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:
Mit Fried und Freud ich fahr dahin - J. S. Bach
This text and melody were composed by Luther in the spring of 1524. Later in the same year, it was published in Wittenberg in Johann Walter's Eyn geystlich Gesangk Buchleyn (Wittenberg hymnal), but was not included in the Erfurt Enchiridion. Originally a song for Purification, Luther included it in 1542 in Christliche Geseng ... zum Begrebniss.
It is based on the Nunc dimittis, the canticle of Simeon. Luther expanded the thoughts of each of the four verses to a stanza of six lines. The first stanza expresses accepting death in peace (Luke 2:29), the second gives as a reason the meeting with the Saviour (Luke 2:30), the third accents his coming for all people (Luke 2:31), the fourth the coming as a light for the heathen and glory for Israel.(Luke 2:31) The lines are of different length, meter 8.4.8.4.7.7, stressing single statements. Luther, a former monk, was familiar with the Latin Nunc dimittis from the daily night prayer (compline).
With peace and joy I go on my way in God’s will.
My heart and mind are comforted, peaceful and calm.
As God promised me, death has become my sleep.
This is the work of Christ, God’s true son, the faithful savior,
Whom you, Lord, have allowed me to see and made known
That He is our life and salvation in trouble and in dying.
You have set him before everybody with great mercy,
That to his kingdom the whole world may be called and invited
Through your precious healing Word that has resounded everywhere.
He is salvation and a blessed light for the gentiles,
To enlighten those who do not know you, and to give them pasture.
For your people Israel He is their reward, honor, joy, and delight.
Johann Sebastian Bach (1685-1750) was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organization, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg concertos, the Mass in B minor, The Well-Tempered Clavier, two Passions, keyboard works, and more than 300 cantatas, of which nearly 100 cantatas have been lost to posterity. His music is revered for its intellectual depth, technical command, and artistic beauty. Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognized as a great composer until a revival of interest and performances of his music in the first half of the nineteenth century. During the late eighteenth and early nineteenth century, Bach was recognized by several prominent composers. Wolfgang Amadeus Mozart, Ludwig van Beethoven, Frédéric Chopin, Robert Schumann, and Felix Mendelssohn were among his admirers; they began writing in a more contrapuntal style after being exposed to Bach's music. Beethoven described him as "Urvater der Harmonie", the "original father of harmony". He is now generally regarded as one of the main composers of the Baroque period and as one of the greatest composers of all time. A highly devout Christian, Bach signed all of his compositions “soli Deo Gloria” (to God alone be the glory).
This chorale prelude is one of 46 found in the Orgelbüchlein ("Little Organ Book"). The collection was originally planned as a set of 164 chorale preludes spanning the whole liturgical year. The chorale preludes form the first of Bach's masterpieces for organ with a mature compositional style in marked contrast to his previous compositions for the instrument. Although each of them takes a known Lutheran chorale and adds a motivic accompaniment, Bach explored a wide diversity of forms. The Orgelbüchlein is at the same time a collection of organ music for church services, a treatise on composition, a religious statement and a pedagogical manual.
Song 1 - Eric Thiman
(c.1956, Oxford University Press)
The “Nunc Dimittis” or “Canticle of Simeon” is found in Luke 2:21-35 and is the last in historical sequence of the three great Canticles of the New Testament, the other two being the Magnificat (Canticle of Mary) and the Benedictus (Canticle of Zachary). The title is formed from the opening words in the Latin Vulgate, "Nunc dimittis servum tuum, Domine" ("Now thou dost dismiss thy servant, O Lord"). The circumstances under which Simeon uttered his song-petition, thanksgiving, and prophecy are explained by Luke 2:26: "And he had received an answer from the Holy Ghost, that he should not see death, before he had seen the Christ of the Lord." Brief though the Canticle is, it abounds in Old-Testament allusions. Thus, in the following verses, "Because my eyes have seen thy salvation" alludes to Isaiah 52:10, rendered afterwards in Luke 3:6, "And all flesh shall see the salvation of God". Verse 31, "Which thou hast prepared before the face of all peoples" accords with Psalms 97:2; and verse 32, "A light to the revelation of the Gentiles, and the glory of thy people Israel", recalls Isaiah 42:6.
