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:
Beneath the Cross of Jesus - David Cherwein
Elizabeth Cecilia Douglas Clephane (1830-1869) was born in Scotland, the daughter of a county sheriff; she lived most of her brief life near Edinburgh. Though in frail health most of her life, Elizabeth found the strength to help the poor and sick in her town. She and her sister gave all that they could spare to charity including, it is said, selling their horse and carriage for the benefit of the needy. The townspeople of Melrose referred to Elizabeth as “the Sunbeam.”
“Beneath the cross of Jesus,” focusing on the shelter of the cross, was first published three years after the author’s death in 1872 under the title “Breathings on the Border,” perhaps a double entendre referring to a geographical location near Melrose, the Scottish Borders, and a reference to the border between life and death. This poem and others of hers appeared in the Scottish Presbyterian magazine The Family Treasury, submitted by an anonymous source, perhaps a family member or friend. One source suggests that this hymn was written within one year of her death in 1868. British hymnologist. J.R. Watson mentions that an editorial emendation attached to the poem by the anonymous source submitting the poems said, these lines “express the experiences, the hopes and the longings of a young Christian lately released.”
Contained in the same collection was her famous narrative poem, “There were ninety and nine that safely lay.” Both of these hymns were promoted by the well-known American musical evangelist and songwriter Ira D. Sankey (1840-1908), who published them in his Sacred Songs and Solos (1873). Though Sankey composed a tune for the song entitled CLEPHANE, the almost universal pairing is with ST. CHRISTOPHER, composed by Bristol, England, musician, Frederick C. Maker (1844-1927).
The hymn is full of comforting, and perhaps paradoxical language, about the cross, after all, an instrument of the cruelest torture. These include in stanza two “the shadow of a mighty rock,” “a home within the wilderness,” “a rest upon the way.” The original third stanza provides additional images of consolation: a “happy shelter,” “refuge tried and sweet,” a “trysting place,” and “a ladder up to heaven,” a reference to Jacob’s ladder.
Originally five stanzas, the original last stanza, perhaps autobiographical, provides further insight into the comfort that the writer found in the shadow of the cross and the inspiration that the cross gave her as she anticipated her own death. Such explicit anticipation of and longing for death may seem somewhat morbid today, but echoes the Romantic literary sentiment of her time. Though appropriately sung during Lent and Holy Week today, this hymn is more of a personal meditation on the cross and one’s own mortality than a hymn written for a specific time of the Christian Year.
Beneath the cross of Jesus I fain would take my stand,
the shadow of a mighty Rock within a weary land;
a home within the wilderness, a rest upon the way,
from the burning of the noontide heat and the burden of the day.
Upon the cross of Jesus mine eye at times can see
the very dying form of One who suffered there for me:
and from my stricken heart with tears two wonders I confess,
the wonders of redeeming love and my unworthiness.
O safe and happy shelter, O refuge tried and sweet,
O trysting place where heaven’s love and heaven’s justice meet!
As to the exiled patriarch that wondrous dream was given,
so seems my Savior’s Cross to me - a ladder up to heaven.
There lies beneath its shadow, but on the further side,
the darkness of an open grave that gapes both deep and wide;
and there between us stands the cross, two arms outstretched to save,
like watchman set to guard the way from that eternal grave.
I take, O cross, thy shadow for my abiding place:
I ask no other sunshine than the sunshine of his face;
content to let the world go by, to know no gain nor loss;
my sinful self my only shame, my glory all the cross.
Dr. David Cherwien (b. 1957) is currently serving as Director of Music at Mt. Olive Lutheran Church, Minneapolis, MN, and in 2002 was appointed Music Director for the National Lutheran Choir, also based in the Twin Cities. He has also held full time parish music positions in the Minneapolis/St. Paul area, Chicago, Seattle, and Berlin. He completed the Doctor of Musical Arts degree in organ performance, and the Master of Arts degree in Theory and Composition, both from the University of Minnesota. His undergraduate work was in organ performance and music education at Augsburg College, Minneapolis, where he was honored as distinguished alumni in the fall of 2000.
Ricercar super Initium Cantilenae: Da Jesu an dem Kreutze stund - Johann Kaspar Ferdinand Fischer
As with the later chorale prelude form, this is a piece based on the chorale melody, meant to be played before the singing of the chorale.
