July 24, 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:

I am a Child of God – Franklin Eddings

"I Am a Child of God" is a Latter-day Saint hymn and song for children. The lyrics were written in 1957 by Naomi W. Randall and set to music by Mildred Tanner Pettit. The song has been translated into over 90 languages. Randall composed the first three verses of "I Am a Child of God" at the request of the general board of the Primary Association, of which she was a member. The board wanted a song that could teach children about LDS Church teachings on the nature of a child's relationship with God. Randall described how she composed the song:

I got down on my knees and prayed aloud, pleading that our Heavenly Father would let me know the right words.  Around 2:00 a.m., I awakened and began to think again about the song. Words came to my mind. … I immediately got up and began to write the words down as they had come to me. Three verses and a chorus were soon formed.  I gratefully surveyed the work, drank of the message of the words, and returned to my bedroom where I knelt before my Father in Heaven to say "Thank you!"

Randall mailed the lyrics to her friend Mildred T. Pettit in California, who wrote the accompanying music.

I am a child of God, And he has sent me here,

Has given me an earthly home With parents kind and dear.

I am a child of God, And so my needs are great;

Help me to understand his words Before it grows too late.

I am a child of God. Rich blessings are in store;

If I but learn to do his will, I'll live with him once more.

Lead me, guide me, walk beside me, Help me find the way.

Teach me all that I must do To live with him someday.

Franklin Eddings (1933 – 2014), an accomplished composer and music teacher, was a fixture in Utah music circles for 60 years. Franklin Eddings brought the gift of music to thousands of piano, organ, and at one time, accordion students along the Wasatch Front. At least 35 of his top students were first place winners in statewide, BYU, and national performance competitions. He produced over 250 compositions and arrangements in his career.  A favorite student of Tabernacle organist Dr. Alexander Schreiner, Franklin Eddings' works have been performed by Mormon Tabernacle organists and shared with musicians all around the world.   Eddings has been a devoted member of the LDS Church all his life, a specialist in genealogy, and early in his career, an employee of the LDS Church Genealogy Department.

God Leads Us Along – Ethel Tench Rogers

George Young (c. 1855-1935) was a carpenter, and a preacher of the gospel. In the late nineteenth century he laboured in obscurity, serving small rural areas in the United States. Often his income was so small he had difficulty supporting his wife and family. Finally, after a great deal of effort and years of sacrifice, the Youngs were able to move into a small house they had built for themselves. All were delighted with the new place, but tragedy soon overtook them. While George was away holding meetings in another community, some ruffians who were hostile to the gospel he preached set fire to the Young’s home burning it to the ground.
In 1903, George Young published a hymn for which he wrote both words and music. It is a testimony to his faith in God, in spite of this severe trial. It depicts different kinds of circumstances and experiences we face in life, with a reminder that the Lord provides for us in them all. The opening stanza paints a lovely picture, reminiscent of the 23rd Psalm. But the author was well aware that not all of life is like that. The song’s refrain gives a more sobering view of life’s trials.

Around 1942, hymn writer Haldor Lillenas decided to track down George Young’s widow. He got an address in a small town and, driving there, he stopped at a gas station to ask for directions. When the attendant saw the address, he said, “Why sir, that’s the County Poor House up the road about three miles. And mister, when I say poor house, I really mean poor house!”  Not knowing what to expect, Lillenas made his way there. He found Mrs. Young, a tiny, elderly woman, in surroundings that were far from congenial. However, she radiated the joy of the Lord, and spoke of how He’d guided her and her husband over many years. Then, she exclaimed, “Dr. Lillenas, God led me here!” I’m so glad He did, for you know, about every month someone comes into this place to spend the rest of their days….So many of them don’t know my Jesus. I’m having the time of my life introducing them to Jesus! Dr. Lillenas, isn’t it wonderful how God leads!”

In shady, green pastures, so rich and so sweet,

God leads His dear children along;
Where the water’s cool flow bathes the weary one’s feet, 

God leads His dear children along.

Refrain:

Some through the waters, some through the flood,
Some through the fire, but all through the blood;
Some through great sorrow, but God gives a song,
In the night season and all the day long.

Sometimes on the mount where the sun shines so bright,
God leads His dear children along;
Sometimes in the valley, in darkest of night,
God leads His dear children along.

Though sorrows befall us and evils oppose,
God leads His dear children along;
Through grace we can conquer, defeat all our foes,
God leads His dear children along.

