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:
Psalm 149 (All Saints' Day) - Emma Lou Diemer
(c.1999, Sacred Music Press)
Emma Lou Diemer (b. 1927) has written many works for orchestra, chamber ensemble, keyboard, voice, chorus (women's, men's), and electronic media. Diemer is a keyboard performer and over the years has given concerts of her own organ works at Washington National Cathedral, The Cathedral of Our Lady of the Angels in Los Angeles, Grace Cathedral and St. Mary's Cathedral in San Francisco, and others. Diemer's compositional style over the years has varied from tonal to atonal, from traditional to experimental. She has written works for non-professional and professional performers, originally under the "Gebrauchsmusik" philosophy, but has produced many works, particularly for keyboard, that are difficult and challenging. She was professor of theory and composition at the University of Maryland 1965-70, and joined the faculty of the University of California (UCSB) in 1971. She is professor emeritus, 1991–present. While at UCSB, Diemer helped to establish the computer/electronic music program.
Diemer’s inspiration for this piece is Psalm 149, a text for All Saints’.
Praise ye the Lord. Sing unto the Lord a new song, and his praise in the congregation of saints. Let Israel rejoice in him that made
him: let the children of Zion be joyful in their King. Let them praise his name in the dance: let them sing praises unto him with the timbrel and harp. For the Lord taketh pleasure in his people: he will beautify the meek with salvation. Let the saints be joyful in
glory: let them sing aloud upon their beds. Let the high praises of God be in their mouth, and a two-edged sword in their hand;
To execute vengeance upon the heathen, and punishments upon the people; To bind their kings with chains, and their nobles with
fetters of iron; To execute upon them the judgment written: this honour have all his saints. Praise ye the Lord.
In Paradise, For All Saints' Day - Robert Schumann
(c.1915, Boston Music Co.)
Robert Schumann (1810-1856) was a German composer, pianist, and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. At age seven, Schumann began studying general music and piano with Johann Gottfried Kuntzsch, a teacher at the Zwickau high school. The boy immediately developed a love of music, and worked on his own compositions, without the aid of Kuntzsch. Even though he often disregarded the principles of musical composition, he created works regarded as admirable for his age. The Universal Journal of Music 1850 supplement included a biographical sketch of Schumann that noted, "It has been related that Schumann, as a child, possessed rare taste and talent for portraying feelings and characteristic traits in melody,—ay, he could sketch the different dispositions of his intimate friends by certain figures and passages on the piano so exactly and comically that everyone burst into loud laughter at the similitude of the portrait.” His father, who had encouraged his musical aspirations, died in 1826 when Schumann was 16. Thereafter, neither his mother nor his guardian encouraged him to pursue a music career. In 1828, Schumann left high school, and after a trip during which he met the poet Heinrich Heine in Munich, he left to study law at the University of Leipzig under family pressure. But in Leipzig Schumann instead focused on improvisation, song composition, and writing novels. He also began to seriously study piano with Friedrich Wieck, a well-known piano teacher. In 1829, he continued his law studies in Heidelberg, where he became a lifelong member of Corps Saxo-Borussia Heidelberg.
Schumann left the study of law, intending to pursue a career as a virtuoso pianist. His teacher, Friedrich Wieck, a German pianist, had assured him that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing. In 1840, Schumann married Friedrich Wieck's daughter Clara Wieck, after a long and acrimonious legal battle with Friedrich, who opposed the marriage. A lifelong partnership in music began, as Clara herself was an established pianist and music prodigy. Clara and Robert also maintained a close relationship with German composer Johannes Brahms. Due to Robert's hand injury, Clara Schumann concertized and performed his music, becoming the first female major concert pianist.
Until 1840, Schumann wrote exclusively for the piano. Later, he composed piano and orchestral works, and many Lieder (songs for voice and piano). He composed four symphonies, one opera, and other orchestral, choral, and chamber works. His best-known works include Carnaval, Symphonic Studies, Kinderszenen, Kreisleriana, and the Fantasie in C. Schumann was known for infusing his music with characters through motifs, as well as references to works of literature. These characters bled into his editorial writing in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication that he co-founded.
