July 19, 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:

Jesus, Savior, Pilot Me – Don Hustad

The sea is a favorite image of eighteenth- and nineteenth-century hymn writers on both sides of the Atlantic Ocean. Traveling by ship, although an adventure, was also potentially a long and arduous journey fraught with danger, especially storms and unseen rocks.  “Jesus, Savior, pilot me” falls in this long and rich tradition of hymns that draw upon the imagery of the sea to establish the relationship between the believer and Christ. Edward Hopper (1816-1888) was inspired by the accounts of Jesus who stilled the storm found in all of the synoptic gospels (Matthew 8:23-27; Mark 4:35-41; Luke 8:22-25). Written at the request by George S. Webster, secretary of the Seaman’s Friend Society, the hymn was first published in the Society’s magazine, The Sailor’s Magazine and Seaman’s Friend in the March 3, 1871 issue. The designation was, “By Rev. Edward Hopper, D.D., Pastor of the Church of the Sea and Land.”  Hopper, a graduate of New York University (1839) and Union Theological Seminary (1842), was well acquainted with the sea, pastoring the Sag Harbor Presbyterian Church on Long Island for eleven years, and then spending the majority of his ministry at the Church of the Sea and Land in New York City. It was in this latter congregation that he became well known for his ministry to sailors.

Jesus, Saviour, pilot me, Over life's tempestuous sea;
Treach'rous waves before me roll, Hiding rock and dang'rous shoal,
Chart and compass came from thee, Jesus, Saviour, pilot me.

Though the sea be smooth and bright, Sparkling with the stars of night,
And my ship's path be ablaze With the light of halcyon days;
Still, I know my need of thee; Jesus, Saviour, pilot me.

When the darkling heavens frown, And the wrathful winds come down,
And the fierce waves toss'd on high, Lash themselves against the sky;
Jesus, Saviour, pilot me Over life's tempestuous sea.

When th' Apostles' fragile bark Struggled with the billows dark;
On the stormy Galilee. Thou didst walk upon the sea;
And when they beheld thy form, Safe they glided through the storm.

As a mother stills her child, Thou canst hush the ocean wild;
Boist'rous waves obey thy will When thou say'st to them, "Be still,"
Wond'rous Sovereign of the sea, Jesus, Saviour, pilot me.

When at last I near the shore, And the fearful breakers roar,--
Thou canst calm my anxious breast, And conduct me to my rest.
Then, dear Saviour, pilot me Over Death's tempestuous sea.

Don Hustad (1918-2013) was one of the giants of Christian music of the 20th century. Hustad had a distinguished ministry and a life-long profession as a recording artist, composer, arranger, teacher, conductor, hymnal editor, and author.  He began work as staff musician of Chicago's WMBI in the early 1940s, worked with soloist George Beverly Shea on a weekly broadcast called "Club Time," and served for some 20 years as organist for a popular radio broadcast "Songs in the Night." He taught at Olivet Nazarene College in Kankakee, Illinois from 1946 to 1950, at which time Hustad was appointed director of the Sacred Music Department at Moody Bible Institute—a position he held until 1961.  During his 11-year tenure at Moody he developed the Moody Chorale into a superior choral ensemble that achieved fame nationally and internationally.   In 1961 he became Crusade organist for the Billy Graham Evangelistic Association and directed the Crusader Men Choir in the "Hour of Decision" broadcasts.  His publications include over 100 articles and five books.  Throughout his career, Hustad devoted considerable energy to music arranging and hymnal editing, serving as editorial consultant and musical advisor to Hope Publishing Company. Among his editorial contributions are fourteen hymnals and songbooks, as well as dozens of collections.  In 1989, Hustad was awarded Fellow of the Hymn Society for his outstanding contribution to American hymnody.  In 2008, he was honored by the American Choral Director's Association Southern Division Conference for his contributions to church music. He earned diplomas as an Associate of the American Guild of Organists (AAGO) and a Fellow of the Royal College of Organists (FRCO), London, UK.

Softly and Tenderly – Dale Wood

Rebuffed in an ear­ly at­tempt to sell his songs to a com­mer­cial pub­lish­er, Will Lamartine Thomp­son (1847-1909)  start­ed his own pub­lish­ing com­pa­ny. He lat­er ex­pand­ed, open­ing a store to sell pi­an­os, or­gans and sheet mu­sic. Both a lyr­i­cist and com­pos­er, he en­sured he would al­ways re­mem­ber words or mel­o­dies that came to him at odd times: "No mat­ter where I am, at home or ho­tel, at the store or tra­vel­ing, if an idea or theme comes to me that I deem wor­thy of a song, I jot it down in verse. In this way I ne­ver lose it."

When the world-re­nowned lay preach­er, Dwight Ly­man Moody, lay on his death bed in his North­field, Mass­a­chu­setts, home, Will Thomp­son made a spe­cial vi­sit to in­quire as to his con­di­tion. The at­tend­ing phy­si­cian re­fused to ad­mit him to the sick­room, and Moody heard them talk­ing just out­side the bed­room door. Re­cog­niz­ing Thomp­son’s voice, he called for him to come to his bed­side. Tak­ing the Ohio po­et-com­pos­er by the hand, the dy­ing evan­gel­ist said, “Will, I would ra­ther have writ­ten “Soft­ly and Ten­der­ly Je­sus is Call­ing” than an­y­thing I have been able to do in my whole life.”

