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:
The Heavens Declare the Glory of God - Benedetto Marcello
Brenton Wolfe & Elizabeth Lentz, trumpets
Born in Venice, Benedetto Marcello (1686-1739) was a member of a noble family and his compositions are frequently referred to as Patrizio Veneto. Although he was a music student of Antonio Lotti and Francesco Gasparini, his father wanted Benedetto to devote himself to law. Benedetto managed to combine a life in law and public service with one in music. In 1711, he was appointed a member of the Council of Forty (in Venice's central government), and in 1730, he went to Pola as Provveditore (district governor). Due to his health having been "impaired by the climate” of Istria, Marcello retired after eight years in the capacity of Camerlengo to Brescia, where he died of tuberculosis. Benedetto Marcello was the brother of Alessandro Marcello, also a notable composer. Benedetto Marcello married his singing student Rosanna Scalfi in a secret ceremony, because as a nobleman, his marriage to a commoner was unlawful. After Marcello's death the marriage was declared null by the state, and Rosanna was unable to inherit his estate. She filed suit in 1742 against Benedetto's brother Alessandro Marcello, seeking financial support. Marcello composed a variety of music including considerable church music, oratorios, hundreds of solo cantatas, duets, sonatas, concertos and sinfonias.
Marcello's Psalms of David constitute an unusual chapter in the history music. They were collectively published under the title L'estro poetico-armonico: parafrasi sopra li primi [e secondi] venticinque salmi di Davide (Poetic-harmonic fecundity: The first [second] twenty-five Psalms of David) in eight folio (large-format) volumes issued between 1724 and 1726. Catalogues often take the subtitle for the initial title, thus beginning Parafrasi... (Paraphrases...), following the subtitle. In textual sources, the collection is usually cited as the Estro poetico-armonico, while in editions the single works are named and designated psalms.
The Psalms were not intended for liturgical use. It is for this reason that the poetic paraphrases are in the Italian vernacular rather than the Latin. In the composer's mind they were secular works intended to enhance discussion of literary and intellectual themes in explorations of ancient cultures. Each work made its debut at an academic gathering. Musically, the Psalms are atypical of the larger culture in which they existed, where opera and chamber music predominated. Yet they are also highly intricate works that reflect in whose musical construction reflects the elaborate poetic schemes of David's psalmistry.
The musical settings are based on vernacular translations from the original Hebrew by Gerolamo Ascanio Giustiniani II, who, like Marcello came from a noble Venetian family. The Giustiniani family resided in a modest north-facing palazzo on Venice's Grand Canal in the parish of San Barnabà, and the first performances of Marcello's Psalms are thought to have been presented privately in their salon looking onto the water. Why Giustiniani and Marcello decided to present only 50 of the Psalms is unknown, but the choice may derive from the Torah. Five (the number of books in the Pentateuch) and its multiple 50 figured prominently in the organization of Jewish and Christian liturgy. In the latter the celebratory feast of Easter was framed by two periods of 50 days, the first being Lent, the last the feast of Pentecost. The later celebrated the descent of the Holy Spirit, which completed the formation of the Trinity. The Psalm texts suggest musical treatment: King David was a poet and a musician.
Marcello's setting of Psalm 18: I Cieli immensi narrano* (The Heavens are telling) was widely circulated throughout the nineteenth century. It incorporated three verses inspired from examples thought to be ancient. The English title is the same as that of the jubilant chorus in Haydn's oratorio The Creation. The music of Verse 15 was derived, according to Marcello, on "the Greek hymn of Homer to Ceres." The text, taken from Gaudentius, was addressed to Demeter and "her beautiful daughter" Persephone. This setting has been transcribed many times for organ, orchestra, band, etc. In this case, it has been arranged for two trumpets and organ.
In the Roman Catholic Bible, this is Psalm 18; however, in the Protestant Bible, it is Psalm 19 because Psalm 9 is divided into 2 Psalms.
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.
About the Choral Music:
Easter Angel Song - Cindy Berry
(c.1996, Hal Leonard Corp.)
Cindy Woods Berry was born in Houston, Texas and attended Houston Baptist University. She is a composer and arranger of numerous sacred choral works, children's musicals and piano collections. She frequently serves as a choral and keyboard clinician, leading "composer weekends" and various other workshops throughout the country. She has been the recipient of annual ASCAP Special Awards for many years. Cindy and her husband Bruce (a Minister of Music) currently serve at First Baptist Church in Killeen, Texas. Cindy serves as a church pianist and director of the children's choir. Her goal as a musician is to always present her music as an offering of worship to God.
He is not here, for He is risen, Come see the place where Jesus lay.
