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:
A Mighty Fortress - Don Hustad
In recognition of Reformation Sunday, ”A Mighty Fortress Is Our God" (“Ein feste Burg ist unser Gott”) is one of the best known of Martin Luther's hymns. Luther wrote the words and composed the melody sometime between 1527 and 1529. It has been translated into English at least seventy times and also into many other languages. The words are a paraphrase of Psalm 46. "A Mighty Fortress" is one of the best loved hymns of the Lutheran and Protestant traditions. It has been called the "Battle Hymn of the Reformation" for the effect it had in increasing the support for the Reformers' causeHeinrich Heine states that it was sung by Luther and his companions as they entered Worms on 16 April 1521 for the Diet.
The earliest extant hymnal in which it appears is that of Andrew Rauscher (1531), but it is supposed to have been in Joseph Klug's Wittenberg hymnal of 1529, of which no copy exists. Its title was “Der xxxxvi. Psalm. Deus noster refugium et virtus.” Before that it is supposed to have appeared in the Hans Weiss’ Wittenberg hymnal of 1528, also lost. This evidence would support its being written in 1527–1529, since Luther's hymns were printed shortly after they were written.
Tradition states that the third Protestant King of Sweden, Gustavus Adolphus, had it played as his forces went to battle in the Thirty Years' War. The hymn had been translated into Swedish already in 1536, presumably by Olaus Petri, with the incipit, “Vår Gud är oss en väldig borg.” In the late 19th century the song also became an anthem of the early Swedish socialist movement.
It was first translated into English by Myles Coverdale in 1539 with the title, “Oure God is a defence and towre.” The first English translation in common usage was “God is our Refuge in Distress, Our strong Defence” in J.C. Jacobi's Psal. Ger. in 1722. The most popular English version is “A mighty fortress is our God, a bulwark never failing” and was translated by Frederick H. Hedge in 1853.
The hymn's enduring popularity in Western Christendom has breached boundaries set in the Reformation as it is now a suggested hymn for Catholic Masses. It currently appears in the second edition of the Catholic Book of Worship, published by the Canadian Conference of Catholic Bishops, though its adoption is not without controversy.
Luther composed the melody, named "Ein feste Burg" from the text's first line, in meter 87.87.55.56.7. This is sometimes denoted "rhythmic tune" to distinguish it from the later isometric variant, in 87.87.66.66.7 meter which is more widely known and used. In 1906 Edouard Rœhrich wrote, "The authentic form of this melody differs very much from that which one sings in most Protestant churches and figures in (Giacomo Meyerbeer's) The Huguenots. ... The original melody is extremely rhythmic, by the way it bends to all the nuances of the text ..." While 19th-century musicologists disputed Luther's authorship of the music to the hymn, that opinion has been modified by more recent research; it is now the consensus view of musical scholars that Luther did indeed compose the famous tune to go with the words.
A mighty fortress is our God, a bulwark never failing;
our helper he, amid the flood of mortal ills prevailing.
For still our ancient foe does seek to work us woe;
his craft and power are great, and armed with cruel hate,
on earth is not his equal.
our helper he, amid the flood of mortal ills prevailing.
For still our ancient foe does seek to work us woe;
his craft and power are great, and armed with cruel hate,
on earth is not his equal.
Did we in our own strength confide, our striving would be losing,
were not the right Man on our side, the Man of God's own choosing.
You ask who that may be? Christ Jesus, it is he;
Lord Sabaoth his name, from age to age the same;
and he must win the battle.
were not the right Man on our side, the Man of God's own choosing.
You ask who that may be? Christ Jesus, it is he;
Lord Sabaoth his name, from age to age the same;
and he must win the battle.
And though this world, with devils filled, should threaten to undo us,
we will not fear, for God has willed his truth to triumph through us.
The prince of darkness grim, we tremble not for him;
his rage we can endure, for lo! his doom is sure;
one little word shall fell him.
we will not fear, for God has willed his truth to triumph through us.
The prince of darkness grim, we tremble not for him;
his rage we can endure, for lo! his doom is sure;
one little word shall fell him.
That Word above all earthly powers no thanks to them abideth;
the Spirit and the gifts are ours through him who with us sideth.
