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:
Schonster Herr Jesu - Charles Ore
(c.1982, Concordia Publishing House)
“Beautiful Savior”, a centuries-old favorite, is a fitting hymn for the Christmas season. The poetic language describes the Savior’s birth as the son of God and the son of man (mankind), which evokes the account of Mary’s conception and Jesus’ birth in the Bethlehem stable. The language describing him as being fair and pure can be applied literally to an image of him as a sweet baby and to his adult character and ministry. The original German text is said to have first been published about 1677 in the Roman Catholic “Münster Gesangbuch” (Münster Hymnbook) and had five verses. Some sources place the anonymous origin of the text in the twelfth century, however, researchers have not substantiated this and it may be an oral folk tradition. Other sources attribute the text to a seventeenth century German Jesuit scholar-poet, Friedrich Spee, due to its similarity to his writings. The Jesuits, or members of the Society of Jesus, are a Roman Catholic order of religious men which began in 1534.
The “Beautiful Savior” title is said to have originated with its translation into English by Joseph A. Seiss, a Lutheran pastor of Moravian descent born in 1823 at Graceham, Maryland. The historical area called Moravia adjoined Silesia and is part of the current Czech Republic. It was under the rule of the Austrian Habsburg dynasty for several centuries, which could explain Joseph Seiss’ familiarity with German, and it could be assumed that his family was familiar with the neighboring Silesian folk songs. Joseph Seiss (or Seuss) was ordained a Lutheran pastor in 1848 after studying for the ministry at Gettysburg College and Seminary at Gettysburg, Pennsylvania. He is said to have served in Virginia and Maryland before becoming pastor of the Church of the Holy Communion in Philadelphia in 1874. He was active in general church leadership and authored a number of books including “The Evangelical Psalmist” in 1859.
The CRUSADERS’ HYMN or ST. ELIZABETH hymn tune associated with the ‘Beautiful Savior’ text is unknown. The tune is said to be a Silesian folk song. Silesia, a historical region consisting mainly of the basin of the upper and middle Oder River in what is now southwestern Poland, is an area that has seen many wars, conquests and rulers. One of the principal cities, Wroclaw, is about 170 miles east of Dresden, Germany and the area has had German immigrants through its history. The tradition is that the tune was sung by German Crusaders on their way to Jerusalem. “The Crusades” in this instance refer to Christian holy wars called by popes between 1095 and 1291 AD against external and internal enemies for the recovery of property or defense of the people. It is said that Crusaders took vows and were granted compensation for sin, or indulgences, by participating, and were also considered pilgrimages. Some limit these wars to those involving Jerusalem, but there were other wars in which crusaders took vows. One of the Jerusalem wars that could influence the story of the hymn tradition was the third crusade against the Egyptian Saladin in the twelfth century in which the German Emperor Frederick participated. CRUSADER’s HYMN was first known to have been published by August H. Hoffman von Fallersleben in his 1842 volume of Silesian Folksongs. The first arrangement published in the United States is believed to have been done by Richard S. Willis in his 1850 volume of church choral works.
Charles W. Ore (b.1936) was born in Winfield, Kan. A 1958 graduate of Concordia University in Seward, he was awarded a master of music degree from Northwestern University in. Evanston, Ill., and a doctor of musical arts degree from the University of Nebraska-Lincoln. From 1966 to 2001, Charles was professor of music and chair of the Music Department at Concordia University in Seward, Nebraska. He was also the cantor of Pacific Hills Lutheran Church in Omaha, Nebraska from 1975-2001 and Associate Organist at First-Plymouth Congregational Church, Lincoln, Nebraska from 2001-2006. Charles is an accomplished organ recitalist, composer of organ and choral music, and is a leader in the use and development of improvisation in organ playing. Charles Ore is best known for his organ compositions. His nine volumes of 11 Compositions for Organ, which appeared from 1971 to 2012, comprise the longest-running series in Concordia Publishing House history.
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 heaven can boast
Beautiful Savior! Lord of all the nations
Son of God and Son of Man
Glory and honor, praise, adoration
Now and forevermore be thine
Trumpet Tune - Graham Twist
(c.2020, Graham Twist)
Graham Twist is a retired teacher who turned to composition during the inactivity of the Covid lockdown. He has posted his compositions on-line for the use of his fellow organists. With restrictions on what everyone can do socially during these Covid-19 times, Graham felt it fired up further creativity in him.
About the Piano Music:
He's Got the Whole World in His Hands - Ann Buys
(c.2000, GIA Publications)
"He's Got the Whole World in His Hands" is a traditional American spiritual. It was first published in the paperbound hymnal Spirituals Triumphant, Old and New in 1927. In 1933, it was collected by Frank Warner from the singing of Sue Thomas in North Carolina. It was also recorded by other collectors such as Robert Sonkin of the Library of Congress, who recorded it in Gee's Bend, Alabama in 1941. That version is still available at the Library's American Folklife Center. Frank Warner performed the song during the 1940s and 1950s, and introduced it to the American folk scene. Warner recorded it on the Elektra album American Folk Songs and Ballads in 1952. It was quickly picked up by both American gospel singers and British skiffle and pop musicians.
