April 15, 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:

O Blessed Spring – James Biery

The images of “O Blessed Spring” draw the singer into the seasons of life with warmth and beauty. Many hymns have a theological treatise to prove. Each stanza advances information like a legal case that culminates in a closing argument in the final stanza. By contrast, each stanza of “O Blessed Spring” unfolds like a bud into a blossom. The singer comes to the final stanza, not with the triumph of a well-made theological argument, but with a sense of wonder that comes from glimpsing sacred mystery.

The concept of the Tree of Life is pervasive around the world. The writer carefully distinguishes between the mythology associated with the Tree of Life theme throughout the ages and the Christian understanding of Christ the Vine and source of life from which we grow. Many religious traditions as ancient as pre-Islamic Persia, ancient Egypt, ancient Armenia, and Assyria include symbols of the Tree of Life. Buddhism has the tradition of the Bodhi tree under which the Buddha sat when he attained Enlightenment.

Within the Christian tradition, one must distinguish between the Tree of Knowledge of Good and Evil in Genesis 2-3 where the fall of humanity took place, and the Tree of Life, a symbol of Christ himself. More recently, Pope Benedict XVI has said, “The Cross is the true tree of life.”

A baptismal image was the source for “O Blessed Spring.” Susan Palo Cherwien (b. 1953) describes her inspiration: “Above the baptismal font in Lutheran Church of the Good Shepherd in Minneapolis hangs a striking bronze sculpture by the late Paul Granlund, a sculpture which embodies the image of John 15:5 ‘I am the vine; you are the branches.’ Granlund cast a tree with four branches depicting the four ages of human life, with Christ as the central trunk. This bronze provided the structure for the text ‘O Blessed Spring,’ the words of which are woven around a central Christ image.”

In stanza two of the hymn, Mrs. Cherwien equates the “summer heat” with “youthful years” and “uncertain faith, rebellious tears.” During the season of autumn (stanza three), the limbs of the tree are ripe with “heavy harvest.” This season offers “beauty, wisdom, love.” Stanza four explores the season of winter where “We breathe our last, return to dust.” Yet, “in Christ, our souls take wing”; thus the lifecycle is complete in the “promise of spring.” The final stanza introduces a baptismal, sacramental tone, the original inspiration of the hymn, in “this blest mystery” as “Word and water thus revive And join us to your Tree of Life”.

Mrs. Cherwien is a freelance writer and musician. She received her bachelor’s degree in church music and voice from Wittenberg University, her Abschlussprüfung (final examination) in voice from the Hochschule der Künste Berlin, and a Master of Liberal Studies from Mundelein College, where she focused on spirituality, ritual, and the arts.

Susan Palo Cherwien has written numerous hymn texts that appear in increasing frequency since 2000 in denominational hymnals in the United States and Canada. Her hymn texts are available from Augsburg Fortress in two collections, O Blessed Spring: Hymn Texts of Susan Palo Cherwien (1997) and Come, Beloved of the Maker (2010), as well as a compilation of vocal solos, To God Will I Sing: Vocal Solos for the Church Year (2001). She has other books of worship meditations and home devotions and articles on worship and music published in several journals. Recent publications include Crossings: Meditations for Worship (2003) and From Glory into Glory: Reflections for Worship (2009).

O blessed spring, where Word and sign Embrace us into Christ the Vine:
Here Christ enjoins each one to be A branch of this life-giving Tree.
 

Through summer heat of youthful years, Uncertain faith, rebellious tears,
Sustained by Christ’s infusing rain, The boughs will shout for joy again.
 

When autumn cools and youth is cold, When limbs their heavy harvest hold,
Then through us, warm, the Christ will move With gifts of beauty, wisdom, love.
 

As winter comes, as winters must, We breathe our last, return to dust;
Still held in Christ, our souls take wing And trust the promise of the spring.
 

Christ, holy Vine, Christ, living Tree, Be praised for this blest mystery:
That Word and water thus revive And join us to your Tree of Life.

James Biery (b. 1956) is an American organist, composer and conductor who is Minister of Music at Grosse Pointe Memorial Church (Presbyterian) in Grosse Pointe Farms, Michigan.  Biery was educated at Northwestern University, where he earned Bachelor and Master of Music degrees in Organ Performance.  Biery developed his compositional skills from two disciplines: years of study of the organ and its literature and intense scrutiny of the orchestral scores of numerous composers whose music he transcribed for organ duet and organ solo. His facility at the organ combined with his demonstrated ability to perform and study a vast amount of literature has given Biery a firm basis upon which to compose for the instrument.

