April 14, 2019 - Palm Sunday

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:

Hosanna, Loud Hosanna - Theodore W. Ripper

Like "All Glory, Laud, and Honor", this text is based on Christ's triumphal entry on Palm Sunday. However, "Hosanna, Loud Hosanna" focuses more on the children's role in that event. The text was written by Jeannette Threlfall (1821-1880) in an "idle moment" (as she says she wrote all of her hymns, all others of which have been forgotten). Undoubtedly, Threlfall had Mark 11 in mind when she wrote this text, but she also alludes to Jesus' welcoming of the children in Mark 10:13-16.   Threlfall's life was extremely difficult: she was orphaned at an early age, and two serious accidents caused her to be an invalid for life. But she bore her misfortune with grace and fortitude and maintained a ministry to many people who came in contact with her. Threlfall wrote devotional verse, which was published anonymously in various periodicals and later collected in Woodsorrel, or Leaves from a Retired Home (1856) and Sunshine and Shadow (1873), which included "Hosanna, Loud Hosanna.”

Published in a chapel hymnal for the Duke of Würtemberg (Gesangbuch der Herzogl, 1784), ELLACOMBE (the name of a village in Devonshire, England) was first set to the words "Ave Maria, klarer und lichter Morgenstern." During the first half of the nineteenth century various German hymnals altered the tune. Since ELLACOMBE's inclusion in the 1868 Appendix to Hymns Ancient and Modern, where it was set to John Daniell's children's hymn "Come, Sing with Holy Gladness," its use throughout the English-speaking world has spread. 

Theodore W. Ripper (1925-2009) studied at Carnegie Mellon University in Pittsburgh where he earned a Bachelor of Fine Arts and later a Master of Fine Arts degree. Ripper was University Organist at the University of South Dakota and taught at Carnegie Mellon University from 1949 to 1955. In 1955, he because Minister of Music at Peachtree Christian church in Atlanta.  He later taught at Millikin University and was organist at First United Methodist Church in Decatur, Ill.  He retired to Carlsbad, NM, where he continued to be organist and music director at St. Andrew’s Episcopal Church in Roswell.  He published works for both organ and choir.

In the Cross of Christ I Glory - David Cherwein

Sir John Bowring (1792-1872) was a distinguished scholar, ranked by some as one of the great minds of his day in the English-speaking world. Among his gifts was his ability as a linguist, publishing translations of poetry from such varied languages as Russian, Batavian, Spanish, Polish, Serbian, Bohemian, Magyar, Czech and Hungarian. Bowring was also a social progressive, advocating free trade, parliamentary reform, education for all and prison reforms, according to hymnologist Albert Bailey. Few hymn writers have been as involved in politics. Knighted in 1854, Bowring helped develop commercial relationships on behalf of Great Britain, traveling to France, Switzerland, Italy, Germany, Syria and Siam (now Thailand). Bowring also was twice a member of Parliament, a consul at Canton (in charge of trade in China) and a governor of Hong Kong. He was evidently relieved of his duties in Hong Kong because he “was full of conceit and without any very clear idea of political principles on a large scale.” After retirement in 1860, his public service continued as a commissioner to Italy and other diplomatic posts in Europe and Hawaii. 

Despite a demanding political and diplomatic career, Bowring maintained an active avocation as a translator of poetry, composer of original poems and writer of essays on political and religious themes. Mr. Bailey notes that the “hymns that have lived were all written when he was about 30 years old, when his poetic interests were uppermost, and the idealism of youth made him the champion of the downtrodden and the underprivileged.”   “In the cross of Christ I glory” (1825) was composed while the author was in his early thirties. Appearing in Hymns by John Bowring (1825), the theme and language suggests a much more mature poet.  Galatians 6:14 provides the basis for this hymn: “Far be it for me to glory except in the cross of our Lord Jesus Christ” 

