality and, in some instances, has been improperly attributed to Johann Sebastian himself (e.g. the motet Ich lasse dich nicht). Johann Christoph composed choral works (motets and cantatas) and works for organ (preludes and fugues). Johann Sebastian described his cousin as "the great and expressive composer," and performed his works often as did Carl Philipp Emanuel.

Mit Freuden zart – Charles Ore

George Vetter (1536-1599) was a Moravian Roman Catholic priest who wrote 6 published hymns.  He wrote this text on the melody of a Huguenot Psalm (probably originally of Guillaume Franc,1543).  It was first published in Kirchengeseng darinnen die Heubtartickel des Christlichen Glaubens gefsset (also called the Bohemian Brethren’s Kirchengeseng), 1566.  The text was translated by Martin H. Franzmann (1907-1976), a theologian and poet of the Lutheran Church–Missouri Synod.

With high delight Let us unite
In songs of sweet jubilation.
You pure in heart, Each take your part,
Sing Jesus Christ, our salvation.

Let praises ring; Give thanks, and bring
To Christ our Lord adoration.
His honor speed by word and deed
To every land, every nation.

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.

Trumpet Fanfare on “Rescue” – Don Hustad

Frances (Fanny) Jane Crosby (1820-1915) became blind at the age of six weeks.  At the age of fifteen, she entered the New York Institution for the Blind and was a teacher at the institution from 1847-1858.   She wrote the words to many songs for Dr. Geo. F. Root, then the teacher of music at the blind institution.  Subsequently she wrote the words for the cantatas of The Flower Queen and The Pilgrim Fathers, all of which were very popular in their day, though it was not generally known at the time that she was the author.  In addition to the thousands of hymns that she has written (about eight thousand poems in all), many of which have not been set to music, she has published four volumes of verses. The first was issued in 1844 and was entitled The Blind Girl, and Other Poems, a second volume, Monterey, and Other Poems, followed in 1849, and the third, A Wreath of Columbia's Flowers, in 1858. The fourth, Bells at Evening and Other Verses.

It is as a writer of Sunday-school songs and gospel hymns that she is known wherever the English language is spoken.  She began to write Sunday-school hymns for Wm. B. Bradbury in 1864.  She spent regular hours on certain days at the office of The Biglow & Main Co., the firm for which she did most of her writing, and for whom she has composed over four thousand hymns.  She said that had it not been for her affliction she might not have so good an education, nor so great an influence, and certainly not so fine a memory. She knew a great many portions of the Bible by heart, and had committed to memory the first four books of the Old Testament, and also the four Gospels before she was ten years of age.  Most of Fanny's published hymns have appeared under the name of Fanny J. Crosby or Mrs. Yan Alstyne, but many have appeared under the nom de plumes of Grace J. Frances, Mrs. C. M. Wilson, Lizzie Edwards, Ella Dale, Henrietta E. Blair, Rose Atherton, Maud Marion, Leah Carlton, nearly two hundred different names.

Fanny Crosby loved sharing the Gospel with anyone who would listen. In 1869 she penned the words to “Rescue the Perishing.” When asked about the song, she explained, “It was written following a personal experience at the New York City Bowery Mission.” She went on to explain that she would go one night a week to talk to “her boys.”  One night while speaking to them, she kept having the thought that there was a boy present who had wandered away from his mother and must be rescued that night, or he would be eternally lost. She made a plea to each boy that was there that night. At the end of the service, one of the young men came forward and said, “Did you mean me, Miss Crosby? I promised my mother to meet her in Heaven, but as I am now living that will be impossible.” She prayed with him and led him to Christ. As they finished, he said, “Now I am ready to meet my mother in Heaven, for I have found God.”

Rescue the perishing, care for the dying,
Snatch them in pity from sin and the grave;
Weep o’er the erring one, lift up the fallen,
Tell them of Jesus, the mighty to save.

Refrain:
Rescue the perishing, care for the dying,
Jesus is merciful, Jesus will save.

Rescue the perishing, duty demands it;
Strength for thy labor the Lord will provide;
Back to the narrow way patiently win them;
Tell the poor wand’rer a Savior has died.

Don Hustad (1918-2013) was one of the giants of Christian music of the 20th century. Hustad had a distinguished ministry and a life-long profession as a recording artist, composer, arranger, teacher, conductor, hymnal editor, and author.  He began work as staff musician of Chicago's WMBI in the early 1940s, worked with soloist George Beverly Shea on a weekly broadcast called "Club Time," and served for some 20 years as organist for a popular radio broadcast "Songs in the Night." He taught at Olivet Nazarene College in Kankakee, Illinois from 1946 to 1950, at which time Hustad was appointed director of the Sacred Music Department at Moody Bible Institute—a position he held until 1961.  During his 11-year tenure at Moody he developed the Moody Chorale into a superior choral ensemble that achieved fame nationally and internationally.   In 1961 he became Crusade organist for the Billy Graham Evangelistic Association and directed the Crusader Men Choir in the "Hour of Decision" broadcasts.  His publications include over 100 articles and five books.  Throughout his career, Hustad devoted considerable energy to music arranging and hymnal editing, serving as editorial consultant and musical advisor to Hope Publishing Company. Among his editorial contributions are fourteen hymnals and songbooks, as well as dozens of collections.  In 1989, Hustad was awarded Fellow of the Hymn Society for his outstanding contribution to American hymnody.  In 2008, he was honored by the American Choral Director's Association Southern Division Conference for his contributions to church music. He earned diplomas as an Associate of the American Guild of Organists (AAGO) and a Fellow of the Royal College of Organists (FRCO), London, UK.

