August 13, 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:

I Love to Tell the Story – Wilha Hutson

"I Love to Tell the Story" is a well-known hymn which was written as a poem by an English evangelist, Katherine Hankey (1834-1911). Hankey was the daughter of a wealthy banker and was associated with the Clapham sect of William Wilberforce, a group of prominent evangelical Anglicans from the Clapham area. This group helped to establish the British and Foreign Bible Society, promoted the … abolition of slavery, and was involved in improving the lot of England's working classes. Hankey taught Bible classes for shop girls in London, visited the sick in local hospitals, and used the proceeds of her writings to support various mission causes. Her publications include Heart to Heart (1870) and The Old, Old Story and Other Verses (1879).

Hankey had a serious spell of sickness while in a mission in Africa. During her long days of convalescence, she wrote a long on the life of Jesus in 1866 in two parts. The first part was a poem of fifty stanzas, titled "The Story Wanted" (dated January 29, 1866) and second part titled "The Story Told" (dated November 18, 1866). Certain verses were taken from Part I. by Dr. W. H. Doane in 1867 to make the popular and familiar hymn beginning, "Tell me the old, old story". From Part II. certain verses were selected to make the hymn, "I Love to Tell the Story".

Apart from the context of the larger poem, some of the couplets of this text appear rather shallow or repetitious; thus the Psalter Hymnal includes only the original stanzas 1, 3, and 4. But the entire original poem provides a fine autobiographical testimony to Hankey's evangelical fervor, which she expressed in her writings and in her support of foreign and home missions (she taught church school classes to the rich and poor of London). The text simply affirms the Christian's zeal to "tell the old, old story of Jesus and his love" to the unsaved as well as to the saved, here on earth and in glory.

The tune HANKEY was composed by William G. Fischer and appeared in Fischer's Joyful Songs, Nos. 1 to 3 published in 1869 in Philadelphia, Pennsylvania by Methodist Episcopal Book Room. Fischer also added a refrain to the original text. The tune set to Hankey's text was published in Joyful Songs (1869) and in many gospel hymnals. The hymn was popularized through its use in the Ira D. Sankey and Dwight L. Moody crusades.

In his youth, Fischer (1835-1912) developed an interest in music while attending singing schools. His career included working in the book bindery of J. B. Lippencott Publishing Company, teaching music at Girard College, and co-owning a piano business and music store–all in Philadelphia. Fischer eventually became a popular director of music at revival meetings and choral festivals. In 1876 he conducted a thousand-voice choir at the Dwight L. Moody/Ira D. Sankey revival meeting in Philadelphia. Fischer composed some two hundred tunes for Sunday school hymns and gospel songs.

I love to tell the story of unseen things above,
of Jesus and his glory, of Jesus and his love.
I love to tell the story, because I know 'tis true;
it satisfies my longings as nothing else could do.

Refrain:
I love to tell the story; 'twill be my theme in glory
to tell the old, old story of Jesus and his love.

I love to tell the story; 'tis pleasant to repeat
what seems, each time I tell it, more wonderfully sweet.
I love to tell the story, for some have never heard
the message of salvation from God’s own holy Word.

I love to tell the story, for those who know it best
seem hungering and thirsting to hear it, like the rest.
And when, in scenes of glory, I sing the new, new song,
'twill be the old, old story that I have loved so long.

Wihla Hutson (1901-2002) was the organist at All Saints Church in Pontiac, Michigan, about 25 miles from Detroit. The pastor at All Saints was the Rev. Bates Burt, Alfred Burt’s father.  Al Burt wrote the music for the Burt family Christmas cards, and Wilha wrote the lyrics for Al’s tunes.  The 1950 carol was “This Is Christmas,” sometimes also referred to as “Bright, Bright the Holly Berries, which is the first line of the lyric.” In 1951, Wihla wrote “Some Children See Him,” one of the most beloved of the Burt carols. With the U.S. engaged in the Korean War--following so closely after the Second World War with Germany and Japan--the simple but moving lyric of this carol affirmed that children of any nationality could imagine Jesus to be like them, with the underlying message that love is more important than any claim of race or nationality.  Wihla’s 1952 lyric was also about children. “Come, Dear Children”.   Among other lyrics, she wrote “O Hearken Ye”, “We’ll Dress the House”, “Caroling, Caroling”, and “The Star Carol.” 

