February 12, 2017

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:

Where True Love and Charity are Found – Marilyn Biery

“Ubi caritas” is a hymn of the Western Church, long used as one of the antiphons for the washing of feet on Maundy Thursday. The Gregorian melody was composed sometime between the fourth and tenth centuries, though some scholars believe the text dates from early Christian gatherings before the formalization of the Mass. It is usually sung at the Eucharistic Adoration and Benediction of the Blessed Sacrament and on Holy Thursday evening at the Mass of the Lord's Supper.  Richard Proulx wrote the translation “Where True Love and Charity are Found” in 1975.

            Where true love and charity are found, God is always there.

            Since the love of Christ has brought us all together,

Let us rejoice and be glad, now and always.

Let everyone love the Lord God, the living God

And with sincere hearts, let us love each other now.

Therefore, when we gather as one in Christ Jesus,

Let our love enfold each race, creed, every person.

Let envy, division, and strife cease among us.

May Christ our Lord dwell among us in every heart.

Bring us with your saints to behold your great beauty,

There to see you, Christ our Lord, throned in great glory.

There to posess heaven’s peace and joy, your truth and love,

For endless ages of ages, world without end.

Marilyn Biery (b. 1959) is a graduate of Northwestern University with Bachelor and Master of Music degrees in Organ Performance.  In 1982 she was a finalist in the National Open Competition in Organ Playing, sponsored by the American Guild of Organists.  Marilyn has served as Director of Music Ministries at The First Church of Christ in Hartford, Connecticut, Associate Director of Music at the Cathedral of Saint Paul in Saint Paul, Minnesota, and most recently Minister of Music at Metropolitan United Methodist Church, Detroit, Michigan.  She holds the degree of Doctor of Musical Arts in organ performance from the University of Minnesota, and is part-time music faculty at Wayne State University.  Marilyn is a former Director of the National Young Artists Competition in Organ Performance, sponsored by the AGO.

My Song is Love Unknown – Ralph Vaughan Williams

Seventeenth-century devotional poetry provided a nurturing environment that enriched hymnody in the days before such 18th-century hymn writers as Isaac Watts and Charles Wesley.
Congregational singing beyond metrical psalms was not widely practiced during the 17th century. Though devotional poetry during this era was not typically written to be sung by congregations, verse from this century found its way into hymnals later on.

Samuel Crossman (1624-1684), an Anglican minister, received a bachelor of divinity at Penbroke College, Cambridge. He then served both an Anglican parish at All Saints, Sudbury, and a Puritan congregation. Crossman sympathized with the Puritan cause as a dissenting religious body within the context of the Anglican Church of England. He participated in the 1661 Savoy Conference, which attempted to revise the Book of Common Prayer so that it could serve both Puritans and Anglicans. The Conference was unsuccessful, and the 1662 Act of Uniformity expelled some 2,000 Anglican ministers, including Crossman. He recanted and was soon ordained in 1665, becoming a royal chaplain. He was called to a position in Bristol in 1667 and became Dean of Bristol Cathedral in 1683.

This poignant meditation of the Passion of Christ was published just before Crossman’s ordination, in The Young Man’s Meditation (1664). This short book of poems was reprinted in 1683, and the poem appeared for the first time as a hymn in the Anglican Hymn Book in 1686, just two years after the author’s death.  The original poem has seven stanzas, taking the singer from Palm Sunday through the crucifixion. But its purpose is not simply to retell the events of the Passion. From the beginning we find that this is a love song—sung to the Savior who demonstrated pure love, even to the “love-less” so that they might be “love-ly.” 

My song is love unknown, my Savior's love to me,
love to the loveless shown that they might lovely be.
O who am I that for my sake my Lord should take frail flesh and die?

He came from his blest throne salvation to bestow,
but men made strange, and none the longed-for Christ would know.
But O my friend,  my friend indeed, who at my need, his life did spend.

Sometimes they strew his way, and his strong praises sing,
resounding all the day  hosannas to their King.
Then "Crucify!" is all their breath, and for his death they thirst and cry.

