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:
Organ Voluntary in G - Artemas Nixon Johnson
(c.1987, Organ Historical Society)
Artemas Nixon Johnson (1817-1892) was educated in the Boston public schools, and after studying music in Frankfort, Germany, returned to the United States in 1844 and engaged in editing and compiling musical publications. His many publications include American Church Organ Voluntaries (1852), an early, if not the earliest, anthology of organ music collected by an American-born musician who also contributed compositions within it, edited it, provided and introduction to the milieu of contemporary American church music and organs, and published it.
About the Piano Music:
Be Still My Soul - Lloyd Larson
(c.2011, Lorenz Publishing)
Little is known about the author of this hymn. Katharina Amalia Dorothea von Schlegel was born in 1697. The date of her death is unknown. Some hymnologists suggest that she may have become a Lutheran nun. We know her as the author of "Stille, mein Wille; dein Jesus hilft siegen" published in a collection entitled Neue Sammlung geistlicher Lieder (A new collection of spiritual songs) in 1752. This text appears at the time of German pietism, similar in spirit in many regards to the Wesleyan revival in England of the same era. Philipp Jacob Spener (1635-1705) led the German pietistic movement. Though not a hymn writer himself, he inspired a revival in German hymnody characterized by faithfulness to Scripture, personal experience, and deep emotional expression. Katharina von Schlegel is thought to be the leading female hymn writer of this period.
The hymn comes to us via a translation by Jane L. Borthwick (1813-1897), a member of the Free Church of Scotland. Borthwick was second only to Catherine Winkworth (1827-1878) in bringing the riches of German hymn heritage to the English language. Her translation included five of the original six stanzas, appearing in Hymns from the Land of Luther, second series (1855). The melody comes from the symphonic tone poem “Finlandia, Op. 26”, by Jean Sibelius (1865-1957). David Evans (1874-1948), a Welsh organist-choirmaster, matched the translation with the tune for the Revised Church Hymnary (1927). It was brought to the United States when it was used in the Presbyterian Church, U.S.A. for The Hymnal (1933).
Be still, my soul: the Lord is on thy side.
Bear patiently the cross of grief or pain.
Leave to thy God to order and provide;
In every change, He faithful will remain.
Be still, my soul: thy best, thy heavenly Friend
Through thorny ways leads to a joyful end.
Be still, my soul: thy God doth undertake
To guide the future, as He has the past.
Thy hope, thy confidence let nothing shake;
All now mysterious shall be bright at last.
Be still, my soul: the waves and winds still know
His voice Who ruled them while He dwelt below.
Be still, my soul: when dearest friends depart,
And all is darkened in the vale of tears,
Then shalt thou better know His love, His heart,
Who comes to soothe thy sorrow and thy fears.
Be still, my soul: thy Jesus can repay
From His own fullness all He takes away.
Be still, my soul: the hour is hastening on
When we shall be forever with the Lord.
When disappointment, grief and fear are gone,
Sorrow forgot, love’s purest joys restored.
Be still, my soul: when change and tears are past
All safe and blessèd we shall meet at last.
Be still, my soul: begin the song of praise
On earth, believing, to Thy Lord on high;
Acknowledge Him in all thy words and ways,
So shall He view thee with a well pleased eye.
Be still, my soul: the Sun of life divine
Through passing clouds shall but more brightly shine.
Lloyd Larson (b. 1954) is an active composer and arranger for several major publishing companies of church and school music. His compositions and arrangements include well over 1,000 published works—including choral anthems, numerous extended Christmas, Easter and non-seasonal works, keyboard collections, vocal solo and duet collections, instrumental works for solo and ensembles, orchestrations, and handbell settings. It is Lloyd's work in his local church that continues to be the catalyst for much of his writing. He currently directs the adult choir in his home church in addition to being involved in worship planning and leadership.