"Da Jesus an dem Kreuze stund" (When Jesus stood by the Cross) is a Lutheran Passion hymn in German by Johann Böschenstein (1472–1539), which contains seven stanzas related to seven sayings of Jesus on the cross, framed by a stanza to introduce them, and one to conclude the meditation. It first appeared in 9 stanzas of 5 lines "Do lhesus an dem creutze stüund", in an undated leaflet, c. 1515. It was later published in M. Vehe's Gesang-Buch, 1537. It was translated as "When Jesus on the Cross was found" in the Moravian Hymn Book, 1746.
Johann Böschenstein (1472-1540), a native of Stein on the Rhine, was born at Esslingen, Wurttemberg. After taking Holy Orders as a priest he became tutor of Hebrew at Ingolstadt. In 1514 he went to Augsburg, where, in the same year, he published a Hebrew Grammar, and in 1518, by the recommendation of Reuchlin, was invited as tutor of Greek and Hebrew to Wittenberg. He continued to move from city to city, teaching in Nürnberg, Heidelberg, Antwerp, and Zurich. At Augsburg, he became by royal license teacher of Hebrew, and died there in great poverty.
The hymn tune is Zahn 1706. The hymn was often set to music, especially for Passiontide. Heinrich Schütz used the outer stanzas to frame his dramatic setting of the same sayings of Jesus, Die sieben Worte Jesu Christi am Kreuz. Johann Sebastian Bach set the hymn as the organ chorale prelude BWV 621 as part of his Orgelbüchlein.
When Jesus on the Cross was found, His Body pierced with many a Wound,
With Torture very bitter;
The dying Words, which He then spake, With a still Heart consider.
First He does to His Father speak In Heaven’s Kingdom, sweetly meek;
“What they to Me are doing, Father! forgive, they know it not”:
Here He’s Love’s Pattern shewing.
Weigh next the Mercy and Relief Which God bestows upon the Thief;
He the poor Heart addresses,
“Verily thou shalt in Paradise To-day feel My Caresses.”
Thirdly observe the tender Care Which He still for His House did bear;
“Woman, lo! there is thy Son: John! see thy Mother there”; and this
Was the first Cross’s Union.
The fourth Word on the Cross accurst By our Prince spoken was, “I thirst.”
With such keen Thirst He’s pained After our Righteousness: but now,
Dear Heart, His Cordial’s gained.
Weigh too the Scorn He underwent As He to God the fifth Word sent,
A Scorn which knew no Measure;
“My God, my God! why leavest Thou Me? Am I no more Thy Pleasure?”
The sixth’s a very powerful Word, Which many a Sinner poor has heard,
Out of His Mouth proceeding; “It’s finished”: what? our Happiness:
Through what? His Wounds so bleeding.
“Father!” when all was at an End, Immanuel says, “I recommend
My Spirit separated Into Thy Hands.”
His Body dies, His Soul’s in Life instated.
He who God’s Pains in Honour has, To whom our Saviour gives the Grace
To be in Heart possessing And weigh these seven Gospel Words,
Enjoys a noble Blessing,
Johann Kaspar Ferdinand Fischer (c.1656-1746) was a German Baroque composer. Johann Nikolaus Forkel ranked Fischer as one of the best composers for keyboard of his day; however, partly due to the rarity of surviving copies of his music, his music is rarely heard today. Fischer seems to have been of Bohemian origin, possibly born at Schönfeld, but details about his life are sketchy. The first record of his existence is found in the mid-1690s. By 1695, he was Kapellmeister to Ludwig Wilhelm of Baden, and he may have remained with the court until his death in Rastatt. Much of Fischer's music shows the influence of the French Baroque style, exemplified by Jean Baptiste Lully, and he was responsible for bringing the French influence to German music. Fischer's harpsichord suites updated the standard Froberger model (Allemande - Courante - Sarabande - Gigue). He was also one of the first composers to apply the principles of the orchestral suite to the harpsichord, replacing the standard French ouverture with an unmeasured prelude. Both Bach and Handel knew Fischer's work and sometimes borrowed from it.
