May 7, 2017 - Senior 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:

Aubade on “Royal Oak” – Franklin Ashdown

The words of “All Things Bright and Beautiful” were initially written by St Francis of Assisi (1181-1226) 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.

It is sung to the tune ROYAL OAK, which is presumably named for a tree at Boscobel, Shropshire, England, in which King Charles II hid during the Battle of Worcester, 1651. A folk song that may well be older than the seventeenth century, ROYAL OAK was associated in the 1600s with the loyalist song "The Twenty-Ninth of May," a song that celebrated the restoration of the monarchy under Charles II on May 29, 1660. Originally found in The Dancing Master (1686), the tune was arranged as a hymn setting by Martin F. Shaw and published in his Song Time (1915). 

Refrain:
All things bright and beautiful, all creatures great and small,
all things wise and wonderful, the Lord God made them all.

Each little flower that opens, each little bird that sings,
God made their glowing colors, God made their tiny wings.

The purple-headed mountain, the river running by,
the sunset, and the morning that brightens up the sky:

The cold wind in the winter, the pleasant summer sun,
the ripe fruits in the garden, God made them every one.

God gave us eyes to see them, and lips that we might tell
how great is God Almighty, who has made all things well.

An “aubade” is a piece of music that evokes early morning or dawn.

Franklin Ashdown is a composer and a medical doctor, and has pursued dual careers for the past three decades. Born in 1942, he was recruited to play the organ for a local congregation at age 13.  He is a widely published composer of organ and choral music.  A resident of Alamogordo, NM, Dr. Ashdown enjoys a full life as an internist, composer, and organist-choir director for the Church of Jesus Christ of Latter-Day Saints.

Blessed Lord, We Gather Here – Sigfrid Karg-Elert

Essentially a prayer asking for illumination as the Christian community gathers, "Liebster Jesu" is a hymn by Tobias Clausnitzer (1619-1684). It was first published in the Altdorffisches Gesang-Buchlein (1663) and first attributed to Clausnitzer in the Nüremberg, Germany, Gesangbuch (1676). The fairly literal translation is by George Ratcliffe Woodward (1948-1934), who held several curacies and two benefices.   He translated a number of hymns from German and Latin, which are included in his Songs of Syon, 1904.

Clausnitzer graduated from the University of Leipzig and became a chaplain in the Swedish army. He preached two sermons at memorable occasions: when Queen Christina ascended the Swedish throne in 1645 and when the Peace of Westphalia, which ended the Thirty Years War, was celebrated in 1648. Clausnitzer became a pastor in Weiden in 1648, where he remained until his death.

The tune was written by Johann Rudolph Ahle (1625-1673), who was born in Mühlhausen, Thuringia.  In 1648 he published the Compendium per tenellis, a theoretical treatise on choral singing which was reprinted several times during his lifetime and for a last time 50 years later by his son Johann Georg.  In 1654 Ahle assumed the post of organist at the Church of St. Blasen/Blasius in Mühlhausen.  Much of his compositional output consists of sacred choral and vocal works, instrumental music, and organ music.  He wrote over 400 sacred arias, from which hymn tunes have been adapted.

The most common translation is “Dearest (or Blessed) Jesus, we are here”.  A fairly literal translation follows:

            Dearest Jesus, we are here to listen to you and your word.

            Direct our minds and desires to the delightful teaching of heaven;

            So that from the earth our hearts may be completely drawn to you.

            Our knowledge and understanding are overshadowed with darkness

            Where the hand of your spirit does not fill us with clear light;

            To think, act, and write well; you yourself must carry this out in us.

You splendour of glory, light from light, born from God,

            Make all of us ready, open our hearts, mouths and ears;

            Grant, Lord Jesus, that our prayers, pleas and singing may succeed well.

Sigfrid Karg-Elert (1877-1933) was a German composer of considerable fame in the early twentieth century.  The cultural climate in Germany in the 1920s and 1930s was very hostile to the internationally oriented, French-influenced Karg-Elert; and although his works were admired outside Germany, especially in the U.K. (the Organ Music Society of London held a ten-day festival in his honour in 1930) and in the U.S.A., in his home country his music was almost completely neglected.  Karg-Elert regarded himself as an outsider. Notable influences in his work include composers Johann Sebastian Bach (he often used the B.A.C.H. motif in Bach's honour), Edvard Grieg, Claude Debussy, Max Reger, Aleksandr Scriabin, and early Arnold Schoenberg. In general terms, his musical style can be characterised as being late-romantic with impressionistic and expressionistic tendencies. His profound knowledge of music theory allowed him to stretch the limits of traditional harmony without losing tonal coherence.

