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 Organ Music:
Trumpet Tune on FESTAL SONG - Dennis Janzer
(c.2017, Wayne Leopold Editions)
The hymn tune FESTAL SONG was written by William H. Walter (1825-1893), a composer, writer and musician born in Newark, NJ. William H. Walter served as organist and music director to St. John's Chapel and St. Paul's Church. In 1856 Walter was hired as the music director and organist for Trinity Church and Trinity Chapel where he remained until his retirement in 1869. Walter received an honorary doctorate in music from Columbia University in 1865. The majority of William H. Walter's work is composed of hymns, canticles and other forms of service music.
FESTAL SONG is most well known as the tune for “Rise Up, O Men of God”, written by William Pierson Merrill* (1867-1954) in 1911 for the Presbyterian Brotherhood Movement at the suggestion of Nolan R. Best, editor of the Presbyterian newspaper, The Continent. It was also influenced by an article by Gerald Stanley Lee entitled “The Church of the Strong Men”. Merrill said that he wrote it on a Lake Michigan steamer on the way to his church in Chicago “almost without thought and effort”. It was published in The Continent, 16 February 1911, and then in Hymns of the Centuries (1911), a Baptist hymnal edited by Benjamin Shepard.
Without knowing the story, someone might glibly dismiss Merrill and his effort as an example of male chauvinism. Merrill was indeed pitching “Rise Up O Men of God” at the masculine gender as he pondered an issue he wanted to address in 1911.
He’d been a pastor for over 20 years, including the previous 15 in a Chicago area Presbyterian church, from which he’d been trying to spur men to be more active in the church. He was a noted pacifist, indeed the first president of the Church Peace Union, in an era when the war drums were beginning to beat louder prior to the planet’s first global conflict – World War I. Perhaps those years’ atmosphere helped feed Merrill’s outlook, his great desire to motivate men to God’s work, and particularly the brotherhood movement within Presbyterianism, to complement more robustly the work Christian women were pursuing. An editor nudged Merrill to compose a hymn to further this cause, and while aboard a ship on Lake Michigan a magazine article extolling strong men in the church caught his eye. William had written the song before the ship docked. He called upon men to prepare and take part in a different battle than much of the world was forecasting. Nevertheless, the exclamation marks punctuating his words belie any tranquility his professional demeanor dictated, instead showing the urgency of this service call he felt compelled to make. The words he wrote apply universally, prompting devout believers to address social ills through sacrifice - that church work that ministered to hurting people was a stronger antidote for conflict than bullets.
Rise up, O men of God! Have done with lesser things;
Give heart and soul and mind and strength To serve the King of kings.
Rise up, O men of God! His kingdom tarries long;
As faithful workmen, watch and pray And light the night of wrong.
Rise up, O men of God! The church for you doth wait—
Your strength unequal to the task, But Christ in you is great!
Lift high the cross of Christ; Tread where His feet have trod;
As brothers of the Son of man, Rise up, O men of God!
Dr. Dennis Janzer (b. 1954) has advanced degrees from Marquette University and the University of Wisconsin-Milwaukee. He is organist and choirmaster at St. Mary’s Episcopal Cathedral, Memphis, Tn.
About the Piano Music:
Fairest Lord Jesus - John Nordquist
(c.1983, Hope Publishing)
“Beautiful Savior” is thought to have originated as early as 1607, possibly written by German Jesuits, and called “Schönster Herr Jesu“. It first appeared in print in 1677, in the Münster Gesangbuch, with author unknown. It was translated and the fourth stanza was added by Lutheran pastor and theologian, Joseph A. Seiss in 1873. Originally this song was most likely sung to a Gregorian Chant by the Jesuit monks. The music that was most popular with 17th Century German peasants was a tune from an ancient Silesian folk song. The tune and the German text were printed together for the first time in 1842 by August Heinrich Hoffmann von Fallersleben and Ernst Richter under the name “Schönster Herr Jesu” (Most beautiful Lord Jesus). In 1850 the Danish hymnwriter B. S. Ingemann wrote “Dejlig Er Jorden”, which he set to the same melody. An English translation by Jens C. Aaberg was published as “Fair Is Creation”. Apart from their musical setting, the Danish and German lyrics are unrelated. According to some accounts, “Fairest Lord Jesus” is called "Crusader's Hymn" because it was sung by German Crusaders as they made their way to the Holy Land.
