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:
The Gift to be Simple - Dale Wood
(c.1991, Sacred Music Press)
"Simple Gifts" is a Shaker song written and composed in 1848 by Elder Joseph Brackett (1797–1882). Brackett, a lifelong resident of Maine, first joined the Shakers at Gorham, Maine, when his father's farm helped to form the nucleus of a new Shaker settlement. Only two verses long, the song’s words celebrated the Shaker principles of simplicity and humility, while the tune provided a tidy little rhythm that could accompany the dancing that Shakers placed in their religious services. The Shakers were a radical religious sect. Practicing economic communism, anticipating the end of the world, and preaching celibacy—like, legit celibacy, complete celibacy, “all of our kids are adopted” celibacy—, they were not exactly the sort of community most imagined when they thought of the American frontier.
Brackett never expected his song to have a large audience. When he wrote it, there were only 6,000 Shakers in the entire country, and by the end of the century, the Shakers had all but disappeared and their music with them. The song was largely unknown outside Shaker communities until Aaron Copland used its melody for the score of Martha Graham's ballet Appalachian Spring (Shakers once worshipped on Holy Mount, in the Massachusetts portion of the Appalachians).
’Tis the gift to be simple, ’tis the gift to be free
’Tis the gift to come down where we ought to be,
And when we find ourselves in the place just right,
’Twill be in the valley of love and delight.
When true simplicity is gained,
To bow and to bend we shan’t be ashamed,
To turn, turn will be our delight,
Till by turning, turning we come ’round right.
When Brackett wrote “Simple Gifts” in 1848, the Shakers—their full name is the United Society of Believers in Christ’s Second Appearing—had been in America for close to 75 years. Formed in France during the 17th century, members of the sect had migrated to England in the 18th and then crossed the Atlantic to America in 1774. Their leader, Ann Lee, settled her followers along the Hudson River region of New York.
The Shakers were fundamentally Christian, but with some significant twists. Believing that the end of the world was fast approaching, they discouraged marriage and having children. Instead, they demanded celibacy—a life without marriage and sex—, believing that the demands of marriage and childrearing would distract believers from what should be their focus: preparing for the Second Coming of Christ.
During the 1800s, the most radical aspect of Shaker life was their treatment of women. In the Shaker community, women were elevated to positions of leadership. They preached, became elders, and were selected to govern several communities. Ann Lee set the example when she rose to prominence among English Shakers through her eloquent evangelism and courageous opposition to restrictions on religious speech.
Apocalyptic, communist, and implicitly feminist, the Shakers held some unusual beliefs even by some people’s standards today, but it was their dancing that really drew attention. Shakers believed that God continued to reveal Him/Herself and that through prayer they might receive an energizing infusion of His/Her Spirit. God’s Spirit might inspire them to preach, or it might inspire them to sing or dance, so music and dance was incorporated into Shaker worship. Many of the dances followed a ritual-like form; men and women would follow patterns performed for decades.
“Simple Gifts” was written to accompany the Shakers’ dance of worship. Shakers also wrote hymns and work songs, but in Shaker songbooks “Simple Gifts” was listed as a “dancing song” or “quick dance.” Moreover, one line told the inspired dancers exactly what to do: “To turn, turn will be our delight, till by turning, turning we come 'round right.” "Turning" is a common theme in Christian theology, but the references to "turning" in the last two lines have also been identified as dance instructions. When the traditional dance is performed properly, each dancer ends up where he or she began, "come 'round right”.
The lyrics offered more than “simple” dance instructions; they also summed up core Shaker beliefs. “'Tis the gift to be simple, 'tis the gift to be free,” wrote Brackett. Satisfaction was not attained through the acquisition of power or wealth. Instead, it was attained through humility and freedom from worldly goods. In fact, when “true simplicity” was achieved, people were not embarrassed by their poverty or lack of power. The song even proclaimed, “to bow and bend we shan't be asham'd.” This simple life, free of material possessions and worldly concerns, would lead to happiness and prepare people for the kingdom of God about to unfold on earth. “When we find ourselves in the place just right,” wrote Brackett, “’twill be in the valley of love and delight.”
Later non-Shaker verses exist for the song, as follows:
'Tis the gift to be loved and that love to return,
'Tis the gift to be taught and a richer gift to learn,
And when we expect of others what we try to live each day,
Then we'll all live together and we'll all learn to say,
'Tis the gift to have friends and a true friend to be,
'Tis the gift to think of others not to only think of "me",
And when we hear what others really think and really feel,
Then we'll all live together with a love that is real.
