July 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:

Spirit of God, Descend upon my Heart – Ann Slowins

The words of this sung prayer are among the most passionate in the history of hymnody.  This masterpiece of Christian devotional poetry is the work of George Croly (1780-1860), an Anglican minister born in Dublin, Ireland, but whose ministry took place in London. Having served a small parish in Ireland, he moved to London to pursue a literary career where he wrote in several mediums including poetry, novels, history and biography.  In 1835, Croly accepted the challenge to reopen a church in one of the worst slum areas of London, that had been closed for over a century. He was known among his peers as thoroughly conservative in theology with no tolerance for liberal views. Through personal charisma and dynamic preaching, he attracted large crowds to St. Stephen’s Church.  Croly prepared a new hymnal in 1854 for his congregation and published it as Psalms and Hymns for Public Worship. “Spirit of God, Descend upon my Heart” first appeared in that hymnal under the title “Holiness Desired.” It is the only hymn by Croly to have survived. 

George Croly was born in Dublin, Aug. 17, 1780, and educated at the Dublin University. After taking Holy Orders, he laboured in Ireland till about 1810, when he took up his residence in London, and devoted himself to literature. In 1835 he succeeded to the united benefices of St. Stephen's, Walbrook, and St. Benet Sherehog, retaining the same till his death, which occurred suddenly in the public street, Holborn, Nov. 24, 1860. His prose publications, in addition to contributions to Blackwood's Magazine, were numerous, and dealt with biographical, historical, and scriptural subjects. His hymns were published in Psalms and Hymns for Public Worship. Written and compiled by the Rev. George Croly, LL.D. London Kendrick, 1854.

MORECAMBE was composed in 1870 by Frederick C. Atkinson (1841-1896) as a setting for Henry Lyte's "Abide with Me". It was first published in G. S. Barrett and E.J. Hopkins's Congregational Church Hymnal (1887). The tune is named for a coastal town on Morecambe Bay near Lancaster, England, a town not far from Bradford, where Atkinson served as organist. As a boy Atkinson was a chorister and assistant organist at Norwich Cathedral. In 1867 he graduated with a Bachelor of Music degree from Cambridge and then served as organist and choirmaster in St. Luke's Church, Manningham, Bradford. He also held that position at Norwich Cathedral and at St. Mary's Parish Church in Lewisham. Atkinson wrote hymn tunes, anthems, and complete Anglican services, as well as songs and piano pieces.

The text of the first line was changed to “descend upon my heart.”  The original Croly text follows:

Spirit of God, who dwells within my heart,  

wean it from sin, through all its pulses move.
Stoop to my weakness, mighty as you are,
and make me love you as I ought to love.

I ask no dream, no prophet ecstasies,
no sudden rending of the veil of clay,
no angel visitant, no opening skies;
but take the dimness of my soul away.

Did you not bid us love you, God and King,
love you with all our heart and strength and mind?
I see the cross there teach my heart to cling.
O let me seek you and O let me find!

Teach me to feel that you are always nigh;
teach me the struggles of the soul to bear,
to check the rising doubt, the rebel sigh;
teach me the patience of unceasing prayer.

Teach me to love you as your angels love,
one holy passion filling all my frame:
the fullness of the heaven-descended Dove;
my heart an altar, and your love the flame.

Ann Slowins (1932-2018) was a pharmacist in Ionia, Michigan.  Ann began playing piano at the age of 5, later served as lead organist at Sebewa Center United Methodist Church, Ionia First Methodist Church, Ionia First Presbyterian Church, Portland Congregational Church, and Clark Retirement Community Chapel.  She played recorder in Namenlos Early Music Consort.

