November 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.   

Dealing with Family Conflict

About the Organ Music:

When We Are Living - Bert Carlson

This gentle and assuring Mexican folk hymn has quickly become a favorite song in both Spanish and English speaking churches in a variety of denominations. To date it has been published in over thirteen denominational hymnals or songbooks. While this hymn is lovely in its simplicity of melody and message, its origin is a bit more complicated.  It first made its appearance in the songbook, Celebremos II, 1983. This songbook was published by Discipleship Resources, an in-house publishing arm of The General Board of Discipleship, and developed as a result of MARCHA (Methodists Associated Representing Concerns of Hispanic Americans) recommendations that more Spanish indigenous music be collected for use in Spanish speaking churches. As a result, the first stanza was recorded and transcribed by Gertrude Suppe, serving on this editorial committee, after meeting a Mexican woman in Los Angeles following a worship service. It was then presented to the editorial committee for inclusion in Celebremos II. Elise Eslinger, music editor for Celebremos II, translated the first stanza from Spanish to English. Roberto Escamilla, editor of Celebremos II, added three additional verses in Spanish. These words were translated into English by George Lockwood, thereby creating the hymn as we know it today.

Roberto Escamilla, editor of both Celebremos I and Celebremos II, is a native of Hidalgo, Mexico, and has served many United Methodist churches in Texas and Oklahoma, both Spanish and English-speaking. He has a distinguished career as a pastor and a teacher that has spanned decades and continues to teach at Perkins School of Theology at the Course of Study School in the area of worship, the sacraments, and preaching.  The publishing of Himnario Metodista by United Methodists coincided with an awakening of Latino consciousness and a concern that their hymnals should be a clear voice of Hispanic Methodists rather than translations of hymns brought by Anglo-Saxon missionaries. During the next twenty years, a project task force headed by Roberto Escamilla (1931- ) produced Celebremos: Primera Parte, Colección de Coritos (Nashville, 1979), a collection of familiar choruses) and Celebremos: Segunda Parte, Colección de Himnos, Salmos y Cánticos (Nashville, 1983) containing hymns, psalms, and canticles from a broad global and ecumenical Latino perspective. UMH included eighteen selections in Spanish, of which nine were translations by George F. Lockwood, IV (1946- ). Mil Voces Para Celebrar (Nashville 1996) ed. Raquel Mora Martínez, contained services, psalter with respuestas (antiphons or responses), 394 hymns, prayers and amens.

This hymn’s first stanza references Romans 14:8 and as we can see it follows the biblical text very closely. The meaning is clear that whether living of dying, we are not alone, we belong to God. Furthermore, it reminds us of the resurrection promise and heritage that is ours because Christ died for us and lives again. What an amazing assurance that is for all Christians, and what a great reminder we need every day!  Stanzas 2-4, written by Dr. Escamilla, are based more loosely on John 15:8, “My Father is glorified by this, that you bear much fruit and become my disciples.” 

The success of “Pues si vivimos” is due in large part to the pairing of this gentle folk melody with the text.  Its composer is unknown.

When we are living, it is in Christ Jesus, And when we’re dying, it is in the Lord.
Both in our living and in our dying, We belong to God, we belong to God.

Through all our living, we our fruits must give. Good works of service are for offering.
When we are giving, or when receiving, we belong to God; we belong to God.

'Mid times of sorrow and in times of pain, when sensing beauty or in love's embrace,
whether we suffer, or sing rejoicing, we belong to God; we belong to God.

Across this wide world, we shall always find those who are crying with no peace of mind,
but when we help them, or when we feed them, we belong to God; we belong to God.

J. Bert Carlson (b. 1937), retired pastor, holds a master of music from Duquesne University School of Music and has served as pastor of Christ Lutheran Church, Whiting, NJ since 1997. Carlson wears many diverse hats as a piano teacher, organ recitalist, tenor soloist, musical director, and conductor as well as cofounder of the Chicago Oratorio Society and clinician for numerous workshops with an emphasis on choral methods, organ and hymn composition. His prodigious list of publications includes anthems, vocal songs, organ works, and piano works.