The Queen’s Procession – Oliphant Chuckerbutty

Soorjo Alexander William Langobard Oliphant Chuckerbutty (1884–1960) was an English composer and an organist of Anglo-Indian descent who played in both cinemas and churches. Little known as a composer (except for his piece "Pæan" which has entered the standard repertoire), Chuckerbutty wrote mainly for organ. He began playing the piano at six, and was composing by 14. His careers in church and cinema occurred simultaneously. Quentin MacLean called him "the only organist I know who combines whole-time cinema work with whole-time church work and makes a job of both."  He received his Bachelor of Music from the University of London, was Organist and Choirmaster at Holy Trinity Church in Paddington and organist for the Angel Theatre at Islington.

Oliphant Chuckerbutty wrote the 'Queen's Procession March For Organ' in 1952, which happens to be the year of the coronation of Queen Elizabeth II.  This was not the official coronation march, however.  Whether it was ever used as a processional for the actual Queen or if it was merely written in tribute to her is unknown.

About the Choral Music:

Tend My Sheep – John Purifoy

“Tend My Sheep” was written by Ken Canedo, using text from John 21: 15-19.  It was arranged for SATB choir by John Purifoy.

Born in Los Angeles, Ken Canedo received his Master of Divinity degree from St. John's Seminary in Camarillo, California. He is now involved in youth and music ministry at parishes in the Archdiocese of Portland, Oregon, and is a clinician for the “We Remember, We Believe” liturgy & leadership conference in Northern California.  Ken also serves as co-director of the youth choir at Holy Trinity Catholic Church in Beaverton, Oregon. He is actively involved with spiritandsong.com, most notably as the voice behind the popular weekly Liturgy Podcast.  Ken Canedo composes liturgical music in the styles that have inspired him, from traditional chant and hymnody to gospel, jazz and rock. Proficient in piano, guitar and electric bass, Ken gives workshops around the country on liturgy and youth ministry, bringing youth and adults together in discovery and empowerment.

John Purifoy (b. 1952) is a composer and arranger with numerous published choral cantatas, anthems and keyboard collections. His stage musical "Lambarene," based on the life of Dr. Albert Schweitzer, received workshop productions at the state theatre of New Jersey and the North Shore Musical Theater near Boston.  Mr. Purifoy served as editor and director of music publishing for Word, Inc. from 1975-1982. He is the recipient of the Freedom’s Foundation Award and five-time recipient of the ASCAP Standard Award. 

            Simon, son of John, do you love me?

            Yes, Lord, you know that I love you.

            Feed my lambs.

            Simon, son of John, do you love me?

            Yes, Lord, you know that I love you.

            Tend my sheep.

            Simon son of John, do you love me?

            Lord, you know everything.  You know I love you.

            Feed my lambs.  Tend my sheep

            Over them all your vigil keep.

            Hear my voice, follow me. 

            Come now, my friend, tend my sheep.

            I tell you most solemnly, when you were young, you did as you pleased.

            But someday you’ll stretch your hands and you’ll be taken against your will.

            Do not be afraid.  I am with you always.

            Feed my lambs, tend my sheep.

About the Hymns:

To God be the Glory

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.”

Frances Jane Crosby’s hymns have historically been among the most popular songs sung by Methodists.  “To God be the glory” was included in William Doane’s Songs of Devotion in 1870.  Ira Sankey probably saw the hymn in Doane’s collection and incorporated it into the first edition of his Sacred Songs and Solos (1875).  Dwight Moody and Ira Sankey helped to establish the hymn’s popularity during their revivals in Great Britain in the late 19th century.  It also appeared in some British hymnals including the Methodist Hymn Book (1933).

