January 11, 2015

Each week, you may find information here about the 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:

Wer nur den lieben Gott läßt walten - Sigfried Karg-Elert

Georg Neumark (1621-1681) lived during the time of the Thirty Years' War, when social and economic conditions were deplorable. He had personal trials as well. On his way to Konigsberg to study at the university, traveling in the comparative safety of a group of merchants, he was robbed of nearly all his possessions. During the next two years he spent much of his time looking for employment. He finally secured a tutoring position in Kiel. When he had saved enough money, he returned to the University of Konigsberg and studied there for five years. In Konigsberg he again lost all his belongings, this time in a fire. Despite his personal suffering Neumark wrote many hymns in which he expressed his absolute trust in God. In 1651 he settled in Weimar, Thuringia, where he became court poet and archivist to Duke Johann Ernst and librarian and registrar of the city. Neumark wrote thirty-four hymns, of which "If You But Trust in God to Guide You" has become a classic.

Neumark wrote this text, literally translated “Who only lets dear God rule, at age twenty, just after he had finally been able to find employment as a tutor for a judge in Kiel. Neumark was so relieved and grateful to God by his change in circumstance that he wrote this text, saying, “This good fortune, which came so suddenly and, as it were, from heaven, so rejoiced my heart that I wrote my hymn 'Wer nur . . .' to the glory of my God on that first day.”  Written in Kiel, Germany, in 1641, the seven-stanza text (“Wer nur den lieben Gott lasst walten”) had the following heading: "a hymn of consolation, that God will care for and preserve his own in his own time; after the saying 'cast thy burden upon the Lord and He shall sustain thee.' Psalm 55:22." The text was published with the tune, also composed by Neumark, in Fortgepflanzter Musikalisch-Poetischer Lustwald (1657).

Catherine Winkworth  prepared two translations of the original German text: one published in her Lyra Germanica (1855) and one published with substantial revision in her Chorale Book for England (1863), in which the first stanza began "If thou but suffer God to guide thee." Winkworth's revised translation of Neumark's original Stanzas 1, 3, and 7 is the basis for the three stanzas found in the Psalter Hymnal.  A classic German chorale, this fine text focuses on trust in God's care in all of life's circumstances, both prosperous times and "evil days." As Christians we are counseled to be confident (st. 1), to have patience (st. 2), and to be faithful in service (st. 3).  It is #142 in our United Methodist Hymnal.

If thou but suffer God to guide thee
And hope in Him through all thy ways,
He'll give thee strength, whate'er betide thee,
And bear thee through the evil days.
Who trusts in God's unchanging love
Builds on the Rock that naught can move.

Sigfrid Karg-Elert (November 21, 1877 – April 9, 1933) was a German composer of considerable fame in the early twentieth century.  The cultural climate in Germany in the 1920s and 1930s was very hostile to the internationally oriented, French-influenced Karg-Elert; and although his works were admired outside Germany, especially in the U.K. (the Organ Music Society of London held a ten-day festival in his honour in 1930) and in the U.S.A., in his home country his music was almost completely neglected.  Karg-Elert regarded himself as an outsider. Notable influences in his work include composers Johann Sebastian Bach (he often used the B.A.C.H. motif in Bach's honour), Edvard Grieg, Claude Debussy, Max Reger, Aleksandr Scriabin, and early Arnold Schoenberg. In general terms, his musical style can be characterised as being late-romantic with impressionistic and expressionistic tendencies. His profound knowledge of music theory allowed him to stretch the limits of traditional harmony without losing tonal coherence.

His favorite instrument to compose for was the Kunstharmonium, a versatile reed organ that allowed him the range of colors he preferred.  He created one of the most significant and extensive catalogs of original works for this instrument. Encouraged by the organist Paul Homeyer, he reworked several of these harmonium compositions for organ.  He also composed many works for organ, piano and small chamber ensembles.

