October 2, 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:

Deeper and Deeper – Harold DeCou

This hymn is from the pen of a great evangelical preacher and missionary statesman, Oswald J. Smith (1889-1986). He composed more than 1200 hymns and religious verses. In his book The Story of My Hymns, he gives the following account of the writing of this  hymn. "Arriving in Woodstock, Ontario, one day in the year 1911, I was invited to preach one Sunday morning in the largest Methodist Church in that city. As I walked along the street on my way to the church, the melody of this hymn sang itself into my heart and with it the words, 'Into the heart of Jesus, deeper and deeper I go.' I can still recall the joy and buoyancy of youth, the bright sunshine overhead, and the thrill with which I looked forward to my service that Sunday morning, as again and again I hummed over the words. I wondered if I could retain the music in my mind until the service was over, I was then just twenty-one years of age. After preaching, I returned to my rented room, and the first thing I did was write out the melody as God had given it to me. I had been able to remember it, and it has never changed from that day to this. The verses were much more difficult, I worked on them at Belwood, Ontario, but it was three years later, in the First Presbyterian Church of South Chicago, of which I was pastor, that I completed them. It was then 1914, and I was twenty-four years of age. The writing of the hymn afforded me much joy, nor has it ever grown old. I still love it and always will, for it was the child of my youth. It proves conclusively that God can impart His deepest truths to the heart of the young, for I doubt if I have ever written anything more profound since. There are five steps portrayed in 'Deeper and Deeper'- the heart, the will, the cross, joy and love. What an experience! But it is the note of triumph in the last verse that transports the soul to heights sublime."

Into the heart of Jesus, Deeper and deeper I go,

Seeking to know the reason, Why He should love me so,

Why He should stoop to lift me, Up from the miry clay,

Saving my soul, making me whole, Though I had wandered away.

Into the will of Jesus, Deeper and deeper I go,

Praying for grace to follow, Seeking His way to know;

Bowing in full surrender, Low at His blessed feet,

Bidding Him take, break me and make, Till I am molded, complete.

Into the cross of Jesus, Deeper and deeper I go,

Following through the garden, Facing the dreaded foe;

Drinking the cup of sorrow, Sobbing with broken heart,

"O Savior, help! Dear Savior, help! Grace for my weakness impart."

Into the joy of Jesus, Deeper and deeper I go,

Rising, with soul enraptured, Far from the world below.

Joy in the place of sorrow, Peace in the midst of pain,

Jesus will give, Jesus will give; He will uphold and sustain.

Into the love of Jesus, Deeper and deeper I go,

Praising the One Who brought me Out of my sin and woe;

And through eternal ages, Gratefully I shall sing,

"O how He loved! O how He loved! Jesus, my Lord and my King!"

Harold H. DeCou (1932-2008) attended Temple University in Philadelphia and was long 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.

You Satisfy the Hungry Heart - Ron Schmoltze

This hymn unites the work of composer, Robert Kreutz, and hymn text writer, Omer Westendorf.  It was among 200 texts submitted for possible use at the 41st International Eucharistic Congress in Philadelphia in 1976. "You Satisfy the Hungry Heart" was selected as the official hymn of that gathering.  First embraced by Roman Catholics, this hymn has since become well-known and a favorite in many denominations.   Following the reforms of the Second Vatican Council (1962-1965), the role of congregational song became much more prominent in Roman Catholic worship. The ecumenical worshipping community has been the beneficiary of some music composed for Catholic worship since that time, especially music for Communion.   We would not have some of our favorite Communion hymns in The United Methodist Hymnal and The Faith We Sing without the contribution of post-Vatican II Catholic composers. “One bread, one body” (UMH No. 620) and “Take our bread” (UMH No. 640) are just a two of these. 

Omer Westendorf (1916-1997) was one of the leading post-Vatican II composers and his hymn, “Gift of finest wheat,” is one of the best-known Communion hymns to come from the decades immediately following the liturgical reforms of the Second Vatican Council.  This hymn unites the work of composer, Robert Kreutz, and hymn text writer, Omer Westendorf.  It was among 200 texts submitted for possible use at the 41st International Eucharistic Congress in Philadelphia in 1976. "You Satisfy the Hungry Heart" was selected as the official hymn of that gathering.  The hymn was first published in We Celebrate with Song (1979).

Beginning at age 20, Westendorf received his master of music degree at the Cincinnati Conservatory of Music, and for most of his professional musical career served as organist and choirmaster at St. Bonaventure Church in Cincinnati, Ohio.  Under his direction, the Bonaventure Choir sang concerts and recorded sacred music for several decades. One of his greatest achievements was the founding of the World Library of Sacred Music in 1950 and World Library Publications in 1957. These organizations have been primary distributors of music for the Mass in the U.S. and beyond.  Westendorf was also known for his lectures and seminars on sacred music, consultations on liturgical music, and as a hymn writer. UM Hymnal editor Carlton Young notes that Westendorf’s “People’s Mass Book, 1964, 1966, 1970, 1976, was the first vernacular hymn and service book to implement the Catholic liturgies decreed by Vatican Council II. He wrote Music Lessons for the Man in the Pew to teach the art of sight reading choral music.”

