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:
Prelude on "Mit Freuden Zart" - Walter Pelz
(c.1984, Walter Pelz)
George Vetter (1536-1599) was a Moravian Roman Catholic priest who wrote 6 published hymns. He wrote this text on the melody of a Huguenot Psalm (probably originally of Guillaume Franc,1543). It was first published in Kirchengeseng darinnen die Heubtartickel des Christlichen Glaubens gefsset (also called the Bohemian Brethren’s Kirchengeseng), 1566. The text was translated by Martin H. Franzmann (1907-1976), a theologian and poet of the Lutheran Church–Missouri Synod.
With high delight Let us unite
In songs of sweet jubilation.
You pure in heart, Each take your part,
Sing Jesus Christ, our salvation.
Let praises ring; Give thanks, and bring
To Christ our Lord adoration.
His honor speed by word and deed
To every land, every nation.
Walter Pelz (1926-1997) was born in Chicago and educated at Concordia Teachers College, River Forest, Illinois (B.S. 1948), and Northwestern University ( M.Mus. 1951). After teaching music at Christ Lutheran Church, Minneapolis, and music in the public schools for fourteen years, he became minister of music at Christ Lutheran Church, Minneapolis, and received his Ph.D. from the University of Minnesota (1970). He was been a member of the music faculty of Bethany College, Lindsborg, Kansas, and conducted the Bethany Oratorio Society.
Prelude in e-moll - Georg Wilhelm Dietrich Saxer
Georg Wilhelm Saxer (?–1740) was a German Baroque composer and organist. He was a pupil of Georg Böhm, and in 1734, he became successor of Böhm of the Sankt Johanniskirche in Lüneburg. Before 1734, he was organist of the Lambertikirche in Lüneburg. From 1737 until his death, Saxer was organist at the St. Jakobikirche in Lübeck. The Leipziger manuscript with signature Becker II.2.51 preserves three preludes and fugues by Saxer, and two more anonymous preludes that are probably by his as well. The are in the style of the North German organ school. The first of these works is the prelude and fugue in e minor.
About the Choral Music:
All That I Am - Jack Schrader
(c.1996, Hope Publishing)
Bill Himes (c.1949) wrote this song while coping with the terminal cancer diagnosis of his first wife when their two children were still quite young. Himes is a Salvation Army musician in the United States. He earned his Bachelor’s and Master’s degrees in music at the University of Michigan, and taught in public schools there, as well as being an adjunct lecturer at the university. He has toured worldwide as a conductor, composer, lecturer, clinician and euphonium soloist. Bill was the Salvation Army’s Territorial Music Director in the U.S.A. Central Territory, and Bandmaster of the Chicago Staff Band from 1977 until his retirement in 2015. He has devoted his life to Salvation Army music, and is particularly encouraging to young people, having lead countless summer music camps in the U.S. and beyond. This song was first published as a songster (choir) selection, but like some others, it has been included in the 2015 Song Book for congregational use.
Jack Schrader (b. 1942), arranger, composer, conductor, vocalist, and organist/pianist, is past editor with Hope Publishing Company, retiring in January of 2009. His association with Hope began in 1978. A 1964 graduate of Moody Bible Institute of Chicago, where he majored in Voice and Organ, he also received the Bachelor of Music Education degree from the University of Nebraska (1966). Further studies in theology culminated in Jack's ordination by the Evangelical Free Church of America (1975). Schrader is the best-selling choral composer in the Hope catalog. In addition to choral music Jack has published collections for keyboardists, instrumentalists and vocal soloists. He was a member of the editorial committee for Hope's most recent hymnal, Worship & Rejoice (2001), in which he has 24 hymn credits. His music is heard in hundreds of churches across the country each Sunday, and he can be seen throughout the year as a guest clinician at choral reading sessions and workshops.
All that I am, all I can be, All that I have, all that is me,
Accept and use, Lord, as You would choose, Lord, Right now, today.
Take every passion, every skill, Take all my dreams and bend them to Your will;
My all I give, Lord; for You I’ll live, Lord, Come what may.
Often I come with my problems and cares, Running to You when distressed,
But I must bring You the whole of my life – Lord, I must give You my best.
All that I am, all I can be, All that I have, all that is me,
Accept and use, Lord, as You would choose, Lord, Right now, today.
Take every passion, every skill, Take all my dreams and bend them to Your will;
My all I give, Lord; for You I’ll live, Lord, Come what may.
Life has no purpose unless it is Yours; Life without You has no goal;
All that fulfils me is doing Your will, Knowing that You’re in control.
All that I am, all I can be, All that I have, all that is me,
Accept and use, Lord, as You would choose, Lord, Right now, today.
Take every passion, every skill, Take all my dreams and bend them to Your will;
My all I give, Lord; for You I’ll live, Lord, Come what may.
All that I am.
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:
What Gift Can We Bring
(c.1982, Hope Publishing)
Jane Manton Marshall (b. 1924) has established herself as a leading composer of church music, teaching conducting and composition for more than two decades at Southern Methodist University. From 1975-2010, she served an integral role in the Church Music Summer School, hosted by Perkins School of Theology, to provide training for musicians who have not usually attended seminary. As a clinician and composer, Marshall has had a profound influence on at least two generations of church musicians.
