August 19, 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:

Amazing Grace – Don Hustad


"Amazing Grace" was written by the English poet and clergyman John Newton (1725–1807).  With the message that forgiveness and redemption are possible regardless of sins committed and that the soul can be delivered from despair through the mercy of God, "Amazing Grace" is one of the most recognizable songs in the English-speaking world.


Newton wrote the words from personal experience. He grew up without any particular religious conviction, but his life's path was formed by a variety of twists and coincidences that were often put into motion by his recalcitrant insubordination. He was drafted into the Royal Navy, and after leaving the service became involved in the Atlantic slave trade. In 1748, a violent storm battered his vessel so severely that he called out to God for mercy, a moment that marked his spiritual conversion. However, he continued his slave trading career until 1754 or 1755, when he ended his seafaring altogether and began studying Christian theology.


Ordained in the Church of England in 1764, Newton became curate of Olney, Buckinghamshire, where he began to write hymns with poet William Cowper. "Amazing Grace" was written to illustrate a sermon on New Year's Day of 1773. It was first printed in 1779 in Newton and Cowper's Olney Hymns, but settled into relative obscurity in England. In the United States however, "Amazing Grace" was used extensively during the Second Great Awakening in the early 19th century. It has been associated with more than 20 melodies, but in 1835 it was joined to a tune named "New Britain" to which it is most frequently sung today.

Amazing grace! How sweet the sound That saved a wretch like me.
I once was lost, but now am found, Was blind but now I see.

Shout, shout for glory, Shout, shout aloud for glory;
Brother, sister, mourner, All shout glory hallelujah.

‘Twas grace that taught my heart to fear, and grace my fears relieved;

How precious did that grace appear the hour I first believed!

Through many dangers toils and snares I have already come,

‘Tis grace hath brought me safe thus far, and grace will lead me home.

The Lord hath promised good to me.  His word my hope secures;

He will my shield and portion be as long as life endures.

When we’ve been there ten thousand years, bright shining as the sun,

We’ve no less days to sing God’s praise than when we’d first begun.

Don Hustad (1918-2013) was one of the giants of Christian music of the 20th century. Hustad had a distinguished ministry and a life-long profession as a recording artist, composer, arranger, teacher, conductor, hymnal editor, and author.  He began work as staff musician of Chicago's WMBI in the early 1940s, worked with soloist George Beverly Shea on a weekly broadcast called "Club Time," and served for some 20 years as organist for a popular radio broadcast "Songs in the Night." He taught at Olivet Nazarene College in Kankakee, Illinois from 1946 to 1950, at which time Hustad was appointed director of the Sacred Music Department at Moody Bible Institute—a position he held until 1961.  During his 11-year tenure at Moody he developed the Moody Chorale into a superior choral ensemble that achieved fame nationally and internationally.   In 1961 he became Crusade organist for the Billy Graham Evangelistic Association and directed the Crusader Men Choir in the "Hour of Decision" broadcasts.  His publications include over 100 articles and five books.  Throughout his career, Hustad devoted considerable energy to music arranging and hymnal editing, serving as editorial consultant and musical advisor to Hope Publishing Company. Among his editorial contributions are fourteen hymnals and songbooks, as well as dozens of collections.  In 1989, Hustad was awarded Fellow of the Hymn Society for his outstanding contribution to American hymnody.  In 2008, he was honored by the American Choral Director's Association Southern Division Conference for his contributions to church music. He earned diplomas as an Associate of the American Guild of Organists (AAGO) and a Fellow of the Royal College of Organists (FRCO), London, UK.

Prelude and Fugue in C Major – Johann Sebastian Bach

Johann Sebastian Bach (1685-1750) was a German composer and musician of the Baroque period.  He enriched established German styles through his skill in counterpoint, harmonic and motivic organization, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France.  Bach's compositions include the Brandenburg concertos, the Mass in B minor, The Well-Tempered Clavier, two Passions, keyboard works, and more than 300 cantatas, of which nearly 100 cantatas have been lost to posterity.  His music is revered for its intellectual depth, technical command, and artistic beauty.  Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognized as a great composer until a revival of interest and performances of his music in the first half of the nineteenth century.  During the late eighteenth and early nineteenth century, Bach was recognized by several prominent composers.  Wolfgang Amadeus Mozart, Ludwig van Beethoven,  Frédéric Chopin, Robert Schumann, and Felix Mendelssohn were among his admirers; they began writing in a more contrapuntal style after being exposed to Bach's music.  Beethoven described him as "Urvater der Harmonie", the "original father of harmony".  He is now generally regarded as one of the main composers of the Baroque period and as one of the greatest composers of all time.  A highly devout Christian, Bach signed all of his compositions “soli Deo Gloria”  (to God alone be the glory).  

This set of eight “small” Preludes and Fugues will be presented through September, as we go

“Bach to School!”

About the Piano Music:

Softly and Tenderly – Johnie Dean

Rebuffed in an ear­ly at­tempt to sell his songs to a com­mer­cial pub­lish­er, Will Lamartine Thomp­son (1847-1909) start­ed his own pub­lish­ing com­pa­ny. He lat­er ex­pand­ed, open­ing a store to sell pi­an­os, or­gans and sheet mu­sic. Both a lyr­i­cist and com­pos­er, he en­sured he would al­ways re­mem­ber words or mel­o­dies that came to him at odd times: "No mat­ter where I am, at home or ho­tel, at the store or tra­vel­ing, if an idea or theme comes to me that I deem wor­thy of a song, I jot it down in verse. In this way I ne­ver lose it."

