June 28, 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:

Prelude on “Lancashire” – Robert Powell

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.”

"Go make of all disciples:" We hear the call, O Lord,
That comes from you, our Father, In your eternal Word.
Inspire our ways of learning Through earnest, fervent prayer,
And let our daily living Reveal you ev'rywhere.

Robert Powell (b. 1932) is an American composer, organist, and choir director.  Powell earned a Bachelor of Music degree from Louisiana State University with a focus on organ and composition. He studied with Alec Wyton at Union Theological Seminary in New York, and he was also Wyton's assistant at The Episcopal Cathedral of Saint John the Divine. For three years (1965–1968), he served St. Paul's School (Concord, New Hampshire) as Director of Music. Later, Powell was Director of Music and Organist of Christ Church (Episcopal) of Greenville, South Carolina from 1968 to 2003. He has composed in nearly all genres common to church music, including anthems, service music, hymn concertatos, organ music, music for handbell choir, and large-scale oratorios. Powell's conservative, neo-Romantic style stems from his practical approach to composition. According to Powell himself, he writes for "choirs of twenty-five because that's what most choirs are. When you come right down to it, most choirs are not of cathedral ability or size. My pieces are all practical things and useful for specific occasions." His publications appear in The Hymnal 1982 as well as in the catalogs of most of the significant American publishers of church music. According to publisher GIA, Powell is "a composer whose output bridges denominational boundaries and who is able to serve the larger Church. He has made ecumenical sharing a reality–-and always with a genteel touch."  Powell is an active member of the Association of Anglican Musicians and is a Fellow of the American Guild of Organists.

Jesus Shall Reign Where’er the Sun – Wilbur Held

Isaac Watts (1674-1748) was the son of a schoolmaster and was born in Southampton.  He is said to have shown remarkable precocity in childhood, beginning the study of Latin, in his fourth year, and writing respectable verses at the age of seven. At the age of sixteen, he went to London to study in the Academy of the Rev. Thomas Rowe, an Independent minister. In 1698, he became assistant minister of the Independent Church, Berry St., London. In 1702, he became pastor.  The number of Watts' publications is very large. His collected works, first published in 1720, embrace sermons, treatises, poems and hymns. His "Horae Lyricae" was published in December, 1705. His "Hymns" appeared in July, 1707. The first hymn he is said to have composed for religious worship, is "Behold the glories of the Lamb," written at the age of twenty. It is as a writer of psalms and hymns that he is everywhere known. Some of his hymns were written to be sung after his sermons, giving expression to the meaning of the text upon which he had preached. Montgomery calls Watts "the greatest name among hymn-writers," and the honor can hardly be disputed. His published hymns number more than eight hundred.

Isaac Watts based this hymn text on Psalm 72:12-19 and referred to verses 5 and 8 of the psalm as well. Originally in eight stanzas entitled "Christ's Kingdom among the Gentiles," the text was published in Watts' Psalms of David, Imitated (1719).  In this hymnal, he paraphrased many of the Psalms, but in a very different style than many of his predecessors. The order of the day was to keep any paraphrase as close to the text as possible. Watts decided to do otherwise, and his interpretations of the psalms are quite loose, in an effort to write something new while keeping the spirit of the Psalm. His versification of Psalm 72 is no different. He interprets the psalm using a Christological lens. The king referenced in the psalm is Christ, and could be no one else. Watts understood that the Old Testament makes sense in light of the New, and vice versa.

