November 6, 2016 - All Saints Sunday

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:

Behold a Host – Dale Wood

Hans Brorson (1694-1764) was a Danish Pietist bishop and hymn writer.  Brorson belonged to a clerical family; his father and two brothers were also vicars.  He began publishing hymns in 1732 while a pastor in southern Jutland, and became Bishop at Ribe in 1741.  Almost forgotten after his death, his hymns became popular again in the Romantic period, and Brorson is now ranked among the four greatest Danish hymn writers.

The tune of “Behold a Host” is a Norwegian folksong dating from around 1600.

Behold a host, arrayed in white, Like a thousand snow clad mountains bright, 

With palms they stand.  Who is this band before the throne of light? 

Lo, these are they of glorious fame who from the great affliction came. 

And in the flood of Jesus’ blood are cleansed from guilt and blame. 

Now gathered in the holy place their voices they in worship raise, 

Their anthems swell where God doth dwell, mid angels’ song of praise.

Then hail, ye mighty legions, yea, all hail! Now safe and blest for aye,

And praise the Lord, who with His Word sustained you on the way.

Farewell, now bring your sheaves and sing salvation’s glad refrain.         

Swing high your palm, lift up your song, Yea, make it myriad voices strong. 

Eternally shall praise to Thee, God, and the Lamb belong.

Dale Wood (1934-2003) was a prominent composer, organist, choral director, and clinician.  He was honored many times by the American Society of Composers, Authors, and Publishers (ASCAP) for his “very important contribution towards the creation and development of contemporary American church music”.  He wrote many collections of organ works, most of which are based on both old and new hymn tunes.  Over eight million copies of his publications have been purchased in over 50 countries.

In Memorium – Myron J. Roberts

Myron J. Roberts (1912-2004) was raised in a musical family and developed an early passion for piano and organ. His first music teacher was his Aunt Josephine (Thorpe), a graduate of Oberlin Conservatory. By the time he was in high school Mr. Roberts was studying piano and then organ at Stanford University.  Roberts earned a Bachelors from the College of the Pacific and a Masters from  the School of Sacred Music at Union Theological Seminary. Roberts joined the faculty of the University of Nebraska at Lincoln where he taught organ and music theory for 34 years. He also was organist at First-Plymouth Congregational Church, Holy Trinity Episcopal Church and the Roman Catholic Cathedral of the Risen Christ. Roberts was nationally known not only as a professor of organ but also as a composer of works for organ, choral music and pieces for organ and other instruments. Among his 22 published works are "Homage to Perotin" (1956), "Pastorale and Aviary" (1969) and "Fanfare and Tuckets" (1991) for organ. His best known choral compositions include "O Lord, We Beseech Thee" (1965), "Jubilate Deo" (1976) and "Magnificat" (1977). His most unusual composition is "Five for Organ and Marimba" (1975).

After retiring to Maine, Mr. Roberts continued to compose music and teach organ on a limited basis. He also volunteered at the Cushing Community School where he greatly enjoyed teaching third graders who called him "Mike" because he considered "Myron" or "Mr. Roberts" "too formal" a name. He also maintained a life-long interest in astronomy and gardening.

For All the Saints – Tim Doran

Tim Doran, an accomplished arranger, composer, and studio musician, lives in the Los Angeles area. He is the organist at LaHabra Hills Presbyterian Church, as well as an accompanist for several local high school and college choirs.

About the Choral Music:

Hymn of Promise – Natalee Sleeth

From time to time, a choral anthem inspires a hymn. "Hymn of Promise" was first conceived as an anthem in 1985, performed at the Pasadena Community Church, St. Petersburg, Florida, during a festival concert on Natalie Sleeth's music. Long known as a composer of anthems, especially for children, Natalie Sleeth (1930-1992) contributed one of the favorite new hymns to The United Methodist Hymnal.

