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:
St. Columba - C. S. Lang
(c.1966, Oxford University Press)
“The King of Love My Shepherd Is” a Sir Henry Baker (1821-1877) paraphrase of Psalm 23. Baker took Holy Orders in the Church of England in 1844. He was closely associated with hymnody in the Church. He wrote many hymns of fine emotion and intellect, and yet his lyrical transcription of the 23rd Psalm was what came to him as he approached “death’s dark vale.” He died in the parsonage of the church where he had served for more than thirty years, a country vicar in the poor edges of Her Majesty Queen Victoria’s mighty Britain. It is said that as he lay dying his final words were those of the 3rd stanza: "Perverse and foolish, oft I strayed, but yet in love he sought me; and on his shoulder gently laid, and home, rejoicing, brought me."
Sir Henry Baker would not at first glance be a candidate for “perverse and foolish.” The son of a vice-admiral, he was educated at Trinity College, Cambridge, and was ordained in 1844 as a priest in the Church of England. After a curacy, he became the vicar of Monkland. He served his whole adult life in this parish, even after inheriting a baronetcy upon the death of his father. He lived in a nearby parsonage as a bachelor, believing in the celibacy of the clergy, and was cared for by his sister.
A great passion of his life, however, was the production of the innovative Hymns Ancient & Modern (1861), a monumental milestone in the history of English hymnody and a collection of great variety and musical effectiveness. Most congregations in Anglican churches were not singing hymns during the middle of the nineteenth century, being devoted only to metrical psalms. Methodists and evangelicals in England were singing hymns during the first half of the nineteenth century, and their influence spurred the Anglicans to join the ranks of hymn singers by the second half of the century.
A notable feature of this landmark hymnal was the printing of text and tune for each hymn on the same page, so any singer could see and sing the distinctive pairings. Each musical setting was intended to enhance the poetic text of the hymn, making the sensibilities and emotion of the hymn clear. Until this time, most published hymnals contained text only, or a limited number of tunes meant to be used repeatedly with various texts.
Sir Henry Baker led a committee of hymn writers, composers, and editors who compiled the hymns for publication. Many of these contributors were adherents of the Oxford movement. The Oxford movement was an ecclesiastical trend that Susan Drain (author of The Anglican Church in Nineteenth Century Britain: Hymns Ancient and Modern) describes as a deep regard for church rituals and the sacraments, respect for Apostolic traditions and the Roman Catholic Church, and a desire by clergy to preserve the past. With this standpoint in mind, many of the hymns chosen were translated from medieval Latin and German sources. Others were accepted from hymn writers of the day and edited, so much so that one contributor said “HA&M” should mean “Hymns Asked for and Mutilated.”
“The King of Love my Shepherd Is,” a metrical paraphrase of Psalm 23, was written by Baker for the Second Edition of Hymns Ancient & Modern in 1868, and included in the appendix. His friend John Bacchus Dykes (1823-1876), a musical editor on the committee, wrote the tune DOMINUS REGIT ME specifically for it, which is the title of Psalm 23 in the Latin Vulgate translation. Many writers have commented on the compelling beauty of this well-suited tune and text, which British hymnologist Ian Bradley described as a regularity of rhythm and even balance between rising lines in phrases one and three and falling lines in phrases two and four. The unique double rhymes Baker uses in many places at the end of lines two and four are well-enhanced by this tune.
Later, Ralph Vaughan Williams (1872-1958) sought to republish the hymn in The English Hymnal (1906) and was denied the right to use the tune. He then paired Baker’s text with his own arrangement of an Irish Air, ST. COLUMBA, which is the tune most often used today.
Craig Sellar Lang 1891-1971) was a New Zealand-born British organist, composer and music teacher. Born in Hastings, New Zealand, CS Lang (known to his friends as "Robin") was educated at Clifton College and the Royal College of Music. He was an ARCM and received his Doctor of Music from The University of Durham.
In 1929 he was appointed Director of Music at Christ's Hospital school in Horsham, West Sussex, where the choristers of Westminster Abbey were briefly evacuated to during the Second World War. Lang resigned from this post in 1945 in order to devote more time to examining and composition. His instructional works, aimed at students, were highly influential. Generations of organists were brought up on his Harmony at the Keyboard, Exercises in Score Reading, as well as his books entitled Exercises for Organists, designed to prepare organ students for the keyboard tests of the Royal College of Organists' diploma exams. An obituary recorded his "personal magnetism" and determination to awaken "the budding musicianship of every sort of pupil".
The King of love my Shepherd is, Whose goodness faileth never;
I nothing lack if I am his And he is mine for ever.
Where streams of living water flow My ransomed soul he leadeth,
And where the verdant pastures grow With food celestial feedeth.
Perverse and foolish oft I strayed, But yet in love he sought me,
And on his shoulder gently laid, And home, rejoicing, brought me.
In death's dark vale I fear no ill With thee, dear Lord, beside me;
Thy rod and staff my comfort still, Thy cross before to guide me.
Thou spread'st a table in my sight; Thy unction, grace bestoweth:
And O what transport of delight From thy pure chalice floweth!