Schumann suffered from a mental disorder that first manifested in 1833 as a severe melancholic depressive episode—which recurred several times alternating with phases of "exaltation" and increasingly also delusional ideas of being poisoned or threatened with metallic items. What is now thought to have been a combination of bipolar disorder and perhaps mercury poisoning led to "manic" and "depressive" periods in Schumann's compositional productivity. After a suicide attempt in 1854, Schumann was admitted at his own request to a mental asylum in Endenich (now in Bonn). Diagnosed with psychotic melancholia, he died of pneumonia two years later at the age of 46, without recovering from his mental illness.
Schumann had considerable influence in the nineteenth century and beyond, despite his adoption of more conservative modes of composition after his marriage. He left an array of acclaimed music in virtually all the forms then known. Partly through his protégé Brahms, Schumann's ideals and musical vocabulary became widely disseminated. Composer Sir Edward Elgar called Schumann "my ideal.”
Postlude Variations on "Come, Come, ye Saints" - Franklin Ashdown
(c.2017, Wayne Leopold Editions)
"Come, Come, Ye Saints" (originally "All is Well") is one of the best-known Latter-day Saint hymns. The lyrics were written in 1846 by Mormon poet William Clayton. The hymn has been called the anthem of the nineteenth-century Mormon pioneers. This hymn was written by William Clayton as he was fleeing Nauvoo after persecutions sent him and other Mormons away from their Illinois homes. Clayton’s journal relates this story of the hymn:
“Last night I got up to watch, there being no guard. This morning Ellen Kimball came to me and wished me much joy. She said Diantha [William Clayton’s wife who had not yet left Nauvoo] has had a son. I told her I was afraid it was not so, but she said Brother Pond had received a letter. I went over to Pond’s and he read that she had a fine boy on the 30th. Truly I feel to rejoice at this intelligence. Spent the day chiefly reading. In the afternoon President Young came over and found some fault about our wagons. In the evening the band played, and after we dismissed we retired to my tent to have a social christening. We had a very pleasant time playing and singing until about 12:00 and drank health to my new son. We named him William Adriel Benoni Clayton. This morning I composed a new song, ‘All Is Well.’ I feel to thank my Heavenly Father for my boy. I hope that my wife will soon be well.”
It was set to the music of a popular English folk tune, "All is Well.”
Come, come, ye Saints, no toil nor labor fear, But with joy wend your way.
Tho' hard to you this journey may appear, Grace shall be as your day.
'Tis better far for us to strive Our useless cares from us to drive;
Do this, and joy your hearts will swell— All is well! All is well!
And should we die before our journey's through Happy day! All is well!
We then are free from toil and sorrow too; With the just we shall dwell.
But if our lives are spared again To see the Saints their rest obtain,
O how we'll make this chorus swell All is well! All is well!
Franklin Ashdown is a composer and a medical doctor, and has pursued dual careers for the past three decades. Born in 1942, he was recruited to play the organ for a local congregation at age 13. He is a widely published composer of organ and choral music. A resident of Alamogordo, NM, Dr. Ashdown enjoys a full life as an internist, composer, and organist-choir director for the Church of Jesus Christ of Latter-Day Saints.
About the Choral Music:
Not One Falls - Heather Sorenson
(c.2020, Hal Leonard)
Speaking timeless truths to troubled times, this new sacred song envelops the listener in the promise of security and hope. The challenge to embrace a hopeful world and work together to bring about the peaceable kingdom is a challenge that everyone needs to hear.
