November 1, 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:

Herzlich lieb hab ich dich, o Herr – Georg Kauffmann

"Herzlich lieb hab ich dich, o Herr" (From my heart I hold you dear, o Lord) by the Protestant theologian and reformer Martin Schalling, written in Amberg in 1569 and first printed in 1571. It is sung to an anonymous melody, which appeared in a tablature book for organ in 1577. The first theme of the hymn is the love to God and one's neighbour, following the Great Commandment. Schalling included thoughts from Psalms 18:3.

            From my heart I hold you dear, o Lord,

            I ask that it may be your will to be not far from me with your kindness and mercy.

            The whole world gives me no delight;

            I do not ask for heaven and earth, if only I can have you.

            And even if my heart at once breaks, you are still my reassurance,

            My portion and my heart’s comfort, who has redeemed me through his blood.

            Lord Jesus Christ, my God and Lord, My God and Lord,

            Never again let me be put to shame!

            It is, Lord, your present and gift,

            My body and soul and what I have in this poor life.

            So that I may use this for your praise, for the benefit and service of my neighbor,

            May it be your will to grant me your grace!

            Guard me, Lord, from false teaching, defend me from Satan’s murder and lies,

            Sustain me in every affliction, so that I may endure with patience!

            Lord Jesus Christ, my Lord and God, my Lord and God,

            Comfort my soul in death’s distress.

Georg Friedrich Kauffmann (1679-1735) was a Baroque composer and organist from southern Germany who composed primarily sacred works for the organ and voice.  Late in his life, Kauffmann started to publish a complete edition of his organ chorales; however, he died of consumption before they had been completely published. His widow completed the publication of the Harmonische Seelenlust.  While they did not make a great first impression, over the next century they became one of the most significant achievements in German organ music, and remained in high demand well into the 19th century.

Let Us Talents and Tongues Employ – Mark Sedio

“Let Us Talents and Tongues Employ” was written by Fred Kaan in 1975.  Kaan was known and honoured throughout the English speaking world as a hymn writer. He was in the tradition of reformed ministers who wrote hymns to follow and sum up the sermons they preached. Having started to write hymns early in his ministry, his output grew steadily during his career.        

  

Let us talents and tongues employ, Reaching out with a shout of joy.                                                     Bread is broken, the wine is poured,      Christ is spoken and seen and heard. 

            Christ is able to make us one.  At the table he sets the tone,

Teaching people to live to bless, Love in word and indeed express.

Jesus calls us in, sends us out Bearing fruit in a world of doubt

Gives us love to tell, bread to share. God (Immanuel) everywhere!

Jesus lives again, earth can breathe again, Pass the Word around: loaves abound!

Mark Sedio currently serves as Cantor, organist, and choirmaster  at Central Lutheran Church in Minneapolis.  He is also on the music staff of Luther Seminary in St. Paul.

The Lord’s My Shepherd, I’ll Not Want – Sam Batt Owens 

James Leith Macbeth Bain (1860–1925) was a Scottish hymn writer, religious minister and author who became known to his peers as Brother James. He is remembered for his religious publications, as well as the hymn tune "Brother James' Air".  James was a Pupil Teacher in a Pitlochry school, and thereafter attended both the Edinburgh Free Church College and the Edinburgh Established Church College, with a view to becoming a Minister of Religion. He gained practical experience during this time by preaching in Argyllshire as well as Pitlochry and neighbouring Blair Athol.  James' ministry calling took him to Liverpool over the next decade, before going to London to work as a Spiritualist Minister. 

This beautiful version of Psalm 23 is found in the Scottish Psalter (1650).

The Lord’s my Shepherd, I’ll not want. He makes me down to lie
In pastures green; He leadeth me The quiet waters by.
He leadeth me, He leadeth me, the quiet waters by.

My soul He doth restore again; And me to walk doth make
Within the paths of blessedness, Ee’n for His own Name’s sake.
Within the paths of blessedness, Ee’n for His own Name’s sake.

Yea, though I pass through shadowed vale, Yet will I fear no ill;
For thou art with me; and thy rod And staff me comfort still.
Thy rod and staff they comfort still

My table thou hast furnished In presence of my foes;
My head with oil thou dost anoint, And my cup overflows.
My head thou dost with oil anoint, And my cup overflows.

Goodness and mercy all my days Will surely follow me;
And in my father’s heart always My dwelling place shall be.
And in my heart forevermore, thy dwelling place shall be.

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."

Toccata in D – Johann Krieger

Johann Krieger (1651-1735) was a German composer and organist, younger brother of Johann Philipp Krieger. Born in Nuremberg, he worked at Bayreuth, Zeitz, and Greiz before settling in Zittau. He was one of the most important keyboard composers of his day, highly esteemed by, among others, George Frideric Handel. A prolific composer of church and secular music, he published several dozen of his works, and others survive in manuscript. However, hundreds more were lost when Zittau was destroyed by fire in 1757, during the Seven Years' War.

