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.
Lord,
Who the Night You Were Betrayed – Robert Farlee
William H. Turton (1856-1938) was a Lieutenant in the British Royal Engineers. He published three collections in 1880, 1881,
and 1882, each containing 12 hymns. This hymn was first
sung June 22, 1881, at the English Church Union Anniversary Service at St. Mary
Magdalene’s, Munster Square, London. The first line originally read, “Thou,
Who at Thy first Eucharist didst pray”.
Lord, who the night You were betrayed did pray
That all Your Church might be forever one;
Help us at every Eucharist to say
With willing heart and soul,
That all Your Church might be forever one;
Help us at every Eucharist to say
With willing heart and soul,
Your will be done.
That we may all one bread, one body be
Through this, Your sacrament of unity.
Through this, Your sacrament of unity.
For all Your Church
on earth, we intercede;
Lord, make our sad divisions soon to cease;
Draw us all closer, each to each, we plead,
By drawing all to You, O Prince of Peace;
So may we all one bread, one body be,
Through this blest sacrament of unity.
Draw us all closer, each to each, we plead,
By drawing all to You, O Prince of Peace;
So may we all one bread, one body be,
Through this blest sacrament of unity.
And hear our prayer for wanderers
from Your fold;
Restore them, too, Good Shepherd of the sheep,
Back to the faith your saints confessed of old,
And to the Church still pledged that faith to keep.
Soon may we all one bread, one body be,
Through this blest sacrament of unity.
Restore them, too, Good Shepherd of the sheep,
Back to the faith your saints confessed of old,
And to the Church still pledged that faith to keep.
Soon may we all one bread, one body be,
Through this blest sacrament of unity.
So, Lord, at length when
sacraments shall cease,
May we be one with all your Church above—
One with Your saints in one unbroken peace,
One as Your bride in one unbounded love;
More blessèd still, in peace and love to be
One with the Trinity in unity.
May we be one with all your Church above—
One with Your saints in one unbroken peace,
One as Your bride in one unbounded love;
More blessèd still, in peace and love to be
One with the Trinity in unity.
Robert Buckley Farlee (b. 1950) is Associate Pastor and Director of Music
at Christ Lutheran Church in Minneapolis. Bob
Farlee and his wife Jane Buckley-Farlee (pastor at Trinity Lutheran
Congregation, ELCA, Minneapolis) were ordained on July 13, 1980, in St. Louis, Missouri, at Unity
Lutheran Church, Bel-Nor. It was at Unity Lutheran that Bob served as music director. Then in November of 1981, Bob joined the staff at
Christ Church Lutheran, Minneapolis, where he has served both as a pastor and
as cantor. Farlee is a graduate of Christ Seminary-Seminex, St. Louis,
Missouri. He also serves on the worship editorial staff at Augsburg Fortress
Publishers, and was deeply involved in the recent publication of Evangelical
Lutheran Worship, the new book of worship for the Evangelical Lutheran
Church in America.
Come,
Ye Disconsolate – J. Bert Carlson
Son
of John Moore, a Dublin tradesman, Thomas Moore (1779-1852) received his
education at a private school, and at Trinity College, Dublin. He studied law
and held a post in the Bermuda government for a time. He was also a well-known
poet and an Irish nationalist. He wrote 32 hymns, including “Come, Ye
Disconsolate” was published in 1816 with the title “Relief in Prayer”. The word “disconsolate” speaks of an unhappy
person who has been unable to find any consolation or comfort. Moore’s poem expresses the assurance that God
provides comfort for all ills.
Come, ye disconsolate, where’er ye languish,
Come to the mercy seat, fervently kneel.
Here bring your wounded hearts, here tell
your anguish;
Earth has no sorrow that heav’n cannot heal.
Joy
of the desolate, light of the straying,
Hope
of the penitent, fadeless and pure!
Here speaks the Comforter, tenderly saying,
Here speaks the Comforter, tenderly saying,
“Earth
has no sorrow that heav’n cannot cure.”
Here see the bread of life, see waters
flowing
Forth from the throne of God, pure from
above.
Come to the feast of love; come, ever knowing
Earth has no sorrow but heav’n can remove.
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.
In the Cross of Christ – David Cherwein
Sir
John Bowring (1792-1872) was a distinguished scholar, ranked by some as one of
the great minds of his day in the English-speaking world. Among his gifts was
his ability as a linguist, publishing translations of poetry from such varied
languages as Russian, Batavian, Spanish, Polish, Serbian, Bohemian, Magyar,
Czech and Hungarian. Bowring was also a social progressive, advocating
free trade, parliamentary reform, education for all and prison reforms,
according to hymnologist Albert Bailey. Few hymn writers have been as
involved in politics. Knighted in 1854, Bowring helped develop commercial
relationships on behalf of Great Britain, traveling to France, Switzerland,
Italy, Germany, Syria and Siam (now Thailand). Bowring also was twice a
member of Parliament, a consul at Canton (in charge of trade in China) and a
governor of Hong Kong. He was evidently relieved of his duties in Hong Kong
because he “was full of conceit and without any very clear idea of political
principles on a large scale.” After retirement in 1860, his public service
continued as a commissioner to Italy and other diplomatic posts in Europe and
Hawaii.
