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:
Now Thank We All Our God - Jeffrey Honore
Martin Rinkart (1586-1649) was the Bishop of Eilenberg, Germany during the Thirty Years’ War. Since Eilenberg was a walled city, it became a place of refuge for fugitives of the war, and also a place of famine and disease due to overcrowding. In 1637, at the height of their misery, Rinkart was the only clergyman left in the city who could perform the 40 or 50 daily burial services, one of which was for his wife. The city was sacked three times by invaders. During this time, Rinkart managed to write 7 dramas and 66 hymns. The hymn “Nun danket alle Gott” was originally titled “Tisch-Gebetlein” (a little prayer before the meal). This humble prayer of thanksgiving is laid out simply and beautifully in the first verse. This verse of thanks is followed by a verse asking for strength in time of trial and a doxology. The tune, “Nun Danket” is named for Rinkart's text, has been associated with it ever since they were published together by Johann Crüger (1598-1662) in his Praxis Pietatis Melica (1647).
Now thank we all our God with heart and hands and voices,
Who wondrous things has done, in whom the world rejoices;
Who from our mothers’ arms has blessed us on our way
With countless gifts of love, and still is ours today.
Who wondrous things has done, in whom the world rejoices;
Who from our mothers’ arms has blessed us on our way
With countless gifts of love, and still is ours today.
O may this bounteous God through all our life be near us,
With ever joyful hearts and blessed peace to cheer us,
To keep us in His grace, and guide us when perplexed,
And free us from all ills in this world and the next.
With ever joyful hearts and blessed peace to cheer us,
To keep us in His grace, and guide us when perplexed,
And free us from all ills in this world and the next.
All praise and thanks to God the Father now be given,
The Son and Spirit blest, who reign in highest heaven
The one eternal God, whom heaven and earth adore;
For thus it was, is now, and shall be evermore.
The Son and Spirit blest, who reign in highest heaven
The one eternal God, whom heaven and earth adore;
For thus it was, is now, and shall be evermore.
Jeffrey Honoré has served as a choir director in churches of many different denominations and worked as an organist, trombonist and voice teacher. He is the liturgical music director of St. Matthias Parish in Milwaukee, Wisconsin and directs the archdiocesan choir. Jeffrey received the Vatican II Award for Distinguished Service in 1999.
Praise God, from Whom All Blessings Flow - John Ferguson
During the preparation and celebration of Thanksgiving this month, hymns of praise and thanksgiving are meaningful as we, through music, lead our congregations to focus on our gratefulness for what God has given us. The church has a rich repertoire of hymns for this season, but a beautiful starting point is the familiar doxological hymn, “Praise God, from Whom All Blessings Flow,” by Bishop Thomas Ken (1637-1711).
From Hertfordshire, Ken was orphaned as a child and raised by his sister Anna and her husband Izaak Walton. They enrolled him in the all-boys school at Winchester College (1651-1656), and after his education there, he attended Hart Hall, Oxford, and New College, Oxford (BA 1661, MA 1664). He was ordained as an Anglican priest in 1662, served as Rector to several parishes, and as a Chaplain to Princess Mary of Orange (1679-80), King Charles II (1683), and the Tangier Expedition (1683-84). In 1685, he was appointed Bishop of Bath and Wells. During the reign of King James II, he was imprisoned in the Tower of London for refusing to sign the Declaration of Indulgence. Ken was acquitted of the charge, but when King William III ascended to the throne Ken refused to swear loyalty to him, he resigned his office and lived the rest of his life at the home of his friend, Lord Weymouth, at Longleat, Wilshire.