However, it was not until the 1954 Billy Graham Crusade in Nashville that Cliff Barrows introduced this song to congregations in the United States.  Mr. Graham and Mr. Barrows had learned the song during the 1952 revivals they had conducted in Great Britain.  Hymnologist William J. Reynolds, writing in his hymnal companion Hymns of Faith (1964), documented the return of this hymn to the USA: “It is most extraordinary that this long-forgotten American gospel song should have been imported from England and become immensely popular during the last decade.” 

He Leadeth Me

Although Joseph Gilmore (1834-1918) became a distinguished university and seminary professor, an author of several textbooks in Hebrew and English literature, and a respected Baptist minister, he is best remembered today for this one hymn, hurriedly written when he was just twenty-eight. Gilmore scribbled down these lines in 1862, while visiting with friends after preaching about the truths of the 23^rd Psalm at the Wednesday evening service of the First Baptist Church in Philadelphia. He left this account:

At the close of the service we adjourned to Deacon Watson’s pleasant home, where we were being entertained. During our conversation the blessedness of God’s leading so grew upon me that I took out my pencil, wrote the text just as it stands today, handed it to my wife, and thought no more of it.

Without telling her husband, Mrs. Gilmore sent the verses to the “Watchman and Reflector Magazine”, where it first appeared the following year. Three years later Joseph Gilmore went to Rochester, New York, as a candidate to become the pastor of Second Baptist Church. He recalls:

Upon entering the chapel I took up a hymnal, thinking—I wonder what they sing here. To my amazement the book opened up at “He Leadeth Me,” and that was the first time I knew that my hurriedly written lines had found a place among the songs of the church.

William Bradbury, an important American contributor to early gospel hymnody, added two additional lines to the chorus: “His faithful foll’wer I would be, for by His hand He leadeth me.”

Jesus Calls Us

Cecil Frances Alexander (1823-1850) married William Alexander, an Anglican clergyman who later became the Anglican Archbishop for all of Ireland. Alexander was an outstanding young woman by virtue of ability, education, and service.  While still quite young, she and her sister operated a school for the deaf, and she also published a highly successful book of hymns for children––designating the profits for the benefit of the school. Her hymns are mostly for children, and were published in her Verses for Holy Seasons, with Preface by Dr. Hook, 1846; Poems on Subjects in the Old Testament, pt. i. 1854, pt. ii. 1857; Narrative Hymns for Village Schools, 1853; Hymns for Little Children, 1848; Hymns Descriptive and Devotional, 1858; The Legend of the Golden Prayers 1859; Moral Songs, N.B.; The Lord of the Forest and his Vassals, an Allegory, &c.; or contributed to the Lyra Anglicana, the S.P.C.K. Psalms and Hymns, Hymns Ancient & Modern, and other collections. She wrote 400 hymns during her lifetime ­­–– mostly children's hymns––but "Jesus Calls Us" and "All Things Bright and Beautiful" are the best known.

Impressed by her hymns, her husband, Bishop Alexander, asked her to write a hymn for use during the coming Sunday worship on St. Andrew's Day based on the call of  Simon, Andrew, James, and John (Matthew 4:18-22; Mark 1:16-18).  She wrote this hymn, "Jesus Calls Us," for that occasion.  The first verse of this hymn begins, "Jesus calls us o'er the tumult of our life's wild, restless sea"––acknowledging the call of those first disciples by the Sea of Galilee.  A recurring theme is "Christian, love me more"––"Christian, love me more than these" ––"serve and love thee best of all."  Those words were inspired by John 21:15, where Jesus, after the resurrection, asked Peter, "Simon, son of John, do you love me more than these?"  Her text was published in the Society for the Promotion of Christian Knowledge's (SPCK) Hymns for Public Worship (1852). Though written for a relatively minor saint's day, this hymn quickly gained popularity. 

April 30, 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:

Prelude – Friedrich August Reissinger

Friedrich August Reiiger (1809-1883) was a German composer , organist , conductor , vocal pedagogue and conductor. At thirteen, he went the Thomasschule in Leipzig and sang in the Thomanerchor . He studied theology, and was a member of the Sing Academy in Berlin.  He went to Christiania, Norway in 1840 to  be music director of Christiania Theater.  From then on, he remained in Norway, in whose musical life he played a major role. In his ten years as a music director, he directed 33 operas. At the same time, he worked as an organist in a Catholic church, directed the Philharmonic Orchestra, and led the  Christiania Musical Association. In 1850, Reißiger became organist of the Immanuel Church in Halden.  As a composer, he wrote songs and piano music, military music , and cantatas.  He composed the Requiem upon  the death of King Karl Johans (1844)  Reissiger was awarded the Order of Saint Olav in 1875.

