August 21, 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:

Herz und Herz vereint zusammen - 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; however, such 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 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 gotten some ideas on singing, organization of classes, and Church government from Zinzendorf. He 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.

“Herz und Herz vereint zusammen” was written in 1725, and is said to have been occasioned by strife in the Brethren's Unity. It was first published in his Die letzten Beden unsers Herrn und Heylandes Jesu Christi vor seinem Creutzes-Tode, Frankfurt and Leipzig, 1725. It contains a poetical rendering of our Lord's Farewell Discourse as recorded in John 14-17, each chapter forming a section of the poem, which thus contains respectively 43, 83, 81, and 113 stanzas of 8 lines—in all 320 stanzas. From this, stanzas 53-59 of section II were included in the 3rd edition, 1731, of the Sammlung geist-und lieblicher Lieder.  “Heart and heart together bound” is a good translation of Bunsen's text by Miss Winkworth in her Lyra Germanica, 1855.

Heart and heart together bound, Seek in God your true repose,
In your love the price be found Of your Saviour's love and woes;
We the members, He the Head, We the rays and He the Sun,
Brethren by our Master led, In our Lord we all are one.

Children of His realm, draw near, Make your covenant stronger still,
From your hearts allegiance swear Unto Him who conquer'd ill.
If your bonds are yet too weak, If but fragile yet they prove,
Help from His good Spirit seek Who can steel the chains of love.

Only such love will suffice, As the love that dwells in Him,
Love that from the cross ne'er flies, Love that spares not life or limb:
'T was for sinners He was slain, 'T was for foes He shed His blood,
That His death for all might gain Endless life,--the Highest Good.

Thus, O truest Friend, unite All Thy consecrated band,
That their hearts be set aright To fulfil Thy last command.
Each must onward urge his friend, Helping him in word and deed,
Love's blest pathway to ascend, Following where Thou dost lead.

Thou who dost command that all Practice love who bear Thy name,
Wake the dead, new followers call, Touch the slothful with Thy flame.
Let us live, O Lord, at one, As Thou with the Father art,
That through all the world be none Of Thy members left apart.

Then were given what Thou hast sought, In the Son were all men freed,
And the world at last were taught That Thy rule is blest indeed.
Father of all souls, we praise Thee who shinest in the Son;
Lord, to Thee our hymns we raise, Who hast all men to Thee drawn!

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.

It is Well with My Soul – Harold DeCou

For more than a century, the tragic story of one man has given hope to countless thousands who have lifted their voices to sing, It Is Well With My Soul.  Horatio Spafford (1828-1888) was a wealthy Chicago lawyer with a thriving legal practice, a beautiful home, a wife, four daughters and a son. He was also a devout Christian and faithful student of the Scriptures. His circle of friends included Dwight L. Moody, Ira Sankey and various other well-known Christians of the day.  At the very height of his financial and professional success, Horatio and his wife Anna suffered the tragic loss of their young son. Shortly thereafter on October 8, 1871, the Great Chicago Fire destroyed almost every real estate investment that Spafford had.

In 1873, Spafford scheduled a boat trip to Europe in order to give his wife and daughters a much needed vacation and time to recover from the tragedy. He also went to join Moody and Sankey on an evangelistic campaign in England. Spafford sent his wife and daughters ahead of him while he remained in Chicago to take care of some unexpected last minute business. Several days later he received notice that his family's ship had encountered a collision. All four of his daughters drowned; only his wife had survived.

With a heavy heart, Spafford boarded a boat that would take him to his grieving Anna in England. It was on this trip that he penned those now famous words, When sorrow like sea billows roll; it is well, it is well with my soul..   Philip Bliss (1838-1876), composer of many songs including Hold the Fort, Let the Lower Lights be Burning, and Jesus Loves Even Me, was so impressed with Spafford's life and the words of his hymn that he composed a beautiful piece of music to accompany the lyrics. The song was published by Bliss and Sankey, in 1876.

When peace like a river attendeth my way, when sorrows like sea billows roll;
whatever my lot, thou hast taught me to say, "It is well, it is well with my soul."

Though Satan should buffet, though trials should come, let this blest assurance control:
that Christ has regarded my helpless estate, and has shed his own blood for my soul.

My sin oh, the bliss of this glorious thought! my sin, not in part, but the whole,
is nailed to the cross, and I bear it no more; praise the Lord, praise the Lord, O my soul!

O Lord, haste the day when my faith shall be sight, the clouds be rolled back as a scroll;
the trump shall resound and the Lord shall descend; even so, it is well with my soul.