The original date of composition by Ken for the text of “Praise God from Whom All Blessings Flow” is unknown, but the first mention of the hymn is in 1674 as the presumed final stanza of two longer hymns: “Awake, My Soul and with the Sun” and “Glory to Thee, My God, This Night.” These two hymns were referenced along with a third as Morning, Evening and Midnight hymns in a pamphlet written for his students titled A Manual of Prayers For the Use of the Scholars of Winchester College, which was accompanied by the directive: “Be sure to sing the Morning and Evening Hymn in your chamber devoutly, remembering that the Psalmist, upon happy experience, assures you that it is a good thing to tell of the loving kindness of the Lord early in the morning and of his truth in the night season.” This directive is most often interpreted to mean that the hymns were meant for private devotion, not the gathered assembly, and yet these four lines, often referred to as The Lesser Doxology, have “been sung more often than any other lines ever written.” The hymn texts were published later as an appendix in his 1695 pamphlet as ‘revised’ versions.
Much of beauty of these four lines lies in its reflection of the joyous outbursts of the Psalms. Here we see both the ‘host’ of heaven and the ‘creatures here below’ of earth praising God as in Psalm 96:11-12a and the final jubilant line of Psalm 150:6:
Let the heavens be glad, and let the earth rejoice; let the sea roar, and all that fills it; let the field exult, and everything in it.
(Psalm 96: 11-12a, NRSV)
Let everything that breathes praise the Lord! Praise the Lord! (Psalm 150:6, NRSV)
The Trinitarian structure of Ken’s hymn has also led to its common liturgical use. The first line describes the person of God the Father as the source of all blessings (Ephesians 1:3, 2 Corinthians 1:3). The second line, though, speaks to God the Spirit through whom all creatures praise God (Psalm 104:24-30, 1 Corinthians 2:10-13). The third line points to God the Son who is begotten of the Father, firstborn of heaven and superior to angels and the heavenly host (Hebrews 1:4). The fourth line summarizes the stanza and all of praise in general, since all praise is directed toward God, Father, Son, and Holy Spirit.
The United Methodist Hymnal pairs this text with the hymn tune OLD 100th, which is attributed to Louis Bourgeois (c. 1510-59). "Old Hundredth" is a hymn tune from Pseaumes Octante Trois de David (1551) (the second edition of the Genevan Psalter) and is one of the best known melodies in all Christian musical traditions.
Awake, my soul, and with the sun
thy daily stage of duty run;
shake off dull sloth, and early rise
to pay thy morning sacrifice.
Lord, I my vows to Thee renew.
Disperse my sins as morning dew;
guard my first springs of thought and will,
and with Thyself my spirit fill.
Direct, control, suggest, this day,
all I design or do or say,
that all my pow'rs, with all their might,
in Thy sole glory may unite.
Praise God, from whom all blessings flow;
praise Him all creatures here below;
praise Him above, ye heav'enly host;
praise Father, Son, and Holy Ghost.
———————
Glory to thee, my God, this night,
for all the blessings of the light:
keep me, O keep me, King of kings,
beneath thine own almighty wings.
Forgive me, Lord, for thy dear Son,
the ill that I this day have done;
that with the world, myself, and thee,
I, ere I sleep, at peace may be.
Teach me to live, that I may dread
the grave as little as my bed;
teach me to die, that so I may
rise glorious at the awful day.
O may my soul on thee repose,
and with sweet sleep mine eyelids close;
sleep that shall me more vigorous make
to serve my God when I awake.
When in the night I sleepless lie,
my soul with heavenly thoughts supply;
let no ill dreams disturb my rest,
no powers of darkness me molest.
Praise God, from whom all blessings flow;
praise him, all creatures here below;
praise him above, ye heavenly host:
praise Father, Son, and Holy Ghost.
John Allen Ferguson (b. 1941) is an American organist, teacher, and composer. Ferguson is probably best known for his many choral compositions. He has also published alternate accompaniments and festival arrangements for organ, brass, and percussion of hymns and Lutheran liturgy, and has appeared on several recordings. He has more than 100 titles to his credit. Ferguson earned a B.M. from Oberlin Conservatory of Music, an M.M. from Kent State University, and a D.M.A. from the Eastman School of Music, where he studied with Russell Saunders. Ferguson is a well-respected organ teacher and leader of congregational singing via the organ. He has been invited as a visiting professor by the faculties of the University of Notre Dame and the Yale Institute of Sacred Music.
