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:
‘Tis So Sweet to Trust in Jesus - Johnie Dean
From her childhood, the call to missionary service was the guiding motivation for Louisa M. R. Stead (c. 1850-1917). Born in Dover, England, and converted at the age of nine, Stead came to the United States in 1871, living in Cincinnati. She attended a camp meeting in Urbana, Ohio, where she dedicated her life to missionary service. Ill health prevented her from serving initially. She married in 1875, and the couple had a daughter, Lily. Hymnologist Kenneth Osbeck describes a major turning point in the family’s life:
“When the child was four years of age, the family decided one day to enjoy the sunny beach at Long Island Sound, New York. While eating their picnic lunch, they suddenly heard cries of help and spotted a drowning boy in the sea. Mr. Stead charged into the water. As often happens, however, the struggling boy pulled his rescuer under water with him, and both drowned before the terrified eyes of wife and daughter. Out of her ‘why?’ struggle with God during the ensuing days glowed these meaningful words from the soul of Louisa Stead.”
The hymn, “’Tis so sweet to trust in Jesus” was inspired by this personal tragedy.
Soon after, Lousia and Lily left for the Cape Colony, South Africa, where Louisa worked as a missionary for fifteen years. She married Robert Wodehouse, a native of South Africa. Because of her health, the family found it necessary to return to the United States in 1895. Wodehouse pastored a Methodist congregation during these years until, in 1900, they returned to the mission field, this time to the Methodist mission station at Umtali, Southern Rhodesia (present day Zimbabwe). Kenneth Osbeck records a message sent back to the United States shortly after her arrival in Southern Rhodesia:
“In connection with the whole mission there are glorious possibilities, but one cannot, in the face of the peculiar difficulties, help but say, ‘Who is sufficient for these things?’ But with simple confidence and trust we may and do say, ‘Our sufficiency is of God.’”
While the exact date of the composition is not known, Lousia Stead’s hymn was first published in Songs of Triumph (1882). The hymn might be described as a mantra on the name of Jesus. Indeed, “Jesus” is sung twenty-five times if one sings all four stanzas and the refrain.
The tune, TRUST IN JESUS, was written for this hymn by William Kirkpatrick in 1882. William James Kirkpatrick (1838-1921) was an American sacred music composer and publisher. He wrote the music for such familiar hymns as "Lead Me to Calvary," Jesus Saves!," "Tis So Sweet to Trust in Jesus," "We Have an Anchor," "Redeemed," and "Meet Me There." With John R. Sweney, he published over eighty Gospel song collections during a period of seventeen years.
’Tis so sweet to trust in Jesus, Just to take Him at His Word;
Just to rest upon His promise, And to know, “Thus saith the Lord!”
Oh, how sweet to trust in Jesus, Just to trust His cleansing blood;
And in simple faith to plunge me ’Neath the healing, cleansing flood!
Yes, ’tis sweet to trust in Jesus, Just from sin and self to cease;
Just from Jesus simply taking Life and rest, and joy and peace.
I’m so glad I learned to trust Thee, Precious Jesus, Savior, Friend;
And I know that Thou art with me, Wilt be with me to the end.
Jesus, Jesus, how I trust Him! How I’ve proved Him o’er and o’er;
Jesus, Jesus, precious Jesus! Oh, for grace to trust Him more!
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.
Christ is Made the Sure Foundation - Stan Pethel
This hymn was written by John Mason Neale, who was born in London in 1818, studied at Cambridge, and was ordained to the priesthood in 1842. He was offered a parish, but chronic ill health, which was to continue throughout his life, prevented him from taking it. In 1846 he was made warden of Sackville College, a position he held until his death in 1866.. Sackville College was not an educational institution, but an almshouse, a charitable residence for the poor.
In 1854 Neale co-founded the Sisterhood of St. Margaret, an order of women in the Anglican Church dedicated to nursing the sick. Many Anglicans in his day, however, were very suspicious of anything suggestive of Roman Catholicism. Only nine years earlier, John H. Newman had encouraged Roman practices in the Anglican Church. This encouraged the suspicion that anyone like Neale was an agent of the Vatican, assigned to destroy the Anglican Church by subverting it from within. Once Neale was attacked and mauled at a funeral of one of the Sisters. From time to time unruly crowds threatened to stone him or to burn his house. He received no honor or recognition in England, and his doctorate was bestowed by Trinity College, Hartford, Connecticut). However, his basic goodness eventually won the confidence of many who had fiercely opposed him, and the Sisterhood of St. Margaret survived and prospered.
