September 1, 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:

Meditation on “Jesu, meine Freude” - Gardner Read

"Jesu, meine Freude" (Jesus, my joy) is a German hymn, written byJohann Franck in 1650,  with a melody by Johann Crüger. The song first appeared in Crüger's hymnal Praxis pietatis melica in 1653. The text addresses Jesus as joy and support, versus enemies and the vanity of existence.  The first stanza sets the theme of love of Jesus and the desire to be united with him, who is named Lamb, as in Revelation 5:6, and Bridegroom, based on Revelation 22:17.  It is a variant of the love song "Flora, meine Freude", published in 1645 by Heinrich Albert, organist at the Königsberg Cathedral.   The second stanza describes the protection by Jesus against threats from Satan, enemies, thunder, hell and sin, all pictured in drastic images. The third stanza repeats three times Trotz (defiance), facing the enemies "old dragon" (alter Drachen), death (Tod), and fear (Furcht). The believer, feeling safe even in adverse conditions as expressed in Psalms 23:4, stands singing (Ich steh hier und singe.).  The fourth stanza turns away from worldly treasures and honors, which should not separate the believer from Jesus. The fifth stanza repeats four times "Good night", to existence in the world, to sins, to pride and pomp, and to a vile life. The last stanza imagines the entry of Jesus as the "Freudenmeister" (master of joys), as a comforter in every misery. It alludes to Jesus returning after the resurrection (Luke 24:36). 

Jesus, my joy, my heart's pasture, Jesus, my treasure!
Ah, how long, ah long has my heart suffered and longed for you!
God's lamb, my bridegroom, besides You on earth nothing shall be dearer to me.

Under your protection I am safe from the storms of all enemies.
Let Satan rage, let the enemy fume, Jesus stands with me.
Whether now it thunders and flashes, whether sin and Hell terrify,
Jesus will protect me.

Defiance to the old dragon, defiance to the vengeance of death,
defiance to fear as well! Rage, world, and attack;
I stand here and sing in entirely secure peace!
God's strength holds me in watch; earth and abyss must fall silent,
however much they might rumble.

Away with all treasures, you are my delight, Jesus, my joy!
Away, you vain honors, I don't want to listen to you, remain unknown to me!
Misery, want, torture, shame and death shall, although I must suffer much,
never part me from Jesus.

Good night, existence that cherishes the world! You do not please me.
Good night, sins, stay far away, never again come to light!
Good night, pride and glory! To you utterly, life of corruption,
be good night given!

Hence, you spirits of sadness, for my Master of joy, Jesus, comes here.
For those who love God, even their troubles must be pure sugar.

Though I endure mockery and shame here already,
nevertheless you stay with me even in sorrow, Jesus, my joy.

Gardner Read (1913-2005) was an American composer and musical scholar.  His first musical studies were in piano and organ, and he also took lessons in counterpoint and composition at the School of Music at Northwestern University. He attended the Eastman School of Music (B.M. and M.M.).  After heading the composition departments of the St. Louis Institute of Music, the Kansas City Conservatory of Music and the Cleveland Institute of Music, Read became Composer-in-Residence and Professor of Composition at the School of Music at Boston University.  His Symphony No. 1, op. 30 won first prize at the New York Philharmonic-Symphony Society's American Composers' Contest, while his second symphony (op. 45, 1943) won first prize in the Paderewski Fund Competition. Another first prize came in the 1986 National Association of Teachers of Singing Art Song Competition, won by his Nocturnal Visions, op. 145. He wrote one opera, Villon, in 1967.  His book Music Notation: A Manual of Modern Practice (1969/1979) attempted to catalogue the rapidly changing landscape of notation for contemporary western art music.

