January 25, 2015

Each week, you may find information here about the music 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:

Slane – Healey Willan

"Be Thou My Vision" (Old Irish: Rop tú mo baile or Rob tú mo bhoile) is a traditional hymn from Ireland. The most well-known English version, with some minor variations, was translated by Eleanor Hull and published in 1912. In 1919, the lyrics were set to the tune of the Irish folk tune "Slane", to which the song is sung to this day, both in English and Irish. The song dates from at least the eighth century, though the text dates to the sixth-century.

The original Old Irish text, "Rop tú mo Baile" is often attributed to Saint Dallán Forgaill in the 6th century. Eochaid Mac Colla (c. 530 – 598), better known as Saint Dallan or Dallán Forgaill (Old Irish: Dallán Forchella; Latin: Dallanus Forcellius), was an early Christian Irish poet whose writings include the "Amra Choluim Chille" ("Elegy of Saint Columba") and "Rop Tú Mo Baile" ("Be Thou My Vision").  Saint Dallan was Chief Ollam of Ireland (similar to poet laureate), as well as a scholar of Latin scriptural learning. He helped to reform the Bardic Order at the Convention of Drumceat.  He reputedly wrote Amra Choluim Chille, which he completed shortly after the death of Saint Columba in 597, because Columba had successfully saved poets from expulsion from Ireland at the assembly of Druim Cett in 575. The “Amra Choluim Chille,” is the earliest Irish poem that can be dated.

"Rop tú mo Baile" had been a part of Irish monastic tradition for centuries before its setting to music. It was translated from Old Irish into English by Mary Elizabeth Byrne in Ériu (the journal of the School of Irish Learning), in 1905. The English text was first versified by Eleanor Hull, in 1912, and is now the most common text used.

Translation  of the original Old Irish by Mary Byrne, 1905:

Be thou my vision O Lord of my heart

None other is aught but the King of the seven heavens.

Be thou my meditation by day and night.

May it be thou that I behold even in my sleep.

Be thou my speech, be thou my understanding.

Be thou with me, be I with thee

Be thou my father, be I thy son.

Mayst thou be mine, may I be thine.

Be thou my battle-shield, be thou my sword.

Be thou my dignity, be thou my delight.

Be thou my shelter, be thou my stronghold.

Mayst thou raise me up to the company of the angels.

Be thou every good to my body and soul.

Be thou my kingdom in heaven and on earth.

Be thou solely chief love of my heart.

Let there be none other, O high King of Heaven.

Till I am able to pass into thy hands,

My treasure, my beloved through the greatness of thy love

Be thou alone my noble and wondrous estate.

I seek not men nor lifeless wealth.

Be thou the constant guardian of every possession and every life.

For our corrupt desires are dead at the mere sight of thee.

Thy love in my soul and in my heart --

Grant this to me, O King of the seven heavens.

O King of the seven heavens grant me this --

Thy love to be in my heart and in my soul.

With the King of all, with him after victory won by piety,

May I be in the kingdom of heaven O brightness of the son.

Beloved Father, hear, hear my lamentations.

Timely is the cry of woe of this miserable wretch.

O heart of my heart, whatever befall me,

O ruler of all, be thou my vision.

Healey Willan (1880-1968) was a Canadian organist and composer.  He composed more than 800 works including operas, symphonies, chamber music, a concerto, and pieces for band, orchestra, organ, and piano, but is best known for his religious music.  Willan was born in England, and he began musical training at age eight, with studies at St. Saviour's Choir School in Eastbourne.  He earned, by examination in organ playing, harmony, counterpoint, history and orchestration, the Royal College of Organists' Associateship in 1897 and Fellowship in 1899. The Anglo-Catholic Tractarian movement led to an Anglican revival of plainsong, and in 1910, Willan joined the London Gregorian Association (which strove to preserve and revive "plain-chant").  In 1913, Willan emigrated to Canada.  In 1921, he became Precentor of the Church of St. Mary Magdalene (Toronto), where he remained until his death.  St. Mary Magdalene, under Willan, became a North American mecca for choral and Anglican church musicians.  In 1920, the Toronto Conservatory (now the Royal Conservatory of Music) appointed Willan Head of its Theory Department.  In 1934, he founded the Tudor Singers, which he conducted until it disbanded in 1939.  From 1937 to 1950, Willan was University of Toronto Professor of Music and Organist. When the Order of Canada was established in 1967, it named Willan a Companion. In Britain, it was customary for the Archbishop of Canterbury to occasionally grant very distinguished English cathedral musicians the Lambeth Doctorate, Mus. D Cantaur; in 1956, Willan, "the Dean of Canadian composers", became the first non-English church musician to be so honoured.  People who remember Willan from his time at St Mary Magdalene's like to moderate his somewhat dourly pious public image by quoting him: "English by birth; Canadian by adoption; Irish by extraction; Scotch by absorption."

