October 23, 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:

Love Divine, All Loves Excelling – Charles Callahan

Charles Wesley (1707-1788) was a prolific hymn writer of the 18th century. Coming from a musical family, he left a lasting legacy of congregational song.  The youngest of 18 children, Charles possessed prodigious talents that soon blossomed. Little did he know that “Love Divine, All Loves Excelling,” would rise to become one of the most popular and consistently vocalized Christian songs.  Writing hymn texts that are solidly based on the Scriptures gives them an appeal across denominational lines. It is estimated that during his lifetime, Wesley penned more than 9,000 poems of a spiritual nature, 6,000 of which are hymns. What really set Charles apart from other hymn writers was his effective use of scriptural allusions, providing a spiritual roadmap whereby individuals could imagine a Christ-centered life. His writings were passionate and well-crafted, conveying the true essence of Christian teaching. 

A substantial number of his writings were completed while riding on horseback to his evangelical meetings.  Scholars suggest that he was able to compose about 10 lines of verse daily for 50 years. Charles’ brother John sometimes served as editor to his hymns. John’s typical response was, “some were good, some were mediocre, and some were exceptional.” John can also be credited with improving the singability of Charles’ hymns.

Both John and Charles were instrumental in changing the spiritual environment of Britain during the 18th century. In doing so, they formed the bedrock of what Methodism has become worldwide. Their unwavering devotion to expressing Christian spirituality through hymns has impacted individuals across all denominational lines.  We are fortunate to be the recipients of the poetic genius of Charles Wesley. He influenced Methodism more than any other hymn writer. Upon hearing of Charles’ death, an elderly Londoner asked, “Who will write poetry for us now?” 

“Love Divine, All Loves Excelling” was first published in a collection of hymns entitled Hymns for those that Seek, and those that Have, Redemption in the Blood of Christ (1747). The incipit (opening line) was a play on the opening line of John Dryden’s (1631-1700) poem “Fairest Isle, All Isles Excelling” set to music by Henry Purcell (1659-1695) in the generation before Charles Wesley was born.  The hymn is written around a progression of thoughts: (1) our prayers for the Holy Spirit, (2) praying for the return of our Lord through the second coming, and (3) prayers for the finalization of his new creation.

Stanza 2 expresses the Wesleyan concept of the “second rest.” When Charles referred to this in his hymns, it specifically applies to the “second birth,” “second blessing,” “second gift.” All of these are directed toward achieving full “sanctification” or “Christian perfection.” This is an important theological tenet of Methodist preaching from the very beginning.

There is no better way of describing the culmination of adhering to the biblical teachings of Christ, than in stanza four of this hymn. Wesley’s phrase, “changed from glory into glory” is almost a direct quotation from 2 Corinthians 3:18 (KJV). Wesley describes that day in heaven when “we take our place, till we cast our crowns before thee, lost in wonder, love, and praise.”

Love divine, all loves excelling, joy of heaven, to earth come down,
fix in us thy humble dwelling, all thy faithful mercies crown.
Jesus, thou art all compassion, pure, unbounded love thou art;
visit us with thy salvation; enter every trembling heart.

Breathe, oh, breathe thy loving Spirit into every troubled breast;
let us all in thee inherit; let us find the promised rest.
Take away the love of sinning; Alpha and Omega be;
end of faith, as its beginning, set our hearts at liberty.

Come, Almighty, to deliver, let us all thy life receive;
suddenly return, and never, nevermore thy temples leave.
Thee we would be always blessing, serve thee as thy hosts above,
pray and praise thee without ceasing, glory in thy perfect love.

Finish, then, thy new creation; pure and spotless let us be;
let us see thy great salvation perfectly restored in thee:
changed from glory into glory, till in heaven we take our place,
till we cast our crowns before thee, lost in wonder, love and praise.

Charles Callahan (b. 1951) is one of America’s leading organist-composers.  A native of Cambridge, Massachusetts, he is a graduate of the Curtis Institute of Music and Catholic University of America.  In recognition of his service to the church and his commissioned compositions for Papal visits to the U.S., he was awared the Papal Honor of Knighthood in the Order of the Holy Sepulchre of Jerusalem in 1999.  In addition to compositions and performances, Charles Callahan is a noted educator and author whose two books on American organ-building have become standard reference works.