One of the prominent features of Catholic hymns from this era is a memorable and singable refrain. For example, think of how easily congregations learn the refrain by Catholic musician Daniel Schutte, “Here I Am, Lord.”  “You satisfy the hungry heart” has an equally memorable refrain, though more reflective.   The refrain evokes the agrarian image of “finest wheat,” the source of bread, a primary staple that sustains life. The hymn writer first addresses Christ directly in the second person, implying an intimate relationship, and offers a petition to Christ to “give to us... the bread of life to eat.”

The hymn is replete with biblical references. The refrain echoes John 6:25-37, a passage where Christ develops the imagery of bread and says, “I am the bread of life; he who comes to me shall not hunger.” Stanza one focuses on the metaphor of Christ as shepherd drawn from several passages, but especially from John 10. Stanza three is almost a direct quotation of I Corinthians 10:16-17: “The cup of blessing which we bless, is it not a participation in the blood of Christ. The bread which we break, is it not a participation in the body of Christ?”  The final stanza sites the selfless and self-giving gift of Christ reminding us of Philippians 2:5-11, a creedal hymn of the early church. 

You satisfy the hungry heart, with gift of finest wheat

Come give to us, O Saving Lord, The Bread of Life to eat.

As when the shepherd calls his sheep, they know and heed his voice,

so when you call your family Lord, they follow and rejoice.

With joyful lips, we sing to you, our praise and gratitude.

That you should count us worthy Lord to share this Heavenly food.

Is not the cup we bless and share, the blood of Christ outpoured?

Does not one cup, one loaf declare, our Oneness in the Lord?

Ron Schmoltze (b. 1936) is Organist and Director of Music at Our Lady of Angels Church in Burlingame, California.

God, Who Stretched the Spangled Heavens - Wilbur Held

Hymnody has often had difficulty keeping in step with scientific thinking. Many of our hymns on themes of the natural world imply an extension of the cosmology of the ancient world in which a three-story universe provides the basis for our assumptions. In this view, the dome of the heavens with the firmament of the stars rests upon the earth, which, in turn, is supported by the underworld resting on the pillars of the earth. This view assumes that the earth is the center of the universe. Nicolas Copernicus reoriented our understanding of the universe in the 16th century with his proof that the earth revolved around the sun. This should have changed the course of hymns, but parts of the church universal did not accept his teachings for centuries. It took the space race of the 1960s to firmly establish that we no longer could restrict our understanding of the natural creation to the three-storied universe. “God, who Stretched the Spangled Heavens,” written in 1967, was among the first hymns to employ the imagery of the space age. 

Catherine Arnott Cameron (b. 1927) in New Brunswick, studied at McMaster University and the University of Southern California. A naturalized U.S. citizen, Dr. Cameron was a professor of social psychology at the University of La Verne, Calif., from 1971-1992. Hymnologist Harry Eskew interviewed Dr. Cameron, whose interest in poetry goes back to hymn singing in church at a young age. “As a child and teenager with a gift for writing poetry, I was troubled by the mismatch between words and music in some of the hymns sung in our church,” she said. “I thought that one day I might write a hymn that was a harmony of poetry and music. The hymn was written over a period of several months at a time when I was experiencing a new sense of direction, growth and creativity in my life.” It appeared first in Contemporary Worship 1 (1969) and has been a staple of hymnals ever since. 

The most poignant aspect of Dr. Cameron’s hymn is the paradox between stanza one and stanzas two and three. In stanza one, the author celebrates humanities’ “inventive powers” that come as a result of being made “in [God’s] likeness.” Stanza two contrasts the purposeful move into space with the void of life in “modern cities” where lonely people are often “lost to purpose and meaning, scarcely caring where they go.” Stanza three, written at the height of the Cold War, contrasts “the ecstasy of winging through untraveled realms of space” with the earth-bound reality of the power of the atom, which provides us with the choice of “life’s destruction or our most triumphant hour.” The final stanza appropriately concludes with the prayer: “Great Creator, give us guidance till our goals and yours are one.” 

            God, who stretched the spangled heavens, infinite in time and place,

            Flung the suns in burning radiance through the silent fields of space,

            We your children, in your likeness, share inventive powers with you.

            Great Creator, still creating, show us what we yet may do.

            Proudly rise our modern cities, stately buildings, row on row;

            Yet their windows, blank, unfeeling, stare on canyoned streets below,

Where the lonely drift unnoticed in the city’s ebb and flow,

Lost to purpose and to meaning, scarcely caring where they go.