Von Gott will ich nicht lassen – J. S. Bach

Lewis Helmbold (1532-1598) was one of the old Lutheran hymn-writers, and was called by his contemporaries the German Asaph.  From his boyhood he wrote poetry, but his first sacred hymn, which became the most popular, was written in 1563, during the rage of the pestilence at Erfurt, "Von Gott will ich nicht lassen (From God shall nought divide me)"  In 1566, the Emperor Maximilian II nominated him poet laureate, an honor which the modest Helmbold declined. He wrote a great number of German hymns, besides many Latin poems. “Von Gott” was a favorite with many pious German princes, who chose it for their companion in wars, calamities, and in the hour of death. The Protestant emigrants from Salzburg also sang it on their wanderings and derived from it great comfort and strength in life and in death. Its tune was, according to Helmbold's own statements, taken by him from a popular air.

English Translation by Francis Browne, 2013:

I shall not abandon God
For he does not abandon me,
he leads me on the right way,
where I would otherwise go far astray,
he reaches out his hand to me.
Morning and evening
he takes good care of me
wherever I may be.

In him I shall place my trust
in my time of difficulty,
I can never regret doing so,
he transforms all suffering.
Let it be entrusted to him;
may my body, my soul, my life
be given to the Lord our God,
may he do as pleases him.

Johann Sebastian Bach (1685-1750) was a German composer and musician of the Baroque period.  He enriched established German styles through his skill in counterpoint, harmonic and motivic organization, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France.  Bach's compositions include the Brandenburg concertos, the Mass in B minor, The Well-Tempered Clavier, two Passions, keyboard works, and more than 300 cantatas, of which nearly 100 cantatas have been lost to posterity.  His music is revered for its intellectual depth, technical command, and artistic beauty.  Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognized as a great composer until a revival of interest and performances of his music in the first half of the nineteenth century.  During the late eighteenth and early nineteenth century, Bach was recognized by several prominent composers.  Wolfgang Amadeus Mozart, Ludwig van Beethoven,  Frédéric Chopin, Robert Schumann, and Felix Mendelssohn were among his admirers; they began writing in a more contrapuntal style after being exposed to Bach's music.  Beethoven described him as "Urvater der Harmonie", the "original father of harmony".  He is now generally regarded as one of the main composers of the Baroque period and as one of the greatest composers of all time.  A highly devout Christian, Bach signed all of his compositions “soli Deo Gloria” (to God alone be the glory).  

Fantasy on the chorale, “A Mighty Fortress is Our God” – Michael Praetorius

"A Mighty Fortress Is Our God"  (“Ein feste Burg ist unser Gott”) is one of the best known of Martin Luther's hymns. Luther wrote the words and composed the melody sometime between 1527 and 1529.  It has been translated into English at least seventy times and also into many other languages.  The words are a paraphrase of Psalm 46.  "A Mighty Fortress" is one of the best loved hymns of the Lutheran and Protestant traditions. It has been called the "Battle Hymn of the Reformation" for the effect it had in increasing the support for the Reformers' cause.  Heinrich Heine states that it was sung by Luther and his companions as they entered Worms on 16 April 1521 for the Diet.

