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; most of it is copied from other websites 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:
Be Still My Soul - Fay Lopez
(c. 2014, Lorenz Publishing)
Little is known about the author of this hymn. Katharina Amalia Dorothea von Schlegel was born in 1697. The date of her death is unknown. Some hymnologists suggest that she may have become a Lutheran nun. We know her as the author of "Stille, mein Wille; dein Jesus hilft siegen" published in a collection entitled Neue Sammlung geistlicher Lieder (A new collection of spiritual songs) in 1752. This text appears at the time of German pietism, similar in spirit in many regards to the Wesleyan revival in England of the same era. Philipp Jacob Spener (1635-1705) led the German pietistic movement. Though not a hymn writer himself, he inspired a revival in German hymnody characterized by faithfulness to Scripture, personal experience, and deep emotional expression. Katharina von Schlegel is thought to be the leading female hymn writer of this period.
The hymn comes to us via a translation by Jane L. Borthwick (1813-1897), a member of the Free Church of Scotland. Borthwick was second only to Catherine Winkworth (1827-1878) in bringing the riches of German hymn heritage to the English language. Her translation included five of the original six stanzas, appearing in Hymns from the Land of Luther, second series (1855). The melody comes from the symphonic tone poem “Finlandia, Op. 26”, by Jean Sibelius (1865-1957). David Evans (1874-1948), a Welsh organist-choirmaster, matched the translation with the tune for the Revised Church Hymnary (1927). It was brought to the United States when it was used in the Presbyterian Church, U.S.A. for The Hymnal (1933).
Be still, my soul: the Lord is on thy side.
Bear patiently the cross of grief or pain.
Leave to thy God to order and provide;
In every change, He faithful will remain.
Be still, my soul: thy best, thy heavenly Friend
Through thorny ways leads to a joyful end.
Be still, my soul: thy God doth undertake
To guide the future, as He has the past.
Thy hope, thy confidence let nothing shake;
All now mysterious shall be bright at last.
Be still, my soul: the waves and winds still know
His voice Who ruled them while He dwelt below.
Be still, my soul: when dearest friends depart,
And all is darkened in the vale of tears,
Then shalt thou better know His love, His heart,
Who comes to soothe thy sorrow and thy fears.
Be still, my soul: thy Jesus can repay
From His own fullness all He takes away.
Be still, my soul: the hour is hastening on
When we shall be forever with the Lord.
When disappointment, grief and fear are gone,
Sorrow forgot, love’s purest joys restored.
Be still, my soul: when change and tears are past
All safe and blessèd we shall meet at last.
Be still, my soul: begin the song of praise
On earth, believing, to Thy Lord on high;
Acknowledge Him in all thy words and ways,
So shall He view thee with a well pleased eye.
Be still, my soul: the Sun of life divine
Through passing clouds shall but more brightly shine.
Faye López teaches piano, hymn improvisation, and music theory at Bob Jones University in Greenville, South Carolina. She is a composer/arranger of sacred choral anthems and keyboard collections. She frequently serves as keyboard adjudicator and clinician, and leads church keyboard seminars. Her passion is to create music for personal and corporate worship.
About the Organ Music:
O dass ich tausend Zungen hatte - Paul Manz
(c. 1970, Concordia Publishing House)
Johann Mentzer (1657-1734) was born at Jahmen, near Rothenburg, in Silesia, and became a student of theology at Wittenberg, In 1691 he was appointed pastor at Merzdorf; in 1693 at Hauswalde, near Bischofswerda; and in 1696 at Kemnitz, near Bernstadt, Saxony. He was a great friend of J. C. Schwedler, of Henrietta Catherine von Gersdorf, and of N. L. von Zinzendorf, all hymnwriters and all his near neighbours. He wrote a large number of hymns, over 30 of which appeared in the various hymnbooks of his time. Many of them, especially those of Praise and Thanksgiving, and those of Cross and Consolation, are of high merit, though sometimes exaggerated and not very refined in their imagery, and are full of ardent love to Christ, Scriptural, poetical, and also popular in style. The only one in common use is “0 dass ich tausend Zungen hatte”, his best hymn. First published in Freylinghausen's Gesang-Buch, 1704, and repeated in many later collections as the Unverfälschter Liedersegen, 1851. This hymn was inspired by the destruction of a farmhouse where he was living by lightening.
Johann Balthaser König (1691-1758) composed this tune, which later became associated with Johann Mentzer's hymn "O dass ich tausend Zungen hätte" (Oh, That I Had a Thousand Voices). The harmonization is from the Wurttembergische Choralbuch (1653).
Oh would I had a thousand tongues,
To sound Thy praise o'er land and sea!
