September 10, 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:

Wo Gott der Herr - J. C. Bach

Justus Jonas (1493-1555) was a German Lutheran theologian and reformer. He was a Jurist, Professor and Hymn writer. He is best known for his translations of the writings of Martin Luther and Philipp Melanchthon.  Jonas was born at Nordhausen in present-day Thuringia where he was the son of the burgermeister. His birth name was Jodokus (Jobst) Koch, which he changed according to the common custom of German scholars in the sixteenth century. He studied law and the humanities at the University of Erfurt, and became Master of Arts in 1510. In 1511 he went to University of Wittenberg, where he took his bachelor's degree in law. He returned to Erfurt in Thuringia during 1514 or 1515 was ordained priest^.  In 1518, he was appointed Canon of St. Severus Church (Severikirche) in Erfurt which was a collegiate church. In 1519, he became Rector of the University of Erfurt. In 1521, he was appointed Probst of All Saints' Church (Schlosskirche) at Wittenberg and Professor of Church Law in the University of Wittenberg. From 1541 to 1546, he served as superintendent and chief pastor at Halle. 

His great admiration for Erasmus first led him to Greek, Hebrew and Biblical studies, and his election in May 1519 as rector of the university was regarded as a triumph for the partisans of the New Learning. It was not, however, until after the Leipzig Disputation with Johann Eck that Martin Luther won his allegiance. He accompanied Luther to the Diet of Worms in 1521, and there was appointed professor of canon law at Wittenberg.  Jonas was one of the most active of the Wittenberg reformers. Giving himself up to preaching and polemics, he aided the Reformation by his gift as a translator, turning Luther's and Melanchthon's works into German or Latin as the case might be, thus becoming a sort of double of both. Jonas also assisted Luther with his translation of the Bible into the German language. 

One of the eight hymns in the first Lutheran hymnal is attributed to him, In Jesu Namen wir heben an (In the name of Jesus we begin), which appeared in 1524 with four hymns by Martin Luther and three by Paul Speratus. His hymn Wo Gott der Herr nicht bei uns hält, a paraphrase of Psalm 124, was published in the Erfurt Enchiridion in 1524. It was used by several composers as a base for organ and choral music, including Bach's chorale cantata BWV 178.

If the Lord God does not stay with us when our enemies rage
and if he does not support our cause in heaven high above,
if he is not Israel's protection
and does not himself break the enemy 's cunning,
then all is lost with us.

What human power and intelligence contrive should not easily terrify us;
He sits in the highest place, he will uncover their plan.
When they attack with the greatest cunning, then God goes another way:
It is in his hands.

They rage greatly and come towards us as if they wanted to eat us;
all their desire is set on murder, God is forgotten by them.
Like waves of the sea they come, they threaten our bodies and lives :
God will pity this.

They persecute us as heretics, and thirst after our blood;
they boast that they also are Christians who greatly esteem only God
Ah God, your precious name has to be a cover for their wickedness,
One day you will wake up to this.

They open wide their jaws and want to swallow us down.
May God be thanked and praised for ever, they will not succeed:
he will break asunder their traps and destroy their false teaching,
They will have no defense against God.

Ah Lord God, how richly you console those who have been completely forsaken:
the door of your mercy is never closed.  Reason cannot grasp this.
It says :“all is now lost” – when, however, the cross has given new life
to those who wait on your help.

Our enemies are all in your hand along with all their thoughts;
what they attempt is known to you, Lord, Help us only so that we do not waver.
If reason fights against faith, in future we will not trust it
since you yourself will give us consolation.

The heaven and also the Earth have been founded, Lord God, by you
make your light become bright for us and let our hearts be enkindled
in true love of your faith, constant to the end.
Let the world go on complaining forever.

Johann Sebastian Bach’s life was surrounded by Johann Christophs:  an uncle, a cousin, an older brother, and a son.  Here we have a chorale prelude by his 1st cousin once removed, who became the town organist in Eisenach in the year 1665 and court chamber musician there in 1700.  Prior to Johann Sebastian, Johann Christoph (1642-1703) would have been considered the most famous musician of the Bach family. His work is of the highest quality and, in some instances, has been improperly attributed to Johann Sebastian himself (e.g. the motet Ich lasse dich nicht). Johann Christoph composed choral works (motets and cantatas) and works for organ (preludes and fugues). Johann Sebastian described his cousin as "the great and expressive composer," and performed his works often as did Carl Philipp Emanuel.

