February 11, 2018

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:

Plein Jeu for Transfiguration - Richard Webster

Jesu Dulcis Memoria is often attributed to Saint Bernard of Clairvaux (1090-1153). The name can refer either to the entire poem, which, depending on the manuscript, ranges from forty-two to fifty-three stanzas, or only the first part.  Three sections of it are used as hymns in the Liturgy of the Hours of the Feast of the Holy Name of Jesus: "Iesu dulcis memoria" (Vespers), "Iesu rex admirabilis" (Office of Readings), "Iesu decus angelicum" (Lauds).  Several English hymns sung today are based on translations of Jesu Dulcis Memoria. These include "Jesus, Thou Joy of Loving Hearts" (1858 translation by Ray Palmer) and "Jesus, the Very Thought of Thee" (1849 translation by Edward Caswall).

Bernard of Clairvaux, saint, abbot, and doctor, was born at his father's castle on the eminence of Les Fontaines, near Dijon, in Burgundy. His father, Tecelin, or Tesselin, a knight of great bravery, was the friend and vassal of the Duke of Burgundy. Bernard was educated at Chatillon, where he was distinguished for his studious and meditative habits. One would expect the world to have had overpowering attractions for a youth who had all the advantages that high birth, great beauty, graceful manners, and irresistible influence could give, but, strengthened by night visions of his mother (who had died in 1105), he chose a life of asceticism and became a monk. He entered the monastery of Citeaux, the first Cistercian foundation, in 1113. Two years later he was sent forth, at the head of twelve monks, from the rapidly increasing and overcrowded abbey, to found a daughter institution in the Valley of Wormwood, about four miles from the Abbey of La Ferté on the Aube. On the death of Pope Honorius II., in 1130, the Sacred College was rent by factions, one of which elected Gregory of St. Angelo, who took the title of Innocent II., while another elected Peter Leonis, under that of Anacletua II. Innocent fled to France, and the question as to whom the allegiance of the King, Louie VI., and the French bishops was due was left by them for Bernard to decide. At a council held at Etampes, Bernard gave judgment in favour of Innocent. Throwing himself into the question with all the ardour of a vehement partisan, he won over both Henry I., the English king, and Lothair, the German emperor, to support the same cause, and then, in 1133, accompanied Innocent II., who was supported by Lothair and his army, to Italy and to Rome. When Lothair withdrew, Innocent retired to Pisa, and Bernard went to his abbey of Clairvaux. It was not until after the death of Anacletus, the antipope, in January, 1138, and the resignation of his successor, the cardinal-priest Gregory, Victor II., that Innocent II., who had returned to Rome with Bernard, was universally acknowledged Pope.  The influence of the Barnard now became paramount in the Church, as was proved at the Lateran Council of 1139, the largest council ever collected together. After having devoted four years to the service of the Pope, Bernard returned to Clairvaux. Bernard continued to exert strong influence on the appointment of bishops and cardinals and on doctrinal disputes.  He was also called upon to use his powers of persuasion over the people of France and Germany to join the second crusade.  The population seemed to rise en masse, and take up the cross. In 1147, the expedition started, a vast horde, of which probably not a tenth ever reached Palestine. It proved a complete failure, and a miserable remnant shared the flight of their leaders, the Emperor Conrad, and Louis, King of France, and returned home, defeated and disgraced. The blame was thrown on Bernard, and his apology for his part in the matter is extant.

One of the hymns by which St. Bernard is best known as a writer of sacred poetry is "Jesu duicis memoria," a long poem on the " Name of Jesus"—known as the "Jubilus of St. Bernard," and among mediaeval writers as the " Rosy Hymn." It is, perhaps, the best specimen of what Neale describes as the "subjective loveliness" of its author's compositions. Many other hymns and sequences are attributed to St. Bernard.  Hymns, translated from, or founded on, St. Bernard's, will be found in almost every hymnal of the day.

Jesus, the very thought of Thee With sweetness fills the breast!

Yet sweeter far Thy face to see And in Thy Presence rest.

No voice can sing, no heart can frame, Nor can the memory find,

A sweeter sound than Jesus' Name, The Saviour of mankind.

O hope of every contrite heart! O joy of all the meek!

To those who fall, how kind Thou art! How good to those who seek!

But what to those who find? Ah! This Nor tongue nor pen can show

The love of Jesus, what it is, None but His loved ones know.

Jesus! our only hope be Thou, As Thou our prize shalt be;

In Thee be all our glory now, And through eternity.

In the French Baroque tradition, works were named for the registration, or stop sounds, the composer intended.  Two common settings are Grand Jeu and Plein Jeu, which refer to the choruses of foundation stops.  The Grand Jeu is the large chorus with reeds, and the Plein Jeu is the small chorus.  Many composers use this naming convention when writing in imitation of that style.  Hence, we have a Plein Jeu that is neither Baroque nor French.