About the Choral Music:
He Leadeth Me – Greg Gilpin
(c.1998, Alfred Publishing)
Although Joseph Gilmore (1834-1918) became a distinguished university and seminary professor, an author of several textbooks in Hebrew and English literature, and a respected Baptist minister, he is best remembered today for this one hymn, hurriedly written when he was just twenty-eight. Gilmore scribbled down these lines in 1862, while visiting with friends after preaching about the truths of the 23rd Psalm at the Wednesday evening service of the First Baptist Church in Philadelphia. He left this account: “At the close of the service we adjourned to Deacon Watson’s pleasant home, where we were being entertained. During our conversation the blessedness of God’s leading so grew upon me that I took out my pencil, wrote the text just as it stands today, handed it to my wife, and thought no more of it.”
Without telling her husband, Mrs. Gilmore sent the verses to the “Watchman and Reflector Magazine”, where it first appeared the following year. Three years later Joseph Gilmore went to Rochester, New York, as a candidate to become the pastor of Second Baptist Church. He recalls:“Upon entering the chapel I took up a hymnal, thinking—I wonder what they sing here. To my amazement the book opened up at “He Leadeth Me,” and that was the first time I knew that my hurriedly written lines had found a place among the songs of the church.
William Bradbury, an important American contributor to early gospel hymnody, added two additional lines to the chorus: “His faithful foll’wer I would be, for by His hand He leadeth me.”
He leadeth me! O blessed thought! O words with heavenly comfort fraught!
Whate’er I do, where’er I be, still ‘tis God’s hand that leadeth me.
And when my talk on earth is done, when, by Thy grace, the victory’s won.
Death’s cold dark wave I will not flee, since God through Jordan leadeth me.
He leadeth me, He leadeth me! By His own hand He leadeth me!
His faithful follower I would be, for by His hand He leadeth me!
Originally from Missouri, Greg Gilpin resides in Indianapolis, IN. He is a graduate of Northwest Missouri State University with a Bachelor’s Degree in Vocal Music Education, K-12. Gilpin is a well-known, ASCAP award-winning choral composer and arranger with hundreds of publications to his credit. He is also in demand as a conductor for choral festivals, all-district and all-state choirs and is a member of MENC and ACDA. As Director of Educational Choral Publications for Shawnee Press, Inc., Gilpin oversees creation of the educational music products for this distinguished publisher. He works as a studio musician and producer in the recording industry for commercial jingles, CD projects, Broadway and Disney. He has worked musically with Ray Boltz, Bill and Gloria Gaither, Sandi Patty, David Clydesdale as well as principal pops conductor, Jack Everly and the Indianapolis Symphony Orchestra.
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:
Holy, Holy, Holy
Reginald Heber (1783-1826) wrote this text for Trinity Sunday, the day for which lectionary in the Church of England's Book of Common Prayer prescribes the reading of Revelation 4. Using reverent and apocalyptic language, "Holy, Holy, Holy!" alludes to Revelation 4:6-11; 5:13; 15:2-4; and Isaiah 6:1-3 to sing the great majesty of the triune God. Note the cosmic scope of the text: human beings (st. 1), saints and angels in glory (st. 2), and all creation (st. 4) praise the name of the Lord. Though God's holiness, love, and purity are cloaked in mystery, we can still experience God's mercy and mighty power, and we can participate in praising God. It references the Sanctus, which is often called the "Holy holy holy" in English. The name is a tribute to the First Council of Nicaea which formalized the doctrine of the Trinity in 325.
It was first published in the third edition (1826) of A Selection of Psalms and Hymns for the Parish Church of Banbury and was also published posthumously in Heber's Hymns Written and Adapted to the Weekly Church Services of the Year (1827). The unusual single rhyme (all on the "ee" sound) and the uneven number of syllables in some lines have not detracted from the hymn's popularity. It was soon adopted by hymn-book compilers, and is the best known and most widely used of the author's hymns.
John Bacchus Dykes composed the tune NICAEA for this hymn in 1861. The tune name is a tribute to the First Council of Nicaea which formalized the doctrine of the Trinity in 325.
Holy, Holy, Holy! Lord God Almighty!
