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:
Variations on Aberystwyth - Janet Linker
(c.1989, Beckenhorst Press)
“Jesus, lover of my soul” is perhaps one of the most personal hymns penned by Charles Wesley (1707-1788). This hymn is considered to be among Wesley’s greatest hymns. It demonstrates, among many other things, Charles Wesley’s vast knowledge of Biblical texts, classic literature, and other intellectual sources of his era. The apocryphal book, The Wisdom of Solomon, 11:23-26, provides the inspiration for this primary theme of this hymn: “But thou hast mercy upon all; for thou canst do all things, and winkest at the sins of men, because they should amend. For thou lovest all the things that are, and abhorrest nothing which thou hast made: for never wouldest thou have made any thing, if thou hadst hated it. And how could any thing have endured, if it had not been thy will? or been preserved, if not called by thee? But thou sparest all: for they are thine, O Lord, thou lover of souls.”
Another possible source is Thomas à Kempis (c. 1380-1471), who often commented on the nature of love. In The Imitation of Christ, for example, he states: “A wise lover values not so much the gift of the lover as the love of the giver.” Another quote also addresses Jesus’ followers as “lovers”: “Jesus has now many lovers of the heavenly kingdom but few bearers of His cross.” Perhaps even more to the point is this statement: “Most mighty God of Israel, zealous Lover of faithful souls.”
The hymn was written shortly after Wesley’s conversion” in 1738. English Methodist literary scholar Richard Watson notes, “From the moment of its wonderful opening, ‘Jesu, lover. . .', on which the intimacy of ‘Jesu’ plays such a crucial part, this hymn proclaims itself as a work of unusual intensity.” Examples of this language of intimacy include: “let me to thy bosom fly” and “Thou, O Christ, art all I want,/more than all in thee I find. . .”. Wesley also draws from the Psalms:“safe unto the haven guide” (Psalm 107:30); “the shadow of thy wing” (Psalm 91:4); “Thou of life the fountain art. . .” (Psalm 36:9). He draws from English poet and diplomat Matthew Prior (1664-1721) with an image in the first stanza:
We weave the Chaplet, and We crown the Bowl;
and smiling see the nearer waters roll;
'Till the strong Gusts of raging Passion rise;
'Till the dire Tempest mingles Earth and Skies; . . .
The hymn was first published in Hymns and Sacred Poems (1740) with five stanzas. An omitted stanza further adds to intensity of this hymn:
Wilt thou not regard my call? Wilt thou not accept my prayer?
Lo! I sing, I faint, I fall! Lo, on thee I cast my care!
Reach me out thy gracious hand! While I of thy strength receive,
hoping against hope I stand, Dying, and behold I live!
The whole point of the hymn is the tender and loving presence of the Saviour in a world where the sinner feels helpless; and Charles Wesley has not been afraid to give intense expression to that love, and to the life which it brings.
“Jesus, lover of my soul” foreshadows famous hymns on a related theme including “Rock of Ages” (1776) by English Anglican turned Calvinist Augustus M. Toplady, and “Abide with me” (1847) by Scottish Anglican Henry Francis Lyte. Like these hymns, “Jesus, lover of my soul” has attracted a number of stories. Some have tried to connect the sea images in the hymn to the tumultuous voyage of the Wesley brothers to America in 1736. Rather than focusing on the circumstances surrounding the poem’s composition, there can be no doubt as to its influence and popularity on this side of the Atlantic Ocean. Henry Ward Beecher (1813-1877), the great American preacher, stated: “I would rather have written this hymn of Wesley’s than to have the fame of all the kings that ever sat on earth.”
"Aberystwyth" is a hymn tune composed by Joseph Parry, written in 1876 and first published in 1879 in Edward Stephen's Ail Lyfr Tonau ac Emynau (Welsh for Second Book of Tunes and Hymns). Parry was at the time the first professor and head of the new department of music at the recently founded University College Wales, Aberystwyth, now called Aberystwyth University. The tune "Aberystwyth" has been the most popular setting for Charles Wesley's hymn "Jesus, Lover of My Soul”.