Softly and tenderly Jesus is calling, Calling for you and for me;
See, on the portals He’s waiting and watching,  Watching for you and for me.

Come home, come home, You who are weary, come home;
Earnestly, tenderly, Jesus is calling, Calling, O sinner, come home!

Why should we tarry when Jesus is pleading, Pleading for you and for me?
Why should we linger and heed not His mercies, Mercies for you and for me?

Dale Wood (1934-2003) was a prominent composer, organist, choral director, and clinician.  He was honored many times by the American Society of Composers, Authors, and Publishers (ASCAP) for his “very important contribution towards the creation and development of contemporary American church music”.  He wrote many collections of organ works, most of which are based on both old and new hymn tunes.  Over eight million copies of his publications have been purchased in over 50 countries.

I, the Lord of Sea and Sky – Robert Farlee

Dan Schutte is a native of Wisconsin, who received his education at St. Louis University with a bachelor’s degree in 1973, a master of divinity degree in 1979 at the Jesuit School of Theology, Berkeley, Calif., and a master’s degree in 1980 at the Graduate Theological Union in Berkeley.  Following graduation, Mr. Schutte joined the Jesuits and served as the director of liturgy at Marquette University (1982-1986). He entered parish ministry in Milwaukee serving as director of music at Immaculate Heart of Mary and then Our Lady of Lourdes parishes.   He is currently director of music at the University of San Francisco, a Jesuit institution, and tours extensively as a Christian concert artist. Of his many hymns, “Here I Am, Lord” is the most commonly sung.

A salient feature of Catholic renewal hymnody since the Second Vatican Council is a stirring and memorable refrain. “Here I Am, Lord” recalls immediately Isaiah 6:8: “Then I heard the voice of the Lord saying, ‘Whom shall I send, and who will go for us?’ And I said, ‘Here am I; send me!’”

An unusual attribute of this hymn is the change in point of view that the singer makes between the stanzas and the refrain. The stanzas speak from the perspective of God in the first person singular, while the refrain, though remaining in first person, is from the perspective of the singers of the hymn offering their lives to God.   Each stanza reflects a paradox. The powerful God, creator of “sea and sky,” “snow and rain” and “wind and flame” is also the God who hears the “people cry,” bears the “people’s pain” and “tend[s] the poor and lame.”  This is a hymn of transformation. God transforms the darkness into light in stanza one, melts “hearts of stone” with love in stanza two and nourishes the “poor and lame” with the “finest bread”—a clear Eucharistic reference.  Each stanza ends with the question, “Whom shall I send?” Rhetorical questions are very common poetical devices in Christian hymnody, but this is not one of them. The refrain immediately offers the response, “Here I am, Lord.”

I, the Lord of sea and sky,
I have heard My people cry.
All who dwell in dark and sin,
My hand will save.
I who made the stars of night,
I will make their darkness bright.
Who will bear My light to them?
Whom shall I send?

Here I am Lord, Is it I Lord?
I have heard You calling in the night.
I will go Lord, if You lead me.
I will hold Your people in my heart.

Robert Buckley Farlee (b. 1950) is Associate Pastor and Director of Music at Christ Lutheran Church in Minneapolis.  Bob Farlee and his wife Jane Buckley-Farlee (pastor at Trinity Lutheran Congregation, ELCA, Minneapolis) were ordained on July 13, 1980, in St. Louis, Missouri, at Unity Lutheran Church, Bel-Nor. It was at Unity Lutheran that Bob served as music director. Then in November of 1981, Bob joined the staff at Christ Church Lutheran, Minneapolis, where he has served both as a pastor and as cantor. Farlee is a graduate of Christ Seminary-Seminex, St. Louis, Missouri. He also serves on the worship editorial staff at Augsburg Fortress Publishers, and was deeply involved in the recent publication of Evangelical Lutheran Worship, the new book of worship for the Evangelical Lutheran Church in America.

About the Handbell Music:

All Night, All Day – Hart Morris

“All Night, All Day” is a traditional African-American spiritual.  The text is derived from a child’s bedtime prayer.

All night, all day, angels watching over me, my Lord.
All night, all day, angels watching over me.

Sun is setting in the West;  Angels watching over me, my Lord.
Sleep my child, take your rest;  Angels watching over me.

Now I lay me down to sleep. Angels watching over me, my Lord.
Pray the Lord my soul to keep. Angels watching over me.

Lord, stay with me through the night. Angels watching over me, my Lord.
Wake me with the morning light. Angels watching over me.