Festal Trumpets - Noel Rawsthorne

Noel Rawsthorne (1929-2019) was a British organist and composer.  He studied at the Royal Manchester College of Music, and in 1958, the Liverpool Bluecoat Society of Arts gave him an award provided by the Gulbenkian Foundation which enabled him to continue his studies, first in Italy with Fernando Germani and then in Paris with Marcel Dupré. He became Organist of Liverpool Cathedral from 1955 to 1980. While there, he composed many original choral works, such as the Festive Eucharist (1978) which is still sung regularly by churches across the Anglican Diocese of Liverpool. Until 1993, Rawsthorne was Senior Lecturer in Music at (formerly) St. Katharine's College, Liverpool (now Liverpool Hope University.  He received an honorary doctorate in music from the University of Liverpool and his work with the Royal Liverpool Philharmonic Orchestra included supervision of the refurbishment of the Rushworth and Dreaper organ in the Philharmonic Hall.  Rawsthorne's compositions and arrangements are found in many contemporary collections of organ music.

About the Piano Music:

Come Thou Fount of Every Blessing - Mary McDonald

“Come Thou Fount of Every Blessing” was written by the 18th century pastor and hymnist Robert Robinson. Robert Robinson (1735-1790) was eight years old at the time of his father's death. He was a very bright, headstrong boy who became increasingly more difficult for his mother to handle. When Robert turned 14, she sent him to London for an apprenticeship with a barber. Robert proceeded to get into even more trouble, taking on a life of drinking and gambling.  

At 17, Robert and some of his drinking buddies decided to attend an evangelistic meeting, with a plan to make fun of the proceedings. When George Whitfield began to preach, Robert felt as if the sermon was just for him. He did not respond to the altar call that night, but the words of the evangelist would haunt him for the next three years.  On Dec. 10, 1755, at age 20, Robert finally yielded his life to Christ, and very soon thereafter answered a call to the ministry. Three years later, as he was preparing to preach a sermon at the Calvinist Methodist Chapel in Norfolk, England, Robert wrote “Come Thou Fount of Every Blessing” to complement his sermon. The music for the hymn was composed by Asahel Nettleton in 1813.

The lyrics, which dwell on the theme of divine grace, are based on 1 Samuel 7:12, in which the prophet Samuel raises a stone as a monument, saying, "Hitherto hath the Lord helped us". The English transliteration of the name Samuel gives to the stone is Ebenezer, meaning Stone of Help. The unusual word "Ebenezer" commonly appears in hymnal presentations of the lyrics.

The tune NETTLETON first appeared as a two-part tune in John Wyeth's Repository of Sacred Music, Part Second(1813), where it was named HALLELUJAH. In the Index it is identified as a new tune, and no composer's name is given. The tune has been attributed by some to Asahel Nettleton (1783-1844), a well-known evangelist of the early nineteenth century, who compiled Village Hymns (1825). However, this compilation contained no music, and there is no evidence that Nettleton wrote any tunes during his life.  It is not known where the tune name first appeared or who was responsible for it.

Come, Thou Fount of every blessing Tune my heart to sing Thy grace.
Streams of mercy, never ceasing Call for songs of loudest praise.
Teach me some melodious sonnet Sung by flaming tongues above.
Praise the mount, I'm fixed upon it Mount of Thy redeeming love.

Here I raise my Ebenezer Hither by Thy help I've come.
And I hope, by Thy good pleasure Safely to arrive at home.
Jesus sought me when a stranger Wandering from the fold of God.
He, to rescue me from danger Interposed His precious blood.

Oh, that day when freed from sinning I shall see Thy lovely face.
Clothed then in blood washed linen, How I'll sing Thy wondrous grace.
Come, my Lord, no longer tarry Take my ransomed soul away.
Send Thine angels now to carry Me to realms of endless day.

