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:
Many and Great, O God, are Your Works - Emma Lou Diemer
Many and Great" is perhaps the only Native American hymn to be sung broadly in North America beyond its original Dakota culture. The author and composer of the text and tune, Joseph Renville (1779-1846), was an Indian guide and fur trader of French-Dakota lineage. He received a Roman Catholic education in the French language. In addition to serving as a guide, he also became a British captain in the War of 1812. Having founded the Columbia Fur Company in 1822, he sold it to the larger American Fur Company in 1827.
The tune name LAC QUI PARLE (lake that speaks) comes from a long, narrow lake running northwest to southeast near the present border of Minnesota and South Dakota. From a settlement at the southeast foot of the lake, Renville made annual treks to Fort Snelling at Mendota at the confluence of the Mississippi and Minnesota Rivers, near what is now Minneapolis and St. Paul.
In 1835 Maj. Taliaherro, an agent at the fort, persuaded Renville to permit a missionary presence at Lac qui Parle, perhaps as a way to deal with the ongoing conflicts between the Ojibway and Dakota in the region. These missionaries, according to scholar Monte Mason, organist and musical director at the Episcopal St. Martin's by the Lake, Minnetonka Beach, Minn., "took part in an experiment in cross-culturalism the likes of which the prairies had not seen." According to Mason, the results of the encounter between the missionaries included a Dakota/English dictionary, Dakota translations of the Bible, a Dakota grammar, a Dakota translation of John Bunyan's Pilgrim's Progress, a Dakota newspaper and school curriculum, and a Dakota hymnal, Dakota Odowan (Dakota Song), produced by the missionaries -- minister Stephen Riggs, physician John Williamson and composer James Murray.
Dakota Odowan is still used today. It contains primarily 19th-century English hymnody in translation, hymns that the Presbyterian missionaries would have known. A words-only edition appeared in 1841, and a music edition appeared sometime after 1854. A more recent printing in 1969 confirms the hymnal's continued use and includes photographs of the Dakota community. Six of the 108 hymns are of Dakota derivation and the missionary journals proclaim they were written by Joseph Renville himself. Additional research indicates that these six hymns may have been arranged from pre-existing Dakota sources by Renville.
Raymond Glover, editor of The Hymnal 1982 Companion (Episcopal), suggests that the melody is a funeral song to be sung in procession, existing before the text was written. What is beyond dispute is that Joseph Renville was a significant political and economic presence in this community, a bridge-builder between cultures, and a partner with Protestant missionaries in the expansion of Christianity in the region.
The original hymn had seven stanzas and is a paraphrase of the creation hymn in Jeremiah 10:12-13: "He hath made the earth by his power, he hath established the world by his wisdom, and hath stretched out the heavens by his discretion. When he uttereth his voice, there is a multitude of waters in the heavens, and he causeth the vapours to ascend from the ends of the earth; he maketh lightnings with rain, and bringeth forth the wind out of his treasures." The original text, beginning with "Wakantanka taku nitawu," was translated in 1929 by Philip Frazer (1892-1964) for a national YWCA meeting in 1930 "because for years this hymn had appeared in camp songbooks and young people had been singing the Indian words, not knowing what they meant, but they loved to sing it for the lovely native tune."
Many and great, O God, are your works, Maker of earth and sky.
Your hands have set the heavens with stars;
your fingers spread the mountains and plains.
You merely spoke and waters were formed; deep seas obey your voice.
Your will, mysterious and so strong, Brings growth to all the earth.
Food for our souls and clothing to wear
Are like your cup that blesses and fills.
Provide for us each day of our lives Sufficient for our needs.
Grant us communion with you, our God, though you transcend the stars.
Come close to us and stay by our side:
with you are found the true gifts that last.
Bless us with life that never shall end, eternal life with you.
That day you came to dwell on the earth, Bringing us all great joy!
The nations scattered over the world;
To them you gave the light of all life,
O Lord, O Compassionate One, We offer praise to you.
Emma Lou Diemer (b. 1927) has written many works for orchestra, chamber ensemble, keyboard, voice, chorus (women's, men's), and electronic media. Diemer is a keyboard performer and over the years has given concerts of her own organ works at Washington National Cathedral, The Cathedral of Our Lady of the Angels in Los Angeles, Grace Cathedral and St. Mary's Cathedral in San Francisco, and others. Diemer's compositional style over the years has varied from tonal to atonal, from traditional to experimental. She has written works for non-professional and professional performers, originally under the "Gebrauchsmusik" philosophy, but has produced many works, particularly for keyboard, that are difficult and challenging. She was professor of theory and composition at the University of Maryland 1965-70, and joined the faculty of the University of California (UCSB) in 1971. She is professor emeritus, 1991–present. While at UCSB, Diemer helped to establish the computer/electronic music program.