The text of the Nunc Dimittis is given in full in the brief evening prayer found in the Apostolic Constitutions. In the Roman Office, the canticle is assigned to Complin. If St. Benedict did not originate this canonical Hour, he gave to it its liturgical character; but he nevertheless did not include the Canticle, which was afterwards incorporated into the richer Complin Service of the Roman Rite, where it is preceded by the beautiful responsory, "In manus tuas, Domine, commendo spiritum meum" (Into thy hands, O Lord, I commend my spirit), with the Antiphon following, "Salva nos, Domine, vigilantes, custodi nos dormientes" (O Lord, keep us waking, guard us sleeping), all this harmonizing exquisitely with the spirit of the Nunc Dimittis and with the general character of the closing Hour of the Office.
The hymn tune SONG 1 was written by Orlando Gibbons (1583-1625), an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day. Gibbons entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well known verse anthem is “This is the record of John”, which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is an extended composition, combining verse and full sections. Gibbons's full anthems include the expressive “O Lord, in thy wrath”, and the Ascension Day anthem “O clap your hands together” for eight voices. He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard.
Lord God, you now have set your servant free
To go in peace as promised in your word;
My eyes have seen the Savior, Christ the Lord,
Prepared by you for all the world to see;
To shine on nations trapped in darkest night,
The glory of your people, and their light.
Eric Harding Thiman (1900 – 1975) was an English composer and organist.Largely self-taught, he was awarded an FRCO in 1921. From 1930 he was Professor of Harmony at the Royal Academy of Music and later, from 1956 to 1962, was Dean of the Faculty of Music at the University of London. From 1958, having moved from Park Chapel (a Congregational Church in Crouch End, later to join with Ferme Park Baptist Church to form a Union Church in the same district, he was organist of the City Temple in London, a Congregational Church where he increased his renown as an improviser of great skill. He was a keen advocate of amateur music-making and in the 1960s was the conductor and Musical Director of the Purley Choral Society. A prolific composer of small-scale works, he wrote much educational music for piano and other instruments, as well as accessible music for church choirs.
About the Piano Music:
In His Presence - Bill Wolaver
(c.1988, BMG Songs)
Dick and Melodie Tunney are a husband-and-wife duo who have written and performed with many contemporary Christian artists. They have written songs for Sandi Patti, Larnelle Harris and other Christian artists. Melodie was raised in a minister of music's home in Fort Worth, and Dick came from a working family in Ohio. Both were musicians at an early age. In the late 1970s, they joined a Christian group called "Truth," which brought the two together. After 18 months of constant touring, Dick joined the award-winning group the Imperials. Six months later the couple married and settled in Nashville, Tennessee. Throughout the 1980s, Dick and Melodie focused on songwriting and studio work, and immersed themselves in Nashville's creative community. Mel then formed the studio vocal group First Call with fellow studio singers Bonnie Keen and Marty McCall. In 1986, Christian artist Sandi Patty hired Dick as musical director and pianist, and First Call as her backup group. The "Let There Be Praise Tour" covered 150 cities in 18 months and launched First Call on a tour of their own while Dick remained on tour with Sandi. Their first joint recording project, Let the Dreamers Dream, was released by Warner Alliance in 1991. Soon the couple found themselves traveling nearly every weekend to local churches across America, sharing a collection of Tunney songs aimed at Christians. All told, Dick and Mel spent a dozen years traveling to more than 400 churches nationwide. In 2006, the First Baptist Church of Columbia, Tennessee invited Dick and Mel to lead the worship ministry of its growing congregation, first on an interim basis and then as worship leaders/artists in residence. Soon thereafter, Steve Green Ministries invited Dick to tour with him as pianist and musical director. The Tunneys' have received ten Dove Awards, nearly 30 Dove nominations and a Grammy Award (for “How Excellent Is Thy Name”, recorded by Larnelle Harris). Their songs have appeared in print music and church hymnals, and Dick and Mel have shared the stage with many Christian artists. They have also been in involved in many recording projects as studio vocalist, keyboard player, arranger(s) and producer. They have recorded eight albums together, and Dick has recorded five solo instrumental albums. The couple has penned more than 150 songs, many of which have been recorded by other Christian artists.
In Your presence there is comfort; In Your presence there is peace.
When we seek to know Your heart,
We will find such blessed assurance In Your holy presence, Lord.
In the quiet of this hour As I kneel before You now,
I believe Your promise to be faithful.
