November 26, 2017 - Christ the King

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.  

The Solemnity of Our Lord Jesus Christ, King of the Universe, commonly referred to as the Feast of Christ the King, is a relatively recent addition to the Western liturgical calendar, having been instituted in 1925 by Pope Pius XI for the Roman Catholic Church. In 1970 its Roman Catholic observance was moved to the final Sunday of Ordinary Time.  The Anglican, Lutheran, and many other Protestant churches adopted it along with the Revised Common Lectionary, occasionally referring to it as Christ the King Sunday. It is also observed on the same date as the final Sunday of the ecclesiastical year, the Sunday before the First Sunday of Advent, by Western rite parishes of the Russian Orthodox Church Outside Russia. 

Pope Pius XI instituted the Feast of Christ the King in his encyclical letter Quas primas of 1925.  According to Cyril of Alexandria, "Christ has dominion over all creatures, ...by essence and by nature." His kingship is founded upon the hypostatic union. "...[T]he Word of God, as consubstantial with the Father, has all things in common with him, and therefore has necessarily supreme and absolute dominion over all things created…From this it follows that to Christ angels and men are subject. Christ is also King by acquired, as well as by natural right, for he is our Redeemer. ...' We are no longer our own property, for Christ has purchased us "with a great price"; our very bodies are the "members of Christ." A third ground of sovereignty is that God bestowed upon Christ the nations of the world as His special possession and dominion. "All power in heaven and on earth has been given to me." (Matthew 28:18)

The feast has an eschatological dimension pointing to the end of time when the kingdom of Jesus will be established in all its fullness to the ends of the earth. It also leads into Advent, when the Church commemorates the arrival of the newborn king.

Since Christ the King falls on the Sunday before Advent, this is generally the Sunday when we celebrate Thanksgiving.  However, in those rare years when there are five Sundays between Thanksgiving and Christmas, we have the opportunity to celebrate this feast day.

About the Organ Music:

Come, Thou Almighty King – Harold DeCou

This well-known hymn, now of uncertain authorship, was attributed to Charles Wesley in Methodist hymnals published in the United States until 1905.  “Come, Thou Almighty King” appeared in a tract with a Wesley hymn, Jesus, Let Thy Pitying Eye,” a combination that led to the false assumption of Wesley’s authorship. It appeared as early as 1755 in the 22nd edition of George Whitfield’s Collection of Hymns for Social Worship.  The poetic meter of this hymn, however, was not one used by Charles Wesley in any of his hymn and is the same meter used for the famous British national hymn, “God Save the King” and was originally sung to that tune.  Though widely considered the oldest text in this unusual meter, for obvious reasons it could not be sung in England to the same tune as the British national hymn. Martin Madan, in his 1769 Collection of Psalm-Tunes never published before, paired “Come, Thou Almighty King” to the tune Italian Hymn, written for the text by Felice de Giardini. Though British Methodists have never included this hymn in their hymnals, it has been found in American Methodist hymnals since 1914. 

This is a classic Trinitarian hymn full of biblical metaphors for deity, starting in the first stanza: “King,” “Father” and “Ancient of Days” (Daniel 7:9, 13, 22). In stanza two the second person of the Trinity is represented by the “incarnate Word” (John 1:1; I John 5:7). The third person of the Trinity has several names: “Spirit of holiness” (Romans 1:4), “holy Comforter,” (John 14:16, 26; 15:26; 16:7) and “Spirit of Power.” The Trinity itself is symbolized by “the great One in Three.”

"Come Thou Almighty King" is usually sung to the tune ITALIAN HYMN (also called "Moscow" or "Trinity"), which was written as a musical setting for this hymn by Felice Giardini at the request of Countess Selina Shirley. This hymn tune along with three others of Giardini's were first published in Martin Madan's Collection of Psalm and Hymn Tunes, 1769.

Come, Thou Almighty King, Help us Thy name to sing, Help us to praise.

Father, all glorious, O’er all victorious,
Come, and reign over us, Ancient of Days.

Come, Thou incarnate Word, Gird on Thy mighty sword, Our prayer attend:

Come, and Thy people bless, And give Thy word success;
Spirit of holiness, On us descend.

Come, holy Comforter, Thy sacred witness bear In this glad hour:
Thou who Almighty art, Now rule in every heart,
And ne’er from us depart, Spirit of power.

To Thee, great One in Three, Eternal praises be Hence evermore.
Thy sov’reign majesty May we in glory see,
And to eternity Love and adore.

Harold H. DeCou (1932-2008) attended Temple University in Philadelphia and was long associated with Billy Graham and the Singspiration staff.  His output as artist, composer, arranger and orchestrator ensures that he will be remembered as one of the giants of Christian gospel music. He served as church organist at Grace Presbyterian Church in Peoria from 1988 to 2001. He was also an Honorary Fellow of Shenandoah Society Award.