Neale translated the Eastern liturgies into English, and wrote a mystical and devotional commentary on the Psalms. However, he is best known as a hymn writer and translator, having enriched English hymnody with many ancient and mediaeval hymns translated from Latin and Greek and many original hymn texts.
Regarding the importance of translating and preserving the ancient texts, he wrote:
Among the most pressing of the inconveniences consequent on the adoption of the vernacular language in the office-books of the Reformation, must be reckoned the immediate disuse of all the hymns of the Western Church. That treasury, into which the saints of every age and country had poured their contributions, delighting, each in his generation, to express their hopes and fears, their joys and sorrows, in language which whould be the heritage of their Holy Mother until the end of time--those noble hymns, which had solaced anghorets on their mountains, monks in their cells, priests in bearing up against the burden and heat of the day, missionaries in girding themslves for martyrdom--henceforth became as a sealed book and as a dead letter. The prayers and collects, the versicles and responses, of the earlier Church might, without any great loss of beauty, be preserved; but the hymns, whether of the sevenfold daily office, of the weekly commemoration of creation and redemption, of the yearly revolution of the Church's seasons, or of the birthdays to glory of martyrs and confessors--those hymns by which day unto day had uttered speech, and night unto night had taught knowledge--could not, by the hands then employed in ecclesiastical matters….The Church of England had, then, to wait. She had, as it has well been said, to begin over again. There might arise saints within herself, who, one by one, should enrich her with hymns in her own language; there might arise poets, who should be capable of supplying her office-books with versions of the hymns of earlier times. In the meantime the psalms were her own; and grievous as was the loss she had sustained, she might be content to suffice herself with those, and expect in patience the rest.
Text: 7th cent. Latin; trans. by John Mason Neale
Christ is made the sure foundation, Christ the head and cornerstone;
chosen of the Lord and precious, binding all the church in one;
holy Zion's help forever, and her confidence alone.
To this temple, where we call thee, come, O Lord of Hosts, today!
With thy faithful loving-kindness hear thy people as they pray,
and thy fullest benediction shed within its walls alway.
Here vouchsafe to all thy servants what they ask of thee to gain;
what they gain from thee forever with the blessed to retain,
and hereafter in thy glory evermore with thee to reign.
Laud and honor to the Father, laud and honor to the Son,
laud and honor to the Spirit, ever three and ever one;
one in might and one in glory, while unending ages run.
The hymn tune WESTMINSTER ABBEY was written by Henry Purcell (1659-1695), an English composer. Although incorporating Italian and French stylistic elements into his compositions, Purcell's legacy was a uniquely English form of Baroque music. He is generally considered to be one of the greatest English composers; no other native-born English composer approached his fame until Edward Elgar. Henry studied first under Captain Henry Cooke (d. 1672), Master of the Children, and afterwards under Pelham Humfrey (d. 1674), Cooke's successor. Henry was a chorister in the Chapel Royal until his voice broke in 1673, when he became assistant to the organ-builder John Hingston, who held the post of keeper of wind instruments to the King. Purcell is said to have been composing at nine years old, but the earliest work that can be certainly identified as his is an ode for the King's birthday, written in 1670. In 1679, Blow, who had been appointed organist of Westminster Abbey in 1669, resigned his office in favour of his pupil. Purcell now devoted himself almost entirely to the composition of sacred music, and for six years severed his connection with the theatre. Purcell is buried adjacent to the organ in Westminster Abbey. The music that he had earlier composed for Queen Mary's funeral was performed during his as well. Purcell was universally mourned as 'a very great master of music.' Following his death, the officials at Westminster honoured him by unanimously voting that he be buried with no expense in the north aisle of the Abbey. His epitaph reads: "Here lyes Henry Purcell Esq., who left this life and is gone to that blessed place where only his harmony can be exceeded.”
Dr. Stan Pethel is Chair of the Fine Arts at Berry College near Rome, Georgia. He has been on the music faculty there since 1973. In addition to his duties as Chair of Fine Arts at Berry College Dr. Pethel teaches music theory, composition and arranging, world music, and low brass lessons. He is a widely published composer and arranger with over 1000 works in publication with 26 different publishers. His writing includes works for choir, piano, organ/piano duet, symphonic band, jazz ensemble, orchestra, handbells, solo instrument and piano, and various chamber music ensembles. He is a regular recipient of the ASCAP Standard Award.