Why, what hath my Lord done? What makes this rage and spite?
He made the lame to run, he gave the blind their sight.
Sweet injuries! Yet they at these themselves displease, and 'gainst him rise.

They rise, and needs will have my dear Lord made away;
a murderer they save, the Prince of Life they slay.
Yet steadfast he to suffering goes, that he his foes from thence might free.

Here might I stay and sing, no story so divine:
never was love, dear King, never was grief like thine.
This is my friend, in whose sweet praise I all my days could gladly spend.

Ralph Vaughan Williams (1982-1958) is arguably the greatest composer 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’.

Vaughan Williams was educated at Trinity College, Cambridge. Later he was a pupil of Stanford and Parry at the Royal College of Music, after which he studied with Max Bruch in Berlin and Maurice Ravel in Paris. Vaughan Williams volunteered to serve in the Field Ambulance Service in Flanders for the 1914-1918 war, during which he was deeply affected by the carnage and the loss of close friends such as the composer George Butterworth. For many years Vaughan Williams conducted and led the Leith Hill Music Festival, conducting Bach's St Matthew Passion on a regular basis. He also became professor of composition at the Royal College of Music in London. Vaughan Williams received the Order of Merit in 1938.  His ashes are interred in Westminster Abbey, near Purcell.

At the turn of the century he was among the very first to travel into the countryside to collect folk-songs and carols from singers.As musical editor of The English Hymnal he composed several hymns that are now world-wide favorites (For all the Saints, Come down O love Divine). Later he also helped to edit The Oxford Book of Carols.  In a long and productive life, his compositions included nine symphonies, five operas, film music, ballet and stage music, several song cycles, church music and works for chorus and orchestra.

Jesus, Lover of My Soul – Don Hustad

“Jesus, lover of my soul” is perhaps one of the most personal hymns penned by Charles Wesley (1707-1788). The understanding that Jesus as a “lover” seems to have made many squeamish at the very idea, especially an idea that should be expressed in public worship. Is this hymn better for private devotions? Yet, according to hymnologist Kenneth W. Osbeck, this hymn is considered to be among Wesley’s greatest hymns. It demonstrates, among many other things, Charles Wesley’s vast knowledge of biblical texts, classic literature, and other intellectual sources of his era.

Wesley, always meticulous in drawing upon biblical or classical sources, continued this practice in this hymn. The apocryphal book, The Wisdom of Solomon, 11:23-26, provides the inspiration for this primary theme of this hymn: “But thou hast mercy upon all; for thou canst do all things, and winkest at the sins of men, because they should amend. For thou lovest all the things that are, and abhorrest nothing which thou hast made: for never wouldest thou have made any thing, if thou hadst hated it. And how could any thing have endured, if it had not been thy will? or been preserved, if not called by thee? But thou sparest all: for they are thine, O Lord, thou lover of souls.” Another possible source is Thomas à Kempis (c. 1380-1471), who often commented on the nature of love. In The Imitation of Christ, for example, he states: “A wise lover values not so much the gift of the lover as the love of the giver.” Another quote also addresses Jesus’ followers as “lovers”: “Jesus has now many lovers of the heavenly kingdom but few bearers of His cross.”

“Jesus, lover of my soul” foreshadows famous hymns on a related theme including “Rock of Ages” (1776) by English Anglican turned Calvinist Augustus M. Toplady, and “Abide with me” (1847) by Scottish Anglican Henry Francis Lyte. Like these hymns, “Jesus, lover of my soul” has attracted a number of stories. Some have tried to connect the sea images in the hymn to the tumultuous voyage of the Wesley brothers to America in 1736. Rather than focusing on the circumstances surrounding the poem’s composition, there can be no doubt as to its influence and popularity on this side of the Atlantic Ocean. Henry Ward Beecher (1813-1877), the great American preacher, stated: “I would rather have written this hymn of Wesley’s than to have the fame of all the kings that ever sat on earth.” Richard Watson does not doubt the veracity of the “story of the soldier in the American Civil War who was about to shoot a picket from the other side when he heard him singing, ‘Cover my defenseless head/With the shadow of thy wing.'”