Festival Toccata on “St. Anne” – Frederick Swann

“Our God, Our Help in Ages Past” is a hymn by Isaac Watts which paraphrases Psalm 90. It originally consisted of nine stanzas. In present usage, however, the hymn is usually limited to stanzas one, two, three, five, seven and nine. In 1738, John Wesley in his hymnal, Psalms and Hymns, changed the first line of the text from "Our God" to "O God." Both Watts' wording and Wesley's rewording remain in current use.  The hymn was originally part of The Psalms of David Imitated in the Language of the New Testament, published by Watts in 1719. In this book he paraphrased in Christian verse the entire psalter with the exception of twelve Psalms which he felt were unsuited for Christian usage.

The hymn tune "St. Anne" to which the text is most often sung was composed by William Croft in 1708 whilst he was the organist of the church of St Anne, Soho.  It first appeared anonymously in the Supplement to the New Version of the Psalms, 6th edition in 1708. It was originally intended to be used with a version of Psalm 62. It was not until sometime later when set to Watts' text that the tune gained recognition.

The complete nine verses are as follows:

Our God, our help in ages past, Our hope for years to come,
Our shelter from the stormy blast, And our eternal home.

Under the shadow of Thy throne Still may we dwell secure;
Sufficient is Thine arm alone, And our defense is sure.

Before the hills in order stood, Or earth received her frame,
From everlasting Thou art God, To endless years the same.

Thy Word commands our flesh to dust, Return, ye sons of men:

All nations rose from earth at first, And turn to earth again.

A thousand ages in Thy sight Are like an evening gone;
Short as the watch that ends the night Before the rising sun.

The busy tribes of flesh and blood, With all their lives and cares,

Are carried downwards by the flood, And lost in following years.

Time, like an ever rolling stream, Bears all its sons away;
They fly, forgotten, as a dream Dies at the opening day.

Like flowery fields the nations stand Pleased with the morning light;

The flowers beneath the mower’s hand Lie withering ere ‘tis night.

Our God, our help in ages past, Our hope for years to come,
Be Thou our guard while life shall last, And our eternal home.

Frederick Swann was born in West Virginia in 1931. The son of Methodist bishop Theodore M. Swann, he began taking piano lessons as a 5-year old from the organist at Braddock Street United Methodist Church in Winchester, Virginia, where his father was pastor 1937–1943.^[2] He told an interviewer in later years that he was "mesmerized when I saw the organ console for the first time" at the church and soon began taking organ lessons.^[2] By the age of ten, Swann was playing the church's organ for services when his teacher died suddenly.

Swann was associated with the music ministry of the famed Riverside Church in New York City from 1952 through 1982, first as substitute organist (1952–1957), then as organist (1957–1965) joining organist Virgil Fox there until the latter's departure in 1964. Between 1966 and 1982, Swann was organist, choir director, and director of music at Riverside.^[3]  Beginning in 1982, Swann was organist and music director at the Crystal Cathedral in Garden Grove, California, where he presided over their main "Hazel Wright" double-organ, and appeared on their weekly televised service.^[3] His performances were characterized by music critic Daniel Cariaga as "splendid, probing, brilliant and entertaining".

Swann has served on the faculties of New York City's Union Theological Seminary School of Sacred Music, Teacher's College of Columbia University, and chaired the Organ Department of the Manhattan School of Music for ten years. He is currently University Organist and Artist Teacher of Organ at the University of Redlands in California.

As a concert organist, he frequently performs at recitals throughout North America, Europe and the Far East.  In 2002, he was named "International Performer of the Year" by the New York City Chapter of the AGO.^[8] On April 13, 2008, the AGO saluted him at an AGO Gala recital at First Congregational Church in Los Angeles as the "Crown Prince of the King of Instruments" for his "dedicated service ... for more than a half century".  Swann was President of the American Guild of Organists from 2002-2008.

About the Choral Music:

Precious Lord, Take my Hand

Thomas Dorsey (1899-1993) has been called “The Father of Gospel Music”. Thomas loved music. As a young man,  he played piano in Vaudeville and jazz clubs and became known as “Georgia Tom”.   In 1921, at the age of 22, Thomas gave his life to Jesus. Almost immediately he left the jazz clubs and began writing Gospel music.  Little by little his reputation grew, not only as a songwriter but as a church music director.  In 1932,  while the now Reverend Dorsey was leading a church service, a man came to the platform to hand him a telegram - his wife had just died in childbirth. Within 24 hours his newborn baby died also. Thomas quickly spiraled downward into the depths of grief, doubting the goodness of God and determining never to write another hymn.  A week later, Thomas was sitting alone at a piano in a friend’s home, and he began to feel at peace.  He began to play, and the hymn, “Precious Lord, Take My Hand” came to him and lifted him from his despair.  “Precious Lord, Take My Hand” has been translated into more than 40 languages, has been recorded by many gospel musicians, including Mahalia Jackson and Elvis Presley, and was Dr. Martin Luther King's favorite hymn. The tune was adapted by Dorsey from the tune Maitland, by George N. Allen, 1844

