March 17, 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:

Fantasy on “St. Patrick’s Breastplate” - Joseph Clokey

St. Patrick's Breastplate is a popular prayer attributed to one of Ireland’s most beloved patron saints. According to tradition, St. Patrick wrote it in 433 A.D. for divine protection before successfully converting the Irish King Leoghaire and his subjects from paganism to Christianity.  More recent scholarship suggests its author was anonymous. In any case, this prayer certainly reflects the spirit with which St. Patrick brought our faith to Ireland! St. Patrick's Breastplate, also known as The Lorica of Saint Patrick was popular enough to inspire a hymn based on this text as well. (This prayer has also been called The Cry of the Deer.) 

The prayer is part of the Liber Hymnorum, a collection of hymns found in two manuscripts kept in Dublin and published in 1903 in the Thesaurus Paleohibernicus. The document gives this account of how Saint Patrick used this prayer:  Saint Patrick sang this when an ambush was laid against his coming by Loegaire, that he might not go to Tara to sow the faith. And then it appeared before those lying in ambush that they (Saint Patrick and his monks) were wild deer with a fawn following them.  The description concludes "fáeth fiada a hainm", which the Thesaurus Paleohibernicus translates as "Its name is 'Deer’s Cry'. However, the phrase 'fáeth fiada' is used elsewhere in Irish mythology to mean a mist of concealment.

If the description above is accurate then the prayer would date from the 5th century – the time of Saint Patrick. Although Christian in content, it shows pre-Christian influence in that it calls for Christ's protection using a lorica (shield or breastplate). Because of this it is also known as the "Lorica of St. Patrick" or as "St. Patrick's Breastplate". On the other hand, this may be a Scripture reference, specifically: Ephesians 6:10–17 ("God's shield to protect me ... from snares of devils"). This prayer outlines Saint Patrick's spirituality and his keen awareness and perception of the battle between good and evil and thus the importance of praying for protection on a daily basis.  Each verse of the prayer begins "Atomruig indiu" "I arise today" or "I bind unto myself today" and this phrase is repeated at the beginning of most of the verses.

And so, today, we celebrate the faith of St. Patrick, who brought Christianity to Ireland - because ’tis St. Paddy’s Day, doncha know.  

I arise today
Through a mighty strength, the invocation of the Trinity,
Through belief in the Threeness,
Through confession of the Oneness
of the Creator of creation.

I arise today
Through the strength of Christ's birth with His baptism,
Through the strength of His crucifixion with His burial,
Through the strength of His resurrection with His ascension,
Through the strength of His descent for the judgment of doom.

I arise today
Through the strength of the love of cherubim,
In the obedience of angels,
In the service of archangels,
In the hope of resurrection to meet with reward,
In the prayers of patriarchs,
In the predictions of prophets,
In the preaching of apostles,
In the faith of confessors,
In the innocence of holy virgins,
In the deeds of righteous men.

I arise today, through
The strength of heaven,
The light of the sun,
The radiance of the moon,
The splendor of fire,
The speed of lightning,
The swiftness of wind,
The depth of the sea,
The stability of the earth,
The firmness of rock.

I arise today, through
God's strength to pilot me,
God's might to uphold me,
God's wisdom to guide me,
God's eye to look before me,
God's ear to hear me,
God's word to speak for me,
God's hand to guard me,
God's shield to protect me,
God's host to save me
From snares of devils,
From temptation of vices,
From everyone who shall wish me ill,
afar and near.

I summon today
All these powers between me and those evils,
Against every cruel and merciless power
that may oppose my body and soul,
Against incantations of false prophets,
Against black laws of pagandom,
Against false laws of heretics,
Against craft of idolatry,
Against spells of witches and smiths and wizards,
Against every knowledge that corrupts man's body and soul;
Christ to shield me today
Against poison, against burning,
Against drowning, against wounding,
So that there may come to me an abundance of reward.

Christ with me,
Christ before me,
Christ behind me,
Christ in me,
Christ beneath me,
Christ above me,
Christ on my right,
Christ on my left,
Christ when I lie down,
Christ when I sit down,
Christ when I arise,
Christ in the heart of every man who thinks of me,
Christ in the mouth of everyone who speaks of me,
Christ in every eye that sees me,
Christ in every ear that hears me.