Allegro, from Symphony in D, op. 2, no. 5 - William Boyce

William Boyce, (1711-1779), one of the foremost English composers of church music, known also for his symphonies and stage music, and as an organist and musical editor.  Boyce was a chorister and later a student of the organ at St. Paul’s Cathedral. He became composer to the Chapel Royal in 1736, and many of his anthems and church services were written for use there and at other London churches of which he was organist. He also composed secular music for the stage, such as his music for the masque Peleus and Thetis, first produced sometime before 1740. The serenata Solomon (1743) is among the best of his compositions for the theatre. His next published work was Twelve Sonatas for Two Violins, with a Bass for the Violoncello or Harpsichord (1747), which achieved an instant and lasting popularity. He received his doctorate of music from the University of Cambridge.  In 1755, Boyce became master of the King’s Band of Music. In 1758, he became one of the organists at the Chapel Royal. Boyce’s Eight Symphonys, orchestral pieces selected from his odes, operas, and other works, were published in 1760. Ten years later, when he published a second set, the Twelve Overtures, the more exciting symphonies of the Mannheim school were in vogue, and Boyce’s shapely and tuneful “ancient style” symphonies were regarded as out of date. Boyce’s symphonies usually follow the Italian overture form: fast-slow-fast. Associated with the orchestral suite and the concerto grosso, they have little relation to the developing Classical symphony. Meanwhile, he had begun to publish Cathedral Music, 3 vol. (1760–73), the first collection of church music in England after the Restoration and the first to be printed in score. This collection, which covered three centuries, was not superseded until the mid-19th century.

This Allegro was transcribed from his Symphony in D by Robert Glower, organist at Holy Trinity Church, composer, and transcriber for Boosey & Hawkes.

About the Piano Music:

I Need Thee Every Hour - Mary McDonald

Annie S. Hawks’ (1836-1918) poems first began appearing in newspapers when she was 14 years old. She married Charles H. Hawks in 1857. They lived in Brooklyn, New York, and attended the Hanson Place Baptist Church, where Robert Lowry was pastor. She wrote 400 hymns in her life, mostly for use in Sunday schools.

“I Need Thee Every Hour” was written by Hawks in 1872. She showed Lowry her poem, and he wrote the lyrics of the refrain and the tune. The song was first sung publicly at the 1872 meeting of the National Baptist Sunday School Association in Cincinnati, Ohio. Its first publication was in 1873 in a Sunday School hymnbook compiled by Lowry and William H. Doane, Royal Diadem for the Sunday School.

When this hymn was first published in 1873, this Bible verse was included underneath the title: “Without me ye can do nothing” (John 15:5 KJV). Each of the first four stanzas of this hymn dwells on a different facet of our dependence on God: our need for His peace, our inability to resist temptation alone, our need to find true meaning in life, and our desire to see God's promises fulfilled. The fifth stanza is an intense plea for God's presence.

I need Thee every hour, Most gracious Lord;

No tender voice like Thine Can peace afford.

I need Thee, oh, I need Thee; Every hour I need Thee;

Oh, bless me now, my Savior! I come to Thee.

         I need Thee every hour, Stay Thou near by;

Temptations lose their power When Thou art nigh.

         I need Thee every hour, In joy or pain;

Come quickly and abide, Or life is vain.

         I need Thee every hour, Teach me Thy will;

And Thy rich promises In me fulfill.

         I need Thee every hour, Most Holy One;

Oh, make me Thine indeed, Thou blessed Son.

Mary McDonald’s sacred music career spans over thirty-five years. More than eight hundred anthems, seasonal musicals and keyboard collections testify to her significant contribution to sacred literature. In 2000, Mary became the first ever woman President of the Southern Baptist Church Music Conference. In addition, she has served as accompanist for the Tennessee Men's Chorale since 1985. Her greatest desire is "to give God glory for the songs He has allowed me to compose. He alone, is the true Creator behind my pen."  In 2011, after serving as sacred music editor for The Lorenz Corporation in Dayton, Ohio for more than twenty years, Mary answered a new call. Now she takes her tremendous passion and love for music making directly to churches as an independent artist by holding Composer Weekend workshops. 

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:

Come and Find the Quiet Center

Shirley Erena Murray (b. 1931) is a hymn text writer, born in Invercargill, New Zealand in 1931. Her texts have appeared in more than 100 collections worldwide and have been translated into several languages. She has been an editor with the New Zealand Hymnbook Trust and received international acclaim for her writing, including being made a Fellow of the Royal School of Church Music (2006) and becoming a Member of the NZ Order of Merit (2001) for services to the community through hymn writing. She is the first citizen to be so honored. Most recently, she has been honored by the Hymn Society in the United States and Canada at its July 2009 annual conference by being named a Fellow of the Society in recognition of her contributions as a hymn writer to the international community of congregational song.  Her hymns and carols address a wide spectrum of themes ranging from the seasons of the Church year to human rights, care of creation, women's concerns and above all, peace. Methodist by upbringing, and ecumenical by persuasion, she has spent most of her life as a Presbyterian.