G. J. Stevenson’s Notes on the Meth­od­ist Hymn Book re­lates:

Perhaps one of the most in­ter­est­ing oc­ca­sions on which this hymn was used was that on which King George, the sa­ble, of the South Sea Is­lands, but of bless­ed mem­o­ry, gave a new con­sti­tu­tion to his peo­ple, ex­chang­ing a hea­then for a Christ­ian form of gov­ern­ment. Un­der the spread­ing branch­es of the ban­yan trees sat some thou­sand na­tives from Ton­ga, Fi­ji, and Sa­moa, on Whit­sun­day, 1862, as­sem­bled for Di­vine wor­ship. Fore­most amongst them all sat King George him­self. Around him were seat­ed old chiefs and war­ri­ors who had shared with him the dan­gers and for­tunes of ma­ny a battle—men whose eyes were dim, and whose pow­er­ful frames were bowed down with the weight of years. But old and young alike re­joiced to­ge­ther in the joys of that day, their fac­es most of them ra­di­ant with Christ­ian joy, love, and hope. It would be im­poss­i­ble to de­scribe the deep feel­ing man­i­fest­ed when the sol­emn serv­ice be­gan, by the en­tire au­di­ence sing­ing Dr. Watts’ hymn…

Who so much as they could real­ize the full mean­ing of the po­et’s words? For they had been res­cued from the dark­ness of hea­then­ism and can­ni­bal­ism and they were that day met for the first time un­der a Christ­ian con­sti­tu­tion, un­der a Christian king, and with Christ Him­self reign­ing in the hearts of most of those pre­sent. That was in­deed Christ’s king­dom set up in the earth.

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Jesus shall reign where'er the sun
does its successive journeys run,
his kingdom stretch from shore to shore,
till moons shall wax and wane no more.

People and realms of every tongue
dwell on his love with sweetest song,
and infant voices shall proclaim
their early blessings on his name.

Wilbur C. Held (1914-2015) was born in Des Plaines, Illinois, and received his B.M. and M.M. degrees at the American Conservatory of Music in Chicago. He then attended Union Theological Seminary in New York City where he earned his S.M.D. A member of the Episcopal Church, for many years Dr. Held was Professor of Organ and Church Music at The Ohio State University, Columbus, Ohio.  He remained in this position for over 30 years, and for most of that time was also organist-choirmaster at Trinity Episcopal Church in Columbus, Ohio.  Dr. Held started composing little pieces for the organ because he felt there was a lack of teaching material aimed at developing style and registration, especially for the romantic use of the instrument.  Having written several suites primarily for pedagogical use, he turned his attention to broadening the repertoire for church use, continuing to stress modest technical requirements and flexibility of registration. He has 325 published organ works. He has served on the national councils of both the AGO and the Hymn Society of America, and has appeared as recitalist at their national conventions.

In Gottes Nahm fahren Wir – J. S. Bach

“In Gottes Namen fahren wir” is found in varying forms from the 14th to 16th century, and was very much used by travelers on land and water, by the crusaders, at pilgrimages and processions, and for the sending out of missionaries.  The oldest appearance is in a Munich manuscript of 1422.

In God’s name we go as one,

His help and consolation with us,

That when we come down to the place,

From all harm, God will protect us.

We ask you, Father in heaven,

Protect us as we dedicate body

And soul as you command.

Kyrie eleison.

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).   

About the Choral Music:

Spirit of God, Descend upon my Heart – Joan Pinkston

The words of this sung prayer are among the most passionate in the history of hymnody.  This masterpiece of Christian devotional poetry is the work of George Croly (1780-1860), an Anglican minister born in Dublin, Ireland, but whose ministry took place in London. Having served a small parish in Ireland, he moved to London to pursue a literary career where he wrote in several mediums including poetry, novels, history and biography.  In 1835, Croly accepted the challenge to reopen a church in one of the worst slum areas of London, that had been closed for over a century. He was known among his peers as thoroughly conservative in theology with no tolerance for liberal views. Through personal charisma and dynamic preaching, he attracted large crowds to St. Stephen’s Church.  Croly prepared a new hymnal in 1854 for his congregation and published it as Psalms and Hymns for Public Worship. “Spirit of God, Descend upon my Heart” first appeared in that hymnal under the title “Holiness Desired.” It is the only hymn by Croly to have survived. 