Heather Sorenson entered the church music industry in her twenties, and her name quickly became a welcomed fixture in the publishing world. Diversity is the characteristic that makes Heather somewhat of an anomaly in the industry: she easily maneuvers both the traditional and contemporary genres of Christian music, often combining the two for a unique blend that has become her artistic fingerprint. Initially recognized for her skill as a pianist, Heather is now known for her compositions in choral anthems, solo piano collections, and orchestrations. She taught all elementary levels of music at Grace Academy of Dallas for 4 years, served as an adjunct music professor at Baylor University, and has served on many master class panels in piano and songwriting. Heather regularly is a guest speaker and conductor at churches across America and leads scores of sessions each year at various worship conferences, schools, and universities. Heather makes her home in the Dallas, TX area with her beloved (and very vocal) beagle, Lucy.
Not one sparrow falls, not one child calls that the Father does not know.
Not one voice is silenced, not one act of violence without heaven bowing low.
And not one falls, and not one calls, big or small without a name.
Not one lonely outcast, the one who’s chosen last, without worth beyond the stars.
Not one scarred survivor, young innocent, now wiser, who isn't held in Jesus’ arms.
And not one falls, and not one calls, big or small without a name.
Broken prayers can still be heard, Hope can spread with just one word.
Heaven is not careless with our grief. Grace is running out to those in need.
Not one sparrow falls, not one child calls that the Father does not know.
Not one voice is silenced, not one act of violence without heaven bowing low.
And not one falls, and not one calls, big or small without a name.
Every soul forgotten, every life unwanted, all cradled in the hands of God.
And not one falls, not one calls, big or small without a name.
The Aaronic Benediction - Melvin West
(c.1999, Sacred Music Press)
The Aaronic Blessing is the blessing that Aaron and his sons were to speak over the people of Israel, recorded in Numbers 6:23–27:
The Lord said to Moses, ‘Tell Aaron and his sons, “This is how you are to bless the Israelites. Say to them: “The Lord bless you and keep you; The Lord make his face shine on you and be gracious to you; The Lord turn his face toward you and give you peace.” So they will put my name on the Israelites, and I will bless them.
Because of the simple elegance and profound sentiments expressed in this blessing, it has been used throughout the centuries long after the sacrifices of the Aaronic priesthood ended. It is commonly used today in Judaism and known as the Priestly Blessing, the Priestly Benediction (birkat kohanim), the Dukhanen, or the “raising of the hands,” although the specific time and method of pronouncement differs within the various groups of Judaism. The Aaronic Blessing is also used in Christian liturgy.
A closer analysis of the blessing shows that the emphasis is upon God. God originates the blessing—it was God who instructed Aaron on the proper form of the blessing and gave instructions for it to be spoken over the people to begin with. The blessing itself emphasizes that it is the Lord who blesses the people and does for them what they cannot do for themselves.
The Lord bless you and keep you. A blessing from the Lord is requested; it’s not just a general blessing but the specific protection of the Lord as we ask Him to “keep you,” words that have the sense of guarding or watching over someone. For Israel, this would have had a very practical application as they were surrounded by enemies, and God had promised to protect them as long as they were faithful to Him.
The Lord make his face shine on you and be gracious to you. This line of the blessing has to do with experiencing God’s favor. When a person sees a loved one, his or her face “lights up.” God’s “face” radiates divine favor. Ancient Israel could expect God’s loving, gracious response to their calls for help.
The Lord turn his face toward you and give you peace. This line of the Aaronic Blessing continues the theme of the “face” of God and has the idea of His people receiving His full attention. The nations surrounding Israel believed in gods who could be distracted by other things (much like human beings) and had to be summoned, awakened, or roused to action. (This is the background for Elijah’s taunts to the prophets of Baal in 1 Kings 18:27–28.) Many pagan religious rituals were designed to attract the attention of the gods and put them in a proper mood to act on behalf of their worshipers. This is all foreign to the Israelite religion. When the people were faithful to God, His “face” was toward them with the result that they would have peace. Peace (shalom) is more than just an absence of warfare but a completeness or wholeness and maturity.