When the world-re­nowned lay preach­er, Dwight Ly­man Moody, lay on his death bed in his North­field, Mass­a­chu­setts, home, Will Thomp­son made a spe­cial vi­sit to in­quire as to his con­di­tion. The at­tend­ing phy­si­cian re­fused to ad­mit him to the sick­room, and Moody heard them talk­ing just out­side the bed­room door. Re­cog­niz­ing Thomp­son’s voice, he called for him to come to his bed­side. Tak­ing the Ohio po­et-com­pos­er by the hand, the dy­ing evan­gel­ist said, “Will, I would ra­ther have writ­ten “Soft­ly and Ten­der­ly Je­sus is Call­ing” than an­y­thing I have been able to do in my whole life.”

Softly and tenderly Jesus is calling, Calling for you and for me;
See, on the portals He’s waiting and watching, Watching for you and for me.

Come home, come home, You who are weary, come home;
Earnestly, tenderly, Jesus is calling, Calling, O sinner, come home!

Why should we tarry when Jesus is pleading, Pleading for you and for me?
Why should we linger and heed not His mercies, Mercies for you and for me?

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 Choral Music:

He Leadeth Me – Greg Gilpin

Although Joseph Gilmore (1834-1918) became a distinguished university and seminary professor, an author of several textbooks in Hebrew and English literature, and a respected Baptist minister, he is best remembered today for this one hymn, hurriedly written when he was just twenty-eight. Gilmore scribbled down these lines in 1862, while visiting with friends after preaching about the truths of the 23^rd Psalm at the Wednesday evening service of the First Baptist Church in Philadelphia. He left this account:  “At the close of the service we adjourned to Deacon Watson’s pleasant home, where we were being entertained. During our conversation the blessedness of God’s leading so grew upon me that I took out my pencil, wrote the text just as it stands today, handed it to my wife, and thought no more of it.”

Without telling her husband, Mrs. Gilmore sent the verses to the “Watchman and Reflector Magazine”, where it first appeared the following year. Three years later Joseph Gilmore went to Rochester, New York, as a candidate to become the pastor of Second Baptist Church. He recalls:“Upon entering the chapel I took up a hymnal, thinking—I wonder what they sing here. To my amazement the book opened up at “He Leadeth Me,” and that was the first time I knew that my hurriedly written lines had found a place among the songs of the church.

William Bradbury, an important American contributor to early gospel hymnody, added two additional lines to the chorus: “His faithful foll’wer I would be, for by His hand He leadeth me.”

            He leadeth me! O blessed thought! O words with heavenly comfort fraught!

            Whate’er I do, where’er I be, still ‘tis God’s hand that leadeth me.

            And when my talk on earth is done, when, by Thy grace, the victory’s won.

            Death’s cold dark wave I will not flee, since God through Jordan leadeth me.

            He leadeth me, He leadeth me!  By His own hand He leadeth me!

            His faithful follower I would be, for by His hand He leadeth me!

Originally from Missouri, Greg Gilpin resides in Indianapolis, IN. He is a graduate of Northwest Missouri State University with a Bachelor’s Degree in Vocal Music Education, K-12.  Gilpin is a well-known, ASCAP award-winning choral composer and arranger with hundreds of publications to his credit. He is also in demand as a conductor for choral festivals, all-district and all-state choirs and is a member of MENC and ACDA. As Director of Educational Choral Publications for Shawnee Press, Inc., Gilpin oversees creation of the educational music products for this distinguished publisher. He works as a studio musician and producer in the recording industry for commercial jingles, CD projects, Broadway and Disney. He has worked musically with Ray Boltz, Bill and Gloria Gaither, Sandi Patty, David Clydesdale as well as principal pops conductor, Jack Everly and the Indianapolis Symphony Orchestra.

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". 

Depth of Mercy

“Depth of mercy, can there be” is a hymn by Charles Wesley (1707-1788) using the tune Song 13, that was first published in Hymns & Sacred Poems, 1740, and headed "After a Relapse into Sin," in 13 stanzas. In Stevenson's Methodist Hymn Book, and its Associations, 1870-83, is an interesting account of an actress and her change of life through the instrumentality of this hymn: An ac­tress in a town in Eng­land, while pass­ing along the street, heard sing­ing in a house. Out of cur­i­o­si­ty she looked in through the open door and saw a num­ber of peo­ple sit­ting to­ge­ther sing­ing this hymn. She list­ened to the song, and af­ter­wards to a sim­ple but ear­nest pray­er. When she went away the hymn had so im­pressed her that she pro­cured a co­py of a book con­tain­ing it. Read­ing and re-read­ing the hymn led her to give her heart to God and to re­solve to leave the stage. The man­a­ger of the the­a­ter plead­ed with her to con­tin­ue to take the lead­ing part in a play which she had made fa­mous in other ci­ties, and fi­nal­ly he per­suad­ed her to ap­pear at the the­a­ter. As the cur­tain rose the or­ches­tra be­gan to play the ac­com­pa­ni­ment to the song which she was ex­pect­ed to sing. She stood like one lost in thought, and the band, sup­pos­ing her em­bar­rassed, played the prel­ude over a se­cond and a third time. Then with clasped hands she stepped for­ward and sang with deep emo­tion: “Depth of mercy, can there be mercy still reserved for me?” This put a sud­den stop to the per­for­mance; not a few were im­pressed, though many scoffed. The change in her life was as per­ma­nent as it was sin­gu­lar. Soon af­ter she be­came the wife of a min­is­ter of the Gos­pel.