January 20, 2019

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:

If Thou but Suffer in God to Guide Thee - Sigfrid Karg-Elert

Georg Neumark (1621-1681) lived during the time of the Thirty Years' War, when social and economic conditions were deplorable. He had personal trials as well. On his way to Konigsberg to study at the university, traveling in the comparative safety of a group of merchants, he was robbed of nearly all his possessions. During the next two years he spent much of his time looking for employment. He finally secured a tutoring position in Kiel. When he had saved enough money, he returned to the University of Konigsberg and studied there for five years. In Konigsberg he again lost all his belongings, this time in a fire. Despite his personal suffering Neumark wrote many hymns in which he expressed his absolute trust in God. In 1651 he settled in Weimar, Thuringia, where he became court poet and archivist to Duke Johann Ernst and librarian and registrar of the city. Neumark wrote thirty-four hymns, of which "If You But Trust in God to Guide You" has become a classic.

Neumark wrote this text, literally translated “Who only lets dear God rule”, at age twenty, just after he had finally been able to find employment as a tutor for a judge in Kiel. Neumark was so relieved and grateful to God by his change in circumstance that he wrote this text, saying, “This good fortune, which came so suddenly and, as it were, from heaven, so rejoiced my heart that I wrote my hymn 'Wer nur . . .' to the glory of my God on that first day.”  Written in Kiel, Germany, in 1641, the seven-stanza text (“Wer nur den lieben Gott lasst walten”) had the following heading: "a hymn of consolation, that God will care for and preserve his own in his own time; after the saying 'cast thy burden upon the Lord and He shall sustain thee.' Psalm 55:22." The text was published with the tune, also composed by Neumark, in Fortgepflanzter Musikalisch-Poetischer Lustwald (1657).

Catherine Winkworth  prepared two translations of the original German text: one published in her Lyra Germanica (1855) and one published with substantial revision in her Chorale Book for England (1863), in which the first stanza began "If thou but suffer God to guide thee." Winkworth's revised translation of Neumark's original Stanzas 1, 3, and 7 is the basis for the three stanzas found in the Psalter Hymnal.  A classic German chorale, this fine text focuses on trust in God's care in all of life's circumstances, both prosperous times and "evil days." As Christians we are counseled to be confident (st. 1), to have patience (st. 2), and to be faithful in service (st. 3).  It is #142 in our United Methodist Hymnal.

If thou but suffer God to guide thee And hope in Him through all thy ways,
He'll give thee strength, whate'er betide thee, And bear thee through the evil days.
Who trusts in God's unchanging love Builds on the Rock that naught can move.

Only be still and wait his pleasure in cheerful hope with heart content.

He fills your needs to fullest measure with what discerning love has sent;

doubt not our inmost wants are known to him who chose us for his own.

Sing, pray, and keep his ways unswerving, offer your service faithfully,

and trust his word; though undeserving, you'll find his promise true to be.

God never will forsake in need the soul that trusts in him indeed. 

Sigfrid Karg-Elert (1877-1933) was a German composer of considerable fame in the early twentieth century.  The cultural climate in Germany in the 1920s and 1930s was very hostile to the internationally oriented, French-influenced Karg-Elert; and although his works were admired outside Germany, especially in the U.K. (the Organ Music Society of London held a ten-day festival in his honour in 1930) and in the U.S.A., in his home country his music was almost completely neglected.  Karg-Elert regarded himself as an outsider. Notable influences in his work include composers Johann Sebastian Bach (he often used the B.A.C.H. motif in Bach's honour), Edvard Grieg, Claude Debussy, Max Reger, Aleksandr Scriabin, and early Arnold Schoenberg. In general terms, his musical style can be characterised as being late-romantic with impressionistic and expressionistic tendencies. His profound knowledge of music theory allowed him to stretch the limits of traditional harmony without losing tonal coherence.

Grand Processional - Martin Shaw

Martin Edward Fallas Shaw (1875-1958) was an English composer, conductor and theatre producer. His over 300 published works include songs, hymns, carols, oratorios, several instrumental works, a congregational mass setting and four operas including a ballad opera.