Voluntary – George Guest

A voluntary is a piece of music, usually for an organ, that is played as part of a church service. In England, the music played before and after the service is often called a “voluntary”.

George Guest (1771-1831), was an English organist.  Guest was chorister of the Chapels Royal, and may have been the Master Guest who was one of the principal singers (in 'Messiah' and miscellaneous concerts) for the Hereford musical festival of 1783. Guest was organist at Eye, Suffolk, in 1787, and at St. Peter's, Wisbech, Cambridgeshire, from 1789 to 1831. He was the composer of four fugues and sixteen voluntaries for the organ; the cantatas, the 'Afflicted African' and the 'Dying Christian;' three quartets for flute and strings; three duets for two violoncellos; pieces for military bands; hymns, glees, and songs.

O Filii et Filiae – Marsha Medley

O filii et filiae is an early Christian hymn celebrating Easter.  It was written by Jean Tisserand, O.F.M. (d. 1494), a preacher, and originally had nine stanzas.  The hymn was very popular in France, whence it spread to other countries. The hymn was assigned in the various French Paroissiens to the Benediction of the Blessed Sacrament, on Easter Sunday. There are several translations into English by non-Catholics. The Catholic translations are one by an anonymous author in the "Evening Office", 1748 ("Young men and maids, rejoice and sing"), Father Caswall's "Ye sons and daughters of the Lord" and Charles Kent's "O maids and striplings, hear love's story".  The translation by Fr. Edward Caswall (1814-1878) follows:

            Ye sons and daughters of the Lord, the King of glory King adored,

            This day Himself from death restored.  Alleluia, Alleluia, Alleluia.

            All in the early morning gray went holy women on their way,

            To see the tomb where Jesus lay.  Alleluia, Alleluia, Alleluia.

            Of spices pure a precious store in their pure hands these women bore,

            To anoint the sacred Body o’er.  Alleluia, Alleluia, Alleluia

            Then straightaway one in white they see, who saith, “seek the Lord:

            But He is risen and gone to Galilee.”  Alleluia, Alleluia, Alleluia

            This told they Peter, told John, who forthwith to the tomb are gone,

            But Peter is by John outrun.  Alleluia, Alleluia, Alleluia

            That self-same night, while out of fear the doors were shut, their Lord most dear

            To His Apostles did appear.  Alleluia, Alleluia, Alleluia

            But Thomas, when of this he heard, was doubtful of his brethren’s word,

            Wherefore again there comes the Lord.  Alleluia, Alleluia, Alleluia

            “Thomas, behold my side”, saith He, “My hands, My feet, My body see,

            And doubt not, but believe in me.  Alleluia, Alleluia, Alleluia

            When Thomas saw that wounded side, the truth no longer he denied,

            “Thou art my Lord and God!” he cried.  Alleluia, Alleluia, Alleluia

            Oh, blest are they who have not seen their Lord and yet believe in Him!

            Eternal life awaitheth them.  Alleluia, Alleluia, Alleluia

            Now let us praise the Lord most high, and strive His name to magnify

            On this great day, through earth and sky.  Alleluia, Alleluia, Alleluia

            Whose mercy ever runneth o’er, Whom men and Angel hosts adore,

            To Him be glory evermore.  Alleluia, Alleluia, Alleluia

Marsha Medley  (b. 1958) is the Organist and Music Director at St. Mark Presbyterian Church, St. Louis, MO.  She received a B.M. in piano from the University of Missouri and a M.M. from Miami Univerity in Ohio.  Self-taught on the organ, she first started playing at the “big” Mass in the Catholic Church of her childhood at age 13. She has directed vocal choirs and bell choirs and conducted church orchestras for more than 20 years. Marsha is a published composer and arranger and has taught piano privately for many years.