About the Choral Music:

Christ has Broken Down the Wall – Mark Miller

Mark A. Miller is a lifelong United Methodist and the son, grandson, brother, and cousin of United Methodist clergy.  He serves on the faculty at both the Drew Theological School and the Institute of Sacred Music at Yale University, where he teaches music and worship. He also is Director of the Gospel and Youth Choirs at the Marble Collegiate Church in New York City.  Miller is well known throughout the United Methodist Church as a worship leader, teacher, and performer of sacred music. 

Mark Miller's text affirms several great themes from 2 Corinthians 5.  It reminds and calls us to break down those walls between us, just as Christ broke down the wall and reconciled us to God.

            Christ has broken down the wall.

            Let us join our hearts as one.

            We’re accepted as we are.

            Through God’s love all is reconciled.

            Cast aside your doubts and fears.

            Peace and love freely offered here.

            We will tear down the walls!

            God has called us one and all;

            Christ has broken down the wall.

Be Strong! – Sandy Wilkinson

          God’s Project children’s choir

The text of “Be Strong!” was written by Trilby Jordan and is based on Isaiah 41:10 and Joshua 1:9.  The music was written by Sandy Wilkinson.

            From wisdom of the Bible we know God loves us so.

            We know that God is by our side wherever we may go.

            But when we look around us at problems on parade

            Sometimes we need to hear and heed: “Be strong! Don’t be afraid!”

            Be strong, Be strong.

Don’t be afraid, Don’t be dismayed, our God has given this command:

            Cast off all fear.  God’s help is near; We are held in God’s righteous hand.

            Oh, Joshua had courage, and Bible readings show

            In days long past, with trumpet blast, he conquered Jericho.

            God strengthened him with courage to see the challenge through.

            Take up the song, “Be strong! Be strong!”  There’s so much we can do.

            We are held in God’s righteous hand.

            Be strong!

About the Hymns:

Holy, Holy, Holy, Lord God Almighty

Reginald Heber  (1783-1826) wrote this text for Trinity Sunday, the day for which lectionary in the Church of England's Book of Common Prayer prescribes the reading of Revelation 4. Using reverent and apocalyptic language, "Holy, Holy, Holy!" alludes to Revelation 4:6-11; 5:13; 15:2-4; and Isaiah 6:1-3 to sing the great majesty of the triune God. Note the cosmic scope of the text: human beings (st. 1), saints and angels in glory (st. 2), and all creation (st. 4) praise the name of the Lord. Though God's holiness, love, and purity are cloaked in mystery, we can still experience God's mercy and mighty power, and we can participate in praising God.  It references the Sanctus, which is often called the "Holy holy holy" in English. The name is a tribute to the First Council of Nicaea which formalized the doctrine of the Trinity in 325.

It was first published in the third edition (1826) of  A Selection of Psalms and Hymns for the Parish Church of Banbury  and was also published posthumously in Heber's Hymns Written and Adapted to the Weekly Church Services of the Year (1827). The unusual single rhyme (all on the "ee" sound) and the uneven number of syllables in some lines have not detracted from the hymn's popularity.  It was soon adopted by hymn-book compilers, and is the best known and most widely used of the author's hymns.

Take My Life and Let It Be

Frances R. Havergal (1836-1879) originally composed her text in eleven couplets as a hymn of "self-consecration to Christ" on February 4, 1874. She told the following story about writing this hymn:

I went for a little visit of five days [to Areley House, Worcestershire, in December 1873]. There were ten persons in the house, some unconverted and long prayed for, some converted but not rejoicing Christians. [God] gave me the prayer, "Lord, give me all this house." And He just did! Before I left the house, everyone had got a blessing. The last night of my visit. . . I was too happy to sleep and passed most of the night in praise and renewal of my own consecration, and these little couplets formed themselves and chimed in my heart, one after another, till they finished with "Ever, only, all, for Thee."

The text is a "catalog" hymn that lists aspects of our lives and offers them in Christ's service.  "Take My Life and Let It Be" was first published in the 1874 appendix to Charles B. Snepp's Songs of Grace and Glory (1872). A twelfth couplet was added at some later point, producing the six stanzas published in the Psalter Hymnal.

Although her formal education was sporadic because of poor health, Havergal learned six foreign languages, including Greek and Hebrew, and was well read in many subjects. She began writing poetry at an early age and was also an accomplished singer and pianist. The daughter of a clergyman, she had a conversion experience at the age of fourteen and was confirmed in the Church of England in 1853. Taking seriously her own words "take my silver and my gold," she sent all her jewelry to the Church Mission Society to be sold. She also supported other charitable organizations. Her more than one hundred hymns were originally published in leaflets and later gathered into seven collections: Ministry of Song (1869), Twelve Sacred Songs for Little Singers (1870), Under the Surface (1874), Loyal Responses (1878), Life Mosaic (1879), Life Chords (1880), and Life Echoes (1883), as well as in one large volume, Poetical Works (1884).

We’ve a Story to Tell to the Nations

H. Ernest Nichol (1862-1926) had begun a study program in civil engineering when he decided to study music instead. In 1888 he received a bachelor's degree in music from Oxford University. Nichol wrote some 130 hymn tunes and texts, many under the pseudonym “Colin Sterne” (derived from his middle and last name); many were first sung at church school programs.  “We’ve a Story to Tell to the Nations was written in 1896 and published in Sunday School Hymnary, 1905.