Tis the gift to be loving, tis the best gift of all,
Like a quiet rain it blesses where it falls,
And with it we will truly believe
Tis better to give than it is to receive.
Dale Wood (1934-2003) was a prominent composer, organist, choral director, and clinician. He was honored many times by the American Society of Composers, Authors, and Publishers (ASCAP) for his “very important contribution towards the creation and development of contemporary American church music”. He wrote many collections of organ works, most of which are based on both old and new hymn tunes. Over eight million copies of his publications have been purchased in over 50 countries.
Fugue in C Major (The "Fanfare" Fugue), BWV 531 - attr. C. P. E. Bach
The date is unknown of this work but it was attributed to JS Bach in the 1860 Bach-Gesellschaft edition of Bach's complete works. Since 1860, various scholars have stated that the Fanfare Fugue was not written by JS Bach and there are suspicious harmonies and violations of 17th and 16th century theory rules in it that suggest that this is true and also that this piece may have been written sometime at the latest between 1860 and 1940 because there are harmonies that would never have been allowed. It was in the Mylau Tabulaturbuch - a collection of keyboard and organ music, so it must have been for organ, or just possibly, pedal harpsichord. It was probably written by C.P.E. Bach, or it could have been Johann Kirnberger.
Carl Philipp Emanuel Bach, (1714-1788), second surviving son of J.S. and Maria Barbara Bach, and the leading composer of the early Classical period.A precocious musician who remained successful, C.P.E. Bach was his father’s true successor and an important figure in his own right. In his autobiography he writes: “For composition and keyboard-playing, I have never had any teacher other than my father.” He studied law, taking his degree at Frankfurt in 1735, although he probably never had any intention of a career other than music. In 1740 he was appointed harpsichordist to Frederick II of Prussia. Frederick was a good flutist and so fond of music that he had his court orchestra accompany him in concerti every night except Mondays and Fridays, which were opera nights. The subservience that he required from his distinguished harpsichordist grew irksome, but it was not until 1767 that Bach was able to resign his Berlin post to take up an appointment as music director at Hamburg.
Unlike his elder brother Wilhelm Friedemann, C.P.E. Bach was successful in assimilating the powerful influence of their father and in making the transition into the new style then evolving. This represented a break with the past such as has occurred in very few other periods of musical development. Bach became a leader of that movement but retained the advantage of a solid craftsmanship and assurance for which he always gave full credit to his father’s teaching and example.
As a performer, C. P. E. Bach was famous for the precision of his playing, for the beauty of his touch, and for the intensity of his emotion. “He grew so animated and possessed,” wrote Charles Burney (Present State of Music in Germany…, 1773), “that he looked like one inspired. His eyes were fixed, his underlip fell, and drops of effervescence distilled from his countenance.”
About the Choral Music:
Down to the River to Pray – Sheldon Curry
(c.2002, Hal Leonard Corp.)
"Down in the River to Pray" (also known as "Down to the River to Pray," "Down in the Valley to Pray," "The Good Old Way," and "Come, Let Us All Go Down") is a traditional American song variously described as a Christian folk hymn, an African-American spiritual, an Appalachian song, and a gospel song. It gained popularity in 2000 after Alison Krauss performed it for the soundtrack of the Coen Brothers film, O Brother, Where Art Thou?. The exact origin of the song is unknown. Research suggests that it was composed by an African-American slave. The earliest known version of the song, titled "The Good Old Way," was published in Slave Songs of the United States in 1867. The song is credited to "Mr. G. H. Allan" of Nashville, Tennessee, who was likely the transcriber rather than the author. In some versions, "in the river" is replaced by "to the river." The phrase "in the river" is significant, for two reasons. The more obvious reason is that the song has often been sung at outdoor baptisms. Another reason is that many slave songs contained coded messages for escaping. When the slaves escaped, they would walk in the river because the water would cover their scent from the bounty-hunters' dogs. Similarly, the "starry crown" could refer to navigating their escape by the stars. And "Good Lord, show me the way" could be a prayer for God's guidance to find the escape route, commonly known as "the Underground Railroad."
As I went down to the river to pray, studying about that good ole way
And who shall wear the starry crown, good Lord, show me the way.
O sisters, let’s go down, let’s go down, come on down.
O sisters, let’s go down, down to the river to pray.