About the Choral Music:

Here Am I, Send Me – John Purifoy

John Purifoy (b. 1952) is a composer and arranger with numerous published choral cantatas, anthems and keyboard collections. His stage musical "Lambarene," based on the life of Dr. Albert Schweitzer, received workshop productions at the state theatre of New Jersey and the North Shore Musical Theater near Boston.  Mr. Purifoy served as editor and director of music publishing for Word, Inc. from 1975-1982. He is the recipient of the Freedom’s Foundation Award and five-time recipient of the ASCAP Standard Award. 

Purifoy wrote both the words and music to this mission anthem based on Isaiah 6:8.

            Here am I, send me.  Here am I, Lord, send me.

            Unto thee, willingly, yielded I come.

            Show the path that I must walk, compel me then to go,

            And if I stray bring back the light of day,

            For here am I, send me I pray.

            Send me to be what’s created in me, formed in your image I stand.

            Turn my weakness into your power, power to be at last all I’m able to be.

            Here am I, send me.  Here am I, Lord, send me.

            Precious Holy Spirit, come, fill me anew.

            Give me wisdom, send me strength,

            Grant that I may be a mirror of your never ending love,

            For here am I, send me I pray.

About the Hymns:

We’ve a Story to Tell to the Nations

H. Ernest Nichol (1862-1926) had begun a study program in civil engineering when he decided to study music instead. In 1888 he received a bachelor's degree in music from Oxford University. Nichol wrote some 130 hymn tunes and texts, many under the pseudonym “Colin Sterne” (derived from his middle and last name); many were first sung at church school programs.  “We’ve a Story to Tell to the Nations was written in 1896 and published in Sunday School Hymnary, 1905.

A song which encourages us to “go therefore and teach all nations” (Matthew 28:19) was a very popular "missionary hymn" among denominational churches in past years, typical of the hundreds that were penned to express the determined, dynamic, energetic, and expansive attributes of late nineteenth-century "Christian missions."  Among hymnbooks published by members during the twentieth century, this song appears rarely, primarily because the chorus expresses postmillennialism, which implies that Christians will bring the kingdom of God in its fullness to earth by our own efforts.

In spite of its controversial theology, this is a rousing hymn which motivates God’s people to sound forth the word of God and reminds us of the great blessings that are available to those who receive the word of God.

Pass it On

If you are a baby boomer, raised in the church, and born in the late 1940s or 1950s, you probably grew up singing Kurt Kaiser's "Pass It On" around a campfire or at youth group meetings.  Kurt Frederic Kaiser was born in 1934 in Chicago. He received his musical education from the American Conservatory of Music and Northwestern University.  Kaiser joined Word, Inc., in 1959 as director of artists and repertoire, and later became vice president and director of music for Word. Kaiser has received many honors, including a Lifetime Achievement Award from the American Society of Composers, Authors and Publishers (ASCAP) for his contributions to the Christian music industry (1992); an honorary Doctor of Sacred Music degree from Trinity College in Illinois; and an honorary Doctor of Humane Letters degree from Baylor University. In 1993 his album Psalms, Hymns, and Spiritual Songs was recognized with a Dove Award. In 2001 he was inducted into the Gospel Music Hall of Fame and was placed in the Hall of Honor by the Christian Booksellers Association. The Faithfulness in Service Award was presented to him in 2003. In 2011 he received the Hines Sims Award, named for the editor of the Baptist Hymnal (1956), one of the most successful hymnals in the history of the denomination. While known primarily for his youth musicals, Mr. Kaiser is an accomplished pianist and has written music for a variety of performing media in varied styles. He has composed more than sixty hymn texts and tunes, the most famous of which are “O how he loves you and me” (1975), and “Pass It On.”

In correspondence with the author, Mr. Kaiser provided the background to "Pass It On," one of his most famous songs: "In 1969, Ralph Carmichael and I collaborated on a musical, Tell It Like It Is. It was written to get young people involved in the Church. After reviewing what we had written, we decided there needed to be a closer, a modern 'Just As I Am'. On a Sunday night I was sitting in our den by the fireplace where there were remnants of a fire, and it occurred to me that it only takes a spark to get a fire going . . . and the rest came very quickly. My wife suggested that I should say something about shouting it from mountain tops, and that ended up in the third verse. It only took about 20 minutes to write the lyrics. Afterwards my wife and I went for a walk, letting the song ruminate in our minds."