ST. ELIZABETH appears to be an eighteenth-century tune from the Glaz area of Silesia. It has always been associated with “Fairest Lord Jesus”. No factual data exists for the legend that this text and tune date back to the twelfth-century crusades, although those apocryphal stories explain one of the names by which this tune is known, namely, CRUSADER'S HYMN. After Franz Liszt used the tune for a crusaders' march in his oratorio The Legend of St. Elizabeth (1862), the tune also became known as ST. ELIZABETH.
Fairest Lord Jesus, Ruler of all nature,
O Thou of God and man the Son,
Thee will I cherish, Thee will I honor,
Thou, my soul’s glory, joy and crown.
Fair are the meadows, fairer still the woodlands,
Robed in the blooming garb of spring;
Jesus is fairer, Jesus is purer,
Who makes the woeful heart to sing.
Fair is the sunshine, fairer still the moonlight,
And all the twinkling starry host;
Jesus shines brighter, Jesus shines purer
Than all the angels heav’n can boast.
All fairest beauty, heavenly and earthly,
Wondrously, Jesus, is found in Thee;
None can be nearer, fairer or dearer,
Than Thou, my Savior, art to me.
Beautiful Savior! Lord of all the nations!
Son of God and Son of Man!
Glory and honor, praise, adoration,
Now and forevermore be Thine.
Dr. John Nordquist, a native of Ohio, began his professional career at age twelve and has since performed over 500 concerts as piano soloist, accompanist, and duo-pianist. Nordquist, who holds a doctorate in piano performance from Indiana University, is Chairman of the Music Department and Professor of Piano and Music History at Bethel College in St. Paul, Minnesota.
On Jordan's Stormy Banks - C. E. Walz
(c.2018, Lorenz Publishing)
Samuel Stennett (1727-1795), an English Baptist, came from a long line of ministers. He was the son of a Seventh-Day Adventist pastor. In the 18th century, university education was not easily available to nonconformist families—those who refused to swear allegiance to the Church of England. Stennett did study at the academy at Miles End with distinction, however. In spite of his nonconformist religious stance, Stennett was a personal friend to the reigning monarch, King George III. Stennett was honored in 1763 with a doctor of divinity degree from King’s College, Aberdeen, for his accomplishments. He served as an assistant to his father in his congregation in 1747 and assumed the position of pastor upon his father’s death in 1758.
John Rippon, an English Baptist pastor, published in 1787 an influential collection, A Selection of Hymns from the Best Authors. Thirty-eight of Stennett’s hymns appeared in this popular collection. Among those was a hymn under the heading of “Heaven Anticipated” with the title of “The Promised Land” in eight four-line stanzas. The hymn as it appeared in America looked and sounded much different. William Walker’s The Southern Harmony (1835) was the first to include “The Promised Land.” This was one of the most popular of the 19th-century, oblong-tune books with shaped notes. The tune PROMISED LAND was paired with the text. The Southern Harmony attributes the tune to “Miss M. Durham” but we know nothing else about the composer. The tune has many of the characteristics the traditional folk melodies of the time. Originally written in a minor mode, Rigdon M. McIntosh, a Southern musician, altered the tune to the major mode, and as was customary among American evangelicals in the 19th century added a refrain beginning with “I am bound for the promised land.” This version was published in 1895 in H. R. Christie’s Gospel Light and has become the standard version for many hymnals since that time.
From the start, the four stanzas focus on heaven. The singer stands on the banks of the Jordan River looking across to the “fair and happy land” of Canaan—a metaphoric mixture of images from the books of Exodus and Revelation. Our true “possessions” lie in Canaan (Heaven) and not on the earthly side of Jordan. metaphors of the vision, vigor, enthusiasm, and optimism of frontier life moving on to the promised land of Kentucky or Missouri.”
The hymn has appeared in each American Methodist hymnal since Francis Asbury included it in his Supplement to the Pocket Hymn Book (1808).
On Jordan's stormy banks I stand, and cast a wishful eye
to Canaan's fair and happy land where my possessions lie.
Refrain
I'm bound for the promised land, I'm bound for the promised land.
Oh, who will come and go with me? I'm bound for the promised land.
There gen'rous fruits that never fail, on trees immortal grow.
There rocks and hills and brooks and vales with milk and honey flow.
All o'er those wide-extended plains shines one eternal day;
there God the Son forever reigns and scatters night away.
No chilling wind nor pois'nous breath can reach that healthful shore;
sickness and sorrow pain and death are felt and feared no more.
When shall I reach that happy place and be forever blest?
When shall I see my Father's face and in his bosom rest?