Now go and share the wondrous story: Christ the Lord is risen today.
He is not here, for He is risen, Come see the place where Jesus lay.
Now go and share the wondrous story: “Christ the Lord is risen today.”
Although He was crucified at the hands of sinful men,
remember how He told you that He would rise again.
So why do you seek the living among the dead?
Jesus is risen as He said!
He is not here, for He is risen. Come see the place where Jesus lay.
Now go and share the wondrous story: “Christ the Lord is risen today.”
Look! The stone is rolled away. Go and tell the world today!
He is not here, for He is risen. Come to the place where Jesus lay.
Now go and share the wondrous story: Christ the Lord is risen today.
Christ the Lord is risen today. Christ the Lord is risen today.
Joy in the Morning – Natalee Sleeth
(c.1977, Hope Publishing)
Natalie Allyn Sleeth (née Wakeley) (1930-1992) was born in Evanston, Illinois. In 1934, she began to study the piano at the early age of four. In 1952, she received an Academic major in music theory and a BA in music theory at Wellesley College in Massachusetts. She married a Professor of Homiletics, Reverend Ronald E. Sleeth. In her later life she received an honorary doctorate from West Virginia Wesleyan College in 1959, and from Nebraska Wesleyan College in 1990. An organist, she wrote over 180 selections 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 for the West Virginia Wesleyan College concert chorale on the occasion of her husband's inauguration as the president of West Virginia Wesleyan College in 1977. Far and away the best-selling anthem in the Hope catalog with over one million copies sold, "Joy in the Morning" is a true classic.
Joy, there’ll be joy, there’ll be joy, joy, joy, joy, joy,
there’ll be joy, there’ll be joy, there’ll be joy in the morning,
there’ll be joy in the morning on that day, on that day.
There’ll be joy in the morning on that day.
For the daylight will dawn when the darkness is gone,
there’ll be joy in the morning on that day.
There’ll be peace and contentment evermore,
there’ll be peace evermore, there’ll be peace on the earth once more,
Every heart and voice will again rejoice, there’ll be peace, peace evermore.
And the glory, glory, glory of the Lord will shine, will shine,
And the glory of the Lord will bring the truth divine.
There’ll be love and forgiveness everywhere,
there’ll be love everywhere,
And the way of the Lord will that day be restored,
There’ll be love, sweet love everywhere.
There’ll be joy, there’ll be joy, there’ll be joy, joy, joy, joy, joy,
There’ll be joy in the morning, there’ll be joy on that day,
for the daylight will dawn when the darkness is gone,
There’ll be joy, joy, joy!
There’ll be peace and contentment for evermore,
there’ll be peace and contentment evermore, evermore,
Every heart, every voice will together rejoice,
there’ll be peace, peace, peace.
And the glory, glory, glory of the Lord will shine, will shine,
and the glory, glory, glory of the Lord will bring the truth divine,
There’ll be love and forgiveness everywhere, there’ll be love everywhere,
and the way of the Lord will be restored,
There’ll be love and forgiveness,
There’ll be peace and contentment,
There’ll be joy, joy, joy, joy, joy!
Hallelujah, from Messiah – G. F. Handel
Georg Friederich Handel (1685-1759) became a musician and composer despite objections from his father, who wanted him to become a lawyer. Handel studied music with Zachau, organist at the Halle Cathedral, and became an accomplished violinist and keyboard performer. He traveled and studied in Italy for some time and then settled permanently in England in 1713. Although he wrote a large number of instrumental works, he is known mainly for his Italian operas, oratorios (including “Messiah”, 1741), various anthems for church and royal festivities, and organ concertos, which he interpolated into his oratorio performances. He composed only three hymn tunes, one of which still appears in some modern hymnals. A number of hymnal editors, including Lowell Mason, took themes from some of Handel's oratorios and turned them into hymn tunes.
Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the version of the Psalms included with the Book of Common Prayer. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.
Handel's reputation in England, where he had lived since 1712, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s in response to changes in public taste; Messiah was his sixth work in this genre. Although its structure resembles that of opera, it is not in dramatic form; there are no impersonations of characters and no direct speech. Instead, Jennens's text is an extended reflection on Jesus Christ as Messiah. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only "scene" taken from the Gospels. In Part II, Handel concentrates on the Passion and ends with the "Hallelujah" chorus. In Part III he covers the resurrection of the dead and Christ's glorification in heaven.
