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:
O Trinity, O Blessed Light - Robert Buckley Farlee
(c.1995, Augsburg Fortress)
“O Trinity, O Blessed Light” is attributed to Ambrose (340-397), one of the great Latin church fathers, is remembered best for his preaching, his struggle against the Arian heresy, and his introduction of metrical and antiphonal singing into the Western church. He introduced from the East the practice of antiphonal chanting, and began the task, which St. Gregory completed, of systematizing the music of the Church. As a writer of sacred poetry he is remarkable for depth and severity. He is considered the father of western hymnody. Ambrose was trained in legal studies and distinguished himself in a civic career, becoming a consul in Northern Italy. When the bishop of Milan, an Arian, died in 374, the people demanded that Ambrose, who was not ordained or even baptized, become the bishop. He was promptly baptized and ordained, and he remained bishop of Milan until his death. Ambrose successfully resisted the Arian heresy and the attempts of the Roman emperors to dominate the church. His most famous convert and disciple was Augustine.
It was translated into English by Gracia Grindal (b. 1943), who was educated at Augsburg College, Minneapolis, Minnesota; the University of Arkansas; and Luther-Northwestern Seminary, St. Paul, Minnesota, where she has served since 1984 as a professor of pastoral theology and communications. From 1968 to 1984 she was a professor of English and poet-in-residence at Luther College, Decorah, Iowa. Included in her publications are Sketches Against the Dark (1981), Scandinavian Folksongs (1983), Lessons in Hymnwriting (1986, 1991), We Are One in Christ: Hymns, Paraphrases, and Translations (1996), Good News of Great Joy: Advent Devotions for the Home (1994 with Karen E. Hong), Lina Sandell, the Story of Her Hymns (2001 with John Jansen), and A Revelry of Harvest: New and Selected Poems (2002). She was instrumental in producing the Lutheran Book of Worship (1978) and The United Methodist Hymnal (1989).
The tune O HEILIGE DREIFALTIGKEIT was written by Nicolaus Herman (1500-1561), who is always associated with Joachimsthal in Bohemia, just over the mountains from Saxony. For many years he held the post of Master in the Latin School, and Cantor or Organist and Choirmaster in the church. He was a poet and wrote hymns to accompany all of the sermons. He was an ardent lover of music and a very good organist. The chorales which he published with his hymns are apparently all of his own composition, and are among the best of the Reformation period. Many of his hymns and tunes are found in today’s hymnals.
O Trinity, O blessed Light, O Unity of sovereign might;
as now the fiery sun departs, shed holy light within our hearts.
To you our morning song of praise, to you our evening prayer we raise;
to you in awe we bend the knee from age to age, eternally.
All glory be to God above and to the Son, the prince of love,
and to the Spirit, One in Three! We praise you, blessed Trinity.
Robert Buckley Farlee (b. 1950) is Associate Pastor and Director of Music at Christ Lutheran Church in Minneapolis. Bob Farlee and his wife Jane Buckley-Farlee (pastor at Trinity Lutheran Congregation, ELCA, Minneapolis) were ordained on July 13, 1980, in St. Louis, Missouri, at Unity Lutheran Church, Bel-Nor. It was at Unity Lutheran that Bob served as music director. Then in November of 1981, Bob joined the staff at Christ Church Lutheran, Minneapolis, where he has served both as a pastor and as cantor. Farlee is a graduate of Christ Seminary-Seminex, St. Louis, Missouri. He also serves on the worship editorial staff at Augsburg Fortress Publishers, and was deeply involved in the recent publication of Evangelical Lutheran Worship, the new book of worship for the Evangelical Lutheran Church in America.
Coeli Enarrant - Robert Wetzler
(c.1962, J. Fischer & Bro)
“Coeli enarrant gloriam Dei et opera manuum eius adnuntiat firmamentum” is the Latin Vulgate text for Psalm 19. Psalm 19 is the 19th psalm in the Book of Psalms, beginning in English in the King James Version: "The heavens declare the almighty of God; and the firmament sheweth his handywork." In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 18. The psalm is attributed to David. The psalm considers the glory of God in creation, and moves to reflect on the character and use of "the law of the LORD". Psalm 1, this psalm and Psalm 119 have been referred to as "the psalms of the Law".
The classical Jewish commentators all point to the connection the psalmist makes between the sun and the Torah. These connections include: The Torah enlightens man, just as the sun lights his way (Rashi); Both the sun and the Torah testify to the glory of their Creator (Ibn Ezra and Radak); The Torah is more perfect, whole, or complete than the powerful sun (Metzudat David); While the sun conveys God's glory and greatness in the physical world, the Torah expresses God's glory in the spiritual realm (Malbim).
According to the Baptist preacher Charles Spurgeon, this psalm compares and contrasts "the study of God's two great books—nature and Scripture”. Explaining the emphasis on the heavens, Spurgeon explains, "The book of nature has three leaves, heaven, earth, and sea, of which heaven is the first and the most glorious…” Beginning in verse 7 (KJV), the psalmist then extols the perfection of the law of Moses and "the doctrine of God, the whole run and rule of sacred Writ".
