June 17, 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 Piano Music:

‘Tis So Sweet to Trust in Jesus – Johnie Dean

From her childhood, the call to missionary service was the guiding motivation for Louisa M. R. Stead (c. 1850-1917). Born in Dover, England, and converted at the age of nine, Stead came to the United States in 1871, living in Cincinnati. She attended a camp meeting in Urbana, Ohio, where she dedicated her life to missionary service. Ill health prevented her from serving initially. She married in 1875, and the couple had a daughter, Lily. Hymnologist Kenneth Osbeck describes a major turning point in the family’s life:

“When the child was four years of age, the family decided one day to enjoy the sunny beach at Long Island Sound, New York. While eating their picnic lunch, they suddenly heard cries of help and spotted a drowning boy in the sea. Mr. Stead charged into the water. As often happens, however, the struggling boy pulled his rescuer under water with him, and both drowned before the terrified eyes of wife and daughter. Out of her ‘why?’ struggle with God during the ensuing days glowed these meaningful words from the soul of Louisa Stead.”

 The hymn, “’Tis so sweet to trust in Jesus” was inspired by this personal tragedy.

Soon after, Lousia and Lily left for the Cape Colony, South Africa, where Louisa worked as a missionary for fifteen years. She married Robert Wodehouse, a native of South Africa. Because of her health, the family found it necessary to return to the United States in 1895. Wodehouse pastored a Methodist congregation during these years until, in 1900, they returned to the mission field, this time to the Methodist mission station at Umtali, Southern Rhodesia (present day Zimbabwe). Kenneth Osbeck records a message sent back to the United States shortly after her arrival in Southern Rhodesia:

“In connection with the whole mission there are glorious possibilities, but one cannot, in the face of the peculiar difficulties, help but say, ‘Who is sufficient for these things?’ But with simple confidence and trust we may and do say, ‘Our sufficiency is of God.’”

While the exact date of the composition is not known, Lousia Stead’s hymn was first published

in Songs of Triumph (1882).  The hymn might be described as a mantra on the name of Jesus. Indeed, “Jesus” is sung twenty-five times if one sings all four stanzas and the refrain.

The tune, TRUST IN JESUS, was written for this hymn by William Kirkpatrick in 1882.  William James Kirkpatrick (1838-1921) was an American sacred music composer and publisher. He wrote the music for such familiar hymns as "Lead Me to Calvary," Jesus Saves!," "Tis So Sweet to Trust in Jesus," "We Have an Anchor," "Redeemed," and "Meet Me There." With John R. Sweney, he published over eighty Gospel song collections during a period of seventeen years.

’Tis so sweet to trust in Jesus, Just to take Him at His Word;
Just to rest upon His promise, And to know, “Thus saith the Lord!”

Jesus, Jesus, how I trust Him! How I’ve proved Him o’er and o’er;
Jesus, Jesus, precious Jesus! Oh, for grace to trust Him more!

Oh, how sweet to trust in Jesus, Just to trust His cleansing blood;
And in simple faith to plunge me ’Neath the healing, cleansing flood!

Yes, ’tis sweet to trust in Jesus, Just from sin and self to cease;
Just from Jesus simply taking Life and rest, and joy and peace.

I’m so glad I learned to trust Thee, Precious Jesus, Savior, Friend;
And I know that Thou art with me, Wilt be with me to the end.

Dr. Johnie Dean lives in Lexington, Kentucky, where he is actively involved in educational and church music. He is on staff at Midway College, and also serves as an adjunct music professor at the University of Kentucky. In addition, he is the Assistant Conductor of The Lexington Singers, and works with area local churches and their music leadership.  Dean received his Bachelor of Music degree in church music from Campbellsville College in Campbellsville, Kentucky, and his Master of Church Music degree in composition from Southern Seminary in Louisville, Kentucky. His Doctor of Musical Arts degree in composition was granted by the University of Kentucky in Lexington.  Winner of numerous awards in both writing and performance, Dr. Dean is well-represented in sacred catalogs with having over 200 works published for piano, adult and children's choirs, handbells, orchestra, and instrumental ensembles. He also serves as a frequent choral adjudicator, vocal coach, vocal soloist, accompanist, and guest conductor.

