November 15, 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:

Give Me Jesus – Richard Billingham

Give Me Jesus originated as an African-American spiritual written during the time of slavery in the United States.  The lyrics of Give Me Jesus are simple, but poignant. Whether we are in tragedy or triumph, whether we are weathering storms or counting treasures, our hearts’ desire should simply be Jesus.  That Give Me Jesus was written by people stripped of all dignity and every human possession says so much about what Jesus is, what He can give and His very nature!

In the morning when I rise, give me Jesus.

            And when I am alone, give me Jesus.

            You can have all this world, but give me Jesus.

            And when I come to die, give me Jesus.

            And when the trumpet sounds, give me Jesus.

            You can have all this world, but give me Jesus!

Richard Billingham (b. 1934) is an Associate Professor at the University of Illinois and organist at First Methodist Church of Chicago and the Chicago Temple.

Warum betrübst du dich mein Herz – J. C. Bach

"Warum betrübst du dich, mein Herz?"  is a very old German chorale, which has been set by many composers, both for organ and for choir.  The chorale melody is found on undated manuscripts that appeared around the middle of the 16^th century in Nürnberg. One of these is listed as coming from Nürnberg in 1561. The composer and/or text author is unknown. For many years it had been thought that Hans Sachs could have written both song and melody. The melody was noted on a manuscript from Crailsheim in 1565.  The chorale text has a total of 14 verses.  The source of the text and general theme are very similar to “His Eye is on the Sparrow.”  A rough translation of 3 of the verses is as follows:

Why do you trouble yourself, my heart, tormenting yourself and bearing pain only about perishable goods?  Alas, I am poor; heavy worries oppress me.  From evening until morning, my dear necessity lasts.  May God have mercy!  Who will rescue me yet from the body of this evil and cruel world?  How wretched it is beset around me!  Alas!  If I were only dead! 

Trust in your Lord God, who has created everything.  He can and will not abandon you. He knows well what you lack; heaven and earth are His!  Ah, how?  God freely tends to the wild animal: He gives the bird his meal; He nourishes the young raven.  Your Father and your Lord God, He will stand with you in all necessity.

Well then!  I will also rest quite peacefully.  Now I can live as if in heaven.

Johann Sebastian Bach’s life was surrounded by Johann Christophs:  an uncle, a cousin, an older brother, and a son.  Here we have a chorale prelude by his 1st cousin once removed, who became the town organist in Eisenach in the year 1665 and court chamber musician there in 1700.  Prior to Johann Sebastian, Johann Christoph (1642-1703) would have been considered the most famous musician of the Bach family. His work is of the highest quality and, in some instances, has been improperly attributed to Johann Sebastian himself (e.g. the motet Ich lasse dich nicht). Johann Christoph composed choral works (motets and cantatas) and works for organ (preludes and fugues). Johann Sebastian described his cousin as "the great and expressive composer," and performed his works often as did Carl Philipp Emanuel.

About the Handbell Music:

Ring, Zing, Swing – John Behnke

This fun, jazz piece is by John Behnke, who  is Professor of Music at Concordia University in Mequon, Wisconsin where he teaches organ, graduate handbell courses, directs The Alleluia Ringers, Concordia's touring handbell choir and the Milwaukee Handbell Ensemble.  He is also the Music Editor for AGEHR Music - Handbell Musicians of America.  Behnke is a frequent organ recitalist, handbell clinician, and festival director. He enjoys composing and arranging having over 250 handbell, choral, and organ compositions in print.  

About the Choral Music:

I Surrender All – Claude Bass

"I Surrender All" was written by American art teacher and musician Judson W. Van DeVenter (1855–1939), who subsequently became a music minister and evangelist. It was put to music by Winfield S. Weeden (1847–1908), and published in 1896.Van DeVenter said of the inspiration for the text:

For some time, I had struggled between developing my talents in the field of art and going into full-time evangelistic work. At last the pivotal hour of my life came, and I surrendered all. A new day was ushered into my life. I became an evangelist and discovered down deep in my soul a talent hitherto unknown to me. God had hidden a song in my heart, and touching a tender chord, He caused me to sing.