Since it was first published in 1992 and after its inclusion in The Faith We Sing (FWS) in 2000, Murray’s popular “Come and Find the Quiet Center” has become a touchstone of peace and spiritual calm for many faith communities. The text of the hymn has found its way into informational pamphlets about labyrinth walks and prayer gardens, chapel dedications, personal devotional materials, and many worship services.  We are not called to live in isolation with our peace and calm but to share the fullness of life’s experiences with others on the journey. By sharing in the pain, joy and fear of life, there is a “place for deepest dreaming” and, with the Spirit, “there is always room to share.”  Murray speaks of the gift of peace within the chaos but then asks us to draw strength from that peace, that connection with the Spirit, to face the challenges and triumphs of the Christian journey.

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.

First United Methodist Church, Lewisville, Texas

A Community of Everyday People Learning to Love Like Jesus

#joychurch   #lovelikeJesus

August 25, 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:

My Hope is Built - Wilbur Held

Edward Mote (1797-1874) falls into the rare category of hymn writers who grew up without religious training and whose parents were pub owners. He was apprenticed at a young age by his parents to a cabinetmaker, but found faith when he heard the preaching of John Hyatt at the Tottenham Court Road Chapel in London at age 15. Living in Southwark near London, he established a successful cabinet-making enterprise and became a Baptist minister in 1852, at 55 years of age. He ministered for 21 years at Strict Baptist Church in Horsham, Sussex. 

As Edward Mote was walking to work one day in 1834, the thought popped into his head to write a hymn on the “Gracious Experience of a Christian.” As he walked up the road, he had the chorus, “On Christ, the solid Rock, I stand; All other ground is sinking sand.” By the end of the day, he had the first four verses written out and safely tucked away in his pocket. Later that week, he visited his friend whose wife was very ill, and as they couldn’t find a hymnal to sing from, he dug up his newly written verses and sang those with the couple. The wife enjoyed them so much she asked for a copy, and Mote went home to finish the last two verses and sent it off to a publisher, saying, “As these verses so met the dying woman’s case, my attention to them was the more arrested, and I had a thousand printed for distribution” (Lutheran Hymnal Handbook). Almost two centuries later, we continue to sing these words of hope and assurance, our declaration that in the midst of all trials and storms, we will cling to the rock that is our Savior.

Singing hymns was of great interest to Mote. The master cabinetmaker became a prolific hymn writer, composing more than 100 hymns. The hymn "My Hope Is Built on Nothing Less" was published anonymously in several hymn collections before first being attributed to Edward Mote in a collection of approximately 100 of his hymns published in 1837 under the title Hymns of Praise, A New Selection of Gospel Hymns, Combining All the Excellencies of our Spiritual Poets, with Many Originals.  Hymnologists note that this is the first time the now common term “gospel hymn” appears. Mote's original title was "The Immutable Basis for a Sinner's Hope" in this collection.  The refrain of "My Hope Is Built on Nothing Less" refers to the Parable of the Wise and the Foolish Builders and builds around the metaphor of Christ as a rock with a firm basis (1 Corinthians 10:4).

The Sunday school hymn writer William B. Bradbury composed SOLID ROCK in 1863 for Edward Mote's "My Hope Is Built on Nothing Less." The tune name derives from that song's refrain: "On Christ, the solid rock, I stand. . . .” Bradbury published SOLID ROCK in his 1864 children's collection The Golden Censor. 

My hope is built on nothing less than Jesus blood and righteousness;

I dare not trust the sweetest frame, but wholly lean on Jesus’ name.

When darkness veils His lovely face, I rest on His unchanging grace;

In every high and stormy gale, my anchor holds within the veil.

His oath, His covenant, His blood support me in the whelming flood;

When all around my soul gives way, He then is all my hope and stay.

When He shall come with trumpet sound, oh, may I then in Him be found;

In Him, my righteousness alone, faultless to stand before the throne.

On Christ, the solid rock, I stand; All other ground is sinking sand.