Ithamar Conkey (1815-1867) was born in Shutesbury, Massachusetts, and was of Scottish ancestry. He was organist at Central Baptist Church in Norwich, Connecticut. After his work in Norwich, he went to New York City and served as bass soloist at Calvary Episcopal Church and later bass soloist and choir director of Madison Avenue Baptist Church.  One Sunday in 1849 Conkey walked out of the morning service at Central Baptist Church, where he was choir director and organist, frustrated because only one soprano from his choir had come that morning. The next Sunday, the minister preached a Lenten message on the words of Christ on the cross. One of the hymns to be sung was Bowring's "In the Cross of Christ I Glory." Later that day Conkey's discouragement changed to inspiration, and he composed a new tune for that text. He named the tune after that one faithful soprano, Mrs. Beriah S. Rathbun. The tune RATHBUN was published in Henry W. Greatorex's Collection of Psalm and Hymn Tunes (1851).

In the cross of Christ I glory, towering o’er the wrecks of time;
all the light of sacred story gathers round its head sublime.

When the woes of life o'ertake me, hopes deceive, and fears annoy,
never shall the cross forsake me. Lo! it glows with peace and joy. 

When the sun of bliss is beaming light and love upon my way,
from the cross the radiance streaming adds more luster to the day. 

Bane and blessing, pain and pleasure, by the cross are sanctified;
peace is there that knows no measure, joys that through all time abide. 

Dr. David Cherwien (b. 1957) is currently serving as Director of Music at Mt. Olive Lutheran Church, Minneapolis, MN, and in 2002 was appointed Music Director for the National Lutheran Choir, also based in the Twin Cities. He has also held full time parish music positions in the Minneapolis/St. Paul area, Chicago, Seattle, and Berlin.  He completed the Doctor of Musical Arts degree in organ performance, and the Master of Arts degree in Theory and Composition, both from the University of Minnesota. His undergraduate work was in organ performance and music education at Augsburg College, Minneapolis, where he was honored as distinguished alumni in the fall of 2000.

About the Piano Music:

All Glory, Laud, and Honor - Amy Webb

Theodulf of Orleans (760-821) was originally from Spain. Muslim conquests of Iberia drove him to leave, and he was brought to France by Charlemagne. In addition to serving as a kind of poet laureate, he was a scholar, church reformer, secretary of education, theological advisor to the king.  His writings included sermons and theological treatises on baptism and the Holy Spirit. He opposed the use of icons and revised the text of the Bible. He became Bishop of Orleans about 785, and soon afterwards also Abbot of Fleury. After Charlemagne died, Louis the Pious accused Theodulf of joining Bernard of Italy (a royal nephew) in a conspiracy against the throne. Theodulf protested his innocence, but in 818, he was deposed from his influential posts and imprisoned at Angers, where he died in 821.  While imprisoned, he wrote the words to the Latin hymn "Gloria, laus et honor tibi sit Rex Christe, Redemptor " or "All Glory, Laud and Honor To thee Redeemer King."  More than a thousand years later, an English translation of his hymn remains a favorite for Palm Sunday.

Now often named ST. THEODULPH because of its association with this text, the tune is also known, especially in organ literature, as VALET WILL ICH DIR GEBEN. It was composed by Melchior Teschner (1584-1635) for Valerius Herberger's hymn for the dying. Teschner composed the tune in two five-voice settings, published in the leaflet Ein andächtiges Gebet in 1615. Teschner studied philosophy, theology, and music at the University of Frankfurt an-der-Oder and later studied at the universities of Helmstedt and Wittenberg, Germany. From 1609 until 1614, he served as cantor in the Lutheran church in Fraustadt, and from 1614 until his death, he was pastor of the church in Oberpritschen. 

Amy Webb (b. 1973) is a native of Washburn, Maine, and resides in Wichita, Kansas. She has been an active educator, clarinetist, pianist and conductor for more than twenty years. She received a Bachelor of Music degree in Music Education from the University of Maine in 1996, and a Master’s degree in Instrumental Conducting from the American Band College at Southern Oregon University in 2006. As a composer and arranger, she has a number of concert band works to her credit, including a commissions, and enjoys writing band music for all grade levels.