Ann Buys is an independent studio teacher currently teaching in St. George, Utah. Her active professional career includes performing for her church as organist, serving as a choral director, and writing and arranging church music. Ann is a Nationally Certified Teacher of Music and is an active member of the Utah Music Teachers Association and the Music Teachers National Association. After conducting a workshop at the 1990 Utah Music Teachers Association Convention and the 1991 Music Teachers Convention on “Working Toward Certification,” Ann became active in expanding the Utah Music Teachers Association student testing program.
He´s got the whole world in His hands.
He´s got the wind and the rain in His hands.
He´s got the the tiny little baby in His hands.
He´s got you and me, brother, in His hands.
He's got ev'rybody here in His hands.
About the Choral Music:
One Faith, One Hope, One Lord – Craig Courtney
(c.1989, The Sacred Music Press)
A native of Indiana, Craig Courtney received a Bachelors and a Masters degree in piano performance from the University of Cincinnati. He served on the faculty of the Mozarteum in Salzburg, Austria, serving as piano teacher and accompanist for the woodwind and brass department. While serving in the music ministry of the Salzburg International Baptist Church, Courtney began composing sacred choral music. In 1985, his compositions came to the attention of John Ness Beck through the publication of his octavo, Thy Will Be Done, initiating a close working relationship between the two men which continued until Beck’s death in 1987. In making plans for the ongoing of Beckenhorst Press, Beck appointed Craig Courtney staff composer and editor. Courtney’s published works include more than two hundred choral octavos, nine vocal collections, two piano solo collections and six extended works for choir and orchestra. Courtney combines his background as pianist, cellist, vocal coach, accompanist and choral director to create works in his unique style.
Dignified and thoughtful, this powerful affirmation of faith is harmonically rich and features beautiful choral writing, which thickens through the piece. The text is based on Ephesians 4:4-6, 13.
One faith, one hope, one Lord, one church for which He died,
One voice, one song, we lift in praise to Him who was and is and shall be evermore.
There is one body, one spirit, as you were called to one hope.
One Lord, baptism and faith, one God and Father of all,
One God and Father of us all, one God and Father of all, who is in you all.
One faith, one hope, one Lord, one church for which He died,
One voice, one song, we lift in praise to Him who was and is and shall be evermore.
Though we be many people, diverse with various gifts,
We are given to each other for the unity of faith,
That we grow in the knowledge of the Son of God, in the fullness of Christ.
One faith, one hope, one Lord, one church for which He died,
One voice, one song, we lift in praise to Him who was and is and shall be evermore.
One faith. One hope. One Lord.
I'd Rather Have Jesus
(c.1966, Rodeheaver Co, a div. of Word Music)
At the age of 23, George Beverly Shea (1909–2013) had a hard decision to make. He could accept a job offer in a secular singing position in New York City, with a great salary and wide respect; or he could continue singing in churches and on Christian radio programs. George Beverly Shea was known for his booming baritone voice. Shea had been singing since he was a young man in the Wesleyan Methodist churches, where his father was a minister. He was forced to leave college and work in an insurance office as a young man, due to the family’s financial needs. However, that did not stop him from singing. He continued to sing in churches and for Christian radio programs. This practice led to the unexpected offer of an audition in New York City. He was offered a substantial salary and wide recognition for this secular singing position. Shea prayed long and hard while making this difficult decision, but he thoughtfully turned them down to become a singing servant for our Savior.
Beginning with Billy Graham in 1944, George Beverly Shea carried the Gospel in song to every state in the Union and to every continent of our world. “I first met Bev Shea while in Chicago when he was on Moody Radio,” declared Mr. Graham. “As a young man starting my ministry, I asked Bev if he would join me. He said yes and for over 60 years we had the privilege of ministering together.”
Bev Shea’s mother often would leave poems and quotes around the house that she collected, in order to spiritually guide him. “I was living at home with my parents, continuing to work at Mutual Life Insurance and studying voice. Going to the piano one Sunday morning, I found a poem waiting for me there. I recognized my mother’s handwriting. She had copied the words of a poem by Mrs. Rhea F. Miller, knowing that I would read the beautiful message, which speaks of choice. Mother thought it to be a very wonderful poem and wanted me to read it. She then asked me to try my hand at writing a melody for the verses.” He was immediately impressed with the words and so deeply moved that he began to compose music for the lines. “I began to play as a melody came to me. It seemed to fit the lyrics and so I began to sing, for the first time, I’d Rather Have Jesus.” That same day, he sang the song in his father’s church service. As the people in the church listened to George’s deep voice sing out “I’d Rather Have Jesus, than silver or gold,” little did they know that the song was destined to become one of the most well-known of all recent Christian hymns.
When Bev Shea signed with RCA Victor, I’d Rather Have Jesus was chosen to spotlight their new singer. Bev Shea commented, “Over the years, I’ve not sung any song more than I’d Rather Have Jesus, but I never grow weary of Mrs. Miller’s heartfelt words.” He ministered alongside Billy Graham and Cliff Barrows, often singing right before Graham stepped to the podium.