Ceremonial March - Herbert Sumsion
Herbert Whitton Sumsion, CBE (1899-1995) was an English musician who was organist of Gloucester Cathedral from 1928 to 1967. Through his leadership role with the Three Choirs Festival, Sumsion maintained close associations with major figures in England's 20th-century musical renaissance, including Edward Elgar, Herbert Howells, Gerald Finzi, and Ralph Vaughan Williams. Although Sumsion is known primarily as a cathedral musician, his professional career spanned more than 60 years and encompassed composing, conducting, performing, accompanying, and teaching. His compositions include works for choir and organ, as well as lesser-known chamber and orchestral works.
At the age of nine, Sumsion became a probationer in the Gloucester cathedral choir, which was then under the direction of Herbert Brewer. After two years Sumsion became a full chorister and sang with the choir until 1914. When Sumsion’s voice changed at age 15, he became an “articled pupil” to Brewer, a designation connoting a three-year apprenticeship in organ, choral direction, and music theory. Sumsion passed the Associateship exam of the Royal College of Organists in 1915, and in1916 joined passed the Fellowship exam; though he was only 17, Sumsion was awarded the Turpin prize for the second-highest marks in the practical component.
From 1917 to 1919 Sumsion served in the Queen's Westminster Rifles and spent time in the Flanders trenches. In 1919 he returned to Gloucester cathedral to take up an appointment as assistant organist to Brewer. He studied at Durham University, the Royal College of Music, and Curtis Institute in Philadelphia.
In 1928, Herbert Brewer died suddenly of a heart attack, leaving the post of organist at Gloucester vacant only a few months before the cathedral was to host the Three Choirs Festival. Brewer had expressed a desire that Sumsion succeed him, so although Sumsion had just accepted the position of organist at Coventry cathedral, the Dean and Chapter at Gloucester negotiated his release from this commitment. Sumsion also led an active professional life outside the cathedral. He had begun composing as a young man and continued to accept commissions when he was well into his eighties. Sumsion also taught piano, organ, and composition privately, adjudicated at competitions, accompanied vocalists and played with chamber groups, and performed as an organ recitalist. His 1965 recording of Elgar's Organ Sonata, which he recorded in one ‘take’, is now regarded as the standard interpretation of that work. Concurrent with his post at the cathedral Sumsion served as director of music at Cheltenham Ladies’ College (1935–1968) and directed the Gloucester Choral and Orchestral Societies. Sumsion was honored with a Lambeth Doctorate in 1947 and was appointed CBE in 1961.
About the Piano Music:
Can You Imagine That?, from “Mary Poppins Returns” - Marc 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.
John, you're right. It's good to know you're bright.
For intellect can wash away confusion.
Georgie sees and Annabel agrees: Most folderol's an optical illusion
You three know it's true that one plus one is two.
Yes, logic is the rock of our foundation.
I suspect, and I'm never incorrect, That you're far too old to give into imagination…
Some people like to splash and play. Can you imagine that?
And take a seaside holiday. Can you imagine that?
Too much glee leaves rings around the brain.
Take that joy and send it down the drain.
Some people like to laugh at life and giggle through the day.
They think the world’s a brand new shiny toy.
And if, while dreaming in the clouds They fall and go kersplat,
Although they're down and bent in half they brush right off and start to laugh!
Can you imagine that?
Some people like to dive right in. Can you imagine that?
And flap about in bathtub gin. Can you imagine that?
Doggies paddling twenty leagues below might seem real, but we know it's not so!
To cook without a recipe. Can you imagine that?
And heaven knows what lives within that pot!
Some pirates follow treasure maps and wear a silly hat.
They search the world for buried gold. They won't grow up and don't grow old!
Can you imagine that?
Some answer when adventure calls. Can you imagine that?
And sail straight over waterfalls. Can you imagine that?
They see living as it’s own reward. They rock the boat, then: “man overboard!”
Some people look out on the sea and see a brand new day.
Their spirit lifts them high above the blue.
Yet some others wear an anchor and they sink in seconds flat!
So, perhaps we’ve learnt when day is done, some stuff and nonsense could be fun!
Can you imagine that!