The earliest extant hymnal in which it appears is that of Andrew Rauscher (1531), but it is supposed to have been in Joseph Klug's Wittenberg hymnal of 1529, of which no copy exists. Its title was “Der xxxxvi. Psalm. Deus noster refugium et virtus.”  Before that it is supposed to have appeared in the Hans Weiss’ Wittenberg hymnal of 1528, also lost.  This evidence would support its being written in 1527–1529, since Luther's hymns were printed shortly after they were written.

Tradition states that the third Protestant King of Sweden, Gustavus Adolphus, had it played as his forces went to battle in the Thirty Years' War. The hymn had been translated into Swedish already in 1536, presumably by Olaus Petri, with the incipit, “Vår Gud är oss en väldig borg.”  In the late 19th century the song also became an anthem of the early Swedish socialist movement.It was first translated into English by Myles Coverdale in 1539 with the title, “Oure God is a defence and towre.” The first English translation in common usage was “God is our Refuge in Distress, Our strong Defence” in J.C. Jacobi's Psal. Ger. in 1722. The most popular English version is “A mighty fortress is our God, a bulwark never failing” and was translated by Frederick H. Hedge in 1853.  It numbers among the hymns whose narrative requires the singing of all verses.  While 19th-century musicologists disputed Luther's authorship of the music to the hymn, that opinion has been modified by more recent research; it is now the consensus view of musical scholars that Luther did indeed compose the famous tune to go with the words.

A mighty fortress is our God, a bulwark never failing;                                 
our helper he, amid the flood  of mortal ills prevailing.                                 
For still our ancient foe does seek to work us woe;
his craft and power are great, and armed with cruel hate,

on earth is not his equal.

Did we in our own strength confide, our striving would be losing,
were not the right Man on our side, the Man of God's own choosing.
You ask who that may be? Christ Jesus, it is he;
Lord Sabaoth his name, from age to age the same;

and he must win the battle.

And though this world, with devils filled, should threaten to undo us,

we will not fear, for God has willed his truth to triumph through us.
The prince of darkness grim, we tremble not for him;
his rage we can endure, for lo! his doom is sure;
one little word shall fell him.

That Word above all earthly powers no thanks to them abideth;
the Spirit and the gifts are ours through him who with us sideth.
Let goods and kindred go, this mortal life also;
the body they may kill: God's truth abideth still;
his kingdom is forever!

Michael Praetorius (1571-1621) was the son of Michael Schultze (Praetorius being a Latinization of the name). At an early age, Praetorius attended the University of Frankfurt. Praetorius became organist at Frankfurt and later was organist and Kapellmeister at Lüneburg. In 1604 he entered the service of the Duke of Brunswick at Wolfenbüttel, first as organist, later as kapellmeister and secretary. He was appointed honorary prior of the Ringelheim Monastery near Goslar. Praetorius became famous as composer of church music, including the mammoth edition of over twelve hundred songs. He began to write a complete encyclopedia of the art and practice of music, of which he finished three volumes with the title Syntagma Musicum. The second volume of this work is the most elaborate and valuable of all treatises on instruments and instrumental music in the 16^th century. It is considered one of the most remarkable examples of musical scholarship in existance. He also wrote Musae Sioniae, published in nine parts, and Hymnodia Sionae.

About the Choral Music:

The Storm is passing Over – Charles Tindley, arr. Barbara Baker

Along with Thomas Dorsey, Rev. Charles Tindley (1851-1933) is considered one of the fathers of modern Black gospel music.  He wrote more than sixty hymns and gospel songs, including “I’ll Overcome Someday”, which later became the significant Civil Rights anthem “We Shall Overcome”.  “The Storm is Passing Over” was published in a collection of Tindley’s songs in 1905. 

The son of slaves, Tindley was born free in Maryland but worked as a hired plantation worker alongside slaves and other “hired on’s” for much of his youth.  After the Civil War, he moved to Philadelphia, one of many who left rural life for the hope and promise of urban centers.  In the evenings, he enlisted the help of tutors to learn to read not only English, but also Greek and Hebrew.  Eventually, he became the pastor of the Methodist church where he was first a janitor.  It is now known as the Tindley Temple United Methodist Church.  Tindley is equally known as a tremendous preacher and an activist for racial equality and social injustice.