We have ventured worlds undreamed of since the childhood of our race;

Known the ecstasy of winging through untraveled realms of space;

Probed the secrets of the atom, yielding unimagined power,

Facing us with life’s destruction of our most triumphant hour.

As each far horizon beckons, may it challenge us anew,

Children of creative purpose, serving others, honoring you.

May our dreams prove rich with promise, each endeavor well begun.

Great Creator, give us guidance till our goals and yours are one.

Wilbur Held (1914-2015) was born in Des Plaines, Illinois, and received his B.M. and M.M. degrees at the American Conservatory of Music in Chicago. He then attended Union Theological Seminary in New York City where he earned his S.M.D. A member of the Episcopal Church, for many years Dr. Held was Professor of Organ and Church Music at The Ohio State University, Columbus, Ohio.  He remained in this position for over 30 years, and for most of that time was also organist-choirmaster at Trinity Episcopal Church in Columbus, Ohio.  Dr. Held started composing little pieces for the organ because he felt there was a lack of teaching material aimed at developing style and registration, especially for the romantic use of the instrument.  Having written several suites primarily for pedagogical use, he turned his attention to broadening the repertoire for church use, continuing to stress modest technical requirements and flexibility of registration. To date he has published 325 organ works. He has served on the national councils of both the AGO and the Hymn Society of America, and has appeared as recitalist at their national conventions.

About the Choral Music:

How Deep the Father’s Love For Us – Larry Shackley

Stuart Townend (b. 1963) has written several modern worship songs including the very well-known “In Christ Alone.” However, the song “How Deep the Father’s Love for Us” holds a special place in his heart.  Townend, a who lives in Brighton, England, states himself that he is concerned about the modern movement that is always seeking an “experience” at worship. He clearly states that he believes emotion is an important part of worship, but that when that becomes our focus, we struggle. In an online interview, he stated concerning “How Deep the Father’s Love for Us,”

The danger now is that we are so focused on the experience our worship can become self-seeking and self-serving. When all of our songs are about how we feel and what we need, we’re missing the point. There is a wonderful, omnipotent God who deserves our highest praise, and how we feel about it is in many ways irrelevant!  I want to encourage the expression of joy, passion and adoration, but I want those things to be the by-product of focusing on God – I don’t want them to become the subject matter. I’m trying to write songs that refer to us as little as possible, and to Him as much as possible!

Many people, upon hearing the song for the first time, think it is old, as it sounds more like a classic hymn than a modern praise song.  That feel was intentional from the very beginning. On his own website, Townend states that he had been considering the cross, “in particular what it cost the Father to give up his beloved Son to a torturous death on a cross.” Then he thought about his own part in that event; thus the line, “It was my sin that nailed Him there.”  Written in 1995, “How Deep the Father’s Love” is comprised of three simple verses, but they teach the basics of our faith. They discuss not only the death and resurrection of Jesus, but also the love of God and sin of man. In my opinion, the last lines of the hymn are some of the finest words ever penned, as we sing, “But this I know with all my heart: His wounds have paid my ransom.” Those words bring the worshiper’s mind back to the fact of his/her own sin, but also the glorious salvation brought about by Jesus Christ.  In terms of modern hymns, there may not be a song that better expresses the basics of the Christian faith, while at the same time being highly introspective. 

Larry Shackley (b. 1956) is a full-time composer and editor from Columbia, SC. From 1995-2007, he taught and directed the music program at Columbia International University in Columbia, SC. Prior to that, he worked for several years at the Moody Bible Institute in Chicago, creating original music and producing radio programs for the Moody Broadcasting Network. He has been active in church music since his teens, and served as staff keyboardist for ten years at Willow Creek Community Church in South Barrington, IL. He studied composition at the Eastman School of Music and earned his Master in Music and Doctor of Musical Arts degrees in composition from the University of South Carolina. Over the past several years, he has devoted most of his composing to music for the church, producing over twenty books of keyboard arrangements and more than one hundred choral anthems.

            How deep the Father’s love for us, how vast beyond all measure

            That He should give His only Son to make a wretch His treasure.

            How great the pain of searing loss.  The Father turns his face away

            As wounds which mar the Chosen One bring many sons to glory.

            How high, how wide, how deep the Father’s love for us.

            Behold the man upon the cross, my sin upon his shoulders.

            Ashamed, I hear my mocking voice call out among the scoffers.

            It was my sin that held him there until it was accomplished;

            His dying breath has brought me life.  I know that it is finished.

            How pure, how strong, how deep the Father’s love for us.

            I will not boast in anything; no gifts, no power, no wisdom.

            But I will boast in Jesus Christ: his death and resurrection.

            Why should I gain from his reward?  I cannot give an answer.