Harold H. DeCou (1932-2008) attended Temple University in Philadelphia and was associated with Billy Graham and the Singspiration staff.  His output as artist, composer, arranger and orchestrator ensures that he will be remembered as one of the giants of Christian gospel music. He served as church organist at Grace Presbyterian Church in Peoria from 1988 to 2001. He was also an Honorary Fellow of Shenandoah Society Award.

Festival Toccata on “St. Anne” – Frederick Swann

“Our God, Our Help in Ages Past” is a hymn by Isaac Watts which paraphrases Psalm 90. It originally consisted of nine stanzas. In present usage, however, the hymn is usually limited to stanzas one, two, three, five, seven and nine. In 1738, John Wesley in his hymnal, Psalms and Hymns, changed the first line of the text from "Our God" to "O God." Both Watts' wording and Wesley's rewording remain in current use.  The hymn was originally part of The Psalms of David Imitated in the Language of the New Testament, published by Watts in 1719. In this book he paraphrased in Christian verse the entire psalter with the exception of twelve Psalms which he felt were unsuited for Christian usage.

The hymn tune "St. Anne" to which the text is most often sung was composed by William Croft in 1708 whilst he was the organist of the church of St Anne, Soho.  It first appeared anonymously in the Supplement to the New Version of the Psalms, 6th edition in 1708. It was originally intended to be used with a version of Psalm 62. It was not until sometime later when set to Watts' text that the tune gained recognition.

The complete nine verses are as follows:

Our God, our help in ages past, Our hope for years to come,
Our shelter from the stormy blast, And our eternal home.

Under the shadow of Thy throne Still may we dwell secure;
Sufficient is Thine arm alone, And our defense is sure.

Before the hills in order stood, Or earth received her frame,
From everlasting Thou art God, To endless years the same.

Thy Word commands our flesh to dust, Return, ye sons of men:

All nations rose from earth at first, And turn to earth again.

A thousand ages in Thy sight Are like an evening gone;
Short as the watch that ends the night Before the rising sun.

The busy tribes of flesh and blood, With all their lives and cares,

Are carried downwards by the flood, And lost in following years.

Time, like an ever rolling stream, Bears all its sons away;
They fly, forgotten, as a dream Dies at the opening day.

Like flowery fields the nations stand Pleased with the morning light;

The flowers beneath the mower’s hand Lie withering ere ‘tis night.

Our God, our help in ages past, Our hope for years to come,
Be Thou our guard while life shall last, And our eternal home.

Frederick Swann (b. 1931) was the son of Methodist  bishop Theodore M. Swann.  He began taking piano lessons as a 5-year old from the organist at Braddock Street United Methodist Church in Winchester, Virginia, where his father was pastor 1937–1943. He told an interviewer in later years that he was "mesmerized when I saw the organ console for the first time" at the church and soon began taking organ lessons. By the age of ten, Swann was playing the church's organ for services when his teacher died suddenly.  Swann was associated with the music ministry of the famed Riverside Church in New York City from 1952 through 1982, first as substitute organist (1952–1957), then as organist (1957–1965) joining organist Virgil Fox there until the latter's departure in 1964. Between 1966 and 1982, Swann was organist, choir director, and director of music at Riverside. Beginning in 1982, Swann was organist and music director at the Crystal Cathedral in Garden Grove, California, where he presided over their main "Hazel Wright" double-organ, and appeared on their weekly televised service. His performances were characterized by music critic Daniel Cariaga as "splendid, probing, brilliant and entertaining".

Swann has served on the faculties of New York City's Union Theological Seminary School of Sacred Music, Teacher's College of Columbia University, and chaired the Organ Department of the Manhattan School of Music for ten years. He is currently University Organist and Artist Teacher of Organ at the University of Redlands in California.  As a concert organist, he frequently performs at recitals throughout North America, Europe and the Far East.  In 2002, he was named "International Performer of the Year" by the New York City Chapter of the AGO.^[8] On April 13, 2008, the AGO saluted him at an AGO Gala recital at First Congregational Church in Los Angeles as the "Crown Prince of the King of Instruments" for his "dedicated service ... for more than a half century".  Swann was President of the American Guild of Organists from 2002-2008.

About the Choral Music:

Praise to the Lord, the Almighty – Robert Sterling

"Praise to the Lord, the Almighty" is a hymn based on Joachim Neander's (1650-1680) 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.  

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.

            Praise to the Lord, the Almighty, the King of creation!

            O my soul, praise Him, for He is thy health and salvation!

            All ye who hear, now to His temple draw near. Join me in glad adoration!

            Praise to the Lord, who o’er all things so wondrously reigneth,

            Shelters thee under His wings, yea, so gently sustaineth.

            Hast thou not seen how thy desires e’er have been granted in what He ordaineth.

