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 Piano Music:
Here, O Lord, Your Servants Gather - Lynette Maynard
Tokuo Yamaguchi (1900-1995) was a Methodist pastor in Sawara, Tanimura, Fujieda, and Asahikawa, Japan, following his graduation with a theology degree from Aoyama Gakuin University in 1924. His longest term of service was as pastor of the United Church of Christ in Toyohashi in the Aichi Prefecture (1937-1979). He translated The Journal of John Wesley into Japanese in 1961 and was honored by the Christian Literature Society of Japan in 1983 for his translation work.
This hymn expresses Christian unity in diversity, especially cultural or ethnic diversity. As servants of the Lord, believers sing of hope amid change and turmoil. They find rest in the Lord's peace and proclaim their purpose by living the way of Christ. Based on Jesus' words in John 14:6 and on Christ-centered teachings such as those in Romans 10:12-13 and Ephesians 1:7-14, "Here, O Lord" states that Jesus, our Savior, is the Way; Jesus, our Teacher, is the Truth; and Jesus, our Healer, is the Life. The song closes with a prayer asking Jesus, our Master, for continued help and guidance.
While serving as a pastor of the United Church of Christ in Toyohashi, Japan, Tokuo Yamaguchi (b. Tomie-cho, Fukue Island, Nagasaki-Pref., Japan, 1900; d. Aichi-Pref., Japan, 1995) wrote the text for the fourteenth International Christian Education Conference held in Tokyo in 1958, just one year after the launching of Sputnik and the resulting new emphasis on education. The theme of that conference was "Christ, the Way, the Truth, and the Life." Everett M. Stowe (b. 1897) translated the Japanese text into English.
The tune TOKYO is based on the ancient Japanese Gagaku mode of musical composition. Gagaku is the name for all traditional Japanese court music, much of it dating back to the eighth century, with previous roots in Chinese music. Composed by Isao Koizumi (1907-1992) for Yamaguchi's text, TOKYO was first published in the English-language Japanese hymnal Hymns of the Church (1963). Koizumi graduated from the Osaka University of Commerce in 1932. For the next ten years he taught at that school, was an organist in Tokyo, and then went on to work in the import-export business. He has served as the conductor of the Tokyo Choral Society and edited various hymnals, including The Hymnal 1954 for the United Church of Christ in Japan, The Sunday School Hymnal (1954), and Hymns of Praise (1967 edition). A writer and translator of books and articles on church music, Koizumi has also composed and arranged hymn tunes. He is considered a leading figure in modern Japanese hymnody.
Here, O Lord, your servants gather, hand we link with hand;
Looking toward our Savior’s cross, joined in love we stand.
As we seek the realm of God, we unite to pray:
Jesus, Savior, guide our steps, for you are the way.
Many are the tongues we speak, scattered are the lands,
Yet our hearts are one in God, one in love’s demands.
E’en in darkness hope appears, calling age and youth:
Jesus, teacher, dwell with us, for you are the Truth.
Nature’s secrets open wide, changes never cease.
Where, o where, can weary souls find the source of peace?
Unto all those sore distressed, torn by endless strife:
Jesus, healer, bring your balm, for you are the Life.
Grant, O God, an age renewed, filled with deathless love;
Help us as we work and pray, send us from above
Truth and courage, faith and power, needed in our strife:
Jesus, Master, be our Way, be our Truth, our Life.
Lynette Maynard is organist and pianist at Woodinville Community United Methodist Church, Woodinville, Washington.
Holy God, We Praise Thy Name - Paul Tate
"Holy God, We Praise Thy Name" (original German: "Großer Gott, wir loben dich") is a hymn with a colored and varied history.
The German Catholic priest Ignaz Franz wrote the original German lyrics in 1771 as a paraphrase of the Te Deum, a Christian hymn in Latin from the 4th century. It became an inherent part of major Christian ceremonial occasions, mainly as a conclusion song. Due to its memorable melody and theme, it is one of the most popular hymns in German-speaking communities. As a result of the German emigration in the 19th century, the song became known in the United States and was translated to English by Clarence A. Walworth in 1858, except verse 7 (translated by Hugh T. Henry), which accounted for its wide spreading around the country.
The first printing of the hymn was made in Vienna 1776, where it became part of the Catholic hymnal (Katholisches Gesangsbuch) upon the order of Her Apostolic Majesty Maria Theresia. Since then, different varieties in the German lyrics were developed, of which two are still in use: Johann Gottfried Schicht's Allgemeines Choralbuch (1819) and Heinrich Bone's Cantate (Mainz 1852).
