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.
Come
Ye Faithful, Raise the Strain – James Biery
“Come,
Ye Faithful, Raise the Strain” is a Greek Resurrection hymn written by John of
Damascus (c. 675-749) in the 8th century. Around 730, John gave away everything
he had and retired to the monastery of St. Sabas, where he was ordained a
priest. During this time John wrote works containing a justification for
orthodox faith, including his Foundation of Knowledge. John was among the greatest and most
important of the Greek hymn writers. He wrote many canons, a new form of
hymnody during his time, for important festivals. Canons, usually sung during
monastic office of Lauds and based primarily on nine Canticles, are usually
divided into nine odes. An ode is composed of short dramatic strophes in which
the climax occurs in the last line. Each strophe has the same number of lines
and syllables.
Organized Greek hymnody began, at the earliest, in the 7th century. From 700-900 many Canons were written that contained long odes usually in reference to the Resurrection or at least linked with Easter. The publication of John Mason Neale’s Hymns of the Eastern Church, a collection of Greek Canons from the 5th to the 11th centuries in English poetic form, contributed to a renewed interest in early Christian and Byzantine hymnody. When translated into English, these poems tended to be awkward for singing. John Mason Neale’s translations are in metrical patterns that are more accessible for English singers while remaining true to the original ideas of the Greek.
Organized Greek hymnody began, at the earliest, in the 7th century. From 700-900 many Canons were written that contained long odes usually in reference to the Resurrection or at least linked with Easter. The publication of John Mason Neale’s Hymns of the Eastern Church, a collection of Greek Canons from the 5th to the 11th centuries in English poetic form, contributed to a renewed interest in early Christian and Byzantine hymnody. When translated into English, these poems tended to be awkward for singing. John Mason Neale’s translations are in metrical patterns that are more accessible for English singers while remaining true to the original ideas of the Greek.
“Come,
Ye Faithful” is the first ode from the Canon for St. Thomas’s Sunday and is
based on the canticle “The Song of Moses” from Exodus 15. A clear connection
can be seen in the hymn from Exodus 14 and 15 through the vivid language used. The main theological theme of this hymn is
deliverance. Stanza one discusses the joy the Israelites had after being
delivered from Pharaoh across the Red Sea. This stanza provides an easy link to
Moses and his song. The next three stanzas transfer the focus to
Jesus. They discuss Jesus’ resurrection and the deliverance brought to
humankind from their sins through this action. The hymn serves as praise to God
for continuing to deliver God’s people throughout history.
Come, you faithful, raise the strain of
triumphant gladness!
God has brought forth Israel into joy from sadness,
loosed from Pharaoh’s bitter yoke Jacob’s sons and daughters;
led them with unmoistened foot through the Red Sea waters.
God has brought forth Israel into joy from sadness,
loosed from Pharaoh’s bitter yoke Jacob’s sons and daughters;
led them with unmoistened foot through the Red Sea waters.
’Tis the
spring of souls today: Christ has burst his prison,
and from three days’ sleep in death as a sun has risen.
All the winter of our sins, long and dark, is flying
from the Light to whom we give laud and praise undying.
and from three days’ sleep in death as a sun has risen.
All the winter of our sins, long and dark, is flying
from the Light to whom we give laud and praise undying.
Neither could
the gates of death, nor the tomb’s dark portal,
nor the watchers, nor the seal, hold you as a mortal:
but today, among your own, you appear, bestowing
your deep peace, which ever more passes human knowing.
nor the watchers, nor the seal, hold you as a mortal:
but today, among your own, you appear, bestowing
your deep peace, which ever more passes human knowing.
Alleluia! Now
we cry to our Lord immortal,
who, triumphant, burst the bars of the tomb’s dark portal;
Alleluia! With the Son, God the Father praising;
Alleluia! Yet again to the Spirit raising.
who, triumphant, burst the bars of the tomb’s dark portal;
Alleluia! With the Son, God the Father praising;
Alleluia! Yet again to the Spirit raising.
James Biery (b. 1956) is an American organist, composer and conductor who
is Minister of Music at Grosse Pointe Memorial Church (Presbyterian) in Grosse Pointe Farms, Michigan. Biery was educated
at Northwestern University,
where he earned Bachelor and Master of Music degrees
in Organ Performance. Biery
developed his compositional skills from two disciplines: years of study of the
organ and its literature and intense scrutiny of the orchestral scores of
numerous composers whose music he transcribed for organ duet and organ solo. His
facility at the organ combined with his demonstrated ability to perform and
study a vast amount of literature has given Biery a firm basis upon which to
compose for the instrument.
