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:
Noel Nouvelle - Dale Wood
(c.1997, Sacred Music Press)
This traditional French carol dates from the late 15th century and the early 16th century. The word nouvelet or nouvelle has the same root as Noël, both stemming from the word for news and newness. Some sources say it was a New Year's song. But others point out that the lyrics all speak of the news of the birth of the Christ child in Bethlehem, the announcement by angels to the shepherds in the fields, looking forward to the visit of the Three Kings and the presentation of their gifts to the Holy Family. Everything points to a Christmas carol rather than celebrating the New Year.
This carol celebrates all of the figures in the crèche, the handmade nativity scenes found throughout France, where they are part of the Christmas celebration in homes and in town squares. This song would be sung by families at home and at community gatherings rather than as part of the liturgy in Roman Catholic churches at the time it was written.
There are many versions found from those early centuries. It was printed in the 1721 "Grande Bible des noëls, taunt vieux que nouveaus." Translations into English and variations in French would all be colored by the denominational differences between Christian faiths and doctrines. The song is in a minor key, in Dorian mode. It shares its first five notes with the hymn, "Ave, Maris Stella Lucens Miseris". The tune is used in, of course, the English version, "Sing We Now of Christmas." But it is also repurposed for the Easter hymn, "Now the Green Blade Rises," written in 1928 by John Macleod Cambell Crum. It is used for several translations into English of a hymn based on the writings of Thomas Aquinas, "Adoro Te Devote, A Meditation on the Blessed Sacrament.” The carol remains popular both in French and in its English variations.
Sing we now of Christmas, Noel, sing we here!
Hear our grateful praises to the babe so dear.
Angels called to shepherds, "Leave your flocks at rest,
journey forth to Bethlehem, find the lambkin blest."
In Bethlehem they found him; Joseph and Mary mild,
seated by the manger, watching the holy child.
From the eastern country came the kings afar,
bearing gifts to Bethlehem guided by a star.
Gold and myrrh they took there, gifts of greatest price;
there was ne'er a place on earth so like paradise.
Sing we Noel, the King is born, Noel!
Sing we now of Christmas, sing we now Noel!
Dale Wood (1934-2003) was a prominent composer, organist, choral director, and clinician. He was honored many times by the American Society of Composers, Authors, and Publishers (ASCAP) for his “very important contribution towards the creation and development of contemporary American church music”. He wrote many collections of organ works, most of which are based on both old and new hymn tunes. Over eight million copies of his publications have been purchased in over 50 countries.
Toccatina on "Joy to the World" - Brenda Portman
(c.2020, Sacred Music Press)
Our Christmas season would hardly seem complete without the singing of Joy to the World, the most joyous of the carols. Yet Isaac Watts, its author, never intended it to be a Christmas carol at all. Rather, it was a part of his Psalms of David Imitated, published in 1719, which contained paraphrases of many of the Psalms in New Testament language.
The story of the hymn, Joy to the World, is the story of the author, Isaac Watts (1675-1748), who is universally acknowledged as "The Father of English Hymnody". He has earned the title, not because he was first to write English hymns, but because he gave impetus to hymnody and established its place in the worship of the English church. For over one hundred years, congregational singing had been strictly limited to the Psalms of the Old Testament in poetic form. Many of these rhymed Psalms were so unnatural that Samuel Wesley, father of the famous brothers Charles and John, called them "scandalous doggerel," and his opinion was shared by many.
The birth of Isaac Watts to a dissenting deacon and the daughter of a Huguenot refugee was followed by fourteen years of persecution and hardships for the entire family. Perhaps this suffering was responsible for Isaac Watts’ ill health, for he grew only to a height of just over five feet and was weak and sickly all his life. Though weak in body, the boy was strong in mind and spirit and early in life showed promise of poetic capability. After one Sunday morning service, Isaac, then fifteen years old, complained of the atrocious worship in song. One of the deacons challenged him: "Give us something better, young man." His answer was to write hundreds of hymns that are still sung today.
