April 3, 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.  

About the Organ Music:

All Who Believe and Are Baptized – Richard Proulx

Thomas Hansen Kingo (1634-1703) was a Danish bishop, poet and hymn-writer born at Slangerup, near Copenhagen. His work marked the high point of Danish baroque poetry.  In his youth, Kingo wrote a series of poems picturing humorous scenes in village life and a pastoral love poem, Chrysillis. He studied theology at the University of Copenhagen, graduating in 1654.  He was appointed vicar to the pastor at Kirke Helsinge, and in 1668 he was ordained a minister at his native town.  At first he wrote patriotic poems, but later devoted himself almost entirely to writing hymns, and in 1674 the first part of his Aandelige Siunge-Koor ("Spiritual Song Choir") appeared; followed in 1681 by a second part. This work consists of a collection of beautiful hymns several of which are still popular in the Danish Church. 

In 1677, Kingo was appointed bishop of Funen. Charged by the government with the compilation of a new hymn-book, he edited (1699) the so-called Kingo's Psalmebog which contains eighty-five of his own compositions, and which is still used in various parts of Denmark and Norway. Some parts of the Danish rural population stuck firmly to his hymns during the pietist and rationalist period, contributing to their survival.  Though not the first Danish hymn writer, Kingo must be considered the first really important one, and among the Danish poets of the 17th Century, he is generally a leading figure. His hymns are characterized by a forceful and often Old Testamental wrath and renunciation of the world alternating with Christian mildness and confidence.

All who believe and are baptized
Shall see the Lord's salvation;
Baptized into the death of Christ,
They are a new creation.

Through Christ's redemption they shall stand
Among the glorious heav'nly band
Of ev'ry tribe and nation.

With one accord, O God, we pray:
Grant us Your Holy Spirit.
Help us in our infirmity
Through Jesus' blood and merit.
Grant us to grow in grace each day
That by this sacrament we may
Eternal life inherit.

Richard Proulx  (1937-2010) was an American composer and editor of church music, including anthems, service music, hymn concertatos, organ music and music for handbell choir, formerly based in Chicago. The pronunciation of his name is suggested by the section of his catalog entitled "Noulx [new] from Proulx".

Wash, O God, Our Sons and Daughters – Wayne Wold

Ruth Duck (b. 1947) is professor of worship at Garrett-Evangelical Theological Seminary in Evanston, Illinois.  Duck has been writing hymns since 1974. The first time she heard one of her hymns being sung was in 1983 at a United Church of Christ General Synod. She writes, "2,000 people were singing my hymn. I was crying while two friends on either side held my hands. I feel that writing hymn texts is a central part of my call." That is a call she has followed ever since, a call that has resulted in hymns in most hymnals in use today.

Ruth Duck's hymn-texts sing many names for God as she lives the promises of her baptism. "Our language in worship says something about God and not just ourselves."  The idea of God that most people carry is too small and containing, Ruth said. In 1972, while at seminary, she was guest guitarist at a local church. Asked to use inclusive language, she took care to substitute "humanity" for "man" and "mankind."  Yet in one song, she sang "Father" over and over for God. Then, inclusive language meant changing language about humanity, not expanding the language of worship.  Biblical images for God reached beyond masculine and feminine dimensions of expression.  New names awaited discovery. She would use them in hymns or ritual words of the church.

“Wash, O God, Our Sons and Daughters” is one of those hymns in which she uses both mother and father images of God.  Speaking of her baptism, she said: "The baptismal water washed over me. It made tangible my dying and rising with Christ to new life in the Spirit. Baptism became then a sacrament of God's presence. I belonged to Christ. I was 'water-washed and Spirit-born.' I could feel God's presence as the pastor immersed me in the water. It was as if the Spirit of God were moving over the waters as at the first creation."  Her baptismal promise shaped her life, theology and hymn texts. Baptism is not an isolated event but a lifelong process, part of a

continuing faith journey. In Dwight Vogel's words, Ruth reveals an understanding that "expanding our language is one way we can live out the grace, love, justice, and hope of our baptisms and our table communion."   "Baptism reaches beyond us," she writes. "It makes a difference in how we relate to other people and to God . . . even how we relate to ourselves. We belong to one another, for at the water God makes us one people."

Word by word, Ruth Duck’s hymn texts became standards. At least fourteen denominational hymnals include them. "This pioneer in worship and hymnody continues to write remarkably apt and artistic hymns and service music, articulating our faith with insight and sensitivity," said composer and musician, Jim Manley. "She combines the personal and the theological in a beautiful manner."