John Mason Good theorizes that this psalm was composed either in the morning or around noon, when the bright sun eclipses the other heavenly bodies; he contrasts this with Psalm 8, in which the psalmist contemplates the starry sky in the evening.[4] Praising the poetry of this psalm, 20th-century British writer C. S. Lewis is quoted as saying: "I take this to be the greatest poem in the Psalter and one of the greatest lyrics in the world”.
The heavens declare the glory of God; and the firmament sheweth his handywork. Day unto day uttereth speech, and night unto night sheweth knowledge. There is no speech nor language, where their voice is not heard. Their line is gone out through all the earth, and their words to the end of the world. In them hath he set a tabernacle for the sun, Which is as a bridegroom coming out of his chamber, and rejoiceth as a strong man to run a race. His going forth is from the end of the heaven, and his circuit unto the ends of it: and there is nothing hid from the heat thereof. The law of the LORD is perfect, converting the soul: the testimony of the LORD is sure, making wise the simple. The statutes of the LORD are right, rejoicing the heart: the commandment of the LORD is pure, enlightening the eyes. The fear of the LORD is clean, enduring for ever: the judgments of the LORD are true and righteous altogether. More to be desired are they than gold, yea, than much fine gold: sweeter also than honey and the honeycomb. Moreover by them is thy servant warned: and in keeping of them there is great reward. Who can understand his errors? cleanse thou me from secret faults. Keep back thy servant also from presumptuous sins; let them not have dominion over me: then shall I be upright, and I shall be innocent from the great transgression. Let the words of my mouth, and the meditation of my heart, be acceptable in thy sight, O LORD, my strength, and my redeemer. [KJV]
Robert P. Wetzler (b.1932) earned his Bachelor of Arts from Thiel College in Greenville, Pennsylvania, and his Masters from Northwestern Lutheran Theological Seminary. He did post graduate studies at the University of Minnesota in Music Theory and Composition. Wetzler has served as organist for both Thiel College's chapel and the Holy Trinity Lutheran Church in Greenville, Pennsylvania, and as Chapel Organist and Choirmaster for Northwestern Lutheran Theological Seminary. Also, at Prince of Peace Lutheran Church in St. Louis Park, Minnesota, he served as Choirmaster. Later, at the Salem Lutheran Church in Minneapolis, Minnesota, he was Choirmaster as well as Director of Music. He was Assistant to the Music Editor for Augsburg Publishing House and President and Director of Publications for A.M.S.I. (Art Masters Studios Inc.) in Minneapolis. Wetzler held the Composer in Residence position at Holy Trinity Lutheran Church, and for each consecutive year since 1967, he has been honored to receive the composer Award from ASCAP.
About the Piano Music:
Be Thou My Vision - Mary McDonald
(c.2011, Lorenz Publishing)
"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.
Mary McDonald’s sacred music career spans over thirty-five years. More than eight hundred anthems, seasonal musicals and keyboard collections testify to her significant contribution to sacred literature. In 2000, Mary became the first ever woman President of the Southern Baptist Church Music Conference. In addition, she has served as accompanist for the Tennessee Men's Chorale since 1985. Her greatest desire is "to give God glory for the songs He has allowed me to compose. He alone, is the true Creator behind my pen." In 2011, after serving as sacred music editor for The Lorenz Corporation in Dayton, Ohio for more than twenty years, Mary answered a new call. Now she takes her tremendous passion and love for music making directly to churches as an independent artist by holding Composer Weekend workshops.
About the Vocal Solo Music:
I am the Lord Your God - Simon Clark
(c.2012, Simon Clark)
Simon Clark had his first piece of music published at the age of sixteen. Prior to this he had already composed four symphonies, two flute sonatas and a string quartet – as well as a number of choral works. He studied at the Royal Academy of Music in London and is a composer of spiritual and inspirational music.
Clark has set the text of Joel 2: 27-32:
I am the Lord your God, and none else, none else, none else:
and my people shall never be ashamed.
I will pour out my spirit upon all flesh;
and your sons and your daughters shall prophesy,
your old men shall dream dreams,
your young men shall see visions,
your young men shall see visions.
And also upon the servants and upon the handmaids
in those days will I pour out my spirit,
will I pour out my spirit.
And will I shew wonders in the heavens and in the earth.
blood, and fire, and pillars of smoke,
blood and fire, and pillars of smoke.
The sun shall be turned into darkness, and the moon into blood.
And it shall come to pass, that whosoever shall call
on the name of the Lord shall be delivered,
the name of the Lord, the name of the Lord.
And ye shall know that I am in the midst of Israel, Israel,
and that I am the Lord your God, and none else,
none else, none else, none else:
I am the Lord your God.