Wilbur C. Held (1914-2015) was born in Des Plaines, Illinois, and received his B.M. and M.M. degrees at the American Conservatory of Music in Chicago. He then attended Union Theological Seminary in New York City where he earned his S.M.D. A member of the Episcopal Church, for many years Dr. Held was Professor of Organ and Church Music at The Ohio State University, Columbus, Ohio.  He remained in this position for over 30 years, and for most of that time was also organist-choirmaster at Trinity Episcopal Church in Columbus, Ohio.  Dr. Held started composing little pieces for the organ because he felt there was a lack of teaching material aimed at developing style and registration, especially for the romantic use of the instrument.  Having written several suites primarily for pedagogical use, he turned his attention to broadening the repertoire for church use, continuing to stress modest technical requirements and flexibility of registration. To date he has published 325 organ works. He has served on the national councils of both the AGO and the Hymn Society of America, and has appeared as recitalist at their national conventions.

March in F - Walter Spinney

We finish our march back to school with this 19th century processional by Walter Spinney. 

Rev. Walter Spinney (1853-1894) was the organist of Christ Church, Doncaster, and Leamington Parish Church. He composed church music for choir and for organ, as well as hymn tunes.

About the Piano Music:

The Place Where the Lost Things Go, from Mary Poppins Returns - Mark Shaiman

Marc Shaiman (b.1959) is an American composer and lyricist for films, television, and theatre, best known for his collaborations with lyricist and director Scott Wittman. He wrote the music and co-wrote the lyrics for the Broadway musical version of the John Waters film Hairspray. He has won a Grammy, an Emmy and a Tony, and been nominated for seven Oscars. He wrote the music for Mary Poppins Returns, and co-wrote the lyrics with Scott Wittman.

Shaiman grew up in New Jersey, where he left school at 16, got his GED, and went to New York to work in theatre.  Shaiman started his career as a theatre/cabaret musical director. He started working at SNL as an arranger/writer and also became vocal arranger for Bette Midler, eventually becoming her musical director and co-producer of many of her recordings.  Shaiman has earned five Academy Award nominations, a Tony Award and a Grammy Award for his work on the musical Hairspray, and an Emmy Award for co-writing Billy Crystal's Academy Award performances. He has also been Grammy-nominated for his arrangements for Harry Connick Jr.'s recordings When Harry Met Sally... and We Are in Love as well as Hairspray and Smash and Emmy-nominated for his work on Saturday Night Live and Smash. In 2002, he was honored with the "Outstanding Achievement in Music-In-Film" award at The Hollywood Film Festival, and in 2007 he was honored with ASCAP's Henry Mancini Award in recognition of his outstanding achievements and contributions to the music of film and television. He is the first recipient of the Film & TV Music Award for Best Score for a Comedy Feature Film.

Do you ever lie awake at night?

Just between the dark and the morning light.

Searching for the things you used to know.

Looking for the place where the lost things go.

Do you ever dream or reminisce?

Wondering where to find what you truly miss.

Well, maybe all those things that you love so

Are waiting in the place where the lost things go

Memories you've shared, gone for good you feared,

They're all around you still though they've disappeared.

Nothing's really left or lost without a trace,

Nothing's gone forever only out of place.

So maybe now the dish and my best spoon

Are playing hide and seek just behind the moon,

Waiting there until it’s time to show.

Spring is like that now, far beneath the snow,

Hiding in the place where the lost things go.

Time to close your eyes so sleep can come around,

For when you dream you'll find all that's lost is found.

Maybe on the moon, or maybe somewhere new,

Maybe all you're missing lives inside of you.

So when you need her touch and loving gaze,

Gone but not forgotten is the perfect phrase.

Smiling from a star that she makes glow,

Trust she's always there, watching as you grow.

Find her in the place where the lost things go.

About the Choral Music:

Ev’ry Time I Feel the Spirit - William Dawson

It is not always possible to find the story behind a song.  Songs classified as African-American spirituals, like this one, were typically created by slaves living in the southern United States in the pre-Civil War era.  The tunes and words were passed down for generations before even being written.  Some people consider Galatians 4:6 as the verse of inspiration for the song.  Words of spirituals often had multiple meanings also.  Multi-layered meanings were readily understood by the target audience.  For example, the line in Every Time I Feel the Spirit that reads, “There ain’t but one train on this track; It runs to heaven…” is likely referring to the Underground Railroad and the escape to freedom, a message easily recognized and of comfort to those enduring slavery.  Likewise, references to rivers often advised them to cross or wade in water to escape the pursuing dogs.  At the same time, it is an uplifting song celebrating the movement of the Holy Spirit in our hearts and lives.