Wash, O God, our sons and daughters, where your cleansing waters flow.
Number them among your people; bless as Christ blessed long ago.
Weave them garments bright and sparkling; compass them with love and light
Fill, anoint them; send your Spirit, holy dove and heart's delight.

We who bring them long for nurture; by your milk may we be fed.
Let us join your feast, partaking cup of blessing, living bread.
God, renew us, guide our footsteps; free from sin and all its snares,
one with Christ in living, dying, by your Spirit, children, heirs

Oh, how deep your holy wisdom! Unimagined, all your ways!
To your name be glory, honor! With our lives we worship, praise!
We your people stand before you, water washed and Spirit born.
By your grace, our lives we offer. Recreate us; God, transform!

Wayne L. Wold (b. 1954) is active as a teacher, church musician, composer, author, performer, and clinician. He serves as Associate Professor of Music and College Organist at Hood College in Frederick, Md. Over 200 of his compositions are published by fourteen different companies in the U.S. and Australia and include twenty volumes of works for organ and instruments with organ, 30 choir anthems, a children's musical, a recorder suite, and several hymn tunes. He is the author of numerous hymn and anthem texts, articles in professional journals, and two books -- Tune My Heart to Sing: Devotions for Choirs Based on the Revised Common Lectionary and Preaching to the Choir: The Care and Nurture of the Church Choir.

Chorale Improvisation on “Victimae Paschali” – Charles Tournemire

Victimae paschali laudes is a sequence prescribed for the Roman Catholic Mass and liturgical Protestant Eucharists of Easter Sunday. It is usually attributed to the 11th century Wipo of Burgundy, chaplain to the German Emperor Conrad II, but has also been attributed to Notker Balbulus, Robert II of France, and Adam of St. Victor.  Victimae Paschali Laudes is one of only four medieval sequences that were preserved in the Missale Romanum published in 1570 after the Council of Trent (1545-63). The three others were the "Veni Sancte Spiritus" for the feast of Pentecost, "Lauda Sion" for Corpus Christi, and the "Dies Irae" for the Requiem Mass (a fifth sequence, the "Stabat Mater" for the Feast of the Seven Dolours of the Blessed Virgin Mary, was added to the missal by Pope Benedict XIII in 1727). Before Trent, many other feasts also had their own sequences,^[2] and some 16 different sequences for Easter were in use.  Victimae Paschali Laudes is one of the few sequences that are still in liturgical use today. Its text was set to different music by many Renaissance and Baroque composers, including Busnois, Josquin, Lassus, Willaert, Hans Buchner, Palestrina, Byrd, Perosi, and Fernando de las Infantas. Chorales derived from Victimae Paschali Laudes include "Christ ist erstanden" (12th century) and Martin Luther's "Christ lag in Todes Banden".

Let Christians offer sacrificial praises to the passover victim.
The lamb has redeemed the sheep: The Innocent Christ has reconciled

the sinners to the Father.
Death and life contended in a spectacular battle:
the Prince of life, who died, reigns alive.

Tell us, Mary, what did you see on the road?
"I saw the tomb of the living Christ and the glory of his rising,
The angelic witnesses, the clothes and the shroud.
Christ my hope is arisen; into Galilee, he will go before his own."

Happy they who bear the witness, Mary's word believing.
We know Christ is truly risen from the dead!
To us, victorious King, have mercy!  Amen. Alleluia.

Charles Arnould Tournemire (1870-1939) was a French composer and organist, notable for his improvisations, which were often rooted in the music of Gregorian chant. His compositions include eight symphonies (one of them choral), four operas, twelve chamber works and eighteen piano solos; but today he is remembered largely for his organ music.  Tournemire was one of César Franck's three youngest students.  From 1898-1939, Tournemire served as the organiste titulaire at Franck's old church, the Basilique Ste-Clotilde, Paris. He was also professor of Chamber Music at the Paris Conservatoire. In 1931 he published a biography of Franck. In 1930, Tournemire recorded five organ improvisations, which were later transcribed by Maurice Duruflé from the phonograph recordings.

About the Choral Music:

Mary Told the Good News – John Horman

          God’s Project Children’s Choir

Early in the morning, Mary went to the tomb to anoint the body of Jesus with ritual oils.  Finding the tomb empty, she was told by an angel that Jesus had risen from the dead, and she ran to tell the others the “Good News”.