Handel wrote Messiah for modest vocal and instrumental forces, with optional settings for many of the individual numbers. In the years after his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs. In other efforts to update it, its orchestration was revised and amplified by (among others) Mozart. In the late 20th and early 21st centuries the trend has been towards reproducing a greater fidelity to Handel's original intentions, although "big Messiah" productions continue to be mounted. A near-complete version was issued on 78 rpm discs in 1928; since then the work has been recorded many times.
Part II closes with the chorus "Hallelujah", in the key of D major with trumpets and timpani. This chorus is often performed out of context, especially around Christmas and Easter. The choir introduces in homophony a characteristic simple motif on the word, playing with the interval of a second, which re-appears throughout the piece. Several lines from the Book of Revelation (Revelation 19:6,16, Revelation 11:15) are treated differently, as in a motet, but unified by "Hallelujah" as a conclusion or as a countersubject in a fugal section. The line "for the Lord God omnipotent reigneth" is sung by all voices, first in unison, then in imitation with Hallelujah-exclamations interspersed. The second line "The kingdom of this world is become" is sung in a four part setting like a chorale. The third idea "and he shall reign for ever and ever" starts as a fugue on a theme with bold leaps, reminiscent in sequence of Philipp Nicolai's Lutheran chorale Wachet auf. As a countersubject, the words "forever – and ever" assume the rhythm of the Hallelujah-motif. The final acclamation "King of Kings...and Lord of Lords" is sung on one note, energized by repeated calls "Hallelujah" and "forever – and ever", raised higher and higher (the sopranos and the trumpets part), up to a rest full of tension and a final solemn "Hallelujah".
In many parts of the world, it is the accepted practice for the audience to stand for this section of the performance. The tradition is said to have originated with the first London performance of Messiah, which was attended by King George II. As the first notes of the triumphant Hallelujah Chorus rang out, the king was so moved that he rose to his feet and remained standing until the end of the chorus. Royal protocol has always dictated that when the monarch stands, everyone in the monarch's presence is also required to stand. Thus, the entire audience and orchestra stood when the king stood during the performance, initiating a tradition that has lasted more than two centuries.
There is another story told about this chorus that Handel's assistant walked in to Handel's room after shouting to him for several minutes with no response. The assistant reportedly found Handel in tears, and when asked what was wrong, Handel held up the score to this movement and said, "I thought I saw the face of God."
Hallelujah! For the Lord God Omnipotent reigneth. Hallelujah!
The kingdom of this world is become the Kingdom of our Lord, and of His Christ.
And He shall reign forever and ever, King of Kings and Lord of Lords. Hallelujah!
About the Hymns:
Christ the Lord is Risen Today
"Hymn for Easter Day" was written by Charles Wesley in 1739 for the inaugural service at the Foundry Meeting House, London's first Wesleyan chapel. As with many of the most popular hymns, "Christ the Lord Is Risen Today" has survived the centuries thanks to a successful marriage of lyrics and music. The tune first circulated in 1708 with the Lyra Davidica hymnal, but no composer has ever been acknowledged. It was first published in A Collection of Hymns for the Use of the People Called Methodists, John Wesley's hymnbook first published in 1780. Charles Wesley's original text does not include the song's most distinctive characteristic—the "Alleluia!" that ends each line. An unknown editor added the alleluias later.
“Alleluia”, meaning "Praise the Lord," prominently leads off Psalms 106, 111, 112, 113, 117, and 135 in the Hebrew hymnal. In the years immediately following Christ's resurrection, “alleluia” particularly connoted praise for Jesus' victory over death. Early Christians began greeting each other on Easter with the now-familiar call and response: "Alleluia! He is risen!" "Alleluia! He is risen indeed!" Alleluia is meant to convey emphatic joy, thanksgiving, and triumph.
John captures the triumph in Revelation 19 with his vision of the great multitude in heaven roaring, "Alleluia!" Jerome, translator of the Latin Vulgate, conveyed the joy when he wrote that Christian houses of worship in the fourth and fifth centuries shook from the intense alleluias shouted by believers. Roman Catholics and Anglicans refrain from speaking or singing alleluia during Lent, but they reintroduce the word into their liturgies to express their thanksgiving on Easter morning. Even in nonliturgical churches, alleluia retains a kind of liturgical significance. Bernard Lord Manning, a hymnologist, historian, and observer of Methodism during the early 20th century, explained how hymns like "Christ the Lord Is Risen Today" functioned as a liturgy for John and Charles Wesley's spiritual descendants.
