March 18, 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:

Aus meines herzens grunde – J. C. Bach

This chorale was written by Johannes Mathesius (1504-1565) and first published in Neu Catechismus Gesangbüchlein, Hamburg, 1598. Gottfried Vopelius (1645-1715), was a German Lutheran academic and hymn-writer, mainly active in Leipzig. Vopelius is primarily remembered for the Neu Leipziger Gesangbuch (New Leipzig Hymnal) which he published in 1682. The subtitle of the publication reads: “... Compiled from the most beautiful and best songs; In which not only songs of the blessed Dr. Luther, and other (songs) with the Word of God, and in accord with the unmodified Augsburg Confession, but also (songs) as introduced and customary in other untainted Evangelical places and regions, and Latin hymns and psalms, set for four, five and up to six voices.”  The Neu Leipziger Gesangbuch is, to a certain degree, a third edition of Johann Schein's Cantional (scores), which originally had been published in 1627, with a new edition in 1645. Over 90 settings in the Neu Leipziger Gesangbuch were copied or adapted from Schein. All other composers are represented with less than 10 settings in the hymnal.

Johannes Mathesius was a German minister and a Lutheran reformer. He is best known for his compilation of Martin Luther's Table Talk, or notes taken of Luther's conversation and published afterwards. Mathesius studied at Ingolstadt, from whence he drifted into Bavaria, where he became converted to the Protestant cause. The renown of Luther and Melanchthon drew him to Wittenberg in 1529.  In 1530, he was called as Baccalaureus to the school at Altenberg, and in 1532 was promoted to the headmastership of the Latin school at Joachimsthal, a mining town which had recently sprung up. In 1540, a lucky speculation in mines let him realize his ambition of a clerical calling, and he became a theological student at Wittenberg. The recommendations of Justus Jonas and Georg Rörer got him the prized honor of a seat at Luther's table.  He later became pastor of the church at Joachimsthal until his death. During his later life, he made a collection of Table Talk taken down by others, and added them to his own.  Mathesius spoke enthusiastically of the privilege of eating with Luther and hearing him converse. He stated that Luther's disciples would not speak until spoken to, and that then it was usually Schiefer who answered for the company. Earlier notetakers had written down only the serious remarks of Luther, but Mathesius also wrote down the facetious or even damaging remarks, a sign of the increasing reverence in which Luther was held. He was the first to publish an edition of Luther's Table Talk.  Mathesius was also a mineralogist and a colleague of Georg Agricola, "the father of mineralogy", who also lived in Joachimsthal. He was the first to describe any form of tourmaline in detail. In 2013, a newly discovered mineral from Jáchymov (St Joachimsthal) was named mathesiusite in his honor.

            In the depths of my heart Your name and cross alone

            Shine every moment and hour so that I can be blessed.

            Appear to me for comfort in my need.

My inmost heart now raises In this fair morning hour
A song of thankful praises To Thine almighty pow'r,
O God, upon Thy throne. To honor and adore Thee,
I bring my praise before Thee Thro' Christ, Thine only Son.

For Thou from me hast warded All perils of the night;
From ev'ry harm hast guarded My soul till morning light.
To Thee I humbly cry, O Savior, have compassion
And pardon my transgression; Have mercy, Lord most high!

And shield me from all evil, O gracious God, this day,
From sin, and from the devil, From shame and from dismay,
From fire's consuming breath, From water's devastation,
From need and consternation, From evil sudden death.

Let not Thine angel leave me While here on earth I stay
Lest Satan's arts deceive me And lead my soul astray.
Then keep Thine angel near At night and each new morrow
Lest soul and body sorrow And falt'ring cost me dear.

God shall do my advising, Whose might with wisdom blends;
May He bless rest and rising, My efforts, means, and ends!
To God, forever blest, Will I with mine confide me,
And willing let Him guide me As seemeth to Him best.

Amen I say, not fearing That God rejects my prayer;
I doubt not He is hearing And granting me His care.
Thus I go on my way And do not look behind me,
But ply the task assigned me; God's help shall be my stay.

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.

Wenn wir in höchsten Nöten sein - Georg Kauffmann

“Wenn wir in höchsten Nöten sein” was also first published in Neu Catechismus Gesangbüchlein.  This chorale by Paul Eber is based on 2 Chronicles 20, Jehosaphat’s prayer.  Paul Eber (1511-1569) was a German Lutheran theologian and hymnwriter.  He was educated at Nuremberg and Wittenberg, where he became the close friend of Philipp Melanchthon. In 1541, he was appointed professor of Latin grammar at Wittenberg and in 1557, professor of the Old Testament. His range of learning was wide, and he published a handbook of Jewish history, a historical calendar intended to supersede the Roman Saints' Calendar, and a revision of the Latin Old Testament.  He played a large part in the theological conflict of the time, doing what he could to mediate between the extremists. From 1559 to the close of his life, he was superintendent general of the electorate of Saxony.