Long associated with the Holtkamp Organ Company, Ferguson's doctoral dissertation was on the work of Walter Holtkamp Sr. "Walter Holtkamp: American Organ Builder" was published in 1979 by Kent State University Press. He also served as music editor of the United Church of Christ Hymnal, published in 1974. He worked as both professor of music at Kent State University and organist-choirmaster at Kent United Church of Christ until 1978. He later worked as the director of music at Central Lutheran Church in Minneapolis, Minnesota. In 1983 he became the Elliot & Klara Stockdahl Johnson professor of organ and church music at St. Olaf College, Northfield, Minnesota, and later became the conductor of the St. Olaf Cantorei.
Rockwell for the 21st Century
About the Piano Music:
Morning Songs - Paul Tate
Reginald Heber (1783-1826) wrote “Holy, Holy, Holy” for Trinity Sunday, the day for which lectionary in the Church of England's Book of Common Prayer prescribes the reading of Revelation 4. Using reverent and apocalyptic language, "Holy, Holy, Holy!" alludes to Revelation 4:6-11; 5:13; 15:2-4; and Isaiah 6:1-3 to sing the great majesty of the triune God. Note the cosmic scope of the text: human beings (st. 1), saints and angels in glory (st. 2), and all creation (st. 4) praise the name of the Lord. Though God's holiness, love, and purity are cloaked in mystery, we can still experience God's mercy and mighty power, and we can participate in praising God. It references the Sanctus, which is often called the "Holy holy holy" in English. The name is a tribute to the First Council of Nicaea which formalized the doctrine of the Trinity in 325.
It was first published in the third edition (1826) of A Selection of Psalms and Hymns for the Parish Church of Banbury and was also published posthumously in Heber's Hymns Written and Adapted to the Weekly Church Services of the Year (1827). The unusual single rhyme (all on the "ee" sound) and the uneven number of syllables in some lines have not detracted from the hymn's popularity. It was soon adopted by hymn-book compilers, and is the best known and most widely used of the author's hymns.
Holy, holy, holy! Lord God Almighty!
Early in the morning our song shall rise to Thee;
Holy, holy, holy, merciful and mighty!
God in three Persons, blessed Trinity!
Holy, holy, holy! All the saints adore Thee,
Casting down their golden crowns around the glassy sea;
Cherubim and seraphim falling down before Thee,
Who was, and is, and evermore shall be.
Holy, holy, holy! Though the darkness hide Thee,
Though the eye of sinful man Thy glory may not see;
Only Thou art holy; there is none beside Thee,
Perfect in pow’r, in love, and purity.
Holy, holy, holy! Lord God Almighty!
All Thy works shall praise Thy Name, in earth, and sky, and sea;
Holy, holy, holy; merciful and mighty!
God in three Persons, blessed Trinity!
"Morning Has Broken" was first published in 1931 in Songs of Praise. It was written by English author Eleanor Farjeon (1881-1965) and set to a traditional Scottish Gaelic tune known as "Bunessan". . In Songs of Praise Discussed, the editor, Percy Dearmer, explains that as there was need for a hymn to give thanks for each day, English poet and children's author Eleanor Farjeon had been "asked to make a poem to fit the lovely Scottish tune". A slight variation on the original hymn, also written by Eleanor Farjeon, can be found in the form of a poem contributed to the anthology Children's Bells, under Farjeon's new title, "A Morning Song (For the First Day of Spring)", published by Oxford University Press in 1957. English pop musician and folk singer Cat Stevens (known as Yusuf Islam since 1978) included a version on his 1971 album “Teaser and the Firecat”. The song became identified with Stevens when it reached number six on the US “Billboard” Hot 100 and number one on the US easy listening chart in 1972.