Wash, O God, Our Sons and Daughters – Wayne Wold

Ruth Duck (b. 1947) is professor of worship at Garrett-Evangelical Theological Seminary in Evanston, Illinois.  Duck has been writing hymns since 1974. The first time she heard one of her hymns being sung was in 1983 at a United Church of Christ General Synod. She writes, "2,000 people were singing my hymn. I was crying while two friends on either side held my hands. I feel that writing hymn texts is a central part of my call." That is a call she has followed ever since, a call that has resulted in hymns in most hymnals in use today.

Ruth Duck's hymn-texts sing many names for God as she lives the promises of her baptism. "Our language in worship says something about God and not just ourselves."  The idea of God that most people carry is too small and containing, Ruth said. In 1972, while at seminary, she was guest guitarist at a local church. Asked to use inclusive language, she took care to substitute "humanity" for "man" and "mankind."  Yet in one song, she sang "Father" over and over for God. Then, inclusive language meant changing language about humanity, not expanding the language of worship.  Biblical images for God reached beyond masculine and feminine dimensions of expression.  New names awaited discovery. She would use them in hymns or

ritual words of the church.

“Wash, O God, Our Sons and Daughters” is one of those hymns in which she uses both mother and father images of God.  Speaking of her baptism, she said: "The baptismal water washed over me. It made tangible my dying and rising with Christ to new life in the Spirit. Baptism became then a sacrament of God's presence. I belonged to Christ. I was 'water-washed and Spirit-born.' I could feel God's presence as the pastor immersed me in the water. It was as if the Spirit of God were moving over the waters as at the first creation."  Her baptismal promise shaped her life, theology and hymn texts. Baptism is not an isolated event but a lifelong process, part of a

continuing faith journey. In Dwight Vogel's words, Ruth reveals an understanding that "expanding our language is one way we can live out the grace, love, justice, and hope of our baptisms and our table communion."   "Baptism reaches beyond us," she writes. "It makes a difference in how we relate to other people and to God . . . even how we relate to ourselves. We belong to one another, for at the water God makes us one people."

Word by word, Ruth Duck’s hymn texts became standards. At least fourteen denominational hymnals include them. "This pioneer in worship and hymnody continues to write remarkably apt and artistic hymns and service music, articulating our faith with insight and sensitivity," said composer and musician, Jim Manley. "She combines the personal and the theological in a beautiful manner."

Wash, O God, our sons and daughters, where your cleansing waters flow.
Number them among your people; bless as Christ blessed long ago.
Weave them garments bright and sparkling; compass them with love and light
Fill, anoint them; send your Spirit, holy dove and heart's delight.

We who bring them long for nurture; by your milk may we be fed.
Let us join your feast, partaking cup of blessing, living bread.
God, renew us, guide our footsteps; free from sin and all its snares,
one with Christ in living, dying, by your Spirit, children, heirs

Oh, how deep your holy wisdom! Unimagined, all your ways!
To your name be glory, honor! With our lives we worship, praise!
We your people stand before you, water washed and Spirit born.
By your grace, our lives we offer. Recreate us; God, transform!

Wayne L. Wold (b. 1954) is active as a teacher, church musician, composer, author, performer, and clinician. He serves as Associate Professor of Music and College Organist at Hood College in Frederick, Md. Over 200 of his compositions are published by fourteen different companies in the U.S. and Australia and include twenty volumes of works for organ and instruments with organ, 30 choir anthems, a children's musical, a recorder suite, and several hymn tunes. He is the author of numerous hymn and anthem texts, articles in professional journals, and two books -- Tune My Heart to Sing: Devotions for Choirs Based on the Revised Common Lectionary and Preaching to the Choir: The Care and Nurture of the Church Choir.

About the Handbell Music:

Because He Lives – Tammy Waldrop

UM Hymnal editor Carlton Young says this gospel hymn “is one of the five most requested... to be included in this hymnal.” Based on John 14:19c—“because I live, you also will live”—the hymn’s theme is effectively supported by a soaring melody in the refrain. The words were written by two of the longest-lasting performing couples of Christian contemporary music, Gloria (b. 1942) and William J. (b. 1936) Gaither. “Because He Lives” was awarded the recognition of Gospel Song of the Year for 1974 by the Gospel Music Association and the American Society of Composers and Publishers (ASCAP).   This gospel song has undoubtedly offered hope for many people because of its connection between the Resurrection and a “life... worth the living.”

The Gaithers said this about this hymn: “’Because he lives’ [1971] was written in the midst of social upheaval, threats of war, and betrayals of national and personal trust. It was into this world at such a time that we were bringing our third little baby. Assassinations, drug traffic, and war monopolized the headlines. It was in the midst of this kind of uncertainty that the assurance of the Lordship of the risen Christ blew across our troubled minds like a cooling breeze in the parched desert. Holding our tiny son in our arms we were able to write:‘How sweet to hold our newborn baby, And feel the pride, and joy he gives; But greater still the calm assurance, this child can face uncertain day because He lives.’”