            When in the hour of utmost need We know no where to look for aid;

            When days and nights of anxious thought Nor help nor counsel yet have brought.

            Then this our comfort is alone, That we may meet before Thy throne

            And cry, O faithful God, to Thee For rescue from our misery.

            To Thee may raise our hearts and eyes, Repenting sore with bitter sighs,

            And seek Thy pardon for our sin And respite from our griefs within.

            For Thou hast promised graciously To hear all those who cry to Thee

            Through Him whose name alone is great, Our Savior and our Advocate.

            And thus we come, O God, today, And all our woes before Thee lay;

            For sorely tried, cast down, we stand, Perplexed by fears on every hand.

            Ah! Hide not for our sins Thy face, Absolve us through Thy boundless grace,

            Be with us in our anguish still; Free us at last from every ill.

            That so with all our hearts we may To Thee our glad thanksgiving pay,

            Then walk obedient to Thy Word And now and ever praise Thee, Lord.

Georg Friedrich Kauffmann (14 February 1679 – 24 March 1735) was a Baroque composer and organist from southern Germany who composed primarily sacred works for the organ and voice.  Late in his life, Kauffmann started to publish a complete edition of his organ chorales; however, he died of consumption before they had been completely published. His widow completed the publication of the Harmonische Seelenlust.  While they did not make a great first impression, over the next century they became one of the most significant achievements in German organ music, and remained in high demand well into the 19th century.

About the Vocal Solo Music:

Give Me Jesus – Mark Hayes

Give Me Jesus originated as an African-American spiritual written during the time of slavery in the United States.  The lyrics of Give Me Jesus are simple, but poignant. Whether we are in tragedy or triumph, whether we are weathering storms or counting treasures, our hearts’ desire should simply be Jesus.  That Give Me Jesus was written by people stripped of all dignity and every human possession says so much about what Jesus is, what He can give and His very nature!

Mark Hayes is an award-winning concert pianist, composer, arranger and conductor. His personal catalog, totaling over 1,000 published works, includes work for solo voice, solo piano, multiple pianos, orchestra, jazz combo, small instrumental ensembles, and choruses of all kinds.  Mark received a Bachelor of Music degree summa cum laude in Piano Performance from Baylor University in 1975. He has conducted the SWACDA and MCDA Community and Church Honor Choir, and served as guest conductor at Carnegie Hall, featuring his Te Deum and Magnificat. In 2010, Baylor University Center for Christian Music Studies awarded Mark the Award for Exemplary Leadership in Christian Music. Mark arranged and orchestrated the music for Civil War Voices, which won six awards including "Best Musical" in the 2010 Midtown International Theatre Festival in New York. He conducted the world premiere of his work for chorus, orchestra and narrator, The American Spirit, at Lincoln Center in May 2011 and the world premiere of his Requiem in Lincoln Center in May 2013.  Whether concertizing on the other side of the globe or composing at his home in Kansas City, Missouri, Mark is blessed to live out his mission "to create beautiful music for the world".

Oh, when I come to die, Oh, when I come to die,

            Oh, when I come to die, give me Jesus.

            Give me Jesus, give me Jesus.

            You may have all this world, Give me Jesus.

            Dark midnight was my cry, dark midnight was my cry,

            Dark midnight was my cry, give me Jesus.

            Give me Jesus, give me Jesus,

            You may have all this world, with its troubles and cares,

            For of this I am sure, give me Jesus.

About the Choral Music:

For Love of You – John Carter

John Carter is a productive and versatile composer with a notable and long-standing career in choral composition. In addition to hundreds of sacred and secular choral pieces, Carter has written several collections of piano and organ literature, bell choir arrangements, a number of works for musical theatre and an opera. He is a well-known clinician and guest conductor throughout the United States.  He is currently serving as Director of Music at the University Baptist Church in Columbus, Ohio.

            Kneel with me, here in sad Gethsemane;

            All of this I gladly do for love of you.

            Walk with me up the hill to Calvary;

            Every step I gladly take for your dear sake.

            Cry with me on the cross of Calvary;

            Wear the crown I gladly wore; Bear the pain I gladly bore.

            Die with me, here alone at Calvary;

            All of this I gladly do for love, undying love,

            For love, for love of you.