Festival Prelude on “Duke Street” – Franklin Ashdown

Isaac Watts (1674-1748) was the son of a schoolmaster and was born in Southampton.  He is said to have shown remarkable precocity in childhood, beginning the study of Latin, in his fourth year, and writing respectable verses at the age of seven. At the age of sixteen, he went to London to study in the Academy of the Rev. Thomas Rowe, an Independent minister. In 1698, he became assistant minister of the Independent Church, Berry St., London. In 1702, he became pastor.  The number of Watts' publications is very large. His collected works, first published in 1720, embrace sermons, treatises, poems and hymns. His "Horae Lyricae" was published in December, 1705. His "Hymns" appeared in July, 1707. The first hymn he is said to have composed for religious worship, is "Behold the glories of the Lamb," written at the age of twenty. It is as a writer of psalms and hymns that he is everywhere known. Some of his hymns were written to be sung after his sermons, giving expression to the meaning of the text upon which he had preached. Montgomery calls Watts "the greatest name among hymn-writers," and the honor can hardly be disputed. His published hymns number more than eight hundred.

Isaac Watts based this hymn text on Psalm 72:12-19 and referred to verses 5 and 8 of the psalm as well. Originally in eight stanzas entitled "Christ's Kingdom among the Gentiles," the text was published in Watts' Psalms of David, Imitated (1719).  In this hymnal, he paraphrased many of the Psalms, but in a very different style than many of his predecessors. The order of the day was to keep any paraphrase as close to the text as possible. Watts decided to do otherwise, and his interpretations of the psalms are quite loose, in an effort to write something new while keeping the spirit of the Psalm. His versification of Psalm 72 is no different. He interprets the psalm using a Christological lens. The king referenced in the psalm is Christ, and could be no one else. Watts understood that the Old Testament makes sense in light of the New, and vice versa.

G. J. Stevenson’s Notes on the Meth­od­ist Hymn Book re­lates:

Perhaps one of the most in­ter­est­ing oc­ca­sions on which this hymn was used was that on which King George, the sa­ble, of the South Sea Is­lands, but of bless­ed mem­o­ry, gave a new con­sti­tu­tion to his peo­ple, ex­chang­ing a hea­then for a Christ­ian form of gov­ern­ment. Un­der the spread­ing branch­es of the ban­yan trees sat some thou­sand na­tives from Ton­ga, Fi­ji, and Sa­moa, on Whit­sun­day, 1862, as­sem­bled for Di­vine wor­ship. Fore­most amongst them all sat King George him­self. Around him were seat­ed old chiefs and war­ri­ors who had shared with him the dan­gers and for­tunes of ma­ny a battle—men whose eyes were dim, and whose pow­er­ful frames were bowed down with the weight of years. But old and young alike re­joiced to­ge­ther in the joys of that day, their fac­es most of them ra­di­ant with Christ­ian joy, love, and hope. It would be im­poss­i­ble to de­scribe the deep feel­ing man­i­fest­ed when the sol­emn serv­ice be­gan, by the en­tire au­di­ence sing­ing Dr. Watts’ hymn… Who so much as they could real­ize the full mean­ing of the po­et’s words? For they had been res­cued from the dark­ness of hea­then­ism and can­ni­bal­ism and they were that day met for the first time un­der a Christ­ian con­sti­tu­tion, un­der a Christian king, and with Christ Him­self reign­ing in the hearts of most of those pre­sent. That was in­deed Christ’s king­dom set up in the earth.

First published anonymously in Henry Boyd's Select Collection of Psalm and Hymn Tunes (1793), DUKE STREET was credited to John Hatton (1710-1793) in William Dixon's Euphonia (1805). Virtually nothing is known about Hatton other than that he lived on Duke Street in St. Helen's and that his funeral was conducted at the Presbyterian chapel there.

Jesus shall reign where'er the sun does its successive journeys run,
his kingdom stretch from shore to shore, till moons shall wax and wane no more.

People and realms of every tongue dwell on his love with sweetest song,
and infant voices shall proclaim their early blessings on his name.

Let every creature rise and bring the highest honors to our King,
angels descend with songs again, and earth repeat the loud amen.