Blessed Assurance – J. Bert Carlson

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. 

Blessed assurance; Jesus is mine! Oh, what a foretaste of glory divine!
Heir of salvation, purchase of God, born of his Spirit, washed in his blood.

Perfect submission, perfect delight, visions of rapture now burst on my sight;
angels descending bring from above echoes of mercy, whispers of love.

Perfect submission, all is at rest, I in my Savior am happy and blest;
watching and waiting, looking above, filled with his goodness, lost in his love.

Refrain:
This is my story, this is my song, praising my Savior all the day long;
this is my story, this is my song, praising my Savior all the day long.

J. Bert Carlson (b. 1937), retired pastor, holds a master of music from Duquesne University School of Music and has served as pastor of Christ Lutheran Church, Whiting, NJ since 1997. Carlson wears many diverse hats as a piano teacher, organ recitalist, tenor soloist, musical director, and conductor as well as cofounder of the Chicago Oratorio Society and clinician for numerous workshops with an emphasis on choral methods, organ and hymn composition. His prodigious list of publications includes anthems, vocal songs, organ works, and piano works.

Praise to the Lord, the Almighty – Johannes Michel

"Praise to the Lord, the Almighty" is a hymn based on Joachim Neander's 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. 

One interesting piece of history is the later use of Neander’s name. He often taught in a valley near the Düssel river, and over 100 years after his death the valley was named after him. It was in that valley that bones were later found, from which we get the name “Neanderthal.”

Praise to the Lord, the Almighty, the King of creation!
O my soul, praise him, for he is your health and salvation!
Come, all who hear; now to his temple draw near, join me in glad adoration.

Praise to the Lord, above all things so wondrously reigning;
sheltering you under his wings, and so gently sustaining!
Have you not seen all that is needful has been sent by his gracious ordaining?

Praise to the Lord, who will prosper your work and defend you;
surely his goodness and mercy shall daily attend you.
Ponder anew what the Almighty can do, if with his love he befriends you.

Praise to the Lord! O let all that is in me adore him!
All that has life and breath, come now with praises before him.
Let the Amen sound from his people again; gladly forever adore him.

Johannes Matthias Michel (b. 1962) is a German conductor and organist who gained first musical experience with his father, the composer and church musician Josef Michel.    He is director of church music at the Christuskirche Mannheim, regional cantor of Mannheim and state cantor of Nordbaden, where he leads the Bachchor Mannheim and the Kammerchor Mannheim.  Johannes-Matthias Michel teaches organ  at the Hochschule für Kirchenmusik in Heidelberg, as well as the Staatlichen Hochschule für Musik in Mannheim. Apart from extensive concert activity, he has participated in numerous broadcast and TV and CD recordings.

About the Choral Music:

Holy, Holy, Holy – Jeffrey LaValley

Jeffrey LaValley (b. 1954) was born in Milwaukee and brought up at the Emmanuel Church of God in Christ until age ten, when a new church was formed in his living room: New Hope Church of God in Christ.  He began his musical career on a piano purchased for his older sister at the age of five He began writing music at age thirteen. LaValley studied journalism at Pennsylvania State University in Monaca, Pennsylvania, and at Marquette University in Milwaukee. In 1986, Jeffrey began his formal musical studies, and enrolled in the music studies program at Mott Community College in Flint.  He has been music minister at New Jerusalem Baptist Church in Flint, Michigan since 1979. 