About the Hymns:

Lord, Whose Love Through Humble Service

Albert F. Bayly (1901-1984) was ed­u­cat­ed at Lon­don Un­i­ver­si­ty and Mans­field Coll­ege, Ox­ford.  Be­gin­ning in the late 1920’s, he served at four Cong­re­ga­tion­al church­es in North­um­ber­land, Lan­ca­shire and East York­shire; in 1962, he be­came pas­tor in Thax­ted, Es­sex.  Af­ter re­tir­ing in 1971, he moved to Spring­field, Chelms­ford, and was ac­tive in the local Unit­ed Re­formed Church.  He wrote sev­er­al pa­geants on mis­sion themes, and li­bret­tos for can­ta­tas by W. L. Lloyd Web­ber (father of Andrew). 

Bayly wrote this text in response to a Hymn Society of America search for new hymns on social welfare. It was chosen as the theme hymn for the Second National Conference on the Churches and Social Welfare held in Cleveland, Ohio, October 23-27, 1961. The Hymn Society published the text in Seven New Social Welfare Hymns (1961).

The tune “Beach Spring” is attributed to Benjamin Franklin White, who with the help of Elisha J. King, published The Sacred Harp (Philadelphia, 1844), where it was sung with the text of “Come, ye sinners, poor and wretched.” Named after the Beech Spring Baptist Church in Harris County, Georgia, the church was given its name because of its close proximity to two beech trees at a spring.  Although the original spelling of the name should be “Beech,” White’s misspelling “Beach,” has stuck with the hymn throughout the ages. White was mostly a self-taught singing school teacher from South Carolina. Eventually he moved to Hamilton in Harris County, Georgia, where he worked at many different vocations, including a stint in the Georgia Militia. Eventually White married Thurza Golightly, and together the two had 14 children (the same number of children that White’s parents had).  At some point along the timeline of Benjamin Franklin White’s history, a rumor was started that he worked closely with William Walker (who was his brother-in-law) to publish Southern Harmonies, but this rumor was probably not true.  The two books were wildly popular in the south, but both contained the same southern white spirituals which were popular in the more rural areas. In the 20^th century, the tunes from The Sacred Harp, and Southern Harmonies are included in more denominational hymnals and inspired many different composers to arrange the melodies in various ways. The Sacred Harp is one of the most popular books in four-shape notation and has gone through numerous editions and is still published today.  Sacred Harp societies across the south still hold quarterly and annual “sings” where people gather to sing  these great old hymns all day, complete with “dinner on the ground”.

When I Survey the Wondrous Cross

Isaac Watts (1674-1748) was the son of an English schoolmaster. He is said to have shown remarkable precocity in childhood, beginning the study of Latin at age four, 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 best 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. His published hymns number more than eight hundred.

The Lutheran Hymnal Handbook includes this little narrative about the hymn “When I Survey the Wondrous Cross:” “With regard to the practical application of the final stanza, Father Ignatius of St. Edmund’s Church in London is reported to have blurted to his congregation: ‘Well, I’m surprised to hear you sing that. Do you know that altogether you put only fifteen shillings in the collection bag this morning?’”  While Watts might not have been talking explicitly about money in the last line of his text, there is the expectation that we dedicate ourselves entirely to God, for God demands not just a piece of who we are, but “our soul, our life, our all.” This can be an incredibly difficult line to sing with any sense of honesty. Devotional author Jerry Jenkins writes in his book Hymns for Personal Devotions, “Perhaps it’s the distance between where Watts encourages me to be and where I truly am that makes this hymn so hard to sing. It’s a lofty and worthy spiritual goal to say that ‘Love so amazing, so divine, demands my soul, my life, my all,’ but how short I fall!”  And so as we sing this hymn of love and awe, we must sing it with a prayer in our hearts, asking God to enable us each day to live our life wholly for him.

Lowell Mason's hymn tune HAMBURG is one of the most familiar products of the church music reform that swept the United States during the early decades of the nineteenth century.1 Together with the English melody Rockingham (Old) it has become one of the two most common settings in United States hymnals for Isaac Watts's "When I survey the wondrous cross."  The church music reform began as a reaction against the elaborate psalmody of eighteenth-century United States composers such as William Billings and the shape-note folk hymnody that was popular in rural areas of the country. In the estimation of the reformers, the complexity, harmonic "ineptitudes," and often dance-like rhythms of the eighteenth-century composers were both too difficult for congregations to sing and lacked the requisite devotional quality. Folk hymnody was suspect because of the secular background of many of its tunes and its association with shape notes, which, though intended to teach people how to read notation, was seen by the reformers as a stumbling block to a true understanding and performance of music.

Lowell Mason and his slightly older contemporary, Thomas Hastings, were the chief figures among the reformers. In their desire to provide what they considered to be acceptable congregational music they took a two-pronged approach: (1) adapting, arranging, and simplifying melodies from European classical masters such as Mozart, Haydn, and Beethoven as hymn tunes, and (2) writing new tunes that were characterized by graceful melodies of limited range, clear harmonies emphasizing the primary chords, and easy rhythms. Mason's HAMBURG is representative of both of these techniques.