The lyrics paraphrase the Latin Te Deum. Its original version of 1771, which was later amended by Ignaz Franz, consisted of 12 verses; however, the amendment never gained acceptance and so the first version (altered by consolidating the 5th and 6th verse) persisted. The melody first appears in the Allgemeines Katholisches Gesangbuch (Vienna, c. 1774).
On the initiative of Johann Gottfried Schicht, the hymn also became part of Protestant hymnals, but was widely neglected for a long time due to its perceived status as a "spiritual folksong" in the Age of Enlightenment. Only in the 20th century was it fully accepted by Protestants, though shorter and altered versions are often sung (occasionally two verses were completely replaced by the New Apostolic Church).
The hymn became also part of military hymnbooks where it was considered as a song of thanksgiving. The military hymnal of the Evangelical Church of 1939 added a verse which praised the Führer Adolf Hitler. The hymnal of the so-called "German Christians" (1941) was named after the song and contained a version which was "purified of Jewish elements" and adjusted to the Nazi ideology.
In the region of Upper Silesia in Poland, this hymn is performed in loose Polish translation ("Ciebie, Boże wielbimy"), replacing "Ciebie Boga wysławiamy" by Franciszek Wesołowski which is officially sanctioned as a Polish version of Te Deum (so called "Millenial Te Deum") by Polish Episcopal Conference, and widespread in other regions of the country.
In Switzerland there also exists a pacifistic version which was composed after World War I by Karl von Greyerz and is destined for the Swiss Day of Repentance and Prayer, an interdenominational church holiday in Switzerland.
Holy God, we praise Thy Name; Lord of all, we bow before Thee!
All on earth Thy scepter claim, All in Heaven above adore Thee;
Infinite Thy vast domain, Everlasting is Thy reign.
Hark! the loud celestial hymn Angel choirs above are raising,
Cherubim and seraphim, In unceasing chorus praising;
Fill the heavens with sweet accord: Holy, holy, holy, Lord.
Lo! the apostolic train Join the sacred Name to hallow;
Prophets swell the loud refrain, And the white robed martyrs follow;
And from morn to set of sun, Through the Church the song goes on.
Holy Father, Holy Son, Holy Spirit, Three we name Thee;
While in essence only One, Undivided God we claim Thee;
And adoring bend the knee, While we own the mystery.
Thou art King of glory, Christ: Son of God, yet born of Mary;
For us sinners sacrificed, And to death a tributary:
First to break the bars of death, Thou has opened Heaven to faith.
From Thy high celestial home, Judge of all, again returning,
We believe that Thou shalt come In the dreaded doomsday morning;
When Thy voice shall shake the earth, And the startled dead come forth.
Therefore do we pray Thee, Lord: Help Thy servants whom, redeeming
By Thy precious blood out-poured, Thou hast saved from Satan’s scheming.
Give to them eternal rest In the glory of the blest.
Spare Thy people, Lord, we pray, By a thousand snares surrounded:
Keep us without sin today, Never let us be confounded.
Lo, I put my trust in Thee; Never, Lord, abandon me.
Paul A. Tate, a graduate of the University of Georgia, is a professional musician living in Sugar Hill, Georgia. As an active workshop presenter and concert performer, Paul has released a dozen recordings and published over 100 original songs and arrangements. His liturgical compositions appear in a number of hymnal resources, and his voice has been heard around the world on Sirius Satellite Radio.
All Creatures of Our God and King - Nicholas Palmer
The words of the hymn were initially written by St Francis of Assisi (1181-1226) in 1225 in the Canticle of the Sun poem, which was based on Psalm 148. The words were translated into English by William Draper, who at the time was rector of a Church of England parish church at Adel near Leeds. Draper paraphrased the words of the Canticle and set them to music. It is not known when Draper first composed the hymn but it was between 1899 and 1919. Draper composed the hymn for his church's children's Whitsun festival celebrations and it was later published in 1919 in the Public School Hymn Book. The hymn is currently used in 179 different hymn books. The words written by St Francis are some of the oldest used in hymns after "Father We Praise Thee", written in 580 AD. The hymn is set to the tune of "Lasst uns erfreuen herzlich sehr", a German Easter hymn written by Friedrich Spee, published in 1623 in his book Auserlesene, Catholische, Geistliche Kirchengesäng. It was first used in English hymn books in 1906.