Joy to the World is the "imitation" of the last half of Psalm 98. The author transformed the old Jewish psalm of praise for some historic deliverance into a Christian song of rejoicing for the salvation of God that began to be manifested when the Babe of Bethlehem came "to make his blessing flow far as the curse is found." This is one of the most joyous hymns in all Christendom because it makes so real what Christ’s birth means to all mankind.
The tune most widely associated with Watts’ text is ANTIOCH, often poorly attributed in hymnals to either George Frideric Handel or Lowell Mason, neither of which is the proper author. This tune appeared at least four times in short succession around the same date, 1832–1833. Since three of the collections were published without dates, the exact succession is difficult to determine. Possibly the earliest is Charles Rider’s Psalmodia Britannica, vol. 4,, where the tune was called COMFORT (c.1831) with the curious ascription, “Partly from J. Leach.” Another of these early appearances was in Thomas Hawkes’ Collection of Tunes (Watchet: Thomas Whitehorn, 1833, where it was also called COMFORT. The attribution to “Author unknown” suggests that the tune had appeared earlier in another collection or through some other resource yet to be determined. Hawkes’ collection was keyed to A Collection of Hymns for the Use of the People Called Methodists, with a Supplement (London: John Mason, 1831), where the tune appears with Charles Wesley’s “O joyful sound of gospel grace” and Wesley’s “How large the promise, how divine.” Around the same time Hawkes’ collection was published, this tune appeared in Thomas Clark’s Congregational Harmonist, vol. 3 (London: W. Blackman, n.d.), also dubbed COMFORT and paired with Wesley’s “O joyful sound,” without attribution. In this printing, the tunes are associated with the same Methodist collection published by John Mason that Hawkes’ had used for his tunebook.
In William Holford’s Voce di Melodia, ca. 1833–1834, 3rd ed., like the others, this tune was called COMFORT. Here the associated text was “O the delights, the heav’nly joys” by Isaac Watts. Holford seems to be the first to connect this tune with Handel. This tune has never been found among the works of Handel, but it does bear a resemblance to various strains from Messiah. The opening phrase, especially in these early British versions, recalls “Glory to God” and/or “Lift up your heads”, while the third phrase recalls the opening strains of “Comfort ye”. This latter association may very well be why the tune was called COMFORT, but the tune as a whole should not be credited to Handel, except perhaps as the tune’s inspiration.
Shortly thereafter, the tune crossed the Atlantic and was adapted by Lowell Mason (1792–1872) for his collection Occasional Psalm and Hymn Tunes, No. 3 (Boston, 1836). Mason credited the tune as “arranged from Handel” and he initiated its famed pairing with “Joy to the world.”
Joy to the world, the Lord is come! Let earth receive her King;
let ev’ry heart prepare him room and heav’n and nature sing,
and heav’n and nature sing, and heav’n, and heav’n and nature sing.
Joy to the earth, the Savior reigns! Let men their songs employ,
while fields and floods, rocks, hills, and plains, repeat the sounding joy,
repeat the sounding joy, repeat, repeat the sounding joy.
No more let sins and sorrows grow nor thorns infest the ground;
he comes to make his blessings flow far as the curse is found,
far as the curse is found, far as, far as the curse is found.
He rules the world with truth and grace and makes the nations prove
the glories of his righteousness and wonders of his love,
and wonders of his love, and wonders, wonders of his love.
Originally from Grafton, Wisconsin, Brenda Portman (b. 1980) is the Resident Organist at Hyde Park Community Church in Cincinnati, Ohio, and Executive Director of the church’s organ concert series. She is organ instructor at Xavier University and holds a DMA in organ performance from the University of Cincinnati’s College-Conservatory of Music. Portman is active as a composer of organ and choral music and has won several awards for her compositions.
