March 22, 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:

Vater unser in Himmelreich – Johann Krieger

Martin Luther (1483-1546) was an Augustinian monk and priest who became a professor at the University of Wittenberg.  In 1517, he published his 95 Theses, proposing major reforms in the Roman Catholic Church.  These reforms were rejected by Papal Bull, resulting in the German Reformation and leading to the foundation of the Lutheran Church.  Luther translated the Bible into German (1521-1534) and had a huge influence on German hymnody, publishing nine hymnals containing German chorales written by Luther and others.

“Vater unser im Himmelreich” was included in Geistliche Lieder auffs neu gebessert (1539), in 9 stanzas of 6 lines, entitled "The Lord's Prayer briefly expounded and turned into metre" (apparently first as a broadsheet with the same title, in 1539.  Each of the first eight stanzas amplifies one of the clauses of the Lord's Prayer (omitting the doxology), and the ninth is on the Amen. It is a beautiful rendering, and has been by some regarded as Luther's finest hymn. 

6. All unsre Schuld vergib uns, Herr,              Forgive our sins, Lord, we implore,
Daß sie uns nicht betrübe mehr,                      Remove from us their burden sore,
Wie wir auch unsern Schuldigern                   As we their trespasses forgive
Ihr' Schuld und Fehl' vergeben gern;              Who by offenses us do grieve.
Zu dienen mach uns all' bereit                        Thus let us dwell in charity
In rechter Lieb' und Einigkeit!                        And serve our brother willingly.

Johann Krieger (28 December 1651 – 18 July 1735) was a German composer and organist, younger brother of Johann Philipp Krieger. Born in Nuremberg, he worked at Bayreuth, Zeitz, and Greiz before settling in Zittau. He was one of the most important keyboard composers of his day, highly esteemed by, among others, George Frideric Handel. A prolific composer of church and secular music, he published several dozen of his works, and others survive in manuscript. However, hundreds more were lost when Zittau was destroyed by fire in 1757, during the Seven Years' War.

Krieger's keyboard music places him among the most important German composers of his time.  The two published collections, Sechs musicalische Partien (1697) and Anmuthige Clavier-Übung (1698), contain harpsichord suites, organ toccatas, fugues, ricercars, and other works. Krieger's contemporaries praised his contrapuntal skill, evident in the extant fugues and ricercars. Johann Mattheson was particularly impressed with Krieger's double fugues, remarking that he knew nobody who surpassed Krieger in this form, except Handel. Handel himself admired and studied Krieger's work, even taking a copy of Anmuthige Clavier-Übung with him to England.

Ach, Gott verlass mich nicht - Max Reger

Salomo Franck (1659-1725) was a member of the Fruitbearing Society, and the author of a considerable number of secular poems, which are almost all "occasional" pieces and now forgotten. A diligent worker and a man of true piety, he had severe family afflictions to bear, and an undercurrent of meditation on death is present in many of his hymns. As a hymnwriter, he is distinguished for ease and correctness of style; for adaptation to popular understanding and to congregational singing; for his love of adding refrains to his hymns; and for his happiness in word-painting and in setting forth contrasts.   “Ach Gott verlass mich nicht” (O God, forsake me not) is a beautiful hymn of supplication for God's help based on Psalm 38:22. It was published in the Anderer Theil des Naumburgischen Gesang Buchs, Naumburg, 1714.   The editor of this collection, J. M. Sehamelius, who was one of the best hymnologists of the time, evidently thus believed that it was by Franck, but it has not yet been found in any work published by Franck himself. Each stanza begins and ends with "Ach Gott verlass mich nicht."

O God, forsake me not!
Your gracious presence lend me;
Lord, lead Your helpless child;
Your Holy Spirit send me
That I my course may run.
O be my light, my lot,
My staff, my rock, my shield--
O God, forsake me not!

The celebrated German composer Johann Baptist Joseph  Maximilian Reger (1873-1916), was the son of a school-teacher and amateur musician, who gave him instruction on the piano organ, and various string instruments. In 1874 the family moved to Weiden, where he studied organ and theory with Adalbert Lindner. He then attended the teacher-training college; after visiting the Bayreuth Festival in 1888, he decided on a career in music. He went to Sondershausen to study with Riemann in 1890, and continued as his pupil in Wiesbaden (1890-1893).  From 1890 to 1896, Max Reger was active as a teacher of piano, organ, and theory. Following military service, he returned to Weiden in 1898 and wrote a number of his finest works for organ. He went to Munich in 1901, first gaining general recognition as a pianist and later as a composer.  He was professor of counterpoint at the Königliche Akademie der Tonkünst. He went to Leipzig as music director of the University and as professor of composition at the Conservatory.

