October 18, 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:

Gott, durch deine Güte– J. S. Bach

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).   

This chorale prelude is one of 46 found in the Orgelbüchlein ("Little Organ Book").  The collection was originally planned as a set of 164 chorale preludes spanning the whole liturgical year. The chorale preludes form the first of Bach's masterpieces for organ with a mature compositional style in marked contrast to his previous compositions for the instrument. Although each of them takes a known Lutheran chorale and adds a motivic accompaniment, Bach explored a wide diversity of forms.  The Orgelbüchlein is at the same time a collection of organ music for church services, a treatise on composition, a religious statement and a pedagogical manual.

God, grant that, through Your goodness,

You graciously guard the hearts, minds, and souls

Of us poor folk from the devil’s raging, in life and in death.

Christ, Savior of the world, stretch out your hand over us,

Guard us from mankind’s trifles;

Through your divine Word lead us into the Father’s land.

May the Holy Spirit’s love take root in us,

Drive sin from us, and inscribe his grace

That we may remain with you eternally.

Today Your Mercy Calls Us – Mark Sedio

Oswald Allen (1816-1878) was a banker in Kirkby and Glasgow, Scotland.  In 1861, he published Hymns of the Christian Life, which contains 148 hymns, a few of which are in common use.

Today Your mercy calls us To wash away our sin.
However great my trespass, Whatever we have been,
However long from mercy Our hearts have turned away,
Your precious blood can wash us And make us clean today.

O all-embracing Mercy, O ever-open Door,
What shall I do without You When heart and eye run o'er?
When all things seem against us, To drive us to despair,
We know one gate is open, One ear will hear our prayer.

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.

Fanfare – Guy H. Eldridge

Guy Henry Eldridge (1904-1976) studied at the Royal College of Music, was organist of the Church of St. Michael and All Angels, Hollington, and was the conductor of the Hollington Choral and Orchestral Society.  “Fanfare” was published in 1961 and is typical of British organ music of the period.  It is mildly dissonant and has a sense of confidence about it.  It is a trumpet tune framed by fanfares and a darker middle section.  

About the Choral Music:

He Shall Feed His Flock – John Ness Beck

John Ness Beck (November 11, 1930 - June 25, 1987) graduated from Ohio State with Bachelor of Arts and Bachelor of Science degrees with a major in English. After working for a year in Student Union activities at the State College of Washington, he spent two years in the U.S. Army. During this time, he became increasingly involved in arranging for various musical groups. After his discharge from military service, he returned to Ohio State and completed Bachelor of Music and Master of Arts degrees in music with composition as his major.  Beck was a faculty member of Ohio State University School of Music for seven years, teaching harmony and theory. He left the university to become owner and manager of The University Music House, a retail sheet music store in Columbus. In this capacity, he was able to observe the business side of the music industry, gaining insight into the complexities of music publishing and merchandising. As his compositions found their way into print and popularity, he joined forces in 1972 with John Tatgenhorst in the creation of Beckenhorst Press. His reputation as a composer and his experience as a choral director soon led to an increasing demand for appearances as guest conductor and lecturer at various musical clinics and festivals throughout the country.

Tender and sincere are the two words which characterize John Ness Beck’s setting of these beloved verses from Isaiah 40 and Psalm 23. 

            He shall feed His flock like a shepherd. He shall gather the lambs in His arm,

            And carry them in His bosom, and gently shall lead those that are with young.

            He shall gather the lambs in his arm, He will shelter them,

            And carry them close to His heart;

and gently, so gently, ever so gently shall lead those with young.

The Lord is my shepherd.  I shall not want.  Amen.

About the Hymns:

God, Whose Love is Reigning O’er Us

“God, Whose Love Is Reigning O’er Us” was written at the request of Susan Jane Grove and Douglas Alan DeJarnett and used as a processional hymn for their wedding in November 1980.  United Methodist Bishop William Boyd Grove (b. 1929), Susan’s father, penned his first hymn for this occasion. The hymn found its way into the Upper Room Worshipbook (1985) and then into the United Methodist Hymnal (1989).

Bishop Grove was born in Johnstown, Pa., and received his education at Bethany College (1951), Drew University (1954) and Pittsburgh Theological Seminary (1978). He served as a pastor in congregations in the Western Pennsylvania Conference, and was consecrated bishop of the West Virginia Conference in 1980. After 12 years of service in this conference, he served for four years in the Albany (N.Y.) Area before retiring from the active episcopacy in 1996. Throughout his ministry, Bishop Grove has championed the ecumenical connections of the broader church, serving as a member of the executive committee of the Consultation on Church Union (1988-2000), the ecumenical officer of the denomination’s Council of Bishops (1996-2000) and president of the General Commission on Christian Unity and Interreligious Concerns.

Freely, Freely

Carol Sue Owens (b.1931) attended San Jose State College and Cathedral School of the Bible, Oakland, Calif. She and her husband James composed Christian musicals. “Freely, Freely” is featured in Come Together, A Musical Experience in Love, written in 1974.

Love Divine, All Loves Excelling

Charles Wesley (1707-1788) was a prolific hymn writer of the 18th century. Coming from a musical family, he left a lasting legacy of congregational song.  The youngest of 18 children, Charles possessed prodigious talents that soon blossomed. Little did he know that “Love Divine, All Loves Excelling,” would rise to become one of the most popular and consistently vocalized Christian songs.  Writing hymn texts that are solidly based on the Scriptures gives them an appeal across denominational lines. It is estimated that during his lifetime, Wesley penned more than 9,000 poems of a spiritual nature, 6,000 of which are hymns. What really set Charles apart from other hymn writers was his effective use of scriptural allusions, providing a spiritual roadmap whereby individuals could imagine a Christ-centered life. His writings were passionate and well-crafted, conveying the true essence of Christian teaching. 

A substantial number of his writings were completed while riding on horseback to his evangelical meetings.  Scholars suggest that he was able to compose about 10 lines of verse daily for 50 years. Charles’ brother John sometimes served as editor to his hymns. John’s typical response was, “some were good, some were mediocre, and some were exceptional.” John can also be credited with improving the singability of Charles’ hymns.

Both John and Charles were instrumental in changing the spiritual environment of Britain during the 18th century. In doing so, they formed the bedrock of what Methodism has become worldwide. Their unwavering devotion to expressing Christian spirituality through hymns has impacted individuals across all denominational lines.  We are fortunate to be the recipients of the poetic genius of Charles Wesley. He influenced Methodism more than any other hymn writer. Upon hearing of Charles’ death, an elderly Londoner asked, “Who will write poetry for us now?” 

“Love Divine, All Loves Excelling” was first published in a collection of hymns entitled Hymns for those that Seek, and those that Have, Redemption in the Blood of Christ (1747). The incipit (opening line) was a play on the opening line of John Dryden’s (1631-1700) poem “Fairest Isle, All Isles Excelling” set to music by Henry Purcell (1659-1695) in the generation before Charles Wesley was born.  The hymn is written around a progression of thoughts: (1) our prayers for the Holy Spirit, (2) praying for the return of our Lord through the second coming, and (3) prayers for the finalization of his new creation.

Stanza 2 expresses the Wesleyan concept of the “second rest.” When Charles referred to this in his hymns, it specifically applies to the “second birth,” “second blessing,” “second gift.” All of these are directed toward achieving full “sanctification” or “Christian perfection.” This is an important theological tenet of Methodist preaching from the very beginning.