African American composer, performer, and music educator William Levi Dawson (1899-1990) used the rich vitality of his musical heritage as a basis for all types of music, including arrangements of folk songs and original compositions. Dawson was born in Anniston, AL. At the age of 13 he entered Tuskegee Institute and graduated in 1921 with first honors. A graduate of the Horner Institute of Fine Arts with a Bachelor of Music, William Dawson later studied at the Chicago Musical College with professor Felix Borowski, and then at the American Conservatory of Music where he received his master's degree. Early in his career he served as a trombonist both with the Redpath Chautauqua and the Civic Orchestra of Chicago (1927–1930). His teaching career began in the Kansas City public school system, followed by a tenure with the Tuskegee Institute from 1931–1956. During this period, he appointed a large number of faculty members who later became well known for their work in the field. Additionally, Dawson also developed the Tuskegee Institute Choir into an internationally renowned ensemble; they were invited to sing at New York City's Radio City Music Hall in 1932 for a week of six daily performances.

Dawson began composing at a young age, and early in his compositional career his Trio for Violin, Cello and Piano was performed by the Kansas City Symphony Orchestra. Besides chamber music, he is also known for his contributions to both orchestral and choral literature. His best known works are arrangements of and variations on spirituals. His Negro Folk Symphony of 1934 garnered a great deal of attention at its world premiere by Leopold Stokowski and the Philadelphia Orchestra. The symphony was revised in 1952 with added African rhythms inspired by the composer's trip to West Africa. Dawson said that the composition was an attempt to convey the missing elements that were lost when Africans came into bondage outside their homeland. His most popular spirituals include "Ezekiel Saw the Wheel", "Jesus Walked the Lonesome Valley", "Talk about a Child That Do Love Jesus" and "King Jesus Is a-Listening”.  Dawson's arrangements of traditional African-American spirituals are widely published in the United States and are regularly performed by school, college and community choral programs. According to Dominique-Rene de Lerma of Lawrence University, in notes to "The Spirituals of William L. Dawson" produced by The St Olaf Choir in 1997, "What is even more striking than the richness of Dawson's textures is the lushness of his sonorities, exhibiting his remarkable insight into vocal potentials.”

Ev’ry time I feel the spirit, moving in my heart, I will pray.

Upon the mountain my Lord spoke, Out of His mouth came fire and smoke;

Looked all around me, It looked so fine, till I asked my Lord if all was mine.

Jordan river is chilly an’ cold, It chills the body, but not the soul;

There ain’t but one train upon this track, It runs to heaven an’ right back.

About the Hymns:

For the Fruits of This Creation

Many fine hymns written during the past three centuries have kept Methodist song alive since the beginning of the movement. If there is anyone worthy to be called a successor to founding hymn writer Charles Wesley, it may be Fred Pratt Green (1903-2000).  An Englishman educated at Didsbury College in Manchester, Green was ordained into Methodist ministry in 1928, serving circuits throughout the country between 1927 and 1969.  During his ministry he wrote plays and published three collections of his poems. But it was not until his retirement that Green’s hymn writing blossomed. He went on to create more than 300 hymns, received numerous honors, and is generally considered to be the leader of the “hymnic explosion” that began in the 1960s.  More of Green’s hymns appear in English-language hymnals published in North America since 1975, than those of any other 20th-century hymn writer. Hope Publishing Company has published three collections of his hymns. The UM Hymnal (1989) contains 15 original hymns and two translations by Green.

“For the Fruits of This Creation” is one of the hymns most often chosen by hymnal committees in the United States. Published as “Harvest Hymn” in the British Methodist Recorder in August 1970, this hymn combines our gratitude to God for the bounties of the earth with our responsibility to care for our neighbor through “the harvests we are sharing”. Green’s concern for justice and spreading a social gospel is almost always evident in his hymns.  Each stanza alludes to our responsibility to care for all the earth and its people: Stanza one cites God’s “good gifts to every nation.” Stanza two mentions “our worldwide task of caring for the hungry and despairing.” Stanza three acknowledges “the good we all inherit.”

The tune we are using today, AR HYD Y NOS, is best known for the text “All Through the Night”.  It is a Welsh song tune that was first found in Edward Jones' Musical and Poetical Relics of the Welsh Bards (1784).  The song is highly popular with traditional Welsh male voice choirs, and is sung by them at festivals in Wales and around the world.

First United Methodist Church, Lewisville, Texas

A Community of Everyday People Learning to Love Like Jesus

#joychurch   #lovelikeJesus