As I went down to the river to pray, studying about that good ole way
And who shall wear the starry crown, good Lord, show me the way.
O brothers, let’s go down, let’s go down, come on down.
Come on brothers, let’s go down, down to the river to pray.
As I went down to the river to pray, studying about that good ole way
And who shall wear the starry crown, good Lord, show me the way.
O fathers, let’s go down, let’s go down, come on down.
O fathers, let’s go down, down to the river to pray.
As I went down to the river to pray, studying about that good ole way
And who shall wear the starry crown, good Lord, show me the way.
O mothers, let’s go down, let’s go down, come on down, don’t-cha wanna go down.
Come on mothers, let’s go down, down to the river to pray.
As I went down to the river to pray, studying about that good ole way
And who shall wear the starry crown, good Lord, show me the way.
O sinners, let’s go down, let’s go down, come on down.
O sinners, let’s go down, down to the river to pray.
As I went down to the river to pray, studying about that good ole way
And who shall wear the starry crown, good Lord, show me the way.
May God Bless and Keep You - Jim Strathdee
(c.1994, Desert Flower Music)
Internationally known artists, Jim and Jean Strathdee sing with thousands of people each year as they offer their music in concerts, worship, conferences, reteats, and workshops. Most often they travel throughout the United States and Canada, but over the 40 year span of their ministry they have shared their music in India, New Zealand, Cuba, and Central America. Their music spans a diversity of sound and style and includes use of guitar, piano, mandolin, harmonica, African drums, and Native American flute. They see music as an agent of transformation where ecumenical and inter-faith communities come together to make a stand for positive change. Jim and Jean have served on the staff of United Methodist churches in southern and northern California and Hawaii. They have written hundreds of hymns, songs, and anthems.
May God bless and keep you,
May God's loving face now shine on you and be gracious, gracious, Amen.
About the Hymns:
Lord, Whose Love Through Humble Service
(c.1978, Lutheran Book of Worship)
Albert F. Bayly (1901-1984) was educated at London University and Mansfield College, Oxford. Beginning in the late 1920’s, he served at four Congregational churches in Northumberland, Lancashire and East Yorkshire; in 1962, he became pastor in Thaxted, Essex. After retiring in 1971, he moved to Springfield, Chelmsford, and was active in the local United Reformed Church. He wrote several pageants on mission themes, and librettos for cantatas by W. L. Lloyd Webber (father of Andrew).
Bayly wrote this text in response to a Hymn Society of America search for new hymns on social welfare. It was chosen as the theme hymn for the Second National Conference on the Churches and Social Welfare held in Cleveland, Ohio, October 23-27, 1961. The Hymn Society published the text in Seven New Social Welfare Hymns (1961).
The tune “Beach Spring” is attributed to Benjamin Franklin White, who with the help of Elisha J. King, published The Sacred Harp (Philadelphia, 1844), where it was sung with the text of “Come, ye sinners, poor and wretched.” Named after the Beech Spring Baptist Church in Harris County, Georgia, the church was given its name because of its close proximity to two beech trees at a spring. Although the original spelling of the name should be “Beech,” White’s misspelling “Beach,” has stuck with the hymn throughout the ages. White was mostly a self-taught singing school teacher from South Carolina. Eventually he moved to Hamilton in Harris County, Georgia, where he worked at many different vocations, including a stint in the Georgia Militia. Eventually White married Thurza Golightly, and together the two had 14 children (the same number of children that White’s parents had). At some point along the timeline of Benjamin Franklin White’s history, a rumor was started that he worked closely with William Walker (who was his brother-in-law) to publish Southern Harmonies, but this rumor was probably not true. The two books were wildly popular in the south, but both contained the same southern white spirituals which were popular in the more rural areas. In the 20th century, the tunes from The Sacred Harp, and Southern Harmonies entered into more denominational hymnals and inspired many different composers to arrange the melodies in various ways. The Sacred Harp is one of the most used books in the four-shape notation, and has gone through numerous editions that have been published throughout the years, and even to the present days.
Lord, whose love through humble service Bore the weight of human need,
Who upon the cross, forsaken, Offered mercy’s perfect deed,
We, Your servants, bring the worship Not of voice alone, but heart,
Consecrating to Your purpose Ev’ry gift that you impart.
Still Your children wander homeless; Still the hungry cry for bread;
Still the captives long for freedom; Still in grief we mourn our dead.