Shaw delighted in describing himself as a cockney, a title he could claim under Samuel Rowlands's definition of one born within the sound of the Bow Bells. He was the son of the Bohemian and eccentric James Shaw, composer of church music and organist of Hampstead Parish Church and  the elder brother of the composer and influential educator Geoffrey Shaw.  He studied at the Royal College of Music, together with a generation of composers that included Holst, Vaughan Williams and John Ireland. He then embarked upon a career as a theatrical producer, composer and conductor, the early years of which he described as "a long period of starving along”.  However, he began his career as an organist, serving at Emmanuel Church, West Hampstead, from 1895 to 1903.

With Gordon Craig, he founded the Purcell Operatic Society in 1899, dedicated to reviving the music of Henry Purcell and other English composers of the period, many of whose works had fallen into long neglect. 

He proposed to Edith Craig, Gordon Craig's sister, in 1903 and was accepted. Edy was a successful, prolific but now largely forgotten theatre director, producer, costume designer and early pioneer of the women's suffrage movement in England. The marriage was prevented by Ellen Terry, out of jealousy, and by Christabel Marshall (Christopher St John), with whom Edith lived from 1899, according to Michael Holroyd in his book A Strange Eventful History (2008).

Shaw then toured Europe as conductor to Isadora Duncan.  During this period he gave music lessons and took posts as organist and director of music, first at St Mary's, Primrose Hill, and later at St. Martin-in-the-Fields, London. He was also master of music at the Guildhouse, London.  In 1918 he co-founded the League of Arts, the Royal School of Church Music and was an early organiser of hymn festivals. In 1932 Shaw received the Lambeth degree of Doctor of Music. He was appointed an OBE in 1955 and was made a Fellow of the Royal College of Music (FRCM) in 1958. 

About the Piano Music:

Guide Me, O Thou Great Jehovah - Marianne Kim

William Williams (1717-1791) is considered by many to be the father of Welsh hymnody.  In 1738, Williams heard a sermon by the revivalist preacher Howell Harris, a fiery Welsh layman who had been influenced by the Methodist movement in England. It was through this sermon that Williams discerned his calling to go into the ministry.  Williams first pursued becoming an Anglican priest (in the Church of Wales) and entered as a deacon in 1740. However, he soon came to discover that his heart was with Harris and his itinerant work, and before long he left his small curacy in the mountains to join with the traveling Methodist preachers.

The revivalists realized that the Welsh language was lacking in hymns—the church in Wales was still primarily singing metrical psalms in their worship services. In order to promote the creation of hymns, Harris put together a hymn-writing competition between the different preachers.  As Louis Benson relates, “the prize fell easily to Williams, who had the poet’s passion and a gift of verse-writing. Therefore it was not very long before he was recognized as poet laureate of the Welsh revival.”

Williams would go on to write many hymns in both Welsh and English. “Guide Me, O Thou Great Jehovah” appeared in Welsh in 1745. Twenty six years later, in 1771, a Rev. Peter Williams translated the first verse into English, prompting William Williams to translate the rest of it into English as well.  It is fitting that Williams should be the author of a hymn about the Christian’s pilgrimage on earth since as a traveling Methodist preacher, he was a pilgrim in both the spiritual and physical sense.

Williams made an extraordinary record as an itinerant evangelist. He took the whole of Wales for his parish. His travels for forty-three years are said to make an average of 2230 miles a year, at a time when there were no railroads and few stage-coaches. In this way the greater part of Williams’ life was spent, not in a preacher’s study, but in the great world of out of doors. 

The popularity of Williams's text ("Guide me, O thou great Jehovah") is undoubtedly aided by its association with CWM RHONDDA, composed in 1905 by John Hughes (b. Dowlais, Glamorganshire, Wales, 1873; d. Llantwit Fardre, Wales, 1932) during a church service for a Baptist Cymanfa Ganu(song festival) in Capel Rhondda, Pontypridd, Wales. Hughes received little formal education; at age twelve he was already working as a doorboy at a local mining company in Llantwit Fardre. He eventually became an official in the traffic department of the Great Western Railway. Much of his energy was devoted to the Salem Baptist Church in Pontypridd, where he served as both deacon and precentor. Hughes composed two anthems, a number of Sunday school marches, and a few hymn tunes, of which CWM RHONDDA is universally known.

