April 19, 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:

Come Away to the Skies - Wilbur Held

This is a hymn by Charles Wesley, 1767, from Family Hymns, entitled On the birthday of a friend.  A manuscript precursor of this hymn appears in MS Richmond, 2–4; where it is clear this was written for the birthday of his wife, Sarah Gwynne Wesley.  Charles Wesley (1707-1788) was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages.  

In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, [sic. 1738] he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage, unlike that of his brother John, was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756," when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol.  Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." 

As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvellous how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumours of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift.  The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream.

MIDDLEBURY is an old shaped-note tune that first appeared in the early 1800s.  The earliest known publication of MIDDLEBURY was in the second edition of Davisson’s Supplement to the Kentucky Harmony (between 1821 and 1824).  It subsequently appeared in 14 tune books.  With the exception of Davisson’s attribution to “Humphreys”, it always indicated anonymous.  It was always paired with this Wesley text.

Come away to the skies, my beloved, arise and rejoice in the day thou wast born.

On this festival day, come exulting away, and with singing to Zion return.

Now with singing and praise, let us spend all the days, by our heavenly Father bestowed,

while his grace we receive from his bounty, and live to the honour and glory of God.

For the glory we were first created to share, both the nature and kingdom divine!

Now created again that our lives may remain, throughout time and eternity thine.

We with thanks do approve the design of that love which hath joined us to Jesus' name;

so united in heart, let us nevermore part, till we meet at the feast of the Lamb.

Hallelujah we sing, to the heaven's high King, and his rapturous praises repeat:

to the Lamb that was slain, hallelujah again, sing, all heaven, and fall at his feet. 

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.

Erster Ostertag - Otto Malling

Otto Valdemar Malling (1848-1915) was a Danish composer, the cathedral organist in Copenhagen and Director of the Royal Danish Academy of Music, Copenhagen. Malling wrote the first Danish textbook in orchestration, along French conservatory lines. His scores of organ music brought him some reputation abroad, but after his death he was soon forgotten in his native country, as musical tastes changed.

“Erster Ostertag” (First Easter Day) is part of Die Festtage des Kirchenjahren, a set of twelve postludes for the church year.

About the Piano Music:

Triumph - Chris de Silva

O filii et filiae is an early Christian hymn celebrating Easter.  It was written by Jean Tisserand, O.F.M. (d. 1494), a preacher, and originally had nine stanzas.  The hymn was very popular in France, whence it spread to other countries. The hymn was assigned in the various French Paroissiens to the Benediction of the Blessed Sacrament, on Easter Sunday. 

The melody with the jubilant effect of the triumphant Alleluia seems to speak of the majesty of the Resurrection.  The rhythm of the hymn is that of number and not of accent or of classical quantity. The melody to which it is sung can scarcely be divorced from the lilt of triple time. As a result, there is frequent conflict between the accent of the Latin words and the stress of the melody

There are several translations into English by non-Catholics. The Catholic translations are one by an anonymous author in the "Evening Office", 1748 ("Young men and maids, rejoice and sing"), Father Caswall's "Ye sons and daughters of the Lord" and Charles Kent's "O maids and striplings, hear love's story".  The translation by Fr. Edward Caswall (1814-1878) follows:

Ye sons and daughters of the Lord, the King of glory King adored,

This day Himself from death restored.  Alleluia, Alleluia, Alleluia. 

All in the early morning gray went holy women on their way,

To see the tomb where Jesus lay.  Alleluia, Alleluia, Alleluia.

Of spices pure a precious store in their pure hands these women bore,

To anoint the sacred Body o’er.  Alleluia, Alleluia, Alleluia

Then straightaway one in white they see, who saith, “seek the Lord:

But He is risen and gone to Galilee.”  Alleluia, Alleluia, Alleluia

This told they Peter, told John, who forthwith to the tomb are gone,

But Peter is by John outrun.  Alleluia, Alleluia, Alleluia

That self-same night, while out of fear the doors were shut, their Lord most dear

To His Apostles did appear.  Alleluia, Alleluia, Alleluia

But Thomas, when of this he heard, was doubtful of his brethren’s word,

Wherefore again there comes the Lord.  Alleluia, Alleluia, Alleluia

“Thomas, behold my side”, saith He, “My hands, My feet, My body see,

And doubt not, but believe in me.  Alleluia, Alleluia, Alleluia

When Thomas saw that wounded side, the truth no longer he denied,

“Thou art my Lord and God!” he cried.  Alleluia, Alleluia, Alleluia

Oh, blest are they who have not seen their Lord and yet believe in Him!

