March 29, 2020

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:

I Heard the Voice of Jesus Say - James Biery

Horatius Bonar (1808-89) was a great lover of children and was concerned about how little the children understood of the metrical Psalms that were sung in the Scottish church of his day. "I Heard the Voice of Jesus Say" was one of the over 600 hymns he wrote to address the needs of the churches he served.  It was published in his Hymns Original and Selected, 1846, and in the 1st series of his Hymns of Faith & Hope, 1857, in 3 stanzas of 8 lines, and headed, “The Voice from Galilee." It is one of the most popular of the author's hymns.

I heard the voice of Jesus say, “Come unto me and rest;
lay down, O weary one, lay down your head upon my breast.”
I came to Jesus as I was, so weary, worn, and sad;
I found him in a resting place, and he has made me glad.

I heard the voice of Jesus say, “Behold, I freely give

the living water, thirsty one, stoop down and drink and live.”
I came to Jesus, and I drank of that life-giving stream;
my thirst was quenched, my soul revived, and now I live in him.

I heard the voice of Jesus say, “I am this dark world’s light;
look unto me; your morn shall rise, and all your day be bright.”
I looked to Jesus, and I found in him my star, my sun;
and in that light of life I’ll walk till traveling days are done.

James Biery (b. 1956) is an American organist, composer and conductor who is Minister of Music at Grosse Pointe Memorial Church (Presbyterian) in Grosse Pointe Farms, Michigan.  Biery was educated at Northwestern University, where he earned Bachelor and Master of Music degrees in Organ Performance.  Biery developed his compositional skills from two disciplines: years of study of the organ and its literature and intense scrutiny of the orchestral scores of numerous composers whose music he transcribed for organ duet and organ solo. His facility at the organ combined with his demonstrated ability to perform and study a vast amount of literature has given Biery a firm basis upon which to compose for the instrument.

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. 

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. 

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:

Give Me Jesus - Zach Unke

“Give Me Jesus” originated as an African-American spiritual written during the time of slavery in the United States.  The lyrics of are simple, but poignant. Whether we are in tragedy or triumph, whether we are weathering storms or counting treasures, our hearts’ desire should simply be Jesus.  That “Give Me Jesus” was written by people stripped of all dignity and every human possession says so much about what Jesus is, what He can give and His very nature!

In the morning, when I rise Give me Jesus.
You can have all this world, Just give me Jesus.

When I am alone, Give me Jesus.
You can have all this world, Just give me Jesus.

I heard my mother say Give me Jesus.
You can have all this world, Just give me Jesus.

Dark midnight was my cry; Give me Jesus
You can have all this world Just give me Jesus.

And when I come to die, Give me Jesus.
You can have all this world, Just give me Jesus.

A native of Tacoma, Washington, Zach Unke grew up playing the piano and began playing in church as a second grader and accompanied several services as well as choir and classroom singing.  He studied piano both at Lakeland College and Martin Luther College.  He has played for several art openings, the 2008 Unity Music Festival in Sheboygan, and at both The Osthoff Resort in Elkhart Lake, WI and The American Club in Kohler, WI. He says: “I grew up as a church pianist.  I write music for the church pianist.  My goal is to create music that excites and challenges the pianist but is easily enjoyed by the listener.”

About the Hymns:

Come Christians, Join to Sing

Christian Henry Bateman (1813-1899) was ordained into the Church of England after being a Congregational minister.  His miisterial studies were under the auspices of the Moravian Church, where he served for a time before changing to the Congregational Church at age 30. Following his ministry at Richmond Place Congregational Church in Edinburgh, Scotland, and successive Congregational parishes in Hopton, Yorkshire, and Reading, Berkshire, he took Holy Orders in the Anglican Church at age 56 and served as a curate and vicar in several Anglican parishes.

“Come, Children, Join to Sing” first appeared in a collection published in Edinburgh, Sacred Melodies for Children (1843), along with a number of other hymns for children by Bateman. The original “Hallelujah, Amen!” was changed by the Presbyterian Church in the U.S.A., in their 1933 hymnal, to “Alleluia! Amen!”  It has remained that way ever since.  The original incipit (opening line of the hymn) was “Come, children, join to sing.” Though changed in the Presbyterian hymnal to include all age groups, Bateman’s text contains direct, uncomplicated language suited for children. Since very few of the words have more than two syllables and “Alleluia! Amen!” is interjected three times in each stanza, the hymn is easy for children to learn and sing.

MADRID, also known as SPANISH HYMN, was a popular Spanish folk melody that was arranged for piano by Benjamin Carr in 1825.  In 1826, it was published in Philadelphia with the following title: Spanish Hymn, arranged and composed for the Concerts of the Musical Fund Society of Philadelphia by Benjamin Carr.  The Air from an Ancient Spanish Melody.  Printed from the Condensed Score of the Society, and Presented to the Composer as a Tribute of Respect and Regard by Some of the Members, his Friends (Philadelphia, 1826).  Montague Burgoyne published the tune in A Collection of Metrical Versions (London, 1827).  

Benjamin Carr (1768-1831) was born in London and studied with Dr. Samuel Arnold and Charles Wesley, II.  He emigrated to America in 1793, and the following year, he became a publisher in both Philadelphia and New York.  He was organist of St. Peter’s Church, Philadelphia, and also music director of St. Joseph’s Roman Cathholic Church from 1801.  His liturgical works were published in Masses, Vespers, Litanies, Hymns, Psalms, Anthems & Motetts (1805) for Roman Catholics and the Collection of Chants and Tunes for the Use of the Episcopal Church in the City of Philadelphia (1816).  In addition, Carr wrote operas and piano pieces.

What Wondrous Love is This

What Wondrous Love Is This is sometimes described as a "white spiritual", from the American South. Its text was first published in 1811, during the Second Great Awakening, and its melody is derived from an English popular ballad. The hymn's lyrics were first published in Lynchburg, Virginia in the c. 1811 camp meeting songbook A General Selection of the Newest and Most Admired Hymns and Spiritual Songs Now in Use. The lyrics may also have been printed, in a slightly different form, in the 1811 book Hymns and Spiritual Songs, Original and Selected published in Lexington, Kentucky. In most early printings, the hymn's text was attributed to an anonymous author, though the 1848 hymnal The Hesperian Harp attributes the text to a Methodist pastor from Oxford, Georgia named Alexander Means.  Camp meeting attendees during the Second Great Awakening would sing the hymns printed in these hymnals to a variety of popular melodies, including "The Ballad of Captain Kidd", which was well known at the time; this is likely how the text and melody came to be paired.  The text and melody were first published together in The Southern Harmony, a book of shape note hymns compiled by William Walker.  In 1966, the United Methodist Hymnal became the first standard hymnal to incorporate “What Wondrous Love Is This”.  Today it is a widely known hymn included in many hymnals.  

First United Methodist Church, Lewisville, Texas

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