At first widely disseminated in leaflet form, CWM RHONDDA gradually was adopted into various hymnals. The tune is named after the valley of the Rhondda River, a coal mining area in Wales. Though composed with simple melodic means, CWM RHONDDA is a vigorous melody in major tonality (contrary to the popular belief that most Welsh tunes are minor). 

Guide me, O my great Redeemer, pilgrim through this barren land;
I am weak, but you are mighty; hold me with your powerful hand.
Bread of heaven, bread of heaven, feed me now and evermore,
feed me now and evermore.

Open now the crystal fountain, where the healing waters flow.
Let the fire and cloudy pillar lead me all my journey through.
Strong Deliverer, strong Deliverer, ever be my strength and shield,
ever be my strength and shield.

    When I tread the verge of Jordan, bid my anxious fears subside.
    Death of death, and hell's Destruction, land me safe on Canaan's side.
    Songs of praises, songs of praises I will ever sing to you,
    I will ever sing to you. 

A Chicago-based composer, pianist, organist, and harpsichordist, Marianne Kim (b. 1972) has been noted for her vibrant performances and compositions in a wide diversity of musical styles, including classical, jazz, Broadway musicals, R&B, and gospel, alongside traditional and contemporary church music.  Born and raised in Korea, Marianne studied piano and composition at Pusan High School of Arts and earned a BM in composition at Pusan National University. After working professionally for more than a decade in the United States, she returned to school and earned dual Masters of Music in jazz studies and organ performance with scholarships and prizes from Northern Illinois University.

About the Choral Music:

Bless the Lord, O My Soul – Glenn Burleigh

Glenn Burleigh (1949-2007) was born into a family of ministers in Guthrie, Okla., Burleigh grew up to be a renowned pianist, conductor and clinician, as well as composer. His music has been performed on every continent in venues ranging from churches to classical concert stages.  His "Alpha Mass" and "Lamentation and Celebration," (dedicated to the victims and survivors of the 1995 Oklahoma City bombing) were recorded by the Choral Arts Society of Racine, Wisconsin.  One of Burleigh's many gifts was his ability to take disparate styles of music such as classical, blues, gospel and jazz, and bring them together.  Burleigh operated his own publishing company in Oklahoma City assisted by his brother, Kenneth. In addition, he served as Director of Music for the National Baptist Congress for five years and as Composer-in-Residence for the Ambassadors’ Concert Choir of Oklahoma City from 1984-2000.  He was inducted into the Oklahoma Jazz Hall of Fame in 2014.

“Bless the Lord, O My Soul” was written in 1993, and the text is based on Psalm 103.

Bless the Lord, O my soul, and all that is within me blessed be His Holy name.

He’ll forgive all our iniquities.  He will heal our diseases.

He’ll redeem us and renew our strength if we bless the Lord.

I will bless the Lord at all times and His praises shall continually be in my mouth.

I will praise his name at all times.  Bless the Lord O my soul.

About the Hymns:

The Summons

One of the most important intentional communities of the 20th and 21st centuries is Scotland’s Iona Community. Founded on the remote Island of Iona in far western Scotland, the community traces its inspiration back to the 6th century, when St. Columba found his way from Ireland and established an outpost from which he evangelized all of Scotland. Eventually, he spread a Celtic form of Christianity that still resonates strongly today. George MacLeod (1895-1991), an iconoclastic spirit, left a popular parish in Glasgow and established the Community in the 1930s to train ministers in engaging the poor working-class people of Glasgow and also in working alongside artisans to rebuild the abandoned Benedictine Abbey on the Island of Iona.