I'd rather have Jesus than silver or gold;
I'd rather be His than have riches untold;
I'd rather have Jesus than houses or lands.
I'd rather be led by His nail pierced hand
I'd rather have Jesus than men's applause;
I'd rather be faithful to His dear cause;
I'd rather have Jesus than worldwide fame.
I'd rather be true to His holy name
He's fairer than lilies of rarest bloom;
He's sweeter than honey from out the comb;
He's all that my hungering spirit needs.
I'd rather have Jesus and let Him lead
Than to be the king of a vast domain
Or be held in sin's dread sway.
I'd rather have Jesus than anything
This world affords today.
About the Hymns:
One Bread, One Body
(c.1989, American Liturgy Resources)
John Foley, S.J., (b. 1939) is an American Jesuit priest who is a composer of Catholic liturgical music and a professor of liturgy. Among his better-known compositions are One Bread, One Body (1978), Earthen Vessels (1975), Come to the Water (1978), The Cry of the Poor (1978), For You Are My God (1970), and the album As a River of Light (1989). Much of Foley's early work on liturgical music was as a member of a group called the St. Louis Jesuits, composed of fellow Jesuit seminarians, with whom he released several albums. Other members of the St. Louis Jesuits were Dan Schutte, Bob Dufford, Roc O'Connor, and Tim Manion. He has also released several solo collections of liturgical music. Foley went on to earn a doctorate in liturgical theology from the Graduate Theological Union in Berkeley, California. In 1993 he returned to Saint Louis University where he founded the Stroble Center for Liturgy, of which he has served as director since its founding.
Written in 1978, “One Bread, One Body” is based on I Corinthians 10:16-17, ”Is not the cup of blessing which we bless a sharing in the blood of Christ? Is not the bread which we break a sharing in the body of Christ? Since there is one bread, we who are many are one body; for we all partake of the one bread.” The first verse is readily identifiable as a paraphrase of Galatians 3:28, which reads, “There is neither Jew nor Greek, there is neither slave nor free, there is no male and female, for you are all one in Christ Jesus.” In the second verse, we have more Scriptural paraphrase. This time, the text is clearly taken from 1 Corinthians 12:4-5, which reads, “Now there are varieties of gifts, but the same Spirit. And there are varieties of ministries, but the same Lord.” You don’t have to be a preacher to serve. You don’t have to be a song leader to serve. Even if your work is visiting the sick or cleaning the church building, you are no less important a part of the body of Christ than its most visible members. Ultimately, every kind of service gets back to serving Jesus. The third verse echoes various Biblical texts (Matthew 13:3-9 and John 12:23-26 among them). As Christ assembles us into one body, so too He plants us, causes us to grow, and gathers us in.
One bread, one body, one Lord of all
One cup of blessing which we bless
And we, though many, throughout the Earth
We are one body in this one Lord
Gentile or Jew, Servant or free, Woman or man No more
Many the gifts, many the works, One in the Lord Of all
Bread of the World
Written by Reginald Heber, "Bread of the World" was first published posthumously in his Hymns written and adapted to the Weekly Church Service of the Year (1827); it was subtitled "Before the Sacrament." Heber indicated it was to be sung as part of the service of confession and forgiveness or during the communion liturgy as a substitute for the traditional singing of the Agnus Dei. The text is a prayer asking Christ to look on us with mercy and to feed us with his grace. Though written in two stanzas, it is one continuous thought. A devotional text with strong poetic images–"bread of the world" and "wine of the soul"–this hymn invites confession of sin and the acceptance of divine grace.
Reginald Heber (1783-1826) was a bright youth, translating a Latin classic into English verse by the time he was seven, entering Oxford at 17, and winning two awards for his poetry during his time there. After his graduation he became rector of his father's church in where he remained for 16 years. He was appointed Bishop of Calcutta in 1823. Most of his 57 hymns, which include "Holy, Holy, Holy," are still in use today.
John Sebastian Bach Hodges (1830-1915) composed EUCHARISTIC HYMN for Heber's text in 1868, while he was rector at Grace Episcopal Church, Newark, New Jersey. He first published the tune in his Book of Common Praise (1869) and named it after the sacramental service for which Heber wrote the text. The son of Edward Hodges, John came to the United States at the age of fifteen. Educated at Columbia University, New York City, and General Theological Seminary, New York City, he was ordained in 1855. After having served Episcopal churches in Pittsburgh, Chicago, and Newark, he devoted the remainder of his career to St. Paul Church in Baltimore (1870-1906). There Hodges replaced the mixed choir with a choir of men and boys. He composed over a hundred hymns and anthems and compiled The Book of Common Praise (1869) and the revised edition of Hymn Tunes(1903). He was also active on the committees that produced the Episcopal Hymnal (1874) and Hymnal(1892).
Bread of the world in mercy broken, Wine of the soul in mercy shed,
by whom the words of life were spoken, and in whose death our sins are dead:
Look on the heart by sorrow broken; look on the tears by sinners shed;
so may your feast become the token that by your grace our souls are fed.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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