Let goods and kindred go, this mortal life also;
the body they may kill: God's truth abideth still;
his kingdom is forever!
the Spirit and the gifts are ours through him who with us sideth.
Let goods and kindred go, this mortal life also;
the body they may kill: God's truth abideth still;
his kingdom is forever!
Don Hustad (1918-2013) was one of the giants of Christian music of the 20th century. Hustad had a distinguished ministry and a life-long profession as a recording artist, composer, arranger, teacher, conductor, hymnal editor, and author. He began work as staff musician of Chicago's WMBI in the early 1940s, worked with soloist George Beverly Shea on a weekly broadcast called "Club Time," and served for some 20 years as organist for a popular radio broadcast "Songs in the Night." He taught at Olivet Nazarene College in Kankakee, Illinois from 1946 to 1950, at which time Hustad was appointed director of the Sacred Music Department at Moody Bible Institute—a position he held until 1961. During his 11-year tenure at Moody he developed the Moody Chorale into a superior choral ensemble that achieved fame nationally and internationally. In 1961 he became Crusade organist for the Billy Graham Evangelistic Association and directed the Crusader Men Choir in the "Hour of Decision" broadcasts. His publications include over 100 articles and five books. Throughout his career, Hustad devoted considerable energy to music arranging and hymnal editing, serving as editorial consultant and musical advisor to Hope Publishing Company. Among his editorial contributions are fourteen hymnals and songbooks, as well as dozens of collections. In 1989, Hustad was awarded Fellow of the Hymn Society for his outstanding contribution to American hymnody. In 2008, he was honored by the American Choral Director's Association Southern Division Conference for his contributions to church music. He earned diplomas as an Associate of the American Guild of Organists (AAGO) and a Fellow of the Royal College of Organists (FRCO), London, UK.
About the Choral Music:
God So Loved the World - John Stainer
Sir John Stainer (1840-1901) was an English composer and organist. His work as choir trainer and organist set standards for Anglican church music that are still influential. He was also active as an academic, becoming Heather Professor of Music at Oxford. Stainer was born in Southwark, London, the son of a cabinet maker. He became a chorister at St Paul's Cathedral when aged ten and was appointed to the position of organist at St Michael's College, Tenbury at the age of sixteen. He later became organist at Magdalen College, Oxford, and subsequently organist at St Paul's Cathedral. When he retired due to his poor eyesight and deteriorating health, he returned to Oxford to become Professor of Music at the university.
Stainer's output of sacred music was extensive, including the Passion cantata or oratorio The Crucifixion (1887), the Sevenfold Amen, and numerous hymn tunes, including "Cross of Jesus", "All for Jesus" (both from The Crucifixion), and "Love Divine”. “God So Loved the World” is also part of The Crucifixion. His settings for the Gloria and Sanctus were sung at the coronation of Edward VII in 1902. His work as a composer was much esteemed during his lifetime but is not well known today. The Crucifixion is one of the few major works of his that is still regularly performed. He also made a lasting contribution to the music of Christmas in his Christmas Carols New and Old (1871), produced in collaboration with the Rev. H. R. Bramley, which marked an important stage in the revival of the Christmas carol. The book includes Stainer's arrangements of what were to become the standard versions of "What Child Is This", "God Rest Ye Merry Gentlemen", "Good King Wenceslas", "The First Nowell", and "I Saw Three Ships", among others.
God so loved the world, that he gave his only begotten Son,
that whoso believeth in him should not perish, but have everlasting life.
For God sent not his Son into the world to condemn the world;
but that the world through him might be saved.
God so loved the world.
Magic Penny - Malvina Reyolds
Genesis 1
Malvina Reynolds (1900-1978) was an American folk/blues singer-songwriter and political activist, best known for her songwriting, particularly the songs "Little Boxes" and "Morningtown Ride." Malvina Milder was born in San Francisco to David and Abagail Milder, Jewish and socialist immigrants, who opposed involvement in World War I. She married William ("Bud") Reynolds, a carpenter and labor organizer, in 1934. Reynolds earned her Bachelor of Arts and Master of Arts in English from the University of California, Berkeley, and later earned a doctorate there in 1938. In 1977, Reynolds became an associate of the Women's Institute for Freedom of the Press (WIFP). WIFP is an American nonprofit publishing organization. The organization works to increase communication between women and connect the public with forms of women-based media.