About the Piano Music:
Near the Cross - John Carter
Fanny J. Crosby (1820-1915) was the author of over 8,500 gospel songs. Though blind at 6 weeks of age, Crosby began composing texts at age 6. She later became a teacher at the New York School for the Blind, where she was a student. A friend of several presidents, Crosby became one of the most important advocates for the cause of the blind in the United States. Her texts were set to the compositions of some of the most prominent gospel song composers of the day including William Bradbury, William Doane and Ira Sankey. Crosby composed under a number of pen names. She married blind musician Alexander Van Alstyne. British hymnals identify her as Frances Van Alstyne, her married name.
This hymn first appeared in the collection Bright Jewels (1869), compiled by Bradbury, Doane, W.F. Sherwin and Chester G. Allen, at least two of whom were famous writers of gospel song tunes. Indeed, it was Doane who wrote the music and then gave it to Fanny Crosby to add the text—a practice that was not uncommon in their relationship. It is one of many texts by Crosby that combine vivid imagery and powerful biblical and evangelical metaphors: the Cross, a fountain of healing streams, free grace, the daily walk of faith, God’s pursuing love and mercy, Jesus, the Lamb of God, beyond the river of death, heaven with its golden streets, and rest for the post-Raptured souls.”
The glory of the Cross, a theme of the refrain, is a common metaphor of Romantic-era hymnody. The Cross, a place where the pain of earth and the joy of heaven come together, is a kind of spiritual altar to which we might draw near for refuge and solace. Though an instrument of cruel punishment and torture, the Cross is a source of a “healing stream” (stanza one) and a place where “the bright and morning star sheds its beams” on us (stanza two). Stanza three invites us to meditate upon the Cross—“bring its scenes before me.” The “shadow” of the Cross falls on my daily path.
Many writers have commented on Fanny Crosby’s ability to employ the technique of hypotyposis—painting a vivid scene as if it were present—even though she was blinded soon after birth. Dwight L. Moody once asked Crosby: “If you could have just one wish granted, what would it be?” Moody expected her to ask for sight. She replied, “If I could have one wish, I’d wish that I might continue blind the rest of my life.” Moody was taken aback and asked, “How can you say that?” Crosby responded, “Because, after being blind for all these years, the first face I want to see now is the face of Jesus.”
Jesus, keep me near the Cross, there a precious fountain,
free to all a healing stream, flows from Calvary’s mountain.
Near the cross, a trembling soul, Love and mercy found me;
There the bright and morning star Sheds it beams around me.
Near the Cross! O Lamb of God, Bring its scenes before me;
Help me walk from day to day, With its shadows o’er me.
Near the cross I’ll watch and wait Hoping, trusting ever,
Till I reach the golden strand, Just beyond the river.
In the Cross, in the Cross, be my glory ever,
till my raptured soul shall find rest beyond the river.
John Carter is a productive and versatile composer with a notable and long-standing career in choral composition. In addition to hundreds of sacred and secular choral pieces, Carter has written several collections of piano and organ literature, bell choir arrangements, a number of works for musical theatre and an opera. He is a well-known clinician and guest conductor throughout the United States. He is currently serving as Director of Music at the University Baptist Church in Columbus, Ohio.
About the Vocal Solo Music:
A Lenten Walk - Hal Hopson
“Jesus Walked This Lonesome Valley." first appeared in the 1816 shape-note hymnal, Kentucky Harmony. It encourages us to bear our own burdens by reminding us that Jesus did so in His earthly life and death. This sensitive African-American spiritual addresses the earthly ministry of Christ, leading up to the crucifixion. Its first known recording was in 1927 by old-time musician David Miller. Through the years, this famous song was sung by many other gospel and country artists such as the Monroe Brothers, the Carter Family, and The Statler Brothers.
Jesus walked this lonesome valley; he had to walk it by himself.
Oh, nobody else could walk it for him; he had to walk it by himself.
We must walk this lonesome valley. We have to walk it by ourselves.
Oh, nobody else can walk it for us; we have to walk it by ourselves.
Jesus bore the cross of sorrow; he had to bear it by himself.
Oh, nobody else could bear it for him; he had to bear it by himself.
We must take our cross and follow; we must take it by ourselves.
Oh, nobody else can follow for us; we have to follow by ourselves.
Hal H. Hopson (b. 1933) is a full-time composer and church musician residing in Dallas, Texas. He has over 1000 published works, which comprise almost every musical form in church music. With a special interest in congregational song, he continues to make a significant contribution to the new repertoire of hymn tunes and responsorial psalm settings as evidenced by the proliferation of his settings that are included in newly published hymnals and psalm collections.