Guide Me, O Thou Great Jehovah – Don Hustad

William Williams (1717-1791) is considered by many to be the father of Welsh hymnody.  In 1738, Williams heard a sermon by the revivalist preacher Howell Harris, a fiery Welsh layman who had been influenced by the Methodist movement in England. It was through this sermon that Williams discerned his calling to go into the ministry.  Williams first pursued becoming an Anglican priest (in the Church of Wales) and entered as a deacon in 1740. However, he soon came to discover that his heart was with Harris and his itinerant work, and before long he left his small curacy in the mountains to join with the traveling Methodist preachers.  The revivalists realized that the Welsh language was lacking in hymns—the church in Wales was still primarily singing metrical psalms in their worship services. In order to promote the creation of hymns, Harris put together a hymn-writing competition between the different preachers.  As Louis Benson relates, “the prize fell easily to Williams Williams, who had the poet’s passion and a gift of verse-writing. Therefore it was not very long before he was recognized as poet laureate of the Welsh revival.”

Williams would go on to write many hymns in both Welsh and English. “Guide Me, O Thou Great Jehovah” appeared in Welsh in 1745. Twenty six years later, in 1771, a Rev. Peter Williams translated the first verse into English, prompting William Williams to translate the rest of it into English as well.  It is fitting that Williams should be the author of a hymn about the Christian’s pilgrimage on earth since as a traveling Methodist preacher, he was a pilgrim in both the spiritual and physical sense.  Williams made an extraordinary record as an itinerant evangelist. He took the whole of Wales for his parish. His travels for forty-three years are said to make an average of 2230 miles a year, at a time when there were no railroads and few stage-coaches. In this way the greater part of Williams’ life was spent, not in a preacher’s study, but in the great world of out of doors. 

Guide me, O Thou great Jehovah,
Pilgrim through this barren land.
I am weak, but Thou art mighty;
Hold me with Thy powerful hand.
Bread of Heaven, Bread of Heaven,
Feed me till I want no more;
Feed me till I want no more.        UMH 127

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.

Fughetta 1 in E-flat – Josef Rheinberger

A fugue is a contrapuntal compositional technique in two or more voices, built on a subject (theme) that is introduced at the beginning in imitation (repetition at different pitches) and recurs frequently in the course of the composition.  The English term fugue originated in the 16th century and is derived from the French word fugue or the Italian fuga. This in turn comes from Latin, also fuga, which is itself related to both fugere ("to flee") and fugare ("to chase").  A “fughetta” is quite literally a short fugue.

Josef Gabriel Rheinberger (1839- 1901) was an organist and composer, born in Liechtenstein but resident for most of his life in Germany.  Rheinberger showed exceptional musical talent at an early age. When only seven years old, he was already serving as organist of the Vaduz parish church, and his first composition was performed the following year.  In 1851, his father, who had initially opposed his son's desire to embark on the life of a professional musician, relented and allowed him to enter the Munich Conservatorium. Not long after graduating, he became professor of piano and of composition at the same institution.

The stylistic influences on Rheinberger ranged from contemporaries such as Brahms to composers from earlier times, such as Mendelssohn, Schumann, Schubert and, above all, Bach. He was also an enthusiast for painting and literature (especially English and German).  Rheinberger was a prolific composer. His religious works include twelve Masses (one for double chorus, three for four voices a cappella, three for women's voices and organ, two for men's voices and one with orchestra), a Requiem and a Stabat Mater. His other works include several operas, symphonies, chamber music, and choral works.  Today Rheinberger is remembered above all for his elaborate and challenging organ compositions; these include two concertos, 20 sonatas in 20 different keys (of a projected set of 24 sonatas in all the keys), 22 trios, and 36 solo pieces.

