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:
Meditation on a Plainsong - Douglas Wagner
(c.2019, Lorenz Publishing)
Jesu dulcis memoria is often attributed to Saint Bernard of Clairvaux. The name can refer either to the entire poem, which, depending on the manuscript, ranges from forty-two to fifty-three stanzas, or only the first part. Three sections of it are used as hymns in the Liturgy of the Hours of the Feast of the Holy Name of Jesus: "Iesu dulcis memoria" (Vespers), "Iesu rex admirabilis" (Matins), "Iesu decus angelicum" (Lauds). Several English hymns sung today are based on translations of Jesu dulcis memoria. These include "Jesus, Thou Joy of Loving Hearts" (1858 translation by Ray Palmer) and "Jesus, the Very Thought of Thee" (1849 translation by Edward Caswall).
Bernard of Clairvaux, O. Cist. (Latin: Bernardus Claraevallensis; 1090 – 20 August 1153), venerated as Saint Bernard, was a Burgundian abbot and a major leader in the revitalization of Benedictine monasticism through the nascent Cistercian Order. He was sent to found Clairvaux Abbey at an isolated clearing in a glen known as the Val d'Absinthe, about 15 kilometres (9.3 mi) southeast of Bar-sur-Aube. In the year 1128, Bernard attended the Council of Troyes, at which he traced the outlines of the Rule of the Knights Templar, which soon became an ideal of Christian nobility. On the death of Pope Honorius II in 1130, a schism arose in the church. Bernard was a major proponent of Pope Innocent II, arguing effectively for his legitimacy over the Antipope Anacletus II. In 1139, Bernard attended the Second Council of the Lateran and criticized Peter Abelard vocally. Bernard advocated crusades in general and convinced many to participate in the unsuccessful Second Crusade, notably through a famous sermon at Vézelay (1146).
Bernard was named a Doctor of the Church in 1830. At the 800th anniversary of his death, Pope Pius XII issued an encyclical about him, titled Doctor Mellifluus, in which he labeled him "The Last of the Fathers." The central elements of Bernard's Mariology are how he explained the virginity of Mary, the "Star of the Sea", and her role as Mediatrix.
The first abbot of Clairvaux developed a rich theology of sacred space and music, writing extensively on both. John Calvin and Martin Luther quoted Bernard several times in support of the doctrine of Sola Fide. Calvin also quotes him in setting forth his doctrine of a forensic alien righteousness, or as it is commonly called imputed righteousness. Bernard's theology and Mariology continue to be of major importance, particularly within the Cistercian and Trappist Orders. Bernard helped found 163 monasteries in different parts of Europe. His influence led Alexander III to launch reforms that led to the establishment of canon law. Bernard was canonized just 21 years after his death by Pope Alexander III.
Jesus, the very thought of Thee, with sweetness fills my breast,
but sweeter far Thy face to see, and in Thy presence rest.
Nor voice can sing, nor heart can frame, nor can the memory find
a sweeter sound than Thy blest Name, o Savior of mankind!.
O hope of every contrite heart o joy of all the meek,
to those who fall, how kind Thou art! how good to those who seek!
But what to those who find? Ah this nor tongue nor pen can show:
the love of Jesus, what it is none but His loved ones know.
Jesu, our only joy be Thou, As Thou our prize wilt be:
Jesu, be Thou our glory now, And through eternity.
Amen.
Douglas E. Wagner, a native of Chicago, Illinois, is an international recognized composer and arranger. With thirty years as a high school music educator and administrator behind him, Mr. Wagner now devotes all of his time and energy to writing, editing and their allied activities. He is an A.S.C.A.P. award-winning composer, an editor for a major publishing company, and has served several denominations as a church musician. 2,500 titles by Douglas E. Wagner have been published since 1973, included works for choir (sacred and secular), concert band, orchestra, handbell ensemble, organ, piano, instrumental solo, and voice. Fifteen million copies of his music have been sold to date.