One overriding characteristic of Black gospel is the critical importance of the message that needs to be transmitted.  As Marvin Curtis writes, “It is not so much about the performance medium, as it is about the meaning of the performance. This is music that tells a story about what it means to be free, to be redeemed.”
 

Have courage my soul and let us journey on.

Though the night is dark and I am far from home.

Thanks be to God the morning light appears.

The storm is passing over, The storm is passing over.

The storm is passing over, Hallelu.

Dr. Barbara Baker is an active teacher, arranger, and clinician with a nationally recognized reputation.  She currently directs choral ensembles at Eleanor Roosevelt High School in Greenbelt, Maryland, as well as the Gospel Choir at the Colesville United Methodist Church in Silver Spring, Maryland. She is the recipient of the Maryland Award for Excellence.

About the Hymns:

How Firm a Foundation

In 1787, Dr. John Rippon published A Selection of Hymns from the Best Authors as a supplement to Isaac Watts’ classic Psalms and Hymns. The book was an immense success, partly due to the large number of original hymns first printer there.  Among these original hymns was the title “How Firm a Foundation.”  Rippon attributed the authorship simply to “K-.”   He says in the preface that such attributions meant either that the author was unknown or that the hymn had undergone significant revisions for publication.  The anonymous tune “Foundation” first appeared in Joseph Funk's A Compilation of Genuine Church Music (1832) as a setting for this text. The tune was also published  in Southern Harmony and Sacred Harp.  Later studies have revealed that “K” almost certainly referred to R. Keene, who was at one time a song leader in Dr. Rippon’s church and is also known to have authored the hymn’s melody.

Through It All

The opening words to the song, Through it All, written by one of gospel music’s most loved songwriters and singers, Andráe Crouch (1942-2015), tell the story of his life.  His father, Benjamin Crouch Sr., his mother, Catherine, and his brother, Benjamin Jr., all died within two years of each other. Later, he was afflicted with four different kinds of cancer and had congestive heart failure for a year-and-a-half.  Through everything, he has kept up his music career and also is the pastor of Christ Memorial Church in Pacoima, California.  He has been singing and writing gospel songs for over 40 years.  Crouch was a key figure in the Jesus Music movement of the 1960s and 1970s. As a result, helped bring about contemporary Christian music, and began to bridge the gap between black and white Christian music. Though sometimes criticized for diluting the Gospel message by using contemporary styles, his songs have become staples in churches all around the world and recorded by mainstream artists such as Elvis Presley and Paul Simon.  His diverse styles of Christian music include hymns, traditional gospel songs, like the ones pioneered by Thomas A. Dorsey, contemporary light rock and pop-oriented songs backed by jazz musicians, to contemporary rhythm and blues.

Be Still My Soul

Little is known about the author of this hymn.  Katharina Amalia Dorothea von Schlegel was born in 1697.  The date of her death is unknown.  Some hymnologists suggest that she may have become a Lutheran nun.  We know her as the author of "Stille, mein Wille; dein Jesus hilft siegen" published in a collection entitled Neue Sammlung geistlicher Lieder (A new collection of spiritual songs) in 1752.  This text appears at the time of German pietism, similar in spirit in many regards to the Wesleyan revival in England of the same era.  Philipp Jacob Spener (1635-1705) led the German pietistic movement.  Though not a hymn writer himself, he inspired a revival in German hymnody characterized by faithfulness to Scripture, personal experience, and deep emotional expression.  Katharina von Schlegel is thought to be the leading female hymn writer of this period.

The hymn comes to us via a translation by Jane L. Borthwick (1813-1897), a member of the Free Church of Scotland.  Borthwick was second only to Catherine Winkworth (1827-1878) in bringing the riches of German hymn heritage to the English language.  Her translation included five of the original six stanzas, appearing in Hymns from the Land of Luther, second series (1855).  The melody comes from the symphonic tone poem “Finlandia, Op. 26”,  by Jean Sibelius (1865-1957).  David Evans (1874-1948), a Welsh organist-choirmaster, matched the translation with the tune for the Revised Church Hymnary  (1927). It was brought to the United States when it was used in the Presbyterian Church, U.S.A. for The Hymnal (1933).