            But this I know with all my heart: his wounds have paid my ransom.

            How high, how wide, how pure, how strong.

            How deep the Father’s love for us.

About the Hymns:

All Creatures of Our God and King

The words of the hymn were initially written by St Francis of Assisi in 1225 in the Canticle of the Sun poem, which was based on Psalm 148. The words were translated into English by William Draper, who at the time was rector of a Church of England parish church at Adel near Leeds. Draper paraphrased the words of the Canticle and set them to music. It is not known when Draper first composed the hymn but it was between 1899 and 1919. Draper composed the hymn for his church's children's Whitsun festival celebrations and it was later published in 1919 in the Public School Hymn Book. The hymn is currently used in 179 different hymn books. The words written by St Francis are some of the oldest used in hymns after "Father We Praise Thee", written in 580 AD. The hymn is set to the tune of "Lasst uns erfreuen herzlich sehr", a German Easter hymn written by Friedrich Spee, published in 1623 in his book Auserlesene, Catholische, Geistliche Kirchengesäng. It was first used in English hymn books in 1906.

St. Francis is famous for many things, including love of animals.  Pictures of him usually have birds flying nearby and small animals at his feet.  A popular story tells of him stopping to preach a sermon to a flock of birds.  He reminded them that God had blessed them with beautiful clothing even though they had never learned to spin or weave–– and that God had blessed them with food even thought they had never learned to sow or reap.  Then he called them to sing their songs as praises to God.  St. Francis wrote this hymn near the end of his life.  Sick and suffering bouts of blindness, he was going home to die when he stopped to visit friends at the St. Damien monastery.  While there, he felt the inspiration to compose this joyful hymn.  It calls all God's creatures ––sun and moon ––wind and water––fruits and flowers––and all who are of tender heart––to sing, "Alleluia! Alleluia! Alleluia!" to honor our God.

Seek Ye First

"Seek Ye First the Kingdom of God." was written in 1972 by Karen Lafferty.  The following is an excerpt from an interview in Reformed Worship magazine:

I was raised in a Christian home, but like many young people I wanted to discover life for myself and did some drifting. I was working as a nightclub entertainer in New Orleans when a friend came to visit me and got me back on the right track. I decided to pursue entertainment for the time being—to try to be salt and light in the entertainment world. So I moved to California.  Soon I did find a church, Calvary Chapel, and at my first service I met a lot of other young musicians.  At this time "Maranatha! Music" was part of Calvary Chapel. It was very small yet and had produced only one album, An Everlasting Jesus Music Concert. At the chapel we had a special fellowship for musicians which taught us principles on how to serve through music. Most of us were especially interested in contemporary Christian music, music that would reach young people.  I stayed with Maranatha! Music for about eight years. In 1980, and out of that relationship came Musicians for Missions. Youth with a Mission is very involved with the idea of cross-cultural missions. Even though we dealt with a subculture of young people who all liked the same kind of music, there were still many cultural differences. I felt I had to live outside of the U.S. to really learn what it is to be in another country. And under the umbrella of Youth with a Mission, I was able to organize Musicians for Missions.

Back in 1971, I had quit my entertainment job and was trying to support myself with teaching guitar lessons. I had three students! When my savings were all gone and I had no money to make my car payments, I became very discouraged and confused.  One evening I went to a Bible study at church, and we talked about Matthew 6:33.1 was tremendously encouraged and challenged by the words about Christ's kingdom. So I went home, wrote the tune, recorded it on a tape recorder, and then sang this little descant part.  I taught the song at church the next week, and it caught on right away. The Lord really paved the way for me with that song. "Seek Ye First" has opened doors for me all over the world. And because it's in so many hymnbooks, about 40 percent of my mission support comes from that song!

I Surrender All

"I Surrender All" was written by American art teacher and musician Judson W. Van DeVenter (1855–1939), who subsequently became a music minister and evangelist. It was put to music by Winfield S. Weeden (1847–1908), and published in 1896.Van DeVenter said of the inspiration for the text:

For some time, I had struggled between developing my talents in the field of art and going into full-time evangelistic work. At last the pivotal hour of my life came, and I surrendered all. A new day was ushered into my life. I became an evangelist and discovered down deep in my soul a talent hitherto unknown to me. God had hidden a song in my heart, and touching a tender chord, He caused me to sing.

Following his decision to surrender his life to the Divine, Van DeVenter traveled throughout the United States, England, and Scotland, doing evangelistic work. Winfield S. Weeden, his associate and singer, assisted him for many years. Toward the end of his life, Van DeVenter moved to Florida, and was professor of hymnology at the Florida Bible Institute for four years in the 1920s. After his retirement, he remained involved in speaking and in religious gatherings. Van DeVenter published more than 60 hymns in his lifetime, but "I Surrender All" is his most famous.