Hart Morris has been Minister of Music at Asbury United Methodist Church, Tulsa, Oklahoma, since August 1992. He has served in the same capacity for churches in Florida, Texas and Tennessee. He is a graduate of Oklahoma Baptist University, Shawnee, Oklahoma, and the University of Houston, Houston, Texas, with additional studies in percussion at Oklahoma City University and the University of Houston. He has served as a clinician for AGEHR National Seminars and Festivals, and has led numerous AGEHR Conferences and workshops; he has twice served as AGEHR conductor for International Handbell Symposia. He is a published composer / arranger of handbell and choral music. 

About the Hymns:

A Mighty Fortress

"A Mighty Fortress Is Our God"  (“Ein feste Burg ist unser Gott”) is one of the best known of Martin Luther's hymns. Luther wrote the words and composed the melody sometime between 1527 and 1529.  It has been translated into English at least seventy times and also into many other languages.  The words are a paraphrase of Psalm 46.  "A Mighty Fortress" is one of the best loved hymns of the Lutheran and Protestant traditions. It has been called the "Battle Hymn of the Reformation" for the effect it had in increasing the support for the Reformers' causeHeinrich Heine states that it was sung by Luther and his companions as they entered Worms on 16 April 1521 for the Diet.

The earliest extant hymnal in which it appears is that of Andrew Rauscher (1531), but it is supposed to have been in Joseph Klug's Wittenberg hymnal of 1529, of which no copy exists. Its title was “Der xxxxvi. Psalm. Deus noster refugium et virtus.”  Before that it is supposed to have appeared in the Hans Weiss’ Wittenberg hymnal of 1528, also lost.  This evidence would support its being written in 1527–1529, since Luther's hymns were printed shortly after they were written.

Tradition states that the third Protestant King of Sweden, Gustavus Adolphus, had it played as his forces went to battle in the Thirty Years' War. The hymn had been translated into Swedish already in 1536, presumably by Olaus Petri, with the incipit, “Vår Gud är oss en väldig borg.”  In the late 19th century the song also became an anthem of the early Swedish socialist movement.

It was first translated into English by Myles Coverdale in 1539 with the title, “Oure God is a defence and towre.” The first English translation in common usage was “God is our Refuge in Distress, Our strong Defence” in J.C. Jacobi's Psal. Ger. in 1722. The most popular English version is “A mighty fortress is our God, a bulwark never failing” and was translated by Frederick H. Hedge in 1853.

The hymn's enduring popularity in Western Christendom has breached boundaries set in the Reformation as it is now a suggested hymn for Catholic Masses.  It currently appears in the second edition of the Catholic Book of Worship, published by the Canadian Conference of Catholic Bishops, though its adoption is not without controversy.

Luther composed the melody, named "Ein feste Burg" from the text's first line, in meter 87.87.55.56.7. This is sometimes denoted "rhythmic tune" to distinguish it from the later isometric variant, in 87.87.66.66.7 meter which is more widely known and used. In 1906 Edouard Rœhrich wrote, "The authentic form of this melody differs very much from that which one sings in most Protestant churches and figures in (Giacomo Meyerbeer's) The Huguenots. ... The original melody is extremely rhythmic, by the way it bends to all the nuances of the text ..." While 19th-century musicologists disputed Luther's authorship of the music to the hymn, that opinion has been modified by more recent research; it is now the consensus view of musical scholars that Luther did indeed compose the famous tune to go with the words.

Jesus, Lord, We Look to Thee

Charles Wesley (1707-1788), the son of Samuel Wesley, was born at Epworth, educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand.

“Jesu, Lord, we look to Thee” appeared in Hymns and Sacred Poems, 1749, and again in the Wesleyan Hymn Book, 1780, No. 495.

The Church’s One Foundation

Songs are a powerful means of teaching. The melodies, rhythms, and rhymes that characterize songs make the words easier to remember. The best and most effective songs combine lyrics and music to cultivate feelings that complement the meaning.  The Rev. Samuel John Stone (1839-1900) was well aware of the effectiveness of singing when he wrote and published Lyra Fidelium in 1866. As a curate in the small town of Windsor, England, he was aware of his parishoners’ habit of using the Apostles’ Creed in their private prayers. But he was concerned that many of them did not grasp the meaning of what they said. The prose felt too academic, disconnected from the average worshipper, and lacking a devotional spirit. It was in this context that he wrote Lyra Fidelium, which consisted of twelve hymns, one for each article of the Apostles’ Creed. With each hymn he included a short “summary of truths confessed” in that article, along with a list of the Scripture passages supporting it. “The Church’s One Foundation” was the hymn he wrote for article 9 of the Creed, which affirms belief in “the holy catholic church” and “the communion of saints.”

“The Church’s One Foundation” is the best known of the twelve hymns in this collection. Louis Benson quotes one English archbishop as saying that “wherever he was called upon to open or dedicate a church, he could always count on two things—cold chicken and ‘The Church’s one Foundation’.”  The hymn’s long legacy undoubtedly owes to the many doctrines it includes, its use of the words and concepts of Scripture to express them, and its uniqueness in teaching the doctrine of the church. Benson describes it as embodying “practically every doctrine concerning the church [Stone] held most dear (its divine origin, its unbroken continuity, its catholicity and essential unity, its orthodoxy, its sacramental grace, its communion with God and with the departed saints, its militancy and final triumph).”