Oh! rich and sweet should be my songs,
Of all my God has done for me!
With thankfulness my heart must often swell,
But mortal lips Thy praises faintly tell.
Oh that my voice could far resound
Up to yon stars that o'er me shine!
Would that my blood for joy might bound
Through every vein while life is mine!
Would that each pulse were gratitude, each breath
A song to Him who keeps me safe from death!
O all ye powers of soul and mind,
Arise, keep silence thus no more;
Put forth your strength, and ye shall find
Your noblest work is to adore.
O soul and body, make ye pure and meet,
With heartfelt praise your God and Lord to greet.
Ye little leaves so fresh and green,
That dance for joy in summer air,
Ye slender grasses, bright and keen,
Ye flowers so wondrous sweet and fair;
Ye only for your Maker's glory live,
Help me, for all His love, meet praise to give.
O all ye living things that throng
With breath and motion earth and sky,
Be ye companions in my song,
Help me to raise His praises high;
For my unaided powers are far too weak
The glories of His mighty works to speak.
And first, O Father, praise to Thee
For all I am and all I have,
It was Thy merciful decree
That all those blessings richly gave,
Which o'er the earth are scattered far and near,
To help and gladden us who sojourn here.
And, dearest Jesus, blest be Thou,
Whose heart with pity overflows,
Thou rich in help! who deign'dst to bow
To earth, and taste her keenest woes;
Thy death has burst my bonds and set me free,
Has made me Thine; henceforth I cling to Thee.
Nor less to Thee, O Holy Ghost,
Be everlasting honours paid,
For all Thy comfort, Lord, and most
That I a child of life am made
By Thy deep love; my good deeds are not mine,
Thou workest them through me, O Light Divine.
Yes, Lord, through all my changing days,
With each new scene afresh I mark
How wondrously Thou guid'st my ways,
Where all seems troubled, wilder'd, dark;
When dangers thicken fast, and hopes depart,
Thy light beams comfort on my sinking heart.
Shall I not then be filled with joy,
Shall I not praise Thee evermore?
Triumphant songs my lips employ,
E'en when my cup of woe runs o'er;
Nay, though the heavens should vanish as a scroll,
Nothing shall shake or daunt my trusting soul.
But of Thy goodness will I sing
As long as I have life and breath,
Offerings of thanks I'll daily bring
Until my heart is still in death;
And when at last my lips grow pale and cold,
Yet in my sighs Thy praises shall be told.
Father, do Thou in mercy deign
To listen to my earthly lays;
Once shall I learn a nobler strain,
Where angels ever hymn Thy praise,
There in the radiant choir I too shall sing
Loud hallelujahs to my glorious Kings.
Paul Manz (1919 – 2009), was an American composer for choir and organ. His most famous choral work is the Advent motet "E'en So, Lord Jesus, Quickly Come", which has been performed at the Festival of Nine Lessons and Carols at King's College, Cambridge. His most famous organ works are his volumes of neo-Baroque chorale preludes and partitas. Paul Manz long served the church as recitalist, composer, teacher and leader in worship. He was the director of the newly established Paul Manz Institute of Church Music, and was Professor Emeritus of Church Music at Christ Seminary Seminex at the Lutheran School of Theology at Chicago.
Paul Manz concertized extensively in North America. As a performer, Manz was most famous for his celebrated hymn festivals. Instead of playing traditional organ recitals, Manz would generally lead a "festival" of hymns from the organ, in which he introduced each hymn an organ improvisation based on the hymn tune in question. The congregation would then sing the hymn with his accompaniment. Many volumes of these improvisations have been written out and published and are played by church organists throughout the world.
The esteem and respect with which Paul Manz is regarded can be seen in the many honors he received. He was twice named one of the “Ten Most Influential Lutherans,” served as National Councilor of the American Guild of Organists and is listed as one of the “101 Most Notable Organists of the 20th Century.” The Lutheran School of Theology at Chicago presented him with the distinguished "Confessor of Christ Award"; The Chicago Bible Society presented him with the “Gutenberg Award; and the Lutheran Institute of Washington, DC honored him with the first “Wittenberg Arts Award.”
About the Vocal Solo Music:
What a Friend We Have in Jesus - Dan Reed
Irish born Joseph M. Scriven (1819-1896) was 25 years old, in love and to be married. The day before his wedding his fiance died in a tragic drowning accident. Heartbroken, Joseph sailed from his homeland to start a new life in Canada. While in Canada working as a teacher, Joseph received word from Ireland that his mother was ill. He could not go to be with her, so he wrote a letter of comfort and enclosed one of his poems entitled “What a Friend We Have in Jesus”.