Krieger's keyboard music places him among the most important German composers of his time. The two published collections, Sechs musicalische Partien (1697) and Anmuthige Clavier-Übung (1698), contain harpsichord suites, organ toccatas, fugues, ricercars, and other works. Krieger's contemporaries praised his contrapuntal skill, evident in the extant fugues and ricercars. Johann Mattheson was particularly impressed with Krieger's double fugues, remarking that he knew nobody who surpassed Krieger in this form, except Handel. Handel himself admired and studied Krieger's work, even taking a copy of Anmuthige Clavier-Übung with him to England.

About the Choral Music:

Down to the River to Pray – Mary McDonald

          Souled Out Youth Choir

This choral setting by Mary McDonald combines two familiar songs: “Down to the River to Pray” and “Lord, Listen to Your Children Praying”.  Mary McDonald’s sacred music career spans over thirty-five years. More than eight hundred anthems, seasonal musicals and keyboard collections testify to her significant contribution to sacred literature. In 2000, Mary became the first ever woman President of the Southern Baptist Church Music Conference. In addition, she has served as accompanist for the Tennessee Men's Chorale since 1985. Her greatest desire is "to give God glory for the songs He has allowed me to compose. He alone, is the true Creator behind my pen."  In 2011, after serving as sacred music editor for The Lorenz Corporation in Dayton, Ohio for more than twenty years, Mary answered a new call. Now she takes her tremendous passion and love for music making directly to churches as an independent artist by holding Composer Weekend workshops.

"Down in the River to Pray" (also known as "Down to the River to Pray," "Down in the Valley to Pray," "The Good Old Way," and "Come, Let Us All Go Down") is a traditional American song variously described as a Christian folk hymn, an African-American spiritual, an Appalachian song, and a gospel song. It gained popularity in 2000 after Alison Krauss performed it for the soundtrack of the Coen Brothers film, O Brother, Where Art Thou?.  The exact origin of the song is unknown. Research suggests that it was composed by an African-American slave.  The earliest known version of the song, titled "The Good Old Way," was published in Slave Songs of the United States in 1867.  The song is credited to "Mr. G. H. Allan" of Nashville, Tennessee, who was likely the transcriber rather than the author.  In some versions, "in the river" is replaced by "to the river." The phrase "in the river" is significant, for two reasons. The more obvious reason is that the song has often been sung at outdoor baptisms. Another reason is that many slave songs contained coded messages for escaping. When the slaves escaped, they would walk in the river because the water would cover their scent from the bounty-hunters' dogs. Similarly, the "starry crown" could refer to navigating their escape by the stars. And "Good Lord, show me the way" could be a prayer for God's guidance to find the escape route, commonly known as "the Underground Railroad."

Ken Medema (b. 1943) is a composer-singer-songwriter who has been performing in the United States, Canada, and Europe for more than thirty years. Some of his best known songs began as live improvisations.  Medema was born almost blind; his eyes let him tell light from shadow and see outlines of major objects. He began playing the piano when he was five years old, and three years later began taking lessons in classical music through braille music, playing by ear and improvising in different styles. In 1969, he majored in music therapy at Michigan State University in Lansing, studying both piano and voice. Afterwards he worked as a music therapist in Fort Wayne, Indiana, and later at Essex County Hospital in New Jersey.  In 1973, he began performing and recording his own songs while at Essex County Hospital. "I had a bunch of teenagers who were really hurting," he says, "and I started writing songs about their lives. Then I thought, 'Why don't you start writing songs about your Christian life?' So I started doing that, and people really responded."  Medema says the following about his writing of this prayer hymn: 

"Lord, Listen to Your Children Praying" came out of my New Jersey years. One night [in 1970], I was with a youth group. We started talking about a young man who was in the hospital and who really needed our prayers. In the middle of our prayer time, the idea for this little chorus came to me. I started humming, then singing. Soon the kids were mumbling along with me. We sang that chorus, "Lord, listen to your children praying," several times over. Then I started adding verses, and the kids quickly joined me in singing the new words. So it was a song born out of our concern and prayer for a friend.

The complete song was recorded on Medema's album Son Shiny Day  and published in an accompanying songbook.

            As I went down to the river to pray, studying about that good ole way

And who shall wear the starry crown, good Lord, show me the way.

O brother, let’s go down, let’s go down, come on down. 

O brother, let’s go down, down to the river to pray.

O Lord, listen to your children prayin’

O lord, send your Spirit in this place.

Send us love, send us power, send us grace.

Something’s gonna happen like the world has never known,

When the people of the Lord get down to pray.

A door’s gonna swing open, and the walls come a-tumblin’ down,

When the people of the Lord get down to pray.

