March 6, 2016

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.  

This week's topic for the Lenten sermon series, Cativated by Christ, is Jesus the Teacher.

About the Organ Music:

Sandys – Healey Willan

George Herbert (1593-1633) was educated at Westminster School, and at Trinity College, Cambridge.  He became Major Fellow of the College and Orator for the University. He took Holy Orders and was appointed by the Bishop of Lincoln to the Prebend of Lcighton Ecclesia.  Herbert's prose work, Priest to the Temple, appeared several years after his death, but The Temple, by which he is best known, was delivered to Nicholas Ferrar and published in 1633. The work became popular, and the 13th edition was issued in 1709. It is meditative rather than hymnic in character, and was never intended for use in public worship. In 1697, a selection from The Temple appeared under the title Select Hymns Taken out of Mr. Herbert's Temple & turned into the Common Metre To Be Sung In The Tunes Ordinarily us'd in Churches. In 1739, John and Charles Wesley made a much more successful attempt to introduce his hymns into public worship by inserting over 40 in a much-altered form in their Hymns & Sacred Poems. The quaintness of some of Herbert's lyrics and the peculiarity of several of their metres have made them less useful for congregational singing. The best known are: “Let all the world in every corner sing"; "My stock lies dead, and no increase"; "Throw away Thy rod"; "Sweet day, so cool, so calm"; and "Teach me, my God, and King."

Teach me, my God and King, In all things Thee to see,
And what I do in anything To do it as for Thee;

To scorn the senses' sway, While still to Thee I tend:
In all I do be Thou the Way, In all be Thou the End.

All may of Thee partake; Nothing so small can be
But draws, when acted for Thy sake, Greatness and worth from Thee:

If done to obey Thy laws, E'en servile labors shine;
Hallowed is toil, if this the cause, The meanest work Divine.

Healey Willan (1880-1968) was an Canadian organist and composer.  He composed more than 800 works including operas, symphonies, chamber music, a concerto, and pieces for band, orchestra, organ, and piano, but is best known for his religious music.  Willan was born in England, and he began musical training at age eight, with studies at St. Saviour's Choir School in Eastbourne.  He earned, by examination in organ playing, harmony, counterpoint, history and orchestration, the Royal College of Organists' Associateship in 1897 and Fellowship in 1899. The Anglo-Catholic Tractarian movement led to an Anglican revival of plainsong, and in 1910, Willan joined the London Gregorian Association (which strove to preserve and revive "plain-chant").  In 1913, Willan emigrated to Canada.  In 1921, he become Precentor of the Church of St. Mary Magdalene (Toronto), where he remained until his death.  St. Mary Magdalene, under Willan, became a North American mecca for choral and Anglican church musicians.  In 1920, the Toronto Conservatory (now the Royal Conservatory of Music) appointed Willan Head of its Theory Department.  In 1934, he founded the Tudor Singers, which he conducted until it disbanded in 1939.  From 1937 to 1950, Willan was University of Toronto Professor of Music and Organist. When the Order of Canada was established in 1967, it named Willan a Companion. In Britain, it was customary for the Archbishop of Canterbury to occasionally grant very distinguished English cathedral musicians the Lambeth Doctorate, Mus. D Cantaur; in 1956, Willan, "the Dean of Canadian composers", became the first non-English church musician to be so honoured.  People who remember Willan from his time at St Mary Magdalene's like to moderate his somewhat dourly pious public image by quoting him: "English by birth; Canadian by adoption; Irish by extraction; Scotch by absorption."

Prière – Joseph Jongen

Many French organ composers wrote pieces called “prière”, which is an old French word meaning prayer or supplication.  This works are simply prayers without words.

Marie-Alphonse-Nicolas-Joseph Jongen (1873- 1953) was a Belgian organist, composer, and music educator.  Jongen was born in Liège, where his parents had moved from Flanders. On the strength of an amazing precocity for music, he was admitted to the Liège Conservatoire at the extraordinarily young age of seven, and spent the next sixteen years there. Jongen won a First Prize for Fugue in 1895, an honors diploma in piano the next year, and another for organ in 1896. In 1897, he won the Belgian Prix de Rome, which allowed him to travel to Italy, Germany and France. In 1902, he returned to his native land, and in the following year he was named a professor of harmony and counterpoint at Liège college. With the outbreak of World War I, he and his family moved to England, where he founded a piano quartet. When peace returned, he returned to Belgium and was named professor of fugue at the Royal Conservatoire in Brussels. From 1925 until 1939, he served as director of that institution.

From his teens to his seventies Jongen composed a great deal, including symphonies, concertos (for cello, for piano and for harp), chamber music (notably a late string trio and three string quartets), and songs, some with piano, others with orchestra. (His list of opus numbers eventually reached 241, but he destroyed a many pieces.) Today, the only part of his oeuvre performed with any regularity is his output for organ, much of it solo, some of it in combination with other instruments.

