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:
I am Thine, O Lord - Johnie Dean
Fanny Jane Crosby (1820-1915) set the standard for the successful writing of gospel hymns. She was the author of over 8,500 gospel songs. Blind at six weeks of age, Crosby began composing texts at age 6. At 12, she began her study at the New York School for the Blind, a school she later served as a teacher. A friend of several presidents, she became one of the country’s most important advocates for the cause of the blind, addressing a session of Congress on the topic.
Her texts were set to the compositions of some of the most prominent gospel song composers of the day including William Bradbury, William Doane, Robert Lowry and Ira Sankey. Crosby also composed under a number of pen names. She married blind musician Alexander Van Alstyne, and British hymnals have always used her married name, Frances Van Alstyne.
“I am Thine” is one of many collaborations between Crosby and composer William Doane (1832-1915). The late Baptist hymnologist William J. Reynolds provides the context for the composition of the hymn in 1874 during a visit by Crosby to Doane’s home in Cincinnati:
“One evening she and Doane talked at length about the nearness of God in their lives. When Fanny went to her room, her mind and heart were flooded with ideas from their conversation. Before she went to sleep, the lines of “I am thine, O Lord” were in her mind. . . . The next morning she recited the words to Doane, who wrote down the stanzas and composed the tune.” The text appeared with the following inscription from Hebrews 10:22: “Let us draw near with a true heart in full assurance of faith, having our hearts sprinkled from an evil conscience, and our bodies washed with pure water.” (KJV)
Crosby seems to mix her cleansing metaphors intentionally—“pure water” and “bleeding side.” The connection becomes clearer when one reads the previous verses in Hebrews 10: “Having therefore, brethren, boldness to enter into the holiest by the blood of Jesus, by a new and living way, which he hath consecrated for us, through the veil, that is to say, his flesh; and having an high priest over the house of God. . . .”
Like so many of Crosby’s hymns, “I am thine, O Lord” is written in the first person—a personal testimony of her relationship with Christ. Stanza one begins with a total surrender to Christ, “I am thine, O Lord,” and the desire to “be closer drawn to thee.” The second stanza appropriately draws upon the closeness of this relationship as an impetus of service: “Consecrate me now to thy service, Lord, by the power of grace divine.” Stanza three defines the relationship further as one forged in prayer: “When I kneel in prayer, and with thee, my God, I commune as friend with friend!” In the final stanza, Crosby acknowledges that her relationship will not be complete until she reaches heaven (“cross the narrow sea”) and then she will find “rest in peace with thee.” The refrain is the theological hub around which the spokes of the stanzas all connect: “Draw me nearer, nearer, blessed Lord, to thy precious bleeding side.” In this case, it is Christ’s blood that cleanses and perfects the relationship. Fanny Crosby is thoroughly Wesleyan in her understanding of grace and perfection.
I am Thine, O Lord, I have heard Thy voice, And it told Thy love to me;
But I long to rise in the arms of faith And be closer drawn to Thee.
Consecrate me now to Thy service, Lord, By the pow’r of grace divine;
Let my soul look up with a steadfast hope, And my will be lost in Thine.
Oh, the pure delight of a single hour That before Thy throne I spend,
When I kneel in prayer, and with Thee, my God I commune as friend with friend!
There are depths of love that I cannot know Till I cross the narrow sea;
There are heights of joy that I may not reach Till I rest in peace with Thee. [Refrain]
Draw me nearer, nearer blessed Lord, To the cross where Thou hast died;
Draw me nearer, nearer, nearer blessed Lord, To Thy precious, bleeding side.
Dr. Johnie Dean lives in Lexington, Kentucky, where he is actively involved in educational and church music. He is on staff at Midway College, and also serves as an adjunct music professor at the University of Kentucky. In addition, he is the Assistant Conductor of The Lexington Singers, and works with area local churches and their music leadership. Dean received his Bachelor of Music degree in church music from Campbellsville College in Campbellsville, Kentucky, and his Master of Church Music degree in composition from Southern Seminary in Louisville, Kentucky. His Doctor of Musical Arts degree in composition was granted by the University of Kentucky in Lexington. Winner of numerous awards in both writing and performance, Dr. Dean is well-represented in sacred catalogs with having over 200 works published for piano, adult and children's choirs, handbells, orchestra, and instrumental ensembles. He also serves as a frequent choral adjudicator, vocal coach, vocal soloist, accompanist, and guest conductor.