About the Vocal Solo Music:
I Know Who Holds Tomorrow - Ira Stanphill
Ira Forest Stanphill (1914-1993) was a well-known American gospel music songwriter of the mid-twentieth century. Stanphill began preaching when he was 22., first in a summer traveling ministry with Christian Ambassadors of the Assemblies of God, then becoming director of youth and music at a church in Breckenridge, Texas. He later became music director at Faith Tabernacle in Oklahoma City, then became pastor of Trinity Assembly of God in Orange, California. In the early 1940s, he served as associate pastor at Full Gospel Tabernacle in Bakersfield, California. In 1949, he became music director at Bethel Temple in Fort Worth, Texas. In 1956, he was the founding pastor of Bethel Assembly of God Church in Lake Worth, Florida. In September 1962, he became pastor of the Assembly of God Church in Lancaster, Pennsylvania. In 1968, he was pastor of Rosen Heights Assembly of God Church in Fort Worth, Texas where he oversaw the construction of a new building and the re-naming of the church to Rockwood Park Assembly of God. After serving 13 years as pastor of Rockwood Park, he resigned to devote more time to evangelism and concerts.
Stanphill was an evangelist, traveling to churches and Bible camps around the country, sometimes accompanied by his wife. They played and sang some of his compositions in addition to his preaching. In 1941, they joined the team of evangelist Raymond T. Richey. An ad for a crusade Stanphill held in 1964 described him as "Preacher of Old Time Religion." In addition to traveling throughout the United States, he preached in 40 other countries. Occasionally as part of his crusades, he would ask members of the congregation to suggest titles for songs. Selecting one title from the suggestions, he would write words and music for a song during the service.
By the age of 10, Stanphill had already become a fluent musician, having learned to play the piano, organ, ukulele, and accordion. He went on to learn to play xylophone, guitar, saxophone, and clarinet. At 17, he was composing and performing his own music for church services, revival campaigns, and prayer meetings. Stanphill composed more than 500 gospel songs.
Ira married Zelma Lawson in 1939. Zelma was also a gifted musician, with the abilities of singing and playing the piano. Zelma traveled with Ira and joined him in serving the Lord as they shared the gospel in one crusade after another. However, life was not perfect and Zelma eventually became disillusioned with the life they had created. Zelma eventually decided that ministry was not for her and left Ira.Their marriage ended in divorce in 1948. Zelma’s leaving put Ira in a great state of depression and grief. He could not understand, after years of being dedicated to the service and ministry of God’s work, why God would allow him to go through this. Some accounts say that Ira was tempted to give up on Christian work altogether.
The story is told that one day as Ira was driving, deeply sad and in despair, he began to hum a tune. As the tune became stronger, words formed and Ira started singing. He sang about not knowing what the future held, but knowing that God would be there to walk with him each step of the way. When Ira got to his office, his rushed to his piano to write down the words and music to the song we know today as “I Know Who Holds Tomorrow”.
I don’t know about tomorrow, I just live from day to day,
I don’t borrow from its sunshine, For its skies may turn to gray.
I don’t worry o’er the future, For I know what Jesus said,
And today I’ll walk beside Him, for He knows what is ahead.
Every step is getting brighter, As the golden stairs I climb;
Every burden’s getting lighter; Every cloud is silver lined.
There the sun is always shining, There no tear will dim the eye,
At the ending of the rainbow, Where the mountains touch the sky.
I don’t know about tomorrow, It may bring me poverty;
But the one who feeds the sparrow, Is the one who stands by me.
And the path that be my portion, May be through the flame or flood,
But His presence goes before me, And I’m covered with His blood.
Many things about tomorrow I don’t seem to understand;
But I know who holds tomorrow, and I know who holds my hand.
About the Hymns:
The Church’s One Foundation
Songs are a powerful means of teaching. The melodies, rhythms, and rhymes that characterize songs make the words easier to remember. The best and most effective songs combine lyrics and music to cultivate feelings that complement the meaning. The Rev. Samuel John Stone (1839-1900) was well aware of the effectiveness of singing when he wrote and published Lyra Fidelium in 1866. As a curate in the small town of Windsor, England, he was aware of his parishoners’ habit of using the Apostles’ Creed in their private prayers. But he was concerned that many of them did not grasp the meaning of what they said. The prose felt too academic, disconnected from the average worshipper, and lacking a devotional spirit.
It was in this context that he wrote Lyra Fidelium, which consisted of twelve hymns, one for each article of the Apostles’ Creed. With each hymn he included a short “summary of truths confessed” in that article, along with a list of the Scripture passages supporting it. “The Church’s One Foundation” was the hymn he wrote for article 9 of the Creed, which affirms belief in “the holy catholic church” and “the communion of saints.”
