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:
I am the Bread of Life - Edwin T. Childs
(c.2012, GIA Publications)
Suzanne Toolan was born in Lansing, Michigan, on October 24, 1927. She joined the Sisters of Mercy in Burlingame, California, in 1950, where she taught chorale at Mercy High School. Sister Suzanne Toolan wrote “I Am the Bread of Life” for a San Francisco archdiocesan event in 1964. She was teaching high school at the time and wrote the song during her free period. When the bell rang for the next class she decided she didn’t like the music, so she tore it up and threw it in the wastepaper basket. Her classroom was next to the infirmary, where the girls who didn’t want to take tests or were otherwise unprepared for class went for a period or two until they were tracked down by an exasperated teacher. As she left my classroom, a freshman girl came out of the infirmary and said, “What was that? It was beautiful!” She went back into my classroom, took the manuscript out of the basket and taped it together. It has had a life of its own ever since.
“I Am the Bread of Life” began to appear in archdiocesan liturgies. There were many purple ditto copies going around. Not everyone liked the hymn. One liturgist gave talks on why it shouldn’t work, saying: “It is not metric; its tessitura [vocal range] is too high. Its tessitura is too low.” Others objected to it because they felt by placing the words of Jesus into the mouths of the assembly, those words were being attributed to the assembly. Travelers to Europe and Asia in the 70s and 80s would tell about hearing “I Am the Bread of Life” in different countries. It is included in hymnals of other Christian faith traditions. Perhaps its popularity stems from its message of resurrection, which is so strong in these words of Jesus. We so need that message of hope. Love it or hate it, “I Am the Bread of Life” may be one of the most widely known and enduring Catholic hymns of the 20th century.
I am the bread of life. You who come to Me shall not hunger,
And who believe in Me shall not thirst.
No one can come to Me Unless the Father beckons.
The bread that I will give Is My flesh for the life of the world,
And if you eat of this bread You shall live forever.
You shall live forever.
I am the resurrection; I am the life.
If you believe in Me, Even though you die
You shall live forever.
Yes Lord, I believe That You are the Christ,
The Son of God Who has come Into the world.
And I will raise you up, And I will raise you up,
And I will raise you up on the last day,
Edwin Childs is a professor and a composer of church music in the Chicago area. He is a graduate of Wheaton College, IL (B.M., 1967), and the Eastman School of Music (Ph.D., 1973). He has taught at Philadelphia Biblical University, Biola University (California), and Moody Bible Institute in Chicago. Childs is an organist and in 2009 released a CD of his organ music performed by Brenda Heck Portman. He has also written and recorded two CDs of vocal solos performed by baritone, Gerard Sundberg. In 1998, he won the American Choral Directors Illinois Chapter Composition Contest for his middle-school choir piece entitled, "Three Songs From the Chinese,". In 2008, he again won the same contest with an SSAA work entitled, “Peace." Childs is a member of the American Guild of Organists (AGO), American Choral Director's Association (ACDA), and the Hymn Society of America and Canada (HSA).
St. Anne - Healey Willan
(c.1960, C. F. Peters Corporation)
“Our God, Our Help in Ages Past” is a hymn by Isaac Watts which paraphrases Psalm 90. It originally consisted of nine stanzas. In present usage, however, the hymn is usually limited to stanzas one, two, three, five, seven and nine. In 1738, John Wesley in his hymnal, Psalms and Hymns, changed the first line of the text from "Our God" to "O God." Both Watts' wording and Wesley's rewording remain in current use. The hymn was originally part of The Psalms of David Imitated in the Language of the New Testament, published by Watts in 1719. In this book he paraphrased in Christian verse the entire psalter with the exception of twelve Psalms which he felt were unsuited for Christian usage.
The hymn tune "St. Anne" to which the text is most often sung was composed by William Croft in 1708 whilst he was the organist of the church of St Anne, Soho. It first appeared anonymously in the Supplement to the New Version of the Psalms, 6th edition in 1708. It was originally intended to be used with a version of Psalm 62. It was not until sometime later when set to Watts' text that the tune gained recognition.
The complete nine verses are as follows:
Our God, our help in ages past, Our hope for years to come,
Our shelter from the stormy blast, And our eternal home.
Under the shadow of Thy throne Still may we dwell secure;
Sufficient is Thine arm alone, And our defense is sure.