How Can I Keep from Singing? - Mark Hayes
How Can I Keep From Singing?" (also known by its incipit "My Life Flows On in Endless Song") is a Christian hymn with music written by American Baptist minister Robert Wadsworth Lowry. The song is frequently, though erroneously, cited as a traditional Quaker or Shaker hymn. The original composition has now entered into the public domain, and appears in several hymnals and song collections, both in its original form and with a revised text. Though it is not, in fact, a Quaker hymn, twentieth-century Quakers adopted it as their own and use it widely today.
The first known publication of the words was on August 7, 1868, in The New York Observer, Titled "Always Rejoicing", and, attributed to "Pauline T." These words were published by Robert Lowry in the 1869 song book, Bright Jewels for the Sunday School. Here Lowry claims credit for the music, but gives no indication as to who wrote the words. These words were also published in a British periodical in 1869, The Christian Pioneer, but no author is indicated. Lewis Hartsough, citing Bright Jewels as source of the lyrics and crediting Lowry for the tune, included "How Can I Keep from Singing?" in the 1872 edition of the Revivalist. Ira D. Sankey published his own setting of the words in Gospel Hymns, No. 3 (1878), writing that the words were anonymous. The song has often been attributed to "early" Quakers, but Quakers did not permit congregational singing in worship until after the American Civil War. It was published in the Quaker songbook Songs of the Spirit, and the original words were included in the much more ambitious Quaker hymnal project, Worship in Song: A Friends Hymnal in 1996.
During the 20th century, this hymn was not widely used in congregational worship. Diehl's index to a large number of hymnals from 1900 to 1966 indicates that only one hymnal included it: the 1941 edition of The Church Hymnal of the Seventh-day Adventist Church, titled "My Life Flows On". It was also published in the earlier 1908 Seventh-day Adventist hymnal, Christ In Song, under the title "How Can I Keep From Singing?" The United Methodist Church published it in its 2000 hymnal supplement, The Faith We Sing, giving credit for the lyrics as well as the tune to Robert Lowry. The Faith We Sing version changes some of the lyrics and punctuation from the 1868 version.
My life goes on in endless song Above earth´s lamentations,
I hear the real, though far-off hymn That hails a new creation.
Through all the tumult and the strife I hear its music ringing,
It sounds an echo in my soul. How can I keep from singing?
While though the tempest loudly roars, I hear the truth, it liveth.
And though the darkness 'round me close, Songs in the night it giveth.
No storm can shake my inmost calm, While to that rock I’m clinging.
Since love is lord of heaven and earth How can I keep from singing?
When tyrants tremble in their fear And hear their death knell ringing,
When friends rejoice both far and near How can I keep from singing?
In prison cell and dungeon vile Our thoughts to them are winging,
When friends by shame are undefiled How can I keep from singing?
Heaven Came Down - Harold DeCou
John Willard Peterson (1921-2006) is probably the most influential hymn writer of the latter part of the twentieth century and certainly among the most prolific. He wrote well over a thousand songs, as well as 35 cantatas and musicals. His songs are singable, and their declaration of Bible truth is clear and helpful. As with many hymn writers, Peterson was sensitive to the spiritual application of events happening around him. Sometimes a random comment, or a meaningful phrase, gave him the idea of a song. On one occasion he was assisting with the music at the Montrose Bible Conference. In a morning meeting, time was given for testimonies. Peterson says: “An old gentleman rose to his feet to tell of the saving work of God in his heart. As he spoke, his face glowed, especially when he rehearsed the night when he came to Jesus Christ. “Heaven came down and glory filled my soul” was the way he explained it.” John Peterson jotted down the phrase, and later that week wrote both words and music for a joy-filled gospel song.