Prelude - Charles-Valentin Alkan
(c.2001, Maurizio Machella)
Charles-Valentin Alkan (1813-1888) was a French composer and virtuoso pianist. At the height of his fame in the 1830s and 1840s he was, alongside his friends and colleagues Frédéric Chopin and Franz Liszt, among the leading pianists in Paris, a city in which he spent virtually his entire life. Alkan earned many awards at the Conservatoire de Paris, which he entered before he was six. His career in the salons and concert halls of Paris was marked by his occasional long withdrawals from public performance, for personal reasons. Although he had a wide circle of friends and acquaintances in the Parisian artistic world, from 1848 he began to adopt a reclusive life style, while continuing with his compositions – virtually all of which are for the keyboard. Alkan emerged from self-imposed retirement in the 1870s to give a series of recitals that were attended by a new generation of French musicians.
Alkan's attachment to his Jewish origins is displayed both in his life and his work. Alkan was regarded by the Paris Consistory, the central Jewish organization of the city, as an authority on Jewish music. In 1845 he assisted the Consistory in evaluating the musical ability of Samuel Naumbourg, who was subsequently appointed as hazzan (cantor) of the main Paris synagogue; and he later contributed choral pieces in each of Naumbourg's collections of synagogue music. Alkan was appointed organist at the Synagogue de Nazareth in 1851, although he resigned the post almost immediately for "artistic reasons”. Alkan's Op. 31 set of Préludes includes a number of pieces based on Jewish subjects, including some titled Prière (Prayer), one preceded by a quote from the Song of Songs, and another titled Ancienne mélodie de la synagogue (Old synagogue melody). The collection is believed to be "the first publication of art music specifically to deploy Jewish themes and ideas.”
Fluent in Hebrew and Greek, he devoted much time to a complete new translation of the Bible into French. This work, like many of his musical compositions, is now lost.
About the Choral Music:
And Walk Humbly with Your God - Douglas Wagner
(c.2006, Lorenz Publishing)
Douglas E. Wagner, a native of Chicago, Illinois, is an international recognized composer and arranger. With thirty years as a high school music educator and administrator behind him, Mr. Wagner now devotes all of his time and energy to writing, editing and their allied activities. He is an A.S.C.A.P. award-winning composer, an editor for a major publishing company, and has served several denominations as a church musician. 2,500 titles by Douglas E. Wagner have been published since 1973, included works for choir (sacred and secular), concert band, orchestra, handbell ensemble, organ, piano, instrumental solo, and voice. Fifteen million copies of his music have been sold to date.
Wagner has set Micah 6: 6-8, a scripture well known by this church, as it was chosen as our “motto” some years ago. The prophet Micah was a prophet to the Southern Kingdom during the time in which the Jewish people were held in captivity by the Assyrian king, around 700 BC. During this time King Hezekiah worked very hard to bring revival to Judah. Micah was warning the people of a coming judgment of God on Judah and Israel because of their sin. Micah is also known for his very practical teaching in chapter 6. Micah taught in a culture characterized by idolatry, immorality, and outright rebellion against the worship of God. You could say that the culture of that time is very similar to our culture today, worldwide. Micah boldly proclaimed that certain things are “required” of those who follow the path of the Lord.
God requires that we are just, love mercy, and show kindness. Seeking justice for people is not just a political, judicial, and economic challenge. If you see someone being mistreated or being treated unfairly, speak up and support them. If you have the opportunity to level the playing field and provide equal opportunity for someone that may be often overlooked, take it to help them. That is showing them true justice. The phrase 'love mercy' in Micah 6:8 when translated from Hebrew means 'God's loving-kindness.' The Hebrew word is hesed. God has you as His representative in this world and when you can, you can extend God's loving-kindness and mercy to others. We are all a work in progress under our Potter's hand. God is constantly refining us. When we remember this it enables us to be kind to people. Our world needs so much kindness that is often in short supply. To walk humbly with God means that we have a heart's desire to do justice and to love mercy in all our daily activities. To walk humbly with God is to give Him what He requires of both you and me. God requires us to be just, love mercy, and show kindness to everyone that we meet. We should be both moral and ethical in all our dealings with others.
Wherewith shall I come before the Lord, and bow myself before the high God?
Shall I come before Him with burnt offerings, with calves of a year old?
Will the Lord be pleased with thousands of rams, or with ten thousand rivers of oil?
Shall I give my firstborn for my transgressions,
the fruit of my body for the sin of my soul?
He has shown you, O man, what is good, and what does the Lord require of you,
but to do justly, and to love mercy, and to walk humbly with your God.
Do justly, love mercy, and walk humbly with your God. Walk with your God.
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:
Sing Praise to God Who Reigns Above
Philip Spener became the pastor of a Lutheran congregation in Frankfurt am Main in the mid-1600s, and effected a revival by fervent preaching that emphasized repentance, personal piety, and discipleship. He encouraged prayer and Bible study as a means to personal spiritual growth. He spelled out his five guiding principles in a document entitled Pia Desideria (Pious Desires). These included: the increased use of scripture; lay participation in small groups, emphasizing prayer and Bible study; a balance of faith and actions; an emphasis on a pious clergy; sermons that encourage an active faith. Not only did the church that Spener was serving in Frankfurt prosper, but a pietistic movement swept across Germany through his influence.