George Allen (1812-1877) studied music in Boston, Massachusetts, under Lowell Mason. In 1837, Allen became an instructor in Science of Music at Oberlin College, while he was still a student; a year later, he was appointed instructor of Sacred Music, and became a full professor in 1841. Allen was also a student of geology, and 1847 became professor of Geology and Natural History.  In 1837, Allen founded the Oberlin Musical Association (now known as the Musical Union), one of the oldest organizations of its type in America. In 1844, he compiled the Oberlin Social and Sabbath Hymn Book.

Precious Lord, take my hand, Lead me on, help me stand,
I am tired, I am weak, I am worn;
Through the storm, through the night, Lead me on to the light:

Take my hand, precious Lord, Lead me home.

When my way grows drear, Precious Lord, linger near,
When my life is almost gone,
Hear my cry, hear my call, Hold my hand lest I fall:

Take my hand, precious Lord, Lead me home.

Jack Schrader (b. 1942), arranger, composer, conductor, vocalist, and organist/pianist, is past editor with Hope Publishing Company, retiring in January of 2009. His association with Hope began in 1978. A 1964 graduate of Moody Bible Institute of Chicago, where he majored in Voice and Organ, he also received the Bachelor of Music Education degree from the University of Nebraska (1966). Further studies in theology culminated in Jack's ordination by the Evangelical Free Church of America (1975). Schrader is the best-selling choral composer in the Hope catalog. In addition to choral music Jack has published collections for keyboardists, instrumentalists and vocal soloists. He was a member of the editorial committee for Hope's most recent hymnal, Worship & Rejoice (2001), in which he has 24 hymn credits. His music is heard in hundreds of churches across the country each Sunday, and he can be seen throughout the year as a guest clinician at choral reading sessions and workshops.

About the Vocal Solo Music:

The Old Rugged Cross Made the Difference – Gloria Gaither

          Paul Sackett, solo

Gloria Gaither (b.1942) is a Christian songwriter, author, speaker, editor, and academic. She is the wife of Bill Gaither and also sang in the Bill Gaither Trio, one of the most influential groups in recent Christian music.  She was born in Michigan, a daughter of pastor Lee Sickal and Dorothy Sickal. She spent most of her childhood and high school career in the Battle Creek area of Michigan, working a brief time for the Kellogg Company. When Sickal graduated from high school, she attended Anderson University in Anderson, Indiana. There, she triple majored in English, French, and Sociology. Upon her graduation, she took a job at Alexandria Monroe High School as a French teacher. There, she met Bill Gaither, who was teaching English at the time. She married Gaither in 1962, and they began writing songs recreationally. By the end of the 1960s, Gloria, Bill, and his brother Danny Gaither were touring steadily, as the Bill Gaither Trio.  After touring with the Bill Gaither Trio, Gaither drew her focus to the Gaither Homecoming series. She has been an active presence in every video production. Gaither is currently the scriptwriter and narrator for the Homecoming series. In 1991, she attended Ball State University and received a Master of Arts in Literature. In 1996, she spearheaded the creation of Gaither Family Reources in Alexandria, Indiana, and currently serves as co-owner and managing director.

In her book, Something Beautiful, Gloria Gaither tells the story behind writing this song.  This song was not inspired by one man, or even two men.  No, this beautiful song was inspired by four men.  Gaither tells the story of a man she knew, who was bitter and angry at home.  He took his pain out on his family.  However, one day he feels the tug of God at a church singing.  Halfway through the singing, the performer shares his own testimony which reminds him of his own life.  He’s not ready to turn his life over then, but months later at another singing {with the same performer} he bows his head and gives his life to Christ.  Gaither shares the story of two other men she knew.  One is angry, hateful and pushes everyone away.  At his funeral, few are there to pay their respects.  The other man is very much loved, who lived a life of integrity based on his word.  His funeral was overflowing with not just people, but stories of the impact he’d made.  These four lives intersected to form the song The Old Rugged Cross Made the Difference.

