January 4, 2015

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:

Hornpipe – Henry Purcell

The hornpipe is any of several dance forms played and danced in Britain and elsewhere from the late 17th century until the present day. It is said that hornpipe as a dance began around the 16th century on English sailing vessels. Movements were those familiar to sailors of that time: "looking out to sea" with the right hand to the forehead, then the left, lurching as in heavy weather, and giving the occasional rhythmic tug to their breeches both fore and aft. The triple-time hornpipe dance rhythm was often used by composers in England in the Baroque period. It is probably artificial to draw too rigid a distinction between the popular and art-music examples. Many country dance examples are found in The Dancing Master, such as "The Hole in the Wall", by Purcell, and there are also extant theatrical choreographies that use steps from French court ballet, but which characteristically have step-units going across the measure. Henry Purcell and George Frideric Handel composed hornpipes, and Handel occasionally gave "alla hornpipe" as a tempo indication (see Handel's Water Music). Today, the most well-known baroque hornpipe tune is probably Purcell's "Hornpipe Rondeau" from the incidental music to Abdelazer (which was used by Benjamin Britten as the theme for his Young Person's Guide To The Orchestra) or the 'Alla Hornpipe' movement from the D major of Handel's Water Music suites. Hornpipes are occasionally found in German music of this period.

Henry Purcell (1659^-1695), was an English composer. Although incorporating Italian and French stylistic elements into his compositions, Purcell's legacy was a uniquely English form of Baroque music. He is generally considered to be one of the greatest English composers; no other native-born English composer approached his fame until Edward Elgar.  As the son of a musician at Court, a chorister at the Chapel Royal, and the holder of continuing royal appointments until his death, Purcell worked in Westminster for three different Kings over twenty-five years. In addition to his royal duties Purcell also devoted much of his talent to writing operas, or rather musical dramas, and incidental stage music.  He also wrote chamber music in the form of harpsichord suites and trio sonatas, and became involved with the growing London public concert scene. One of the most important musical developments in Restoration London was the gradual establishment of regular public concerts.  The writing of incidental theater music was not to regarded as embarrassing or beneath Purcell’s dignity as Organist of Westminster Abbey. He was in the very midst of a tradition that not only permitted but actually encouraged well-known church musicians to provide lighter music for the theatre and opera.  Purcell contributed to every genre of music known in his day with true distinction. His anthems rank with the great music of the church; there are fine orchestral movements in his works for the theatre; his fantasies and sonatas and keyboard works contributed much to chamber music of his time; his one true opera, Dido and Aeneas, is an enduring masterpiece, and his other dramatic works (sometimes called operas) contain significant music; Purcell's songs are characterized by a great sensitivity to text. His reputation was so strong that a popular wedding processional was incorrectly attributed to Purcell for many years. The Trumpet Voluntary and Trumpet Tune were, in fact, written for harpsichord around 1700 by a British composer named Jeremiah Clarke.

Jesous Ahatonhia – Richard Proulx

The "Huron Carol" (or "Twas in the Moon of Wintertime") is Canada's oldest Christmas song, written in 1642 by Jean de Brébeuf, a Jesuit missionary at Sainte-Marie among the Hurons in Canada. Brébeuf wrote the lyrics in the native language of the Huron/Wendat people; the song's original Huron title is "Jesous Ahatonhia" ("Jesus, he is born"). The song's melody is based on a traditional French folk song, "Une Jeune Pucelle" ("A Young Maid"). The well-known English lyrics were written in 1926 by Jesse Edgar Middleton. In this Native American nativity, Jesus is born in a "lodge of broken bark" and wrapped in a "robe of rabbit skin". He is surrounded by hunters instead of shepherds, and the Magi are portrayed as "chiefs from afar" who bring him "fox and beaver pelts" instead of the more familiar gold, frankincense, and myrrh. The hymn also uses a traditional Algonquian name, Gitchi Manitou, for God.

‘Twas in the moon of wintertime when all the birds had fled

That mighty Gitchi Manitou sent angel choirs instead;

Before their light the stars grew dim and wondering hunters heard the hymn,

 Jesus your King is born, Jesus is born, in excelsis gloria.

Within a lodge of broken bark the tender babe was found;

A ragged robe of rabbit skin enwrapped his beauty round

But as the hunter braves drew nigh the angel song rang loud and high

Jesus your King is born, Jesus is born, in excelsis gloria.

The earliest moon of wintertime is not so round and fair

As was the ring of glory on the helpless infant there.

The chiefs from far before him knelt with gifts of fox and beaver pelt.

 Jesus your King is born, Jesus is born, in excelsis gloria.

O children of the forest free, O seed of Manitou

 The holy Child of earth and heaven is born today for you.

Come kneel before the radiant boy who brings you beauty peace and joy.

 Jesus your King is born, Jesus is born, in excelsis gloria.

Richard Proulx  (1937- 2010) was an American composer and editor of church music, including anthems, service music, hymn concertatos, organ music and music for handbell choir, formerly based in Chicago. The pronunciation of his name is suggested by the section of his catalog entitled "Noulx [new] from Proulx".

