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:
Now the Silence - Charles Ore
(c.1976, Hope Publishing)
Jaroslav Vajda (1919-2008) was one of the leading hymn writers in the twentieth century and arguably the preeminent Lutheran hymn writer of his generation. Vajda (pronounced vaheeduh) was born in Lorain, Ohio, the son of a Lutheran pastor of Slovak descent. Thoroughly Lutheran, he was educated at Concordia College and Concordia Seminary, St. Louis, Missouri. He pastored several bilingual Lutheran parishes (Slovak and English) in Pennsylvania, Indiana, and Missouri. Vajda served as the editor at Concordia Publishing House, St. Louis, editing the Lutheran Beacon, the magazine of the Synod of the Evangelical Lutheran Churches and the monthly religious magazine This Day.
Vajda began translating classical Slovak poetry at the age of eighteen, and his work was published in the United States and Europe. He wrote his first hymn at age 49, followed by more than 225 original works and translations that now appear worldwide in more than 65 hymnals. He served on the Commission on Worship that included participation on the hymnal committee for The Lutheran Book of Worship (1978). His own publications include They Followed the King, 45 meditations on biblical heroes of the faith (1964), Follow the King (1977), and books on the craft of hymn writing, including his own hymns, Now the Joyful Celebration (1987). Sing Peace, Sing Gift of Peace (2003) is a collection of his complete hymns and translations. Elected a Fellow of The Hymn Society in the United States and Canada in 1988, Vajda received eight honorary doctorates validating his contributions to hymn singing, including an Honorary LLD from Concordia Seminary (1987).
“Now the silence” (1968) is one of Vajda’s signature hymns. First appearing in the Lutheran publication, This Day, in May 1988, this hymn is unusual in its construction, the entire hymn containing fourteen lines and with no punctuation. The author notes, “If there was one hymn text that proved a catalyst for my hymn writing, it was ‘Now the silence.’” The incessant use of the word “Now” places the mystery of the Eucharist into the center of the singer’s consciousness. The Lord’s Supper is no longer relegated to the past as a memorial event, but is a reality “Now” as we see “the vessel brimmed for pouring” and participate in “the joyful celebration.”
The music makes a significant contribution to the experience of this hymn. Carl Schalk (b. 1929), a leading Lutheran organist and composer, recognized the poem’s potential. The relationship between Vajda and Schalk has been one of the most enduring poet/musician teams of the twentieth century. As the author noted, “Carl Schalk’s collaboration with me on this hymn and others prompts an expression of appreciation to him and to all musicians, without whom… hymn texts, no matter how good, would die.” Dr. Schalk, professor of music emeritus for Concordia University, Chicago, collaborated with the Rev. Vajda for forty years. They were jointly commissioned to write 26 hymns including some of the best known. At the time of Dr. Vajda’s death, Dr. Schalk referred to the hymnwriter as “a good friend and talented poet. Jary had a remarkable ability to fashion a striking new image [and] to reshape an older one, recreating it in a way which brought fresh insight and understanding. One is always struck by the strong theological thrust of Jary’s texts – biblically grounded, theologically informed, and rooted in Trinitarian theology.”
The poet deserves the last word on his hymns: “My hymns are what they are: poetic expressions of thanks to God. They are my grateful reaction – my praise and wonder and exclamation – to the love and glory of God.”
Now the silence Now the peace
Now the empty hands uplifted
Now the kneeling Now the plea
Now the Father's arms in welcome
Now the hearing Now the power
Now the vessel brimmed for pouring
Now the body Now the blood
Now the joyful celebration
Now the wedding Now the songs
Now the heart forgiven leaping
Now the Spirit's visitation
Now the Son's epiphany
Now the Father's blessing
Now Now Now
Charles W. Ore (b.1936) was born in Winfield, Kan. A 1958 graduate of Concordia University in Seward, he was awarded a master of music degree from Northwestern University in. Evanston, Ill., and a doctor of musical arts degree from the University of Nebraska-Lincoln. From 1966 to 2001, Charles was professor of music and chair of the Music Department at Concordia University in Seward, Nebraska. He was also the cantor of Pacific Hills Lutheran Church in Omaha, Nebraska from 1975-2001 and Associate Organist at First-Plymouth Congregational Church, Lincoln, Nebraska from 2001-2006. Charles is an accomplished organ recitalist, composer of organ and choral music, and is a leader in the use and development of improvisation in organ playing. Charles Ore is best known for his organ compositions. His nine volumes of 11 Compositions for Organ, which appeared from 1971 to 2012, comprise the longest-running series in Concordia Publishing House history.
