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:
Of the Father’s Love Begotten - Kevin Sadowski
Of the Father's Love Begotten is a Christmas carol based on the Latin poem Corde natus by the Roman poet Aurelius Prudentius, from his Liber Cathemerinon (hymn no. IX) beginning "Da puer plectrum" The ancient poem was translated and paired with a medieval plainchant melody Divinum mysterium. Divinum mysterium was a "Sanctus trope" - an ancient plainchant melody which over the years had been musically embellished. An early version of this chant appears in manuscript form as early as the 10th century, although without the melodic additions, and "trope" versions with various melodic differences appear in Italian, German, Gallacian, Bohemian and Spanish manuscripts dating from the 13th to 16th centuries. Divinum mysterium first appeared in print in 1582 in the Finnish song book Piae Cantiones, a collection of seventy-four sacred and secular church and school songs of medieval Europe compiled by Jaakko Suomalainen and published by Theodoric Petri. In this collection, Divinum mysterium was classified as "De Eucharistia" reflecting its original use for the Mass.
The text of the Divinum mysterium was substituted for Prudentius's poem when it was published by Thomas Helmore in 1851. In making this fusion, the original meter of the chant was disturbed, changing the original triple meter rhythm into a duple meter and therefore altering stresses and note lengths. A later version by Charles Winfred Douglas corrected this using an "equalist" method of transcription, although the hymn is now found in both versions as well as a more dance-like interpretation of the original melody.
Of the Father’s love begotten, Ere the worlds began to be,
He is Alpha and Omega, He the source, the ending He,
Of the things that are, that have been, And that future years shall see,
Evermore and evermore!
At His Word the worlds were framèd; He commanded; it was done:
Heaven and earth and depths of ocean In their threefold order one;
All that grows beneath the shining Of the moon and burning sun,
Evermore and evermore!
He is found in human fashion, Death and sorrow here to know,
That the race of Adam’s children Doomed by law to endless woe,
May not henceforth die and perish In the dreadful gulf below,
Evermore and evermore!
O that birth forever blessèd, When the virgin, full of grace,
By the Holy Ghost conceiving, Bare the Savior of our race;
And the Babe, the world’s Redeemer, First revealed His sacred face,
Evermore and evermore!
This is He whom seers in old time Chanted of with one accord;
Whom the voices of the prophets Promised in their faithful word;
Now He shines, the long expected, Let creation praise its Lord,
Evermore and evermore!
O ye heights of heaven adore Him; Angel hosts, His praises sing;
Powers, dominions, bow before Him, And extol our God and king!
Let no tongue on earth be silent, Every voice in concert sing,
Evermore and evermore!
Righteous judge of souls departed, Righteous king of them that live,
On the Father’s throne exalted None in might with Thee may strive;
Who at last in vengeance coming, Sinners from Thy face shalt drive,
Evermore and evermore!
Thee let old men, thee let young men, Thee let boys in chorus sing;
Matrons, virgins, little maidens, With glad voices answering:
Let their guileless songs re-echo, And the heart its music bring,
Evermore and evermore!
Christ, to Thee with God the Father, And, O Holy Ghost, to Thee,
Hymn and chant with high thanksgiving, And unwearied praises be:
Honor, glory, and dominion, And eternal victory,
Evermore and evermore!
Kevin J. Sadowski (1955–2003) was an American organist, church musician, and composer. Educated at Mercyhurst College, he served as Cantor and Director of Music at Luther Memorial Church in Erie, Pennsylvania. He also composed a number of organ and choral works.
Oh, Come, Emmanuel - Wilbur Held
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.
About the Vocal Solo Music:
Gesu Bambino - Pietro Yon
Gesù bambino is an Italian Christmas carol composed by Pietro Yon in 1917. The melody was used by Frederick H. Martens in his English language carol "When Blossoms Flowered 'mid the Snows". The melody and lyrics of the chorus are derived from "Adeste Fideles" (O Come All Ye Faithful).
Pietro Alessandro Yon (1886-1943) was an Italian-born organist and composer who made his career in the United States. Yon studied at the conservatories of both Milan and Turin, also attending the Accademia di Santa Cecilia in Rome. He served for a time as an organist at the Vatican and at the Royal Church in Rome. In the spring of 1907, Father John B. Young, pastor of St. Francis Xavier Church in Manhattan, was in Rome on Vatican business and additionally to seek out a replacement for his organist Gaston Dethier, who was leaving to pursue a concert career. Upon hearing Yon play, Father Young was sufficiently impressed to offer him a three-year contract. Thus Yon at age 21 came to the United States, where from 1907 until 1926 he was the organist of St. Francis Xavier Church. In 1926, he became the organist of St. Patrick's Cathedral, New York, where he served until his death. In the spring of 1938, both Pietro and his brother Constantino Yon were appointed as Knights of St. Sylvester by Cardinal Patrick Hayes.
When blossoms flowered 'mid the snows Upon a winter night,
Was born the Child, the Christmas Rose, The King of Love and Light.
The angels sang, the shepherds sang, The grateful earth rejoiced;
And at His blessed birth the stars Their exultation voiced.
Again the heart with rapture glows To greet the holy night,
That gave the world its Christmas Rose, Its King of Love and Light.
Let ev'ry voice acclaim His name, The grateful chorus swell.
From paradise to earth He came That we with Him might dwell.
O come let us adore Him, Christ the Lord.