Set Me as a Seal Upon Your Heart – Dale Wood

René Clausen (b. 1953) is an American composer, conductor of The Concordia Choir, and professor of music at Concordia College in Moorhead, Minnesota. His works are widely performed by high school and church choirs while his more technically demanding pieces have been performed and recorded by college and professional choirs. Among his many accolades, his recent recording, "Life & Breath: Choral Works by René Clausen," received three Grammy Awards at the 55th Grammy Awards in 2013.   Clausen is a frequent guest conductor, guest composer and lecturer, both nationally and internationally. He has conducted All-State choirs in more than 15 states. Prior to his appointment as conductor of The Concordia Choir, Clausen was director of choral activities at West Texas State University, Canyon, Texas, and assistant professor of choral music at Wichita State University. He also served as senior editor of Mark Foster Music Company and as interim conductor of the National Lutheran Choir of Minneapolis.

Clausen has set this text from Song of Solomon 8:6:

Set me as a seal upon your heart, as a seal upon your arm,
for love is strong as death.
    

Jealousy is fierce as the grave.  Its flashes are flashes of fire,
the very flame of the Lord

Many waters cannot quench love, neither can the floods drown it.

Set me as a seal upon your heart, as a seal upon your arm,

for love is strong as death.

Dale Wood (1934-2003) was a prominent composer, organist, choral director, and clinician.  He was honored many times by the American Society of Composers, Authors, and Publishers (ASCAP) for his “very important contribution towards the creation and development of contemporary American church music”.  He wrote many collections of organ works, most of which are based on both old and new hymn tunes.  Over eight million copies of his publications have been purchased in over 50 countries.

About the Piano Music:

Open My Eyes, that I May See – Johnie Dean

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). 

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 me 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!

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.

About the Vocal Solo Music:

Follow Me – Ira Stanphill

Ira Forest Stanphill (1914-1993) was a well-known American gospel music songwriter of the mid-twentieth century.  Stanphill began preaching when he was 22, first in a summer traveling ministry with Christian Ambassadors of the Assemblies of God, then becoming director of youth and music at a church in Breckenridge, Texas. He later became music director at Faith Tabernacle in Oklahoma City, then became pastor of Trinity Assembly of God in Orange, California. In the early 1940s, he served as associate pastor at Full Gospel Tabernacle in Bakersfield, California.  In 1949, he became music director at Bethel Temple in Fort Worth, Texas. 

In 1956, he was the founding pastor of Bethel Assembly of God Church in Lake Worth, Florida. In September 1962, he became pastor of the Assembly of God Church in Lancaster, Pennsylvania. In 1968, he was pastor of Rosen Heights Assembly of God Church in Fort Worth, Texas. After serving 13 years as pastor of Rockwood Park Church in Fort Worth, he resigned to devote more time to evangelism and concerts, traveling to churches and Bible camps around the country, sometimes accompanied by his wife. They played and sang some of his compositions in addition to his preaching. In 1941, they joined the team of evangelist Raymond T. Richey. An ad for a crusade Stanphill held in 1964 described him as "Preacher of Old Time Religion." In addition to traveling throughout the United States, he preached in 40 other countries. Occasionally as part of his crusades, he would ask members of the congregation to suggest titles for songs. Selecting one title from the suggestions, he would write words and music for a song during the service.  In the 1970s, Stanphill's ministry included a 30-minute weekly television program. Young At Heart originated on WCFC in Chicago. In the 1990s, he appeared on several Southern gospel music videos produced by Bill Gaither.

By the age of 10, Stanphill had already become a fluent musician, having learned to play the piano, organ, ukulele, and accordion. He went on to learn to play xylophone, guitar, saxophone, and clarinet. At 17, he was composing and performing his own music for church services, revival campaigns, and prayer meetings.  Stanphill composed more than 500 gospel songs. 