C.E. (Carolyn) Walz was born and raised near Atlanta, Georgia, where, at age ten, she began piano lessons with Robert Fraumann, the minister of music at her church. By age twelve, Carolyn was playing piano solos for church services and accompanying children’s choirs. Apart from her musical studies, Carolyn had a keen interest in teaching English and writing children’s books. She earned her Bachelor of Art Degree in Christian Education from Atlanta Christian College and her Master of Science Degree in Middle Grades Education from Georgia State University. She authored several books for children and became a full-time English teacher at Woodward Academy. In 2015, she retired as English Department Head of the Middle School after more than thirty years of service.
Since retirement, Carolyn has become an active member of the Daughters of the American Revolution and a two-time national winner of the DAR’s American Heritage Instrumental Music Award. Today she continues to serve as a church musician, accompanist, and children’s choir director as she pursues her new interest: composing and arranging piano solos and choral anthems for Lorenz and other publishing companies.
About the Hymns:
Be Thou My Vision
"Be Thou My Vision" (Old Irish: Rop tú mo baile or Rob tú mo bhoile) is a traditional hymn from Ireland. The most well known English version, with some minor variations, was translated by Eleanor Hull and published in 1912. In 1919, the lyrics were set to the tune of the Irish folk tune "Slane", to which the song is sung to this day, both in English and Irish. The song dates from at least the eighth century, though the text dates to the sixth-century.
The original Old Irish text, "Rop tú mo Baile" is often attributed to Saint Dallán Forgaill in the 6th century. Eochaid Mac Colla (c. 530 – 598), better known as Saint Dallan or Dallán Forgaill (Old Irish: Dallán Forchella; Latin: Dallanus Forcellius), was an early Christian Irish poet whose writings include the "Amra Choluim Chille" ("Elegy of Saint Columba") and "Rop Tú Mo Baile" ("Be Thou My Vision"). Saint Dallan was Chief Ollam of Ireland (similar to poet laureate), as well as a scholar of Latin scriptural learning. He helped to reform the Bardic Order at the Convention of Drumceat. He reputedly wrote Amra Choluim Chille, which he completed shortly after the death of Saint Columba in 597, because Columba had successfully saved poets from expulsion from Ireland at the assembly of Druim Cett in 575. The “Amra Choluim Chille,” is the earliest Irish poem that can be dated.
"Rop tú mo Baile" had been a part of Irish monastic tradition for centuries before its setting to music. The Irish text was translated into literal prose by Irish scholar Mary Elizabeth Byrne (1880-1931), a Dublin native, and then published in Eriú, the journal of the School of Irish Learning, in 1905. Byrne was also known for her academic publications, including Old and Mid-Irish Dictionary, Dictionary of the Irish Language, and a treatise, England in the Age of Chaucer.
It is at this point that Eleanor Hull (1860-1935) enters the story. Born in Manchester, England, she was the founder of the Irish Text Society and president of the Irish Literary Society of London. Hull versified the text and it was published in her Poem Book of the Gael (1912).
Following the original publication in Ireland, the hymn was included in a number of British hymnals. After World War II, the hymn came to the attention of hymnal editors in the U.S. and it has become a standard hymn in most hymnals today.
Irish liturgy and ritual scholar Helen Phelan, a lecturer at the University of Limerick, points out how the language of this hymn is drawn from traditional Irish culture: "One of the essential characteristics of the text is the use of 'heroic' imagery to describe God. This was very typical of medieval Irish poetry, which cast God as the 'chieftain' or 'High King' (Ard Ri) who provided protection to his people or clan. The lorica is one of the most popular forms of this kind of protection prayer and is very prevalent in texts of this period." The original chieftain language of the "High King of heaven" has given way to the more inclusive "Great God" in the UM Hymnal.
When Hull's versification was paired with the lovely traditional Irish tune SLANE in The Irish Church Hymnal in 1919, its popularity was sealed. The folk melody was taken from a non-liturgical source, Patrick Weston Joyce's Old Irish Folk Music and Songs: A Collection of 842 Airs and Songs hitherto unpublished (1909). "Most 'traditional' Irish religious songs are non-liturgical," says Dr. Phelan. "There is a longstanding practice of 'editorial weddings' in Irish liturgical music, where traditional tunes were wedded to more liturgically appropriate texts. This is a very good example of this practice.” The tune name SLANE is drawn from deep in Irish history. It was on Slane Hill in County Meath around 433 CE that St. Patrick lit candles on Easter Eve, defying a decree by High King Logaire of Tara that no one could light a fire before the king signaled the beginning of the pagan spring festival by lighting a fire on Tara Hill. King Logaire was so impressed by Patrick's devotion that, despite his defiance, he was permitted to continue his work as Ireland's first Christian missionary.