About the Choral Music:

He Leadeth Me – Greg Gilpin

Although Joseph Gilmore (1834-1918) became a distinguished university and seminary professor, an author of several textbooks in Hebrew and English literature, and a respected Baptist minister, he is best remembered today for this one hymn, hurriedly written when he was just twenty-eight. Gilmore scribbled down these lines in 1862, while visiting with friends after preaching about the truths of the 23^rd Psalm at the Wednesday evening service of the First Baptist Church in Philadelphia. He left this account:  “At the close of the service we adjourned to Deacon Watson’s pleasant home, where we were being entertained. During our conversation the blessedness of God’s leading so grew upon me that I took out my pencil, wrote the text just as it stands today, handed it to my wife, and thought no more of it.”

Without telling her husband, Mrs. Gilmore sent the verses to the “Watchman and Reflector Magazine”, where it first appeared the following year. Three years later Joseph Gilmore went to Rochester, New York, as a candidate to become the pastor of Second Baptist Church. He recalls:“Upon entering the chapel I took up a hymnal, thinking—I wonder what they sing here. To my amazement the book opened up at “He Leadeth Me,” and that was the first time I knew that my hurriedly written lines had found a place among the songs of the church.

William Bradbury, an important American contributor to early gospel hymnody, added two additional lines to the chorus: “His faithful foll’wer I would be, for by His hand He leadeth me.”

            He leadeth me! O blessed thought! O words with heavenly comfort fraught!

            Whate’er I do, where’er I be, still ‘tis God’s hand that leadeth me.

            And when my talk on earth is done, when, by Thy grace, the victory’s won.

            Death’s cold dark wave I will not flee, since God through Jordan leadeth me.

            He leadeth me, He leadeth me!  By His own hand He leadeth me!

            His faithful follower I would be, for by His hand He leadeth me!

Originally from Missouri, Greg Gilpin resides in Indianapolis, IN. He is a graduate of Northwest Missouri State University with a Bachelor’s Degree in Vocal Music Education, K-12.  Gilpin is a well-known, ASCAP award-winning choral composer and arranger with hundreds of publications to his credit. He is also in demand as a conductor for choral festivals, all-district and all-state choirs and is a member of MENC and ACDA. As Director of Educational Choral Publications for Shawnee Press, Inc., Gilpin oversees creation of the educational music products for this distinguished publisher.He works as a studio musician and producer in the recording industry for commercial jingles, CD projects, Broadway and Disney. He has worked musically with Ray Boltz, Bill and Gloria Gaither, Sandi Patty, David Clydesdale as well as principal pops conductor, Jack Everly and the Indianapolis Symphony Orchestra.

About the Hymns:

Sing Praise to God Who Reigns Above

Philip Spener became the pastor of a Lutheran congregation in Frankfurt am Main in the mid-1600s, and effected a revival by fervent preaching that emphasized repentance, personal piety, and discipleship.  He encouraged prayer and Bible study as a means to personal spiritual growth.  He spelled out his five guiding principles in a document entitled Pia Desideria (Pious Desires).  These included: the increased use of scripture; lay participation in small groups, emphasizing prayer and Bible study; a balance of faith and actions; an emphasis on a pious clergy; sermons that encourage an active faith. Not only did the church that Spener was serving in Frankfurt prosper, but a pietistic movement swept across Germany through his influence.

An enthusiastic member of Spener's congregation was a young attorney, Johann Jakob Schutz, who not only encouraged Spener's work but also wrote hymns.  He wrote "Sing Praise to God Who Reigns Above" in 1675, and published it in Christliches Gedenkbüchlein that same year. 

The hymn is usually sung to the tune, "Mit Freuden Zart" ("With great delight!").

The most common English translation in use is by Frances E. Cox from 1864, which was published in Orby Shipley's Lyra Eucharistica and her own Hymns from the German.  Deuteronomy 32:3 was the basis for this hymn of praise – “For I will proclaim the name of the Lord; ascribe greatness to our God!” (ESV) Using a variety of metaphors for God and for His works, this text overflows with proclamations of God's loving care for His people.  Note the second verse, which emphasizes the presence of the Lord, a typical pietistic emphasis:  "The Lord is never far away, but thru all grief distressing an ever-present help and stay, our peace and joy and blessing."

