July 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:

Voluntary on “Neumark” – Gordon Young

Georg Neumark (1621-1681) lived during the time of the Thirty Years' War, when social and economic conditions were deplorable. He had personal trials as well. On his way to Konigsberg to study at the university, traveling in the comparative safety of a group of merchants, he was robbed of nearly all his possessions. During the next two years he spent much of his time looking for employment. He finally secured a tutoring position in Kiel. When he had saved enough money, he returned to the University of Konigsberg and studied there for five years. In Konigsberg he again lost all his belongings, this time in a fire. Despite his personal suffering Neumark wrote many hymns in which he expressed his absolute trust in God. In 1651 he settled in Weimar, Thuringia, where he became court poet and archivist to Duke Johann Ernst and librarian and registrar of the city. Neumark wrote thirty-four hymns, of which "If You But Trust in God to Guide You" has become a classic.
Neumark wrote this text, literally translated “Who only lets dear God rule”, at age twenty, just after he had finally been able to find employment as a tutor for a judge in Kiel. Neumark was so relieved and grateful to God by his change in circumstance that he wrote this text, saying, “This good fortune, which came so suddenly and, as it were, from heaven, so rejoiced my heart that I wrote my hymn 'Wer nur . . .' to the glory of my God on that first day.”  Written in Kiel, Germany, in 1641, the seven-stanza text (“Wer nur den lieben Gott lasst walten”) had the following heading: "a hymn of consolation, that God will care for and preserve his own in his own time; after the saying 'cast thy burden upon the Lord and He shall sustain thee.' Psalm 55:22." The text was published with the tune, also composed by Neumark, in Fortgepflanzter Musikalisch-Poetischer Lustwald (1657).

Catherine Winkworth  prepared two translations of the original German text: one published in her Lyra Germanica (1855) and one published with substantial revision in her Chorale Book for England (1863), in which the first stanza began "If thou but suffer God to guide thee." A classic German chorale, this fine text focuses on trust in God's care in all of life's circumstances, both prosperous times and "evil days."

If thou but suffer God to guide thee, and hope in God through all thy ways,
God will give strength, whate'er betide thee, and bear thee through the evil days.
Who trusts in God's unchanging love builds on the rock that naught can move.

Only be still, and wait God's leisure in cheerful hope, with heart content
to take whate'er thy Maker's pleasure and all-discerning love hath sent;
we know our inmost wants are known, for we are called to be God's own.

Sing, pray, and keep God's ways unswerving; so do thine own part faithfully,
and trust God's word; though undeserving, thou yet shalt find it true for thee.
God never yet forsook at need the soul that trusted God indeed. 

Gordon Young (1919-1998) was born in McPherson, Kansas, and during his lifetime was recognized as one of this country's great church organists. He was a prolific and talented composer for both organ and choir, with nearly 1000 published works.  During the course of his career, he was a radio organist in Tulsa, a music critic and columnist for daily newspapers in Oklahoma and Pennsylvania, and choirmaster in churches in Philadelphia and Kansas City. Mr. Young taught organ in conjunction with Wayne State University and for 15 years was organist and choir director at the First Presbyterian Church in Detroit.

Prelude on "St. Venantius" - Healey Willan

“The Lamb’s high banquet called to share” is a Latin hymn from the 6^th century which was translated by John Mason Neale* (1818-1866). The Latin text, ‘Ad cenam Agni providi’* (altered to ‘Ad regias Agni dapes’* in the Roman Breviary, 1632), is found in many Latin hymn cycles, with the title ‘Hymnus Paschalis’. Neale’s translation, beginning ‘The Lamb’s high banquet we await’, was made for the Hymnal Noted Part I (1852).

The Lamb's high banquet called to share, arrayed in garments white and fair,
the Red Sea past, we now would sing to Jesus our triumphant King.

Upon the altar of the cross his Body hath redeemed our loss;
and, tasting of his precious Blood, our life is hid with him in God.

Protected in the paschal night from the destroying angel's might,
in triumph went the ransomed free from Pharoah's cruel tyranny.

Now Christ our Passover is slain, the Lamb of God without a stain;
his flesh, the true unleavened bread, is freely offered in our stead.

O all-sufficient Sacrifice, beneath thee hell defeated lies;
thy captive people are set free, and endless life restored in thee.

We hymn thee rising from the grave, from death returning, strong to save;
thine own right hand the tyrant chains, and paradise for man regains.