Jesus, lover of my soul, Let me to Thy bosom fly,
While the nearer waters roll, While the tempest still is high.
Hide me, O my Savior, hide, Till the storm of life is past;
Safe into the haven guide; Oh, receive my soul at last.

Other refuge have I none, Hangs my helpless soul on Thee;
Leave, ah! leave me not alone, Still support and comfort me.
All my trust on Thee is stayed, All my help from Thee I bring;
Cover my defenseless head With the shadow of Thy wing.

Wilt Thou not regard my call? Wilt Thou not accept my prayer?
Lo! I sink, I faint, I fall— Lo! on Thee I cast my care.
Reach me out Thy gracious hand! While I of Thy strength receive,
Hoping against hope I stand, Dying, and behold, I live.

Thou, O Christ, art all I want, More than all in Thee I find;
Raise the fallen, cheer the faint, Heal the sick, and lead the blind.
Just and holy is Thy Name, Source of all true righteousness;
Thou art evermore the same, Thou art full of truth and grace.

Plenteous grace with Thee is found, Grace to cover all my sin;
Let the healing streams abound; Make and keep me pure within.
Thou of life the fountain art, Freely let me take of Thee;
Spring Thou up within my heart; Rise to all eternity.

Don Hustad (1918-2013) was one of the giants of Christian music of the 20th century. Hustad had a distinguished ministry and a life-long profession as a recording artist, composer, arranger, teacher, conductor, hymnal editor, and author.  He began work as staff musician of Chicago's WMBI in the early 1940s, worked with soloist George Beverly Shea on a weekly broadcast called "Club Time," and served for some 20 years as organist for a popular radio broadcast "Songs in the Night." He taught at Olivet Nazarene College in Kankakee, Illinois from 1946 to 1950, at which time Hustad was appointed director of the Sacred Music Department at Moody Bible Institute—a position he held until 1961.  During his 11-year tenure at Moody he developed the Moody Chorale into a superior choral ensemble that achieved fame nationally and internationally.   In 1961 he became Crusade organist for the Billy Graham Evangelistic Association and directed the Crusader Men Choir in the "Hour of Decision" broadcasts.  His publications include over 100 articles and five books.  Throughout his career, Hustad devoted considerable energy to music arranging and hymnal editing, serving as editorial consultant and musical advisor to Hope Publishing Company. Among his editorial contributions are fourteen hymnals and songbooks, as well as dozens of collections.  In 1989, Hustad was awarded Fellow of the Hymn Society for his outstanding contribution to American hymnody.  In 2008, he was honored by the American Choral Director's Association Southern Division Conference for his contributions to church music. He earned diplomas as an Associate of the American Guild of Organists (AAGO) and a Fellow of the Royal College of Organists (FRCO), London, UK.

About the Choral Music:

My Jesus, I Love Thee – Bill Littleton

Sixteen year old William Featherston (1846-1873) of Montreal, Canada wrote this simple but profound hymn in 1862, not long after he was converted to Christ. William wrote no other hymns that we know of and his brief life ended just before his twenty-seventh birthday.  Featherstone, a Weslyan Methodist, sent the poem to his aunt in Los Angeles, and somehow, it made its way to England where it was published anonymously in The London Hymn Book two years later. Adoniram Judson Gordon (1836-1895), who was compiling a Baptist hymn book, liked Featherstone's text, but decided it needed a better tune than the one that was used in The London Hymn Book, so he wrote a new tune for it which he published in The Service of Song for Baptist Churches. This is the tune that is still used today.

Bill Littleton served as music director at Olivet Baptist Church in Oklahoma City.

            My Jesus, I love thee, I know thou art mine;

            For thee all the follies of sin I resign;

            My gracious Redeemer, my Savior art thou:

            If ever I loved thee, my Jesus, ‘tis now.

            I love thee because thou hast first loved me,

            And purchased my pardon on Calvary’s tree;

            I love thee for wearing the thorns on thy brow:

            If ever I loved thee, my Jesus, ‘tis now.

            In mansions of glory and endless delight,

            I’ll ever adore thee in heaven so bright;

            I’ll sing with the glittering crown on my brow:

            If ever I loved thee, my Jesus, my Jesus, ‘tis now.

            Amen, Amen.