Deep River – Ralph Simpson
"Deep River" is an anonymous spiritual of
African American origin. The song was first mentioned in print in 1876, when it
was published in the first edition of “The Story of the Jubilee Singers: With
Their Songs”, by J.B.T. Marsh. By 1917, when Henry T. Burleigh completed
the last of his several influential arrangements, the song had become very
popular in recitals. It has been called "perhaps the best known and
best-loved spiritual"
Though the slaves were not allowed to read the Scriptures, they learned Bible stories at the church on the plantation. The Sunday morning routine included Sunday school, singing hymns, Bible reading, and the sermon. The slaves also learned God's word from white and black abolitionist preachers from the North who traveled through the southern states. These new evangelicals began teaching the slaves about the way to salvation. Black and white evangelists alike poured out their lives, preaching the Gospel to the captives in secret late-night meetings. A favorite analogy from the Scriptures used by these circuit preachers was the plight of the Hebrews of Exodus and God's handpicked leader, Moses. The African slaves identified with this ancient oppressed people. They grew to understand that it was through their faith in the God of the Bible that freedom was given to these slaves of old. As the slaves learned of the God of the Bible, they began to see themselves as His children. Their black preachers told them, "you are not slaves, you are the apple of God's eye, made in His very own image." They learned that it was through a good and benevolent God, who heard the cry of the Hebrew slaves, that freedom came. They realized that they were not inferior to the white man, just as the Hebrews were not inferior to the Egyptians. The spirituals attested to this and proclaimed the goodness of this God and His ultimate triumph over evil. They would taste freedom, they believed, across the Jordan River of death - and some sweet day in the here and now. Looking forward to that day of freedom, the slaves sang of the "Deep River," with its mighty waters flowing into distant horizons.Deep river. my home is over Jordan.
Though the slaves were not allowed to read the Scriptures, they learned Bible stories at the church on the plantation. The Sunday morning routine included Sunday school, singing hymns, Bible reading, and the sermon. The slaves also learned God's word from white and black abolitionist preachers from the North who traveled through the southern states. These new evangelicals began teaching the slaves about the way to salvation. Black and white evangelists alike poured out their lives, preaching the Gospel to the captives in secret late-night meetings. A favorite analogy from the Scriptures used by these circuit preachers was the plight of the Hebrews of Exodus and God's handpicked leader, Moses. The African slaves identified with this ancient oppressed people. They grew to understand that it was through their faith in the God of the Bible that freedom was given to these slaves of old. As the slaves learned of the God of the Bible, they began to see themselves as His children. Their black preachers told them, "you are not slaves, you are the apple of God's eye, made in His very own image." They learned that it was through a good and benevolent God, who heard the cry of the Hebrew slaves, that freedom came. They realized that they were not inferior to the white man, just as the Hebrews were not inferior to the Egyptians. The spirituals attested to this and proclaimed the goodness of this God and His ultimate triumph over evil. They would taste freedom, they believed, across the Jordan River of death - and some sweet day in the here and now. Looking forward to that day of freedom, the slaves sang of the "Deep River," with its mighty waters flowing into distant horizons.Deep river. my home is over Jordan.
Deep river, Lord, I want to cross over into campground.
Oh, don't you want to go, To
the Gospel feast;
That Promised Land, Where all is peace?
That Promised Land, Where all is peace?
Oh, deep river,
Lord, I want to cross over into campground.
Ralph Simpson (b. 1933)
is an organist and composer from Birmingham, Alabama. He received his Bachelors in organ from Alabama
State University, his Masters from Columbia University, and his PhD from
Michigan State University. He taught at
Alabama State Teacher’s College and Dillard University. He was University Organist and Chair of the
Music Department at Tennessee State University until his retirement. He is organist at First Church of Christ,
Scientist, in Nashville. His choral and organ compositions feature the melodies
of African-American spirituals.
Jesu, geh voran - Max Drischner
Count Nicolaus Ludwig
Zinzendorf (1700-1760) was the founder of the religious community of Herrnhut
and the apostle of the United Brethren. It is not often that noble blood and
worldly wealth are allied with true piety and missionary zeal. Such, however,
was the case with Count Zinzendorf. Spener, the father of Pietism, was his
godfather; and Franke, the founder of the famous Orphan House, in Halle, was
for several years his tutor. In 1731 Zinzendorf resigned all public duties and
devoted himself to missionary work. He traveled extensively on the Continent,
in Great Britain, and in America, preaching "Christ, and him
crucified," and organizing societies of Moravian brethren. John Wesley is
said to have been under obligation to Zinzendorf for some ideas on singing,
organization of classes, and Church government. Zinzendorf was the author of
some two thousand hymns. Many of them are of little worth, but a few are very
valuable, full of gospel sweetness and holy fervor. Zinzendorf's hymns passed into German
non-Moravian use mainly through the Ebersdorf Gesang-Buch, 1742 (Evangelisches
Gesangbuch in einen hinlänglichen Auszug der Alten, Neuern und Neuesten Lieder, &c), and in recent times through Knapp's Evangelischer
Lieder-Schatz, 1837-1865.
Comparatively few are found in non-Moravian English hymnbooks prior to 1840,
save in the versions made by John Wesley.
“Jesu geh’ voran” first appeared in the Bruder Gesang-Buch, 1778, in 4 stanzas of 6 lines. It is slightly
altered (probably by Christian Gregor) version of two hymns by Zinzendorf, "Seelenbraütigam,
O du Gottes-Lamm" and "Glanz der Ewigkeit.", taking various
stanzas from each. “Jesus,
still lead on” is a very good but free translation by Miss
Borthwick, published in the Free Church Magazine, 1846, and in Hymns from the Land of Luther, 1854. “Jesu! guide our way” is
a good and full translation by A. T. Russell,, written March 20, 1846, and
published in his Psalms & Hymns,
1851.