Be Thou My Vision – Heather Sorensen

"Be Thou My Vision" (Old Irish: Rop tú mo baile or Rob tú mo bhoile) is a traditional hymn from Ireland. The most well-known English version, with some minor variations, was translated by Eleanor Hull and published in 1912. In 1919, the lyrics were set to the tune of the Irish folk tune "Slane", to which the song is sung to this day, both in English and Irish. The song dates from at least the eighth century, though the text dates to the sixth-century.

The original Old Irish text, "Rop tú mo Baile" is often attributed to Saint Dallán Forgaill in the 6th century. Eochaid Mac Colla (c. 530 – 598), better known as Saint Dallan or Dallán Forgaill (Old Irish: Dallán Forchella; Latin: Dallanus Forcellius), was an early Christian Irish poet whose writings include the "Amra Choluim Chille" ("Elegy of Saint Columba") and "Rop Tú Mo Baile" ("Be Thou My Vision").  Saint Dallan was Chief Ollam of Ireland (similar to poet laureate), as well as a scholar of Latin scriptural learning. He helped to reform the Bardic Order at the Convention of Drumceat.  He reputedly wrote Amra Choluim Chille, which he completed shortly after the death of Saint Columba in 597, because Columba had successfully saved poets from expulsion from Ireland at the assembly of Druim Cett in 575. The “Amra Choluim Chille,” is the earliest Irish poem that can be dated.

"Rop tú mo Baile" had been a part of Irish monastic tradition for centuries before its setting to music. It was translated from Old Irish into English by Mary Elizabeth Byrne in Ériu (the journal of the School of Irish Learning), in 1905. The English text was first versified by Eleanor Hull, in 1912, and is now the most common text used.

Be Thou my Vision, O Lord of my heart;

Naught be all else to me, save that Thou art;
Thou my best Thought, by day or by night,

Waking or sleeping, Thy presence my light.

Be Thou my Wisdom, and Thou my true Word;

I ever with Thee and Thou with me, Lord;
Thou my great Father, I Thy true son;
Thou in me dwelling, and I with Thee one.

Be Thou my battle Shield, Sword for the fight;
Be Thou my Dignity, Thou my Delight;
Thou my soul’s Shelter, Thou my high Tow’r:
Raise Thou me heav’nward, O Pow’r of my pow’r.

Riches I heed not, nor man’s empty praise,
Thou mine Inheritance, now and always:
Thou and Thou only, first in my heart,
High King of Heaven, my Treasure Thou art.

High King of Heaven, my victory won,
May I reach Heaven’s joys, O bright Heav’n’s Sun!
Heart of my own heart, whatever befall,
Still be my Vision, O Ruler of all.

Heather Sorenson entered the church music industry in her twenties, and her name quickly became a welcomed fixture in the publishing world.  Diversity is the characteristic that makes Heather somewhat of an anomaly in the industry: she easily maneuvers both the traditional and contemporary genres of Christian music, often combining the two for a unique blend that has become her artistic fingerprint. Initially recognized for her skill as a pianist, Heather is now known for her compositions in choral anthems, solo piano collections, and orchestrations. She taught all elementary levels of music at Grace Academy of Dallas for 4 years, served as an adjunct music professor at Baylor University, and has served on many master class panels in piano and songwriting. Heather regularly is a guest speaker and conductor at churches across America and leads scores of sessions each year at various worship conferences, schools, and universities. Heather makes her home in the Dallas, TX area with her beloved (and very vocal) beagle, Lucy. 

O Master, Let Me Walk with Thee – William Ringham

In the years following the Civil War and the birth of the Industrial Revolution, the social gospel emerged. Washington Gladden (1838-1918) was one of the most distinguished clergymen of his era and a leader in the social gospel movement. Gladden was a native of Pennsylvania and served churches in New York and Massachusetts before accepting a call to First Congregational Church, Columbus, Ohio, a parish he served for 32 years. Educated at Owego Academy and Williams College, he was the moderator of the National Council of Congregational Churches from 1904-1907. He served as one of the editors of the Pilgrim Hymnal (1904). As editor of the Independent, he made important contributions to the cause of social justice. While a pastor in Massachusetts, Gladden began preaching about labor-management problems, encouraging cooperation between employers and employees. This theme aroused opposition from those who felt the role of a minister was “to save souls, not to regulate business.” Furthermore, he challenged the idea that the Bible was inerrant in matters of science and history. Albert Bailey notes that “he found his fellow-clergymen without courage to follow him, for heresy trials were beginning in the Congregational Church.” From the Ohio pulpit, Gladden found willing listeners to his message at the State University of Columbus. He received invitations to deliver lectures at a number of universities including the Yale Divinity School. His tracts, Social Facts and Forces (1897) and Organized Labor and Capital (1904), were very influential.