Voluntary on "This is the Feast" - Charles Callahan
(c.1996, Concordia Publishing House)
Richard Hillert was born in a rural area in central Wisconsin. Although musical opportunities were scarce, he began taking organ lessons at age fourteen. He was also greatly influenced by listening to music on the radio, and he started composing songs based on the sounds he heard. Enrolling in Concordia Teachers College in River Forest, Illinois (now Concordia University), Illinois, at age twenty-four, he studied music composition and theory (BSEd, 1951). There he began to be noticed as a gifted composer and musician. After serving various congregations and completing his Master of Music degree and doctor of music degree at Northwestern University, he returned to Concordia College in River Forest to teach in 1959. During his thirty-one years of teaching, he became one of the most widely known and highly respected members of the faculty.
Composing music for the church was an essential part of Mr. Hillert’s life. He published three hundred musical works for organ, piano, choir, chamber ensembles, and orchestra, contributing musical settings of the liturgy for the Worship Supplement (1969). In 1967, he became a member of the Liturgical Music Committee (LMC) of the Inter-Lutheran Commission on Worship (ILCW) and the musical editor of the Lutheran Book of Worship (LBW). At the LMC request, Mr. Hillert wrote Setting One of “The Holy Communion” in the Lutheran Book of Worship. The first publication of this setting was in Contemporary Worship 2 (1970). In some hymnals, the text and tune appear as FESTIVAL CANTICLE, a separate hymn removed from its eucharistic setting. This is the most well-known of his seventy original hymn tunes.
The hymn has found an ecumenical home in several Catholic hymnals, and in hymnals for the Episcopalians, Moravians, Presbyterians (PCUSA), and United Methodists, among others. Hillert’s Communion setting, for which he is most remembered, is included in both of the more recent Lutheran hymnals, Evangelical Lutheran Worship (2006) and Lutheran Service Book (2006).
“This Is the Feast of Victory” is a eucharistic hymn. During the Easter season, Lutherans and some Episcopalians use this setting as the Song of Praise in place of the Gloria in excelsis. Lutheran pastor and professor John W. Arthur (1922–1980) prepared the paraphrase of several passages from Revelation, one of several canticles he paraphrased for Setting One. Though he is the author of several hymn texts, Arthur’s paraphrase of these passages from Revelation gave him the most prominence. Several other notable composers set his paraphrase to music, though Hillert’s is by far the most used.
When celebrating Holy Communion in worship, the church gives thanks and praise to God for Christ’s victory over death. Through this victory, Christ is our king who reigns eternally. In the Old Testament story of the Passover, the lamb was sacrificed so that God would “pass over” sins. In this same way, Christ becomes the Lamb of God, and by his blood, we receive forgiveness for our sins.
“This Is the Feast of Victory” is based on passages found in Revelation 5:12-13 and 19:5-9. It is a beautiful setting of songs that are sung in heaven praising Jesus, the Lamb who was slain, but who now lives and reigns for all eternity. In singing “This Is the Feast of Victory,” we join in what the saints are singing in heaven. We are reminded that the church is indeed one. There is only one worship service in heaven and earth, and by God’s grace, we all participate in it. We join with all those sitting in the pews around us—whether we have weak voices or strong voices, whether we’re twelve years old or a seasoned member, whether we’re sure about these “new” songs or not—and we become part of the great choir that surrounds the throne of God. Our voices join the angels to proclaim, “Worthy is Christ, the Lamb who was slain! Alleluia!”
This is the feast of victory for our God. Alleluia, Alleluia, Alleluia!
Worthy is Christ, the Lamb who was slain, whose blood set us free to be people of God.
This is the feast of victory for our God. Alleluia, Alleluia, Alleluia!
Power, riches and wisdom and strength, and honor and blessing and glory are his.
This is the feast of victory for our God. Alleluia, Alleluia, Alleluia!
Sing with all the people of God and join in the hymn of all creation.
This is the feast of victory for our God. Alleluia, Alleluia, Alleluia!
Blessing and honor and glory and might be to God and the Lamb forever. Amen.
This is the feast of victory for our God. Alleluia, Alleluia, Alleluia!
For the Lamb who was slain has begun his reign. Alleluia.