St. Francis is famous for many things, including love of animals. Pictures of him usually have birds flying nearby and small animals at his feet. A popular story tells of him stopping to preach a sermon to a flock of birds. He reminded them that God had blessed them with beautiful clothing even though they had never learned to spin or weave–– and that God had blessed them with food even thought they had never learned to sow or reap. Then he called them to sing their songs as praises to God. St. Francis wrote this hymn near the end of his life. Sick and suffering bouts of blindness, he was going home to die when he stopped to visit friends at the St. Damien monastery. While there, he felt the inspiration to compose this joyful hymn. It calls all God's creatures ––sun and moon ––wind and water––fruits and flowers––and all who are of tender heart––to sing, "Alleluia! Alleluia! Alleluia!" to honor our God.
LASST UNS ERFREUEN was originally published in the Jesuit hymnal, Ausserlesene Catlwlische Geistliche Kirchengesänge, in 1623 in Cologne, Germany. The tune is believed to have been composed by Friedrich Spee, a Jesuit priest and hymn writer who was most well known as an activist who opposed trials for witchcraft. Spee’s 1631 book, Cautio Criminalis, or a Book on Witch Trials, is one of the first written works to present strong arguments against the use of torture. Spee’s opening melodic phrase in “LASST” has its origins in a setting of Psalm 68 in the Genevan Psalter, a collection of psalm settings composed between 1539-62 in Geneva, Switzerland. While its original publication featured an Easter text, “Lasst uns erfreuen herzlich sehr” (“let us rejoice most heartily”), its most well-known version appeared in the English Hymnal in 1906, edited by Ralph Vaughan Williams. Vaughan Williams reharmonized the tune and set it in a triple meter.
All creatures of our God and King, lift up your voice and with us sing
alleluia, alleluia!
Thou burning sun with golden beam, thou silver moon with softer gleam,
O praise him, O praise him, alleluia, alleluia, alleluia!
Thou rushing wind that art so strong, ye clouds that sail in heav'n along,
O praise him, alleluia!
Thou rising morn, in praise rejoice, ye lights of evening, find a voice,
O praise him, O praise him, alleluia, alleluia, alleluia!
Thou flowing water, pure and clear, make music for thy Lord to hear,
alleluia, alleluia!
Thou fire so masterful and bright, that givest man both warmth and light,
O praise him, O praise him, alleluia, alleluia, alleluia!
And all ye men of tender heart, forgiving others, take your part,
O sing ye, alleluia!
Ye who long pain and sorrow bear, praise God and on him cast your care,
O praise him, O praise him, alleluia, alleluia, alleluia!
Let all things their Creator bless, and worship him in humbleness,
O praise him, alleluia!
Praise, praise the Father, praise the Son, and praise the Spirit, three in one,
O praise him, O praise him, alleluia, alleluia, alleluia!
Nicholas Palmer resides in Grand Rapids, Michigan, working as a composer and arranger, choral conductor, organist and pianist. His primary work has been done in the context of liturgy, playing various keyboard instruments, running choral programs, and writing music for liturgical use. He currently directs music for St. John's Episcopal in Grand Haven, Michigan, and teaches at Muskegon Community College. His freelance work involves performing on stage, writing commissioned pieces for concert and liturgy, creating digital instrument tracks for general media use, and underscoring larger media projects.
About the Hymns:
Love Divine, All Loves Excelling
Charles Wesley (1707-1788) was a prolific hymn writer of the 18th century. Coming from a musical family, he left a lasting legacy of congregational song. The youngest of 18 children, Charles possessed prodigious talents that soon blossomed. Little did he know that “Love Divine, All Loves Excelling,” would rise to become one of the most popular and consistently vocalized Christian songs. Writing hymn texts that are solidly based on the Scriptures gives them an appeal across denominational lines. It is estimated that during his lifetime, Wesley penned more than 9,000 poems of a spiritual nature, 6,000 of which are hymns. What really set Charles apart from other hymn writers was his effective use of scriptural allusions, providing a spiritual roadmap whereby individuals could imagine a Christ-centered life. His writings were passionate and well-crafted, conveying the true essence of Christian teaching.
A substantial number of his writings were completed while riding on horseback to his evangelical meetings. Scholars suggest that he was able to compose about 10 lines of verse daily for 50 years. Charles’ brother John sometimes served as editor to his hymns. John’s typical response was, “some were good, some were mediocre, and some were exceptional.” John can also be credited with improving the sing-ability of Charles’ hymns.
Both John and Charles were instrumental in changing the spiritual environment of Britain during the 18th century. In doing so, they formed the bedrock of what Methodism has become worldwide. Their unwavering devotion to expressing Christian spirituality through hymns has impacted individuals across all denominational lines. We are fortunate to be the recipients of the poetic genius of Charles Wesley. He influenced Methodism more than any other hymn writer. Upon hearing of Charles’ death, an elderly Londoner asked, “Who will write poetry for us now?”