Though she played violin in a dance band in her twenties, Reynolds began her songwriting career late in life. She was in her late forties when she met Earl Robinson, Pete Seeger, and other folk singers and songwriters. She returned to school at UC Berkeley, where she studied music theory. Reynolds went on to write several popular songs, including "Little Boxes" (1962), recorded by Seeger and others, "What Have They Done to the Rain" (1962), recorded by The Searchers, The Seekers, Marianne Faithfull, Melanie Safka and Joan Baez (about nuclear fallout), "It Isn't Nice" (a civil rights anthem), "Turn Around" (1959) (about children growing up, later sung by Harry Belafonte), and "There's a Bottom Below" (about depression). Reynolds was also a noted composer of children's songs, including "Magic Penny" and "Morningtown Ride" (1957). In her later years, Reynolds contributed songs and material to PBS' Sesame Street, on which she made occasional appearances as a character named Kate.
Love is something if you give it away, You end up having more.
It's just like a magic penny, Hold it tight and you won't have any.
Lend it, spend it, and you'll have so many They'll roll all over the floor.
Money's dandy and we like to use it, But love is better if you don't refuse it.
It's a treasure and you'll never lose it Unless you lock up your door.
So let's go dancing till the break of day, And if there's a piper, we can pay.
For love is something if you give it away, You end up having more.
Hand Me Down My Silver Trumpet - Joy Webb
Genesis 2
The Joystrings (originally credited as The Joy Strings) were a 1960s UK Christian music group led by classically trained keyboard player and singer Joy Webb (b.1932), an officer (now retired) in the Salvation Army. Webb wrote and arranged music, as well as performing with the group. Commissioner Frederick Coutts was elected General of The Salvation Army in November 1963 and in his election press conference expressed the hope that The Salvation Army might show a more modern approach in bringing the message of Christian faith to the 'man in the street'. Coutts felt Salvationists with guitars should be able to play in coffee bars and clubs if it led to effective evangelizing. The idea attracted considerable media attention and the press wanted photographs of the Salvationists in their 'pop' mode. However, the problem was that no such group or groups existed, although it was too good an opportunity to bypass, since a great deal of publicity would be bestowed upon The Salvation Army.
On the staff of the International Training College was a young officer, Captain Joy Webb who was a gifted pianist, vocalist and who also played the guitar. She was asked by the training principal to find some girls who had brought their guitars with them to the college and to gather a group together. Joy Webb remembers: "Time magazine put us outside No. 10 Downing Street and featured us on their front cover. We were taken along to the Houses of Parliament and photographed at all angles with Big Ben in the background by other press photographers." This was followed by a request from the visiting Canadian Broadcasting Corporation (the CBC) to hear the 'group' sing. Captain Handel Everett, another college staff member, was enlisted to play the string bass and Salvationist Wycliffe Noble was invited to play the drums. Joy Webb arranged a Salvation Army chorale selection for the group to present to the media. This was not the end of the perplexing situation because soon after the 'group' were invited to appear on the BBC "Tonight" programme. Difficulty arose for presenter Cliff Michelmore to introduce the group of assembled Salvationists as they had no name. The idea of having a name had never occurred to the group or to anyone else.
As they sang their songs that evening, with Captain Webb on her accordion, a director of the EMI recording company was viewing the programme in his home. He liked what he had seen and heard and started the ball rolling for the group to record. Mr. Robert Dockerill repertoire manager of EMI Abbey Road recording studios and long-time friend of The Army, suggested that since the New Testament was full of the joy of being a Christian, and the 'group's music reflected that joy, the name Joy Strings seemed appropriate. 'Captain Joy' became a national figure. She was interviewed on Jimmy Young's "Saturday Special" radio show.
