May 17, 2015

We continue our sermon series on religions of the world, which are now religions of Lewisville.  In examining our similarities and our differences, we build understanding and acceptance.  For this final week, we focus on Mormonism.

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:

The central goal of Sabbath worship for Mormons is to partake of communion Thus, the main Sunday meeting is Sacrament Meeting, which is scheduled for 70 minutes. Typically, the sacrament consists of bread and water. A hymn is sung, and then the sacrament is passed to the congregation. The sacramental covenants renew Mormons’ covenants made at baptism: to take upon oneself the name of Christ, to always remember Him, to keep His commandments, and to witness of Him.  The remainder of the meeting is usually filled with “talks” (sermons delivered by congregants upon the previous request of the bishopric). Monthly, a talk is delivered by a representative of the “stake” (a group of parishes). The rest of the sacrament meeting consists of the singing of hymns, prayers, the bearing of testimonies, and presentations by the choir. The hymns are the basic music for worship services and are standard for all congregational singing. In addition, other appropriate selections may be used for prelude and postlude music, choir music, and special musical presentations. Organs and pianos, or their electronic equivalents, are the standard instruments used in Church meetings. Thus, the regular weekly services are very similar and familiar to other Protestants, with the exception of having multiple lay speakers rather than an ordained minister.  The hymns are also familiar, although there are many hymns that are specific to the teaching and beliefs of the Mormon church.

Reflections on “O My Father” – Franklin Eddings

"O My Father" is a Latter-day Saint hymn written by Eliza R. Snow, who felt inspired to write the lyrics after Joseph Smith had taught her the principle of heavenly parents. The hymn is significant in terms of Mormon theology in that it is one of the few direct references to a "Heavenly Mother" in materials published by The Church of Jesus Christ of Latter-day Saints.Snow wrote "O My Father" as a poem under the title "My Father in Heaven" in October 1845 in Nauvoo, Illinois. The Times and Seasons first published the words on 15 November 1845, more than a year after Joseph Smith, Jr. was killed. The poetry was later set to the music of another Christian hymn, "My Redeemer" by James McGranahan, and included in Latter-day Saint hymnals, including the current one. When a collection of Snow's poems were published in 1856, this work was placed first in the double-volume set and entitled "Invocation, or The Eternal Father and Mother".

'O My Father' is primarily a hymn of orientation. It speaks of place, habitation, sphere, wandering, residing, and dwelling. Eliza R. Snow's first-person declaration of her relationship to God through primeval past, earthly present, and eternal future becomes the personal affirmation of each one who sings the hymn.  For the past 150 years, prophets and Saints have prized the simple eloquence with which 'O My Father' captures some of the most profound truths of the eternal gospel. Eliza R. Snow's journey to a personal integration of those truths led to her writing of the hymn and later to her discovery that those truths could be drawn upon to lift up herself and her sisters. Written in 1845, at the virtual midpoint of her eighty-three-year lifetime, 'O My Father' marks a critical confluence in Eliza's life. Her faith and reason, her Nauvoo experience, and Joseph Smith's most expansive teachings fused with a new and profound spiritual witness of her connectedness to God. The poem represents the deep sense of harmony and wholeness that became Eliza's wellspring.

O my Father, thou that dwellest In the high and glorious place,
When shall I regain thy presence And again behold thy face?
In thy holy habitation, Did my spirit once reside?
In my first primeval childhood Was I nurtured near thy side?

For a wise and glorious purpose Thou hast placed me here on earth
And withheld the recollection Of my former friends and birth;
Yet ofttimes a secret something Whispered, “You’re a stranger here,”
And I felt that I had wandered From a more exalted sphere.

I had learned to call thee Father, Thru thy Spirit from on high,
But, until the key of knowledge Was restored, I knew not why.
In the heav’ns are parents single? No, the thought makes reason stare!
Truth is reason; truth eternal Tells me I’ve a mother there.

When I leave this frail existence, When I lay this mortal by,
Father, Mother, may I meet you In your royal courts on high?
Then, at length, when I’ve completed All you sent me forth to do,
With your mutual approbation Let me come and dwell with you.

Franklin Eddings (1933 – 2014), an accomplished composer and music teacher, was a fixture in Utah music circles for 60 years. Franklin Eddings brought the gift of music to thousands of piano, organ, and at one time, accordion students along the Wasatch Front. At least 35 of his top students were first place winners in statewide, BYU, and national performance competitions. He produced over 250 compositions and arrangements in his career.  A favorite student of Tabernacle organist Dr. Alexander Schreiner, Franklin Eddings' works have been performed by Mormon Tabernacle organists and shared with musicians all around the world.   Eddings has been a devoted member of the LDS Church all his life, a specialist in genealogy, and early in his career, an employee of the LDS Church Genealogy Department.

Be Thou My Vision – Franklin Ashdown

"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.