About the Choral Music:
Were You There on that Christmas Night? – Natalie Sleeth
(c. 1976, Hope Publishing)
Natalie Sleeth (1930-1992) was born in Evanston, Illinois. In 1952, she received an Academic major in music theory and a BA in music theory at Wellesley College in Massachusetts. In her later life she received an honorary doctorate from West Virginia Wesleyan College and from Nebraska Wesleyan College. She wrote over 180 works for organ for church and school. She was a member of the Highland Park United Methodist Church in Dallas, TX.
One of Sleeth's best-known anthems for choir is entitled "Joy in the Morning" and was written on the occasion of her husband's inauguration as the president of West Virginia Wesleyan College in 1977. Another favorite is "In the Bulb There is a Flower", which was composed as an anthem for the Pasadena Community Church, St. Petersburg FL It appears under the title "Hymn of Promise" in the United Methodist Hymnal and has been translated into German for the Gesangbuch der Evangelisch-methodistischen Kirche (2002). “Were You There on that Christmas Night?” was originally written for 2-part choir in 1976. It has since been published for mixed choir with piano and handbells and has been arranged as a congregational hymn and appears in Worship and Rejoice.
Were you there, were you there on that Christmas night
When the world was filled with a holy light?
Were you there to behold, when the wonder foretold came to earth?
Did you see, did you see how they hailed Him King
With the gifts so rare that they chose to bring?
Did you see how they bowed as they praised Him aloud at His birth?
Did you hear how the choirs of Angels sang at the glory of the sight?
Did you hear how the bells of Heaven rang all through the night?
Did you know, did you know it was God’s own Son,
The salvation of the world begun?
Did you know it was love that was sent from above to the earth?
Jesus Child - John Rutter
(c.1974, Oxford University Press)
John Rutter (b. 1945) studied at Cambridge, where he wrote his first published compositions and conducted his first recording while still a student. His compositional career has included both large and small scale choral works, orchestral and instrumental pieces, a piano concerto, two children’s operas, and music for television. In 1979, he formed the Cambridge Singers, a professional chamber choir primarily dedicated to recording sacred choral works, and he now divides his time between composition and conducting. In 1980, he was made an honorary Fellow of Westminster Choir College, Princeton, and in 1988 a Fellow of the Guild of Church Musicians. In 1996, the Archbishop of Canterbury conferred a Lambeth Doctorate of Music upon him in recognition of his contributions to church music.
Caribbean music became widely popular in Britain from the 1950s, and this carol shows its influence. Although first published in 1974, the John Rutter carol, Jesus Child, remains just as fresh today as it was when first issued. It’s an exciting song with a calypso beat. It is as if a group of friends are telling each other about the birth of Christ and as the more people know the story, their joy and excitement for Christ grows.
Have you heard the story that they’re telling ’bout Bethlehem,
Have you heard the story of the Jesus child?
How he came from heaven and was born in a manger bed?
Mary was his virgin mother pure and mild.
Sing alleluia, brothers, sing alleluia, sisters,
Worship the Jesus child and praise his mother mild.
‘Glory to God’ the angel hosts are singing:
Listen to the story of the Jesus child.
Jesus child, lying at Bethlehem,
Sleeping safe at Mary’s knee,
Save my soul and bring me to paradise,
Let me join the angles singing glory to thee.
Sing alleluia, brothers, sing alleluia, sisters,
Worship the Jesus child and praise his mother mild.
‘Glory to God’ the angel hosts are singing:
Listen to the story of the Jesus child.
Have you hard the story of the kings from the orient,
Following the star that’s shining over his head?
Offering their precious gifts of gold, myrrh and frankincense,
Kneeling with the ox and ass before his bed?
Sing alleluia, brothers, sing alleluia, sisters,
Worship the Jesus child and praise his mother mild.
‘Glory to God’ the angel hosts are singing:
Listen to the story of the Jesus child.