Bill Gaither began as a teacher of English, literature and journalism in 1959 in his hometown of Alexandra, La. Gloria Sickal taught French and English in the same high school. They started to sing together and were married in 1962. By 1967, the couple left the teaching profession to become full-time recording and performing artists. Gloria Gaither has authored several books since 1971 including Make Warm Noises, Rainbows Live at Easter, Because He Lives, Decisions: A Christian Approach to Making Right Choices and Let’s Make a Memory (co-authored with Shirley Dobson). In addition to a number of popular Christian musicals, the Gaithers co-edited the hymnal Hymns for the Family of God (1976) with the assistance of the late composer Fred Bock.

God sent His son, they called Him, Jesus;
He came to love, heal and forgive;
He lived and died to buy my pardon,
An empty grave is there to prove my Savior lives!

How sweet to hold a newborn baby,
And feel the pride and joy he gives;
But greater still the calm assurance:
This child can face uncertain days because He Lives!


And then one day, I'll cross the river,
I'll fight life's final war with pain;
And then, as death gives way to victory,
I'll see the lights of glory and I'll know He lives!

Because He lives, I can face tomorrow,
Because He lives, all fear is gone;
Because I know He holds the future,
And life is worth the living, Just because He lives!

Tammy Waldrop holds a Bachelor of music degree and a Master of music degree in theory and composition from Baylor University in Waco, Texas. As a writer for handbells since 1980, she has served as Assistant Choral Editor and Handbell Editor for Word Music. Presently, Tammy is Handbell Editor for Ring Out! Press, the handbell publishing company she began in 1990, which is now a part of the Jeffers Publishing Group.  In 1988, Tammy collaborated with Bob Burroughs and won the AGEHR national composition contest, and in 1991 she won the Area III competition. She served as Publications Chair for Area IX from 1994–1996 and currently serves on the Greater Houston Handbell Association Board.

About the Choral Music:

Devotion – John Ness Beck

Fanny Jane Crosby (1820-1915) set the standard for the successful writing of gospel hymns. She was the author of over 8,500 gospel songs.  Blind at six weeks of age, Crosby began composing texts at age 6. At 12, she began her study at the New York School for the Blind, a school she later served as a teacher. A friend of several presidents, she became one of the country’s most important advocates for the cause of the blind, addressing a session of Congress on the topic.

Her texts were set to the compositions of some of the most prominent gospel song composers of the day including William Bradbury, William Doane, Robert Lowry and Ira Sankey. Crosby also composed under a number of pen names. She married blind musician Alexander Van Alstyne, and British hymnals have always used her married name, Frances Van Alstyne.

“I am Thine” is one of many collaborations between Crosby and composer William Doane (1832-1915). The late Baptist hymnologist William J. Reynolds provides the context for the composition of the hymn in 1874 during a visit by Crosby to Doane’s home in Cincinnati:
“One evening she and Doane talked at length about the nearness of God in their lives. When Fanny went to her room, her mind and heart were flooded with ideas from their conversation. Before she went to sleep, the lines of “I am thine, O Lord” were in her mind. . . . The next morning she recited the words to Doane, who wrote down the stanzas and composed the tune.”
The text appeared with the following inscription from Hebrews 10:22: “Let us draw near with a true heart in full assurance of faith, having our hearts sprinkled from an evil conscience, and our bodies washed with pure water.” (KJV)

Crosby seems to mix her cleansing metaphors intentionally—“pure water” and “bleeding side.” The connection becomes clearer when one reads the previous verses in Hebrews 10:  “Having therefore, brethren, boldness to enter into the holiest by the blood of Jesus, by a new and living way, which he hath consecrated for us, through the veil, that is to say, his flesh; and having an high priest over the house of God. . . .”

Like so many of Crosby’s hymns, “I am thine, O Lord” is written in the first person—a personal testimony of her relationship with Christ. Stanza one begins with a total surrender to Christ, “I am thine, O Lord,” and the desire to “be closer drawn to thee.” The second stanza appropriately draws upon the closeness of this relationship as an impetus of service: “Consecrate me now to thy service, Lord, by the power of grace divine.  The refrain is the theological hub around which the spokes of the stanzas all connect: “Draw me nearer, nearer, blessed Lord, to thy precious bleeding side.”  In this case, it is Christ’s blood that cleanses and perfects the relationship. Fanny Crosby is thoroughly Wesleyan in her understanding of grace and perfection.

In Negro Slave Songs in the United States (1953), Miles Mark Fisher suggests that “Lord, I Want to be a Christian” could well have originated in Virginia in the 1750s, based on this story from Hanover, Virginia, 1756: "A black slave asked Presbyterian preacher William Davies, 'I come to you, sir, that you may tell me some good things concerning Jesus Christ and my duty to God, for I am resolved not to live any more as I have done. . . Lord [Sir], I want to be a Christian.'"  Both text and tune were first published in Folk Songs of the American Negro (1907), compiled by brothers Frederick Work and John W. Work, Jr.