About the Hymns:

Now Thank We All Our God

Martin Rinkart (1586-1649) was the Bishop of Eilenberg, Germany during the Thirty Years’ War.  Since Eilenberg was a walled city, it became a place of refuge for fugitives of the war, and also a place of famine and disease due to overcrowding.  In 1637, at the height of their misery, Rinkart was the only clergyman left in the city who could perform the 40 or 50 daily burial services, one of which was for his wife.   The city was sacked three times by invaders.  During this time, Rinkart managed to write 7 dramas and 66 hymns.  The hymn “Nun danket alle Gott” was originally titled “Tisch-Gebetlein” (a little prayer before the meal).  This humble prayer of thanksgiving is laid out simply and beautifully in the first verse.  This verse of thanks is followed by a verse asking for strength in time of trial and a doxology.   The tune, “Nun Danket” is named for Rinkart's text, has been associated with it ever since they were published together by Johann Crüger (1598-1662) in his Praxis Pietatis Melica (1647).

Sanctuary

The writer of “Sanctuary”, Randy Lynn Scruggs (b. 1953) is a music producer, songwriter and guitarist. He had his first recording at the age of 13. He has won a Grammy Award and was twice named "Musician of the Year" at the Country Music Association Awards. He is the middle son of Earl Scruggs.  As a songwriter, Scruggs's credits include "We Danced Anyway", "Love Don't Care (Whose Heart It Breaks)", "Love Has No Right", "Don't Make It Easy for Me", "Chance of Lovin' You", and "Angel in Disguise".  Scruggs has worked with many artists, including Michael Card, The Talbot Brothers, Waylon Jennings, George Strait and Emmylou Harris. His career dates back to the 1970 with the release of All the Way Home, a collaboration with his older brother Gary. Scruggs recorded his debut solo LP, Crown of Jewels, in 1998.In 1994, Scruggs teamed up with Earl Scruggs and Doc Watson to contribute the song "Keep on the Sunny Side" to the AIDS benefit album Red Hot + Country produced by the Red Hot Organization.

You Satisfy the Hungry Heart

This hymn unites the work of composer, Robert Kreutz, and hymn text writer, Omer Westendorf.  It was among 200 texts submitted for possible use at the 41st International Eucharistic Congress in Philadelphia in 1976. "You Satisfy the Hungry Heart" was selected as the official hymn of that gathering.  First embraced by Roman Catholics, this hymn has since become well-known and a favorite in many denominations.   Following the reforms of the Second Vatican Council (1962-1965), the role of congregational song became much more prominent in Roman Catholic worship. The ecumenical worshipping community has been the beneficiary of some music composed for Catholic worship since that time, especially music for Communion.   We would not have some of our favorite Communion hymns in The United Methodist Hymnal and The Faith We Sing without the contribution of post-Vatican II Catholic composers. “One bread, one body” (UMH No. 620) and “Take our bread” (UMH No. 640) are just a two of these. 

Omer Westendorf (1916-1997) was one of the leading post-Vatican II composers and his hymn, “Gift of finest wheat,” is one of the best-known Communion hymns to come from the decades immediately following the liturgical reforms of the Second Vatican Council.  This hymn unites the work of composer, Robert Kreutz, and hymn text writer, Omer Westendorf.  It was among 200 texts submitted for possible use at the 41st International Eucharistic Congress in Philadelphia in 1976. "You Satisfy the Hungry Heart" was selected as the official hymn of that gathering.  The hymn was first published in We Celebrate with Song (1979).

Beginning at age 20, Westendorf received his master of music degree 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, Ohio.  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 U.S. and beyond.  

Westendorf was also known for his lectures and seminars on sacred music, consultations on liturgical music, and as a hymn writer. UM Hymnal editor Carlton Young notes that Westendorf’s “People’s Mass Book, 1964, 1966, 1970, 1976, 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.”

One of the prominent features of Catholic hymns from this era is a memorable and singable refrain. For example, think of how easily congregations learn the refrain by Catholic musician Daniel Schutte, “Here I Am, Lord.”  “You satisfy the hungry heart” has an equally memorable refrain, though more reflective.   The refrain evokes the agrarian image of “finest wheat,” the source of bread, a primary staple that sustains life. The hymn writer first addresses Christ directly in the second person, implying an intimate relationship, and offers a petition to Christ to “give to us... the bread of life to eat.”

The hymn is replete with biblical references. The refrain echoes John 6:25-37, a passage where Christ develops the imagery of bread and says, “I am the bread of life; he who comes to me shall not hunger.” Stanza one focuses on the metaphor of Christ as shepherd drawn from several passages, but especially from John 10. Stanza three is almost a direct quotation of I Corinthians 10:16-17: “The cup of blessing which we bless, is it not a participation in the blood of Christ. The bread which we break, is it not a participation in the body of Christ?”  The final stanza sites the selfless and self-giving gift of Christ reminding us of Philippians 2:5-11, a creedal hymn of the early church.