Max Reger's fame as a composer was enhanced by his successful tours as a soloist and conductor in Germany and throughout Europe. Max Reger was an extraordinarily gifted musician, widely respected as a composer, pianist, organist, conductor and teacher. A master of polyphonic and harmonic writing, he carried on the hallowed Classical and Romantic schools of composition. Although he wrote major works in nearly every genre, he is best known for his organ compositions.

Prelude on “Amazing Grace” – David Lasky

David Lasky received his Bachelor of Music in Music History and Literature and his Master of Music in Organ Performance from the University of Massachusetts at Lowell.. Since 1981, he has been Organist/Director of Music at St. Cecilia Catholic Church in Leominster, Massachusetts. He has performed solo recitals and in ensemble throughout New England.

Trumpet Tune on "O Day full of Grace" - Wayne Wold

The grace of God is theme of the Danish folk hymn for Pentecost, “O Day Full of Grace”. Versions of this hymn were sung throughout Scandinavia prior to the Reformation. The earliest manuscript dates to about 1450 and is in the library of the University of Uppsala, and the first Protestant hymnal to include it was Den danske Psalmebog in 1569. In 1826, as part of the commemoration of the thousandth anniversary of Christianity being brought to Denmark, Nikolai Grundtvig recast the hymn. Lutheran hymnals of the late 19th century and early 20th century in North America name Gruntvig as the hymn writer. Because a number of Grundtvig’s hymns are in praise of the Holy Spirit, he is known as the Poet of Whitsuntide.

Just as the work of the Holy Spirit is to point us to Christ, so this Pentecost hymn focuses on Christ and His redemptive work. The first two verses focuses on His incarnation and birth, in language of “light” coming into a “dark” place, imagery common to the Advent, Christmas, and Epiphany seasons. The third verse brings us to the Cross, where Christ work of salvation was completed by His atoning death, and to the empty tomb, where Christ’s victory over sin and death was declared. The fourth verse is the only one to mention Pentecost and the Holy Spirit explicitly. Pentecost is described in terms of God coming to us, and the work of the Holy Spirit as bringing “to us all” the “healing” provided by Christ’s death and resurrection.

            God came to us then at Pentecost, His Spirit new life revealing,

            That we might no more from Him be lost, All darkness for us dispelling.

            His flame will mark the sin efface And bring to us all His healing.

Wayne L. Wold (b. 1954) is active as a teacher, church musician, composer, author, performer, and clinician. He serves as Associate Professor of Music and College Organist at Hood College in Frederick, Md. Over 200 of his compositions are published by fourteen different companies in the U.S. and Australia and include twenty volumes of works for organ and instruments with organ, 30 choir anthems, a children's musical, a recorder suite, and several hymn tunes. He is the author of numerous hymn and anthem texts, articles in professional journals, and two books -- Tune My Heart to Sing: Devotions for Choirs Based on the Revised Common Lectionary and Preaching to the Choir: The Care and Nurture of the Church Choir.

About the Choral Music:

Fairest Lord Jesus – Craig Courtney

“Beautiful Savior” is thought to have originated as early as 1607, possibly written by German Jesuits, and called “Schön­ster Herr Je­su“. It first appeared in print in 1677, in the Mün­ster Ge­sang­buch, with author unknown. It was translated and the fourth stanza was added by Lutheran pastor and theologian, Joseph A. Seiss in 1873.  Originally this song was most likely sung to a Gregorian Chant by the Jesuit monks. The music that was most popular with 17th Century German peasants was a tune from an ancient Silesian folk song.  The tune and the German text were printed together for the first time in 1842 by August Heinrich Hoffmann von Fallersleben and Ernst Richter under the name “Schönster Herr Jesu” (Most beautiful Lord Jesus). In 1850 the Danish hymnwriter B. S. Ingemann wrote “Dejlig Er Jorden”, which he set to the same melody. An English translation by Jens C. Aaberg was published as “Fair Is Creation”.  Apart from their musical setting, the Danish and German lyrics are unrelated.  According to some accounts, “Fairest Lord Jesus” is called "Crusader's Hymn" because it was sung by German Crusaders as they made their way to the Holy Land.

Fairest Lord Jesus, Ruler of all nature,
O Thou of God and man the Son,
Thee will I cherish, Thee will I honor,
Thou, my soul’s glory, joy and crown.

Fair are the meadows, fairer still the woodlands,

Robed in the blooming garb of spring:

Jesus is fairer, Jesus is purer,

Who makes the woeful heart to sing.

Fair is the sunshine, fairer still the moonlight,

And all the twinkling starry host;

Jesus shines brighter, Jesus shines purer

Than all the angels heaven can boast.

Beautiful savior!  Lord of all the nations!

Son of God and Son of Man!

Glory and honor, praise, and adoration,

Now and forevermore be Thine!