I arise today
Through a mighty strength, the invocation of the Trinity,
Through belief in the Threeness,
Through confession of the Oneness
of the Creator of creation.

Joseph Waddell Clokey (1890-1960) was an educator, organist and composer of sacred and secular music.  He served as dean of the School of Fine Arts at his alma mater, Miami University and had previously been professor of organ at Miami University (1916–1923) and Pomona College. He was a faculty initiate of Phi Mu Alpha Sinfonia music fraternity, and was responsible for the arrangement of music used in the fraternity's traditions. As an undergraduate, he and Joseph M. Bachelor wrote the first song for the fraternity Phrenocon, which later became Phi Kappa Tau.  He was a National Patron of Delta Omicron, an international professional music fraternity.  When Sesquicentennial Chapel was built at Miami University, the organ loft was named after Clokey.  In 1987, composer John Ness Beck founded the John Ness Beck Foundation in memory of Clokey and Randall Thompson to promote traditional sacred choral music.

Clokey's father (also named Joseph Clokey) was a Presbyterian pastor, and this was certainly an influence on the younger Joseph Clokey's focus on sacred music. He was one of the most widely sung composers in churches during the 1950s.  His work included two symphonies, including the "Dorian" Symphony, two orchestral suites, a string quartet, a cello and violin sonata, twelve choral works in large form, five operas, organ suites, many organ pieces, and more than a hundred published choral works. These include "The Musical Trust," a 1925 ballad about a flautist, a tuba-player, and a drum-and-cymbal combo who cannot make any money on their own so they form a band together. This piece incorporates snatches from familiar American tunes including "Turkey in the Straw," "Ta-ra-ra Boom-de-ay," "The Stars and Stripes Forever," "Dixieland," "Tramp, Tramp, Tramp" and "Columbia, the Gem of the Ocean."

His son, Art Clokey, was the creator of clay animation characters Gumby, Pokey and Davey and Goliath.

Fanfare and Postlude - Janet Correll

Janet Moore Correll (b. 1942) has degrees from the University of Illinois at Champaigne-Urbana.  She is assistant professor of music at Cayuga Community College and organist at Westminster Presbyterian Church, Auburn, New York.

About the Piano Music:

It’s Such a Good Feeling - Fred Rogers

Fred Rogers was the creator of Mister Rogers’ Neighborhood as well as the host of all 895 episodes, the composer of its more than 200 songs, and the puppeteer who imagined 14 characters into being. More importantly, he changed the face of children’s television and transformed the way we think about the inner lives of young children.

Fred McFeely Rogers (1928-2003) earned his bachelor's degree in music composition at Rollins College in Winter Park, Florida in 1951. While a college senior studying music composition at Rollins College, Fred arrived home to see this wonderful new technology in his family’s living room. He instinctively understood the power of the new medium and especially how it could be used to serve children, rather than the slapstick and nonsense that was on the air. From that moment, he knew what he was called to do.

Immediately upon graduation, he was hired by NBC television in New York as an assistant producer for “The Voice of Firestone” and later as floor director for “The Lucky Strike Hit Parade”, “The Kate Smith Hour”, and the “NBC Opera Theatre”. Rogers was married in 1952 to Joanne Byrd, a concert pianist and fellow Rollins graduate.

In November, 1953, at the request of WQED Pittsburgh, the nation's first community-sponsored educational television station, Rogers moved back to Pennsylvania. The station was not yet on the air, and Rogers was asked to develop the first program schedule. One of the first programs he produced was THE CHILDREN'S CORNER. It was a daily, live, hour-long visit with music and puppets and host Josie Carey. Rogers served as puppeteer, composer, and organist. In 1955, THE CHILDREN'S CORNER won the Sylvania Award for the best locally produced children's program in the country. It was on THE CHILDREN'S CORNER that several regulars of today's MISTER ROGERS' NEIGHBORHOOD made their first appearances -- among them, Daniel Striped Tiger. X the Owl, King Friday XIII, Henrietta Pussycat, and Lady Elaine Fairchilde.