Many years later a friend was sitting with Joseph, as he was very ill. During this visit, the friend was very impressed when he ran across his poems, including “What a Friend We Have in Jesus”. As a result of this visit, almost 30 years after his letter of comfort to his mother, Joseph's poems were published in a book called Hymns and Other Verses. Soon thereafter, noted musician Charles C. Converse (1834-1918) put music to “What a Friend We Have in Jesus”. Well-known musician and revivalist Ira D. Sankey (1840-1908) was a great admirer of Joseph Scriven. In 1875, Sankey came upon the music and words for “What a Friend We Have in Jesus” and included it as the last entry in Sankey's Gospel Hymns Number 1.
The hymn also has many versions with different lyrics in multiple languages, such as the Japanese version "Itsukushimi Fukaki" (lit. "Deep Affection"), or a version sung during World War I with the line "When this bloody war is over" in place of the original title. The Handbook to the Lutheran Hymnal notes, "In spite of the fact that this hymn, with its tune, has been criticized as being too much on the order of the sentimental gospel type, its popularity remains strong, and the hymn retains a place in modern hymnals."
The tune BEACH SPRING used here was written by B. F. White. Benjamin F. White (1800-1879) was coeditor of The Sacred Harp (1844). He came from a family of fourteen children and was largely self-taught. Eventually White became a popular singing-school teacher and editor of the weekly Harris County newspaper.
What a friend we have in Jesus, all our sins and griefs to bear!
What a privilege to carry everything to God in prayer!
O what peace we often forfeit, O what needless pain we bear,
all because we do not carry everything to God in prayer.
Have we trials and temptations? Is there trouble anywhere?
We should never be discouraged; take it to the Lord in prayer.
Can we find a friend so faithful who will all our sorrows share?
Jesus knows our every weakness; take it to the Lord in prayer.
Are we weak and heavy laden, cumbered with a load of care?
Precious Savior, still our refuge; take it to the Lord in prayer.
Do thy friends despise, forsake thee? Take it to the Lord in prayer!
In his arms he'll take and shield thee; thou wilt find a solace there.
In his arms he'll take and shield thee; thou wilt find a solace there.
Dan Reed is a Texas organist and composer. In additional to his regular touring, he frequently works with the Rodgers organ company, recording and performing on their instruments for demonstration and dedication concerts. He wrote this arrangement and gave it to his fellow organists to use as they wish without charge.
About the Hymns:
All Hail the Power of Jesus’ Name
Edward Perronet (1726-1792) was born in England, the grandson of a French immigrant. His father, Vincent, was a clergyman in the Church of England and a close friend and associate of John and Charles Wesley. Though Edward had planned to follow his father into Anglican ministry, the influence of the Wesleys prevailed, and he became a traveling Methodist preacher. “All Hail the Power of Jesus’ Name” was written by Perronet while he served as a missionary in India and first appeared in the November, 1779 issue of the Gospel Magazine
The hymn is often called the "National Anthem of Christendom”. The best-known tunes used for the hymn are "Coronation" (Oliver Holden, 1793), "Miles Lane" (William Shrubsole, 1779), and "Diadem" (James Ellor, 1838).
An interesting story is told about this hymn. Rev. E. P. Scott was a missionary in India who had been urged not to go near a certain barbarous tribe, whom he wished to evangelize. But he went forth with high courage, never wavering in his duty, and trusting in God to protect him. When at last he reached their country among the hills, he came upon a company of these savages. Imme-diately, they surrounded him, pointing their spears at him with threatening scowls. He had nothing but his violin; and so, closing his eyes, he began to play and sing, “All Hail the Power of Jesus’ Name.” When he opened his eyes he expected to be killed instantly, but his life had been spared through the singing of the hymn. Their spears had dropped, and they received him first with curiosity and interest, and then later with eagerness, as he told them the gospel story and won their hearts to the will of Jesus Christ.
All hail the power of Jesus' name! Let angels prostrate fall.
Bring forth the royal diadem, and crown him Lord of all.
Bring forth the royal diadem, and crown him Lord of all!
O seed of Israel's chosen race now ransomed from the fall,
hail him who saves you by his grace, and crown him Lord of all.
Hail him who saves you by his grace, and crown him Lord of all!
Let every tongue and every tribe responsive to his call,
to him all majesty ascribe, and crown him Lord of all.
To him all majesty ascribe, and crown him Lord of all!
Oh, that with all the sacred throng we at his feet may fall!
We'll join the everlasting song and crown him Lord of all.
We'll join the everlasting song and crown him Lord of all.
I Am Thine, O Lord
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.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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