Her anthems are carried by numerous publishers, and she has received lifetime achievement awards for her contribution to church music by the Southern Baptist Church Music Conference and the Fellowship of United Methodist Musicians and Worship Arts. In addition to "What Gift Can We Bring," Marshall contributed greatly to The United Methodist Hymnal (1989), especially in the area of responses for the psalms. Grace, Noted, a collection of her homilies and essays, was published in 1992. Many of her compositions are standard items in academic and church choral libraries. Marshall is in a very select group of successful composers/lyricists, a dual-talent exemplified in her early works: 'Awake my heart,' 'My Eternal King,' 'He Comes to Us,' the first setting of Albert Schweitzer's words; and 'Fanfare for Easter.'"
The Rev. John Thornburg, a United Methodist hymn writer, served as her pastor during the 1990s. She mentored the Rev. Thornburg, and they often partnered, pairing texts he wrote with tunes she composed for them. Examples of their work may be found in Can God Be Seen in Other Ways (2003) and What Gift Can We Bring (2003). The second volume derives its title from her most well known hymn, "What gift can we bring."
Jane Marshall’s "What gift can we bring" is a hymn of pure gratitude. A lifelong Dallas resident, she composed this hymn in 1980 for the twenty-fifth anniversary of her congregation, Northaven United Methodist Church. Stanza two reflects on heritage, giving thanks for the past and those "who planted and watered so dreams could come true." Stanza three looks to the future that is "full of surprises," yet knowing that regardless of what happens, "we rest in God’s keeping and live in God’s love."
What gift can we bring, what present, what token?
What words can convey it the joy of this day?
When grateful we come, remembering, rejoicing,
what song can we now offer in honor and praise?
Give thanks for the past, for those who had vision,
who planted and watered so dreams could come true.
Give thanks for the Now, for study, for worship,
for mission that bids us turn prayer into deed.
Give thanks for Tomorrow, full of surprises,
for knowing whatever Tomorrow may bring,
the Word is our promise always, forever,
we rest in God's keeping and live in God's love.
This gift we now bring, this present, this token,
these words can convey it the joy of this day!
When grateful we come, remembering, rejoicing,
this song we now offer in honor and praise.
You Call Us Lord to Worship
(c.2002, Carolyn Winfrey Gillette)
Carolyn Winfrey Gillette has been a pastor in rural, small town, suburban, and city churches; she has also served as a hospice chaplain, a hospital chaplain, and a school bus aide helping children with special needs. Carolyn is a gifted hymn writer who has written over 400 hymns.
In addition to I Sing to My Savior: New Hymns from the Stories in Luke's Gospel, she has written Gifts of Love: New Hymns for Today's Worship (Geneva Press) and Songs of Grace: New Hymns for God and Neighbor (Upper Room Books). Her hymns have been published in over 20 books. Two of her hymns have been published by the Choristers Guild as anthems. Carolyn was commissioned to write the lead article for the special issue on "Singing Our Lives" for Baylor University's Christian Reflection journal. Her hymns have also been in Call to Worship journal, The Chorister (cover story), Reformed Worship, The Presbyterian Outlook and on thousands of web sites. All of her hymns can be found on her website with indices to scriptural references, topics, tunes, and the three-year cycle of the Revised Common Lectionary.
The World Council of Churches, National Council of Churches, Church World Service and Churches Uniting in Christ have asked her to write hymns. Habitat for Humanity International used a hymn by Carolyn for their 30th anniversary celebration. Family Promise (Interfaith Hospitality Network) did a music video of her hymn for their ministry with homeless families. The Humane Society of the United States did a music video contest of her hymn for their Blessing of the Animals service. The Presbyterian Church (USA) 216th General Assembly presented her with the "Ecumenical and Interreligious Service Recognition." Sojourners did a short video about her hymn writing. A Canadian scholar wrote her biography for the Cambridge Dictionary for Hymnology.
Carolyn is a graduate of Lebanon Valley College and Princeton Theological Seminary. She sees her hymn writing as a partnership and is very grateful for prayers for her hymn writing. She hopes her hymns nurture people in their discipleship and support churches in their worship and service in the world.
This new hymn celebrates the joy and importance of corporate worship on Sundays. The hymn was written to the tune of a popular Easter hymn; we worship every Sunday because it is the day of our Lord's resurrection. The first verse begins with a reference to Sabbath and then gives thanks for God's presence. It is published in Songs of Grace: New Hymns for God and Neighbor (Upper Room Books, 2009).
You call us, Lord, to worship; the day is set aside.
Your love is overflowing; the doors are opened wide.
Yet as we see your goodness, we see what we have been.
And so we humbly ask you, "Forgive us of our sin!”
We are forgiven people; we know your love's embrace.
The peace of Christ is with us; forgiveness fills this place.
We hear your word in scripture, in sermon and in song.
Again, again, you tell us: we're loved and we belong.
We share our joys and sorrows and then we offer prayer
For people who are hurting, for nations everywhere.
We bring our tithes and offerings, returning what is yours,
For what we keep may vanish, but what we give endures.
We celebrate your love, Lord, with water, wine and bread.
For at your font we're welcomed and at your feast we're fed.
We pray the prayer you taught us; we sing your praise and then
Through daily, faithful living, we worship you again.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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