About the Hymns:
Spirit, Spirit of Gentleness
(c.1978, James K. Manley)
James (Jim) Keith Manley(b.1940) received his education from Whittier College (BA 1962), Pacific School of Religion (MDiv 1966), and Claremont School of Theology (DMin 1976). Ordained into the ministry of the United Church of Christ in 1966, Manley served as pastor of the Niles United Church of Christ in Fremont, California (1966–68), and taught at the Mid-Pacific Institute Prep School (1968–78). Manley returned to the pastorate at the United Church of Christ Church in San Marino (1978–88) and the Foothills Congregational Church (1988–99) in Los Altos. He has toured and shared his music during his retirement in churches in the United States, Canada, Australia, and Micronesia.
Manley wrote “Spirit, Spirit of Gentleness” in 1975 after completing the first draft of his DMin thesis for Claremont School of Theology. The hymn, sometimes called “Spirit Song,” was first released on a cassette recording titled Spirit and a book (1980). It then appeared in a Lutheran contemporary songbook Songs for a New Creation (1982) and, later, in After Eden (1990) with an arrangement by California composer Jim Strathdee (b. 1941). The composer describes the song’s origins:
After a real but perplexing “born again” experience, I determined to understand it more
fully, so on a sabbatical leave, I studied Process Theology with John B. Cobb [b. 1925] at
the School of Theology in Claremont, California, who inspired the writing of this song.
Returning to Honolulu, I sang the first three verses at Waiokeola Congregational Church
UCC. A member commented that the hymn needed a fourth stanza to contemporize it. I
disagreed, but after a sleepless night wrote the final verse. This is by far my most widely
sung, reprinted and recorded hymn.
The composer dedicated the song to John Cobb and Gene Kuehl, then the Director of Pilgrim Pines Camp.
Numerous passages of Scripture support the poetic allusions in this hymn. As is the case with many hymns on the Holy Spirit, the refrain of the hymn assumes the prayer posture of a petition—“blow through the wilderness” and “stir me from placidness.” The composer recognizes two contrasting qualities of the Holy Spirit—“gentleness” and “restlessness.” The final phrase, “wind on the sea,” reminds us of Genesis 2b: “and the Spirit of God was hovering over the waters” (NIV). This hymn affirms the Spirit's presence as a full partner in the Trinity—not a later adjunctive agent. Manley provides a lyrical clarification throughout the biblical witness of faith. He challenges us in the final lines of the fourth stanza to follow the leading of the Spirit: “With bold new decisions / your people arise.”
You moved on the waters, you called to the deep,
then you coaxed up the mountains from the valleys of sleep;
and over the eons you called to each thing:
"Awake from your slumbers and rise on your wings.”
You swept through the desert, you stung with the sand,
and you goaded your people with a law and a land;
and when they were blinded with idols and lies,
then you spoke through your prophets to open their eyes.
You sang in a stable, you cried from a hill,
then you whispered in silence when the whole world was still;
and down in the city you called once again,
when you blew through your peopleon the rush of the wind.
You call from tomorrow, you break ancient schemes.
From the bondage of sorrow all the captives dream dreams;
our women see visions, our men clear their eyes.
With bold new decisions your people arise.
Spirit, Spirit of gentleness, blow through the wilderness calling and free,
Spirit, Spirit of restlessness, stir me from placidness,
wind, wind on the sea.
O Spirit of the Living God
Henry Hallam Tweedy (1868-1953) hailed from the northeast, born in Binghamton, N.Y. He was granted degrees from Phillips Andover Academy, Yale University, Union Theological Seminary and the University of Berlin. A Congregational pastor, he served churches in New York and Connecticut, and later taught practical theology from 1909-1937 at Yale Divinity School. He co-authored several books, including Training the Devotional Life (1919) and Religious Training in School and Home (1917). His most important contribution, however, was as editor of the hymnal Christian Worship and Praise (1939).
In addition to editing a hymnal, Tweedy published a practical volume, The Minister and His Hymnal, and won several hymn contests sponsored by the Homiletic Review and the Hymn Society of America.
Tweedy said he composed “O Spirit of the Living God” because “some of the old Pentecostal hymns were to me unsatisfactory, and I was eager to interpret the symbolism of the story in Acts in a way that modern men could understand and sincerely mean.” The text is an exposition of Acts 2, a passage focused on Pentecost. The hymn was first published in the Methodist Hymnal (1935).
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.”
O Spirit of the living God, thou light and fire divine,
descend upon thy church once more, and make it truly thine.
Fill it with love and joy and power, with righteousness and peace;
till Christ shall dwell in human hearts, and sin and sorrow cease.
Blow, wind of God! With wisdom blow until our minds are free
from mists of error, clouds of doubt, which blind our eyes to thee.
Burn, winged fire! Inspire our lips with flaming love and zeal,
to preach to all thy great good news, God's glorious commonweal.
Teach us to utter living words of truth which all may hear,
the language all may understand when love speaks loud and clear;
till every age and race and clime shall blend their creeds in one,
and earth shall form one family by whom thy will is done.
So shall we know the power of Christ who came this world to save;
so shall we rise with him to life which soars beyond the grave;
and earth shall win true holiness, which makes thy children whole;
till, perfected by thee, we reach creation's glorious goal!
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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