Perhaps this hymn is a paradox. Few realize that behind the relatively peaceful words of Gladden’s poem, sung to a placid Victorian melody, one can find the witness of a champion for social justice. This hymn was published in 1879 in three eight-line stanzas in Sunday Afternoon, a magazine prepared by the author, under the title “Walking with God.” C.H. Richards discovered the poem and included it in his 1880 hymnal, Christian Praise.

After various tunes had been set to this text, Gladden insisted on the use of MARYTON. Composed by H. Percy Smith (b. Malta, 1825; d. Bournemouth, Hampshire, England, 1898), the tune was originally published as a setting for John Keble's "Sun of My Soul" in Arthur S. Sullivan's Church Hymns with Tunes (1874).  Henry Percy Smith (1825-1898) was educated at Balliol College, Oxford, England, and ordained a priest in the Church of England. He served five churches, including St. Michael's York Town in Farnborough, Great Barton in Suffolk, Christ Church in Cannes, France, and the Cathedral in Gibraltar. MARYTON is his only tune found in contemporary hymnals and is thought to be the only tune he published.

O Master, let me walk with Thee in lowly paths of service free;
tell me Thy secret; help me bear the strain of toil, the fret of care.

Help me the slow of heart to move by some clear, winning word of love;
teach me the wayward feet to stay and guide them in the homeward way.music

Teach me Thy patience, still with Thee in closer, dearer company,
in work that keeps faith sweet and strong, in trust that triumphs over wrong.

In hope that sends a shining ray far down the future's broad'ning way;
in peace that only Thou canst give, with Thee, O Master, let me live.

William Ringham holds Bachelor of Music and Master of Music degrees in Piano Performance from Indiana University, where he also studied composition. He has performed as a piano soloist in concerts across the U.S. and Mexico. During many years of teaching music and serving various congregations as organist and conductor, Ringham continued to compose and arrange for the groups he was leading. After retiring from teaching, he turned his full attention to his writing, first publishing in 2000. A member of ASCAP, AGEHR, and ACDA, he has received consecutive annual ASCAP awards since 2003. In 2013, Ringham retired from his position of Director of Music at Mission Del Sol Presbyterian Church in Tempe, Arizona.

About the Choral Music:

Hymn of Promise – Natalee Sleeth

From time to time, a choral anthem inspires a hymn. "Hymn of Promise" was first conceived as an anthem in 1985, performed at the Pasadena Community Church, St. Petersburg, Florida, during a festival concert on Natalie Sleeth's music. Long known as a composer of anthems, especially for children, Natalie Sleeth (1930-1992) contributed one of the favorite new hymns to The United Methodist Hymnal.

Sleeth was as native of Evanston, Illinois. She began piano study at the age of four and gained much of her musical experience by singing in choral ensembles during her earlier years. Studying music theory, piano, and organ at Wellesley College in Massachusetts, she received her B.A. in 1952.  Married to Ronald E. Sleeth, a United Methodist clergyman and professor of homiletics at Perkins School of Theology, Southern Methodist University, she served as music secretary at Highland Park United Methodist Church from 1969-1976. During this time, she studied music theory with Jane Marshall and audited a course in choral arranging taught by Lloyd Pfautsch at SMU. Choristers Guild published her first anthem, "Canon of Praise," in 1969, the highest selling anthem in the history of this publisher. Her choral works for all ages number more than 200.  Sleeth received honorary doctorates from West Virginia Wesleyan College (1989), and Nebraska Wesleyan College (1990). Some of her compositions are described in her devotional book, Adventures for the Soul (1987).

Sleeth had the ability to compose both texts and music. Though "Hymn of Promise" has become a favorite hymn for funerals, it was written at a time when the author states that she was "pondering the ideas of life, death, spring and winter, Good Friday and Easter, and the whole reawakening of the world that happens every spring." Inspired by a T.S. Eliot line, the germ of the hymn grew from the idea "in our end is our beginning," the phase that begins the third stanza of the hymn.  While it carries the promise of spring and the hope of Easter in its beautiful metaphors, it is a very appropriate hymn for funeral and memorial services. Shortly after its composition, the composer’s husband was diagnosed with what turned out to be a terminal malignancy. Ronald Sleeth requested that "Hymn of Promise" be sung at his funeral service.