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:
Come, Thou Long-Expected Jesus
Charles Wesley wrote “Come, Thou Long-Expected Jesus” and printed it in his Hymns for the Nativity of our Lord (1744). Like so many of Wesley's texts, "Come, Thou Long-Expected Jesus" alludes to one or more Scripture passages in virtually every phrase. The double nature of Advent is reflected in this text, in which we remember Christ's first coming even while praying for his return. Stanzas 1 and 2 recall Advent prophecies in the Old Testament; stanza 3 speaks of Christ's birth and kingdom, and stanza 4 is a prayer for Christ's rule in our hearts.
We express longing when we sing the words of Charles Wesley’s beautiful Advent hymn, for though we know that Christ goes with us and before us every day, we long for the day when we are with Him in all of the fullness and glory He will bring. We long for the day when we are with Him in a New Heaven and New Earth, when all things are made new. And just as a four-year-old crawls into his father’s arms after an extended absence, so too we long for the day when we will be at rest in Christ, enfolded in the embrace of our Savior.
HYFRYDOL is a Welsh hymn tune that appears in a number of Christian hymnals in various arrangements. Composed by Rowland Prichard, it was originally published in the composer's handbook to the children's songbook Cyfaill y Cantorion ("The Singers' Friend"). Prichard composed the tune before he was twenty years old. The best-known arrangement is probably that by Ralph Vaughan Williams, which he originally produced for his revision of the English Hymnal, and is the version which appears in our hymnal.
Come, thou long expected Jesus, born to set thy people free;
from our fears and sins release us, let us find our rest in thee.
Israel's strength and consolation, hope of all the earth thou art;
dear desire of every nation, joy of every longing heart.
Born thy people to deliver, born a child and yet a King,
born to reign in us forever, now thy gracious kingdom bring.
By thine own eternal spirit rule in all our hearts alone;
by thine all sufficient merit, raise us to thy glorious throne.
O Come, O Come, Emmanuel
O come, O come, Emmanuel is a Christian hymn for Advent. While it is most commonly known by that English title, it is in fact a translation of the original Latin, Veni, Veni, Emmanuel; translations into other modern languages (particularly German) are also in widespread use. The 1861 translation from Hymns Ancient and Modern is the most prominent by far in the English-speaking world, but other English translations also exist. The hymn is a metrical paraphrase of the O Antiphons, a series of plainchant antiphons attached to the Magnificat at Vespers over the final days before Christmas. The words and the music of "O come, O come, Emmanuel" developed separately. The Latin text is first documented in Germany in 1710, whereas the tune most familiar in the English-speaking world has its origins in 15th-century France.
The pre-history of the text stretches back to the origins of the O Antiphons, which were in existence by, at the latest, the eighth century. They were paraphrased extensively by the English poet Cynewulf in a poem written before the year 800. While "O come, O come, Emmanuel" is often linked with the 12th century, the earliest surviving evidence of the hymn's text is in the seventh edition of Psalteriolum Cantionum Catholicarum, which was published in Cologne in 1710. That hymnal was a major force in the history of German church music: first assembled by Jesuit hymnographer Johannes Herringsdorf in 1610 and receiving numerous revised editions through 1868, it achieved enormous impact due to its use in Jesuit schools.
The text of the Psalteriolum Cantionum Catholicarum version is essentially expanded, rather than altered, over the subsequent centuries. That version exhibits all of the hymn's characteristic qualities: it is strophic and metrical, and the order is altered so that the last of the O Antiphons (the titular "Veni Emmanuel") becomes the first verse of the hymn. Each stanza consists of a four-line verse, which adapts one of the antiphons, and a new two-line refrain ("Gaude, gaude! Emmanuel \ nascetur pro te, Israel," i.e. "Rejoice, Rejoice, Emmanuel \ Shall come to thee, O Israel"), which provides an explicitly Advent-oriented response to the petition of the verse.
The familiar tune called Veni Emmanuel was first linked with this hymn in 1851, when Thomas Helmore published it in the Hymnal Noted, paired with an early revision of Neale's English translation of the text. The volume listed the tune as being "From a French Missal in the National Library, Lisbon." The pairing of the hymn text with the Veni Emmanuel tune was an extremely significant combination. The hymn text was embraced both out of a Romantic interest in poetic beauty and medieval exoticism and out of a concern for matching hymns to liturgical seasons and functions rooted in the Oxford Movement in the Church of England. The Hymnal Noted, in which the words and tune were first combined, represented these goals. This hymnal consisted entirely of versions of Latin hymns, designed for use as Office hymns within the Anglican Church despite the fact that Office hymns had no part in the authorized liturgy. The music was drawn chiefly from plainchant, as was the case with the Veni Emmanuel tune for "O Come, O Come Emmanuel.”
O come, O come, Emmanuel, and ransom captive Israel,
That mourns in lonely exile here until the Son of God appear,
Rejoice! Rejoice! Emmanuel shall come to thee, O Israel.
O come, thou Wisdom from on high, and order all things far and nigh;
To us the path of knowledge sho and cause us in her ways to go.
Rejoice! Rejoice! Emmanuel shall come to thee, O Israel.
O come, O come, great Lord of might, who to thy tribes on Sinai’s height
In ancient times once gave the law in cloud and majesty and awe.
Rejoice! Rejoice! Emmanuel shall come to thee, O Israel.
O come, thou Root of Jesse’s tree, and ensign of they people be;
Before thee rulers silent fall; all people on Thy mercy call.
Rejoice! Rejoice! Emmanuel shall come to thee, O Israel.
O come, Thou Dayspring, from on high, And cheer us by Thy drawing nigh;
Disperse the gloomy clouds of night, And death's dark shadows put to flight.
Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel.
O come, Thou Key of David, come And open wide our heav'nly home;
Make safe the way that leads on high, And close the path to misery.
Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel.
O come, desire of nations, bind In one the hearts of all mankind
Bid Thou our sad divisions cease And be Thyself our King of peace
Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