Jesus, lover of my soul, let me to thy bosom fly,
while the nearer waters roll, while the tempest still is high;
hide me, O my Savior, hide, till the storm of life is past;
safe into the haven guide, O receive my soul at last!
Other refuge have I none; hangs my helpless soul on thee;
leave, ah! leave me not alone, still support and comfort me.
All my trust on thee is stayed, all my help from thee I bring;
cover my defenseless head with the shadow of thy wing.
Plenteous grace with thee is found, grace to cover all my sin;
let the healing streams abound; make and keep me pure within.
Thou of life the fountain art; freely let me take of thee;
spring thou up within my heart, rise to all eternity.
Janet Rupp Linker (b. 1938) received her Bachelor's and Master's degrees in organ performance from Capital University and The University of Michigan respectively. Her first organ position at the age of 15 was at the Wauseon, Ohio, Evangelical Mennonite Church. She held church positions in Lubbock and Waco, Texas, Sacramento, California and Columbus, Ohio. She is now organist at Trinity United Methodist Church in Upper Arlington, Ohio.
She has taught organ for a number of years both privately and at the Conservatory of Music at Capital University. For many years she played for various events at the Ohio Theatre, on the well-known "Mighty Morton" theatre organ. She has published twenty six books of organ music, several anthems, and, in collaboration with Jane McFadden, over 60 works for organ (or piano) and/or brass and handbells, and a piano/organ duet book.
About the Piano Music:
Be Thou My Vision - Heather Sorenson
(c.2008, GlorySound, div of Shawnee Press)
"Be Thou My Vision" (Old Irish: Rop tú mo baile or Rob tú mo bhoile) is a traditional hymn from Ireland. The most well known English version, with some minor variations, was translated by Eleanor Hull and published in 1912. In 1919, the lyrics were set to the tune of the Irish folk tune "Slane", to which the song is sung to this day, both in English and Irish. The song dates from at least the eighth century, though the text dates to the sixth-century.
The original Old Irish text, "Rop tú mo Baile" is often attributed to Saint Dallán Forgaill in the 6th century. Eochaid Mac Colla (c. 530 – 598), better known as Saint Dallan or Dallán Forgaill (Old Irish: Dallán Forchella; Latin: Dallanus Forcellius), was an early Christian Irish poet whose writings include the "Amra Choluim Chille" ("Elegy of Saint Columba") and "Rop Tú Mo Baile" ("Be Thou My Vision"). Saint Dallan was Chief Ollam of Ireland (similar to poet laureate), as well as a scholar of Latin scriptural learning. He helped to reform the Bardic Order at the Convention of Drumceat. He reputedly wrote Amra Choluim Chille, which he completed shortly after the death of Saint Columba in 597, because Columba had successfully saved poets from expulsion from Ireland at the assembly of Druim Cett in 575. The “Amra Choluim Chille,” is the earliest Irish poem that can be dated.
"Rop tú mo Baile" had been a part of Irish monastic tradition for centuries before its setting to music. The Irish text was translated into literal prose by Irish scholar Mary Elizabeth Byrne (1880-1931), a Dublin native, and then published in Eriú, the journal of the School of Irish Learning, in 1905. Byrne was also known for her academic publications, including Old and Mid-Irish Dictionary, Dictionary of the Irish Language, and a treatise, England in the Age of Chaucer.
It is at this point that Eleanor Hull (1860-1935) enters the story. Born in Manchester, England, she was the founder of the Irish Text Society and president of the Irish Literary Society of London. Hull versified the text and it was published in her Poem Book of the Gael (1912).
Following the original publication in Ireland, the hymn was included in a number of British hymnals. After World War II, the hymn came to the attention of hymnal editors in the U.S. and it has become a standard hymn in most hymnals today.
Irish liturgy and ritual scholar Helen Phelan, a lecturer at the University of Limerick, points out how the language of this hymn is drawn from traditional Irish culture: "One of the essential characteristics of the text is the use of 'heroic' imagery to describe God. This was very typical of medieval Irish poetry, which cast God as the 'chieftain' or 'High King' (Ard Ri) who provided protection to his people or clan. The lorica is one of the most popular forms of this kind of protection prayer and is very prevalent in texts of this period." The original chieftain language of the "High King of heaven" has given way to the more inclusive "Great God" in the UM Hymnal.