Born in Lindsborg, Kansas, he served as an Army Air Force pilot flying the China Hump during World War II. Later, he attended Moody Bible Institute and served on the radio staff there for a number of years. In 1953, he graduated from the American Conservatory of Music in Chicago and shortly thereafter settled in Pennsylvania to continue his song writing career. He then moved to Grand Rapids, Michigan, where for over ten years he was President and Editor-in-Chief of Singspiration, a sacred music publishing company. While there, he compiled and edited a hymnal called Great Hymns of the Faith, 1961. He also served on the board of Gospel Films, Inc. of Muskegon, Michigan. In 1986, he was inducted into the Gospel Music Hall of Fame.
Heaven came down, heaven came down!
O what a wonderful, wonderful day – Day I will never forget;
After I’d wandered in darkness away, Jesus my savior I met.
O what a tender compassionate friend – He met the need of my heart;
Shadows dispelling, with joy I am telling, He made all the darkness depart!
Now I’ve a hope that will surely endure After the passing of time;
I have a future in heaven for sure, there in those mansions sublime.
And it’s because of that wonderful day When at the cross I believed;
Riches eternal And blessings supernal From His previous hand I received.
Heaven came down and glory filled my soul, filled my soul,
When at the cross the Savior made me whole; made me whole;
My sins were washed away, washed away, And my night was turned to day,
Heaven came down and glory filled my Soul! Filled my soul!
Harold H. DeCou (1932-2008) attended Temple University in Philadelphia and was long associated with Billy Graham and the Singspiration staff. His output as artist, composer, arranger and orchestrator ensures that he will be remembered as one of the giants of Christian gospel music. He served as church organist at Grace Presbyterian Church in Peoria from 1988 to 2001. He was also an Honorary Fellow of Shenandoah Society Award.
About the Vocal Solo Music:
There is a Balm in Gilead – Mark Hayes
Paul Burnett, baritone
This is a well-known traditional African-American spiritual. The “balm in Gilead” is a reference from the Old Testament, but the lyrics of this spiritual refer to the New Testament concept of salvation through Jesus Christ. The Balm of Gilead is interpreted as a spiritual medicine that is able to heal Israel (and sinners in general). In the Old Testament, the balm of Gilead is taken most directly from Jeremiah chapter 8 v. 22: "Is there no balm in Gilead? Is there no physician there? Why then is there no healing for the wounds of my [God's] people?" (Another allusion can also be found in Jeremiah chapter 46, v. 2 and 11: “This is the message (of the Lord) against the army of Pharaoh Neco … Go up to Gilead and get balm, O Virgin Daughter of Egypt, but you multiply remedies in vain; here is no healing for you” - see also Jeremiah chapter 22, v. 6.)
The first appearance of the spiritual in something close to its current form is uncertain. A version of the refrain can be found in Washington Glass's 1854 hymn "The Sinner's Cure”. Glass attributed this hymn to himself, but like several of the hymns so attributed, it is substantially the work of another. The 1925 7-shape Primitive Baptist songbook Harp of Ages has an unattributed song "Balm in Gilead" with a similar chorus, but verses drawn from a Charles Wesley hymn, "Father I Stretch My Hands to Thee."
The second verse ("If you can't...") is also found in some versions of another well-known spiritual "(Walk That) Lonesome Valley." "Wandering verses," as they are often called, are quite common in the camp meeting and revival context, and were already found in the African-American community, as shown by Richard Allen's 1801 "A Collection of Hymns and Spiritual Songs Selected from Various Authors."
There is a balm in Gilead To make the wounded whole;
There is a balm in Gilead To heal the sin-sick soul.
Sometimes I feel discouraged, And think my work’s in vain,
But then the Holy Spirit Revives my soul again.
If you can preach like Peter, if you can preach like Paul,
Go home and tell your neighbor, “He died to save us all.”
If you cannot sing like angels, If you can’t preach like Paul,
You can tell the love of Jesus, And say He died for all.