Sleeth was as native of Evanston, Illinois. She began piano study at the age of four and gained much of her musical experience by singing in choral ensembles during her earlier years. Studying music theory, piano, and organ at Wellesley College in Massachusetts, she received her B.A. in 1952.  Married to Ronald E. Sleeth, a United Methodist clergyman and professor of homiletics at Perkins School of Theology, Southern Methodist University, she served as music secretary at Highland Park United Methodist Church from 1969-1976. During this time, she studied music theory with Jane Marshall and audited a course in choral arranging taught by Lloyd Pfautsch at SMU. Choristers Guild published her first anthem, "Canon of Praise," in 1969, the highest selling anthem in the history of this publisher. Her choral works for all ages number more than 200.  Sleeth received honorary doctorates from West Virginia Wesleyan College (1989), and Nebraska Wesleyan College (1990). Some of her compositions are described in her devotional book, Adventures for the Soul (1987).

Sleeth had the ability to compose both texts and music. Though "Hymn of Promise" has become a favorite hymn for funerals, it was written at a time when the author states that she was "pondering the ideas of life, death, spring and winter, Good Friday and Easter, and the whole reawakening of the world that happens every spring." Inspired by a T.S. Eliot line, the germ of the hymn grew from the idea "in our end is our beginning," the phase that begins the third stanza of the hymn.  While it carries the promise of spring and the hope of Easter in its beautiful metaphors, it is a very appropriate hymn for funeral and memorial services. Shortly after its composition, the composer’s husband was diagnosed with what turned out to be a terminal malignancy. Ronald Sleeth requested that "Hymn of Promise" be sung at his funeral service.

A wonderful child-like simplicity permeates "Hymn of Promise." Natalie Sleeth had a gift for composing texts on complex theological ideas that were still accessible to children. Her melodies seemed totally natural and therefore effortless for people to learn. "Hymn of Promise" is one of the most memorable hymns written by an American United Methodist in the last part of the twentieth century, and it promises to be sung for many years to come.

Composer R. G. Huff, who attended her funeral in Denver, Colorado, describes her impact on him in Worship Matrix, an online hymnal companion for the hymnal Celebrating Grace (2010): "In March 1992, I attended the memorial service of Natalie Sleeth at Wellshire Presbyterian Church in Denver, across the street from the church I served there. I had been a pen-pal of sorts with her for several years and wanted to be there for the celebration of her contribution to church music, especially the music of children. For a full hour before the funeral, the church’s choir, soloists and organist performed her songs, hymns and anthems. It was a great tribute to her writing legacy. Of course, this was one of the songs we heard that day…Like the theologian she was, Natalie Sleeth moved on to worship: songs rising from silence, words seeking melodies, darkness becoming light, hope becoming evident in future days.  Finally – and this relates to the afternoon in March 1992 – she expressed how life moves into death, death gives way to eternity, and ultimate victory comes for those whose doubt has evolved into belief."

            In the bulb there is a flower; in the seed, an apple tree;

            In cocoons, a hidden promise; butterflies will soon be free!

            In the cold and snow of winter there’s a spring that waits to be,

            Unrevealed until its season, something God alone can see.

            There’s a song in every silence, seeking word and melody;

            There’s a dawn in every darkness, bringing hope to you and me.

            From the past will come the future; what it holds, a mystery,

            Unrevealed until its season, something God alone can see.

            In our end is our beginning; in our time, infinity.

            In our doubt, there is believing; in our life, eternity.

            In our death, a resurrection; at the last, a victory,

                Unrevealed until its season, something God alone can see.

About the Hymns:

For All the Saints

 “For All the Saints” is the quintessential hymn for All Saints’ Day, with its uplifting text and triumphant music.  Bishop William Walsham Howe, author of the hymn text, wrote over 60 hymns.  Combining pure poetic rhythms with great directness and simplicity, his hymns are simple and unadorned, but enthusiastic.  “For All the Saints” is his most popular hymn.  Ralph Vaughan Williams (1982-1958) wrote “Sine Nomine”, which is the musical setting of the “For All the Saints” hymn text.  Equipped with a walking bass, it is a glorious marching tune and considered by many to be among the finest of 20^th century hymn tunes.  It was first published in the English Hymnal in 1906.  Vaughan Williams is one of the greatest composers Britain has seen since the days of Henry Purcell. In a long and extensive career, he composed music notable for its power, nobility and expressiveness, representing, perhaps, the essence of ‘Englishness’.