Pastorale, from “Christmas Concerto” – Arcangelo Corelli

Concerto grosso in G minor, Op. 6, No. 8, by Arcangelo Corelli, known commonly as the Christmas Concerto, was commissioned by Cardinal Pietro Ottoboni and published posthumously in 1714 as part of his Twelve concerti grossi, Op. 6. The concerto bears the inscription Fatto per la notte di Natale ("Made for the night of Christmas"). Its composition date is uncertain, but there is a record of Corelli having performed a Christmas concerto in 1690 for the enjoyment of his then-new patron. The concerto is scored for an ensemble consisting of two concertino violins and cello, ripieno strings and continuo. The work is structured as a concerto da chiesa, in this case expanded from a typical four movement structure to six.  The concerto is no longer than fifteen minutes, ending with Corelli's famous Pastorale ad libitum, a peaceful 12/8 finale in the pastorale form.  A pastorale is a piece, usually in compound meter,  which evokes images of the peaceful green hills where sheep are grazing under the watchful eye of the shepherd. 

Arcangelo Corelli (1653-1713) was an Italian violinist and composer of the Baroque era.  The style of execution introduced by Corelli was of vital importance for the development of violin playing. It has been said that the paths of all of the famous violinist-composers of 18th-century Italy led to Arcangelo Corelli who was their "iconic point of reference".  Musical society in Rome also owed much to Corelli. He was received in the highest circles of the aristocracy, and for a long time presided at the celebrated Monday concerts in the palace of Cardinal Ottoboni.  Corelli's music is still remembered today, mainly due to his lively and emotional composing style. This is thanks to his then-new cantabile style, which mainly rejects the ancient polyphonic style and uses more melodic elements through the concepts of orchestral foreground, middleground, and background.

Praise Him with Trumpets – Hugh S. Livingston, Jr.

Hugh Samuel Livingston, Jr. (1945-2014), affectionately known as “Punkie” by family, friends and colleagues, was raised in Tennessee and demonstrated his exceptional talent even as a child. As a young man, he traveled through the state, working for the Tennessee Baptist Association and pursing a ministry and career in the field of music. He earned his master’s from Southern Baptist Theology in Kentucky. He was hired by Lorenz Music Corporation and was responsible for creating countless scores and lyrics. Livingston served in many facets of music ministry in Tennessee, Indiana, and Ohio, including choral director, pianist, organist and trumpeter. He was awarded a state grant which funded The Silver Project and was inspired by his concern for individuals in assisted living and nursing homes. He traveled to these facilities to provide musical therapy to the elderly.

About the Hymns:

Once in Royal David’s City

As a small girl, Cecil Frances Humphries (1818-1895) wrote poetry in her school's journal. In 1850, she married Rev. William Alexander, who later became the Anglican primate (chief bishop) of Ireland. She showed her concern for disadvantaged people by traveling many miles each day to visit the sick and the poor, providing food, warm clothes, and medical supplies. She and her sister also founded a school for the deaf. Alexander was strongly influenced by the Oxford Movement and by John Keble's Christian Year. Her first book of poetry, Verses for Seasons, was a "Christian Year" for children. She wrote hymns based on the Apostles' Creed, baptism, the Lord's Supper, the Ten Commandments, and prayer, writing in simple language for children. Her more than four hundred hymn texts were published in Verses from the Holy Scripture ( 1846), Hymns for Little Children (1848), and Hymns Descriptive and Devotional (1858).

Hymns for Little Children contained thirteen hymns written to explain phrases from the Apostles' Creed. One of these was “Once in Royal David's City,” which elaborates on the phrases “who was conceived by the Holy Spirit, born of the Virgin Mary.” Each stanza explores part of the contrast between Jesus' divinity and humanity. The first stanza contrasts the grand idea of “royal David's city” with the lowliness of a cattle-shed, and the second, the glory of heaven, from where He came, with the poverty of earth to which He came. The hymn ends by reminding us that Christ has ascended once again to glory, where we shall see Him, as He said: “And if I go and prepare a place for you, I will come back and take you to be with me that you also may be where I am” (John 14:3 NIV).

Since 1919, the Festival of Nine Lessons and Carols at the King's College Chapel Cambridge has begun its Christmas Eve service, with Dr. Arthur Henry Mann's arrangement of "Once in Royal David's City" as the Processional hymn.

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.

I Need Thee Every Hour

Annie S. Hawks’ (1836-1918) poems first began appearing in newspapers when she was 14 years old. She married Charles H. Hawks in 1857. They lived in Brooklyn, New York, and attended the Hanson Place Baptist Church, where Robert Lowry was pastor. She wrote 400 hymns in her life, mostly for use in Sunday schools.

“I Need Thee Every Hour” was written by Hawks in 1872. She showed Lowry her poem, and he wrote the lyrics of the refrain and the tune. The song was first sung publicly at the 1872 meeting of the National Baptist Sunday School Association in Cincinnati, Ohio. Its first publication was in 1873 in a Sunday School hymnbook compiled by Lowry and William H. Doane, Royal Diadem for the Sunday School.

When this hymn was first published in 1873, this Bible verse was included underneath the title: “Without me ye can do nothing” (John 15:5 KJV). Each of the first four stanzas of this hymn dwells on a different facet of our dependence on God: our need for His peace, our inability to resist temptation alone, our need to find true meaning in life, and our desire to see God's promises fulfilled. The fifth stanza is an intense plea for God's presence.

Be Thou My Vision

"Be Thou My Vision" (Old Irish: Rop tú mo baile or Rob tú mo bhoile) is a traditional hymn from Ireland. "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.  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.