“Pass It On” gained traction in broader congregational circles when it appeared in Hymns for the Living Church (1974) and Hymns for the Family of God (1976). While this song has received theological criticism by some, Kurt Kaiser joined a number of other composers in the late 1960s, 1970s, well into the 1980s who sought to offer an alternative to, in the words of Dr. Young, “the lifestyle of drug and sexual permissiveness of the youth counterculture, embodied in the Haight-Asbury flower children.” One cannot separate the text from its folk guitar-based music. Many lifelong faith commitments to Christ were made by post-World War II baby boomers around campfires singing this song. Few songs from this era have reached the iconic status of “Pass It On,” which, though informal in its jargon, might be seen as an extension of the Great Commission in Matthew 28:19-20.

Lord, Whose Love Through Humble Service

Albert F. Bayly (1901-1984) was ed­u­cat­ed at Lon­don Un­i­ver­si­ty and Mans­field Coll­ege, Ox­ford.  Be­gin­ning in the late 1920’s, he served at four Cong­re­ga­tion­al church­es in North­um­ber­land, Lan­ca­shire and East York­shire; in 1962, he be­came pas­tor in Thax­ted, Es­sex.  Af­ter re­tir­ing in 1971, he moved to Spring­field, Chelms­ford, and was ac­tive in the local Unit­ed Re­formed Church.  He wrote sev­er­al pa­geants on mis­sion themes, and li­bret­tos for can­ta­tas by W. L. Lloyd Web­ber (father of Andrew). 

Bayly wrote this text in response to a Hymn Society of America search for new hymns on social welfare. It was chosen as the theme hymn for the Second National Conference on the Churches and Social Welfare held in Cleveland, Ohio, October 23-27, 1961. The Hymn Society published the text in Seven New Social Welfare Hymns (1961).

April 23, 2017 - Confirmation

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:

Come, Ye Faithful, Raise the Strain – Wayne Wold

“Come, Ye Faithful, Raise the Strain” is a Greek Resurrection hymn written by John of Damascus (c. 675-749) in the 8th century. Around 730, John gave away everything he had and retired to the monastery of St. Sabas, where he was ordained a priest. During this time John wrote works containing a justification for orthodox faith, including his Foundation of Knowledge. John was among the greatest and most important of the Greek hymn writers. He wrote many canons, a new form of hymnody during his time, for important festivals. Canons, usually sung during monastic office of Lauds and based primarily on nine Canticles, are usually divided into nine odes. An ode is composed of short dramatic strophes in which the climax occurs in the last line. Each strophe has the same number of lines and syllables.

Organized Greek hymnody began, at the earliest, in the 7th century. From 700-900 many Canons were written that contained long odes usually in reference to the Resurrection or at least linked with Easter. The publication of John Mason Neale’s Hymns of the Eastern Church, a collection of Greek Canons from the 5th to the 11th centuries in English poetic form, contributed to a renewed interest in early Christian and Byzantine hymnody. When translated into English, these poems tended to be awkward for singing. John Mason Neale’s translations are in metrical patterns that are more accessible for English singers while remaining true to the original ideas of the Greek. 

“Come, Ye Faithful” is the first ode from the Canon for St. Thomas’s Sunday and is based on the canticle “The Song of Moses” from Exodus 15. A clear connection can be seen in the hymn from Exodus 14 and 15 through the vivid language used.  The main theological theme of this hymn is deliverance. Stanza one discusses the joy the Israelites had after being delivered from Pharaoh across the Red Sea. This stanza provides an easy link to Moses and his song.  The next three stanzas transfer the focus to Jesus. They discuss Jesus’ resurrection and the deliverance brought to humankind from their sins through this action. The hymn serves as praise to God for continuing to deliver God’s people throughout history. 

Come, you faithful, raise the strain of triumphant gladness!
God has brought forth Israel into joy from sadness,
loosed from Pharaoh’s bitter yoke Jacob’s sons and daughters;
led them with unmoistened foot through the Red Sea waters.

’Tis the spring of souls today: Christ has burst his prison,
and from three days’ sleep in death as a sun has risen.
All the winter of our sins, long and dark, is flying
from the Light to whom we give laud and praise undying.