Early in the morning our song shall rise to Thee;
Holy, Holy, Holy! Merciful and Mighty!
God in Three Persons, blessed Trinity!
Holy, Holy, Holy! All the saints adore Thee,
Casting down their golden crowns around the glassy sea;
Cherubim and seraphim falling down before Thee,
Which wert, and art, and evermore shalt be.
Holy, Holy, Holy! though the darkness hide Thee,
Though the eye of sinful man, Thy glory may not see:
Only Thou art holy, there is none beside Thee,
Perfect in power in love, and purity.
Holy, holy, holy! Lord God Almighty!
All thy works shall praise Thy name in earth, and sky, and sea;
Holy, Holy, Holy! merciful and mighty,
God in Three Persons, blessed Trinity!
‘Tis So Sweet to Trust in Jesus
From her childhood, the call to missionary service was the guiding motivation for Louisa M. R. Stead (c. 1850-1917). Born in Dover, England, and converted at the age of nine, Stead came to the United States in 1871, living in Cincinnati. She attended a camp meeting in Urbana, Ohio, where she dedicated her life to missionary service. Ill health prevented her from serving initially. She married in 1875, and the couple had a daughter, Lily. Hymnologist Kenneth Osbeck describes a major turning point in the family’s life:
“When the child was four years of age, the family decided one day to enjoy the sunny beach at Long Island Sound, New York. While eating their picnic lunch, they suddenly heard cries of help and spotted a drowning boy in the sea. Mr. Stead charged into the water. As often happens, however, the struggling boy pulled his rescuer under water with him, and both drowned before the terrified eyes of wife and daughter. Out of her ‘why?’ struggle with God during the ensuing days glowed these meaningful words from the soul of Louisa Stead.”
The hymn, “’Tis so sweet to trust in Jesus” was inspired by this personal tragedy.
Soon after, Lousia and Lily left for the Cape Colony, South Africa, where Louisa worked as a missionary for fifteen years. She married Robert Wodehouse, a native of South Africa. Because of her health, the family found it necessary to return to the United States in 1895. Wodehouse pastored a Methodist congregation during these years until, in 1900, they returned to the mission field, this time to the Methodist mission station at Umtali, Southern Rhodesia (present day Zimbabwe). Kenneth Osbeck records a message sent back to the United States shortly after her arrival in Southern Rhodesia:
“In connection with the whole mission there are glorious possibilities, but one cannot, in the face of the peculiar difficulties, help but say, ‘Who is sufficient for these things?’ But with simple confidence and trust we may and do say, ‘Our sufficiency is of God.’”
While the exact date of the composition is not known, Lousia Stead’s hymn was first published in Songs of Triumph (1882). The hymn might be described as a mantra on the name of Jesus. Indeed, “Jesus” is sung twenty-five times if one sings all four stanzas and the refrain.
The tune, TRUST IN JESUS, was written for this hymn by William Kirkpatrick in 1882. William James Kirkpatrick (1838-1921) was an American sacred music composer and publisher. He wrote the music for such familiar hymns as "Lead Me to Calvary," Jesus Saves!," "Tis So Sweet to Trust in Jesus," "We Have an Anchor," "Redeemed," and "Meet Me There." With John R. Sweney, he published over eighty Gospel song collections during a period of seventeen years.
’Tis so sweet to trust in Jesus, Just to take Him at His Word;
Just to rest upon His promise, And to know, “Thus saith the Lord!”
Jesus, Jesus, how I trust Him! How I’ve proved Him o’er and o’er;
Jesus, Jesus, precious Jesus! Oh, for grace to trust Him more!
Oh, how sweet to trust in Jesus, Just to trust His cleansing blood;
And in simple faith to plunge me ’Neath the healing, cleansing flood!
Yes, ’tis sweet to trust in Jesus, Just from sin and self to cease;
Just from Jesus simply taking Life and rest, and joy and peace.
I’m so glad I learned to trust Thee, Precious Jesus, Savior, Friend;
And I know that Thou art with me, Wilt be with me to the end.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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