Richard Webster  is Director of Music and Organist at Trinity Church, Boston. As a composer and arranger he completes several commissioned works a year. Webster is Music Director of Chicago's Bach Week Festival. He has led choir workshops across the U.S., South Africa and New Zealand. He is an honorary Fellow of the Royal School of Church Music (FRSCM), and in 2016 was awarded an honary Doctor of Music degree from the University of the South at Sewanee.  Webster loves running, and has completed 34 marathons, including 15 Boston Marathons.

Wareham – Emma Lou Diemer

The name of the Rev. F. Pratt Green (1903-2000) is one of the best-known of the contemporary school of hymn-writers in the British Isles. His name and writings appear in practically every new hymnal and hymn supplement wherever English is spoken and sung. Green was ordained in the British Methodist ministry; he has been pastor and district superintendent in Brighton, York, and Norwich.

William Knapp (1698-1768) composed the tune WAREHAM, so named for his birthplace. A glover by trade, Knapp served as the parish clerk at St. James's Church in Poole (1729-1768) and was organist in both Wareham and Poole. Known in his time as the "country psalm-singer," Knapp published A Set of New Psalm Tunes and Anthems (1738) and New Church Melody (1753). 

Christ is the world’s light, Christ and none other;
Born in our darkness, he became our brother.
If we have seen him we have seen the Father:
Glory to God on high!

Christ is the world’s peace, Christ and none other;
No one can serve him and despise another.
Who else unites us one in God the Father?
Glory to God on high!

Christ is the world’s life, Christ and none other;
Sold once for silver, murdered here, our brother.
He who redeems us reigns with God the Father.
Glory to God on high!

Give God the glory, God and none other;
Give God the glory, Spirit, Son, and Father.
Give God the glory, God with us our brother;
Glory to God on high!

Emma Lou Diemer (b. 1927) has written many works for orchestra, chamber ensemble, keyboard, voice, chorus (women's, men's), and electronic media. Diemer is a keyboard performer and over the years has given concerts of her own organ works at Washington National Cathedral, The Cathedral of Our Lady of the Angels in Los Angeles, Grace Cathedral and St. Mary's Cathedral in San Francisco, and others.  Diemer's compositional style over the years has varied from tonal to atonal, from traditional to experimental. She has written works for non-professional and professional performers, originally under the "Gebrauchsmusik" philosophy, but has produced many works, particularly for keyboard, that are difficult and challenging.  She was professor of theory and composition at the University of Maryland 1965-70, and joined the faculty of the University of California (UCSB) in 1971. She is professor emeritus, 1991–present.  While at UCSB, Diemer helped to establish the computer/electronic music program.

Lord, Enthroned in Heavenly Splendor - Ralph Vaughn Williams

George Hugh Bourne (1840-1925) was a hymnodist, schoolmaster and warden, who was educated at Eton College and at Christ Church, Oxford (BA 1863, BCL 1866, DCL 1871).  Taking Holy Orders in 1863, he served as Assistant Curate of Sandford-on-Thames. Subsequently Bourne was Head Master of St. Andrew’s Chardstock, and afterwards Warden of St. Edmund’s, Salisbury.  Bourne served as Chaplain to the Bishop of Bloemfontein (later of Grahamstown), South Africa, the Rt Rev Alan Becher Webb, who was married to Bourne’s sister.  Bourne was appointed Sub-dean of Salisbury Cathedral, and as Treasurer and Prebendary of Salisbury Cathedral (where his brother-in-law Bishop Webb took up the Deanship after his retirement from South Africa),

Bourne wrote a number of hymns, the best known of which is his hymn "Lord, Enthroned in Heavenly Splendour". It was originally part of a set of Seven Post-Communion Hymns (1874), published privately for St. Edmund’s College, Salisbury, which then gained wider circulation after 1889 when five of the original ten stanzas appeared in the Supplement to the 1875 edition of Hymns Ancient and Modern.  The hymn was set to the tune "ST.HELEN" by George Clement Martin. 

Lord, enthroned in heavenly splendor, First begotten from the dead,
You alone, our strong Defender, Now lift up Your people’s head.

Here our humblest homage pay we, Here in loving reference bow;
Here for faith’s discernment pray we, Lest we fail to know You now.

Though the lowliest form doth veil Thee As of old in Bethlehem,
Here as there Thine angels hail Thee, Branch and Flower of Jesse’s stem.

Paschal Lamb, Your offering finished Once for all when You were slain,
In its fullness undiminished Shall forevermore remain.

Great High Priest of our profession, Through the veil Thou wentest in,
By Thy mighty intercession, Grace and peace for us to win.