Sweet, Sweet Spirit

One of the most notable "Spirit Songs" of the twentieth century is "There's a sweet, sweet Spirit in this place" by African American gospel songwriter Doris Mae Akers (1923-1995).  One of ten children, Dot Akers, as many called her, demonstrated her interest in music at the young age of six, teaching herself to play the piano by ear. By ten, she had composed her first song, "Keep the fire burning in me," and by age twelve had organized a five-piece jazz band, "Dot Akers and Her Swingsters."  In 1945, Akers moved to Los Angeles where she met some of the important names in gospel music of that era, including Sallie Martin, J. Earl Hines, and Eugene Douglas Smallwood. Soon after arriving, she joined the Sallie Martin Singers as a pianist and singer, formed the Akers Singers, and established her own publishing company, Akers Music House. In 1958, Akers formed the Sky Pilot Choir, the first interracial choir in Los Angeles. This choir was devoted to African American gospel music. She formed a relationship with Manna Music in the mid-1950s, just a few years before she composed "Sweet, Sweet Spirit" in 1962. In the late 1990s she was featured in Bill Gaither's gospel videos "Old Friends" and "Turn Your Radio On."  Honors include being named the Gospel Music Composer of the Year for both 1960 and 1961. Known affectionately as "Miss Gospel Music," she was involved in every aspect of the industry from composing, arranging, publishing, choir directing, recording, as well as performing as a soloist and with ensembles. In 2001, Doris Akers was inducted into the Gospel Music Hall of Fame.

"Sweet, sweet Spirit" expresses in simple, heartfelt language the work of the Holy Spirit as it works in the life of the church. It is a fitting hymn for Pentecost Sunday or any Sunday where God’s people gather to worship. Lindsay Terry comments on the origins of this song in an interview with Doris Akers in the late 1980s:

"She related to me that one Sunday morning in 1962, while directing the Sky Pilot Choir, she said to her singers, 'You are not ready to go in.' She didn’t believe they had prayed enough! They were accustomed to spending time with her in prayer before the service, asking God to bless their songs. She said, 'I feel that prayer is more important than great voices.' They had already prayed, but this particular morning she asked them to pray again, and they did so with renewed fervor.

"As they prayed, Doris began to wonder how she could stop this wonderful prayer meeting. She said, 'I sent word to the pastor letting him know what was happening. He was waiting in the auditorium, wanting to start the service. Finally, I was compelled to say to the choir, We have to go. I hate to leave this room and I know you hate to leave, but you know we do have to go to the service. But there is such a sweet, sweet Spirit in this place.'"

The phrase stayed with her and she wrote the song the next day. Matthew 3:16-17 inspired the specific line "Sweet heavenly Dove." This text focuses on the baptism of Jesus when "he saw the Spirit of God descending like a dove, and lighting upon him: And lo a voice from heaven, saying, This is my beloved Son, in whom I am well pleased."

Come, Let Us Join Our Friends Above

“Come, let us join our friends above” by Charles Wesley, was first published in his Funeral Hymns, 2nd Series, 1759. Although it was not included in the Wesleyan Hymn Book until the addition of the Supplement in 1830, it had been in common use outside of Methodism for many years before, and was well known.  The use of the hymn, either in full or in an abbreviated form, has extended to all English-speaking countries.

When Charles Wesley penned and later, with his brother John, printed these words, he was not imagining they might be sung as a processional hymn on All Saints Day at Westminster Abbey or Coventry Cathedral. Indeed, such would have been out of the question. “Man-made” hymns such as this were not permitted in worship in the Church of England during his lifetime. But more than this, as the text of this hymn shows, Charles had a vision of sainthood that was at once more inclusive and more demanding than any impressive public ritual one day a year could express. Charles and his brother John were both convinced that sainthood was the intended destiny not of just a few, but indeed of all Christians. God’s intention in salvation is nothing less than to make saints of us all. God’s desire for us is not simply to forgive us of our sins, nor even to work in our hearts and lives to deliver us entirely from the power of sin, but rather to work in us and with us “a complete salvation” that will “perfect us in love” in this life.

This hymn then isn’t and could not be for the Wesleys “special music for special worship on a special day.” It was rather an “anthem for a lifetime,” intended to be sung regularly by the early Methodists in society meetings, class meetings, and in daily life as a constant invitation to “join our friends above who have obtained the prize, and on the eagle wings of love to joys celestial rise.”