In the cross of Christ I glory, towering
o’er the wrecks of time;
all the light of sacred story gathers round its head sublime.
all the light of sacred story gathers round its head sublime.
When the woes of life o'ertake me, hopes deceive,
and fears annoy,
never shall the cross forsake me. Lo! it glows with peace and joy.
never shall the cross forsake me. Lo! it glows with peace and joy.
When the sun of bliss is beaming light and love upon
my way,
from the cross the radiance streaming adds more luster to the day.
from the cross the radiance streaming adds more luster to the day.
Bane and blessing, pain and pleasure, by the cross
are sanctified;
peace is there that knows no measure, joys that through all time abide.
peace is there that knows no measure, joys that through all time abide.
In the cross of Christ I glory, towering o'er the
wrecks of time;
all the light of sacred story gathers round its head sublime.
Dr. David Cherwien (b.
1957) is currently serving as Director of Music at Mt. Olive Lutheran Church,
Minneapolis, MN, and in 2002 was appointed Music Director for the National
Lutheran Choir, also based in the Twin Cities. He has also held full time
parish music positions in the Minneapolis/St. Paul area, Chicago, Seattle, and
Berlin. He completed the Doctor of
Musical Arts degree in organ performance, and the Master of Arts degree in
Theory and Composition, both from the University of Minnesota. His
undergraduate work was in organ performance and music education at Augsburg
College, Minneapolis, where he was honored as distinguished alumni in the fall
of 2000.all the light of sacred story gathers round its head sublime.
About the Choral Music:
In
the Garden – Lloyd Larson
"In the
Garden" (sometimes rendered by its first line "I Come to the Garden
Alone" is a gospel song written by
American songwriter C. Austin Miles (1868–1946), a
former pharmacist who served as editor and manager at Hall-Mack publishers for
37 years. Austin Miles used the -word vision to
describe the encounter that led to his writing "In the Garden." The
setting was Philadelphia, where Miles was employed as an editor for a music
publisher. March 1912. At home Miles sat in a window-less room of his own-—-a
combination study, photo lab, and music parlor. He reached for his Bible.
"It opened at my favorite chapter, John 20," he later explained. John's account of the Resurrection: two
angels and then a "gardener" ask a distraught Mary Magdalene why she
is crying. Because "they" have taken my Lord away. And then gardener Jesus says one word that
transforms the scene: "Mary." He
speaks her name, and she knows who he is. Rabboni. As Miles read the familiar story, he felt as
if he were a bystander on-site. In another century, as if this were an episode
of the old Walter Cronkite television series: "You Are There: At the'
Garden Tomb."
"Under
the inspiration of this vision," Miles explained, he wrote "In the
Garden," the words coming to mind as quickly as he could write them down.
(And the text stands as first written, never being revised.) Later in the day
Miles wrote the music.
Miles
described his activity as "reading" John 20; some would say he was
praying. It's an ancient art lost on many Christians intent on studying the
Scripture. One prayer pattern involves imagining oneself in a gospel scene.
"You Are There." Ignatius of Loyola advised believers to "see
the persons in your imagination, contemplating and meditating in detail the
circumstances surrounding them, and then draw some spiritual profit from this
scene." He goes on, suggesting that we imagine the sounds, smells, tastes,
and touch "always endeavoring to draw some spiritual fruit from this"
application of the senses.
Though
Austin Miles described himself as an observer in the story, he wrote "In
the Garden" in first person, as if he had stepped into Mary's shoes: Jesus
is walking and talking directly with him—and you and me. Calling us by name.
Lloyd Larson (b. 1954) is an active composer
and arranger for several major publishing companies of church and school music.
His compositions and arrangements include well over 1,000 published
works—including choral anthems, numerous extended Christmas, Easter and
non-seasonal works, keyboard collections, vocal solo and duet collections,
instrumental works for solo and ensembles, orchestrations, and handbell
settings. It is Lloyd's work in his local church that continues to be the
catalyst for much of his writing. He currently directs the adult choir in his
home church in addition to being involved in worship planning and leadership.
I
come to the garden alone, while the dew is still on the roses;
And
the voice I hear falling on my ear, the Son of God discloses.
He
speaks and the sound of His voice is so sweet the birds hush their singing,
And
the melody that He gave to me within my heart is ringing.
And He walks with me, and He talks with me,
and He tells me I am His own.
And
the joy we share as we tarry there, none other has ever known.
I’d
stay in the garden with Him though the night around me be falling,
But
He bids me go; through the voice of woe His voice to me is calling.