When Hull's versification was paired with the lovely traditional Irish tune SLANE in The Irish Church Hymnal in 1919, its popularity was sealed. The folk melody was taken from a non-liturgical source, Patrick Weston Joyce's Old Irish Folk Music and Songs: A Collection of 842 Airs and Songs hitherto unpublished (1909). "Most 'traditional' Irish religious songs are non-liturgical," says Dr. Phelan. "There is a longstanding practice of 'editorial weddings' in Irish liturgical music, where traditional tunes were wedded to more liturgically appropriate texts. This is a very good example of this practice.” The tune name SLANE is drawn from deep in Irish history. It was on Slane Hill in County Meath around 433 CE that St. Patrick lit candles on Easter Eve, defying a decree by High King Logaire of Tara that no one could light a fire before the king signaled the beginning of the pagan spring festival by lighting a fire on Tara Hill. King Logaire was so impressed by Patrick's devotion that, despite his defiance, he was permitted to continue his work as Ireland's first Christian missionary.
Be Thou my Vision, O Lord of my heart;
Naught be all else to me, save that Thou art;
Thou my best Thought, by day or by night,
Waking or sleeping, Thy presence my light.
Be Thou my Wisdom, and Thou my true Word;
I ever with Thee and Thou with me, Lord;
Thou my great Father, I Thy true son;
Thou in me dwelling, and I with Thee one.
Be Thou my battle Shield, Sword for the fight;
Be Thou my Dignity, Thou my Delight;
Thou my soul’s Shelter, Thou my high Tow’r:
Raise Thou me heav’nward, O Pow’r of my pow’r.
Riches I heed not, nor man’s empty praise,
Thou mine Inheritance, now and always:
Thou and Thou only, first in my heart,
High King of Heaven, my Treasure Thou art.
High King of Heaven, my victory won,
May I reach Heaven’s joys, O bright Heav’n’s Sun!
Heart of my own heart, whatever befall,
Still be my Vision, O Ruler of all.
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.
About the Choral Music:
O Lamb of God - Dean McIntyre
(c.1998, Dean McIntyre)
In the Mass of the Roman Rite and also in the Eucharist of the Anglican Communion, the Lutheran Church, and the Western Rite of the Orthodox Church the Agnus Dei is the invocation to the Lamb of God.
The Syrian custom of a chant addressed to the Lamb of God was introduced into the Roman Rite Mass by Pope Sergius I (687–701) in the context of his rejection of the Council of Trullo (692), which was well received in the Byzantine East and called the Quinisext Council, but whose canons had forbidden the iconographic depiction of Christ as a lamb instead of a man.
The text in Latin is:
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
Its source was the declaration of John the Baptist: "Ecce Agnus Dei, ecce Qui tollit peccatum mundi" (John 1:29), supplemented by the cry of the two blind men (Matthew 9:27): "Miserere nostri, fili David." Its symbolism is traced in Revelation through the more than thirty references to "the Lamb that was slain from the beginning of the world"; "the blood of the Lamb"; "they that are written in the book of life of the Lamb"; etc., from the First Epistle of St. Peter (i, 19): "the precious blood of Christ, as of a lamb unspotted and undefiled"; to the perplexed reading of the eunuch of Queen Candace (Acts 8:32-33): "He was led as a sheep to the slaughter; and like a lamb without voice before his shearer, so openeth he not his mouth. . .;" and thus finally to the great Messianic chapter of Isaiah (53:7-12), which formed the subject of the eunuch's query: "I beseech thee, of whom doth the prophet speak this? of himself, or of some other man? Then Philip, opening his mouth and beginning at this scripture, preached unto him Jesus" (Acts 8:34-35). While Isaiah compared Our Saviour to a lamb, the Baptist was the first actually to bestow this name upon Our Lord ("Behold the Lamb of God"), and doubtless with a determinate sense derived from ancient type and prophecy. The Christian mind will recall such instances in the Old Testament as the Paschal Lamb of the Jews, "without blemish, a male, of one year" (Exodus 12:5), whose blood, sprinkled on the door-posts, should save from the Destroying Angel — a figure of the Immaculate Lamb whose blood was to conquer death and to open to men the true Land of Promise; and also the perpetual offering of a lamb morning and night (Exodus 29:38, 39) — a figure of the perpetual sacrifice of the altar in the New Dispensation. To the ideas of immaculate purity, gentleness, atoning, and eucharistic sacrifice, John the Baptist adds: "Who taketh away the sins of the world", and not alone of Israel.