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.

About the Choral Music:

We are Called to Proclaim – 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. 

“We are Called to Proclaim” was written for the 25^th anniversary of St. John’s Lutheran Church in Waukesha, Wisconsin, and is based on Luke 4: 18-19.

            The spirit of the Lord is upon me,

            He has called me to preach good news to the poor.

            He has called me to proclaim now the freedom

            For all who are captive, For all broken hearted,

            Recovery of sight for the blind, release for those oppressed,

            To proclaim now the favor of the Lord!

            We are called to proclaim and to set the captive free

            By the power of One who came to make our blind eyes see.

            His kingdom lies within us.  Let peace and justice reign.

            By the truth of God within us we are called to proclaim!

            We are called to proclaim now the favor of the Lord.

            We are called in His name to help the sick and poor,

            To tell now of the freedom that has come to all the earth.

            With His Spirit now upon us we are called to proclaim

            Now the year of the favor of the Lord.

            With His Spirit now upon us we are called to proclaim!

            To proclaim!

Lord, I Want to Be a Witness – A. L. Butler

A L. (Pete) Butler (b. 1933) is Minister of Music at First Baptist Church, Ada, Ok., and retired Professor of Church Music at Midwestern Baptist Seminary in Kansas City.  He has published children and adult anthem and written a number of hymn tunes. 

            Lord, I want to be a witness ev’ry day in all I do and say.

            Lord, I want to be a witness ev’ry hour, in the Saviour’s power.

            I want to share the wondrous news of my salvation,

            And tell how Jesus’ love came into my soul.

            I want to spread the blessed word to ev’ry nation

            And show how Christ can make a sinner man whole.

Lord, I want to be a witness today.

            Here’s my soul, come on and take control.

            Lord, I want to be a witness, shining bright with the heav’nly light.

            Lord, I want to be a witness, leaving all for the Master’s call.

            I want to live so Christ can work in those about me

            And have His wondrous way within their hearts.

            I want to take the word of God to those without Him,

            So they can know the joyous love He imparts.

            Lord, I want to be a witness,

            Here’s my sould, come on and take control.

            O Lord, blessed Lord, make me a witness.

About the Hymns:

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).  Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man.

Lowell Mason was born in Massachusetts, and from childhood he manifested an intense love for music and devoted all his spare time and effort to improving himself. In his twenties, he had the opportunity to study music with F. L. Abel and began composing. His first work was a collection of church music, which contained many of his own compositions. It was published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." The book soon sprang into universal popularity, being at once adopted by the singing schools of New England. It ran seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. He became a member of the Handel and Haydn Society, and was also appointed director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation.

In 1827, Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mason might have been considered average had he lived in Europe, but in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious.  Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them."

The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging. Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage.  Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Not only Boston benefited directly by this enthusiastic teacher's instruction, as he was constantly traveling to other societies in distant cities and helping their work. Iin his later years, he went as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810, he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals.

Go Make of All Disciples

Leon McKinley Adkins (1896-1986) was a Methodist pastor, serving congregations between 1921-1955, and an administrator, serving at the Board of Education of the Methodist Church in Nashville from 1955-1966.  His hymn, “Go Make of All Disciples” was first sung at the commissioning of teachers and church school officials during Christian Education Week, 1955, at University Methodist Church, Syracuse, where the author was pastor.  The hymn was printed in the February 1956 issue of Church School and first appeared in a hymnal in the 1966 Book of Hymns.  This hymn begins with the Great Commission: “Go ye therefore, and teach all nations, baptizing them in the name of the Father, and of the Son, and of the Holy Ghost: Teaching them to observe all things whatsoever I have commanded you: and, lo, I am with you always, unto the end of the world. Amen.” (Matthew 28:19-20, KJV) 

Henry T. Smart (1813-1879) composed the tune LANCASHIRE in 1835 for use at a missions festival at Blackburn, Lancashire, England. For that festival, which celebrated the three-hundredth anniversary of the Reformation in England, the tune was set to Reginald Heber's “From Greenland's Icy Mountains.” First printed in leaflets, LANCASHIRE was published In Smart's Psalms and Hymns for Divine Worship (1867). It was set to “Lead on, O King Eternal” in the 1905 Methodist Hymnal.