All praise is thine, O risen Lord, from death to endless life restored;
all praise to God the Father be and Holy Ghost eternally.

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."

At the Lamb's High Feast - David Johnson

Robert Campbell (1814-1868) was a Scottish lawyer and a zealous and devoted Churchman of the Church England, directing his special attention to the education of the children of the poor. In 1848, he began a series of translations of Latin hymns. In 1850, a selection of them, together with a few of his original hymns, and a limited number from other writers, was published as Hymns and Anthems for Use in the Holy Services of the Church within the United Diocese of St. Andrews. This collection, known as the St. Andrews Hymnal, received the special sanction of Bishop Torry, and was used throughout the Diocese for some years. Two years after its publication he joined the Roman Catholic Church. From his collection of 1850, four translations were given in Hymns Ancient & Modern, 1861, "At the Lamb's high feast we sing;" “Come, pure hearts, in sweetest measures;" "Ye Choirs of New Jerusalem;" " Ye servants of a martyr'd God" (altered). Cooke and Denton's Hymnal was the first to bring “At the Lamb’s High Feast” into prominent notice. Its use exceeds that of all other translations of the "Ad Regias Agni" put together; being found in a more or less correct form, in the most important collections of the Church of England.

At the Lamb's high feast we sing praise to our victorious King,
who has washed us in the tide flowing from his wounded side.
Praise we Christ, whose love divine gives his sacred blood for wine,
gives his body for the feast - Christ the victim, Christ the priest.

Where the paschal blood is poured death's dread angel sheathes the sword;
Israel's hosts triumphant go through the wave that drowns the foe.
Praise we Christ, whose blood was shed, paschal victim, paschal bread;
with sincerity and love eat we manna from above.

Mighty victim from the sky, hell's fierce powers beneath you lie;
you have conquered in the fight, you have brought us life and light.
Now no more can death appall, now no more the grave enthrall;
You have opened paradise, and your saints in you shall rise.

Easter triumph, Easter joy, this alone can sin destroy!

From sin's power, Lord, set us free, new-born souls in you to be.
Father, who the crown shall give; Savior, by whose death we live;
Spirit, guide through all our days; Three in One, your name we praise.

David N. Johnson (1922-1987) was an American organist, composer, educator, choral clinician, and lecturer.  He studied organ and composition at Curtis Institute of Music. Between 1942 and 1946 he served in the U.S. Army Signal Corps/Air Corps in India, Burma, and China, receiving a Meritorious Service Award and campaign ribbons. He continued his music studies at Trinity University (Texas) and Syracuse University. He also held the associate certificate from the American Guild of Organists (AAGO).  He was college organist and music department chair at St Olaf College, Minnesota. In 1967, he succeeded Arthur Poister as professor of music and university organist at Syracuse University.  Johnson published well over three hundred compositions, most of them for church use, and was author of an Instruction Book for Beginning Organists (1964) and an Organ Teacher's Guide (1971).

About the Choral Music:

The True Passover Lamb – Robert Sterling

Robert Sterling is a songwriter, arranger, and record producer. His songs have been recorded by a variety of Christian artists and have worked their way to the top of the Christian pop, Southern Gospel, and inspirational radio charts. Robert is a five-time winner of the Gospel Music Association's Dove Award. For five years he headed the songwriting faculty for the Academy of Gospel Music Arts. In 1997, Robert served as the chairman of the Coalition for the Protection of America’s Gospel Music Heritage, lobbying and testifying before Congress on behalf of Christian songwriters. In addition to his work as a writer, arranger and orchestrator, Robert has also served as an adjunct professor of Music Publishing at Belmont University in Nashville, Tennessee.

            Here at the table of the Lord, the bread is passed, the cup is poured.

            With thankful hearts for all He’s done, in humbleness we pray as one.

            And here we see the Son of Man, Jesus, the true Passover Lamb.

            A towel wrapped around His waist, He pours out water from the vase,

            Then kneels to wash our dusty feet to show His selfless love complete,

            All part of God’s eternal plan, Jesus, the true Passover Lamb.

            So, now when we are gathered here, let each with gratefulness draw near,

            Remembering all He had to bear to spread salvation to everywhere,

               Provided by the Father’s hand, Jesus, the true Passover Lamb.