Amen.

A native of Indiana, Craig Courtney received a Bachelors and a Masters degree in piano performance from the University of Cincinnati. He served on the faculty of the Mozarteum in Salzburg, Austria, serving as piano teacher and accompanist for the woodwind and brass department. While serving in the music ministry of the Salzburg International Baptist Church, Courtney began composing sacred choral music. In 1985, his compositions came to the attention of John Ness Beck through the publication of his octavo, Thy Will Be Done, initiating a close working relationship between the two men which continued until Beck’s death in 1987. In making plans for the ongoing of Beckenhorst Press, Beck appointed Craig Courtney staff composer and editor. Courtney’s published works include more than two hundred choral octavos, nine vocal collections, two piano solo collections and six extended works for choir and orchestra. Courtney combines his background as pianist, cellist, vocal coach, accompanist and choral director to create works in his unique style.   

Bound for the Promised Land – Neil Johnson

      (Souled Out - Youth choir)

Samuel Stennett (1727-1795), an English Baptist, came from a long line of ministers. He was the son of a Seventh-Day Adventist pastor.  In the 18th century, university education was not easily available to nonconformist families—those who refused to swear allegiance to the Church of England.  Stennett did study at the academy at Miles End with distinction, however.  In spite of his nonconformist religious stance, Stennett was a personal friend to the reigning monarch, King George III.  Stennett was honored in 1763 with a doctor of divinity degree from King’s College, Aberdeen, for his accomplishments.  He served as an assistant to his father in his congregation in 1747 and assumed the position of pastor upon his father’s death in 1758. 

John Rippon, an English Baptist pastor, published in 1787 an influential collection, A Selection of Hymns from the Best Authors. Thirty-eight of Stennett’s hymns appeared in this popular collection. Among those was a hymn under the heading of “Heaven Anticipated” with the title of “The Promised Land” in eight four-line stanzas.  The hymn as it appeared in America looked and sounded much different. William Walker’s The Southern Harmony (1835) was the first to include “The Promised Land.” This was one of the most popular of the 19th-century, oblong-tune books with shaped notes.

  

The tune PROMISED LAND was paired with the text. The Southern Harmony attributes the tune to “Miss M. Durham” but we know nothing else about the composer. The tune has many of the characteristics the traditional folk melodies of the time.  Originally written in a minor mode, Rigdon M. McIntosh, a Southern musician, altered the tune to the major mode, and as was customary among American evangelicals in the 19th century added a refrain beginning with “I am bound for the promised land.” This version was published in 1895 in H. R. Christie’s Gospel Light and has become the standard version for many hymnals since that time.

From the start, the four stanzas focus on heaven. The singer stands on the banks of the Jordan River looking across to the “fair and happy land” of Canaan—a metaphoric mixture of images from the books of Exodus and Revelation. Our true “possessions” lie in Canaan (Heaven) and not on the earthly side of Jordan.  metaphors of the vision, vigor, enthusiasm, and optimism of frontier life moving on to the promised land of Kentucky or Missouri.”

            On Jordan’s stormy banks I stand and cast a wishful eye

            To Canaan’s fair and happy land where my possessions lie.

            I close my eyes and in the scene that rises to my sight

            I see sweet fields in living green and rivers of delight.

            There generous fruits that never fail on trees immortal grow;

            There rocks and hills and brooks and vales with milk and honey flow.

            Soon the Lord my soul prepare for joys beyond the skies

            Where never ceasing pleasures roll, and praises never die.

I am bound for the promised land, Oh Lord, I’m bound for the promised land.

            Oh, who will come and go with me?  I am bound for the promised land.

Neil Johnson has directed music groups of every age level from elementary through university and adult. He has over 38 years experience from elementary through college level, including 30 years spent teaching at the junior high level. He has taught band, orchestra and chorus, and is recently retired from Rocky Mountain High School in Fort Collins, Colorado, where he was one of two choir directors. Neil is in demand as a clinician for regional and state elementary, junior high, and high school choral workshops, new materials reading clinics, and local and state choir festivals. Neil has appeared in over 20 states and two Canadian provinces, and has been on the staff of Showchoir Camps of America for 23 years as clinician and teacher workshop coordinator.  He has had over 70 choral compositions published. 

About the Hymns:

Joyful, Joyful, We Adore Thee

"The Hymn of Joy" is a poem written by Henry van Dyke in 1907 with the intention of musically setting it to the famous "Ode to Joy" melody of the final movement of Ludwig van Beethoven's final symphony, Symphony No. 9.  Van Dyke wrote this poem in 1907 while staying at the home of Williams College president Harry Augustus Garfield. He was serving as a guest preacher at Williams at the time. He told his host that the local Berkshire Mountains had been his inspiration. The lyrics were first published in 1911 in Van Dyke's Book of Poems.