This is the feast of victory for our God. Alleluia, Alleluia, Alleluia!
Charles Callahan (b. 1951) is one of America’s leading organist-composers. A native of Cambridge, Massachusetts, he is a graduate of the Curtis Institute of Music and Catholic University of America. In recognition of his service to the church and his commissioned compositions for Papal visits to the U.S., he was awared the Papal Honor of Knighthood in the Order of the Holy Sepulchre of Jerusalem in 1999. In addition to compositions and performances, Charles Callahan is a noted educator and author whose two books on American organ-building have become standard reference works.
About the Piano Music:
Love Lifted Me - Ruth Elaine Schram
(c.2006, Lorenz Publishing)
Author John Rowe (1865-1933) was born in Ireland and immigrated to the United States in 1889. Rowe went to work for several music publishers, including Trio Music Company in Waco, Texas; A. J. Showalter Music Company of Chattanooga, Tennessee; and James D. Vaughan Music Company of Lawrenceburg, Tennessee. Late in life, Rowe moved to Vermont where his daughter was an artist. He worked with her, writing greeting card verses. Composer Howard E. Smith (1863-1918) was a church musician and organist in Connecticut. Rowe and Smith collaborated to write this song in Saugatuck in 1912. According to Rowe’s daughter, “Howard E. Smith was a little man whose hands were so knotted with arthritis that you would wonder how he could use them at all, much less play the piano. I can see them now, my father striding up and down humming a bar or two and Howard E. playing it and jotting it down.” It gained popularity among United Methodists as one of the most frequently sung songs in The Cokesbury Hymnal.
Rowe's text uses images from two biblical stories. The first is found in Matthew 14:22-33, where the disciples were in a boat in the midst of a terrifying storm. They saw Jesus walking on the sea. He commanded Peter to join him, and Peter also began walking on the water toward Jesus. The storm frightened Peter and he began to sink, calling out to Jesus to save him. Jesus caught Peter by the hand and lifted him up as they got into the boat. The second story is Matthew 8:23-27, in which Jesus is asleep in the boat while the disciples are terrified by the fierce storm threatening to plunge them all into the sea. They wake Jesus and appeal to him. Jesus rebukes the wind and sea, and there is calm. Rowe's text skillfully draws on both stories, using sinking or being swamped into the sea as an image for "sinking deep in sin…sinking to rise no more." Jesus, "Master of the sea," hears our cry for help, reaches out to us in love, and lifts us up into the safety of salvation.
I was sinking deep in sin, far from the peaceful shore,
very deeply stained within, sinking to rise no more;
but the Master of the sea heard my despairing cry,
from the waters lifted me; now safe am I.
All my heart to Him I give; ever to Him I’ll cling,
In His blessed presence live, ever his blessings sing.
Love so mighty and so true merits my souls best songs;
Faithful, loving service, too, to Him belongs.
Souls in danger, look above, Jesus completely saves;
he will lift you by his love out of the angry waves.
He’s the Master of the sea, billows his will obey;
he your Savior wants to be – be saved today.
Love lifted me! Love lifted me!
When nothing else could help, Love lifted me.
Ruth Elaine Schram (b. 1952) wrote her first song at the age of twelve, and her first octavo was published twenty years later, in 1988. In 1992, she became a full-time composer and arranger and now has over 2,000 published works. Over seventeen million copies of her songs have been purchased in their various venues, and she has been a recipient of the ASCAP Special Award each year since 1990. In addition to her choral music for church and school choirs, her songs appear on thirty albums (four of which have been Dove Award Finalists) and numerous children's videos, including sixteen songs on four gold videos, and four songs on one multi-platinum video. Her songs have also appeared on such diverse television shows as "The 700 Club" and HBO's acclaimed series "The Sopranos.” Schram began piano and theory lessons at the age of five. She studied music at Lancaster Bible College and Millersville State College and taught Elementary Music in Pennsylvania for several years. She now lives in Birmingham, Alabama.