Joan J. Pinkston studied at Bob Jones University, the Hartt College of Music, and Westminster Choir College.  She is a member of several national and regional music organizations and is a Fellow of Melodious Accord.  Pinkston has published numerous traditionally styled sacred choral pieces. In 2002, Hymns of Grace and Glory was published and features more than seventy of her own hymn tunes. During her 40 years as a professional musician, she has published over 400 pieces of music, given over a hundred workshops on composing and arranging, and performed numerous sacred concerts. Her hymn arrangements for piano and orchestra are featured on the recording Our Great Savior.. A recording of her piano arrangements, Our Song of Praise, was released in 2010. Pinkston has taught music theory, hymn improvisation, orchestration and choral composition at Bob Jones University for more than forty-five years She serves as pianist at Faith Free Presbyterian Church of Greenville, SC.

            Spirit of Got, descend upon my heart;

            Wean it from earth through all its pulses move;

            Stoop to my weakness, mighty as Thou art,

            And make me to love Thee as I ought to love.

            Teach me to love Thee as Thine angels love;

            One holy passion filling all my frame;

            The baptism of the heav’n descended Dove.

            My heart an altar, and Thy love the flame.

            Amen.

About the Hymns:

Christ for the World We Sing

Samuel Wolcott (1813-1886) was born at South Windsor, Connecticut, and educated at Yale College and Andover Theological Seminary. From 1840 to 1842, he was a missionary in Syria. On his return to America, he was successively pastor of several Congregational congregations. He was Secretary of the Ohio Home Missionary Society for some time.  His hymn-writing began late in life, but has extended to more than 200 hymns, many of which are still in manuscript.  On Feb. 7, 1869, Wolcott attended a meeting of the Young Men’s Christian Association of Ohio.  The pulpit at the church where the meeting was held was inscribed, “Christ for the World, and the World for Christ.”  On the way home, Wolcott composed the hymn, “Christ for the World We Sing”. 

This Little Light of Mine

"This Little Light of Mine" is a gospel children's song written by composer and teacher Harry Dixon Loes (1895–1965) circa 1920. Loes, who studied at the Moody Bible Institute and the American Conservatory of Music, was a musical composer, and teacher, who wrote, and co-wrote, several other gospel songs. The song has since entered the folk tradition, first being collected by John Lomax in 1939. Often thought of as a Negro spiritual, it does not, however, appear in any collection of jubilee or plantation songs from the nineteenth century.

The song takes its theme from Matthew 5:16, "Let your light shine before men, that they may see your fine works and give glory to your Father who is in the heaven."; Luke 11:33, "No man, when he hath lighted a candle, putteth it in a secret place, neither under a bushel, but on a candlestick, that they which come in may see the light."; and Matthew 5:14–15, where Jesus said, "Ye are the light of the world. A city that is set on an hill cannot be hid. Neither do men light a candle and put it under a bushel, but on a candlestick; and it giveth light unto all that are in the house."

We’ve a Story to Tell to the Nations

H. Ernest Nichol (1862-1926) had begun a study program in civil engineering when he decided to study music instead. In 1888 he received a bachelor's degree in music from Oxford University. Nichol wrote some 130 hymn tunes and texts, many under the pseudonym “Colin Sterne” (derived from his middle and last name); many were first sung at church school programs.  “We’ve a Story to Tell to the Nations was written in 1896 and published in Sunday School Hymnary, 1905.

A song which encourages us to “go therefore and teach all nations” (Matthew 28:19) was a very popular "missionary hymn" among denominational churches in past years, typical of the hundreds that were penned to express the determined, dynamic, energetic, and expansive attributes of late nineteenth-century "Christian missions."  Among hymnbooks published by members during the twentieth century, this song appears rarely, primarily because the chorus expresses postmillennialism, which implies that Christians will bring the kingdom of God in its fullness to earth by our own efforts.

In spite of its controversial theology, this is a rousing hymn which motivates God’s people to sound forth the word of God and reminds us of the great blessings that are available to those who receive the word of God.