Grosser Gott - Barbara Harbach
(c.2003, Augsburg Fortress)
“God of our Life, All-Glorious Lord” is Lutheran hymn by Paul Zeller Strodach. (1876-1947). A graduate the Lutheran Theological Seminary, Philadelphia (1899), Strodach was pastor of several Lutheran churches in Pennsylvania before becoming literary editor for the United Lutheran Church Publication House, Philadelphia, for two decades. He translated the 1523 Lutheran Order of Baptism from German to English, and wrote A Manual on the Liturgy, which became the standard liturgical reference in his tradition. He also served on the commission for the 1958 Lutheran Service Book and Hymnal. His works include The Church Year (1924), Oremus: Collects, Devotions, Litanies from Ancient and Modern Sources (1925), A Manual for Worship (1930, 1946), The Road He Trod (1932), and The Collect for the Day (1939).
The tune is from a German hymn, "Holy God, We Praise Thy Name" (original German: "Großer Gott, wir loben dich") The German Catholic priest Ignaz Franz wrote the original German lyrics in 1771 as a paraphrase of the Te Deum, a Christian hymn in Latin from the 4th century. It became an inherent part of major Christian ceremonial occasions, mainly as a conclusion song. Due to its memorable melody and theme, it is one of the most popular hymns in German-speaking communities. As a result of the German emigration in the 19th century, the song became known in the United States. The first printing of the hymn was made in Vienna 1776, where it became part of the Catholic hymnal (Katholisches Gesangsbuch) upon the order of Her Apostolic Majesty Maria Theresia.
God of our life all glorious Lord, be now and evermore adored!
Into the op’ning of this day bring grace and love and peace, we pray.
Make clear our path, that we may see where we must walk to be with thee
and ever listen for Thy voice, that we may make Thy way our choice.
Give us Thy help in ev’ry task, nor let us fail of Thee to ask
for grace in speech, for love in deed from wrongful actions to be freed.
Barbara Harbach, Curators’ Professor of Music at the University of Missouri-St. Louis, has a large catalog of works, including; symphonies, operas, string orchestra, musicals, works for chamber ensembles, film scores, modern ballet, pieces for organ, harpsichord and piano; choral anthems; and many arrangements for brass and organ of various Baroque works. She is also involved in the research, editing, publication and recording of manuscripts of eighteenth-century keyboard composers, as well as historical and contemporary women composers. Harbach has toured extensively as both concert organist and harpsichordist throughout the United States and Canada, and overseas in Belgium, Bosnia, Croatia, Czech Republic, Germany, Hungary, Italy, Japan, Korea, Romania, Serbia and Russian Siberia. Barbara Harbach initiated Women in the Arts-St. Louis, a celebration of the achievements of women creators. Over 800 events by various cultural organizations in the St. Louis region provided audiences with new and historical examples of the work of women writers, composers and artists.
About the Piano Music:
Brethren, We Have Met to Worship - Mary McDonald
(c.1994, Purifoy Publishing)
The author of this hymn has not been positively identified. It has been traditionally attributed to George Atkins, but no further information has been found about him or the text. The five stanzas of this text first appeared in print in 1825. The fourth stanza (“Is there here a trembling jailer”) is often omitted. The final two lines of each stanza are based on these lines: “pray, and holy manna will be showered all around,” which may be a reference to the story of God providing manna to feed the Israelites in the wilderness. The opening stanza of this call to worship calls on Christians to pray for the Holy Spirit's presence as the service begins, while the final stanza calls for believers to live in the love of God in anticipation of the full redemption of creation when Christ returns.
In many of yesterday’s churches, certain leaders would gather while the pastor was preaching to pray for power and clarity in his words, and for responsive listeners and souls changed for eternity. Even a spiritually mature preacher can accomplish nothing of lasting worth without empowerment of the Holy Spirit: “For our gospel came not unto you in word only, but also in power, and in the Holy Ghost” (1 Thessalonians 1:5). As God’s Word is preached in purity and with spiritual power, we can expect His blessings. The hymn writer used manna, the miraculous provision of food for the Israelites in the wilderness, to symbolize God’s answer to the church’s prayers.
Brethren, we have met to worship And adore the Lord our God;
Will you pray with all your power, While we try to preach the Word?
All is vain unless the Spirit Of the Holy One comes down;
Brethren, pray, and holy manna Will be showered all around.