Jesus, guide our way To eternal
day:
So shall we, no more delaying,
Follow Thee, Thy voice obeying:
Lead us by the hand To our Father's land.
When we danger meet Steadfast make our feet;
Lord, preserve us uncomplaining
Mid the darkness round us reigning:
Through adversity lies our way to Thee.
Order all our way Through the mortal day:
In our toil, with aid be near us:
In our need, with succour cheer us:
Till we safely stand In our Father's land.
Max Drischner (1891-1971) was a German
composer, Kantor,
organist, and harpsichordist. Drischner
was born in Silesia.
After completing his secondary education, he pursued studies in theology in Leipzig and Breslau,
beginning in 1910. By 1914, however, he had decided to quit his theological
studies in favor of studying music. At this time, Drischner relocated to
Berlin, and was enrolled in the Berlin University of the Arts,
where he studied harpsichord. In 1924, Drischner was named Kantor and
organist of St. Nicholas Church in Brieg.
While in Brieg, Drischer built a reputation for himself as a
choirmaster, as well, organizing and directing many successful events, and
founding a youth choir. This earned him a renown that stretched beyond Brieg.
His efforts earned him the title of Kirchenmusikdirektor ("Church
music director"), a very high honor in the Evangelical Lutheran Church.So shall we, no more delaying,
Follow Thee, Thy voice obeying:
Lead us by the hand To our Father's land.
When we danger meet Steadfast make our feet;
Lord, preserve us uncomplaining
Mid the darkness round us reigning:
Through adversity lies our way to Thee.
Order all our way Through the mortal day:
In our toil, with aid be near us:
In our need, with succour cheer us:
Till we safely stand In our Father's land.
About the Vocal Solo Music:
The
Prayer – arr. Tom Fettke
"The Prayer" was written by David Foster and Carole Bayer
Sager. It is most
commonly known as a duet between Celine Dion and Andrea Bocelli. The song won the Golden Globe Award for Best Original Song from
the 1998 filmQuest for Camelot.
It was also nominated for an Academy Award for Best Original Song in
1999 and a Grammy Award for Best Pop Collaboration with Vocals in
2000. This solo arrangement was
written by Tom Fettke, who has taught music in both public and Christian schools and has served as a church choir director and minister of music in churches large and small for over 30 years. He is a composer, arranger,
clinician, and producer of Christian music recordings. Fettke was the creator and senior editor of
the Hymnal for Worship and Celebration
(1986).
We
pray You’ll be our eyes, and watch us where we go,
And
teach us to be wise in times when we don’t know.
Let
this be our prayer when we lose our way.
Lead
us to a place, guide us with Your grace
To
a place where we’ll be safe.
We
pray we’ll find Your light, and hold it in our hearts
As
darkness falls each night, remind us where You are.
Let
this be our prayer, when shadows fill our day.
Lead
us to a place, guide us with Your grace.
Give
us faith so we’ll be safe.
Lead
us, Lord. Lead us in Your righteousness;
Make
Your way plain for us to see.
Let
this be our prayer, just like every child
Needs
to find a place, guide us with Your grace.
Give
us faith so we’ll be safe. Lead us,
Lord.
About the Hymns:
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.”
God Will Take Care of You
Walter
Stillman Martin (1862-1935) was born in Massachusetts and attended Harvard
University, where he studied for the ministry and was later ordained as a
Baptist minister. His wife, Civilla Durfee Holden (1866-1948), was born in Canada.
Civilla wrote many hymn texts for which
he produced the tunes, including their very popular, "God Will Take Care
of You".
He Leadeth Me
Although
Joseph Gilmore (1834-1918) became a distinguished university and seminary
professor, an author of several textbooks in Hebrew and English literature, and
a respected Baptist minister, he is best remembered today for this one hymn,
hurriedly written when he was just twenty-eight. Gilmore scribbled down these
lines in 1862, while visiting with friends after preaching about the truths of
the 23rd Psalm at the Wednesday evening service of the First Baptist
Church in Philadelphia. He left this account:
At the close of the service we
adjourned to Deacon Watson’s pleasant home, where we were being entertained.
During our conversation the blessedness of God’s leading so grew upon me that I
took out my pencil, wrote the text just as it stands today, handed it to my
wife, and thought no more of it.
Without
telling her husband, Mrs. Gilmore sent the verses to the “Watchman and Reflector Magazine”,
where it first appeared the following year. Three years later Joseph Gilmore
went to Rochester, New York, as a candidate to become the pastor of Second
Baptist Church. He recalls:
Upon entering the chapel I
took up a hymnal, thinking—I wonder what they sing here. To my amazement the
book opened up at “He Leadeth Me,” and that was the first time I knew that my
hurriedly written lines had found a place among the songs of the church.
William
Bradbury, an important American contributor to early gospel hymnody, added two
additional lines to the chorus: “His faithful foll’wer I would be, for by His
hand He leadeth me.”
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