Melvin K. West (1930-2019), noted Seventh-day Adventist organist, church musician, composer, and music educator whose career spanned more than sixty years, taught organ and music at four Seventh-day Adventist colleges and served as organist and Minister of Music at numerous churches. He was one of a select group of six Adventist musicians who had music buildings named after them. As a child he was totally fascinated with music, listening to the Walter Damrosch weekly radio music program from age four and at age six "playing" organ on the front bumper of the family car, pretending its grill was the pipes. He received a BA in music from Emmanuel Missionary College, now Andrews University, and a masters from University of the Redlands. He was a Fellow of the American Guild of Organists and received a DMA from Boston University. He worked at Faith for Today, a pioneering Seventh-day Adventist television program in New York City. Following a year as organist in the program, he was hired to teach at Atlantic Union College. He later became chair of music at Walla Walla College, now University, in 1959, at age 29. In 1977 West left WWC to become Minister of Music at the Kettering, Ohio, Seventh-day Adventist Church, the first full-time position of its type in the denomination. Four years later he went to Union College, where he taught music, served as Director of Development and alumni affairs, and was Minister of Music for the College View SDA Church. In 1982 he became Director of Music at the Westminster Presbyterian Church in Lincoln, Nebraska, where he served until his retirement in 1988. In addition to his activities as an organist, West was a gifted arranger and composer. In the 1970's, five of his many hymn arrangements and choral responses were published. In the 1980's, he was on the General Conference committee for creating a new church hymnal, serving as Chairman of the subcommittee on tunes. He and Wayne Hooper edited and arranged the music, with West composing five new hymn tunes. The SDA Hymnal, which was released in 1985, includes over thirty arrangements and hymn tunes by West.
The Lord bless you and keep you,
The Lord lift his countenance upon you and give you peace;
The Lord make his face to shine upon you,
And be gracious unto you. Amen, amen.
About the Hymns:
For All The Saints
“For All the Saints” is the quintessential hymn for All Saints’ Day, with its uplifting text and triumphant music. It was written as a processional hymn by the Anglican Bishop of Wakefield, William Walsham How (1823-1879). How was educated at Shrewsbury School and Wadham College, Oxford (B.A. 1845). Taking Holy Orders in 1846, he became successively Curate of St. George's, Kidderminster, 1846; and of Holy Cross, Shrewsbury, 1848. In 1851, he moved to the Rectory of Whittington, Diocese of St. Asaph, becoming Rural Dean in 1853, and Hon. Canon of the Cathedral in 1860. In 1879. he was appointed Rector of St. Andrew's Undershaft, London, and was consecrated Suffragan Bishop for East London, under the title of the Bishop of Bedford, and in 1888 Bishop of Wakefield. In 1854, he published Psalms and Hymns, Compiled by the Rev. Thomas Baker Morrell, M.A., . . . and the Rev. William Walsham How, M.A. This was republished in an enlarged form in 1864, and to it was added a Supplement in 1867. To this collection Bishop How contributed several hymns, and also to the S. P. C. K. Church Hymns , of which he was joint editor, in 1871. Nearly 60 of Bishop How’s hymns are still in common use, the most popular of which are "For all the Saints who from their labors rest" and "We give Thee but Thine own".
Originally in eleven stanzas, “For All the Saints” was published in Earl Nelson's Hymns for Saints' Days (1864) with the heading, "Saints' Day Hymn. A Cloud of Witnesses. Heb. 12:1." The hymn was sung to the melody Sarum, by the Victorian composer Joseph Barnby, until the publication of the English Hymnal in 1906. This hymnal used a new setting by Ralph Vaughan Williams which he called Sine Nomine (literally, "without name") in reference to its use on the Feast of All Saints, 1 November (or the first Sunday in November, All Saints Sunday). It has been described as "one of the finest hymn tunes of [the 20th] century."
For all the saints, who from their labors rest,
Who Thee by faith before the world confessed,
Thy Name, O Jesus, be forever blessed. Alleluia, Alleluia!