John Bell (b. 1949) grew up in Kilmarnock, a rural town south of Glasgow. He received degrees in arts and theology from the University in Glasgow. He was ordained by the Church of Scotland in 1978 and appointed youth coordinator for the Presbytery of Glasgow. In 1980, he was admitted to membership of the Iona Community, having applied not primarily because it was a place of liturgical innovation, but because it was “a place where the potentials of the socially marginalized as well as the socially successful would be attested.” Since then he has become the international troubadour of the Community, guiding its publications in worship and music, preaching at conferences around the world and composing many songs that enumerate the themes of the Community.

“Will you come and follow me” (called “The Summons” in The Faith We Sing) is perhaps the most famous of Mr. Bell’s hymns. The hymn appeared initially in the first collection of music produced by the Wild Goose Worship Group, Heaven Shall Not Wait: Songs of Creation, the Incarnation, and the Life of Jesus (1987). Characteristic of Mr. Bell’s style, the text is prophetic, using many words not usually found in traditional hymns. “The Summons” of Christ is to a radical Christianity. We are challenged to “leave yourself behind” and to “risk the hostile stare”, “set the prisoner free” and “kiss the leper clean”, and “use the faith you’ve found to reshape the world around”.

The tune is a traditional Scottish ballad entitled KELVINGROVE, named after a section of Glasgow. Mr. Bell often uses traditional melodies from Ireland, Scotland and England for his hymns. These tried and true tunes provide a Celtic flavor. For Mr. Bell, the purpose of congregational singing is to engage people in a fuller participation, to stretch their faith, and to encourage them to live in a manner that reflects justice.

I Have Decided to Follow Jesus

"I Have Decided to Follow Jesus" is a Christian hymn originating from India.  The lyrics are based on the last words of a man in Assam, north-east India, who along with his family was converted to Christianity in the middle of the 19th century through the efforts of a Welsh missionary.  The story, as related by Dr. P.P. Job, an Indian preacher, in His book “Why God Why” is as follows:

At the time, north-east India was not divided into many states as it is today. The region was known as Assam and comprised hundreds of tribes. The tribal communities were quite primitive and aggressive by nature. The tribals were also called head-hunters because of a social custom which required the male members of the community to collect as many heads as possible. A man’s strength and ability to protect his wife was assessed by the number of heads he had collected. Into this hostile and aggressive community, came a group of Welsh missionaries spreading the message of love, peace and hope of Jesus Christ. Naturally, they were not welcomed. One Welsh missionary succeeded in converting a man, his wife, and two children. This man’s faith proved contagious and many villagers began to accept Christianity. Angry, the village chief summoned all the villagers. He then called the family who had first converted to renounce their faith in public or face execution. Moved by the Holy Spirit, the man instantly composed a song which became famous down the years. He sang:  "I have decided to follow Jesus. No turning back, no turning back."

Enraged at the refusal of the man, the chief ordered his archers to arrow down the two children. As both boys lay twitching on the floor, the chief asked, “Will you deny your faith? You have lost both your children. You will lose your wife too.”  But the man sang these words in reply:  "Though no one joins me, still I will follow. No turning back, no turning back."

The chief was beside himself with fury and ordered his wife to be arrowed down. In a moment she joined her two children in death. Now he asked for the last time, “I will give you one more opportunity to deny your faith and live.”  In the face of death the man sang the final memorable lines:  "The cross before me, the world behind me. No turning back, no turning back."

He was shot dead like the rest of his family. But with their deaths, a miracle took place. The chief who had ordered the killings was moved by the faith of the man. He wondered, “Why should this man, his wife and two children die for a Man who lived in a far-away land on another continent some 2,000 years ago? There must be some supernatural power behind the family, and I too want that supernatural power.”  In a spontaneous confession of faith, he declared, “I too belong to Jesus Christ!” When the crowd heard this from the mouth of their chief, the whole village accepted Christ as their Lord and Savior.

The formation of these words into a hymn is attributed to the Indian missionary Sadhu Sundar Singh. The melody is also Indian, and entitled "Assam" after the region where the text originated.   An American hymn editor, William Jensen Reynolds, composed an arrangement which was included in the 1959 Assembly Songbook. His version became a regular feature of Billy Graham's evangelistic meetings in America and elsewhere, spreading its popularity.