“The Church’s One Foundation” is the best known of the twelve hymns in this collection. Louis Benson quotes one English archbishop as saying that “wherever he was called upon to open or dedicate a church, he could always count on two things—cold chicken and ‘The Church’s one Foundation’.” The hymn’s long legacy undoubtedly owes to the many doctrines it includes, its use of the words and concepts of Scripture to express them, and its uniqueness in teaching the doctrine of the church. Benson describes it as embodying “practically every doctrine concerning the church [Stone] held most dear (its divine origin, its unbroken continuity, its catholicity and essential unity, its orthodoxy, its sacramental grace, its communion with God and with the departed saints, its militancy and final triumph).”
AURELIA was written by Samuel Sebastian Wesley (1810-1876), the son of Samuel Wesley and grandson of Charles Wesley. Famous in his lifetime as one of his country's leading organists and choirmasters, he composed almost exclusively for the Church of England, which continues to cherish his memory. There are memorial tablets to him in Exeter Cathedral and Winchester Cathedral, and his memorial at Gloucester Cathedral is in stained glass. Of his hymn tunes the best-known are AURELIA and HEREFORD, but CORNWALL and HAREWOOD are also particularly fine. AURELIA has been widely adopted in the United States, and is regularly heard there. Usually sung to the words "The Church's One Foundation", Wesley composed the tune for the hymn "Jerusalem the Golden”.
While at Winchester Cathedral Wesley was largely responsible for the Cathedral's acquisition in 1854 of the Father Willis organ which had been exhibited at The Great Exhibition, 1851. The success of the Exhibition organ led directly to the award of the contract to Willis for a 100-stop organ for St George's Hall, Liverpool built in 1855. Wesley, with Father Willis, can be credited with the invention of the concave and radiating organ pedalboard, but demurred when Willis proposed that it should be known as the "Wesley-Willis" pedalboard. However, their joint conception has been largely adopted as an international standard for organs throughout the English-speaking world and those exported elsewhere.
Great Is Thy Faithfulness
A native of the small Kentucky town of Franklin, Thomas Obediah Chisholm (1866-1960) was born in a log cabin. He lacked formal education. Nevertheless, he became a teacher at age sixteen and the associate editor of his hometown weekly newspaper, the “Franklin Advocate”, at age twenty-one. Though he was ordained a Methodist minister in 1903, he served only a single, brief appointment at Scottsville, Kentucky, due to ill health. He wrote more than 1200 poems, 800 of which were published. They often appeared in religious periodicals such as the “Sunday School Times”, “Moody Monthly”, and “Alliance Weekly”. Many of these were set to music.
Chisholm had sent a number of his poems to the Rev. William H. Runyan (1870-1957), a musician with the Moody Bible Institute and one of the editors of Hope Publishing Company in Chicago. The tune FAITHFULNESS was written in Baldwin, Kansas, in 1923, and was first published in my private song pamphlets." A phrase in Lamentations 3:22-23 provides a basis for the refrain: "The steadfast love of the Lord never ceases, his mercies never come to an end; they are new every morning; great is your faithfulness."
Twenty years later Runyan wrote:
Mr. Chisholm and I were devoted co-workers, and I wrote harmonies to some 20 or 25 of his poems. This particular poem held such an
appeal that I prayed most earnestly that my tune might carryover its message in a worthy way, and the subsequent history of its use indicates that God answers prayer.
Showing early musical promise, Runyan was a substitute church organist by the age of twelve. He became a Methodist minister in 1891 and served several churches in Kansas but turned to evangelism in 1903; he worked for the Central Methodist Conference for the next twenty years. Following that service, Runyan became pastor at the Federated Church at John Brown University, Sulphur Springs [sic: Siloam Springs], Arkansas. Editor of Christian Workers Magazine, he also served the Moody Bible Institute and was an editor for Hope Publishing Company until his retirement in 1948. Runyan wrote a number of hymn texts, gospel songs, and hymn tunes. "Great Is Thy Faithfulness" became an unofficial school hymn at Moody Bible Institute.
George Beverly Shea (1909-2013), the famous Canadian-born singer of the Billy Graham Crusades, introduced this hymn to those attending the evangelistic meetings in Great Britain in 1954. It immediately became a favorite. This hymn appeared in many evangelical hymnals and song collections but was not chosen for an official Methodist hymnal until The United Methodist Hymnal (1989), even though the author was a Methodist. It was a very popular hymn of the former Evangelical United Brethren Church and had been included in their hymnals.
According to Carlton Young, "Great is thy faithfulness" was second only to "In the garden" as the most requested hymn for inclusion in The United Methodist Hymnal. A survey conducted in 2000 by Dean McIntyre, Director of Music Resources, General Board of Discipleship, revealed that "Great is thy faithfulness" remains one of the favorite hymns among United Methodists.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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