Brothers, let us celebrate the birth of the Jesus child,
Sisters, come and welcome him, the new-born King;
Praise the Lord who sent him down form heaven at Christmas time;
Young and old and rich and poor, his praises sing.
Sing alleluia, brothers, sing alleluia, sisters,
Worship the Jesus child and praise his mother mild.
‘Glory to God’ the angel hosts are singing:
Listen to the story of the Jesus child.
Quiet Night - Phillip Keveren
(c.1997, Hal Leonard Corporation)
Lindsey Lassiter, violin
Phillip Keveren (b.1961) studied at Mount Hood Community College, where he served as pianist and arranger for the Mt. Hood Vocal Jazz Ensemble. He completed his Bachelor of Music in composition at California State University, Northridge, and received a Master of Music in compostion at University of Southern California. He became the Director of Electone Instruction (Yamaha Music Education System; Buena Park, California), Phillip learned to write music for pedagogical use, which further enriched his graduate education. Since then, Keveren has successfully worked on diverse projects ranging from piano methods, to instrumental recordings, to orchestrations for premiere Christian artists. He is a co-author of the Hal Leonard Student Piano Library. Keveren has also produced dozens of instrumental recordings that feature his unique orchestrations and distinctive piano artistry.
Nights are silent and still to those who believe, And if we listen:
We, too, may hear heaven rejoicing, Just as shepherds on a lonely hillside,
roused from sleeping near the midnight hour, heard an angelic choir.
Quiet night, Calm and still. O, the joy, O, the thrill!
For the shepherds, who sought Him of old,
For, like wisemen, who brought Him gold,
We now know He will bless us and our hearts’ hollowness fill.
Quiet night, Full of peace, For in Him conflicts cease.
Through the man and not the child, we through Christ are reconciled,
Worshiping God for His mercy, Humbly we call on our knees.
Silent night, holy night, All is calm, all is bright.
Round yon virgin mother and child, Holy infant so tender and mild,
Sleep in heavenly peace, Sleep in heavenly peace.
We with candles now burning, worship the Bringer of light.
About the Vocal Solo Music:
O Holy Night - Adolphe Adam
(c. 1992, Hal Leonard Corp.)
Paul Burnett, baritone
The words and lyrics of the old carol ‘O Holy Night’ were written by Placide Cappeau de Roquemaure in 1847. Cappeau was a wine-seller by trade but was asked by the parish priest to write a poem for Christmas. He obliged and wrote the beautiful words of the hymn. He then realised that it should have music to accompany the words and he approached his friend Adolphe Charles Adams(1803-1856). He agreed and the music for the poem was therefore composed by Adolphe. Adolphe had attended the Paris conservatoire and forged a brilliant career as a composer. It was translated into English by John Sullivan Dwight (1812-1893).
The strange and fascinating story of "O Holy Night" began in France, yet eventually made its way around the world. This seemingly simple song, inspired by a request from a clergyman, would not only become one of the most beloved anthems of all time, it would mark a technological revolution that would forever change the way people were introduced to music.
In 1847, Placide Cappeau de Roquemaure (1808-1877) was the commissionaire of wines in a small French town. Known more for his poetry than his church attendance, it probably shocked Placide when his parish priest asked the commissionaire to pen a poem for Christmas mass. Nevertheless, the poet was honored to share his talents with the church. In a dusty coach traveling down a bumpy road to France's capital city, Placide Cappeau considered the priest's request. Using the gospel of Luke as his guide, Cappeau imagined witnessing the birth of Jesus in Bethlehem. Thoughts of being present on the blessed night inspired him. By the time he arrived in Paris, "Cantique de Noel" had been completed.
Moved by his own work, Cappeau decided that his "Cantique de Noel" was not just a poem, but a song in need of a master musician's hand. Not musically inclined himself, the poet turned to one of his friends, Adolphe Charles Adams (1803-1856), for help. The son of a well-known classical musician, Adolphe had studied in the Paris conservatoire. His talent and fame brought requests to write works for orchestras and ballets all over the world. Yet the lyrics that his friend Cappeau gave him must have challenged the composer in a fashion unlike anything he received from London, Berlin, or St. Petersburg.