Franklin Ashdown is a composer and a medical doctor, and has pursued dual careers for the past three decades. Born in 1942, he was recruited to play the organ for a local congregation at age 13.  He is a widely published composer of organ and choral music.  A resident of Alamogordo, NM, Dr. Ashdown enjoys a full life as an internist, composer, and organist-choir director for the Church of Jesus Christ of Latter-Day Saints.

March – Alexander Schreiner


Alexander Schreiner (1901-1987) was one of the most noted organists of the Salt Lake Tabernacle. Born in Nuremberg, Germany, his parents joined the LDS church in 1903, and the local congregation held meetings in the family's home. Schreiner performed in public first at age five, and after he was baptized at age eight was almost immediately appointed as a Sunday School organist. In 1912 Schreiner moved with his family to Salt Lake City.  Schreiner first performed on an organ professionally during the fall of 1917 at the American Theater of Salt Lake City.  After study in Paris and work in California, in August 1938 Schreiner returned to Salt Lake City, where he resumed his position as Tabernacle Organist and chief organist at the Capitol Theatre.  From that time until 1977, Schreiner was closely involved with the Tabernacle Choir both at home and abroad. In the late 1940s, he was involved in a major rebuild of the Tabernacle Organ.

About the Choral Music:

Prayer of St. Francis – Rene Clausen

The Prayer of Saint Francis, also known as Make Me an Instrument of Your Peace, is attributed to the thirteenth-century Saint Francis of Assisi. The prayer in its present form cannot be traced back further than 1912, when it was printed in Paris in French, in a small spiritual magazine called La Clochette (The Little Bell), published by La Ligue de la Sainte-Messe (The Holy Mass League). The author's name was not given, although it may have been the founder of La Ligue, Fr. Esther Bouquerel.

A professor at the University of Orleans in France, Dr. Christian Renoux, published a study of the prayer and its history in French in 2001.  Summarizing the Renoux book on the prayer, an article by Egidio Picucci on the 19–20 January 2009 issue of L'Osservatore Romano says that the earliest record of the prayer is its appearance, as "a beautiful prayer to say during Mass" in the December 1912 number of the small devotional French publication La Clochette, "the bulletin of the League of the Holy Mass". In 1915, Marquis Stanislas de La Rochethulon, president of the Anglo-French association Souvenir Normand, which called itself "a work of peace and justice inspired by the testament of William the Conqueror, who is considered to be the ancestor of all the royal families of Europe", sent this prayer to Pope Benedict XV.

The Pope had an Italian translation published on the front page of L'Osservatore Romano of 20 January 1916. It appeared under the heading, "The prayer of Souvenir Normand for peace", and with the explanation: "Souvenir Normand has sent the Holy Father the text of some prayers for peace. We have pleasure in presenting in particular the prayer addressed to the Sacred Heart, inspired by the testament of William the Conqueror". On 28 January 1916, the French newspaper La Croix reprinted, in French, the Osservatore Romano article, with exactly the same heading and explanation. La Rochethulon wrote to the newspaper to clarify that it was not a prayer of Souvenir Normand, but he chose not to mention La Clochette, the first publication in which it had appeared. Because of its appearance on L'Osservatore Romano and La Croix as a prayer for peace during the First World War, this prayer then became widely known.

The prayer has been known in the United States since 1927 when its first known translation in English appeared in January of that year in the Quaker magazine Friends' Intelligencer (Philadelphia), where it was attributed to St. Francis of Assisi.   Cardinal Francis Spellman and Senator Albert W. Hawkes distributed millions of copies of the prayer during and just after World War II.

René Clausen (b. 1953) is an American composer, conductor of The Concordia Choir, and professor of music at Concordia College in Moorhead, Minnesota.  Clausen's compositional style is varied and eclectic, and put to sacred as well as secular texts.  He has created compositions and arrangements that range over many artistic media including choral, orchestral, wind ensemble, film, video, and solo voice.  Clausen's most popular harmonies are mostly based on close dissonances such as the major and minor second.  These chords based on dissonance are also called "tone clusters".  His style is sometimes classified as Neo-Romantic but this term can mean many things.  All of his works are unmistakably tonal yet they push the boundaries of chordal language.  The traditional functions of choral progression are blurred by his use of tone clusters.

About the Hymns:

Praise to the Lord, the Almighty

"Praise to the Lord, the Almighty" is a hymn based on Joachim Neander's German chorale Lobe den Herren, den mächtigen König der Ehren, published in 1680. John Julian, in his A Dictionary of Hymnology, calls the German original "a magnificent hymn of praise to God, perhaps the finest creation of its author, and of the first rank in its class."  Neander wrote this particular hymn while dying and it says much about his faith. While contemplating the words to go along with the melody, he reflected on Psalm 103 with its claim that everything within us should praise the Father’s holy name.  It was the favorite hymn of King Frederick William III of Prussia, who first heard it in 1800.  In the Neander original, first the singer calls himself (my beloved soul) to praise God, then calls for a larger group to join the praise with musical instruments as well as song.  John Julian‍‍ '​‍s A Dictionary of Hymnology lists more than ten English translations of "Lobe den Herren" printed in various nineteenth century hymnals.