            Mary told the good news! Jesus lives!

            “Fear not,” said the angels, “and be not afraid,

            For the one you seek is risen up from the place where he was laid.”

            What was that good news that Mary heard the angel say,

            While visiting the tomb that day where the stone was rolled away?

            Go tell all the others that death has lost its sting,

            And Jesus goes before us now.  Alleluia! Let us sing.

            Alleluia!  Alleluia!

John Horman retired from teaching after twenty-six years with the Montgomery County, Maryland Public School System. During his tenure with the school system, he taught general music for twenty-one years at the elementary level and five years at the secondary level, and worked extensively with choruses at both levels. He received the Broom Award for Excellence awarded by his home county for his work in composition for children.  He served Warner Memorial Presbyterian Church in Kensington, Maryland for forty-three years as Organist and Director of Music. He oversaw three choral groups and two bell choirs. He presently has over 150 anthems for children, youth and adults in print. He also wrote songs for both Silver Burdette and Macmillan publishing houses for their 1988 school music series.  His work as a choral clinician has taken him to over 50 children's choir festivals in the last 15 years. 

About the Hymns:

Easter People, Raise Your Voices

Following in the tradition of many pastors who write hymns, William Marceus James (1913-2013) wrote "Easter People, Raise Your Voices" for his congregation at Metropolitan Community United Methodist Church in New York City.  Born in Meadville, Mississippi, and educated at Mt. Beulah College, Butler University, and Drew University, the Rev. James received his license to preach in Lexington, Kentucky, in 1936 and was ordained an elder in 1940.  In 1944, he was appointed to the Trinity (Morrisania) Methodist Church in the Bronx, a church he founded with no members. In only eight years, it grew into a 900-member congregation. In an interview with the United Methodist Interpreter, James noted, "It was during that time I learned to minister to gangs and street people."  In 1952 he began serving Community Methodist Church in Harlem, which later became the Metropolitan Community United Methodist Church in 1971. The Rev. James ministered to this congregation for 33 years until "retiring" in 1985, but he continued his ministry to young people and to the Harlem community.

The author of more than fifty hymns, James noted to this writer in 2005 that "I wrote hymns for my congregation whenever I needed one. 'Easter People' is not the greatest hymn I have, but it took better than the others. Most of my hymns have themes around the social gospel." Originally in five stanzas, the hymn first appeared in the United Methodist collection, Songs of Zion (1981), in its present form.  The triumph of the Resurrection over evil is the theme of "Easter People." In stanza two, the poet reminds us that the "fear of death" cannot stop us from doing all we can to overcome evil "here below." The final stanza insists: "Every day to [Christians] is Easter" because our God is one who "rights the wrong."

Christ is Risen

This text was written in 1984 by Brian Wren (b. 1936), an internationally published hymn writer whose work appears in hymnals from many denominations and traditions. Ordained in Britain’s United Reformed Church, he holds BA and PhD degrees from Oxford University. On July 1, 2000, he was appointed the first John and Miriam Conant Professor of Worship at Columbia Theological Seminary in Atlanta.  "Christ Is Risen! Shout Hosanna!" celebrates God's surprising Easter turnaround of the Good Friday events.

My Hope is Built

Edward Mote (1797-1874) falls into the rare category of hymn writers who grew up without religious training and whose parents were pub owners. He was apprenticed at a young age by his parents to a cabinetmaker, but found faith when he heard the preaching of John Hyatt at the Tottenham Court Road Chapel in London at age 15. Living in Southwark near London, he established a successful cabinet-making enterprise and became a Baptist minister in 1852, at 55 years of age. He ministered for 21 years at Strict Baptist Church in Horsham, Sussex.

Singing hymns was of great interest to him. The master cabinetmaker became a prolific hymn writer, composing more than 100 hymns. The hymn "My Hope Is Built on Nothing Less" was published anonymously in several hymn collections before first being attributed to Edward Mote in a collection of approximately 100 of his hymns published in 1837 under the title Hymns of Praise, A New Selection of Gospel Hymns, Combining All the Excellencies of our Spiritual Poets, with Many Originals.  Hymnologists note that this is the first time the now common term “gospel hymn” appears. Mote's original title was "The Immutable Basis for a Sinner's Hope" in this collection.  The refrain of "My Hope Is Built on Nothing Less" refers to the Parable of the Wise and the Foolish Builders and builds around the metaphor of Christ as a rock with a firm basis (1 Corinthians 10:4).