About the Choral Music:

Antiphonal Hosanna - G. Alan Smith

Genesis 2 children’s choir

Gary Alan Smith (b. 1947) is a native of Milwaukee, Wisconsin. He received his undergraduate degree at the University of Wisconsin majoring in voice and composition. He received two masters degrees in sacred music and theology from Southern Methodist University in Dallas, Texas, where he graduated with honors. He was just 26 years of age when Hope published his first choral work, a setting of “O Sacred Head Now Wounded”. His original composition “Antiphonal Hosanna” is the 10th best selling choral piece in the Hope catalog. A life-long United Methodist, today G. Alan Smith is Senior Music Editor at Abingdon Press in Nashville, Tennessee.

Hosanna! Blessed is he that comes in the name of the Lord!

Little Grey Donkey - Natalee Sleeth

Genesis 1 & 2 children’s choirs

Natalie Allyn Sleeth (née Wakeley) (1930-1992) was born in Evanston, Illinois. In 1934, she began to study the piano at the early age of four. In 1952, she received an Academic major in music theory and a BA in music theory at Wellesley College in Massachusetts. She married a Professor of Homiletics, Reverend Ronald E. Sleeth. In her later life she received an honorary doctorate from West Virginia Wesleyan College in 1959, and from Nebraska Wesleyan College in 1990. An organist, she wrote over 180 selections for church and school.  She was a member of the Highland Park United Methodist Church in Dallas, TX.

Little grey donkey, little grey donkey, little grey donkey, ho.

Do you know just who it is you carry on your back?

’Tis no ordinary load, no mean or common pack.

You are blessed of all beasts to carry into town

Christ the Lord of Galilee; He wears no earthly crown.

Once you were a simple beast of poor and lowly state.

Christ Himself hath chosen you and honoured is your fate.

Though your path with palms is spread, make haste along the way;

You were destined here to ride on this triumphal day.

Yonder is a grassy hill: it’s known as Calvary.

Up against the cloudless sky a barren cross you see.

Little grey donkey, little grey mare, don’t hide your head in shame.

For you bear the Lamb of God, and Jesus is His name.

Ain’t No Rock Gonna’ Shout for Me - Lloyd Larson

Lloyd Larson (b. 1954) is an active composer and arranger for several major publishing companies of church and school music. His compositions and arrangements include well over 1,000 published works—including choral anthems, numerous extended Christmas, Easter and non-seasonal works, keyboard collections, vocal solo and duet collections, instrumental works for solo and ensembles, orchestrations, and handbell settings. It is Lloyd's work in his local church that continues to be the catalyst for much of his writing. He currently directs the adult choir in his home church in addition to being involved in worship planning and leadership.

The text of “Ain’t No Rock” was written by J. Paul Williams and is based on Luke 19:38-40: “Blessed is the king who comes in the name of the Lord! Peace in heaven, and glory in the highest heaven!”  Some of the Pharisees in the crowd said to him, “Teacher, order your disciples to stop.”  He answered, “I tell you, if these were silent, the stone would shout out.”

Here comes the Lord ridin’ on a donkey 

with people waving branches and callin’ him “King”

Here comes the Lord ridin’ through Jerusalem.

If the people don’t shout, the rocks will cry out!

Here comes the Lord as thousands throng to see him.

Children stand on tiptoe to see the King.

Here comes the Lord, excitement in the air.

If the people don’t shout, the rocks will cry! 

Oh, yes, the rocks will cry out!

Here comes the Lord; hosannas fill the air.

The people bow and worship the promised King!

Here comes the Lord.  “Hosanna in the highest!”

If the people don’t shout, the rocks will cry out!

Rocks, keep silent!  Jesus comes to set me free.

Rocks, keep silent!  I’m gonna’ shout in victory!

Rocks, keep silent!  Jesus reigns in majesty.

Ain’t  no rock gonna’ shout for me.