His monumental Symphonie Concertante of 1926 is a tour de force, considered by many to be among the greatest works ever written for organ and orchestra. The work was commissioned by Rodman Wanamaker for debut in the Grand Court of his palatial Philadelphia department store, Wanamaker's. Its intended use was for the re-dedication of the world's largest pipe organ there, the Wanamaker Organ, as part of a series of concerts Rodman Wanamaker funded with Leopold Stokowski and the Philadelphia Orchestra. Wanamaker's death in 1928 precluded the performance of the work at that time in the venue for which it was written, but it was finally performed for the first time with the Wanamaker Organ and the Philadelphia Orchestra in 2008.

In the Cross of Christ I Glory – David Cherwein

Sir John Bowring (1792-1872) was a distinguished scholar, ranked by some as one of the great minds of his day in the English-speaking world. Among his gifts was his ability as a linguist, publishing translations of poetry from such varied languages as Russian, Batavian, Spanish, Polish, Serbian, Bohemian, Magyar, Czech and Hungarian. Bowring was also a social progressive, advocating free trade, parliamentary reform, education for all and prison reforms, according to hymnologist Albert Bailey. Few hymn writers have been as involved in politics. Knighted in 1854, Bowring helped develop commercial relationships on behalf of Great Britain, traveling to France, Switzerland, Italy, Germany, Syria and Siam (now Thailand). Bowring also was twice a member of Parliament, a consul at Canton (in charge of trade in China) and a governor of Hong Kong. He was evidently relieved of his duties in Hong Kong because he “was full of conceit and without any very clear idea of political principles on a large scale.” After retirement in 1860, his public service continued as a commissioner to Italy and other diplomatic posts in Europe and Hawaii.

Despite a demanding political and diplomatic career, Bowring maintained an active avocation as a translator of poetry, composer of original poems and writer of essays on political and religious themes. Mr. Bailey notes that the “hymns that have lived were all written when he was about 30 years old, when his poetic interests were uppermost, and the idealism of youth made him the champion of the downtrodden and the underprivileged.”   “In the cross of Christ I glory” (1825) was composed while the author was in his early thirties. Appearing in Hymns by John Bowring (1825), the theme and language suggests a much more mature poet.  Galatians 6:14 provides the basis for this hymn: “Far be it for me to glory except in the cross of our Lord Jesus Christ” .

     In the cross of Christ I glory, towering o'er the wrecks of time;
     all the light of sacred story gathers round its head sublime.

     When the woes of life o'ertake me, hopes deceive, and fears annoy,
     never shall the cross forsake me. Lo! it glows with peace and joy.

     When the sun of bliss is beaming light and love upon my way,
     from the cross the radiance streaming adds more luster to the day.

     Bane and blessing, pain and pleasure, by the cross are sanctified;
     peace is there that knows no measure, joys that through all time abide.

Dr. David Cherwien (b. 1957) is currently serving as Director of Music at Mt. Olive Lutheran Church, Minneapolis, MN, and in 2002 was appointed Music Director for the National Lutheran Choir, also based in the Twin Cities. He has also held full time parish music positions in the Minneapolis/St. Paul area, Chicago, Seattle, and Berlin.  He completed the Doctor of Musical Arts degree in organ performance, and the Master of Arts degree in Theory and Composition, both from the University of Minnesota. His undergraduate work was in organ performance and music education at Augsburg College, Minneapolis, where he was honored as distinguished alumni in the fall of 2000.

About the Choral Music:

There is a Green Hill Far Away – Bob Chilcott

Cecil Frances Alexander (1818-1895) was born at Redcross, County Wicklow, the second daughter of a British Army Major. She was a devout Christian who came under the influence of the Oxford [high Church] Movement. From an early age she showed a great aptitude for writing. When she was just twenty-five, she published her Hymns for Little Children [1848] with an introductory note by the celebrated Revd. John Keble. Dedicated to her ‘little godsons’ the book was written to illustrate and explain the Church Catechism. The hymnal also contained other well-known hymns, among them, “All things bright and beautiful” and “Once in Royal David’s City”, written to celebrate the credal statements, Creator of heaven and earth and born of the Virgin Mary. Two years after the publication she married the Revd. William Alexander. He was six years her junior and the marriage caused quite a stir within her own family.   It is said that her father arranged, for the sake of propriety, for her birth date to be altered in the registers. [In some old hymn books her year of birth is given as 1823]. Her husband later became Bishop of Derry and Archbishop of Armagh.

Her poetical works were much admired and came to the attention of Alfred Lord Tennyson. The composer Charles Gounod once remarked that There is a green hill was ‘the most perfect hymn in the English language because of its charming simplicity.... the lyrics seemed to set themselves to music.’ She is rightly regarded as one of the greatest of British women hymn writers.