As a writer, musician, director, and/or producer, Jeffrey has appeared on over 270 projects including the New Jerusalem Baptist Church Choir, Wilmington-Chester Mass Choir, Florida Mass Choir, Charles Fold & The Charles Fold Singers, The Full Gospel Baptist Church Mass Choir [which he produced, and was nominated for 1996 Stellar, Soul Train and Grammy Awards], and many others. For three years, he served as the musical director for the Tramaine Hawkins Road Band, and formerly served as the concertmaster for the Gospel Music Workshop of America Mass Choir.  In 1987, Jeffrey was commissioned to compose a song for Pope John IV during his Papal visit to Detroit, and in 1989, he was awarded the G.M.W.A. Excellence Award for Song of the Year—Contemporary, “No Greater Love”. He was also featured as one of the top producers of 1994 in the Gospel Music Industry Roundup, the 1996 edition of the Gospel Music Industry Roundup, and was featured in the 1997 and 1998 editions of the Gospel Music Industry Roundup, as one of the most sought-after producers in Gospel music. In 2001, Jeffrey received the Vision Award from the University Of Illinois Urbana-Champaign Black Sacred Music Symposium for his achievements in gospel music.  His composition, “Revelation 19:1”, was chosen as the entrant for the Papal Celebration at the Vatican in June, 2006.

            Holy, holy, holy, holy is the Lord of hosts.

            Worthy, worthy of the honor, worthy of the glory is the Lord of hosts.

            He shall reign forever.

Thank you, thank you, thank you to the Lord of hosts.

                He shall reign forever.  He shall reign.

Give Me Oil in My Lamp – Joseph Martin

          God’s Project

"Oil in My Lamp", also known as "Give Me Oil in My Lamp" and "Sing Hosanna", is based on the Parable of the Wise and Foolish Virgins. Jesus’ parable, a simple story drawn from everyday life intended to illustrate an important lesson, is straightforward enough.   In this particular parable, the original listeners would immediately have understood that the ten virgins were the bridesmaids who were responsible for preparing the bride to meet the bridegroom.  Jesus uses this illustration of the bridegroom and the ten virgins as an example of the way in which the followers of Christ (the bridesmaids) are tasked with making sure that the Church (Christ’s bride) is ready to meet the bridegroom (Jesus) when he comes again. Prepare and watch.

Joseph Martin (b.1959), a native of North Carolina, earned his Bachelor of Music degree in Piano Performance at Furman University and a Master of Music degree in Piano Performance at the University of Texas, Austin. Joseph taught for five years in the Piano Pedagogy Department of the University of Texas. He is a member of the staff of Shawnee Press as Director of Sacred Publications, with responsibilities for overseeing the editorial and creative direction of the company’s sacred publications and also coordinating the recording and production aspects of future sacred publishing efforts. Joseph has performed solo piano recitals and has been the featured artist with symphony orchestras in the United States and Mexico. As winner of the Nina Plant Wideman Competition, he performed with the Guadalajara Symphony Orchestra. His solo recital in Ex-convento del Carmen was broadcast nationally. Though he continues to perform in concert, he now devotes his efforts to playing in churches and for conferences of church musicians. Recognized throughout the United States for his many choral compositions, over 1200 compositions are currently in print.

            Give me oil in my lamp, keep me burning.  Give me oil in my lamp, I pray.

            Give me oil in my lamp, keep me burning, keep me burning ‘til the break of day.

            I sing praise and give thanks for your blessings.  I sing praise every day I live.

            I sing praise and give thanks for your blessings, for the blessings you alone can give.

            Give me joy in my heart, keep me singing.  Give me joy in my heart each day.

            Give me joy in my heart, keep me singing, keep me singing ‘til the break of day.

            Sing hosanna, sing hosanna, sing hosanna to the King of kings.

            Sing hosanna, sing hosanna, sing hosanna to the King.

About the Hymns:

Holy, Holy, Holy

Reginald Heber  (1783-1826) wrote this text for Trinity Sunday, the day for which lectionary in the Church of England's Book of Common Prayer prescribes the reading of Revelation 4. Using reverent and apocalyptic language, "Holy, Holy, Holy!" alludes to Revelation 4:6-11; 5:13; 15:2-4; and Isaiah 6:1-3 to sing the great majesty of the triune God. Note the cosmic scope of the text: human beings (st. 1), saints and angels in glory (st. 2), and all creation (st. 4) praise the name of the Lord. Though God's holiness, love, and purity are cloaked in mystery, we can still experience God's mercy and mighty power, and we can participate in praising God.  It references the Sanctus, which is often called the "Holy holy holy" in English. The name is a tribute to the First Council of Nicaea which formalized the doctrine of the Trinity in 325.