As a man of Jewish ancestry, for Adolphe the words of "Cantique de Noel" represented a day he didn't celebrate and a man he did not view as the son of God. Nevertheless, Adams quickly went to work, attempting to marry an original score to Cappeau's beautiful words. Adams' finished work pleased both poet and priest. The song was performed just three weeks later at a Midnight Mass on Christmas Eve.
Initially, "Cantique de Noel" was wholeheartedly accepted by the church in France and the song quickly found its way into various Catholic Christmas services. But when Placide Cappeau walked away from the church and became a part of the socialist movement, and church leaders discovered that Adolphe Adams was a Jew, the song--which had quickly grown to be one of the most beloved Christmas songs in France--was suddenly and uniformly denounced by the church. The heads of the French Catholic church of the time deemed "Cantique de Noel" as unfit for church services because of its "total absence of the spirit of religion." Yet even as the church tried to bury the Christmas song, the French people continued to sing it, and a decade later a reclusive American writer brought it to a whole new audience halfway around the world.
Not only did this American writer--John Sullivan Dwight (1812-1893)—feel that this wonderful Christmas songs needed to be introduced to America, he saw something else in the song that moved him beyond the story of the birth of Christ. An ardent abolitionist, Dwight strongly identified with the lines of the third verse: "Truly he taught us to love one another; his law is love and his gospel is peace. Chains shall he break, for the slave is our brother; and in his name all oppression shall cease." The text supported Dwight's own view of slavery in the South. Published in his magazine, Dwight's English translation of "O Holy Night" quickly found found favor in America, especially in the North during the Civil War.
Back in France, even though the song had been banned from the church for almost two decades, many commoners still sang "Cantique de Noel" at home. Legend has it that on Christmas Eve 1871, in the midst of fierce fighting between the armies of Germany and France, during the Franco-Prussian War, a French soldier suddenly jumped out of his muddy trench. Both sides stared at the seemingly crazed man. Boldly standing with no weapon in his hand or at his side, he lifted his eyes to the heavens and sang, "Minuit, Chretiens, c'est l'heure solennelle ou L'Homme Dieu descendit jusqu'a nous," the beginning of "Cantique de Noel. “ After completing all three verses, a German infantryman climbed out his hiding place and answered with, "Vom Himmel noch, da komm' ich her. Ich bring' euch gute neue Mar, Der guten Mar bring' ich so viel, Davon ich sing'n und sagen will," the beginning of Martin Luther's robust "From Heaven Above to Earth I Come.” The story goes that the fighting stopped for the next twenty-four hours while the men on both sides observed a temporary peace in honor of Christmas day. Perhaps this story had a part in the French church once again embracing "Cantique de Noel" in holiday services.
Adams had been dead for many years and Cappeau and Dwight were old men when on Christmas Eve 1906, Reginald Fessenden--a 33-year-old university professor and former chief chemist for Thomas Edison--did something long thought impossible. Using a new type of generator, Fessenden spoke into a microphone and, for the first time in history, a man's voice was broadcast over the airwaves: "And it came to pass in those days, that there went out a decree from Caesar Augustus, that all the world should be taxed," he began in a clear, strong voice, hoping he was reaching across the distances he supposed he would. Shocked radio operators on ships and astonished wireless owners at newspapers sat slack-jawed as their normal, coded impulses, heard over tiny speakers, were interrupted by a professor reading from the gospel of Luke. To the few who caught this broadcast, it must have seemed like a miracle--hearing a voice somehow transmitted to those far away. Some might have believed they were hearing the voice of an angel. Fessenden was probably unaware of the sensation he was causing on ships and in offices; he couldn't have known that men and women were rushing to their wireless units to catch this Christmas Eve miracle. After finishing his recitation of the birth of Christ, Fessenden picked up his violin and played "O Holy Night," the first song ever sent through the air via radio waves. When the carol ended, so did the broadcast--but not before music had found a new medium that would take it around the world.