Away from the mire, and away from the clay,
God leads His dear children along;
Away up in glory, eternity’s day,
God leads His dear children along.

Ethel Tench Rogers (1914-2008) studied organ at the University of Vienna, Austria. She wrote over 150 collections for piano, organ, synthesizer, and children's anthems.

About the Hymns:

Come Thou Fount of Every Blessing

“Come Thou Fount of Every Blessing” was written by the 18th century pastor and hymnist Robert Robinson. Robert Robinson (1735-1790) was eight years old at the time of his father's death. He was a very bright, headstrong boy who became increasingly more difficult for his mother to handle. When Robert turned 14, she sent him to London for an apprenticeship with a barber. Robert proceeded to get into even more trouble, taking on a life of drinking and gambling. 

At 17, Robert and some of his drinking buddies decided to attend an evangelistic meeting, with a plan to make fun of the proceedings. When George Whitfield began to preach, Robert felt as if the sermon was just for him. He did not respond to the altar call that night, but the words of the evangelist would haunt him for the next three years.  On Dec. 10, 1755, at age 20, Robert finally yielded his life to Christ, and very soon thereafter answered a call to the ministry. Three years later, as he was preparing to preach a sermon at the Calvinist Methodist Chapel in Norfolk, England, Robert wrote “Come Thou Fount of Every Blessing” to complement his sermon. The music for the hymn was composed by Asahel Nettleton in 1813.

The lyrics, which dwell on the theme of divine grace, are based on 1 Samuel 7:12, in which the prophet Samuel raises a stone as a monument, saying, "Hitherto hath the Lord helped us". The English transliteration of the name Samuel gives to the stone is Ebenezer, meaning Stone of Help. The unusual word "Ebenezer" commonly appears in hymnal presentations of the lyrics.

Jesus Loves Me

"Jesus Loves Me" was written by Anna Bartlett Warner (1827–1915). The lyrics first appeared as a poem in the context of an 1860 novel called Say and Seal, written by her older sister Susan Warner (1819–1885), in which the words were spoken as a comforting poem to a dying child. The tune was added in 1862 by William Bradbury (1816–1868). Along with his tune, Bradbury added his own chorus "Yes, Jesus loves me, Yes, Jesus Loves me"  After publication as a song it became one of the most popular Christian hymns in churches around the world,  especially among children.

Anna’s family home was quite close to the United States Military Academy at West Point, in New York, in the era just before the Civil War. Each Sunday Anna taught Bible classes to the cadets. Her remains are buried in the military cemetery, and her family home is now a museum on the grounds of the United States Military Academy.

Take My Life and Let It Be

Frances R. Havergal (1836-1879) originally composed her text in eleven couplets as a hymn of "self-consecration to Christ" on February 4, 1874. She told the following story about writing this hymn:

I went for a little visit of five days [to Areley House, Worcestershire, in December 1873]. There were ten persons in the house, some unconverted and long prayed for, some converted but not rejoicing Christians. [God] gave me the prayer, "Lord, give me all this house." And He just did! Before I left the house, everyone had got a blessing. The last night of my visit. . . I was too happy to sleep and passed most of the night in praise and renewal of my own consecration, and these little couplets formed themselves and chimed in my heart, one after another, till they finished with "Ever, only, all, for Thee."

The text is a "catalog" hymn that lists aspects of our lives and offers them in Christ's service.  "Take My Life and Let It Be" was first published in the 1874 appendix to Charles B. Snepp's Songs of Grace and Glory (1872). A twelfth couplet was added at some later point, producing the six stanzas published in the Psalter Hymnal.

Although her formal education was sporadic because of poor health, Havergal learned six foreign languages, including Greek and Hebrew, and was well read in many subjects. She began writing poetry at an early age and was also an accomplished singer and pianist. The daughter of a clergyman, she had a conversion experience at the age of fourteen and was confirmed in the Church of England in 1853. Taking seriously her own words "take my silver and my gold," she sent all her jewelry to the Church Mission Society to be sold. She also supported other charitable organizations. Her more than one hundred hymns were originally published in leaflets and later gathered into seven collections: Ministry of Song (1869), Twelve Sacred Songs for Little Singers (1870), Under the Surface (1874), Loyal Responses (1878), Life Mosaic (1879), Life Chords (1880), and Life Echoes (1883), as well as in one large volume, Poetical Works (1884).