August 16, 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:

My Shepherd Will Supply My Need – Sam Batt Owens

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 composed for religious worship, "Behold the glories of the Lamb," was written at the age of twenty.  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.  There is a monument to his memory in the South Choir of Westminster Abbey.  The inscription reads, "Happy will be that reader whose mind is disposed, by his verses or his prose, to imitate him in all but his non-conformity, to copy his benevolence to men, and his reverence to God."

Psalm 23 has inspired numerous paraphrases and hymn texts, including this text by Isaac Watts. Watts included it in his large 1719 collection of psalm paraphrases, The Psalms of David Imitated.  Psalm 23 remains the most well-loved and often recited psalm, and Isaac Watts' powerful paraphrase, coupled with the peaceful yet strong American folk tune, make this hymn a moving rendition of that psalm. Watts’ interpretation of the last line of psalm, “and I will dwell in the house of the LORD forever,” gives a new understanding to the original psalm: “No more a stranger or a guest, but like a child at home.” Watts gives us a concrete image of dwelling – a child, knowing he or she is safe and secure, and in a place of love and comfort – to help us understand what it is we hope for. The same peace we find in the pasture and by the stream, we find in the house of the LORD, to which our Shepherd is leading us day by day.

My Shepherd, you supply my need, most holy is your name;
in pastures fresh you make me feed, beside the living stream.
You bring my wand'ring spirit back. when I forsake your ways;
you lead me, for your mercy's sake, in paths of truth and grace.

When through the shades of death I walk, your presence is my stay;
one word of your supporting breath drives all my fears away.
Your hand in sight of all my foes, does still my table spread;
my cup with Blessings overflows, your oil anoints my head.

Your sure provisions gracious God attend me all my days;
oh, may your house be my abode, and all my work be praise.
Here would I find a settled rest, while others go and come;
no more a stranger, nor a guest, but like a child at home.

Sam Batt Owens (1928-1998) enjoyed a long career as a well-known organist, composer, and church musician. He received a B. Mus. in organ performance, from the Birmingham Conservatory of Music, a M. Mus. in organ performance and composition from Birmingham- Southern College, and a D.M.A. in organ performance and musicology from Peabody College of Vanderbilt University.  Owens taught at Birmingham Conservatory of Music, Birmingham Southern College, Vanderbilt University, Fisk University, Grace-St. Luke's Episcopal School, and Christ School for Boys in Arden, N.C. He held his fIrst position as an organist at age 12, and began solo organ performances at age 16. He wrote more than 200 choral, organ, instrumental and solo vocal compositions. He was one of the Episcopal Church's leading musicians. He was President of the Association of Anglican Musicians from 1989-1991. In 1996, he had left his position at St. Andrew's on-the-Sound in Wilmington, N.C., to become a consultant for parishes and dioceses in artistic matters and a crusader for fair compensation and recognition of church musicians. In his later years he taught congregations in smaller parishes how to be full participants in corporate worship, presenting "music in liturgy and how music upholds and supports corporate worship."

Meditation on “Columba” – Searle Wright

“The King of Love My Shepherd Is” is an Anthony G. Petti (1932-1985) adaption of the 1868 Sir Henry W. Baker (1821-1877) paraphrase of Psalm 23. Baker took Holy Orders in the Church of England in 1844. He was closely associated with hymnody in the Church. Besides writing, translating, and composing a number of hymns, his most notable role was as Ed­it­or-in-Chief of the first edition of Hymns An­cient and Mo­dern (1861) which sold over 60 million copies.  “The King of Love My Shepherd Is” has proven to be his most enduring work. It is said that as he lay dying his final words were those of the 3rd stanza: "Perverse and foolish, oft I strayed, but yet in love he sought me; and on his shoulder gently laid, and home, rejoicing, brought me." It is sung to the tune: St. Columba, a traditional Irish melody.

The King of love my shepherd is, whose goodness faileth never.
I nothing lack if I am his, and he is mine forever.

Where streams of living water flow, my ransomed soul he leadeth;
and where the verdant pastures grow, with food celestial feedeth.

Perverse and foolish, oft I strayed, but yet in love he sought me;
and on his shoulder gently laid, and home, rejoicing, brought me.

In death's dark vale I fear no ill, with thee, dear Lord, beside me;
thy rod and staff my comfort still, thy cross before to guide me.

Thou spreadst a table in my sight; thy unction grace bestoweth;
and oh, what transport of delight from thy pure chalice floweth!

And so through all the length of days, thy goodness faileth never;
Good Shepherd, may I sing thy praise within thy house forever.

M. Searle Wright (1918-2004) was a composer, teacher and master of both classic and theater pipe organ.  Director of chapel music at St. Paul's Chapel at Columbia University from 1952 to 1971 and president of the American Guild of Organists from 1969 to 1971, Wright wrote music that church choirs in North America have been singing for more than half a century. He was Link professor of music at the State University of New York there until he retired in 1984. Wright was organist and choir director at the First Congregational Church in Binghamton and organist for the B.C. Pops Orchestra.

Wright earned money as a teenager on weekends by playing Strauss waltzes and transcriptions of organ music on the Wurlitzer at the Capitol Theater in Binghamton, Pa., before the start of the movie.  He went to New York City to study classical organ with T. Tertius Noble, the organist and master of choristers at St. Thomas Church, and later attended Columbia University.  He perfected his improvisation techniques at the School of Sacred Music at Union Theological Seminary and began teaching students there in 1947. Wright was the first American to perform at Westminster Abbey.

Postludio – J. R. Manzanares

Jacinto Ruiz de Manzanares (1872-1937) studied at Madrid Conservatory. He was Professor of piano and composition at the Valladolid Conservatory, Spain.  He composed music for piano and organ.  “Postludio” bears an inscription which quotes a verse by Lope de Vega:

            Lead me to mercy’s ever-flowing fountains,

            For thou my shepherd guard and guide shalt be;

            I will obey thy voice, and wait to see

            Thy feet all beautiful upon the mountains.