The Agnus Dei was not introduced into the Mass until the year 687, when Pope Sergius Ide creed that during the fraction of the Host both clergy and people should sing the Agnus Dei: "Hic statuit ut tempore confractionis dominici corporis Agnus Dei, qui tollis peccata mundi, miserere nobis, a clero et a populo decantetur" Originally, of course, the melody was plainsong, doubtless very simple and syllabic at first, and subsequently developed into richer forms. Recent studies in musical palaeography have succeeded in rescuing the ancient melodies from oblivion, and in the Vatican "Kyriale" (1905) we find twenty settings substantially reproducing the ancient texts. These melodies range from the syllabic up through various grades of the florid into moderately melismatic chants. A rough idea of the melodic forms may be gained by considering that there are eighteen syllables of text in any one of the three invocations, and that the number of notes accompanying any one of these invocations of eighteen syllables ranges from nineteen (in which case only one syllable of the text can receive two notes) up to sixty-one. We can perceive the operation of excellent ideas of symmetry and form amid great variety of melody. The plainsong melodies of the Agnus Dei (as, indeed, of other chants as well, the Kyries exhibiting similar obvious symmetries, while the more melismatic chants of the Proper of the Mass will, under enlightened analysis, yield surprisingly beautiful results) are illustrations of the fact that the ancient composers, although working under very different conceptions of music from those which obtain in our days, had clear perceptions of the province of form in musical art, and had canons of construction and criticism which we have not as yet, in all likelihood, fully appreciated
Dean B. McIntyre retired as the director of music resources at the United Methodist General Board of Discipleship in Nashville, Tennessee, a position that included responsibility for development of musical and worship resources, planning and leading field events related to music and worship. Dr. McIntyre has published works for organ, handbells, and adult and children’s choirs with a number of publishers. He is a member of ASCAP and a Life Member of The Fellowship of United Methodists in Music and Worship Arts.
O Lamb of God, who takes away, who takes away the sins of the world,
have mercy on me, have mercy on me.
O Lamb of God, who takes away, who takes away the sins of the world,
have mercy on me, have mercy on me.
O Lamb of God, who takes away the sins of the world, have mercy,
have mercy, have mercy on me, and grant, grant me your peace.
The Lord's Peace - Aaron Zinter
(c.2000, Abingdon Press)
Aaron M. Zinter, Director of Music at Oak Grove Lutheran School, is a graduate of Concordia College in Moorhead, MN, and received his Master of Music degree in Choral Directing from Illinois State University in Normal, IL.
He is also director of the Master Chorale of Fargo-Moorhead.
As Director of Music at Oak Grove, he conducts the Concert Choir, Chapel Choir, 7th and 8th Grade Choir, 6th Grade General Music, AP Music Theory, Madrigals, Carolers and individual voice and guitar lessons. He directs and manages the annual 10-day Oak Grove Concert Choir Tour across the United States and Canada. He also prepares solo and ensemble members for academic competition, for which Oak Grove has earned 26 Outstanding Performances in the past six years at the North Dakota State Music Contest.
As the former Director of Music Ministries at Second Presbyterian Church in Bloomington, IL with a membership of 1500, he conducted twelve K-12 and adult choirs while serving as department head of seven musicians. While there, he directed and managed the Chancel Choir United States Mission Tour across 35 states and Canada. In March 2005, he led a 10-day choral mission trip to Northeastern Brazil with eight outstanding youth singers.