During off-duty hours, Rogers attended both the Pittsburgh Theological Seminary and the University of Pittsburgh's Graduate School of Child Development. He graduated from the Seminary and was ordained as a Presbyterian minister in 1963 with a charge to continue his work with children and families through the mass media. Later that year, Rogers was invited to create a program for the CBC program in Canada, which the head of children's programming there dubbed MISTEROGERS. It was on this series that Rogers made his on-camera debut as the program's host. When he and his wife and two sons returned to Pittsburgh in 1966, he incorporated segments of the CBC into a new series which was distributed by the Eastern Educational Network. This series was called MISTER ROGERS' NEIGHBORHOOD. With graduate studies in child development as well as his divinity degree, Fred was well-prepared to speak directly to his pre-school audience.  “I’ll never forget the sense of wholeness I felt when I finally realized, after a lot of help from a lot of people, what, in fact, I really wasn’t. I was not just a songwriter or a language buff or a student of human development or a telecommunicator, but someone who could use every talent that had ever been given to me in the service of children and their families.” 

In 1968 it was made available for national distribution through the National Educational Television (NET) which later became Public Broadcasting Service (PBS).  In 1969, he famously testified before a Senate subcommittee that was considering cutting funding for public television. Senator John Pastore was in charge of the proceedings, and after two days of hearings, he remained distinctly unimpressed. Then Fred spoke.

In 1968, Rogers was appointed Chairman of the Forum on Mass Media and Child Development of the White House Conference on Youth. Besides two George Foster Peabody Awards, Emmys, "Lifetime Achievement" Awards from the National Academy of Television Arts and Sciences and the TV Critics Association, Fred Rogers received every major award in television for which he is eligible and many others from special-interest groups in education, communications, and early childhood. In 1999, he was inducted into the Television Hall of Fame. His life and work have been the subject of feature articles in national publications, including LIFE, Reader's Digest, Parents, Esquire, Parade, and TV Guide. In 2002, President George W. Bush presented him with the Presidential Medal of Freedom, the nation's highest civilian honor, recognizing his contribution to the well-being of children and a career in public television that demonstrates the importance of kindness, compassion and learning. On January 1, 2003, in his last public appearance, Fred Rogers served as a Grand Marshal of the Tournament of Roses Parade, and tossed the coin for the Rose Bowl Game.

Fred Rogers was the composer and lyricist of over 200 songs, the author of numerous books for children.  His last book, The Mister Rogers Parenting Book, was praised by Publishers Weekly for the "qualities of warmth and attentiveness that translate very well into this brief yet thorough parenting guide.”  Fred Rogers received more than 40 honorary degrees from colleges and universities, including Yale University, Hobart and William Smith, Carnegie Mellon University, Boston University, Saint Vincent College, University of Pittsburgh, North Carolina State University, University of Connecticut, Dartmouth College, Waynesburg College, and his alma mater, Rollins College.

Fred was chairman of Family Communications, Inc. the nonprofit company that he formed in 1971 to produce MISTER ROGERS' NEIGHBORHOOD and that has since diversified into non-broadcast materials that reflect the same philosophy and purpose: to encourage the healthy emotional growth of children and their families. MISTER ROGERS' NEIGHBORHOOD is the longest- running program on public television. Today Family Communications, Inc. is called The Fred Rogers Company in honor of its founder. 

It’s such a good feeling To know you’re alive.

It’s such a happy feeling: You’re growing inside.

And when you wake up ready to say,

“I think I’ll make a snappy new day.”

It’s such a good feeling, A very good feeling,

The feeling you know You’re alive.

It’s such a good feeling to know you’re in tune.

It’s such a happy feeling to find you’re in bloom.

And when you wake up ready to say,

“I think I’ll make a snappy new day.
It’s such a good feeling, a very good feeling,

The feeling you know that we’re friends.

It’s such a good feeling to be with family and friends.

It’s such a happy feeling when they lend you a hand.

You wake up ready to say,

“I think I’ll make a snappy new day.”

It’s such a good feeling, A very good feeling.

A good feeling, a feeling you know.

