May 31, 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:

Ermuntre dich mein schwacher Geist – Johann Oley

The Geistliche Lieder und Arien aus Musicalisches Gesangbuch, published by Georg Christian Schemelli in 1736, contained 69 chorale melodies with thorough bass accompaniment by J. S. Bach.  These chorales are some of Bach’s least known composition.  The Schemelli Gesangbuch contained a total of 954 hymn texts.

Take courage, my weak spirit
And endure great desire
Joyfully to embrace
A little child who is called Father!

Johann Christoph Oley (1738-1789) was a German organist and composer. There is some evidence that he studied with J.S. Bach for a short time in 1749.  In 1755, he became organist of the church in Bernburg, but moved to the church of St Stephan in neighboring Aschersleben in January, 1762, because of its superior organ. To augment his salary, he assumed the duties of assistant schoolmaster as well.  Contemporaries praised Johann Christoph Oley’s skill on the keyboard and organ, and his compositions attracted some interest. His organ writing reminded Johann Friedrich Agricola, another Bach pupil, of the glories of an earlier age.

Pomp and Circumstance March No. 1 – Edward Elgar

Sir Edward William Elgar, 1st Baronet (1857- 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.

Although Elgar is often regarded as a typically English composer, most of his musical influences were not from England but from continental Europe. He felt himself to be an outsider, not only musically, but socially. In musical circles dominated by academics, he was a self-taught composer; in Protestant Britain, his Roman Catholicism was regarded with suspicion in some quarters; and in the class-conscious society of Victorian and Edwardian Britain, he was acutely sensitive about his humble origins even after he achieved recognition. He nevertheless married the daughter of a senior British army officer. She inspired him both musically and socially, but he struggled to achieve success until his forties, when after a series of moderately successful works his Enigma Variations (1899) became immediately popular in Britain and overseas. He followed the Variations with a choral work, The Dream of Gerontius (1900), based on a Roman Catholic text that caused some disquiet in the Anglican establishment in Britain, but it became, and has remained, a core repertory work in Britain and elsewhere. His later full-length religious choral works were well received but have not entered the regular repertory.

In his fifties, Elgar composed a symphony and a violin concerto that were immensely successful. His second symphony and his cello concerto did not gain immediate public popularity and took many years to achieve a regular place in the concert repertory of British orchestras. Elgar's music came, in his later years, to be seen as appealing chiefly to British audiences. His stock remained low for a generation after his death. It began to revive significantly in the 1960s, helped by new recordings of his works. Some of his works have, in recent years, been taken up again internationally, but the music remains more played in Britain than elsewhere.

Elgar has been described as the first composer to take the gramophone seriously. Between 1914 and 1925, he conducted a series of acoustic recordings of his works. The introduction of the microphone in 1925 made far more accurate sound reproduction possible, and Elgar made new recordings of most of his major orchestral works and excerpts from The Dream of Gerontius.

The Pomp and Circumstance Marches (full title Pomp and Circumstance Military Marches), Op. 39, are a series of marches for orchestra composed by Sir Edward Elgar.  March No. 1 was composed in 1901 and dedicated "to my friend Alfred E. Rodewald and the members of the Liverpool Orchestral Society".  The best known of the set, it had its premiere, along with the more reserved second March, in Liverpool on 19 October 1901, with Elgar conducting the Liverpool Orchestral Society.^[4] Both marches were played two days later at a London Promenade Concert in the Queen's Hall London, conducted by Henry Wood, with March No. 1 played second, and the audience "...rose and yelled... the one and only time in the history of the Promenade concerts that an orchestral item was accorded a double encore."

The Trio contains the tune known as "Land of Hope and Glory". In 1902 the tune was re-used, in modified form, for the Land of hope and glory section of his Coronation Ode for King Edward VII. The words were further modified to fit the original tune, and the result has since become a fixture at the Last Night of the Proms, and an English sporting anthem.

In the United States, the Trio section "Land of Hope and Glory" of March No. 1 is often known simply as "Pomp and Circumstance" or as "The Graduation March" and is played as the processional tune at virtually all high school and some college graduation ceremonies. It was first played at such a ceremony on 28 June 1905, at Yale University, where the Professor of Music Samuel Sanford had invited his friend Elgar to attend commencement and receive an honorary doctorate of music. Elgar accepted, and Sanford made certain he was the star of the proceedings, engaging the New Haven Symphony Orchestra, the College Choir, the Glee Club, the music faculty members, and New York musicians to perform two parts from Elgar's oratorio The Light of Life and, as the graduates and officials marched out, "Pomp and Circumstance" March No. 1. Elgar repaid the compliment by dedicating his Introduction and Allegro to Sanford later that year. The tune soon became de rigueur at American graduations, used primarily as a processional at the opening of the ceremony. 

About the Choral Music:

God is Our Refuge – Allen Pote

Allen Pote (b. 1945) was born in Halstead, Kansas, and educated at Texas Christian University, where his diploma was in Church Music. A Fulbright Scholar, he studied in Brussels, Belgium, and took advanced work at Union Theological Seminary in New York City. For twenty-two years he served as a full-time Director of Music in churches in Texas and Florida. He is currently a full-time composer living in Pensacola, Florida, where, with his wife Susan, he is co-director of the Pensacola Children's Choir, an organization of over 200 singers which has achieved national recognition.

The text of this anthem is taken from Psalm 46.

            God is our refuge and strength; A present help in time of trouble.

            Though the mountains shake in the heart of the sea,

            Though the waters roar and foam, we will not fear.

            Come and behold the work of the Lord, the awesome acts of God.