About the Vocal Solo Music:
Let Us Break Bread Together - Moses Hogan
(c.2000, Hal Leonard Corp)
Some of the stanzas of this African American spiritual may date back to the eighteenth century. Other stanzas have been added by oral tradition. A look through modern hymnals will reveal an array of variations on the text. The most notable alteration in the Psalter Hymnal is the phrase "to the Lord of life" in place of the original "to the rising sun," in which "rising sun" was a metaphor referring to the Son rising. The song's use at communion services probably dates from after the American Civil War. Miles Mark Fisher notes in Negro Slave Songs in the United States (1953): [Originally the hymn] relates hardly at all to holy communion, which does not necessarily require early morning administration or a devotee who faces east. It was a signal song of Virginia slaves during the eighteenth century who used it and similar ones to convene their secret meetings.
The text describes participation in the Lord's Supper as a humble act in which we not only eat the bread and drink the wine, but also praise our God "on our knees." The refrain ends with a prayer for mercy, an African-American Kyrie that reminds us of the tax collector's prayer in Luke 18:13.
Let us break bread together on our knees, let us break bread together on our knees.
When I fall on my knees with my face to the rising sun, O Lord, have mercy on me.
Let us drink wine together on our knees, let us drink wine together on our knees.
When I fall on my knees with my face to the rising sun, O Lord, have mercy on me.
Let us praise God together on our knees, let us praise God together on our knees.
When I fall on my knees with my face to the rising sun, O Lord, have mercy on me.
Moses George Hogan (1957-2003) was an American composer and arranger of choral music. He was best known for his settings of African-American spirituals. Hogan was a pianist, conductor, and arranger of international renown. His works are celebrated and performed by high school, college, church, community, and professional choirs today. His most famous work today is The Oxford Book of Spirituals created in 2002. He died at the age of 45 of a brain tumor. Hogan was musically educated from a young age, first enrolling in Xavier University Junior School of Music. In his sophomore year of high school, he was accepted to New Orleans Center for Creative Arts High School and was in its first graduating class of 1975. Hogan was awarded a full scholarship to the Oberlin Conservatory of Music where he studied piano and graduated in 1979 with a Bachelor of Music degree. Immediately after graduation, he began graduate studies at Juilliard School of Music, and later went to study classical music in Vienna, Austria. During his piano performance years, Hogan won several competitions including first place at the 28th Annual Kosciuszko Foundation Chopin Competition in New York.
About the Hymns:
I Come with Joy
(c.1989 United Methodist Publishing House)
“I Come with Joy” was written in 1971 by Brian Wren (b. 1936), Emeritus Professor of Worship, Columbia Theological Seminary, Decatur, Georgia. He is a writer, preacher, worship and workshop leader, and internationally published hymn-poet, with entries in most recent denominational hymnals in North America, Britain and Australia. Some of his hymn-poems have been translated into Finnish, French, Japanese, Mandarin, Spanish and Korean. Brian holds undergraduate and doctoral degrees from Oxford University. He is a Minister of the United Reformed Church (UK). His publications include What Language Shall I Borrow? - God-Talk in Worship: A Male Response to Feminist Theology (1989 and 2009), Praying Twice: The Music and Words of Congregational Song (2000), Advent, Christmas and Epiphany: Liturgies and Prayers for Public Worship (2008), Hymns for Today (2009) and seven hymn collections totaling 250 hymns.
DOVE OF PEACE was first published in William Walker's Southern Harmony (1835), a Sacred Harp collection, with the text “O Tell Me Where the Dove has Flown”. It was originally the tune of a Catskill folk song, “The Darby Ram”.
I come with joy to meet my Lord, forgiven, loved and free,
in awe and wonder to recall his life laid down for me.
I come with Christians far and near to find, as all are fed,
the new community of love in Christ's communion bread.
As Christ breaks bread and bids us share, each proud division ends.
The love that made us makes us one, and strangers now are friends.
And thus with joy we meet our Lord. His presence, always near,
is in such friendship better known; we see and praise him here.
Together met, together bound, we'll go our different ways,
and as his people in the world, we'll live and speak his praise.