Morning has broken like the first morning. Blackbird has spoken like the first bird.
Praise for the singing, Praise for the morning,
Praise for them springing fresh from the Word.
Sweet the rain's new fall, sunlit from heaven, Like the first dewfall on the first grass.
Praise for the sweetness of the wet garden Sprung in completeness where His feet pass.
Mine is the sunlight. Mine is the morning Born of the one light Eden saw play.
Praise with elation, praise ev'ry morning. God's recreation of the new day.
Morning has broken like the first morning. Blackbird has spoken like the first bird.
Praise for the singing, Praise for the morning,
Praise for them springing fresh from the Word.
Paul A. Tate, a graduate of the University of Georgia, is a professional musician living in Sugar Hill, Georgia. As an active workshop presenter and concert performer, Paul has released a dozen recordings and published over 100 original songs and arrangements. His liturgical compositions appear in a number of hymnal resources, and his voice has been heard around the world on Sirius Satellite Radio.
About the Choral Music:
We Bring Our Thanks - Ruth Elaine Schram
Ruth Elaine Schram wrote her first song at the age of twelve, and her first octavo was published twenty years later, in 1988. In 1992, she became a full-time composer and arranger and now has over 2,000 published works. Over seventeen million copies of her songs have been purchased in their various venues, and she has been a recipient of the ASCAP Special Award each year since 1990. In addition to her choral music for church and school choirs, her songs appear on thirty albums (four of which have been Dove Award Finalists) and numerous children's videos, including sixteen songs on four gold videos, and four songs on one multi-platinum video. Her songs have also appeared on such diverse television shows as "The 700 Club" and HBO's acclaimed series "The Sopranos.” Schram began piano and theory lessons at the age of five. She studied music at Lancaster Bible College and Millersville State College and taught Elementary Music in Pennsylvania for several years. She now lives in Birmingham, Alabama.
J. Paul Williams (1937-2010) wrote the lyrics to this anthem. He made notable contributions to the field of church music. A leader of choral clinics and composer symposiums, he was also a member of the American Society of Composers and Publishers (ASCAP). Williams was born in Oklahoma City, where he was a member of Capitol Hill Baptist Church in Oklahoma City until he left for college. Williams admired the church’s minister of music, and he decided to pursue that career, even though he had never had a music lesson of any kind before attending college. He attended Oklahoma Baptist University (OBU) in Shawnee, Oklahoma, where he was selected to sing in the Bison Glee Club. He began his career as a minister of music full time at Highland Hills Baptist Church in San Antonio, Texas, where he initiated a program of graded choirs. After writing music for use in his choir program for several years, he began to be published in 1963. Williams received his master’s degree in composition and theory at Southwestern Baptist Theological Seminary in Fort Worth, Texas, in 1969; during his degree program, he served part time at First Baptist Church in Quanah, Texas. After graduating from seminary, he spent two years working as a salesman for Thermacor Pipe Company before returning to church work, serving as music and youth minister at Southcrest Baptist Church in Lubbock, Texas. After serving that church for four years, the family moved to Little Rock (Pulaski County) to serve Calvary Baptist Church, until 1992, when he resigned from the church to write lyrics on a freelance basis. Williams had more than 900 published songs at the time of his death, and twenty-five more of his songs have been published posthumously.
We are Your children, Lord. We bring our thanks to You.
For every blessing, Lord, for every gift from You,
For sun and rain, for fields of grain,
In humble gratitude, we bring our thanks to you.
We are Your children, Lord. We bring our thanks to You.
For every blessing, Lord, for every gift from You,
For budding flower, for gentle shower,
In humble gratitude, we bring our thanks to You.
For every good and perfect gift is from above,
Sent to the earth from the Father with love.
He freely gives of His wealth, gives us life, gives us health.