Mr. Zinter has composed and arranged original music for worship and special occasions, published choral works with Abingdon Press in Nashville, TN, and received an Outstanding Performance rating at the North Dakota State Music Contest with the Oak Grove Madrigals the past six years in a row. Mr. Zinter recorded four CDs with Chanson, a professional male acapella ensemble, and performed with Chanson in a Master Class with the King’s Singers. He has also been a volunteer facilitator of leadership training activities at Timber Pointe Outdoor Center in Illinois for youth and adults with disabilities.
The text of “The Lord’s Peace” is from John 14:27.
Peace I leave with you; my peace I give to you;
not as the world gives do I give to you.
Let not your hearts be troubled, neither let them be afraid.
Peace I leave with you; my peace I give to you. Amen.
About the Hymns:
Jesus, Lover of My Soul
Charles Wesley (1707-1788) was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley. As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly amazing how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumors of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift. The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream.
Joseph Parry (1841-1903) was a Welsh composer and musician. Born in Merthyr Tydfil, Wales, he is best known as the composer of "Myfanwy" and the hymn tune "Aberystwyth", on which the African song "Nkosi Sikelel' iAfrika" is said to be based. Parry was also the first Welshman to compose an opera; his composition, Blodwen, was the first opera in the Welsh language.
Born into a large family, Parry left school to work in the local coal mines when he was nine years of age. He then went to work at the Cyfarthfa Ironworks, where his father was also employed. In 1854 the family emigrated to the United States, settling at Danville, Pennsylvania, where Parry again found employment at an iron works.
Though Parry had a great interest in music, he had no opportunity to study it until there was a temporary closure of the Rough and Ready Iron Works. Some of his co-workers were also musicians, and they offered music lessons while the iron works was closed. Parry joined a music sight-reading class taught by one of the men. He continued to study harmony with another co-worker, and learned how to read and write while he was learning about harmony.
Parry soon began submitting compositions to eisteddfodau in Wales and the United States and winning awards. During a return visit to Wales for the National Eisteddfod at Llandudno, Parry was offered two music scholarships, but was unable to accept due to family obligations. A fund was established for the support of Parry and his family while he studied music. Parry went on to receive a Doctorate in Music from the University of Cambridge; he was the first Welshman to receive Bachelor's and Doctor's degrees in music from the University. He returned to Wales in 1874 to become the first Professor of Music at Aberystwyth University, later accepting a position at Cardiff University.
Jesus, lover of my soul, let me to thy bosom fly,
while the nearer waters roll, while the tempest still is high;
hide me, O my Savior, hide, till the storm of life is past;
safe into the haven guide, O receive my soul at last!
Other refuge have I none; hangs my helpless soul on thee;
leave, ah! leave me not alone, still support and comfort me.
All my trust on thee is stayed, all my help from thee I bring;
cover my defenseless head with the shadow of thy wing.
Thou, O Christ, art all I want, more than all in thee I find;
raise the fallen, cheer the faints, heal the sick, and lead the blind.
Just and holy is thy name, I am all unrighteousness;
false and full of sin I am; thou art full of truth and grace.
Plenteous grace with thee is found, grace to cover all my sin;
let the healing streams abound; make and keep me pure within.
Thou of life the fountain art; freely let me take of thee;
spring thou up within my heart, rise to all eternity.
O Love that Will Not Let Me Go
George Matheson (1842-1906) was a Scottish minister and hymn writer and prolific author. He was educated at Glasgow Academy and the University of Glasgow, where he graduated first in classics, logic and philosophy. In his twentieth year he became totally blind, but he held to his resolve to enter the ministry, and gave himself to theological and historical study. In 1879 the University of Edinburgh conferred upon him the honorary degree of D.D. In 1890, he became a fellow of the Royal Society of Edinburgh, upon the proposal of Sir William Thomson, Robert Flint, Hugh Macmillan and James Lindsay. He died suddenly of apoplexy (stroke) at Avenell House in North Berwick on 28 August 1906 in Edinburgh and is buried with his parents in the Glasgow Necropolis. The grave lies near the summit.