Thou wast their Rock, their Fortress and their Might;
Thou, Lord, their Captain in the well fought fight;
Thou, in the darkness drear, their one true Light. Alleluia, Alleluia!
For the Apostles’ glorious company,
Who bearing forth the Cross o’er land and sea,
Shook all the mighty world, we sing to Thee: Alleluia, Alleluia!
O may Thy soldiers, faithful, true and bold,
Fight as the saints who nobly fought of old,
And win with them the victor’s crown of gold. Alleluia, Alleluia!
For the Evangelists, by whose blest word,
Like fourfold streams, the garden of the Lord,
Is fair and fruitful, be Thy Name adored. Alleluia, Alleluia!
For Martyrs, who with rapture kindled eye,
Saw the bright crown descending from the sky,
And seeing, grasped it, Thee we glorify. Alleluia, Alleluia!
O blest communion, fellowship divine!
We feebly struggle, they in glory shine;
Yet all are one in Thee, for all are Thine. Alleluia, Alleluia!
And when the strife is fierce, the warfare long,
Steals on the ear the distant triumph song,
And hearts are brave, again, and arms are strong. Alleluia, Alleluia!
The golden evening brightens in the west;
Soon, soon to faithful warriors comes their rest;
Sweet is the calm of paradise the blessed. Alleluia, Alleluia!
But lo! there breaks a yet more glorious day;
The saints triumphant rise in bright array;
The King of glory passes on His way. Alleluia, Alleluia!
From earth’s wide bounds, from ocean’s farthest coast,
Through gates of pearl streams in the countless host,
Singing to Father, Son and Holy Ghost: Alleluia, Alleluia!
Come, Let Us Join Our Friends Above
When Charles Wesley penned and later -- with his brother John -- printed these words, he was not imagining they might be sung as a processional hymn on All Saints Day at Westminster Abbey or Coventry Cathedral. Indeed, such would have been out of the question. "Man-made" hymns such as this were not permitted in worship in the Church of England during his lifetime.
But more than this, as the text of this hymn shows, Charles had a vision of sainthood that was at once more inclusive and more demanding than any impressive public ritual one day a year could express. Charles and his brother John were both convinced that sainthood was the intended destiny not of just a few, but indeed of all Christians. God's intention in salvation is nothing less than to make saints of us all. God's desire for us is not simply to forgive us of our sins, nor even to work in our hearts and lives to deliver us entirely from the power of sin, but rather to work in us and with us "a complete salvation" that will "perfect us in love" in this life.
This hymn isn't and could not be for Wesley "special music for special worship on a special day." It was an "anthem for a lifetime," intended to be sung regularly by the early Methodists in society meetings, class meetings, and in daily life as a constant invitation to "join our friends above who have obtained the prize, and on the eagle wings of love to joys celestial rise."
FOREST GREEN is an English folk tune associated with the ballad "The Ploughboy's Dream." Ralph Vaughan Williams turned FOREST GREEN into a hymn tune for The English Hymnal (1906), using it as a setting for "O Little Town of Bethlehem.”
Come, let us join our friends above who have obtained the prize,
and on the eagle wings of love to joys celestial rise.
Let saints on earth unite to sing with those to glory gone,
for all the servants of our King in earth and heaven are one.
One family we dwell in him, one church above, beneath,
though now divided by the stream, the narrow stream of death;
one army of the living God, to his command we bow;
part of his host have crossed the flood, and part are crossing now.
Ten thousand to their endless home this solemn moment fly,
and we are to the margin come, and we expect to die.
E'en now by faith we join our hands with those that went before,
and greet the blood-besprinkled bands on the eternal shore.
Our spirits too shall quickly join, like theirs with glory crowned,
and shout to see our Captain's sign, to hear his trumpet sound.
O that we now might grasp our Guide! O that the word were given!
Come, Lord of Hosts, the waves divide, and land us all in heaven.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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