Yes,
Jesus loves me!
About the Hymns:
I Stand Amazed in the Presence
Charles Gabriel (1856-1932) grew up on an Iowa farm and
learned music by playing the reed organ in his home. He became one of the most
prolific composers of gospel songs of his day. Gabriel's musical activities
ranged from teaching in the singing schools that were so popular in the
nineteenth and early twentieth centuries, to authoring texts, composing songs,
anthems, and cantatas, and editing song collections. He was associated with the
leading gospel song publishers of his day, including Homer Rodeheaver, Hope,
and E. O. Excell. Though self-trained,
he started leading singing school educational events as a teenager. He worked
with Grace Episcopal Methodist Church in San
Francisco from 1890-1892, and then moved to Chicago where he worked for Homer
Rodeheaver’s publishing firm. Gabriel is
credited with between 7000 and 8000 songs, thirty-five gospel song collections,
Sunday school song books, collections for men's and women’s choirs, numerous
cantatas, including 41 Christmas cantatas, and music education texts. He wrote
under numerous pseudonyms, making it often difficult to know the precise number
of songs he wrote.
The words of
the gospel hymn “I Stand Amazed” were written in 1905 when Gabriel was 49 years
old, after more than three decades into his life’s work in music. The hymn’s
words indicate he was not self-absorbed, as some with his talent over such a
long stretch of time might have been. Instead, Gabriel focused his attention on
the One who had gifted him musically. Gabriel’s composition shows he saw his
own faults (a sinner, condemned, unclean), but that’s not where he dwelt.
Gabriel evidently had emerged from his own struggles – including his father’s
death when Charles was still a teenager, and his failed first marriage - to
recognize the Lord’s work in his life. Look at Him, hold Him in awe, and open
your mouth in joyous response as you look forward to a face-to-face encounter.
That sums up Gabriel’s song-message. It’s not hard to find something amazing
about Him – you just have to look.
I
Want Jesus to Walk with Me
This text is an anonymous spiritual, most likely of the
African-American tradition. Paul Westermeyer categorizes the song as a
“communal lament”. Robert Anderson classifies it as a 'sorrow song,' meant for
individual rather than group singing” Both concur that this is not a happy
song. It is a plea for the companionship of Jesus throughout life, using the
metaphor of a journey on foot. The tune
is also anonymous. It is named after Sojourner Truth, the freed slave woman who
publicly spoke for freedom and equality for all. Though
this spiritual focuses on a plea for Jesus to walk alongside us, there is an
element of assurance that His answer is “yes.” As the psalmist writes, “Even
though I walk through the valley of the shadow of death, I will fear no evil,
for you are with me” (Psalm 23:4, ESV). It speaks of the presence of God, even
when no human companionship is available.
O
Master, Let Me Walk with Thee
In the years following the Civil War and the birth of
the Industrial Revolution, the social gospel emerged. Washington Gladden
(1838-1918) was one of the most distinguished clergymen of his era and a leader
in the social gospel movement. Gladden was a native of
Pennsylvania, and served churches in New York and Massachusetts before
accepting a call to First Congregational Church, Columbus, Ohio, a parish he
served for 32 years. Educated at Owego Academy and Williams College, he was the
moderator of the National Council of Congregational Churches from 1904-1907. He
served as one of the editors of the Pilgrim Hymnal (1904). As editor of the Independent, he made important contributions to the cause of
social justice. While a pastor in Massachusetts, Gladden began preaching about
labor-management problems, encouraging cooperation between employers and
employees. This theme aroused opposition from those who felt the
role of a minister was “to save souls, not to regulate business.” Furthermore,
he challenged the idea that the Bible was inerrant in matters of science and
history. Albert Bailey notes that “he found his fellow-clergymen
without courage to follow him, for heresy trials were beginning in the
Congregational Church.” From the Ohio pulpit, Gladden found willing listeners
to his message at the State University of Columbus. He received invitations to
deliver lectures at a number of universities including the Yale Divinity
School. His tracts, Social Facts and Forces (1897) and Organized Labor and Capital (1904), were very influential.
Perhaps this hymn is a paradox. Few realize that behind the relatively peaceful words of Gladden’s poem, sung to a placid Victorian melody, one can find the witness of a champion for social justice. This hymn was published in 1879 in three eight-line stanzas in Sunday Afternoon, a magazine prepared by the author, under the title “Walking with God.” C.H. Richards discovered the poem and included it in his 1880 hymnal, Christian Praise.
Perhaps this hymn is a paradox. Few realize that behind the relatively peaceful words of Gladden’s poem, sung to a placid Victorian melody, one can find the witness of a champion for social justice. This hymn was published in 1879 in three eight-line stanzas in Sunday Afternoon, a magazine prepared by the author, under the title “Walking with God.” C.H. Richards discovered the poem and included it in his 1880 hymnal, Christian Praise.