He was licensed to preach by the Presbytery of Glasgow in 1866 and started as an assistant minister of Sandyford. His first ministry began in 1868 at Innellan, on the Argyll coast between Dunoon and Toward. He stayed 18 years. His books on Aids to the Study of German Theology, Can the Old Faith live with the New?, The Growth of the Spirit of Christianity from the First Century to the Dawn of the Lutheran Era, established his reputation as a liberal and spiritually minded theologian; and Queen Victoria invited him to preach at Balmoral. She had his sermon on Job published.
In 1886, he moved to Edinburgh, where he became minister of St. Bernard's Parish Church in Stockbridge in place of Rev John McMurtrie. Here he did his core work as a minister. In 1879, he declined an invitation to the pastorate of Crown Court, London, in succession to Dr. John Gumming (1807–1881). In 1881 he was chosen as Baird lecturer, and took for his subject Natural Elements of Revealed Theology, and in 1882 he was the St Giles lecturer, his subject being Confucianism. In 1890 he was elected a fellow of the Royal Society of Edinburgh, the University of Aberdeen gave him its honorary LL.D., and in 1899 he was appointed Gifford lecturer by that university, but declined on grounds of health. In the same year he severed his active connection with St. Bernard's.
One of his hymns, "O Love That Wilt Not Let Me Go," has passed into the popular hymnology of the Christian Church. Matheson himself wrote of the composition: "I am quite sure that the whole work was completed in five minutes, and equally sure that it never received at my hands any retouching or correction. I have no natural gift of rhythm. All the other verses I have ever written are manufactured articles; this came like a dayspring from on high."
"O Love That Wilt Not Let Me Go" was written on the evening of Matheson’s sister’s marriage. Years before, he had been engaged, until his fiancée learned that he was going blind—that there was nothing the doctors could do—and she told him that she could not go through life with a blind man. He went blind while studying for the ministry, and his sister had been the one to care for him through the years. He was now 40, and his sister’s marriage likely brought a fresh reminder of his own heartbreak. It was in the midst of this circumstance that Matheson penned this hymn, which he said was written in five minutes. British composer Florence Margaret Spencer Palmer set it to music in 1941.
Matheson published only one volume of verse, Sacred Songs. All of which he commented 'I simply followed the impression of the moment’. His exegesis owes its interest to his subjective resources rather than to breadth of learning; his power lay in spiritual vision rather than balanced judgment, and in the vivid apprehension of the factors which make the Christian personality, rather than in constructive doctrinal statement.
The tune in our hymnal is ST. MARGARET, written by Albert Lister Peace DMus, (1844-1912) Born at Huddersfield, Yorkshire, England, son of a warehouseman and woolstapler, he was extremely gifted as a musician, largely self-taught, playing the organ at Holmfirth Parish Church near Huddersfield at age nine. In 1865 he was appointed organist of Trinity Congregational Church in Glasgow, Scotland. He obtained his doctorate degree from the University of Oxford in 1875. He became organist at Glasgow Cathedral in 1879. In 1897 he succeeded William Best as organist at St George’s Hall, Liverpool. In later years he was in much demand to play the organ in recitals. He did so at Canterbury Cathedral (1886), Victoria Hall, Hanley, Stoke-on-Trent (1888), and Newcastle Cathedral (1891). He composed orchestrations, sonatas, cantatas, and concert and church service anthems. He was an arranger, author, and editor.
Oh love that will not let me go, I rest my weary soul in thee,
I give thee back the life I owe That in thine ocean depths its flow
May richer, fuller be.
Oh light that followest all my way, I yield my flickering torch to thee.
My heart restores its borrowed ray That in thy sunshine's blaze its day
May brighter, fairer be.
Oh joy that seekest me through painm I cannot close my heart to thee.
I trace the rainbow through the rain And feel the promise is not vain
That morn shall tearless be.
Oh cross that liftest up my head, I dare not ask to fly from thee.
I lay in dust's life's glory deadm And from the ground there blossoms red
Life that shall endless be.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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