Life imparting heavenly Manna, Smitten Rock with streaming side,
Heaven and earth with loud hosanna Worship You, the Lamb Who died.

Alleluia! Alleluia! Alleluia! Jesus, true and living Bread!

Ralph Vaughan Williams (1982-1958) is arguably the greatest composer Britain has seen since the days of Henry Purcell. In a long and extensive career, he composed music notable for its power, nobility and expressiveness, representing, perhaps, the essence of ‘Englishness’.

Vaughan Williams was educated at Trinity College, Cambridge. Later he was a pupil of Stanford and Parry at the Royal College of Music, after which he studied with Max Bruch in Berlin and Maurice Ravel in Paris. Vaughan Williams volunteered to serve in the Field Ambulance Service in Flanders for the 1914-1918 war, during which he was deeply affected by the carnage and the loss of close friends such as the composer George Butterworth. For many years Vaughan Williams conducted and led the Leith Hill Music Festival, conducting Bach's St Matthew Passion on a regular basis. He also became professor of composition at the Royal College of Music in London. Vaughan Williams received the Order of Merit in 1938.  His ashes are interred in Westminster Abbey, near Purcell.

At the turn of the century he was among the very first to travel into the countryside to collect folk-songs and carols from singers.As musical editor of The English Hymnal he composed several hymns that are now world-wide favorites (For all the Saints, Come down O love Divine). Later he also helped to edit The Oxford Book of Carols.  In a long and productive life, his compositions included nine symphonies, five operas, film music, ballet and stage music, several song cycles, church music and works for chorus and orchestra.

About the Choral Music:

Open My Eyes, that I May See – Kurt Kaiser

Clara H. Scott (1841-1897) provides us with a hymn of consecration that has been sung for over 100 years.  In 1856, Scott attended the first Music Institute held by C.M. Cady in Chicago, Ill. By 1859, she was teaching music at the Ladies' Seminary, Lyons, Iowa. She married Henry Clay Scott in 1861, and published in 1882 the Royal Anthem Book, the first volume of choir anthems published by a woman.  Horatio R. Palmer, an influential church musician in Chicago and later New York City, was a source of encouragement for Scott, and helped her publish many of her songs. Three collections were issued before her untimely death, when a runaway horse caused a buggy accident in Dubuque, Iowa.

The text of "Open My Eyes" was written in 1895 shortly before Scott's death. Each stanza reveals an increasing receptiveness to the "Spirit divine." Open eyes lead to "glimpses of truth." Open ears lead to "voices of truth." An open mouth leads to sharing the "warm truth everywhere." An open heart leads to sharing "love to thy children."

The image of open eyes is common in the Bible. In some cases, this is a sign of Christ's healing power, as when Jesus gave sight to the blind man at the pool of Siloam in John 9. Closed eyes, on the other hand, could be a metaphor for avoiding the truth as in the case of John 12:40, a passage following the triumphal entry of Christ into Jerusalem and beginning his journey to the cross: "He hath blinded their eyes, and hardened their heart; that they should not see with their eyes, nor understand with their heart, and be converted, and I should heal them."  The image of open ears is also significant in the biblical witness. Matthew often reprises the theme "Who hath ears to hear, let him hear." Closed ears become a metaphor for a lack of understanding: "For this people's heart is waxed gross, and their ears are dull of hearing, and their eyes they have closed; lest at any time they should see with their eyes, and hear with their ears, and should understand with their heart, and should be converted, and I should heal them" (Matthew 13:15).

While the eyes and the ears are receptive organs, the mouth has the capacity to project. The mouth may project "cursing and deceit and fraud" (Psalm 10:7), or it may be an organ that projects praise, as Psalm 51:15 exhorts us: "O Lord, open thou my lips; and my mouth shall show forth thy praise."  The heart is the only organ included in this hymn that is not visible. It may harbor deceit. Jesus asks in Matthew 9:4, "Wherefore think ye evil in your hearts?" But Jesus also realized that the heart has the capacity for purity: "Blessed are the pure in heart: for they shall see God" (Matthew 5:8).  The gentle 6/8 meter of Scott's music provides a subtle sense of dancing in tune with the Spirit as we learn to see, hear and speak the truth from our hearts. 

Kurt Kaiser's (b. 1934) attended The American Conservatory of Music and Northwestern University School of Music, where he earned both a Bachelor's and Master's degree in music. In 1959, he joined Word Records as Director of Artists and Repertoire. He later became Vice-president and Director of Music there. From 1965 through 1970, Kaiser served as director of the Baylor Religious Hour Choir.  Kurt Kaiser and his friend Ralph Carmichael began writing Christian rock musicals geared to reach out to the youth of the time.  Crossing denominational boundaries, many of Kurt's compositions have found their way into a number of hymnals, including “Pass It On” and “O How He Loves You and Me”.   Kurt has achieved subtle trend changes by maintaining a sensitivity to that which is widely acceptable. His innovative approach has broadened musical styles that are palatable to the church at large. Associations with the Eastman School of Music and the Baylor University acapella choir, as well as many other fine choral groups are indicative of his taste for fine choral literature. Kurt finds it equally challenging to assist volunteer choirs to enjoy singing while bettering their art.  He helped to found the Day Spring Baptist Church in Waco, Texas and is their choir director.  In 2001 he was inducted into the Gospel Music Hall of Fame.