It was first published in the third edition (1826) of  A Selection of Psalms and Hymns for the Parish Church of Banbury  and was also published posthumously in Heber's Hymns Written and Adapted to the Weekly Church Services of the Year (1827). The unusual single rhyme (all on the "ee" sound) and the uneven number of syllables in some lines have not detracted from the hymn's popularity.  It was soon adopted by hymn-book compilers, and is the best known and most widely used of the author's hymns.

I Love you, Lord

Laurie Klein was 24 and she and her husband had just had their first child when she wrote “I Love You, Lord”.  She relates this story about that time:

“It was a dark time in my life. We had no extra money, no friends nearby, no church home and my husband was busy all of the time with his studies. I didn’t drive, so I couldn’t get away. We lived on a highway in a mobile home, so I couldn’t even put the baby in a stroller and go for a walk. Our only neighbors were people long retired and tired of life. When I needed some encouragement there was no extra money for long distance calls to family or friends. I was lonely. The only thing I was committed to was trying to get up each morning before our baby, then a toddler, and spend some time with Jesus. I knew that was where the ‘life’ was.

The day the song came, I had gotten up early and was sitting with my Bible and my guitar. I realized that I didn’t have anything in me to sing to Jesus. I just didn’t have anything in me to offer Him. I was so empty. So, I prayed and said to the Lord, ‘If you want to hear me sing, would you give me something that you would like to hear?’  I started strumming on the guitar and the first words came out of my mouth with absolutely no effort. I love you Lord, and I lift my voice to worship You. I scribbled them on a piece of paper, just in case I would want to remember them, and sing them again. Those words meant a lot to me. I wondered if I could play the melody again — if I would even remember. I played and sang the two lines again. They were still there, in my mind. The last two lines just followed as effortlessly as the first two had come. It was a gift from God that just wrote itself.

Though it is a very simple song, it changed everything for me, and it still is changing life for me. When you are in a dark valley and the Lord gives you light, it makes all the difference, and you keep growing.”

Majesty, Worship His Majesty

Jack William Hayford (b. 1934) is a native of Los Angeles, Calif. He grew up in the Foursquare Pentecostal tradition, attending L.I.F.E. Bible College (now Life Pacific College), graduating in 1956 and completing his studies at Azusa Pacific University in 1970.  In 1969, he became pastor of the First Foursquare Church of Van Nuys, Calif., which was then a struggling, aging congregation with only 20 members. He was also dean of students at L.I.F.E. and agreed to lead the congregation on a temporary basis for six months.  But after receiving a call to a much larger congregation, he decided to stay with the smaller church in Van Nuys. By 1980, it had been renamed The Church on the Way, and membership was over 3,500. A prolific writer with at least 55 books, Mr. Hayford has received numerous awards as a pastor and author. He has received honorary doctorates from Oral Roberts University, California Graduate School of Theology and Life Pacific College. Most recently he has served as the fourth president of the International Church of the Foursquare Gospel.   Hayford has composed over 400 hymns, songs and other musical works.

Hayford says that in 1987 while he was traveling in Great Britain, he developed interest in the actions and symbols of the royal family, relating them to Christ and his kingdom. “We need to cultivate a sense of the majestic presence of God.  He is a close friend, by his grace, but he is also the majestic, holy awesome God of the universe and we need constant reminding not to take His royal presence lightly. In this short song we are called to recognize His majesty and then ascribe the glory due His name.”  In “How God Evaluates Worship,” an article published in a series of pamphlets entitled “Survival Guides,” Hayford describes a theology of worship that sheds some light on his songs: “In my experience, theological discussions about worship tend to focus on the cerebral, not the visceral—on the mind, not the heart. True worship, we are often taught, is more about the mind thinking right about God (using theologically correct language and liturgy), rather than the heart's hunger for him.”  The central theological theme is straightforward: Christ is King, and as King of all, he is the sovereign of all (“kingdom authority”) and his name is to be exalted. “Majesty” is now one of the classic songs of the contemporary Christian genre, approaching 30 years of continuous use.