Since that first rendition at a small Christmas mass in 1847, "O Holy Night" has been sung millions of times in churches in every corner of the world. And since the moment a handful of people first heard it played over the radio, the carol has gone on to become one of the entertainment industry's most recorded and played spiritual songs. This incredible work--requested by a forgotten parish priest, written by a poet who would later split from the church, given soaring music by a Jewish composer, and brought to Americans to serve as much as a tool to spotlight the sinful nature of slavery as tell the story of the birth of a Savior--has become one of the most beautiful, inspired pieces of music ever created.
O Holy Night! The stars are brightly shining.
It is the night of the dear Saviour’s birth!
Long lay the world in sin and error pining
Till he appear’d and the soul felt its worth.
A thrill of hope the weary world rejoices
For yonder breaks a new and glorious morn!
Fall on your knees! Oh hear the angel voices.
Oh night divine, Oh night when Christ was born,
Oh night divine, Oh night divine.
Led by the light of Faith serenely beaming
With glowing hearts by His cradle we stand
So led by light of a star sweetly gleaming
Here come the wise men from Orient land
The King of Kings lay thus in lowly manger
In all our trials born to be our friend
He knows our need, to our weakness no stranger;
Behold your King! Before Him lowly bend!
Behold your King! Before Hm bend!
Truly He taught us to love one another
His law is love and His gospel is peace
Chains shall He break for the slave is our brother
And in His name all oppression shall cease
Sweet hymns of joy in grateful chorus raise we,
Let all within us praise His holy name.
Fall on your knees! Oh hear the angel voices.
Oh night divine, Oh night when Christ was born,
Oh night divine, Oh night divine
About the Hymns:
Joy to the World
Our Christmas season would hardly seem complete without the singing of Joy to the World, the most joyous of the carols. Yet Isaac Watts, its author, never intended it to be a Christmas carol at all. Rather, it was a part of his Psalms of David Imitated, published in 1719, which contained paraphrases of many of the Psalms in New Testament language.
The story of the hymn, Joy to the World, is the story of the author, Isaac Watts (1675-1748), who is universally acknowledged as "The Father of English Hymnody". He has earned the title, not because he was first to write English hymns, but because he gave impetus to hymnody and established its place in the worship of the English church. For over one hundred years, congregational singing had been strictly limited to the Psalms of the Old Testament in poetic form. Many of these rhymed Psalms were so unnatural that Samuel Wesley, father of the famous brothers Charles and John, called them "scandalous doggerel," and his opinion was shared by many.
The birth of Isaac Watts to a dissenting deacon and the daughter of a Huguenot refugee was followed by fourteen years of persecution and hardships for the entire family. Perhaps this suffering was responsible for Isaac Watts’ ill health, for he grew only to a height of just over five feet and was weak and sickly all his life. Though weak in body, the boy was strong in mind and spirit and early in life showed promise of poetic capability. After one Sunday morning service, Isaac, then fifteen years old, complained of the atrocious worship in song. One of the deacons challenged him: "Give us something better, young man." His answer was to write hundreds of hymns that are still sung today.
Joy to the World is the "imitation" of the last half of Psalm 98. The author transformed the old Jewish psalm of praise for some historic deliverance into a Christian song of rejoicing for the salvation of God that began to be manifested when the Babe of Bethlehem came "to make his blessing flow far as the curse is found." This is one of the most joyous hymns in all Christendom because it makes so real what Christ’s birth means to all mankind.
