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.