            He is in the midst of His people, in all the earth.

            He is the Word, we are his hands, He will lead us.

            He is the air, we are His song, We will celebrate His presence all the day long.

            He is the rain, we are the stones, He will cleanse us.

            He is the air, we are His song, We will celebrate His presence all the day long.

Blessing – Katie Moran Bart

This traditional Irish blessing is an ancient Celtic prayer. Celtic literature often uses images of nature and everyday life to speak of how God interacts with His people.  "May The Road rise up to meet you" is about God's blessing for your journey;  may your walk be an easy one with no huge mountains to climb or obstacles to overcome.  It alludes to three images from nature as pictures of God’s care and provision:  the wind, sun and rain. The "wind" can be likened to the Spirit of God, who came as a "mighty wind" at Pentecost.  The sun’s warmth in the prayer reminds us of the tender mercies of God, "by which the rising sun will come to us from heaven" (Luke 1:78, NIV), whilst the soft falling rain speaks of God's provision and sustenance. Finally, we are reminded that we are held safe in God's loving hands as we travel on our journey through life.

Katie Moran Bart wrote “Blessing” as a tribute to her Irish family.  Bart teaches vocal music at Burleigh Elementary School in Brookfield, Wisconsin, and is Music Director at Christ the King Lutheran Church in Delafield.

            May the road rise up to meet you; May the wind be always at your back,

            May the sun shine warm upon your face, And the rains fall soft upon your fields.

            Until we meet again, my friend, until we meet again,

            May God hold you in the palm of His hand.

About the Hymns:

All Hail the Power of Jesus’ Name

Edward Perronet (1726-1792) was born in England, the grandson of a French immigrant. His father, Vincent, was a clergyman in the Church of England and a close friend and associate of John and Charles Wesley. Though Edward had planned to follow his father into Anglican ministry, the influence of the Wesleys prevailed, and he became a traveling Methodist preacher.  “All Hail the Power of Jesus’ Name” was written by Perronet while he served as a missionary in India and first appeared in the November, 1779 issue of the Gospel Magazine

The hymn is often called the "National Anthem of Christendom”.  The best-known tunes used for the hymn are "Coronation" (Oliver Holden, 1793),  "Miles Lane" (William Shrubsole, 1779), and "Diadem" (James Ellor, 1838). 

An interesting story is told about this hymn.  Rev. E. P. Scott was a missionary in India who had been urged not to go near a certain barbarous tribe, whom he wished to evangelize. But he went forth with high cour­age, ne­ver wa­ver­ing in his du­ty, and trust­ing in God to pro­tect him. When at last he reached their coun­try among the hills, he came up­on a com­pa­ny of these sav­ag­es.  Im­me-di­ate­ly, they sur­round­ed him, point­ing their spears at him with threat­en­ing scowls.  He had nothing but his vi­o­lin; and so, clos­ing his eyes, he be­gan to play and sing, “All Hail the Pow­er of Je­sus’ Name.” When he opened his eyes he ex­pect­ed to be killed in­stant­ly, but his life had been spared through the sing­ing of the hymn. Their spears had dropped, and they re­ceived him first with cur­i­o­si­ty and in­ter­est, and then lat­er with ea­gern­ess, as he told them the gos­pel sto­ry and won their hearts to the will of Je­sus Christ.

Leaning on the Everlasting Arms

“Leaning on the Everlasting Arms” was published in 1887 with music by Anthony J. Showalter and lyrics by Showalter and Elisha Hoffman.  Elisha Hoffman (1839-1929) after graduating from Union Seminary in Pennsylvania was ordained in 1868. As a minister he was appointed to the circuit in Napoleon, Ohio in 1872. He worked with the Evangelical Association's publishing arm in Cleveland for eleven years. He served in many chapels and churches in Cleveland and in Grafton in the 1880s, among them Bethel Home for Sailors and Seamen, Chestnut Ridge Union Chapel, Grace Congregational Church and Rockport Congregational Church. In his lifetime he wrote more than 2,000 gospel songs including "Leaning on the everlasting arms" (1894). The fifty song books he edited include Pentecostal Hymns No. 1 and The Evergreen, 1873.

Anthony J. Showalter received letters from two friends who had lost their wives about the same time. He wrote back to express his sympathy, and included a verse of Scripture: “The eternal God is thy refuge, and underneath are the everlasting arms” (Deuteronomy 33:27 KJV). As he thought about that text, he wrote the music and refrain to this hymn. He asked Elisha Hoffman to write the stanzas. The hymn was first published in 1887 in The Glad Evangel for Revival, Camp, and Evangelistic Meetings, for which Showalter was an editor.  The text has three stanzas and a refrain. The theme of the text is the peace that comes from knowing that God will protect us, and how that knowledge removes our fears.

Go Make of All Disciples

Leon McKinley Adkins (1896-1986) was a Methodist pastor, serving congregations between 1921-1955, and an administrator, serving at the Board of Education of the Methodist Church in Nashville from 1955-1966.  His hymn, “Go Make of All Disciples” was first sung at the commissioning of teachers and church school officials during Christian Education Week, 1955, at University Methodist Church, Syracuse, where the author was pastor.  The hymn was printed in the February 1956 issue of Church School and first appeared in a hymnal in the 1966 Book of Hymns.  This hymn begins with the Great Commission: “Go ye therefore, and teach all nations, baptizing them in the name of the Father, and of the Son, and of the Holy Ghost: Teaching them to observe all things whatsoever I have commanded you: and, lo, I am with you always, unto the end of the world. Amen.” (Matthew 28:19-20, KJV)