September 27, 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:

When Love is Found – Anthony Giamanco

Brian Wren (b. 1936) is Emeritus Professor of Worship, Columbia Theological Seminary, Decatur, Georgia. He is a writer, preacher, worship and workshop leader, and internationally published hymn-poet, with entries in most recent denominational hymnals in North America, Britain and Australia. Some of his hymns have been translated into Finnish, French, Japanese, Mandarin, Spanish and Korean. Brian holds undergraduate and doctoral degrees from Oxford University. He is a Minister of the United Reformed Church (UK). His publications include What Language Shall I Borrow? - God-Talk in Worship: A Male Response to Feminist Theology (1989 and 2009), Praying Twice: The Music and Words of Congregational Song (2000), Advent, Christmas and Epiphany: Liturgies and Prayers for Public Worship (2008), Hymns for Today (2009) and seven hymn collections totaling 250 hymns.

When love is found and hope comes home,
sing and be glad that we are one.
When love explodes and fills the sky,
praise God and share ​our Maker’s joy.

Anthony Giamanco (b. 1958), born in Detroit, Michigan, has been a professional church musician since the age of 17. Currently he serves as music director at St. Mary Catholic Parish in Pinckney, Michigan, where he oversees an adult choir, two children's choirs, a handchime ensemble, instrumental ensembles, and two contemporary ensembles. Anthony's many choral, organ, and piano works are featured in the catalogs of numerous publishers, including GIA, for whom the octavo "Love Comes Trick-a-lin' Down" was a top ten seller in 2007.

Interlude on “Ubi Caritas” – Charles Callahan

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.

Where charity and love are, God is there.
Love of Christ has gathered us into one.
Let us rejoice in Him and be glad.
Let us fear, and let us love the living God.
And from a sincere heart let us love one.

Where charity and love are, God is there.
At the same time, therefore, are gathered into one:
Lest we be divided in mind, let us beware.
Let evil impulses stop, let controversy cease.
And in the midst of us be Christ our God.

Where charity and love are, God is there.

At the same time we see that with the saints also,
Thy face in glory, O Christ our God:
The joy that is immense and good, Unto the
World without end. Amen.

Charles Callahan (b. 1951) is one of America’s leading organist-composers.  A native of Cambridge, Massachusetts, he is a graduate of the Curtis Institute of Music and Catholic University of America.  In recognition of his service to the church and his commissioned compositions for Papal visits to the U.S., he was awared the Papal Honor of Knighthood in the Order of the Holy Sepulchre of Jerusalem in 1999.  In addition to compositions and performances, Charles Callahan is a noted educator and author whose two books on American organ-building have become standard reference works.

Prelude, Op. 95 – Alexandre Glazounow

Alexander Konstantinovich Glazunov (Алекса́ндр Константи́нович Глазуно́в, 1865 -1936) was a Russian composer of the late Romantic period, music teacher and conductor. He served as director of the Saint Petersburg Conservatory between 1905 and 1928 and was also instrumental in the reorganization of the institute into the Petrograd Conservatory, then the Leningrad Conservatory, following the Bolshevik Revolution. He continued heading the Conservatory until 1930, though he had left the Soviet Union in 1928 and did not return. Glazunov toured Europe and the United States in 1928, and settled in Paris by 1929. He always claimed that the reason for his continued absence from Russia was "ill health"; this enabled him to remain a respected composer in the Soviet Union. Glazunov was significant in that he successfully reconciled nationalism and cosmopolitanism in Russian music. While he was the direct successor to Balakirev's nationalism, he tended more towards Borodin's epic grandeur while absorbing a number of other influences. These included Rimsky-Korsakov's orchestral virtuosity, Tchaikovsky's lyricism and Taneyev's contrapuntal skill. Younger composers such as Prokofiev and Shostakovich eventually considered his music old-fashioned while also admitting he remained a composer with an imposing reputation and a stabilizing influence in a time of transition and turmoil. 

About the Choral Music:

Let Us Love One Another – Arnold Sherman

Arnold Sherman (b. 1948), currently living in Tyler, Texas, is a free-lance composer and co-founder of Red River Music. Sherman is the founder and Director of the East Texas Handbell Ensemble.  A clinician and guest conductor, he has led choral and handbell workshops, festivals, and reading sessions throughout the United States, Canada, England, Japan and the Bahamas. Arnold has over three hundred choral and handbell pieces in print and has been an active member of the American Guild of English Handbell Ringers where he has served as Area IX Chairman.

“Let Us Love One Another” was written for the choir of First United Methodist Church in Henderson, Texas, and is based on I John 4: 7-11.

            Beloved, let us love one another, for love comes from God,

            And all who know and call upon his name are children of our Lord.