A wonderful child-like simplicity permeates "Hymn of Promise." Natalie Sleeth had a gift for composing texts on complex theological ideas that were still accessible to children. Her melodies seemed totally natural and therefore effortless for people to learn. "Hymn of Promise" is one of the most memorable hymns written by an American United Methodist in the last part of the twentieth century, and it promises to be sung for many years to come.

Composer R. G. Huff, who attended her funeral in Denver, Colorado, describes her impact on him in Worship Matrix, an online hymnal companion for the hymnal Celebrating Grace (2010): "In March 1992, I attended the memorial service of Natalie Sleeth at Wellshire Presbyterian Church in Denver, across the street from the church I served there. I had been a pen-pal of sorts with her for several years and wanted to be there for the celebration of her contribution to church music, especially the music of children. For a full hour before the funeral, the church’s choir, soloists and organist performed her songs, hymns and anthems. It was a great tribute to her writing legacy. Of course, this was one of the songs we heard that day…Like the theologian she was, Natalie Sleeth moved on to worship: songs rising from silence, words seeking melodies, darkness becoming light, hope becoming evident in future days.  Finally – and this relates to the afternoon in March 1992 – she expressed how life moves into death, death gives way to eternity, and ultimate victory comes for those whose doubt has evolved into belief."

            In the bulb there is a flower; in the seed, an apple tree;

            In cocoons, a hidden promise; butterflies will soon be free!

            In the cold and snow of winter there’s a spring that waits to be,

            Unrevealed until its season, something God alone can see.

            There’s a song in every silence, seeking word and melody;

            There’s a dawn in every darkness, bringing hope to you and me.

            From the past will come the future; what it holds, a mystery,

            Unrevealed until its season, something God alone can see.

            In our end is our beginning; in our time, infinity.

            In our doubt, there is believing; in our life, eternity.

            In our death, a resurrection; at the last, a victory,

            Unrevealed until its season, something God alone can see.

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.

I Sing the Almighty Power of God

 Isaac Watts (1674-1748), often labeled the “Father of English-language hymnody,” believed that hymns were a formative tool in the Christian education of children.  Watts’ Divine Songs Attempted in Easy Language, for the Use of Children (1715) was one of the most popular collections published in its day. Poems from this hymnal were used to instruct many English children in Watts’ day and for decades after his death.   In his preface,” Watts cites a biblical precedent for teaching songs to children for educational value: “The children of Israel were commanded to learn the words of the song of Moses, Deut. xxxi 19, 50, and we are directed in the New Testament, not only to sing ‘with grace in the heart, but to teach and admonish one another by hymns and songs,’ Ephes. v. 19.”  Of the four reasons he gives for learning these songs, he states that these songs “will be a constant furniture of the minds of children, that they may have something to think upon when alone and sing over to themselves. This may sometimes give their thoughts a divine turn, and raise a young meditation. Thus, they will not be forced to seek relief for an emptiness of mind, out of the loose and dangerous sonnets of the age.”

“I Sing the Almighty Power of God,” originally published as “Praise for Creation and Providence,” is now the only song that remains in common usage from this children’s hymnal. Expanding on the creation narrative in Genesis 1 and 2, Watts’ Calvinistic theology comes to the fore.  For Watts, God is an all-powerful and sovereign being who knows every “plant or flower” and controls all of nature.  This sovereign God of the Calvinist Watts was also an omnipresent judge and ruler.  While not specifically a hymn based on the Apostles’ Creed according to the preface, any child of Watts’ day who sang the hymn would likely think of it as a theological amplification of the first article of the Creed: “I believe in God the Father, Almighty, Maker of heaven and earth.” Even the opening line of the hymn cites the “almighty power of God,” echoing the beginning of the Creed.

FOREST GREEN is an English folk tune associated with the ballad "The Ploughboy's Dream." Ralph Vaughan Williams turned FOREST GREEN into a hymn tune for The English Hymnal (1906), using it as a setting for "O Little Town of Bethlehem."