Before the hills in order stood, Or earth received her frame,
From everlasting Thou art God, To endless years the same.
Thy Word commands our flesh to dust, Return, ye sons of men:
All nations rose from earth at first, And turn to earth again.
A thousand ages in Thy sight Are like an evening gone;
Short as the watch that ends the night Before the rising sun.
The busy tribes of flesh and blood, With all their lives and cares,
Are carried downwards by the flood, And lost in following years.
Time, like an ever rolling stream, Bears all its sons away;
They fly, forgotten, as a dream Dies at the opening day.
Like flowery fields the nations stand Pleased with the morning light;
The flowers beneath the mower’s hand Lie withering ere ‘tis night.
Our God, our help in ages past, Our hope for years to come,
Be Thou our guard while life shall last, And our eternal home.
Healey Willan (1880-1968) was an Canadian organist and composer. He composed more than 800 works including operas, symphonies, chamber music, a concerto, and pieces for band, orchestra, organ, and piano, but is best known for his religious music. Willan was born in England, and he began musical training at age eight, with studies at St. Saviour's Choir School in Eastbourne. He earned, by examination in organ playing, harmony, counterpoint, history and orchestration, the Royal College of Organists' Associateship in 1897 and Fellowship in 1899. The Anglo-Catholic Tractarian movement led to an Anglican revival of plainsong, and in 1910, Willan joined the London Gregorian Association (which strove to preserve and revive "plain-chant"). In 1913, Willan emigrated to Canada. In 1921, he become Precentor of the Church of St. Mary Magdalene (Toronto), where he remained until his death. St. Mary Magdalene, under Willan, became a North American mecca for choral and Anglican church musicians. In 1920, the Toronto Conservatory (now the Royal Conservatory of Music) appointed Willan Head of its Theory Department. In 1934, he founded the Tudor Singers, which he conducted until it disbanded in 1939. From 1937 to 1950, Willan was University of Toronto Professor of Music and Organist. When the Order of Canada was established in 1967, it named Willan a Companion. In Britain, it was customary for the Archbishop of Canterbury to occasionally grant very distinguished English cathedral musicians the Lambeth Doctorate, Mus. D Cantaur; in 1956, Willan, "the Dean of Canadian composers", became the first non-English church musician to be so honoured. People who remember Willan from his time at St Mary Magdalene's like to moderate his somewhat dourly pious public image by quoting him: "English by birth; Canadian by adoption; Irish by extraction; Scotch by absorption."
About the Piano Music:
Open My Eyes, That I May See - Johnie Dean
(c.2005, FJH Music Company)
Clara H. Scott (1841-1897) provides us with a hymn of consecration that has been sung for over 100 years. In 1856, Scott attended the first Music Institute held by C.M. Cady in Chicago, Ill. By 1859, she was teaching music at the Ladies' Seminary, Lyons, Iowa. She married Henry Clay Scott in 1861, and published in 1882 the Royal Anthem Book, the first volume of choir anthems published by a woman. Horatio R. Palmer, an influential church musician in Chicago and later New York City, was a source of encouragement for Scott, and helped her publish many of her songs. Three collections were issued before her untimely death, when a runaway horse caused a buggy accident in Dubuque, Iowa.
The text of "Open My Eyes" was written in 1895 shortly before Scott's death. Each stanza reveals an increasing receptiveness to the "Spirit divine." Open eyes lead to "glimpses of truth." Open ears lead to "voices of truth." An open mouth leads to sharing the "warm truth everywhere." An open heart leads to sharing "love to thy children."
The image of open eyes is common in the Bible. In some cases, this is a sign of Christ's healing power, as when Jesus gave sight to the blind man at the pool of Siloam in John 9. Closed eyes, on the other hand, could be a metaphor for avoiding the truth as in the case of John 12:40, a passage following the triumphal entry of Christ into Jerusalem and beginning his journey to the cross: "He hath blinded their eyes, and hardened their heart; that they should not see with their eyes, nor understand with their heart, and be converted, and I should heal them."
The image of open ears is also significant in the biblical witness. Matthew often reprises the theme "Who hath ears to hear, let him hear." Closed ears become a metaphor for a lack of understanding: "For this people's heart is waxed gross, and their ears are dull of hearing, and their eyes they have closed; lest at any time they should see with their eyes, and hear with their ears, and should understand with their heart, and should be converted, and I should heal them" (Matthew 13:15).