Eternal life awaitheth them.  Alleluia, Alleluia, Alleluia

Now let us praise the Lord most high, and strive His name to magnify

On this great day, through earth and sky.  Alleluia, Alleluia, Alleluia

Whose mercy ever runneth o’er, Whom men and Angel hosts adore,

To Him be glory evermore.  Alleluia, Alleluia, Alleluia

Chris de Silva is a composer, arranger and recording artist with GIA Publications, Inc. He is is originally from Singapore and currently lives in Los Angeles, California. Chris shares his love for music ministry at national conferences, diocesan and parish retreats around the US, Canada, Europe and Asia.  De Silva has ministered as Director of Liturgy and Music at several faith communities in the Archdiocese of Los Angeles, and currently serves on the campus ministry team at Loyola Marymount University as Associate Director of Music.  He is a graduate of the University of Southern California Thornton School of Music where he studied Music Composition and Film Scoring. He also holds an M.A. in Pastoral Theology from Loyola Marymount University, Los Angeles, and is currently pursuing a Doctor of Ministry Degree at Candler School of Theology, Emory University.

About the Hymns:

Christ is Risen

This text was written in 1984 by Brian Wren (b. 1936), an internationally published hymn writer whose work appears in hymnals from many denominations and traditions. Ordained in Britain’s United Reformed Church, he holds BA and PhD degrees from Oxford University. On July 1, 2000, he was appointed the first John and Miriam Conant Professor of Worship at Columbia Theological Seminary in Atlanta.  "Christ Is Risen! Shout Hosanna!" celebrates God's surprising Easter turnaround of the Good Friday events.

The tune for this hymn in The United Methodist Hymnal is a familiar one. It is the same as “Infant Holy, Infant Lowly,” W ZLOBIE LEZY.   This Polish folk tune is a rounded bar form consisting of short figures and phrases bound together by the consistent rhythmic pattern of the Polish mazurka (made famous by Frederic Chopin).

He Lives

Alfred H. Ackley (1887-1960) was the son of a Methodist preacher and musically gifted man, who gave Alfred his foundation in music at an early age. Ackley studied cello, harmony, and composition in New York and London. Ackley went on to graduate from Westminster Theological Seminary in Maryland, and was ordained as a Presbyterian minister. He served as pastor in several states of the United States, and worked for a few years with evangelist Billy Sunday and the Rodeheaver Music Company. Ackley's musical endeavors were so appreciated that he was awarded an honorary Doctor of Sacred Music degree by John Brown University in Arkansas.

One particular morning, Easter Sunday in 1932, Rev. Ackley was preparing for his services of the day. As he was shaving, he tuned in to the radio in time to hear a special Easter broadcast.  “Good morning!” The well-known preacher began. “It’s Easter! You know folks, it really doesn’t make any difference to me if Christ be risen or not. As far as I am concerned His body could be as dust in some Palestinian tomb. The man thing is, His truth goes marching on!”  Rev. Ackley was furious. “It’s a lie!” he shouted at the radio set, forgetting that the speaker could not hear him. Mrs. Ackley did hear him, however, and questioned, “Why are you shouting so early in the morning?”  “Didn’t you hear what that good-for-nothing preacher said?” he replied. “He said it didn’t matter whether Christ be risen or not!”

Rev. Ackley, in telling the story later, said that he preached that Easter Sunday quite differently than he had ever preached before, but at the end of the day, still felt that he had not yet said everything he wanted to say.  His wife said, “Listen here, Alfred Ackley, it’s time you did that which you can do best. Why don’t you write a song about it and then maybe you’ll feel better. You’ll have something that will go on telling the story.”  That night, Rev. Alfred Ackley wrote the words and composed the melody.  The hymn first appeared in Triumphant Service Songs, a hymnal published by the Rodeheaver Company in 1933.

First United Methodist Church, Lewisville, Texas

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