Let us love our God supremely, Let us love each other, too;
Let us love and pray for sinners, Till our God makes all things new.
Then He'll call us home to heaven, At His table we'll sit down;
Christ will gird Himself, and serve us With sweet manna all around.
Mary McDonald’s sacred music career spans over thirty-five years. More than eight hundred anthems, seasonal musicals and keyboard collections testify to her significant contribution to sacred literature. In 2000, Mary became the first ever woman President of the Southern Baptist Church Music Conference. In addition, she has served as accompanist for the Tennessee Men's Chorale since 1985. Her greatest desire is "to give God glory for the songs He has allowed me to compose. He alone, is the true Creator behind my pen." In 2011, after serving as sacred music editor for The Lorenz Corporation in Dayton, Ohio for more than twenty years, Mary answered a new call. Now she takes her tremendous passion and love for music making directly to churches as an independent artist by holding Composer Weekend workshops.
About the Vocal Solo Music:
I’m Gonna Live So God Can Use Me - Tom Fettke and Thomas Grassi
(c.2012, Lorenz Publishing)
The name of the first person who first sang the words “I’m gonna live so God can use me, anywhere, Lord, anytime” is lost to history. This African-American spiritual is one of many that have been passed down through generations. It has been included in printed collections of hymns and spirituals for over 100 years. It was one of the songs that inspired and motivated the Civil Rights movement.
This setting uses the tune SHENANDOAH, a traditional American folk song of uncertain origin, dating to the early 19th century. The song appears to have originated with American and Canadian voyageurs or fur traders traveling down the Missouri River in canoes, and has developed several different sets of lyrics. Some lyrics refer to the Oneida chief Shenandoah and a canoe-going trader who wants to marry his daughter. By the mid 1800s versions of the song had become a sea shanty heard or sung by sailors in various parts of the world.
I’m gonna live so God can use me as I walk this pilgrim journey.
I’m gonna live so God can use me anytime and anywhere
as I seek to share His glory.
I’m gonna pray that God will use me as a light to pierce the darkness.
I’m gonna pray that God will use me anytime and anywhere
as a channel of His mercy.
Lord, show the way and go before me, make me worthy of Your calling.
O take me, Lord, refine and mold me anytime and anywhere.
Hear my fervent prayer, “Lord, send me,” Anytime and anywhere
hear my fervent prayer, “Lord send me.”
O teach me, Lord; o send me, Lord; use me, Lord.
Tom Fettke earned degrees from Oakland City College and California State University at Hayward. He holds a California Lifetime Music Credential in Secondary Music. For many years, he taught vocal music in California's public school systems. He served as church choir director and minister of music in churches large and small for over thirty years. While at the Redwood Christian School System in Castro Valley, California, Fettke held the positions Director of Choral Activities and Supervisor of Music. A high demand calls for Fettke as a guest conductor, clinician and workshop leader. In addition, he is a composer, arranger and producer of music and recordings for the church and school. His published works and recordings number in the hundreds. Thousands of church and school choirs throughout the world sing his classic choral work, The Majesty and Glory of Your Name. Fettke was the creator and Senior Editor of The Hymnal for Worship and Celebration. Fettke also is Senior Editor of The Celebration Hymnal.
Thomas W. Grassi is a composer, arranger, and orchestrator with Lorenz Music. His anthems have appeared in the catalogs of many publishers since the beginning of his publishing career in 1998. He has received a variety of awards over the years from the American Society of Composers, Authors and Publishers; Gospel Music Association; The John Lennon Songwriting Foundation; and the Billboard Magazine Song Contest. Born and raised in the San Francisco Bay Area, Thomas’s past professional experience includes ministerial positions at Valley Community Church of Pleasanton, California and Christ Presbyterian Church in Nashville, Tennessee. Currently, Thomas is the Minister of Worship & Music at Kindred Community Church in Anaheim Hills, California. He is a graduate of San Diego Christian College with a BA in Music with an emphasis in sacred choral literature. He has earned his Evangelical Teacher Training Certificate as well, and has taught voice, piano, and guitar privately and in secondary schools for twenty years.
As We Go - Jeremy Johnson
(c.2007, Van Ness Press, admin by LifeWay Worship)
Jeremy Johnson is a full-time songwriter and producer for LifeWay Worship Music Group. Originally from Shreveport, Louisiana, Jeremy moved to Nashville in 1994 to attend Belmont University. He signed an exclusive publishing deal with LifeWay in 2004 when his songs gained the attention of producer/songwriter Greg Nelson. Jeremy is the pianist/band leader at The Church at Station Hill in Spring Hill, TN.