Van Dyke wrote of this hymn: “These verses are simple expressions of common Christian feelings and desires in this present time—hymns of today that may be sung together by people who know the thought of the age, and are not afraid that any truth of science will destroy religion, or any revolution on earth overthrow the kingdom of heaven. Therefore this is a hymn of trust and joy and hope.”  This hymn is generally considered by hymnologists to be one of the most joyous expressions of hymn lyrics in the English language.

Henry Van Dyke (1852-1933) chaired the committee that wrote the first Presbyterian printed liturgy, The Book of Common Worship of 1906. In 1908–09 Dr. van Dyke was an American lecturer at the University of Paris. By appointment of President Wilson, a friend and former classmate of van Dyke, he became Minister to the Netherlands and Luxembourg in 1913. He was elected to the American Academy of Arts and Letters and received many other honors.  Among his popular writings are the two Christmas stories, The Other Wise Man (1896) and The First Christmas Tree (1897). Various religious themes of his work are also expressed in his poetry, hymns and the essays collected in Little Rivers (1895) and Fisherman’s Luck (1899).

Freely, Freely

Carol Sue Owens (b.1931) attended San Jose State College and Cathedral School of the Bible, Oakland, Calif. She and her husband James composed Christian musicals. “Freely, Freely” is featured in Come Together, A Musical Experience in Love, written in 1974.

Amazing Grace

"Amazing Grace" was written by the English poet and clergyman John Newton (1725–1807).  With the message that forgiveness and redemption are possible regardless of sins committed and that the soul can be delivered from despair through the mercy of God, "Amazing Grace" is one of the most recognizable songs in the English-speaking world.

Newton wrote the words from personal experience. He grew up without any particular religious conviction, but his life's path was formed by a variety of twists and coincidences that were often put into motion by his recalcitrant insubordination. He was drafted into the Royal Navy, and after leaving the service became involved in the Atlantic slave trade. In 1748, a violent storm battered his vessel so severely that he called out to God for mercy, a moment that marked his spiritual conversion. However, he continued his slave trading career until 1754 or 1755, when he ended his seafaring altogether and began studying Christian theology.

Ordained in the Church of England in 1764, Newton became curate of Olney, Buckinghamshire, where he began to write hymns with poet William Cowper. "Amazing Grace" was written to illustrate a sermon on New Year's Day of 1773. It was first printed in 1779 in Newton and Cowper's Olney Hymns, but settled into relative obscurity in England. In the United States however, "Amazing Grace" was used extensively during the Second Great Awakening in the early 19th century. It has been associated with more than 20 melodies, but in 1835 it was joined to a tune named "New Britain" to which it is most frequently sung today.

Forgive Our Sins as We Forgive

Accepting and giving forgiveness may be one of the most important aspects of living. I believe that the Assurance of Pardon is one of the most significant parts of Christian worship: "In the name of Jesus Christ, you are forgiven!" These words may offer healing and hope for many in worship, even beyond anything else said or sung. Forgiveness is not only a personal way of living, but also an attribute of societies. How many times do we observe centuries of hate and hurt that, because of the inability to forgive, continue to fester and cause suffering, death, and destruction?

With "Forgive Our Sins as We Forgive" by Rosamond Herklots (1905-1987), we receive a full treatment of Matthew 6:12: "And forgive us our debts, as we forgive our debtors." (KJV) Luke 11:4 states: "And forgive us our sins; for we also forgive every one that is indebted to us." "Trespasses" first appeared in William Tyndale’s translation in 1526 and was retained for use in the first Book of Common Prayer in English in 1549. The English Language Liturgical Consultation (1988), a group of ecumenical liturgists in the English-speaking world, proposed "and forgive us our sins as we forgive those who sin against us." A companion Scripture is Colossians 3:13, "bearing with one another and, if one has a complaint against another, forgiving each other; as the Lord has forgiven you, so you also must forgive"

This hymn was written in June 1966 and printed soon afterward in the parish magazine of St. Mary’s Church, Bromley, Kent. The idea of the hymn had occurred to Herklots when she was digging out weeds in her nephew’s garden; she reasoned that their deep roots, obstructing the growth of the flowers near them, resembled the bitterness and resentment that can become entrenched and hinder the Christian’s growth in grace.  Herklots' language is potent in describing the blessings we miss when our "heart . . . broods on wrongs and will not let old bitterness depart"

Rosamund Eleanor Herklots (1905-1987) was born in India to missionary parents. She was educated at the University of Leeds in England. Working as a teacher and secretary, she began writing hymns in the early 1940s. She submitted hymns for the "Hymns for Britain" competition, two of which were selected to be sung on television. She wrote more than seventy hymns.