These two hymns are interwoven in this setting by John Ness Beck (1930-1987), who graduated from Ohio State with Bachelor of Arts and Bachelor of Science degrees with a major in English. After working for a year in Student Union activities at the State College of Washington, he spent two years in the U.S. Army. During this time, he became increasingly involved in arranging for various musical groups. After his discharge from military service, he returned to Ohio State and completed Bachelor of Music and Master of Arts degrees in music with composition as his major.  Beck was a faculty member of Ohio State University School of Music for seven years, teaching harmony and theory. He left the university to become owner and manager of The University Music House, a retail sheet music store in Columbus. In this capacity, he was able to observe the business side of the music industry, gaining insight into the complexities of music publishing and merchandising. As his compositions found their way into print and popularity, he joined forces in 1972 with John Tatgenhorst in the creation of Beckenhorst Press. His reputation as a composer and his experience as a choral director soon led to an increasing demand for appearances as guest conductor and lecturer at various musical clinics and festivals throughout the country.

            I am Thine, O Lord – I have heard Thy voice, and it told Thy love to me;

            But I long to rise in the arms of faith and be closer drawn to Thee.

            Consecrate me now to Thy service, Lord, by the power of grace divine;

            Let my soul look up with a steadfast hope And my will be lost in Thine.

            Draw me nearer, nearer, blessed Lord, To the cross where Thou has died;

            Draw me nearer, nearer, nearer To thy precious bleeding side.

            Lord, I want to be a Christian in my heart, in my heart,

            Lord, I want to be a Christian in my heart.

            In my heart, in my heart, in my heart, Lord, I want to be a Christian in my heart.

            Draw me nearer, nearer, nearer blessed Lord.

            Lord, I want to be like Jesus in my heart.

About the Hymns:

Rejoice, Ye Pure in Heart

Anglican priest and professor Edward Hayes Plumptre (1821-1891) composed “Rejoice, ye pure in heart” as a processional hymn for a choir festival in one of England’s majestic places of worship, Peterborough Cathedral.   Plumptre was a distinguished scholar of his day. Educated at University College, Oxford, he then became a fellow at Brasenose College, Oxford, receiving his ordination in the Anglican Church in 1846. After serving as a clergyman, he became chaplain and professor of New Testament exegesis at King’s College, London, and dean of Queen’s College, Oxford. His most prominent position as a clergyman was that of dean of Wells Cathedral.

Of the original 11 stanzas, five or six stanzas appear in most hymnals.  Omitted stanzas refer to this processional in martial terms as warriors who “march in firm array.” This kind of imagery is not only consonant with the times, but also reflects the theology of the Anglican Communion that views its role on earth as the “Church Militant” while the church in heaven is the “Church Triumphant.”   Hymnologist William Reynolds noted that it “was not unusual for a cathedral processional to take from ten to thirty minutes, and the hymn that was sung by both the choir and the congregation needed to have enough stanzas for this.”   It was first published in the third edition of Plumptre's Lazarus and Other Poems (1868) and in the Appendix to Hymns Ancient and Modern (1868).

Arthur H. Messiter (b. Frome, Somersetshire, England, 1834; d. New York, NY, 1916) composed MARION for this text in 1883 and named it after his wife. The tune was published in the Hymnal with Music as Used in Trinity Church (1893), a hymnal compiled by Messiter during his long term of service as organist/ choirmaster at Trinity Church (Episcopal) in New York City (1866-1897).

Educated by private tutors in England, Messiter immigrated to the United States in 1863 and had an active musical career in Philadelphia, which included an organist position at St. James the Less. At Trinity Church in New York City, he modeled with distinction the British cathedral tradition of music. Messiter was an editor of the Episcopal Hymnal (1893), compiled the Psalter (1889) and Choir Office Book (1891), and wrote a musical history of Trinity Episcopal Church, New York (1906).

Jesus, Lord, We Look to Thee

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, and was born at Epworth Rectory.  In 1716, he went to Westminster School, being provided with a home and board by his elder brother Samuel, then usher at the school, until 1721, when he was elected King's Scholar, and as such received his board and education free. In 1726, Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he took his degree in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of "Oxford Methodists."

In 1735, he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756, when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol. Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father's poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John 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 marvelous 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. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. 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. [John Julian, Dictionary of Hymnology (1907)]

“Jesus, Lord, we look to Thee” [Family Union desired] appeared in Hymns and Sacred Poems, 1749, in 6 stanzas of 4 lines, and again in the Wesleyan Hymn Book, 1780.  The tune, SAVANNAH, was written by Johannes Thommen and first appeared in John Wesley’s Foundary Collection (1745).