About the Choral Music:
Heaven Came Down and Glory Filled My Soul – John W. Peterson
John Willard Peterson (1921-2006) is probably the most influential hymn writer of the latter part of the twentieth century and certainly among the most prolific. He wrote well over a thousand songs, as well as 35 cantatas and musicals. His songs are singable, and their declaration of Bible truth is clear and helpful. As with many hymn writers, Peterson was sensitive to the spiritual application of events happening around him. Sometimes a random comment, or a meaningful phrase, gave him the idea of a song. On one occasion he was assisting with the music at the Montrose Bible Conference. In a morning meeting, time was given for testimonies. Peterson says: “An old gentleman rose to his feet to tell of the saving work of God in his heart. As he spoke, his face glowed, especially when he rehearsed the night when he came to Jesus Christ. “Heaven came down and glory filled my soul” was the way he explained it.” John Peterson jotted down the phrase, and later that week wrote both words and music for a joy-filled gospel song.
Born in Lindsborg, Kansas, he served as an Army Air Force pilot flying the China Hump during World War II. Later, he attended Moody Bible Institute and served on the radio staff there for a number of years. In 1953, he graduated from the American Conservatory of Music in Chicago and shortly thereafter settled in Pennsylvania to continue his song writing career. He then moved to Grand Rapids, Michigan, where for over ten years he was President and Editor-in-Chief of Singspiration, a sacred music publishing company. While there, he compiled and edited a hymnal called Great Hymns of the Faith, 1961. He also served on the board of Gospel Films, Inc. of Muskegon, Michigan. In 1986, he was inducted into the Gospel Music Hall of Fame.
Heaven came down, heaven came down!
O what a wonderful, wonderful day – Day I will never forget;
After I’d wandered in darkness away, Jesus my savior I met.
O what a tender compassionate friend – He met the need of my heart;
Shadows dispelling, with joy I am telling, He made all the darkness depart!
Now I’ve a hope that will surely endure After the passing of time;
I have a future in heaven for sure, there in those mansions sublime.
And it’s because of that wonderful day When at the cross I believed;
Riches eternal And blessings supernal From His previous hand I received.
Heaven came down and glory filled my soul,
When at the cross the Savior made me whole;
My sins were washed away, washed away, And my night was turned to day,
Heaven came down and glory filled my soul!
About the Hymns:
Standing on the Promises
R. Kelso Carter became an ordained Methodist minister (1887) at the age of 38. A year earlier, he was a professor at the Pennsylvania Military Academy, where he wrote the hymn, "Standing On the Promises," after reading Apostle Paul’s second letter to the Corinthians I: 20: "For all the promise of God in him are yea, and in him Amen, unto the glory of God by us." I was published in Songs of Perfect Love, one of two hymns compiled by Carter. The drum-beating, military march style of the music reflects the influence of the military academy life that surrounded Carter when it was written. Carter was active in the Methodist Camp-Meeting movement, and “Standing on the Promises” was widely used in evangelistic crusades well into the 20th century and is still found in many hymnals. It is a reminder of the Christian’s daily dependence on the promises of God.
Be Still My Soul
Little is known about the author of this hymn. Katharina Amalia Dorothea von Schlegel was born in 1697. The date of her death is unknown. Some hymnologists suggest that she may have become a Lutheran nun. We know her as the author of "Stille, mein Wille; dein Jesus hilft siegen" published in a collection entitled Neue Sammlung geistlicher Lieder (A new collection of spiritual songs) in 1752. This text appears at the time of German pietism, similar in spirit in many regards to the Wesleyan revival in England of the same era. Philipp Jacob Spener (1635-1705) led the German pietistic movement. Though not a hymn writer himself, he inspired a revival in German hymnody characterized by faithfulness to Scripture, personal experience, and deep emotional expression. Katharina von Schlegel is thought to be the leading female hymn writer of this period.
The hymn comes to us via a translation by Jane L. Borthwick (1813-1897), a member of the Free Church of Scotland. Borthwick was second only to Catherine Winkworth (1827-1878) in bringing the riches of German hymn heritage to the English language. Her translation included five of the original six stanzas, appearing in Hymns from the Land of Luther, second series (1855). The melody comes from the symphonic tone poem “Finlandia, Op. 26”, by Jean Sibelius (1865-1957). David Evans (1874-1948), a Welsh organist-choirmaster, matched the translation with the tune for the Revised Church Hymnary (1927). It was brought to the United States when it was used in the Presbyterian Church, U.S.A. for The Hymnal (1933).
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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