An enthusiastic member of Spener's congregation was a young attorney, Johann Jakob Schutz, who not only encouraged Spener's work but also wrote hymns. He wrote "Sing Praise to God Who Reigns Above" in 1675, and published it in Christliches Gedenkbüchlein that same year.
The hymn is usually sung to the tune, "Mit Freuden Zart" ("With great delight!").
The most common English translation in use is by Frances E. Cox from 1864, which was published in Orby Shipley's Lyra Eucharistica and her own Hymns from the German. Deuteronomy 32:3 was the basis for this hymn of praise – “For I will proclaim the name of the Lord; ascribe greatness to our God!” (ESV) Using a variety of metaphors for God and for His works, this text overflows with proclamations of God's loving care for His people. Note the second verse, which emphasizes the presence of the Lord, a typical pietistic emphasis: "The Lord is never far away, but thru all grief distressing an ever-present help and stay, our peace and joy and blessing.”
MIT FREUDEN ZART has some similarities to the French chanson "Une pastourelle gentille" (published by Pierre Attaingnant in 1529) and to GENEVAN 138. The tune was published in the Bohemian Brethren hymnal Kirchengesänge (1566) with Vetter's text "Mit Freuden zart su dieser Fahrt."
Splendid music for a great text, it is one of the great hymn tunes of the Reformation.
Sing praise to God who reigns above, the God of all creation,
the God of power, the God of love, the God of our salvation.
With healing balm my soul is filled and every faithless murmur stilled:
To God all praise and glory.
The Lord is never far away, but through all grief distressing,
an ever present help and stay, our peace and joy and blessing.
As with a mother's tender hand, God gently leads the chosen band:
To God all praise and glory.
Thus all my toilsome way along, I sing aloud thy praises,
that earth may hear the grateful song my voice unwearied raises.
Be joyful in the Lord, my heart, both soul and body bear your part:
To God all praise and glory.
Let all who name Christ's holy name give God all praise and glory;
let all who own his power proclaim aloud the wondrous story!
Cast each false idol from its throne, for Christ is Lord, and Christ alone:
To God all praise and glory.
Forth in Thy Name, O Lord
For the writer of this hymn, Charles Wesley (1707-1788), the Christian life was all-inclusive. Through the hymns that he wrote, which range from praising God’s grace with surprise to singing of the lowly circumstances of Jesus’ birth, we find conclusive evidence of his total commitment to God. His brother John Wesley shared this commitment with him. In A Plain Account of Christian Perfection (1777) under the subtitle of “No Half Christians,” John states “. . . I determined, through His grace, to be all devoted to God, to give Him all my soul, my body, and my substance.”
Through this hymn, Charles expressed his dedication to Christian discipleship and service. From stanza one through four, he repeatedly conveys a central theme: devotion to God only in all our work. The six stanzas of the hymn were first published in Hymns and Sacred Poems, Volume I (1749), under the category of “Hymns for Believers” with the heading “Before Work.” Both stanza three and five of the original version, which warn us about the risks of personal ambition and call us to be alert, were omitted in John Wesley’s A Collection of Hymns for the Use of the People Called Methodists (1780), and also the United Methodist Hymnal (1989).
According to Frank Baker, author of Charles Wesley’s Verse (Epworth Press, 1988), repeating the central theme with different language was a key element in his style of writing. In this hymn, Charles employed the poetic device of tautology, or repeating the same concept in several ways. The exclamation, “Forth in thy name, O Lord I go,” is followed by phrases of total commitment: “Thee, only thee, resolved to know, in all I think, or speak, or do,” “In all my works thy presence find,” and “Thee may I set at my right hand,” all resonating with the same theme. The Rev. Carlton Young, editor of the UM Hymnal, notes that this hymn is “an expression of the Protestant work ethic.” Church historian, the Rev. S T Kimbrough Jr., states: “Charles Wesley was deeply concerned that the attitudes with which we approach the endeavors of each day reflect our Christian posture and character.”
The tune used with this hymn is DUKE STREET, attributed to John Hatton (1710-1793). As we sing, we might agree with hymnologist Millar Patrick’s description of the tune, “What vigor you have in it!—what magnificent movement, what superb curves, every line soaring, subsiding, like the flight of a bird!”
Forth in your name, O Lord, I go, my daily labor to pursue,
determined only you to know in all I think or speak or do.
The task your wisdom has assigned, O let me cheerfully fulfill;
in all my works your presence find, and prove your good and perfect will.
May I find you at my right hand; your eyes see truly what I do.
I labor on at your command and offer all my works to you.
Give me to bear your easy yoke and ev'ry moment watch and pray
and still to things eternal look, and hasten to your glorious day.
For you I joyously employ whate’er you in grace have giv’n:
I run my daily course with joy and closely walk with you to heav’n.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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