But in the evening at the chapel [the Dissenting church], though I was uncertain about the prayers, there was no gamble about the hymns. I knew we should have Charles Wesley's Easter hymn, "Christ the Lord Is Risen Today," with its 24 "Alleluias": and we did have it. Among any Dissenters worth the name that hymn is as certain to come on Easter Day as the Easter Collect in the Established Church. And mark this further—those 24 "Alleluias" are not there for nothing: the special use of "Alleluia" at Easter comes down to us from the most venerable liturgies. Our hymns are our liturgy, an excellent liturgy. Let us study it, respect it, use it, develop it, and boast of it.
This melodic liturgy conveys the triumphant joy that is ours on Easter morning. Alleluia! Christ is risen!
Christ the Lord is ris’n today, Alleluia! Sons of men and angels say, Alleluia!
Raise your joys and triumphs high, Alleluia! Sing, ye heav’ns, and earth, reply, Alleluia!
Lives again our glorious King, Alleluia! Where, O death, is now thy sting? Alleluia!
Once He died our souls to save, Alleluia! Where thy victory, O grave? Alleluia!
Love’s redeeming work is done, Alleluia! Fought the fight, the battle won, Alleluia!
Death in vain forbids His rise, Alleluia! Christ hath opened paradise, Alleluia!
Soar we now where Christ hath led, Alleluia! Foll’wing our exalted Head, Alleluia!
Made like Him, like Him we rise, Alleluia! Ours the cross, the grave, the skies, Alleluia!
Hail the Lord of earth and heaven, Alleluia! Praise to Thee by both be given, Alleluia!
Thee we greet triumphant now, Alleluia! Hail the Resurrection, thou, Alleluia!
King of glory, Soul of bliss, Alleluia! Everlasting life is this, Alleluia!
Thee to know, Thy pow’r to prove, Alleluia! Thus to sing, and thus to love, Alleluia!
Up from the Grave He Arose
Robert Lowry (1826-1899), the Philadelphia-born author and composer of this hymn, was a popular Baptist preacher and educator who served churches in Pennsylvania, New York City and Plainfield, N.J. Lowry studied theology at the University of Lewisburg (now Bucknell University), graduating in 1854 and teaching literature there from 1869-1875. Lowry was recognized as a most capable minister of the gospel, possessing keen insight and administrative ability. He became known as a thorough Bible scholar and a brilliant and captivating orator; few preachers of his day had greater ability to paint word pictures and to inspire a congregation. Music and a knowledge of hymnology were his favorite studies, but always as an avocation. He became known for his gospel songs while ministering in Brooklyn, collaborating often with William H. Doane in producing gospel song collections.
Among his most famous gospel compositions are “Nothing but the Blood of Jesus” (UM Hymnal, No. 362) and “Shall We Gather at the River” (No. 723). He also composed tunes for other’s texts, such as MARCHING TO ZION, a camp meeting version of Isaac Watts’ text, “Come, We that Love the Lord,” and NEED, a tune for Annie Hawks’ hymn, “I Need Thee Every Hour.” When William Bradbury, another well known gospel song writer, died, Lowry was selected by the Biglow Publishing Company in 1868 to be its music editor. In this capacity he published more than 20 Sunday school songbooks. Pure Gold, considered to be his most successful publication, sold more than 1,000,000 copies.
“Low in the Grave He Lay,” called “Christ Arose” in many hymnals, was composed in 1874 while Lowry was the pastor of the First Baptist Church of Lewisburg, Pa. Following his reflection on the resurrection as recorded in Luke 24:6-8, Lowry found himself seated at the little pump organ in the parlor of his home, and, in a very spontaneous fashion, there came forth the music and the words, giving expression to the thoughts that had been uppermost in his mind. The centerpiece of the song is the textual and musical contrast between the stanzas and the refrain. The dirge-like stanzas in block chords with a melody that plods in a step-wise fashion give way to a rhythmic refrain that surges up like a trumpet blast. Within the Western 19th-century gospel sound, the music of this song captures perfectly the spirit of the transition from Good Friday to Easter Sunday. It first appeared in the collection Brightest and Best (1875) under the title “He is not here, but risen—Luke 24:5.” When it was included in music evangelist Ira D. Sankey’s Sacred Songs and Solos (1875), the song became very popular in the Moody-Sankey revivals. From that point it appeared in a number of 19th-century British and American hymnals.
Low in the grave he lay, Jesus my Savior,
waiting the coming day, Jesus my Lord!
Vainly they watch his bed, Jesus my Savior,
vainly they seal the dead, Jesus my Lord!
Death cannot keep its prey, Jesus my Savior;
he tore the bars away, Jesus my Lord!
Up from the grave he arose;
with a mighty triumph o'er his foes;
he arose a victor from the dark domain,
and he lives forever, with his saints to reign.
He arose! He arose! Hallelujah! Christ arose!
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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