When he was a 39-year old singing preacher, who’d been conducting his own ministry for many years, he heard a story by Charles Greenaway at a Texas conference in 1953.  The Greenaways (Charles and his wife Mary) had been young missionaries in Africa, and Ira Stanphill, as any minister committed to God’s work would do, probably expected to hear something interesting and informative from them as he attended the Grand Prairie conference one evening. Maybe he got more than he bargained for, because the story made its way onto a song sheet the next day, through his own tears. The Greenaways didn’t think Africa was for them at first, those many years earlier. Mary was sick, an irony that probably was not lost on her and Charles, who had gone to help people there through a medical missionary effort they were eager to use as a springboard to introduce God to the people. It seemed that the physical needs of the locals were so great, however, that no room was left for the deeper spiritual food they wanted to dispense too. And with Mary laid low, Charles’ spirit called out ‘Lord, send us somewhere else!’ He sensed God’s answer, a gentle but firm reminder that Jesus had likewise felt the sting of apathy and rejection. Do as He did, they sensed, and leave the rest to Him. Eventually, the Greenaways saw the spiritual fruit they longed to harvest. From one minister to another, Charles Greenaway’s story washed over Ira Stanphill.   Stanphill certainly identified with messaging to other cultures, as he preached in 40 different countries outside of the U.S. before expiring at the age of 79.  The words he wrote – loneliness, sacrifice, burdens, and misplaced pride –an experience like the Greenaways. Hang tough, and know the intimate fellowship with Him that comes along the coarse, uneven path.

            I travelled down a lonely road and no one seemed to care.

            The burden on my weary back had bowed me to despair.

            I oft complained to Jesus how folks were treating me,

            And then I heard Him say so tenderly:

            “My feet were also weary upon the Calvary road.

            The cross became so heavy, I fell beneath the load.

            Be faithful, weary pilgrim, the morning I can see.

            Just lift your cross and follow close to Me.”

            “I work so hard for Jesus,” I often boast and say,

            “I’ve sacrificed a lot of things to walk the narrow way.

            I gave up fame and fortune; I’m worth a lot to Thee.
            and then I hear Him gently say to me:

            “I left the throne of glory and counted it but loss.

            My hands were nailed in anger upon a cruel cross.

            But now we’ll make the journey with your hand safe in mine.

            So lift your cross and follow close to Me.”

            O Jesus, if I die upon a foreign field some day,

            ‘Twould be no more than love demands, no less could I repay.

            “No greater love hath mortal man than for a friend to die.”

            These are the words He gently spoke to me:

           

            “If just a cup of water I place within your hand,

            Then just a cup of water is all that I demand.”

            But if by death to living they can Thy glory see,

            I’ll take my cross and follow close to Thee.

About the Hymns:

Love Divine, All Loves Excelling

Charles Wesley (1707-1788) was a prolific hymn writer of the 18th century. Coming from a musical family, he left a lasting legacy of congregational song.  The youngest of 18 children, Charles possessed prodigious talents that soon blossomed. Little did he know that “Love Divine, All Loves Excelling,” would rise to become one of the most popular and consistently vocalized Christian songs.  Writing hymn texts that are solidly based on the Scriptures gives them an appeal across denominational lines. It is estimated that during his lifetime, Wesley penned more than 9,000 poems of a spiritual nature, 6,000 of which are hymns. What really set Charles apart from other hymn writers was his effective use of scriptural allusions, providing a spiritual roadmap whereby individuals could imagine a Christ-centered life. His writings were passionate and well-crafted, conveying the true essence of Christian teaching.  

A substantial number of his writings were completed while riding on horseback to his evangelical meetings.  Scholars suggest that he was able to compose about 10 lines of verse daily for 50 years. Charles’ brother John sometimes served as editor to his hymns. John’s typical response was, “some were good, some were mediocre, and some were exceptional.” John can also be credited with improving the sing-ability of Charles’ hymns.

Both John and Charles were instrumental in changing the spiritual environment of Britain during the 18th century. In doing so, they formed the bedrock of what Methodism has become worldwide. Their unwavering devotion to expressing Christian spirituality through hymns has impacted individuals across all denominational lines.  We are fortunate to be the recipients of the poetic genius of Charles Wesley. He influenced Methodism more than any other hymn writer. Upon hearing of Charles’ death, an elderly Londoner asked, “Who will write poetry for us now?” 