    Oh, to grace how great a debtor Daily I'm constrained to be.
    Let thy goodness like a fetter Bind my wandering heart to Thee.
    Prone to wander, Lord, I feel it; Prone to leave the God I love.
    Here's my heart, oh, take and seal it Seal it for Thy courts above.

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 Hymns:

To God Be the Glory

Fanny Jane Crosby (1820-1915), born in New York and died in Connecticut, wrote over 8,500 gospel hymns. In 1972, Hope Publishing Co. found over 1,000 unpublished manuscripts. Her work defined what it meant to be a successful writer of gospel hymns.  By the age of six weeks, Fanny Crosby was completely blind. She entered the New York School for the Blind at age twelve. She began writing hymns and poetry at age twelve.  Her collaborators in publishing gospel hymns included the most successful and popular composers of her day, including William Bradbury, William Doane, Robert Lowry, Ira Sankey, and William Kirkpatrick. Crosby used numerous pen names in publishing her songs, including: Ella Dale, Mrs. Kate Gringley and Miss Viola V. A.  She married blind musician Alexander Van Alstyne, and the British most often refer to her by her married name rather than Fanny Crosby.  She was a lifelong Methodist and her contributions to The United Methodist Hymnal (1989) include: “Blessed Assurance,” “Close to Thee,” “I Am Thine, O Lord,” “Jesus, Keep Me Near the Cross,” “Pass Me Not, O Gentle Savior,” “Rescue the Perishing,” and “To God Be the Glory.”

Frances Jane Crosby’s hymns have historically been among the most popular songs sung by Methodists.  “To God be the glory” was included in William Doane’s Songs of Devotion in 1870.  Ira Sankey probably saw the hymn in Doane’s collection and incorporated it into the first edition of his Sacred Songs and Solos (1875).  Dwight Moody and Ira Sankey helped to establish the hymn’s popularity during their revivals in Great Britain in the late 19th century.  It also appeared in some British hymnals including the Methodist Hymn Book (1933).

However, it was not until the 1954 Billy Graham Crusade in Nashville that Cliff Barrows introduced this song to congregations in the United States.  Mr. Graham and Mr. Barrows had learned the song during the 1952 revivals they had conducted in Great Britain.  Hymnologist William J. Reynolds, writing in his hymnal companion Hymns of Faith (1964), documented the return of this hymn to the USA: “It is most extraordinary that this long-forgotten American gospel song should have been imported from England and become immensely popular during the last decade.” 

Amazing Grace

"Amazing Grace" was written by the English poet and clergyman John Newton (1725–1807).  With the message that forgiveness and redemption are possible regardless of sins committed and that the soul can be delivered from despair through the mercy of God, "Amazing Grace" is one of the most recognizable songs in the English-speaking world.

Newton wrote the words from personal experience. He grew up without any particular religious conviction, but his life's path was formed by a variety of twists and coincidences that were often put into motion by his recalcitrant insubordination. He was drafted into the Royal Navy, and after leaving the service became involved in the Atlantic slave trade. In 1748, a violent storm battered his vessel so severely that he called out to God for mercy, a moment that marked his spiritual conversion. However, he continued his slave trading career until 1754 or 1755, when he ended his seafaring altogether and began studying Christian theology.

Ordained in the Church of England in 1764, Newton became curate of Olney, Buckinghamshire, where he began to write hymns with poet William Cowper. "Amazing Grace" was written to illustrate a sermon on New Year's Day of 1773. It was first printed in 1779 in Newton and Cowper's Olney Hymns, but settled into relative obscurity in England. In the United States however, "Amazing Grace" was used extensively during the Second Great Awakening in the early 19th century. It has been associated with more than 20 melodies, but in 1835 it was joined to a tune named "New Britain" to which it is most frequently sung today.

First United Methodist Church, Lewisville, Texas

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