The tune most widely associated with Watts’ text is ANTIOCH, often poorly attributed in hymnals to either George Frideric Handel or Lowell Mason, neither of which is the proper author. This tune appeared at least four times in short succession around the same date, 1832–1833. Since three of the collections were published without dates, the exact succession is difficult to determine. Possibly the earliest is Charles Rider’s Psalmodia Britannica, vol. 4,, where the tune was called COMFORT (c.1831) with the curious ascription, “Partly from J. Leach.” Another of these early appearances was in Thomas Hawkes’ Collection of Tunes (Watchet: Thomas Whitehorn, 1833, where it was also called COMFORT. The attribution to “Author unknown” suggests that the tune had appeared earlier in another collection or through some other resource yet to be determined. Hawkes’ collection was keyed to A Collection of Hymns for the Use of the People Called Methodists, with a Supplement (London: John Mason, 1831), where the tune appears with Charles Wesley’s “O joyful sound of gospel grace” and Wesley’s “How large the promise, how divine.” Around the same time Hawkes’ collection was published, this tune appeared in Thomas Clark’s Congregational Harmonist, vol. 3 (London: W. Blackman, n.d.), also dubbed COMFORT and paired with Wesley’s “O joyful sound,” without attribution. In this printing, the tunes are associated with the same Methodist collection published by John Mason that Hawkes’ had used for his tunebook.
In William Holford’s Voce di Melodia, ca. 1833–1834, 3rd ed., like the others, this tune was called COMFORT. Here the associated text was “O the delights, the heav’nly joys” by Isaac Watts. Holford seems to be the first to connect this tune with Handel. This tune has never been found among the works of Handel, but it does bear a resemblance to various strains from Messiah. The opening phrase, especially in these early British versions, recalls “Glory to God” and/or “Lift up your heads”, while the third phrase recalls the opening strains of “Comfort ye”. This latter association may very well be why the tune was called COMFORT, but the tune as a whole should not be credited to Handel, except perhaps as the tune’s inspiration.
Shortly thereafter, the tune crossed the Atlantic and was adapted by Lowell Mason (1792–1872) for his collection Occasional Psalm and Hymn Tunes, No. 3 (Boston, 1836). Mason credited the tune as “arranged from Handel” and he initiated its famed pairing with “Joy to the world.”
Joy to the world, the Lord is come! Let earth receive her King;
let ev’ry heart prepare him room and heav’n and nature sing,
and heav’n and nature sing, and heav’n, and heav’n and nature sing.
Joy to the earth, the Savior reigns! Let men their songs employ,
while fields and floods, rocks, hills, and plains, repeat the sounding joy,
repeat the sounding joy, repeat, repeat the sounding joy.
No more let sins and sorrows grow nor thorns infest the ground;
he comes to make his blessings flow far as the curse is found,
far as the curse is found, far as, far as the curse is found.
He rules the world with truth and grace and makes the nations prove
the glories of his righteousness and wonders of his love,
and wonders of his love, and wonders, wonders of his love.
Silent Night
Over 180 years ago the carol "Stille Nacht! Heilige Nacht" was heard for the first time in a village church in Oberndorf, Austria. The congregation at that Midnight Mass in St. Nicholas Church listened as the voices of the assistant pastor, Fr. Joseph Mohr (1792-1848), and the choir director, Franz Xaver Gruber (1787-1863), rang through the church to the accompaniment of Fr. Mohr's guitar. On that Christmas Eve, a song was born that would wing its way into the hearts of people throughout the world. Now translated into hundreds of languages, it is sung by untold millions every December from small chapels in the Andes to great cathedrals in Antwerp and Rome.
Today books, films and Internet sites are filled with fanciful tales purporting to tell the history of "Silent Night." Some tell of mice eating the bellows of the organ creating the necessity for a hymn to be accompanied by a guitar. Others claim that Joseph Mohr was forced to write the words to a new carol in haste since the organ would not play. A recent film, created for Austrian television places Oberndorf in the Alps and includes evil railroad barons and a double-dealing priest, while a recent book by a German author places a zither in the hands of Franz Gruber and connects Joseph Mohr with a tragic fire engulfing the city of Salzburg. You can read claims that "Silent Night" was sung on Christmas Eve in 1818 and then forgotten by its creators. Of course, the latter are easily discounted by manuscript arrangements of the carol by both Mohr and Gruber which were produced at various times between 1820 and 1855.