The Joy Strings first public appearance was at Camberwell where an estimated sixty percent of the audience were teenagers. The Joy Strings had become a 'pop' phenomenon and their first single reinforced this fact by charting at number 32 in the UK. A three night appearance at the Blue Angel club was packed beyond capacity with television and film crews in attendance. No one had considered the possibility that The Joy Strings would last five years. Only Wycliffe Noble was a regular Salvationist; all the others were college staff or cadets with studies and a commitment to a vocation to consider. During the first few months, it had been felt that the media frenzy would die down and The Joy Strings would disappear. As more and more invitations began to pour in, the future of the group had to be determined. During the five years of the group's existence innumerable performances took place, including theatres, palaces, prisons, concert halls, schools, television studios, outdoor venues, recording studios, cathedrals, fundraising events, tours, photo shoots, factory canteens, holiday camps, clubs and rallies. The final appearance of The Joy Strings was in July 1968 in the Fairfield Halls, Croydon.
In 2009, Major Joy Webb was been admitted to the Order of the Founder, The Salvation Army's highest honour. The ceremony admitting her to the order took place in a packed Royal Albert Hall, London, where 4,000 Salvationists and friends had gathered for the UK Territory's annual Gospel Arts Festival. The ceremony was conducted by UK Territorial Commander Commissioner Shaw Clifton, and took the major completely by surprise. She was already on stage – taking part in an item commemorating the contribution made to Salvation Army music by The Joystrings, the radical pop group she founded and led in the 1960s – when the commissioner called her to stand with him under the territorial flag as he read the citation, which declared: “Throughout her officership, Major Joy Webb has demonstrated outstanding commitment to the creative and innovative use of music, poetry and drama in evangelism and worship, achieving unparalleled success in expressing the gospel in the popular idioms of the day while constantly reflecting the standards of the gospel in her personal life.”
Webb wrote this arrangement of the African-American spiritual “Hand Me Down My Silver Trumpet, Gabriel” in 1978.
Well, I’ve never been to Heaven, but I’ve been told,
Hand me down my silver trumpet, Gabriel;
The gates are made of pearl and the streets are made of gold,
Hand me down my silver trumpet, Lord.
O hand me down, O hand me down, O hand me down my silver trumpet, Gabriel
Send it down, hand it down, Any ol’ way, just get it down
Hand me down my silver trumpet Lord.
If religion were a thing that money could buy
Hand me down my silver trumpet, Gabriel;
The rich would live and the poor would die,
Hand me down my silver trumpet, Lord.
Well now, if you want a silver trumpet like mine,
Hand me down my silver trumpet, Gabriel:
You’d better learn to play it in plenty of time,
Hand me down my silver trumpet, Lord.
About the Hymns:
Seek Ye First
"Seek Ye First the Kingdom of God." was written in 1972 by Karen Lafferty. The following is an excerpt from an interview in Reformed Worship magazine.
I was raised in a Christian home, but like many young people I wanted to discover life for myself and did some drifting. I was working as a nightclub entertainer in New Orleans when a friend came to visit me and got me back on the right track. I decided to pursue entertainment for the time being—to try to be salt and light in the entertainment world. So I moved to California. Soon I did find a church, Calvary Chapel, and at my first service I met a lot of other young musicians. At this time "Maranatha! Music" was part of Calvary Chapel. It was very small yet and had produced only one album, An Everlasting Jesus Music Concert. At the chapel we had a special fellowship for musicians which taught us principles on how to serve through music. Most of us were especially interested in contemporary Christian music, music that would reach young people. I stayed with Maranatha! Music for about eight years. In 1980, and out of that relationship came Musicians for Missions. Youth with a Mission is very involved with the idea of cross-cultural missions. Even though we dealt with a subculture of young people who all liked the same kind of music, there were still many cultural differences. I felt I had to live outside of the U.S. to really learn what it is to be in another country. And under the umbrella of Youth with a Mission, I was able to organize Musicians for Missions.
Back in 1971, I had quit my entertainment job and was trying to support myself with teaching guitar lessons. I had three students! When my savings were all gone and I had no money to make my car payments, I became very discouraged and confused. One evening I went to a Bible study at church, and we talked about Matthew 6:33.1 was tremendously encouraged and challenged by the words about Christ's kingdom. So I went home, wrote the tune, recorded it on a tape recorder, and then sang this little descant part. I taught the song at church the next week, and it caught on right away. The Lord really paved the way for me with that song. "Seek Ye First" has opened doors for me all over the world. And because it's in so many hymnbooks, about 40 percent of my mission support comes from that song!
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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