            Beloved, this is what love is; not that we love God, but that he loves us

and sent his only Son to free us from our sin.

How can we not know our God?  How can we not love our God?

He sent his only Son to die for all our sins.

Is there greater love that this?

Beloved, if this is how God loves, then we should love all men,

And live in perfect harmony with all, and God will live in us.

            Let us love one another.

About the Hymns:

To God Be the Glory

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.”
Frances Jane Crosby’s hymns have historically been among the most popular songs sung by Methodists.  “To God be the glory” was included in William Doane’s Songs of Devotion in 1870.  Ira Sankey probably saw the hymn in Doane’s collection and incorporated it into the first edition of his Sacred Songs and Solos (1875).  Dwight Moody and Ira Sankey helped to establish the hymn’s popularity during their revivals in Great Britain in the late 19th century.  It also appeared in some British hymnals including the Methodist Hymn Book (1933).

However, it was not until the 1954 Billy Graham Crusade in Nashville that Cliff Barrows introduced this song to congregations in the United States.  Mr. Graham and Mr. Barrows had learned the song during the 1952 revivals they had conducted in Great Britain.  Hymnologist William J. Reynolds, writing in his hymnal companion Hymns of Faith (1964), documented the return of this hymn to the USA: “It is most extraordinary that this long-forgotten American gospel song should have been imported from England and become immensely popular during the last decade.” 

Forgive Our Sins as We Forgive

Accepting and giving forgiveness may be one of the most important aspects of living. I believe that the Assurance of Pardon is one of the most significant parts of Christian worship: "In the name of Jesus Christ, you are forgiven!" These words may offer healing and hope for many in worship, even beyond anything else said or sung. Forgiveness is not only a personal way of living, but also an attribute of societies. How many times do we observe centuries of hate and hurt that, because of the inability to forgive, continue to fester and cause suffering, death, and destruction?

With "Forgive Our Sins as We Forgive" by Rosamond Herklots (1905-1987), we receive a full treatment of Matthew 6:12: "And forgive us our debts, as we forgive our debtors." (KJV) Luke 11:4 states: "And forgive us our sins; for we also forgive every one that is indebted to us." "Trespasses" first appeared in William Tyndale’s translation in 1526 and was retained for use in the first Book of Common Prayer in English in 1549. The English Language Liturgical Consultation (1988), a group of ecumenical liturgists in the English-speaking world, proposed "and forgive us our sins as we forgive those who sin against us." A companion Scripture is Colossians 3:13, "bearing with one another and, if one has a complaint against another, forgiving each other; as the Lord has forgiven you, so you also must forgive"

This hymn was written in June 1966 and printed soon afterward in the parish magazine of St. Mary’s Church, Bromley, Kent. The idea of the hymn had occurred to Herklots when she was digging out weeds in her nephew’s garden; she reasoned that their deep roots, obstructing the growth of the flowers near them, resembled the bitterness and resentment that can become entrenched and hinder the Christian’s growth in grace.  Herklots' language is potent in describing the blessings we miss when our "heart . . . broods on wrongs and will not let old bitterness depart"

Rosamund Eleanor Herklots (1905-1987) was born in India to missionary parents. She was educated at the University of Leeds in England. Working as a teacher and secretary, she began writing hymns in the early 1940s. She submitted hymns for the "Hymns for Britain" competition, two of which were selected to be sung on television. She wrote more than seventy hymns.

This is a Day of New Beginnings

Brian Arthur Wren (b. 1936) is Emeritus Professor of Worship, Columbia Theological Seminary, Decatur, Georgia. He is a writer, preacher, worship and workshop leader, and internationally published hymn-poet, with entries in most recent denominational hymnals in North America, Britain and Australia. Some of his hymn-poems have been translated into Finnish, French, Japanese, Mandarin, Spanish and Korean. Brian holds undergraduate and doctoral degrees from Oxford University. He is a Minister of the United Reformed Church (UK). Wren provides an account of the composition of this text in notes provided in one of the collection of his texts, Faith Looking Forward (1983). The hymn was “written for a New Year’s Day service [1978] at Holy Family Church, 

Blackbird Leys, Oxford. In itself, the new year is an arbitrary convention, its newness a mere mark on the calendar. The recurrent awakening of life in nature is not a strong enough foundation for hope of real change. Yet by faith in the really new events of the Christian story, a day, or a month, or an hour can become charged with promise, and be a springboard to a changed life.”

As one of the leading hymnwriters of our time, Dr. Wren has contributed more hymns to the UM Hymnal (1989) than any other hymnwriter currently living. This text is supported by a melody composed by Dr. Young (b. 1926), one of the leading tune writers of this day.