As, O Lord, Your deep compassion Healed the sick and freed the soul,
Use the love Your Spirit kindles Still to save and make us whole.
As we worship, grant us vision, Till Your love’s revealing light
In its height and depth and greatness, Dawns upon our quickened sight,
Making known the needs and burdens Your compassion bids us bear,
Stirring us to tireless striving, Your abundant life to share.
Called by worship to Your service, Forth in Your dear name we go,
To the child, the youth, the aged, Love in living deeds to show;
Hope and health, goodwill and comfort, Counsel, aid, and peace we give,
That Your servants, Lord, in freedom May Your mercy know and live.
The Voice of God is Calling
John Haynes Holmes (1879-1964) was born in Philadelphia and educated at Harvard University and Harvard Divinity School. A Unitarian minister serving congregations in Massachusetts and New York City, Holmes was an articulate spokesperson on a variety of issues. Among his notable causes was a debate on prohibition, in which he took a supportive stance against Clarence Darrow.
A principled man, Holmes left the American Unitarian Association in 1918 over the Association’s policies toward World War I. His New York City congregation, Church of the Messiah, left the Unitarian Association with him and became a non-denominational congregation, The Community Church of New York. A pacifist spanning two world wars, Holmes was not without his critics. None other than Theodor Geisel (also known as Dr. Seuss) mocked Holmes in a cartoon in PM, a New York newspaper, on January 13, 1942. The result was a considerable outcry from Holmes’ supporters to which Geisel provided a revealing response on January 21, 1942:
“In response to the letters defending John Haynes Holmes... sure, I believe in love, brotherhood and a cooing white pigeon on every
man’s roof. I even think it's nice to have pacifists and strawberry festivals...in between wars.”
Holmes was a prolific writer in a variety of forms. In addition to composing hymn texts, he also wrote If This Be Treason, a play that ran a short while on Broadway. Selected book titles include: Palestine To-Day and To-Morrow: A Gentile’s Survey of Zionism (1929); A Sensible Man’s View of Religion (1932); My Affirmation of Immortality (1947). Notable accomplishments include helping to found the National Association for the Advancement of Coloured People (NAACP) in 1909, and the American Civil Liberties Union (ACLU) in 1920, serving as the chair of the latter. He was known for his work with Rabbi Stephen Wise of New York on social, religious, and political causes. Holmes was among those who publicized the work of Gandhi in the United States, including publishing the book My Gandhi (1953). He became a Gandhi Peace Award Laureate in 1961, the year after Eleanor Roosevelt received the same honor.
Based on Isaiah 6:8 – “Also I heard the voice of the Lord, saying, Whom shall I send, and who will go for us? Then said I, Here am I; send me.” (KJV) – this social gospel hymn was written while Holmes was returning from England, Scotland, and Wales on board a ship in September 1913. Upon his arrival in the United States, the hymn was sung at the 1913 convention of the Young People’s Religious Union and then first published in New Hymn and Tune Book (1914). Holmes had many of the same concerns as did Methodist Minister Frank Mason North (1850-1935) whose hymn, “Where cross the crowded ways of life,” articulated the suffering of those living and working in the cities in 1903.
William Lloyd (1786-1852) composed MEIRIONYDD, which was first published in manuscript form with the name BERTH in Caniadau Seion (Songs of Zion, 1840). The tune is named after the Welsh county Meirionydd in which Lloyd lived; that county is also the site of the Harlech Castle made famous in story and song. A cattle farmer and dealer, Lloyd was also a self-taught musician. He had a fine voice and conducted various singing societies in his hometown as well as in other cities. Although generally attributed to Lloyd, MEIRIONYDD could be a traditional Welsh melody that he arranged.
The voice of God is calling; It summons in our day;
Isaiah heard in Zion, And we now hear God say.
"Whom shall I send to succor My people in their need?
Whom shall I send to loosen The bonds of shame and greed?
"I hear my people crying In slum and mine and mill;
No field or mart is silent, No city street is still.
I see my people falling In darkness and despair.
Whom shall I send to shatter The fetters which they bear?”
We heed, O Lord, your summons, And answer: "Here are we!
Send us upon your errand, Let us thy servants be.
Our strength is dust and ashes, Our years a passing hour;
But you can use our weakness To magnify thy power.
From ease and plenty save us; From pride of place absolve;
Purge us of low desire; Lift us to high resolve;
Take us, and make us holy; Teach us thy will and way.
Speak, and, behold! we answer; Command, and we obey!”
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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