This hymn is a simple, sincere call to carry the message and Spirit with us wherever we go. The words and music were written by Jeremy Johnson in 2011. The text is based on Psalm 48:14 and Matthew 28:16-20.
As we go, may your Spirit go before us.
As we go, may we follow where you lead.
May we live what we have learned,
share the message we have heard,
and be a light unto the world as we go.
About the Hymns:
Shall We Gather at the River
"Shall We Gather at the River?" or simply "At the River" are the popular names for the traditional Christian hymn titled "Hanson Place," written in 1864 by American poet and gospel music composer Robert Lowry (1826–1899). He studied theology at the University at Lewisburg (now Bucknell University) and on graduating, in 1854, became ordained as a Baptist minister. He had charge of churches in a number of places including the Bloomingdale Baptist Church in New York City; the Hanson Place Baptist Church in Brooklyn; and others in West Chester, Pennsylvania and New Jersey. He wrote a number of hymns with members of his congregations. At the Hanson Place Baptist Church he wrote songs with Annie Hawks, and he established a similar partnership with Fanny J. Crosby at Sixth Avenue Bible Baptist Church in Brooklyn, New York. He is most remembered as a composer of gospel music and a hymn writer, and also worked as a music editor at the Biglow & Main Publishing Company. He was responsible for around 500 compositions, including "Nothing But the Blood," "Christ Arose" ("Low in the Grave He Lay") (words and music)," and "How Can I Keep From Singing?". He also wrote the music and refrain for "Marching to Zion" (words by Isaac Watts). Despite his success as a hymn writer, it was as a preacher that Lowry would have preferred to be recognized. He once stated: "Music, with me has been a side issue... I would rather preach a gospel sermon to an appreciative audience than write a hymn. I have always looked upon myself as a preacher and felt a sort of depreciation when I began to be known more as a composer." However, it is as a hymn writer that he remains renowned.
The title "Hanson Place" is a reference to the original Hanson Place Baptist Church in Brooklyn. The original building now houses a different denomination. The song's lyrics refer to the Christian concept of the anticipation of restoration and reward, and reference the motifs found at Revelation 22:1-2 - a crystal clear river with water of life, issuing from the throne of heaven, all presented by an angel of God.
Shall we gather at the river, Where bright angel feet have trod,
With its crystal tide forever Flowing by the throne of God?
On the margin of the river, Washing up its silver spray,
We will talk and worship ever, All the happy golden day.
Ere we reach the shining river, Lay we every burden down;
Grace our spirits will deliver, And provide a robe and crown.
At the smiling of the river, Mirror of the Savior’s face,
Saints, whom death will never sever, Lift their songs of saving grace.
Soon we’ll reach the silver river, Soon our pilgrimage will cease;
Soon our happy hearts will quiver With the melody of peace.
Yes, we’ll gather at the river, The beautiful, the beautiful river;
Gather with the saints at the river That flows by the throne of God.
Lead Me, Lord
“Lead Me, Lord” is based on Psalm 5:8 and 4:8, and the text and tune were written by Samuel Sebastian Wesley (1810-1876), an English organist and composer. The grandson of Charles Wesley, he was born in London, and sang in the choir of the Chapel Royal as a boy. He learned composition and organ from his father, Samuel, completed a doctorate in music at Oxford, and composed for piano, organ, and choir. He was organist at Hereford Cathedral (1832-1835), Exeter Cathedral (1835-1842), Leeds Parish Church (1842-1849), Winchester Cathedral (1849-1865), and Gloucester Cathedral (1865-1876). Wesley strove to improve the standards of church music and the status of church musicians; his observations and plans for reform were published as A Few Words on Cathedral Music and the Music System of the Church (1849). He was the musical editor of Charles Kemble's A Selection of Psalms and Hymns (1864) and of the Wellburn Appendix of Original Hymns and Tunes (1875) but is best known as the compiler of The European Psalmist (1872), in which some 130 of the 733 hymn tunes were written by him.
A second verse by an unknown author appears in the Trinity Psalter Hymnal (1952).
Lead me, Lord, lead me in thy righteousness;
make thy way plain before my face.
For it is thou, Lord, thou, Lord, only,
that makest me dwell in safety.
Teach me, Lord, teach me truly how to live,
that I may come to know thee,
and in thy presence serve thee with gladness,
and sing songs of praise to thy glory.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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