Neither could the gates of death, nor the tomb’s dark portal,
nor the watchers, nor the seal, hold you as a mortal:
but today, among your own, you appear, bestowing
your deep peace, which ever more passes human knowing.

Alleluia! Now we cry to our Lord immortal,
who, triumphant, burst the bars of the tomb’s dark portal;
Alleluia! With the Son, God the Father praising;
Alleluia! Yet again to the Spirit raising.

Wayne L. Wold (b. 1954) is active as a teacher, church musician, composer, author, performer, and clinician. He serves as Associate Professor of Music and College Organist at Hood College in Frederick, Md. Over 200 of his compositions are published by fourteen different companies in the U.S. and Australia and include twenty volumes of works for organ and instruments with organ, 30 choir anthems, a children's musical, a recorder suite, and several hymn tunes. He is the author of numerous hymn and anthem texts, articles in professional journals, and two books -- Tune My Heart to Sing: Devotions for Choirs Based on the Revised Common Lectionary and Preaching to the Choir: The Care and Nurture of the Church Choir.

Here’s One – Marilyn Rinehart

Of all Negro Spirituals, "Here's One" can undoubtedly be counted among the most affecting of all. The lyrics are a simple expression of devotion to God.

Talk about a child who do love Jesus,
Here's one, here's one.

Ever since I heard the gospel story,
I've been walking up the road to glory.
Talk about a child who do love Jesus,
Here's one.

Talk about a child who's been forgiven,
Here's one, I said, here's one,

Ever since I heard the gospel story,
I've been walking up the road to glory.
Talk about a child who’s been forgiven,
Here's one.

Talk about a child who's been converted,
Here's one, here's one.

Ever since I heard the gospel story,
I've been walking up the road to glory.
Talk about a child who's been converted,
Here's one.

Talk about a child who do love Jesus,
Here's one, here's one.
Here's one, here's one.
Here's one, here's one.

Marilyn Rinehart (1926-2012) was a church organist in Tucson for 18 years at First United Methodist Church, seven years at Catalina United Methodist Church, and was a composer of organ and choral works. After graduating from Ashland College (Ohio), she did advanced studies at the University of Arizona. She was a member of the American Guild of Organists and a long-time volunteer at the Community Food Bank. 

Pious Jubilation

G. Winston Cassler (1906-1990) was a member of the faculty of St. Olaf College from 1949 until his retirement in 1972.

About the Choral Music:

Lift High the Cross – Lani Smith

George W. Kitchin (1827-1912) wrote the original version of this text in 1887 for the Society for the Propagation of the Gospel. The hymn was intended to be used for a festival service at Winchester Cathedral, England. Michael R. Newbolt (1874-1956) revised the text for the 1916 Supplement to Hymns Ancient and Modern.  Sir Sydney H. Nicholson (1875-1947) composed the tune “Crucifer” for the text as revised by Newbolt. The tune name means "cross-bearer" and refers to one who carries the cross in a liturgical procession.  Often considered Nicholson's finest tune, “Crucifer” has broad melodic gestures and an effective cadence to the stanzas, which leads right back into the refrain without interruption, pause, or slowing down. Perhaps similar to Constantine's vision of Christ's cross, this text makes clear that the cross is a symbol of Christ's love.

Lani Smith (b. 1934) is an organist best known for his church music compositions. He has been composing for nearly fifty years, and his compositions include choral, organ and piano pieces. He is a regular contributor to the Lorenz Corporation’s keyboard magazines The Church Pianist, The Organist, The Organ Portfolio, and The Sacred Organ Journal, as well as the choral magazines The SAB Choir and The Volunteer Choir.  He served as an editor, composer, and arranger on the Lorenz Publishing editorial staff between 1967 and 1982. During this time, he received composing and arranging credits for over 1000 works.

Lift high the cross, the love of Christ proclaim, Till all the world adore His sacred Name.

Come, Christians, follow where our captain trod, Our King victorious, Christ, the Son of God.

Led on their way by this triumphant sign, The hosts of God in conquering ranks combine.

All newborn soldiers of the Crucified Bear on their brow the seal of Him who died.

So shall our song of triumph ever be: Praise to the Crucified for victory!