Be Thou my Vision, O Lord of my heart;
Naught be all else to me, save that Thou art;
Thou my best Thought, by day or by night,
Waking or sleeping, Thy presence my light.
Be Thou my Wisdom, and Thou my true Word;
I ever with Thee and Thou with me, Lord;
Thou my great Father, I Thy true son;
Thou in me dwelling, and I with Thee one.
Be Thou my battle Shield, Sword for the fight;
Be Thou my Dignity, Thou my Delight;
Thou my soul’s Shelter, Thou my high Tow’r:
Raise Thou me heav’nward, O Pow’r of my pow’r.
Riches I heed not, nor man’s empty praise,
Thou mine Inheritance, now and always:
Thou and Thou only, first in my heart,
High King of Heaven, my Treasure Thou art.
High King of Heaven, my victory won,
May I reach Heaven’s joys, O bright Heav’n’s Sun!
Heart of my own heart, whatever befall,
Still be my Vision, O Ruler of all.
How Firm a Foundation
The authorship of this great hymn of the faith is one of the great hymnological mysteries. When John Rippon, pastor of Carter Lane Baptist Church in London, published A Selection of Hymns from the Best Authors in 1787, the attribution for this hymn appeared only as “K—.” Hymnologist William Reynolds notes that the 1822 edition designated the author as “Kn,” and the 1835 edition of the collection indicated “Keen.” Finally, an 1844 edition ascribed authorship to “Kirkham.” Robert Keene (or Keen), a close friend of Rippon’s, was the song leader at the Carter Lane Church from 1776-1793. Mr. Reynolds believes that Keene assisted Rippon in preparing the compilation. But no hymn in the early editions appears to have been written by Keene. Six tunes bear the attribution “R. Keene” or “Keene,” and logic would dictate that if Keene had written the text, this would have also been clearly indicated. It is safe to say that compilers of collections in the 18th and 19th century did not take the same care to assign authorship as we have come to expect in modern hymnals.
We know that Rippon’s Selection was very popular, with 11 editions published in England and one in the U.S. (1820) before his death in 1836. “How firm a foundation” was sung frequently in both the North and the South before the Civil War. Mr. Reynolds notes that it was a favorite hymn of Theodore Roosevelt, and that Andrew Jackson requested it be sung at his deathbed, and that Robert E. Lee asked it be sung at his funeral.
The anonymous folk tune FOUNDATION is an American contribution to the hymn that first appears with the text in Joseph Fund’s 1832 Genuine Church Music under the tune name PROTECTION. Hymnology scholar Harry Eskew has concluded that PROTECTION was a new tune and not previously published. The composer remains unknown. The tune appears in other famous American 19th-century collections such as The Sacred Harp(1844) and Southern Harmony (1854) with some melodic variations and with changes in harmony, but R.M. McIntosh’s Tabor: or, the Richmond Collection of Sacred Music (1866) provides us the present form found in most Baptist and Methodist hymnals.
Originally written with seven four-line stanzas, five are included in The United Methodist Hymnal with only one small alteration. Much of the hymn’s text is straight from The Bible, such as Isaiah 41:10, Isaiah 43:2, 2 Corinthians 12:9 and Hebrews 13:5.
How firm a foundation, ye saints of the Lord,
Is laid for your faith in His excellent Word!
What more can He say than to you He hath said,
You, who unto Jesus for refuge have fled?
In every condition, in sickness, in health;
In poverty’s vale, or abounding in wealth;
At home and abroad, on the land, on the sea,
As thy days may demand, shall thy strength ever be.
Fear not, I am with thee, O be not dismayed,
For I am thy God and will still give thee aid;
I’ll strengthen and help thee, and cause thee to stand
Upheld by My righteous, omnipotent hand.
When through the deep waters I call thee to go,
The rivers of woe shall not thee overflow;
For I will be with thee, thy troubles to bless,
And sanctify to thee thy deepest distress.
When through fiery trials thy pathways shall lie,
My grace, all sufficient, shall be thy supply;
The flame shall not hurt thee; I only design
Thy dross to consume, and thy gold to refine.
Even down to old age all My people shall prove
My sovereign, eternal, unchangeable love;
And when hoary hairs shall their temples adorn,
Like lambs they shall still in My bosom be borne.
The soul that on Jesus has leaned for repose,
I will not, I will not desert to its foes;
That soul, though all hell should endeavor to shake,
I’ll never, no never, no never forsake.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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