About the Choral Music:

Fairest Lord Jesus – Craig Courtney

“Beautiful Savior” is thought to have originated as early as 1607, possibly written by German Jesuits, and called “Schönster Herr Jesu“. It first appeared in print in 1677, in the Münster Gesangbuch, with author unknown. It was translated and the fourth stanza was added by Lutheran pastor and theologian, Joseph A. Seiss in 1873.  Originally this song was most likely sung to a Gregorian Chant by the Jesuit monks. The music that was most popular with 17th Century German peasants was a tune from an ancient Silesian folk song.  The tune and the German text were printed together for the first time in 1842 by August Heinrich Hoffmann von Fallersleben and Ernst Richter under the name “Schönster Herr Jesu” (Most beautiful Lord Jesus). In 1850 the Danish hymnwriter B. S. Ingemann wrote “Dejlig Er Jorden”, which he set to the same melody. An English translation by Jens C. Aaberg was published as “Fair Is Creation”.  Apart from their musical setting, the Danish and German lyrics are unrelated.  According to some accounts, “Fairest Lord Jesus” is called "Crusader's Hymn" because it was sung by German Crusaders as they made their way to the Holy Land.

Fairest Lord Jesus, Ruler of all nature,
O Thou of God and man the Son,
Thee will I cherish, Thee will I honor,
Thou, my soul’s glory, joy and crown.

Fair are the meadows, fairer still the woodlands,

Robed in the blooming garb of spring:

Jesus is fairer, Jesus is purer,

Who makes the woeful heart to sing.

Fair is the sunshine, fairer still the moonlight,

And all the twinkling starry host;

Jesus shines brighter, Jesus shines purer

Than all the angels heaven can boast.

Beautiful savior!  Lord of all the nations!

Son of God and Son of Man!

Glory and honor, praise, and adoration,

Now and forevermore be Thine!

Amen.

A native of Indiana, Craig Courtney received a Bachelors and a Masters degree in piano performance from the University of Cincinnati. He served on the faculty of the Mozarteum in Salzburg, Austria, serving as piano teacher and accompanist for the woodwind and brass department. While serving in the music ministry of the Salzburg International Baptist Church, Courtney began composing sacred choral music. In 1985, his compositions came to the attention of John Ness Beck through the publication of his octavo, Thy Will Be Done, initiating a close working relationship between the two men which continued until Beck’s death in 1987. In making plans for the ongoing of Beckenhorst Press, Beck appointed Craig Courtney staff composer and editor. Courtney’s published works include more than two hundred choral octavos, nine vocal collections, two piano solo collections and six extended works for choir and orchestra. Courtney combines his background as pianist, cellist, vocal coach, accompanist and choral director to create works in his unique style.   

About the Hymns:

Great is Thy Faithfulness

A native of the small Kentucky town of Franklin, Thomas Obediah Chisholm (1866-1960) was born in a log cabin. He lacked formal education. Nevertheless, he became a teacher at age sixteen and the associate editor of his hometown weekly newspaper, the “Franklin Advocate”, at age twenty-one.  Though he was ordained a Methodist minister in 1903, he served only a single, brief appointment at Scottsville, Kentucky, due to ill health.  He wrote more than 1200 poems, 800 of which were published. They often appeared in religious periodicals such as the “Sunday School Times”, “Moody Monthly”, and “Alliance Weekly”. Many of these were set to music.

Chisholm had sent a number of his poems to the Rev. William H. Runyan (1870-1957), a musician with the Moody Bible Institute and one of the editors of Hope Publishing Company in Chicago.  Runyan wrote of the hymn: "This particular poem held such an appeal that I prayed most earnestly that my tune might carry over its message in a worthy way, and the subsequent history of its use indicates that God answered prayer.  It was written in Baldwin, Kansas, in 1923, and was first published in my private song pamphlets."  A phrase in Lamentations 3:22-23 provides a basis for the refrain: "The steadfast love of the Lord never ceases, his mercies never come to an end; they are new every morning; great is your faithfulness."  

George Beverly Shea (1909-2013), the famous Canadian-born singer of the Billy Graham Crusades, introduced this hymn to those attending the evangelistic meetings in Great Britain in 1954.  It immediately became a favorite.  This hymn appeared in many evangelical hymnals and song collections but was not chosen for an official Methodist hymnal until The United Methodist Hymnal (1989), even though the author was a Methodist.  It was a very popular hymn of the former Evangelical United Brethren Church and had been included in their hymnals.

According to Carlton Young, "Great is thy faithfulness" was second only to "In the garden" as the most requested hymn for inclusion in The United Methodist Hymnal. A survey conducted in 2000 by Dean McIntyre, Director of Music Resources, General Board of Discipleship, revealed that "Great is thy faithfulness" remains one of the favorite hymns among United Methodists.

Be Thou My Vision

"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.