You Satisfy the Hungry Heart
(c.1977, Archdiocese of Philadelphia)
This hymn unites the work of composer, Robert Kreutz, and hymn text writer, Omer Westendorf. It was among 200 texts submitted for possible use at the 41st International Eucharistic Congress in Philadelphia in 1976. "You Satisfy the Hungry Heart" was selected as the official hymn of that gathering. First embraced by Roman Catholics, this hymn has since become well-known and a favorite in many denominations. Following the reforms of the Second Vatican Council (1962-1965), the role of congregational song became much more prominent in Roman Catholic worship. The ecumenical worshipping community has been the beneficiary of some music composed for Catholic worship since that time, especially music for Communion. We would not have some of our favorite Communion hymns in The United Methodist Hymnal and The Faith We Sing without the contribution of post-Vatican II Catholic composers. “One bread, one body” (UMH No. 620) and “Take our bread” (UMH No. 640) are just a two of these.
Omer Westendorf (1916-1997) was one of the leading post-Vatican II composers and his hymn, “Gift of finest wheat,” is one of the best-known Communion hymns to come from the decades immediately following the liturgical reforms of the Second Vatican Council. This hymn unites the work of composer, Robert Kreutz, and hymn text writer, Omer Westendorf. It was among 200 texts submitted for possible use at the 41st International Eucharistic Congress in Philadelphia in 1976. "You Satisfy the Hungry Heart" was selected as the official hymn of that gathering. The hymn was first published in We Celebrate with Song (1979).
Beginning at age 20, Westendorf received his master of music degree at the Cincinnati Conservatory of Music, and for most of his professional musical career served as organist and choirmaster at St. Bonaventure Church in Cincinnati, Ohio. Under his direction, the Bonaventure Choir sang concerts and recorded sacred music for several decades. One of his greatest achievements was the founding of the World Library of Sacred Music in 1950 and World Library Publications in 1957. These organizations have been primary distributors of music for the Mass in the U.S. and beyond. Westendorf was also known for his lectures and seminars on sacred music, consultations on liturgical music, and as a hymn writer. UM Hymnal editor Carlton Young notes that Westendorf’s “People’s Mass Book, 1964, 1966, 1970, 1976, was the first vernacular hymn and service book to implement the Catholic liturgies decreed by Vatican Council II. He wrote Music Lessons for the Man in the Pew to teach the art of sight reading choral music.”
One of the prominent features of Catholic hymns from this era is a memorable and singable refrain. For example, think of how easily congregations learn the refrain by Catholic musician Daniel Schutte, “Here I Am, Lord.” “You satisfy the hungry heart” has an equally memorable refrain, though more reflective. The refrain evokes the agrarian image of “finest wheat,” the source of bread, a primary staple that sustains life. The hymn writer first addresses Christ directly in the second person, implying an intimate relationship, and offers a petition to Christ to “give to us... the bread of life to eat.”
The hymn is replete with biblical references. The refrain echoes John 6:25-37, a passage where Christ develops the imagery of bread and says, “I am the bread of life; he who comes to me shall not hunger.” Stanza one focuses on the metaphor of Christ as shepherd drawn from several passages, but especially from John 10. Stanza three is almost a direct quotation of I Corinthians 10:16-17: “The cup of blessing which we bless, is it not a participation in the blood of Christ. The bread which we break, is it not a participation in the body of Christ?” The final stanza sites the selfless and self-giving gift of Christ reminding us of Philippians 2:5-11, a creedal hymn of the early church.
You satisfy the hungry heart with gift of finest wheat.
Come give to us, O saving Lord, the bread of life to eat.
As when the shepherd calls his sheep, they know and heed his voice;
so when you call your family, Lord, we follow and rejoice.
With joyful lips we sing to you our praise and gratitude
that you should count us worthy, Lord, to share this heavenly food.
Is not the cup we bless and share the blood of Christ outpoured?
Do not one cup, one loaf, declare our oneness in the Lord?
The mystery of your presence, Lord, no mortal tongue can tell:
whom all the world cannot contain comes in our hearts to dwell.
You give yourself to us, O Lord; then selfless let us be,
to serve each other in your name in truth and charity.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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