About the Hymns:

Guide Me, O Thou Great Jehovah

William Williams (1717-1791) is considered by many to be the father of Welsh hymnody.  In 1738, Williams heard a sermon by the revivalist preacher Howell Harris, a fiery Welsh layman who had been influenced by the Methodist movement in England. It was through this sermon that Williams discerned his calling to go into the ministry.  Williams first pursued becoming an Anglican priest (in the Church of Wales) and entered as a deacon in 1740. However, he soon came to discover that his heart was with Harris and his itinerant work, and before long he left his small curacy in the mountains to join with the traveling Methodist preachers.

The revivalists realized that the Welsh language was lacking in hymns—the church in Wales was still primarily singing metrical psalms in their worship services. In order to promote the creation of hymns, Harris put together a hymn-writing competition between the different preachers.  As Louis Benson relates, “the prize fell easily to Williams Williams, who had the poet’s passion and a gift of verse-writing. Therefore it was not very long before he was recognized as poet laureate of the Welsh revival.”

Williams would go on to write many hymns in both Welsh and English. “Guide Me, O Thou Great Jehovah” appeared in Welsh in 1745. Twenty six years later, in 1771, a Rev. Peter Williams translated the first verse into English, prompting William Williams to translate the rest of it into English as well.  It is fitting that Williams should be the author of a hymn about the Christian’s pilgrimage on earth since as a traveling Methodist preacher, he was a pilgrim in both the spiritual and physical sense.

Williams made an extraordinary record as an itinerant evangelist. He took the whole of Wales for his parish. His travels for forty-three years are said to make an average of 2230 miles a year, at a time when there were no railroads and few stage-coaches. In this way the greater part of Williams’ life was spent, not in a preacher’s study, but in the great world of out of doors. 

Nothing But the Blood of Jesus

Robert Lowry (1826-1899) has provided us with many of the most venerable nineteenth-century texts and tunes from the United States. The Philadelphia-born author and composer of this hymn was a popular Baptist preacher and educator who served churches in Pennsylvania, New York City, Brooklyn, and Plainfield, New Jersey. Lowry, a graduate of Bucknell University, was a professor of belles lettres in the University, receiving a D.D. in 1875. He became known for his gospel songs while ministering in Brooklyn, collaborating often with William H. Doane in producing some of the most popular Sunday school song collections of his day.

"Nothing but the Blood" has all the earmarks of a classic gospel song. It focuses on a single theme and hammers it home. The singer will repeat the text, "nothing but the blood of Jesus" twelve times if he or she sings all four stanzas.  The theme of cleansing from sin is prominent in gospel song literature.  Hebrews 9:22 appeared originally above the hymn in the original publication by Lowry and William H. Doane entitled Gospel Music (1876). The passage reads: "Without the shedding of blood there is no remission of sin."

It is perhaps this hymn, along with others such as William Cowper’s "There Is a Fountain Filled with Blood" that offends the sensibilities of many twenty-first-century singers and, as a result, causes them to reject any hymn that mentions blood. However, a more discerning singer will look at each occurrence of the word in its context.  It clearly equates the results of the shedding of Christ’s blood with mercy and love.  Though many might relegate "Nothing but the Blood" to the past, it lives on in modern renditions, especially in evangelical contexts.

Blessed Assurance

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.”

Phoebe Knapp (1839-1908) was a composer of music for hymns and an organist.  Knapp was born in New York City. Her parents were Walter C. Palmer and Phoebe Worrall Palmer.  She married Joseph Fairchild Knapp, one of the founders and the second president of the Metropolitan Life Insurance Company, and he had a pipe organ installed in their apartment.  She and her husband were members of the John Street Methodist Episcopal Church in New York City. The hymn writer Fanny Crosby was also a member of that church and a friend of the Phoebe’s.  She wrote over 500 hymn tunes, the most familiar being the tune now called Assurance for Fanny Crosby's lyrics “Blessed Assurance”.

Crosby was visiting her friend Phoebe Knapp as the Knapp home was having a large pipe organ installed. The organ was incomplete, so Mrs. Knapp, using the piano, played a new melody she had just composed. When Knapp asked Crosby, "What do you think the tune says?", Crosby replied, "Blessed assurance, Jesus is mine."  The hymn appeared in the July 1873 issue of Palmer's Guide to Holiness and Revival Miscellany, a magazine printed by Dr. and Mrs. W. C. Palmer.