Following his decision to surrender his life to the Divine, Van DeVenter traveled throughout the United States, England, and Scotland, doing evangelistic work. Winfield S. Weeden, his associate and singer, assisted him for many years. Toward the end of his life, Van DeVenter moved to Florida, and was professor of hymnology at the Florida Bible Institute for four years in the 1920s. After his retirement, he remained involved in speaking and in religious gatherings. Van DeVenter published more than 60 hymns in his lifetime, but "I Surrender All" is his most famous.

Claude Leroy Bass was born in 1935 in Gainesville, TX. He received his BM from Oklahoma Baptist University, a MM from the University Oklahoma, and a PhD from North Texas States University. He was a high school music teacher, and professor of music at Oklahoma Baptist University and at Southwestern Baptist Theological Seminary in Fort Worth, TX.

            All to Jesus I surrender, all to Him I freely give.

            I will ever love and trust Him, In His presence daily live.

           

All to Jesus I surrender, make me Saviour, wholly Thine.

            Let me feel the Holy Spirit, truly know that Thou art mine.

            All to Jesus I surrender, Lord I give myself to Thee;

            Fill me with Thy love and power, Let Thy blessing fall on me.

           

I surrender all, I surrender all;

            All to Thee my blessed Saviour, I surrender all.

About the Hymns:

Praise to the Lord, the Almighty

"Praise to the Lord, the Almighty" is a hymn based on Joachim Neander's German chorale Lobe den Herren, den mächtigen König der Ehren, published in 1680. John Julian, in his A Dictionary of Hymnology, calls the German original "a magnificent hymn of praise to God, perhaps the finest creation of its author, and of the first rank in its class."  Neander wrote this particular hymn while dying and it says much about his faith. While contemplating the words to go along with the melody, he reflected on Psalm 103 with its claim that everything within us should praise the Father’s holy name.  It was the favorite hymn of King Frederick William III of Prussia, who first heard it in 1800.  In the Neander original, first the singer calls himself (my beloved soul) to praise God, then calls for a larger group to join the praise with musical instruments as well as song.  John Julian‍‍ '​‍s A Dictionary of Hymnology lists more than ten English translations of "Lobe den Herren" printed in various nineteenth century hymnals.

The melody used by Neander, first published in 1665, is probably based on a folk tune. The common name given to this melody is "Lobe den Herren". Several variants were published with various secular texts between 1665 to 1680, when Joachim Neander published his German hymn, Lobe den Herren, den mächtigen König der Ehren, using its meter. The text paraphrases Psalm 103 and Psalm 150.  

One interesting piece of history is the later use of Neander’s name. He often taught in a valley near the Düssel river, and over 100 years after his death the valley was named after him. It was in that valley that bones were later found, from which we get the name “Neanderthal.”

For the Beauty of the Earth

Folliott Piermont (1835-1917) was born in Bath, England and was a lay member of the Anglican Church. Following his graduation from Queen's College, Cambridge, he taught the classics for a time at Somerset College, later becoming a freelance writer. During his 82 years of life, Pierpoint published seven volumes of poems and hymn texts, many of them showing his love for nature. He is most remembered for this beautiful hymn, For the Beauty of the Earth.

Piermont was about 29 years old when he wrote the text for this joyful hymn.  It was a lovely day in late spring.  While enjoying the surrounding area of his native city of Bath, in England, he was inspired by the beautiful countryside with its winding cool and peaceful river, Avon, in the distance. The tuneful songbirds, the wind whispering over a vibrantly colored hillside, all seemed to be praising the Creator with their unrestrained gladness and peace.  Overwhelmed with emotion, he expressed his feelings of gratitude in the penning of this sacred song.  The text was inspired by Hebrews 13:15:  "By him therefore let us offer the sacrifice of praise to God continually, that is, the fruit of our lips giving thanks to his name."  It first appeared in 1864 in a book of Eucharistic hymns and poems entitled Lyra Eucharistica, Hymns and Verses on The Holy Communion, Ancient and Modern, with other Poems with the title "The Sacrifice of Praise".

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.”