Praise, My Soul, the King of Heaven – Timothy Albrecht

The psalms are a source of inspiration for hymn writers. Psalm 103 is the basis of "Praise, My Soul, the King of Heaven" by Henry Francis Lyte (1793-1847). Born in Scotland and educated at Enniskillen and Trinity College in Dublin, Lyte's most significant appointment was as Anglican curate at Lower Brixham, Devonshire, England, where he served for 24 years. Lyte was known as a man frail in body but strong in faith and spirit. Suffering from chronic asthma and tuberculosis, he retired from his parish in September 1847. Seeking a better climate in Italy, he died that November in Nice, France, on his way to Rome.  Lyte's poetry earned him several honors. His collections include Tales on the Lord's Prayer in Verse (1826), Poems, Chiefly Religious (1833, 1845), and The Spirit of the Psalms (1834). His most famous hymn was "Abide with me, fast falls the eventide", which represents the heart of the Romantic style. This hymn was published as one of 280 free psalm paraphrases in The Spirit of the Psalms. One of three paraphrases of Psalm 103, Lyte took a very free approach to his interpretation. 

An Anglican minister, he drew upon Miles Coverdale's translation as found in the Book of Common Prayer rather than the Authorized King James Version. Instead of beginning with "Bless the Lord, O my soul," this translation opens with: "Praise the Lord, O my soul: and all that is within me praise his holy Name. Praise the Lord, O my soul: and forget not all his benefits; who forgiveth all thy sin: and healeth all thine infirmities; Who saveth thy life from destruction: and crowneth thee with mercy and loving-kindness." One can see these theological ideas in the opening stanza of Lyte's hymn, but in a free poetic form. When the hymn appeared in the influential collection Hymns Ancient and Modern, the editors substituted "Alleluia! Alleluia!" for "Praise him! Praise him!", a change that not only improved the ease of singing, but elevated the exaltation.

A missing stanza four corresponds very closely with verses 15-17:

     Frail as summer's flower we perish: Blows the wind and it is gone.
     But, while mortals rise and perish, God endures unchanging on.
     Praise him! Praise him! Praise the high eternal One! 

Besides a sense of jubilation, this hymn emphasizes God's providence. The poet consistently emphasizes the reliability of God.

John Goss (1800-1880) composed LAUDA ANIMA (Latin for the opening words of Psalm 103) for this text in 1868. Along with his original harmonizations, intended to interpret the different stanzas, the tune was also included in the appendix to Robert Brown¬ Borthwick's Supplemental Hymn and Tune Book (1869). LAUDA ANIMA is one of the finest tunes that arose out of the Victorian era. A reviewer in The Musical Times, June 1869, said, "It is at once the most beautiful and dignified hymn tune which has lately come under our notice."

Praise, my soul, the King of heaven; to his feet your tribute bring.
Ransomed, healed, restored, forgiven, evermore his praises sing.
Alleluia, alleluia! Praise the everlasting King!

Praise him for his grace and favor to his people in distress.
Praise him, still the same as ever, slow to chide, and swift to bless.
Alleluia, alleluia! Glorious in his faithfulness!

Fatherlike he tends and spares us; well our feeble frame he knows.
In his hand he gently bears us, rescues us from all our foes.
Alleluia, alleluia! Widely yet his mercy flows!

Angels, help us to adore him; you behold him face to face.
Sun and moon, bow down before him, dwellers all in time and space.
Alleluia, alleluia! Praise with us the God of grace!

Dr. Timothy Albrecht spent his childhood in Los Angeles and Wisconsin.  He received his Bachelors in organ from Oberlin College and Oberlin Conservatory, and his masters and doctorate from the Eastman School of Music, where he won the Performer’s Certificate. Shortly after graduation, he represented the United States at the Sixth International Johann Sebastian Bach Competition in Leipzig. He has spent two sabbaticals at Cambridge University in England, which has conferred on him Life Membership.  At Emory University, Albrecht holds a joint faculty appointment as Professor of Music at Candler Theological Seminary, where he has taught since 1982, and in the Graduate School of Arts and Sciences’ Department of Music  He also serves as University Organist. Albrecht has authored twelve published volumes of organ music and has recorded nine solo compact discs, including several Bach CDs and recordings of his own compositions.

Rejoice, the Lord is King - Martha Sobaje

Charles Wesley (1707-1788) was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley.  As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly amazing how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumors of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift.  The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream.

“Rejoice, the Lord is King” was first published in John Wesley's Moral and Sacred Poems (1744) and is currently found in 484 hymnals.  The text rejoices in the kingship of Christ whose rule extends "o'er earth and heaven". All will bow the knee to Christ when he returns in glory to judge "the living and dead". The refrain line based on Philippians 4:4, “Rejoice in the Lord always. I will say it again: Rejoice,” is the keynote of the entire text.

Composed by John Darwall (1731-1789), DARWALL'S 148TH was first published as a setting for Psalm 148 in Aaron William's New Universal Psalmodist (1770) with only soprano and bass parts. The harmonization dates from the nineteenth century.  The son of a pastor, Darwall attended Manchester Grammar School and Brasenose College, Oxford, England (1752-1756). He became the curate and later the vicar of St. Matthew's Parish Church in Walsall, where he remained until his death. Darwall was a poet and amateur musician. He composed a soprano tune and bass line for each of the 150 psalm versifications in the Tate and Brady New Version of the Psalms of David (l696). In an organ dedication speech in 1773 Darwall advocated singing the "Psalm tunes in quicker time than common [in order that] six verses might be sung in the same space of time that four generally are."