I don't always understand What Your perfect will demands,
But I've learned to trust You more In Your presence Lord.
There can be such sweet reward When we wait upon the Lord.
As we take the time, He gives His perfect wisdom.
To be found in Him alone All our deepest secrets known,
We're surrounded by His grace When we seek His face.
In Your presence there is comfort; In Your presence there is peace
When we seek the Father's heart, We will find such blessed assurance -
An ever-open door To know our Savior more
In the presence of our Lord.
Bill Wolaver received his Bachelor of Music in Piano Performance from Oklahoma City University. He is a prolific and renowned composer and arranger in Nashville, TN, working with multiple publishing companies. He and his wife, Robin, have been involved with Christian music for over 20 years, with songs, musicals, and arrangements published by a number of leading Christian publishers. Together, they composed Make His Praise Glorious, recorded by Sandi Patty and nominated for Dove Award for 'Song of the Year.' In addition, they have received an ASCAP Award for 'Inspirational Song of the Year.' He is also the pianist/composer/arranger for the Annie Moses Band. He offers numerous arrangements and compositions at ManAlivePublishing.com.
About the Choral Music:
Jesus! Name of Wondrous Love - Everett Titcomb
(c.1947, Mills Music, Inc.)
William W. How (1823-1897) studied at Wadham College, Oxford, and Durham University and was ordained in the Church of England in 1847. He served various congregations and became Suffragan Bishop in east London in 1879 and Bishop of Wakefield in 1888. Called both the "poor man's bishop" and "the children's bishop," How was known for his work among the destitute in the London slums and among the factory workers in west Yorkshire. He wrote a number of theological works about controversies surrounding the Oxford Movement and attempted to reconcile biblical creation with the theory of evolution. He was joint editor of Psalms and Hymns (1854) and Church Hymns (1871). While rector in Whittington, How wrote some sixty hymns, including many for children. His collected Poems and Hymns were published in 1886.
Everett Titcomb (1884-1968) served as organist/choir director at St. John the Evangelist in Boston for over 50 years. In that capacity, he wrote many choral works and a few organ pieces. Much of his output is based on Gregorian chant themes.
Jesus! Name of wondrous love, name all other names above,
unto which must every knee bow in deep humility.
Jesus! Name of wondrous love, name all other names above,
unto which must every knee bow in deep humility.
Jesus! Name decreed of old to the maiden mother told,
kneeling in her lowly cell, by the angel Gabriel.
Jesus! Name of priceless worth to the fallen sons of earth,
for the promise that it gave, "Jesus shall his people save.”
Jesus! Name of wondrous love! Name of love!
A Closing Prayer - Don Besig
(c.1978, Harold Flammer, Inc.)
Don Besig was a public school music teacher for over thirty years in western New York. He taught at all levels and since his retirement has continued to serve as a guest conductor, clinician and adjudicator. Recognizing a need for choral music written especially for student singers and volunteer church choirs, he began composing for his own choral groups in 1960. He is also the recipient of several ASCAP Plus Awards Don is a graduate of Ithaca College and a member of Phi Mu Alpha and ASCAP. He and Nancy Price collaborate to write music and lyrics.
The time has come, O Lord, for us to leave this place.
Guide us and protect us and lead us in thy grace.
Wherever life may take us as we go our separate ways,
Help us share with others the things we've shared today.
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.
CORONATION was written for the text “All Hail the Power of Jesus Name”. Oliver Holden (1765-1844) composed the tune in four parts with a duet in the third phrase. The tune, whose title comes from the theme of Perronet's text, was published in Holden's Union Harmony (1793). It is the one eighteenth-century American tune that has enjoyed uninterrupted popularity–from the singing schools of that era to today's congregational worship.
Holden was reared in a small rural community and had only a minimal formal education–a few months in a "common school" in Groton, Massachusetts. He worked as a carpenter and was involved in community service in Charlestown, holding posts in the Anti-Slavery Society and serving in the Massachusetts House of Representatives. In addition he worked very profitably as a merchant and real estate dealer, and served as a Puritan lay preacher. Very interested in music, Holden became a composer and singing-school teacher in the tradition of William Billings. He was involved in publish¬ing various tune books, including The American Harmony (1792), The Massachusetts Compiler (1795), Plain Psalmody (1800), and The Charlestown Collection of Sacred Songs (1803).
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.
Fairest Lord Jesus
“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.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