Mark Hayes is an award-winning concert pianist, composer, arranger and conductor. His personal catalog, totaling over 1,000 published works, includes work for solo voice, solo piano, multiple pianos, orchestra, jazz combo, small instrumental ensembles, and choruses of all kinds. Mark received a Bachelor of Music degree summa cum laude in Piano Performance from Baylor University in 1975. He has conducted the SWACDA and MCDA Community and Church Honor Choir, and served as guest conductor at Carnegie Hall, featuring his Te Deum and Magnificat. In 2010, Baylor University Center for Christian Music Studies awarded Mark the Award for Exemplary Leadership in Christian Music. Mark arranged and orchestrated the music for Civil War Voices, which won six awards including "Best Musical" in the 2010 Midtown International Theatre Festival in New York. He conducted the world premiere of his work for chorus, orchestra and narrator, The American Spirit, at Lincoln Center in May 2011 and the world premiere of his Requiem in Lincoln Center in May 2013. Whether concertizing on the other side of the globe or composing at his home in Kansas City, Missouri, Mark is blessed to live out his mission "to create beautiful music for the world".
About the Hymns:
This is a Day of New Beginnings
Brian Arthur Wren (b. 1936) is Emeritus Professor of Worship, Columbia Theological Seminary, Decatur, Georgia. He is a writer, preacher, worship and workshop leader, and internationally published hymn-poet, with entries in most recent denominational hymnals in North America, Britain and Australia. Some of his hymn-poems have been translated into Finnish, French, Japanese, Mandarin, Spanish and Korean. Brian holds undergraduate and doctoral degrees from Oxford University. He is a Minister of the United Reformed Church (UK). Wren provides an account of the composition of this text in notes provided in one of the collection of his texts, Faith Looking Forward (1983). The hymn was “written for a New Year’s Day service [1978] at Holy Family Church, Blackbird Leys, Oxford. In itself, the new year is an arbitrary convention, its newness a mere mark on the calendar. The recurrent awakening of life in nature is not a strong enough foundation for hope of real change. Yet by faith in the really new events of the Christian story, a day, or a month, or an hour can become charged with promise, and be a springboard to a changed life.”
As one of the leading hymnwriters of our time, Dr. Wren has contributed more hymns to the UM Hymnal (1989) than any other hymnwriter currently living. This text is supported by the melody BEGINNINGS, composed by Dr. Carlton Young (b. 1926), one of the leading tune writers of this day.
This is a day of new beginnings, Time to remember and move on,
Time to believe what love is bringing, Laying to rest the pain that’s gone.
For by the life and death of Jesus, God’s mighty Spirit, now as then,
Can make for us a world of difference, As faith and hope are born again.
Then let us, with the Spirit’s daring, Step from the past and leave behind
Our disappointment, guilt and grieving, Seeking new paths, and sure to find.
Christ is alive, and goes before us, To show and share what love can do.
This is a day of new beginnings; Our God is making all things new.
In faith we’ll gather round the table, To taste and share what love can do.
This is a day of new beginnings; Our God is making all things new.
Love Divine, All Love’s 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".
Love divine, all loves excelling, Joy of heav'n to earth come down:
fix in us thy humble dwelling, all thy faithful mercies crown:
Jesus, thou art all compassion, pure, unbounded love thou art;
visit us with thy salvation, enter ev'ry trembling heart.
Breathe, O breathe thy loving Spirit into ev'ry troubled breast;
let us all in thee inherit, let us find the promised rest:
take away the love of sinning; Alpha and Omega be;
End of faith, as its Beginning, set our hearts at liberty.
Come, Almighty to deliver, let us all thy life receive;
suddenly return, and never, nevermore thy temples leave.
Thee we would be always blessing, serve thee as thy hosts above,
pray and praise thee without ceasing, glory in thy perfect love.
Finish, then, thy new creation; pure and spotless let us be:
let us see thy great salvation perfectly restored in thee;
changed from glory into glory, 'til in heav'n we take our place,
'til we cast our crowns before thee, lost in wonder, love, and praise.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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