“Love Divine, All Loves Excelling” was first published in a collection of hymns entitled Hymns for those that Seek, and those that Have, Redemption in the Blood of Christ (1747). The incipit (opening line) was a play on the opening line of John Dryden’s (1631-1700) poem “Fairest Isle, All Isles Excelling” set to music by Henry Purcell (1659-1695) in the generation before Charles Wesley was born.  The hymn is written around a progression of thoughts: (1) our prayers for the Holy Spirit, (2) praying for the return of our Lord through the second coming, and (3) prayers for the finalization of his new creation.

Stanza 2 expresses the Wesleyan concept of the “second rest.” When Charles referred to this in his hymns, it specifically applies to the “second birth,” “second blessing,” “second gift.” All of these are directed toward achieving full “sanctification” or “Christian perfection.” This is an important theological tenet of Methodist preaching from the very beginning.

There is no better way of describing the culmination of adhering to the biblical teachings of Christ, than in stanza four of this hymn. Wesley’s phrase, “changed from glory into glory” is almost a direct quotation from 2 Corinthians 3:18 (KJV). Wesley describes that day in heaven when “we take our place, till we cast our crowns before thee, lost in wonder, love, and praise.”

After receiving an education in Germany, John Zundel (1815-1882) went to St. Petersburg, Russia, where he served as organist of St. Anne Lutheran Church and was bandmaster of the imperial horse guards. He came to New York in 1847 and became the organist at Plymouth Congregational Church in Brooklyn (1850-1878). Henry Ward Beecher, the famous abolitionist preacher, was pastor of that congregation, and their joint ministry caused the Plymouth Church to become well known for its preaching, organ playing, and congregational singing. Dissatisfied with existing hymnals, Beecher asked Zundel to help compile several new hymnals. Temple Melodies (1851) and the Plymouth Collection of Hymns (1855) were the result. Zundel provided twenty-eight hymns tunes for the Plymouth Collection. He also published The Choral Friend (1855), Psalmody (1855), and Christian Heart Songs, and he edited the Monthly Choir and Organ Journal until his retirement in Germany in 1880.  John Zundel's BEECHER (named after Henry Ward Beecher, his pastor) was first published in his Christian Heart Songs (1870) as a setting for Charles Wesley's "Love Divine, All Loves Excelling". 

Have Thine Own Way, Lord

Jeremiah 18:3-6 sets the scene for this hymn:  "Then I went down to the potter's house, and, behold, he wrought a work on the wheels. And the vessel that he made of clay was marred in the hand of the potter: so he made it again another vessel, as seemed good to the potter to make it. Then the word of the LORD came to me, saying, O house of Israel, cannot I do with you as this potter? saith the LORD. Behold, as the clay is in the potter's hand, so are ye in mine hand, O house of Israel."

The hymn was inspired in 1902 by a simple prayer of an elderly woman at a prayer meeting: "It really doesn't matter what you do with us, Lord -- just have your way with our lives . . .."   The author, Adelaide A. Pollard (1862-1934) was born in Iowa.  She moved to Chicago where she became a teacher in girls' schools. In addition, she developed a fine reputation as an itinerant Bible study teacher. Later, she worked with two evangelists, one who developed a healing ministry, and the other who focused on the imminent return of Christ.  Pollard had a strong desire to be a missionary in Africa. When this plan was not fulfilled, she taught at a Missionary Training School at Nyack-on-the-Hudson. She finally made it to Africa for a brief period before World War I, but she spent the war years in Scotland. After returning to the United States, she continued her ministry even though she was in poor health.

"Have Thine Own Way, Lord" was composed during a time when Miss Pollard was trying to raise funds to make a trip to Africa. Her unsuccessful attempt to do this left her experiencing a "distress of soul." This crisis of the soul and the simple prayer of an elderly lady provided a setting for personal reflection on the will of God for her life. After the prayer meeting, she returned home and wrote the hymn as we sing it today.

Five years later George Stebbins wrote a tune titled ADELAIDE to accompany the text.  The text with its tune ADELAIDE was included in the Northfield Hymnal with Alexander's Supplement (1907).