About the Choral Music:

My Jesus, I Love Thee – Gilbert Martin

Sixteen year old William Featherston (1846-1873) of Montreal, Canada wrote this simple but profound hymn in 1862, not long after he was converted to Christ. William wrote no other hymns that we know of and his brief life ended just before his twenty-seventh birthday.  Featherstone, a Weslyan Methodist, sent the poem to his aunt in Los Angeles, and somehow, it made its way to England where it was published anonymously in The London Hymn Book two years later. Adoniram Judson Gordon (1836-1895), who was compiling a Baptist hymn book, liked Featherstone's text, but decided it needed a better tune than the one that was used in The London Hymn Book, so he wrote a new tune for it which he published in The Service of Song for Baptist Churches. This is the tune that is still used today.

Gilbert M. Martin (b. 1941) is a free-lance composer and editor of choral music. For more than 30 years, organists, pianists, schools and churches have performed and enjoyed his original compositions and arrangements. He often travels throughout the country to teach and conduct musical ensembles. He received a B. Mus. from Westminster Choir College, where he was honored as a distinguished composer and graduate. He has received 21 yearly ASCAP Awards, and is a member of ACDA, AGO, AEA, and NARAS.

            My Jesus, I love thee, I know thou art mine;

            For thee all the follies of sin I resign;

            My gracious Redeemer, my Savior art thou:

            If ever I loved thee, my Jesus, ‘tis now.

            I love thee because thou hast first loved me,

            And purchased my pardon on Calvary’s tree;

            I love thee for wearing the thorns on thy brow:

            If ever I loved thee, my Jesus, ‘tis now.

            Jesus, Jesus, how I trust him, how I’ve proved him o’er and o’er!

            Jesus, Jesus, precious Jesus, O for grace to trust him more!

            In mansions of glory and endless delight,

            I’ll ever adore thee in heaven so bright;

            I’ll sing with the glittering crown on my brow:

            If ever I loved thee, my Jesus, my Jesus, ‘tis now, ‘’tis now.

About the Hymns:

Joyful, Joyful, We Adore Thee

"The Hymn of Joy" (often called "Joyful, Joyful We Adore Thee" after the first line) 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).

The Gift of Love

Among the most prominent New Testament texts is the discourse on love found in I Corinthians 13. Hal H. Hopson has paraphrased part of this beautiful text in what has become one of the most popular late 20th-century hymns, appearing in many major hymnals published in the U.S. since 1980. "The Gift of Love" first appeared as a very popular anthem in 1972. Both the text and the music are effective paraphrases -- the text of I Corinthians 13:1-3 and the melody as an adaptation of the beautiful folk melody "O Waly, Waly." The original tune was collected by American folksong specialist Cecil Sharp and published in his Folk Songs from Somerset (1906).  "The Gift of Love" is very flexible and, according to Hope Publishing Co., is Mr. Hopson's most popular composition -- widely used as an anthem, solo and as a hymn. Speaking of the popularity of his hymn, Hopson said: "The first 'Gift of Love' was a two-part choral arrangement. Years later, at the suggestion of  George Shorney at Hope Publishing Company, I cast it in a form to be used as a congregational hymn. Since then it has become a standard hymn to be included in many hymnals. It is noteworthy that The United Methodist Hymnal, 1989, was the first hymnal that included 'The Gift of Love.' I was once surprised to be introduced at a seminar as the Gift-of-Love-Man."

Mr. Hopson (b. 1933) is a native of Mound, Texas, and now resides in Dallas. He has an international reputation as a clinician and composer, and has published more than 1,300 compositions, which comprise almost every musical form in church music. With a special interest in congregational song, he continues to make a significant contribution to the new repertoire of hymn tunes and responsorial psalm settings as evidenced by the proliferation of his settings that are included in newly published hymnals and psalm collections.

Great is Thy Faithfulness

A native of the small Kentucky town of Franklin, Thomas Obediah Chisholm (1866-1960) was born in a log cabin. He lacked formal education. Nevertheless, he became a teacher at age sixteen and the associate editor of his hometown weekly newspaper, the “Franklin Advocate”, at age twenty-one.  Though he was ordained a Methodist minister in 1903, he served only a single, brief appointment at Scottsville, Kentucky, due to ill health.  He wrote more than 1200 poems, 800 of which were published. They often appeared in religious periodicals such as the “Sunday School Times”, “Moody Monthly”, and “Alliance Weekly”. Many of these were set to music.

Chisholm had sent a number of his poems to the Rev. William H. Runyan (1870-1957), a musician with the Moody Bible Institute and one of the editors of Hope Publishing Company in Chicago.  Runyan wrote of the hymn: "This particular poem held such an appeal that I prayed most earnestly that my tune might carry over its message in a worthy way, and the subsequent history of its use indicates that God answered prayer.  It was written in Baldwin, Kansas, in 1923, and was first published in my private song pamphlets."  A phrase in Lamentations 3:22-23 provides a basis for the refrain: "The steadfast love of the Lord never ceases, his mercies never come to an end; they are new every morning; great is your faithfulness." 

George Beverly Shea (1909-2013), the famous Canadian-born singer of the Billy Graham Crusades, introduced this hymn to those attending the evangelistic meetings in Great Britain in 1954.  It immediately became a favorite.  This hymn appeared in many evangelical hymnals and song collections, but was not chosen for an official Methodist hymnal until The United Methodist Hymnal (1989), even though the author was a Methodist.  It was a very popular hymn of the former Evangelical United Brethren Church and had been included in their hymnals.