Hal is active as a conductor and clinician, having conducted choral festivals and workshops in United States, Europe, and Asia. More recently he has been recognized for his contribution to music by being included in The International Who's Who in Music, Cambridge, England, and by being awarded the esteemed title of National Patron by Delta Omicron, a national professional fraternity of musicians. He is active in several professional organizations, having served on the national boards of the Presbyterian Association of Musicians and Choristers Guild. As a member of ASCAP, Hal has received an annual award from that agency for many consecutive years.
About the Hymns:
I Want a Principle Within
Could it be that Charles Wesley was more focused on marrying a woman than on publishing quality literature? In the mind of John Wesley, probably so. In the mind of Charles, his carelessness was worth all of John’s frustration if it meant that he could marry Sarah Gwynne. Had it not been for Charles’ fondness of Sarah and his brother’s obsessive desire to perfect Charles’ writing, this hymn would certainly not have such a rousing history.
“I Want a Principle Within” has had a longstanding presence in Methodism. It was included in Methodist hymnals as early as 1788 and can be traced in its current form in John Wesley’s A Collection of Hymns for the Use of People Called Methodists (1780). The hymn was first published in five stanzas in Charles’ own collection, Hymns and Sacred Poems (1749), titled “For a Tender Conscience.”
The publication of Hymns and Sacred Poems came about because Charles had to prove to Sarah’s mother that he could financially support Sarah as his wife; his salary as a theologian was quite unimpressive. Realizing the potential of Charles’ musical gifts, Mrs. Gwynne finally approved the marriage. Charles then went about publishing the first collection of his poems, much to the irritation of John, who had no hand in editing his brother’s own volumes.
John’s desire to do justice to a few of Charles’ hymns led to his 1780 collection, which perhaps made the hymn famous among Methodists under its current title.
The evolution of this hymn came at a period in Charles Wesley’s life when he was traveling extensively throughout England and Ireland. During these years he suffered both a severe sprain in his leg (1745) and a severe toothache (1748) that added to the strain of his traveling.
Although no sources pinpoint exactly when “I Want a Principle Within” was written, there could be a connection between Charles’ trials and the transformations he asks of God through this hymn. Wesley scholar John Tyson also explains that around the time Hymns and Sacred Poems was published, Charles was “at the mid-point of the development of his doctrine of sanctification,” in which he insisted that Christian perfection could be attained during one’s lifetime.
Taken as a whole, the hymn leads us on a journey from recognizing the darkness of sin to the freeing and uplifting feeling found in the forgiveness of Christ. The tune, by way of its gentle, lilting feel, contrasts with the staid heaviness of the text.
The tune GERALD is attributed to Ludewig “Louis” Spohr (1784-1859), a famous German-born violinist and conductor. It was adapted by James Stimpson (1820-1886), a British-born organist well known for his choral anthems. The original name of the tune was SPOHR. However, because another tune was known in America by this name, it was changed to GERALD, named in honor of both Fitzgerald Sale Parker (1863-1936), a member of the 1905 and 1935 Methodist hymnal committees, and Geraldine Reid Sherrill, secretary to the editor of the 1935 hymnal.
Since then, the hymn has been adapted and edited by the United Methodist hymnal committee from the version published by John Wesley in 1780. The reckless nature of Charles’ writing (at least, from John’s perspective) kept John in business as his editor, while Charles’ original version of the hymn solidified his marriage. In the end, both versions were successful endeavors, even if John was a bit frustrated with his brother.
I want a principle within of watchful, Godly fear,
a sensibility of sin, a pain to feel it near.
I want the first approach to feel of pride or wrong desire,
to catch the wandering of my will, and quench the kindling fire.
From thee that I no more may stray, no more thy goodness grieve,
grant me the filial awe, I pray, the tender conscience give.
Quick as the apple of an eye, O God, my conscience make;
awake my soul when sin is nigh, and keep it still awake.
Almighty God of truth and love, to me thy power impart;
the mountain from my soul remove, the hardness from my heart.
O may the least omission pain my reawakened soul,
and drive me to that blood again, which makes the wounded whole.
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".
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 they 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; true and spotless let us be.
Let us see thy great salvation perfectly restored in thee.
Changed from glory into glory, till in heav’n we take our place,
till 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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