            ‘Twas a life filled with aimless desperation;

            Without hope walked the shell of a man.

            Then a hand with a nail print stretched downward.

            Just one touch, then a new life began.

            And the old rugged cross made the difference

            In a life bound for heartache and defeat.

            I will praise Him forever and ever.

            For the cross made the difference for me.

            And I believe in a hill called Mount Calvary.

            And I believe whatever the cost.

            And when time has surrendered and earth is no more,

            I’ll still cling to the old rugged cross.

            I believe that the Christ who was slain on the cross

            Has the power to change lives today,

            For he changed me completely and a new life is mine,

            That is why, by the cross I will stay. 

            I believe in Calvary…

            I believe in Him…

                I believe because He changed me completely!

About the Hymns:

Immortal, Invisible, God Only Wise

Walter C. Smith based this text on 1 Timothy 1: 17: "Now to the King eternal, immortal, invisible, the only God, be honor and glory for ever and ever." The six-stanza text was published in Smith's Hymns of Christ and the Christian Life (1867) and, after having been revised by Smith, in W. Garrett Horder's Congregational Hymns (1884). Further revisions were made by the Psalter Hymnal Revision Committee.
"Immortal, Invisible" is a strong text of praise to God, who created and sustains the lives of all his creatures. 

The text focuses on the Creator of the universe, the invisible God whose visible works in nature testify to his glory and majesty. "Light" is the prevailing image in stanzas 1, 2, and 4 (see also Ps. 104:2); our inability to see God is not because of insufficient light but because the "splendor of light hides [God] from view."

Walter Chalmbers Smith (1824-1908) was educated at the University of Aberdeen and New College, Edinburgh, and became a Presbyterian pastor in the Free Church of Scotland in 1850. He served four congregations, including the Free High Church in Edinburgh (1876¬-1894). Moderator of his denomination in 1893, Smith was a man of wide interests. His poetry was published in some six volumes entitled Poetical Works (1902), and his hymn texts were published in Hymns of Christ and the Christian Life (1886).

ST. DENIO is based on "Can mlynedd i nawr" ("A Hundred Years from Now"), a traditional Welsh ballad popular in the early nineteenth century. It was first published as a hymn tune in John Roberts's Caniadau y Cyssegr (Hymns of the Sanctuary, 1839). The tune title refers to St. Denis, the patron saint of France.

Blest Be the Tie that Binds

John Fawcett (1740-1817) was born into  poor family in Yorkshire, England, and was orphaned at age 12.  To survive, he accepted a lengthy apprenticeship to a tailor.  While still in his teens, he heard the great George Whitfield preach and became a Christian.  Fawcett became active in a Baptist church and was often asked to speak.  At age 25 (and newly married), he was invited to serve as pastor of a small church at Wainsgate.  The poor people of that little village were able to pay very little, and much of Fawcett's pay came as potatoes and other produce.  Once his wife, Mary, began having children, they found it difficult to survive.

Fawcett learned that the pastor of a large Baptist church in London was retiring, and he let the church know that he would be interested in serving them.  They called him to be their pastor at a much larger salary, so John and Mary packed their household and prepared to move.  But, as the story is told, Mary told John that she didn't think she could leave these people whom they had both learned to love, and John admitted that he shared her sentiment; so, the two of them unpacked the wagon and told the London church know they wouldn't be coming.

Fawcett, who wrote a number of hymns during his lifetime, wrote the hymn, "Blest Be the Tie," to convey his sentiments and those of his wife to the poor people among whom they had chosen to live.  Fawcett served that little church for the rest of his life –– 54 years in all.

Lowell Mason arranged DENNIS and first published it in The Psaltery (1845), a hymnal he compiled with George. Webb. Mason attributed the tune to Johann G. Nageli (1773-1836) but included no source reference. Nageli presumably published the original melody as the setting for "0 selig, selig, wervor dir" in his Christliches Gesangbuch (1828). Nageli was an influential music educator who lectured throughout Germany and France. Influenced by Johann Pestalozzi, he published his theories of music education in Gangbildungslehre (1810), a book that made a strong impact on Lowell Mason. Nageli composed choral works, including settings of Goethe's poetry. He received his early instruction from his father, then in Zurich, where he concentrated on the music of ]. S. Bach. In Zurich, he also established a lending library and a publishing house, which published first editions of Beethoven’s piano sonatas and music by Bach, Handel, and Frescobaldi.  The tune name DENNIS is thought to refer to a town in Massachusetts.