The melody used by Neander, first published in 1665, is probably based on a folk tune. The common name given to this melody is "Lobe den Herren". Several variants were published with various secular texts between 1665 to 1680, when Joachim Neander published his German hymn, Lobe den Herren, den mächtigen König der Ehren, using its meter. The text paraphrases Psalm 103 and Psalm 150. 

One interesting piece of history is the later use of Neander’s name. He often taught in a valley near the Düssel river, and over 100 years after his death the valley was named after him. It was in that valley that bones were later found, from which we get the name “Neanderthal.”

Where Charity and Love Prevail

Omer Westendorf (1916-1997) was one of the leading composers following the liturgical reforms of the Second Vatican Council.  Beginning at age 20, he received his master’s degree in music at the Cincinnati Conservatory of Music, and for most of his professional musical career served as organist and choirmaster at St. Bonaventure Church in Cincinnati. Under his direction the Bonaventure Choir sang concerts and recorded sacred music for several decades.  One of his greatest achievements was the founding of the World Library of Sacred Music in 1950 and World Library Publications in 1957. These organizations have been primary distributors of music for the Mass in the United States and beyond.

Westendorf was also known for his lectures and seminars on sacred music, consultations on liturgical music and as a hymn writer.  Westendorf’s People’s Mass Book, 1964, was the first vernacular hymn and service book to implement the Catholic liturgies decreed by Vatican Council II. He wrote Music Lessons for the Man in the Pew to teach the art of sight reading choral music.

“Where charity and love prevail” (1961) provides an English hymn version of a 9th-century Latin hymn, “Ubi caritas et amor, Deus ibi est” (Where there is charity and love, God is there) based on 1 John 4:16. Traditionally, this is the final hymn on Maundy Thursday, called in the Latin tradition Mandatum novum (New Commandment), referring to the act of washing of the disciples’ feet initiated by Jesus.

Scholar H. Myron Braun comments on this ancient ritual: “[The Latin chant] is said to date from the ninth century . . . with its emphasis on community within the faith, on Christians holding one another in love and concern . . . It is appropriate for . . . [Maundy Thursday] when we note the “new commandment” that we love one another, and also several times in Eastertide when the lectionary leads us to reading on love from the Gospel and the epistles of John.”

The text draws directly on John 13:34, “I give you a new commandment, that you love one another. Just as I have loved you, you also should love one another.” This version appeared first in Westendorf’s People’s Mass Book (1976). Before the publication of The UM Hymnal in 1989, the hymn appeared in the Supplement to the Book of Hymns (1982) with a plainsong melody.

Blessed Assurance

Fanny Jane Crosby (1820-1915), born in New York and died in Connecticut, wrote over 8,500 gospel hymns. In 1972, Hope Publishing Co. found over 1,000 unpublished manuscripts. Her work defined what it meant to be a successful writer of gospel hymns.  By the age of six weeks, Fanny Crosby was completely blind. She entered the New York School for the Blind at age twelve. She began writing hymns and poetry at age twelve.  Her collaborators in publishing gospel hymns included the most successful and popular composers of her day, including William Bradbury, William Doane, Robert Lowry, Ira Sankey, and William Kirkpatrick. Crosby used numerous pen names in publishing her songs, including: Ella Dale, Mrs. Kate Gringley and Miss Viola V. A.  She married blind musician Alexander Van Alstyne, and the British most often refer to her by her married name rather than Fanny Crosby.  She was a lifelong Methodist and her contributions to The United Methodist Hymnal (1989) include: “Blessed Assurance,” “Close to Thee,” “I Am Thine, O Lord,” “Jesus, Keep Me Near the Cross,” “Pass Me Not, O Gentle Savior,” “Rescue the Perishing,” and “To God Be the Glory.”

Phoebe Knapp (March 9, 1839 – July 10, 1908) was a composer of music for hymns and an organist.  Knapp was born in New York City. Her parents were Walter C. Palmer and Phoebe Worrall Palmer.  She married Joseph Fairchild Knapp, one of the founders and the second president of the Metropolitan Life Insurance Company, and he had a pipe organ installed in their apartment.  She and her husband were members of the John Street Methodist Episcopal Church in New York City. The hymn writer Fanny Crosby was also a member of that church and a friend of the Phoebe’s.  She wrote over 500 hymn tunes, the most familiar being the tune now called Assurance for Fanny Crosby's lyrics “Blessed Assurance”.

Crosby was visiting her friend Phoebe Knapp as the Knapp home was having a large pipe organ installed. The organ was incomplete, so Mrs. Knapp, using the piano, played a new melody she had just composed. When Knapp asked Crosby, "What do you think the tune says?", Crosby replied, "Blessed assurance, Jesus is mine."  The hymn appeared in the July 1873 issue of Palmer's Guide to Holiness and Revival Miscellany, a magazine printed by Dr. and Mrs. W. C. Palmer.