            Open my eyes, that I may see glimpses of truth Thou hast for me;

            Place in my hands the wonderful key that shall unclasp and set me free.

            Silently now I wait for Thee, Ready my God, Thy will to see;

            Open my eyes, illumine me, Spirit divine!

            Open my ears, that I may hear voices of truth Thou sendest clear;

            And while the wavenotes fall on my ear, everything false will disappear.

Silently now I wait for Thee, Ready my God, Thy will to see;

            Open my ears, illumine me, Spirit divine!

            Open my mouth, and let it bear gladly the warm truth everywhere;

            Open my heart and let me prepare love with Thy children thus to share.

Silently now I wait for Thee, Ready my God, Thy will to see;

            Open my heart, illumine me, Spirit divine!

About the Hymns:

Christ, Whose Glory Fills the Skies

The 18th-century Englishman Charles Wesley (1707-1788) wrote, according to eminent 20th-century hymnologist Erik Routley, “more than 8,989 poems with over 6,000 of them qualifying as ‘hymns.’” That’s 3.4 poems per week, Routley added, “assuming him to have died in the act of writing.” Judging solely by quantity, Wesley can be matched by few sacred poets in history. The quality and depth of theology found in these hymns, however, is why hymnologist Routley dubbed Wesley “the first and, surely for all time, the greatest evangelical hymn writer.” From the beginning of their movement, Methodists included many of his texts in their hymnals. Of the 980 hymns included in the English Methodist Hymn Book (1904), 440 are by Charles Wesley. The next edition in 1933 still used 243 of his poems.

Of the many great hymns by Charles Wesley, “Christ, Whose Glory Fills the Skies” is considered one of his best. It is one of the greatest morning hymns in our language, but it is more. It is a glorious hymn to Christ, the Sun of Righteousness, the Light of the World.  Originally titled “A Morning Hymn,” this hymn first appeared in the Wesley collection Hymns and Sacred Poems (1740) in three stanzas as well as other collections prepared by the Wesley brothers. In Hymns Ancient and Modern (1861), it was first paired with RATISBON, the tune that most often accompanies the text today.

Scripture references may be found throughout, ranging from books of prophecy to a literal incarnation account in Luke and a theological incarnation account in John. The Rev. Carlton Young, editor of theUM Hymnal (1989), points out a reference to John 1:9 concerning the “true light” in line two. Stanza one continues with direct references to Isaiah 2:6 and Malachi 4:2 in line three about the “Sun of Righteousness.” The “Day-star” in line six is a direct reference to Isaiah 14:12 and 2 Peter 1:19.

Routley explores two interesting ideas about this hymn in his book, Hymns and the Faith (1968). First he points out that the idea of worshipping the sun was a pagan religion. By referencing Christ as the “Sun of Righteousness,” Christianity has put “back on the right track religious instincts which had gone astray.” The other idea concerns the very first word of the hymn. Routley states that “God, whose glory fills the sky” would not have been anything out of the ordinary. He continues that “Christ, whose glory fills the sky” is an “epic” idea that until this hymn had not been present in Christian thinking or writing. Christ is no longer a being that can only be at one place at one time, but he is one with God in his omnipresence and omniscience. Routley rightly proclaims, “Never was written a more thoroughly and richly happy hymn than this.”

I Want to Walk as a Child of the Light

Kathleen Thomerson (b. 1934) is Organist and Music Director at Mt. Olive Lutheran Church in Austin, Texas. She was born in Tennessee and grew up in Mississippi, California, and Texas. College music study was at the Universities of Colorado and Texas, the Flemish Royal Conservatory in Antwerp, and privately in Paris. Before retirement in Austin, she lived in Collinsville, Illinois, when her husband was a biology professor at Southern Illinois University at Edwardsville. Her best-known hymn text is "I Want to Walk as a Child of the Light."  It was written as a scriptural meditation and prayer. It was inspired by many Bible verses, including Genesis 1:17, Isaiah 60:19, Psalm 75:16, Psalm 139:12, Ephesians 3:17, Ephesians 5:8, Galatians 4:6, Hebrews 1:3, 1 Thessalonians 5:5, 2 Peter 1:19, 1 John 1:5-7, and Revelation 21:23.