            Praise to the Lord, who doth prosper thy work and defend thee;

            Surely His goodness and mercy here daily attend thee.

            Ponder anew what the Almighty can do if with His love He befriend thee.

            Praise to the Lord, O let all that is in me adore Him!

            All that hath life and breath, come now with praises before Him!

            Let the Amen sound from His people again; Gladly for aye we adore Him!

About the Hymns:

Ask Ye What Great Thing I Know

Johann Christoph Schwedler (1672-1730)  was born at Krobsdorf, the son of a farmer and rural magistrate.  He was appointed assistant minister at Niederwiese and later became pastor.  Schwedler was a powerful and popular preacher, and peculiarly gifted in prayer. It is said that sometimes, beginning service at 5 or 6 a.m., he would continue the service to relays who in succession filled the church, till 2 or 3 p.m. He also founded an orphanage at Niederwiese.  He was a popular hymn-writer. The principal theme of his hymns was the Grace of God through Christ, and the joyful confidence imparted to the soul that experienced it. Of his hymns, 462 appeared in his Die Lieder Mose und des Lammes, oder neu eingerichtetes Gesang-Buch, Budissin, 1720. Others are in his Wöchentliche Hauss-Andacht, in his various devotional works, and in the hymn-books of the period.

“Ask Ye What Great Thing I Know” was pub­lished post­hu­mous­ly in Hirsch­berg­er Ge­sang­buch, 1741 (Wollt ihr wis­sen, was mein Preis?). It was trans­lat­ed from Ger­man to Eng­lish by Ben­ja­min H. Ken­ne­dy in Hymn­o­lo­gia Christ­i­a­na, or Psalms and Hymns Se­lect­ed and Ar­ranged in the Or­der of the Christ­ian Sea­sons, 1863.

This Little Light of Mine

"This Little Light of Mine" is a gospel children's song written by composer and teacher Harry Dixon Loes (1895–1965) circa 1920. Loes, who studied at the Moody Bible Institute and the American Conservatory of Music, was a musical composer, and teacher, who wrote, and co-wrote, several other gospel songs. The song has since entered the folk tradition, first being collected by John Lomax in 1939. Often thought of as a Negro spiritual, it does not, however, appear in any collection of jubilee or plantation songs from the nineteenth century:

The song may take its theme from Matthew 5:16, "Let your light shine before men, that they may see your fine works and give glory to your Father who is in the heaven."; Luke 11:33, "No man, when he hath lighted a candle, putteth it in a secret place, neither under a bushel, but on a candlestick, that they which come in may see the light."; and Matthew 5:14–15, where Jesus said, "Ye are the light of the world. A city that is set on an hill cannot be hid. Neither do men light a candle and put it under a bushel, but on a candlestick; and it giveth light unto all that are in the house."

I Love to Tell the Story

"I Love to Tell the Story" is a well-known hymn which was written as a poem by an English evangelist, Katherine Hankey (1834-1911). Hankey was the daughter of a wealthy banker and was associated with the Clapham sect of William Wilberforce, a group of prominent evangelical Anglicans from the Clapham area. This group helped to establish the British and Foreign Bible Society, promoted the … abolition of slavery, and was involved in improving the lot of England's working classes. Hankey taught Bible classes for shop girls in London, visited the sick in local hospitals, and used the proceeds of her writings to support various mission causes. Her publications include Heart to Heart (1870) and The Old, Old Story and Other Verses (1879).

Hankey had a serious spell of sickness while in a mission in Africa. During her long days of convalescence, she wrote a long on the life of Jesus in 1866 in two parts. The first part was a poem of fifty stanzas, titled "The Story Wanted" (dated January 29, 1866) and second part titled "The Story Told" (dated November 18, 1866).

Certain verses were taken from Part I. by Dr. W. H. Doane in 1867 to make the popular and familiar hymn beginning, "Tell me the old, old story". From Part II verses were selected to make the hymn, "I Love to Tell the Story".  The tune was composed by William G. Fischer and appeared in Fischer's Joyful Songs, Nos. 1 to 3 published in 1869 in Philadelphia, Pennsylvania by Methodist Episcopal Book Room.

Apart from the context of the larger poem, some of the couplets of this text appear rather shallow or repetitious; thus the Psalter Hymnal includes only the original stanzas 1, 3, and 4. But the entire original poem provides a fine autobiographical testimony to Hankey's evangelical fervor, which she expressed in her writings and in her support of foreign and home missions (she taught church school classes to the rich and poor of London). The text simply affirms the Christian's zeal to "tell the old, old story of Jesus and his love" to the unsaved as well as to the saved, here on earth and in glory.