The German words for the original six stanzas of the carol we know as "Silent Night" were written by Joseph Mohr in 1816, when he was a young priest assigned to a pilgrimage church in Mariapfarr, Austria. His grandfather lived nearby, and it is easy to imagine that he could have come up with the words while walking thorough the countryside on a visit to his elderly relative. The fact is, we have no idea if any particular event inspired Joseph Mohr to pen his poetic version of the birth of the Christchild. The world is fortunate, however, that he didn't leave it behind when he was transferred to Oberndorf the following year (1817). On December 24, 1818 Joseph Mohr journeyed to the home of musician-schoolteacher Franz Gruber who lived in an apartment over the schoolhouse in nearby Arnsdorf. He showed his friend the poem and asked him to add a melody and guitar accompaniment so that it could be sung at Midnight Mass. His reason for wanting the new carol is unknown. Some speculate that the organ would not work; others feel that the assistant pastor, who dearly loved guitar music, merely wanted a new carol for Christmas. Later that evening, as the two men, backed by the choir, stood in front of the main altar in St. Nicholas Church and sang "Stille Nacht! Heilige Nacht!" for the first time, they could hardly imagine the impact their composition would have on the world.
Karl Mauracher, a master organ builder and repairman from the Ziller Valley, traveled to Oberndorf to work on the organ, several times in subsequent years. While doing his work in St. Nicholas, he obtained a copy of the composition and took it home with him. Thus, the simple carol, began its journey around the world as a "Tyrolean Folk Song."
Two traveling families of folk singers from the Ziller Valley, similar to the Trapp Family Singers of "The Sound of Music" fame, incorporated the song into their repertoire. According to the Leipziger Tageblatt, the Strassers sang the song in a concert in Leipzig in December 1832. It was during this period, several musical notes were changed, and the carol evolved into the melody we know today. On another occasion, according to an historical plaque, the Rainer Family sang the Christmas carol before an audience which included Emperor Franz I and Tsar Alexander I. In the year 1839, the Rainers performed "Stille Nacht" for the first time in America, at the Alexander Hamilton Monument outside Trinity Church in New York City.
Joseph Bletzacher, the Court Opera singer from Hannover, reported that by the 1840s, the carol was already well known in Lower Saxony. "In Berlin," he says, "the Royal Cathedral Choir popularized it especially. It became in fact the favorite Christmas carol of the artistically appreciative King Frederick William IV of Prussia, who used to have the Cathedral Choir sing it for him during the Christmas season each year." During his lifetime, Franz Xaver Gruber produced a number of orchestral arrangements of his composition. The original guitar arrangement is missing, but five other Gruber manuscripts of the carol exist. The manuscript by Joseph Mohr (ca. 1820) is for guitar accompaniment and is probably the closest to the arrangement and melody sung at Midnight Mass in 1818.
Perhaps this is part of the miracle of "Silent Night." The words flowed from the imagination of a modest curate. The music was composed by a musician who was not known outside his village. There was no celebrity to sing at its world premiere. Yet its powerful message of heavenly peace has crossed all borders and language barriers, conquering the hearts of people everywhere.
Silent night, holy night! All is calm, all is bright.
Round yon Virgin, Mother and Child. Holy infant so tender and mild,
Sleep in heavenly peace, Sleep in heavenly peace
Silent night, holy night! Shepherds quake at the sight.
Glories stream from heaven afar Heavenly hosts sing Alleluia,
Christ the Savior is born! Christ the Savior is born
Silent night, holy night! Son of God love's pure light.
Radiant beams from Thy holy face With dawn of redeeming grace,
Jesus Lord, at Thy birth, Jesus Lord, at Thy birth
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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