“Love Divine, All Loves Excelling” was first published in a collection of hymns entitled Hymns for those that Seek, and those that Have, Redemption in the Blood of Christ (1747). The incipit (opening line) was a play on the opening line of John Dryden’s (1631-1700) poem “Fairest Isle, All Isles Excelling” set to music by Henry Purcell (1659-1695) in the generation before Charles Wesley was born. The hymn is written around a progression of thoughts: (1) our prayers for the Holy Spirit, (2) praying for the return of our Lord through the second coming, and (3) prayers for the finalization of his new creation.
Stanza 2 expresses the Wesleyan concept of the “second rest.” When Charles referred to this in his hymns, it specifically applies to the “second birth,” “second blessing,” “second gift.” All of these are directed toward achieving full “sanctification” or “Christian perfection.” This is an important theological tenet of Methodist preaching from the very beginning.
There is no better way of describing the culmination of adhering to the biblical teachings of Christ, than in stanza four of this hymn. Wesley’s phrase, “changed from glory into glory” is almost a direct quotation from 2 Corinthians 3:18 (KJV). Wesley describes that day in heaven when “we take our place, till we cast our crowns before thee, lost in wonder, love, and praise.”
After receiving an education in Germany, John Zundel (1815-1882) went to St. Petersburg, Russia, where he served as organist of St. Anne Lutheran Church and was bandmaster of the imperial horse guards. He came to New York in 1847 and became the organist at Plymouth Congregational Church in Brooklyn (1850-1878). Henry Ward Beecher, the famous abolitionist preacher, was pastor of that congregation, and their joint ministry caused the Plymouth Church to become well known for its preaching, organ playing, and congregational singing. Dissatisfied with existing hymnals, Beecher asked Zundel to help compile several new hymnals. Temple Melodies (1851) and the Plymouth Collection of Hymns (1855) were the result. Zundel provided twenty-eight hymns tunes for the Plymouth Collection. He also published The Choral Friend (1855), Psalmody (1855), and Christian Heart Songs, and he edited the Monthly Choir and Organ Journal until his retirement in Germany in 1880. John Zundel's BEECHER (named after Henry Ward Beecher, his pastor) was first published in his Christian Heart Songs (1870) as a setting for Charles Wesley's "Love Divine, All Loves Excelling".
Blest Be the Tie that Binds
John Fawcett (1740-1817) was born into a poor family in Yorkshire, England, and was orphaned at age 12. To survive, he accepted a lengthy apprenticeship to a tailor. While still in his teens, he heard the great George Whitfield preach and became a Christian. Fawcett became active in a Baptist church and was often asked to speak. At age 25 (and newly married), he was invited to serve as pastor of a small church at Wainsgate. The poor people of that little village were able to pay very little, and much of Fawcett's pay came as potatoes and other produce. Once his wife, Mary, began having children, they found it difficult to survive.
Fawcett learned that the pastor of a large Baptist church in London was retiring, and he let the church know that he would be interested in serving them. They called him to be their pastor at a much larger salary, so John and Mary packed their household and prepared to move. But, as the story is told, Mary told John that she didn't think she could leave these people whom they had both learned to love, and John admitted that he shared her sentiment; so, the two of them unpacked the wagon and told the London church know they wouldn't be coming.
Fawcett, who wrote a number of hymns during his lifetime, wrote the hymn, "Blest Be the Tie," to convey his sentiments and those of his wife to the poor people among whom they had chosen to live. Fawcett served that little church for the rest of his life –– 54 years in all.
Lowell Mason arranged DENNIS and first published it in The Psaltery (1845), a hymnal he compiled with George. Webb. Mason attributed the tune to Johann G. Nageli (1773-1836) but included no source reference. Nageli presumably published the original melody as the setting for "0 selig, selig, wervor dir" in his Christliches Gesangbuch (1828). Nageli was an influential music educator who lectured throughout Germany and France. Influenced by Johann Pestalozzi, he published his theories of music education in Gangbildungslehre (1810), a book that made a strong impact on Lowell Mason. Nageli composed choral works, including settings of Goethe's poetry. He received his early instruction from his father, then in Zurich, where he concentrated on the music of ]. S. Bach. In Zurich, he also established a lending library and a publishing house, which published first editions of Beethoven’s piano sonatas and music by Bach, Handel, and Frescobaldi. The tune name DENNIS is thought to refer to a town in Massachusetts.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
#joychurch #lovelikeJesus #vision
No comments:
Post a Comment