In humble gratitude, we bring our thanks to You.
We are Your children, Lord. We bring our thanks to You.
And in Your presence, Lord, here in this holy room,
In joyful praise, our hearts we raise.
In humble gratitude, we bring our thanks to You.
We are Your children, Lord. We bring our thanks to You.
About the Hymns:
We Gather Together
"We Gather Together" is a Christian hymn of Dutch origin written in 1597 by Adrianus Valerius as "Wilt heden nu treden" to celebrate the Dutch victory over Spanish forces in the Battle of Turnhout. At the time the hymn was written, the Dutch were engaged in a war of national liberation against the Catholic King Philip II of Spain. “Wilt heden nu treden” resonated because under the Spanish King, Dutch Protestants were forbidden to gather for worship. The hymn first appeared in print in a 1626 collection of Dutch patriotic songs, Nederlandtsch Gedencklanck. The hymn is customarily performed to a tune known as “Kremser”, from Eduard Kremser's 1877 score arrangement and lyric translation of “Wilt Heden Nu Treden” into Latin and German. The modern English text was written by Theodore Baker in 1894. “We Gather Together” first appeared in an American hymnal in 1903. It had retained popularity among the Dutch, and when the Dutch Reformed Church in North America decided in 1937 to abandon the policy that they had brought with them to the New World in the 17th century of singing only psalms and add hymns to the church service, "We Gather Together" was chosen as the first hymn in the first hymnal. The hymn steadily gained popularity, especially in services of Thanksgiving on such occasions as town and college centennial celebrations. The "big break" came in 1935 when it was included in the national hymnal of the Methodist-Episcopal Church. This hymn is often sung at American churches the day before Thanksgiving.
Come, Ye Thankful People, Come
“Come, Ye Thankful People, Come” is considered to be one of the most choice Thanksgiving hymns in all of hymnody. It was written or the English harvest festivals, a movable feast varying with the harvest time in the various villages. Its author, Henry “Dean” Alford (1810-1871), is generally regarded as one of the most gifted Christian leaders of the nineteenth century, distinguishing himself as a theologian, scholar, writer, poet, artist, and musician. It was as a Greek scholar that he attained his greatest distinction. His four-volume edition of the Greek Testament, on which he labored for twenty years, became the standard critical commentary of the later nineteenth century. As a member of the new Testament Revision Committee, he made a notable contribution to biblical knowledge on both sides of the Atlantic. Hymnology was one of Henry Alford’s major interests, and he translated and composed numerous hymns, which he published in hi Psalms and Hymns (1844), The Year of Praise (1867), and Poetical Works (1852 and1868). Of these many works, only “Come, Ye Thankful People, Come” is still in general use. The hymn first appeared in Alford’s Psalms and Hymns, in 1844. It was originally titled “After Harvest” and was accompanied by the text “He that goeth forth and weepeth, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him” (Psalm 126:6). The hymn originally contained seven stanzas, but only four have remained in common usage. It is said that at the end of a hard day’s work, as well as after every meal, it was customary practice for Dean Alford to stand to his feet and give thanks to God for the blessings just received or enjoyed during the day. This spirit of perpetual gratitude is clearly evidenced throughout this hymn.
The composer of this tune, “St. George’s, Windsor”, was George J. Elvey, who served as the organist for forty-seven years at the historic, royal chapel at Windsor Castle in England. He originally composed the music for James Montgomery’s text “Hark! the Song of Jubilee,” published in E. H. Throne’s Selection of Psalms and Hymn Tunes in 1858. In 1861, this tune first appeared wedded to Henry Alford’s text in the well-known Anglican Church hymnal, Hymns Ancient and Modern. It has found a place in nearly every published hymnal to the present time. George Elvey was knighted by Queen Victoria, in 1871, for his many years of faithful service to the royal family as well as for his various musical publications, including several oratorios, anthems, and collections of service music.
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