            Amen! Alleluia

About the Hymns:

Easter People, Raise Your Voices

Following in the tradition of many pastors who write hymns, William Marceus James (1913-2013) wrote "Easter People, Raise Your Voices" for his congregation at Metropolitan Community United Methodist Church in New York City.  Born in Meadville, Mississippi, and educated at Mt. Beulah College, Butler University, and Drew University, the Rev. James received his license to preach in Lexington, Kentucky, in 1936 and was ordained an elder in 1940.  In 1944, he was appointed to the Trinity (Morrisania) Methodist Church in the Bronx, a church he founded with no members. In only eight years, it grew into a 900-member congregation. In an interview with the United Methodist Interpreter, James noted, "It was during that time I learned to minister to gangs and street people."  In 1952 he began serving Community Methodist Church in Harlem, which later became the Metropolitan Community United Methodist Church in 1971. The Rev. James ministered to this congregation for 33 years until "retiring" in 1985, but he continued his ministry to young people and to the Harlem community.

The author of more than fifty hymns, James noted to this writer in 2005 that "I wrote hymns for my congregation whenever I needed one. 'Easter People' is not the greatest hymn I have, but it took better than the others. Most of my hymns have themes around the social gospel." Originally in five stanzas, the hymn first appeared in the United Methodist collection, Songs of Zion (1981), in its present form.  The triumph of the Resurrection over evil is the theme of "Easter People." In stanza two, the poet reminds us that the "fear of death" cannot stop us from doing all we can to overcome evil "here below." The final stanza insists: "Every day to [Christians] is Easter" because our God is one who "rights the wrong."

Christ is Risen

This text was written in 1984 by Brian Wren (b. 1936), an internationally published hymn writer whose work appears in hymnals from many denominations and traditions. Ordained in Britain’s United Reformed Church, he holds BA and PhD degrees from Oxford University. On July 1, 2000, he was appointed the first John and Miriam Conant Professor of Worship at Columbia Theological Seminary in Atlanta.  "Christ Is Risen! Shout Hosanna!" celebrates God's surprising Easter turnaround of the Good Friday events.

A Charge to Keep I Have

As is the case with hymns by Charles Wesley, “A charge to keep I have” is grounded in Scripture. In this case, Leviticus 8:36 is the primary source: “Keep the charge of the Lord, that ye die not” (KJV). The hymn was included in Short Hymns on Select Passages of Holy Scripture (1762), a massive two-volume collection of 2,030 hymns based on biblical texts from Genesis to Revelation. 

Wesley scholars F. Hildebrandt and Oliver A. Beckerlegge propose in their commentary on the important Wesley hymnbook A Collection of Hymns for Use of the People Called Methodists (1780) that Charles Wesley (1708-1788) based his text on Mathew Henry’s Commentary on Leviticus. Henry notes: “We have every one of us a charge to keep, an eternal God to glorify, an immortal soul to provide for, needful duty to be done, our generation to serve; and it must be our daily care to keep this charge, for it is the charge of the Lord our Master, who will shortly call us to an account about it, and it is our peril if we neglect it. Keep it ‘that ye die not’; it is death, eternal death, to betray the truth we are charged with.”

This hymn is an unequivocal call to commitment to follow the Master and to fulfill our vocation through service. The language is unambiguous. Our calling is to save a “never dying soul” and “fit it for the sky”—that is for eternal life with Christ. This eschatological goal is central to Charles Wesley’s hymns: Our goal is heaven. In the second stanza, we find that we fulfill this calling by our service to “the present age.” Fulfilling this calling requires us to engage “all [our] powers.” The third stanza is a petition that God should “arm [us] with jealous care” as we live in God’s sight. Wesley is not afraid to offer a stern admonition that we will one day be required to give “a strict account” of our activities in pursuit of our calling. The final stanza is perhaps the most uncompromising. The singer begins with the imperative verb—a petition to the unnamed Holy Spirit—to “Help me to watch and pray . . . ” Rather than suggesting a positive reward for faithfulness, Wesley warns us of the outcome “if [we] our trust betray”: we “shall forever die.”

The tune BOYLSTON was composed by the famous New England music educator Lowell Mason (1792-1872) and was first found in his The Choir, or Union Collection of Church Music (1832).