There is a green hill was written to illustrate the words of the creed, ‘Suffered under Pontius Pilate, was crucified, dead and buried.’ Mrs Alexander begins the first verse by painting a picture. As a skilled teacher she knew that her first task was to capture a child’s imagination. In the second line she originally wrote ‘without’ a city wall, but changed it to ‘outside’ to remove any ambiguity. The second verse celebrates the mystery of the cross, ‘We may not know, we cannot tell....’ The passion of Jesus, though difficult to comprehend, is something he endured for us and for our salvation. This is celebrated in the next two verses, ‘He died that we might be forgiven, he died to make us good... There was no other good enough to pay the price of sin.’ The noted New Testament scholar, Professor A. H. Hunter, once wrote, ‘It was given to an Irish woman, in a hymn she wrote for little children, to express better than many a learned tome the purpose, the necessity and the challenge of that sacrifice which has in principle redeemed our prodigal race.’ The hymn ends with a call for us to ‘love as he has loved us.’ Though written for children this is a classic hymn for young and old. It sets the scene of our Lord’s passion and celebrates the mystery, the purpose, the necessity and the challenge of the cross. 

Alexander devoted her life to Christian education, to the care of the young and the poor. All the profits from the sale of her writings were donated to a home for deaf children. She was widely respected as a writer and many of her poems were published posthumously by her husband who survived her by sixteen years. She was buried in her beloved Derry, outside the city walls.  

            There is a green hill far away, without a city wall,

            Where the dear Lord was crucified, who died to save us all.

We may not know, we cannot tell, what pains he had to bear,

            But we believe it was for us He hung and suffered there.

           

            He died that we might be forgiven, He died to make us good,

            That we might go at last to heaven, saved by his precious blood.

            O dearly, dearly has he loved, and we must love him too,

            And trust in his redeeming blood, and try his works to do.

Robert "Bob" Chilcott (b.1955) is a British choral composer, conductor, and singer, based in Oxford, England. Born in Plymouth, Chilcott sang in the Choir of King's College, Cambridge, both as a boy and as a university student. He performed the Pie Jesu of Fauré's Requiem on the 1967 King's College recording. In 1985 he joined the King's Singers, singing tenor for 12 years. He has been a composer since 1997.  Chilcott was the conductor of the chorus at the Royal College of Music in London for seven years, and is Principal Guest Conductor of the BBC Singers.

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.”

Wonderful Words of Life

Philip Bliss (1838-1876) went to Chicago in the employ of Dr. George F. Root, the musician, where he was engaged in conducting musical Institutes, and in composing Sunday School melodies. Originally a Methodist, he became, about 1871, a choirman of the First Congregational Church, Chicago, and the Superintendent of its Sunday Schools. In 1874 he joined D. W. Whittle in evangelical work. To this cause he gave (although a poor man) the royalty of his Gospel Songs, which was worth some thirty thousand dollars. His death was sudden. It occurred in the railway disaster at Ashtabula, Ohio, Dec. 30, 1876. He had escaped from the car, but lost his life in trying to save his wife. In spite of the shortness of his life, Philip Bliss is one of the most important and influential gospel song writers of the nineteenth century.

Christian publisher Fleming H. Revell (Dwight Moody’s brother-in-law) was about to launch a new Sunday School paper. He wanted a song that would capture the overall focus of the publication, which was to emphasize the vital importance of studying the Word of God. The name of the paper was to be Words of Life, so Mr. Revell asked Philip Bliss if he could come up with a song to fit, suggesting the key text, John 5 & 6. In the passage, many who had followed Christ were drifting away. The Lord turned to His disciples and asked, “Do you also want to go away?” And Peter made this reply on behalf of the other men: “Lord, to whom shall we go? You have the words of eternal life”.  Bliss duly produced a song, as requested, calling it Wonderful Words of Life.  It’s a simple song. And after it served its purpose, in the first issue of the publication, it was all but forgotten. But Revell passed on a copy of the Sunday School paper to another hymn writer, George Stebbins. Stebbins began using Philip Bliss’s song in evangelistic meetings, with he and his wife Elma singing it as a duet. It caught on, after that, and became very popular. Simple though it is, it reminds us that we have a precious treasure in the Scriptures–words of life.

Standing on the Promises

R. Kelso Carter became an ordained Methodist minister (1887) at the age of 38. A year earlier, he was a professor at the Pennsylvania Military Academy, where he wrote the hymn, "Standing On the Promises," after reading Apostle Paul’s second letter to the Corinthians I: 20:  "For all the promise of God in him are yea, and in him Amen, unto the glory of God by us."  It was published in Songs of Perfect Love, one of two hymns compiled by Carter.  The drum-beating, military march style of the music reflects the influence of the military academy life that surrounded Carter when it was written.  Carter was active in the Methodist Camp-Meeting movement, and “Standing on the Promises” was widely used in evangelistic crusades well into the 20^th  century and is still found in many hymnals.  It is a reminder of the Christian’s daily dependence on the promises of God.