Rejoice, the Lord is King! Your Lord and King adore;
Rejoice, give thanks, and sing, And triumph evermore;
Lift up your heart, lift up your voice; Rejoice, again I say, rejoice!

Jesus, the Savior, reigns, The God of truth and love;
When He had purged our stains He took His seat above;
Lift up your heart, lift up your voice; Rejoice, again I say, rejoice!

His kingdom cannot fail, He rules o’er earth and Heav’n,
The keys of death and hell Are to our Jesus giv’n;
Lift up your heart, lift up your voice; Rejoice, again I say, rejoice!

Rejoice in glorious hope! Jesus the Judge shall come,
And take His servants up To their eternal home;
We soon shall hear th’archangel’s voice; The trump of God shall sound, rejoice!

Martha Sobaje (b. 1948) has degrees from the University of the Pacific, Eastman School of Music, and the Graduate Theological Foundation in Donaldson, Indiana.  She is minister of music and education at Phillips Memorial Baptist Church in Cranston, Rhode Island.

About the Choral Music:

Crown Him with Many Crowns       

           

The song was originally penned in 1851 by Matthew Bridges (1800-1894), an Anglican scholar who once wrote a book condemning Roman Catholic theology, and then later converted to Catholicism. Bridges wrote six stanzas, based upon Revelations 19:12, “...and on His head were many crowns.”  The text of this hymn was first published 1852 in The Passion of Jesus, a Collection of Original Pieces Corresponding with the Five Sorrowful Mysteries in the Rosary of Our Blessed Lady, a collection of devotional poetry.  The prayers of the rosary are said in sets of ten, each focused on a "mystery" concerning the life of Christ; the mysteries themselves are in groups of five: the "Joyful Mysteries" concerning Christ's birth and childhood, the "Sorrowful Mysteries" concerning His death, and the "Glorious Mysteries" concerning the Resurrection and events following. (In the 20th century the "Luminous Mysteries" of Christ's earthly ministry were added.) Bridges's collection was dedicated to the five Sorrowful Mysteries: Christ's agony in Gethsemane, His scourging, the crown of thorns, Christ carrying His cross, and finally the Crucifixion itself. "Crown Him with many Crowns," therefore, was a reflection on the central mystery of the original 15 mysteries of the rosary. Bridges employs an unexpected approach to the topic, however, taking the cruel mockery intended by that original crown and turning it on its head by contemplating the glorious coronation of Christ in heaven.  Each verse of Bridge’s poem was to describe of a different kind crown (Many Crowns, Virgin’s Son, Lord of Love, Lord of Peace, Lord of Years, and Lord of Heaven).

Godfrey Thring (1823-1903) was a devout Anglican clergyman who was concerned that this popular hymn was allowing Catholic theology to be sung by protestant congregations. Thring wrote an entirely new hymn of six verses to serve as a substitute for that of Bridges, using the same meter and basic plan of successive stanzas extolling Jesus' lordship over various domains. It was decided to keep the two versions separate but publish them both in 1874 in Thring’s hymnbook: Hymns and Sacred Lyrics. Thring’s version was also published in the Church of England Hymn-Book. The 12 stanzas have been mixed and matched down through the years. Of the following four verses found in our hymnal, three were written by Bridges (vs 1,3,and 4) and one by Thring (vs 2).

Joel Raney’s (b. 1956) taste for gospel music began in a rural Baptist church in Alabama, an influence that shows strongly in his work to this day. Joel's interest in music of all kinds has led to everything from classical and jazz performance to pop vocal arranging. He has conducted Broadway productions, and has been honored for outstanding musical direction of theater in both Chicago and Los Angeles. Since 1988 he has worked as a composer and producer of commercial music in Chicago and has written soundtracks for more than 2000 television and radio commercials, plus numerous scores for short films.  Joel is a choral and keyboard clinician, and performs throughout North America as a piano soloist and in duo-concert with organist Jane Holstein.  He has over 200 titles in print, including choral anthems, musicals and cantatas, handbell compositions, piano solos, and instrumental works. 

            Crown him with many crowns, the Lamb upon the throne.

            Hark! How the heavenly anthem drowns all music but its own.

            Awake my soul, and sing of him who died for thee,

            And hail him as thy matchless king through all eternity.

            Crown him the Lord of life, who triumphed o’er the grave,

            And rose victorious in the strife for those he came to save;

            His glories now we sing who died and rose on high,

            Who died eternal life to bring, and lives that death may die.

            Crown him the Lord of years, the potentate of time,

            Creator of the rolling spheres ineffably sublime.

            All hail, Redeemer, hail! For thou has died for me;

            Thy praise shall never, never fall throughout eternity.

            And crown him Lord of all.

About the Hymns:

Lift High the Cross

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. "Lift High the Cross" reveals many implications of Christ's cross: Christ rallies his people behind him (st. 1-2); Christ gathers his people from throughout the world (st. 3-5); Christ gives healing to the despair of the world (st. 6); Christ's victory enjoins our praise to him (st. 7).