About the Hymns:

O Worship the King

Of Scottish ancestry, Robert Grant (1779-1838) was born in India, where his father was a director of the East India Company. He attended Magdalen College, Cambridge, and was called to the bar in 1807. He had a distinguished public career a Governor of Bombay and as a member of the British Parliament, where he sponsored a bill to remove civil restrictions on Jews. Grant was knighted in 1834. His hymn texts were published in the Christian Observer (1806-1815), in Elliot’s Psalms and Hymns (1835), and posthumously by his brother as Sacred Poems (1839).

Grant’s text was influenced by William Kethe’s paraphrase of Psalm 104 in the Anglo-Genevan Psalter (1561). Grant’s text was first published in Edward Bickersteth’s Christian Psalmody (1833) with several unauthorized alterations. In 1835 his original six-stanza text was published in Henry Elliott’s Psalm and Hymns. Stanza 3 was omitted in the Psalter Hymnal.

Rather than being a paraphrase or versification, the text is a meditation on the creation theme of Psalm 104, focusing on God’s creation as a testimony to his “measureless might.” More personal in tone, stanzas 4 and 5 confess the compassion of God toward his creatures and affirm with apocalyptic vision that the “ransomed creation, with glory ablaze” will join with angels to hymn its praise to God.  In the last verse, Grant points to Christ as the ultimate reconciler of a broken, but still beautiful creation. An original last stanza that we no longer sing reads, “The humbler creation, though feeble their lays, with true adoration shall lisp to Thy praise.”

Oh, How I Love Jesus

The stanzas of “Oh How I Love Jesus” were written in 1855 by Frederick Whitfield (1829-1904), an English clergyman.  Mr. Whitfield's works in prose and verse number upwards of thirty, including Spiritual unfolding from the Word of Life; Voices from the Valley Testifying of Jesus; The Word Unveiled; Gleanings from Scripture, &c. Several of his hymns appeared in his Sacred Poems and Prose, 1861, 2nd Series, 1864; The Casket, and Quiet Hours in the Sanctuary. This text was first printed in hymn sheets and leaflets, and was published in 1861 by Whitfield in his Sacred Poems and Prose in London. It was first published in the United States no later than 1864.  The refrain is anonymous, and was paired with many other hymns in the second half of the nineteenth century, including “Amazing Grace” by John Newton and “Alas! and Did My Savior Bleed” by Isaac Watts. Its earliest known appearance in publication was during the 1860s.

Joyful, Joyful, We Adore Thee

"The Hymn of Joy" (often called "Joyful, Joyful We Adore Thee" after the first line) is a poem written by Henry van Dyke in 1907 with the intention of musically setting it to the famous "Ode to Joy" melody of the final movement of Ludwig van Beethoven's final symphony, Symphony No. 9.   Van Dyke wrote this poem in 1907 while staying at the home of Williams College president Harry Augustus Garfield. He was serving as a guest preacher at Williams at the time. He told his host that the local Berkshire Mountains had been his inspiration. The lyrics were first published in 1911 in Van Dyke's Book of Poems.

Van Dyke wrote of this hymn: “These verses are simple expressions of common Christian feelings and desires in this present time—hymns of today that may be sung together by people who know the thought of the age, and are not afraid that any truth of science will destroy religion, or any revolution on earth overthrow the kingdom of heaven. Therefore this is a hymn of trust and joy and hope.”  This hymn is generally considered by hymnologists to be one of the most joyous expressions of hymn lyrics in the English language.

Henry Van Dyke (1852-1933) chaired the committee that wrote the first Presbyterian printed liturgy, The Book of Common Worship of 1906. In 1908–09 Dr. van Dyke was an American lecturer at the University of Paris. By appointment of President Wilson, a friend and former classmate of van Dyke, he became Minister to the Netherlands and Luxembourg in 1913. He was elected to the American Academy of Arts and Letters and received many other honors.  Among his popular writings are the two Christmas stories, The Other Wise Man (1896) and The First Christmas Tree (1897). Various religious themes of his work are also expressed in his poetry, hymns and the essays collected in Little Rivers (1895) and Fisherman’s Luck (1899).