Turn Your Eyes Upon Jesus

Helen H. Lemmel (1863-1961) wrote the words and music of “Turn Your Eyes Upon Jesus” in 1922, to be sung at Billy Sunday evangelical meetings. The inspiration for the hymn, originally titled “The Heavenly Vision”, came from the writings of author and artist Lilias Trotter (1853-1928).  Lilias Trotter was a brilliant artist whose talent opened the doors to wealth and influence. Her other love was missions. After struggling in prayer for two years, Trotter came to the conclusion that she must lay down her love of art in order to fix her eyes solely on Jesus, and on His calling to the mission field. She subsequently served for more than 38 years as a missionary to Muslims of Algeria. She also authored several books and tracts. The following is an excerpt from her tract, Which Passion Will Prevail?

Never has it been so easy to live in half a dozen harmless worlds at once -- art, music, social science, games, motoring, the following of some profession, and so on. And between them we run the risk of drifting about, the good hiding the best." It is easy to find out whether our lives are focused, and if so, where the focus lies. Where do our thoughts settle when consciousness comes back in the morning? Where do they swing back when the pressure is off during the day? Dare to have it out with God, and ask Him to show you whether or not all is focused on Christ and His Glory. Turn your soul's vision to Jesus, and look and look at Him, and a strange dimness will come over all that is apart from Him.

I Have Decided to Follow Jesus

"I Have Decided to Follow Jesus" is a Christian hymn originating from India.  The lyrics are based on the last words of a man in Assam, north-east India, who along with his family was converted to Christianity in the middle of the 19th century through the efforts of a Welsh missionary.  The story, as related by Dr. P.P. Job, an Indian preacher, in His book “Why God Why” is as follows:

At the time, north-east India was not divided into many states as it is today. The region was known as Assam and comprised hundreds of tribes. The tribal communities were quite primitive and aggressive by nature. The tribals were also called head-hunters because of a social custom which required the male members of the community to collect as many heads as possible. A man’s strength and ability to protect his wife was assessed by the number of heads he had collected. Into this hostile and aggressive community, came a group of Welsh missionaries spreading the message of love, peace and hope of Jesus Christ. Naturally, they were not welcomed. One Welsh missionary succeeded in converting a man, his wife, and two children. This man’s faith proved contagious and many villagers began to accept Christianity. Angry, the village chief summoned all the villagers. He then called the family who had first converted to renounce their faith in public or face execution. Moved by the Holy Spirit, the man instantly composed a song which became famous down the years. He sang:  "I have decided to follow Jesus. No turning back, no turning back."

Enraged at the refusal of the man, the chief ordered his archers to arrow down the two children. As both boys lay twitching on the floor, the chief asked, “Will you deny your faith? You have lost both your children. You will lose your wife too.”  But the man sang these words in reply:  "Though no one joins me, still I will follow. No turning back, no turning back."

The chief was beside himself with fury and ordered his wife to be arrowed down. In a moment she joined her two children in death. Now he asked for the last time, “I will give you one more opportunity to deny your faith and live.”  In the face of death the man sang the final memorable lines:  "The cross before me, the world behind me. No turning back, no turning back."

He was shot dead like the rest of his family. But with their deaths, a miracle took place. The chief who had ordered the killings was moved by the faith of the man. He wondered, “Why should this man, his wife and two children die for a Man who lived in a far-away land on another continent some 2,000 years ago? There must be some supernatural power behind the family, and I too want that supernatural power.”  In a spontaneous confession of faith, he declared, “I too belong to Jesus Christ!” When the crowd heard this from the mouth of their chief, the whole village accepted Christ as their Lord and Savior.

The formation of these words into a hymn is attributed to the Indian missionary Sadhu Sundar Singh. The melody is also Indian, and entitled "Assam" after the region where the text originated.   An American hymn editor, William Jensen Reynolds, composed an arrangement which was included in the 1959 Assembly Songbook. His version became a regular feature of Billy Graham's evangelistic meetings in America and elsewhere, spreading its popularity.