While the eyes and the ears are receptive organs, the mouth has the capacity to project. The mouth may project "cursing and deceit and fraud" (Psalm 10:7), or it may be an organ that projects praise, as Psalm 51:15 exhorts us: "O Lord, open thou my lips; and my mouth shall show forth thy praise."
The heart is the only organ included in this hymn that is not visible. It may harbor deceit. Jesus asks in Matthew 9:4, "Wherefore think ye evil in your hearts?" But Jesus also realized that the heart has the capacity for purity: "Blessed are the pure in heart: for they shall see God" (Matthew 5:8).
Open my eyes, that I may see glimpses of truth thou hast for me;
place in my hands the wonderful key that shall unclasp and set me free.
Silently now I wait for thee, ready, my God, thy will to see.
Open my eyes, illumine me, Spirit divine!
Open my ears, that I may hear voices of truth thou sendest clear;
and while the wavenotes fall on my ear, everything false will disappear.
Silently now I wait for thee, ready, my God, thy will to see.
Open my ears, illumine me, Spirit divine!
Open my mouth and let me bear gladly the warm truth everywhere;
open my heart and let me prepare love with thy children thus to share.
Silently now I wait for thee, ready, my God, thy will to see.
Open my heart, illumine me, Spirit divine!
Dr. Johnie Dean lives in Lexington, Kentucky, where he is actively involved in educational and church music. He is on staff at Midway College, and also serves as an adjunct music professor at the University of Kentucky. In addition, he is the Assistant Conductor of The Lexington Singers, and works with area local churches and their music leadership. Dean received his Bachelor of Music degree in church music from Campbellsville College in Campbellsville, Kentucky, and his Master of Church Music degree in composition from Southern Seminary in Louisville, Kentucky. His Doctor of Musical Arts degree in composition was granted by the University of Kentucky in Lexington. Winner of numerous awards in both writing and performance, Dr. Dean is well-represented in sacred catalogs with having over 200 works published for piano, adult and children's choirs, handbells, orchestra, and instrumental ensembles. He also serves as a frequent choral adjudicator, vocal coach, vocal soloist, accompanist, and guest conductor.
About the Choral Music:
Be Thou My Vision - John Rutter
(c.1989, Oxford University Press)
"Be Thou My Vision" (Old Irish: Rop tú mo baile or Rob tú mo bhoile) is a traditional hymn from Ireland. The most well known English version, with some minor variations, was translated by Eleanor Hull and published in 1912. In 1919, the lyrics were set to the tune of the Irish folk tune "Slane", to which the song is sung to this day, both in English and Irish. The song dates from at least the eighth century, though the text dates to the sixth-century.
The original Old Irish text, "Rop tú mo Baile" is often attributed to Saint Dallán Forgaill in the 6th century. Eochaid Mac Colla (c. 530 – 598), better known as Saint Dallan or Dallán Forgaill (Old Irish: Dallán Forchella; Latin: Dallanus Forcellius), was an early Christian Irish poet whose writings include the "Amra Choluim Chille" ("Elegy of Saint Columba") and "Rop Tú Mo Baile" ("Be Thou My Vision"). Saint Dallan was Chief Ollam of Ireland (similar to poet laureate), as well as a scholar of Latin scriptural learning. He helped to reform the Bardic Order at the Convention of Drumceat. He reputedly wrote Amra Choluim Chille, which he completed shortly after the death of Saint Columba in 597, because Columba had successfully saved poets from expulsion from Ireland at the assembly of Druim Cett in 575. The “Amra Choluim Chille,” is the earliest Irish poem that can be dated.
"Rop tú mo Baile" had been a part of Irish monastic tradition for centuries before its setting to music. The Irish text was translated into literal prose by Irish scholar Mary Elizabeth Byrne (1880-1931), a Dublin native, and then published in Eriú, the journal of the School of Irish Learning, in 1905. Byrne was also known for her academic publications, including Old and Mid-Irish Dictionary, Dictionary of the Irish Language, and a treatise, England in the Age of Chaucer.
It is at this point that Eleanor Hull (1860-1935) enters the story. Born in Manchester, England, she was the founder of the Irish Text Society and president of the Irish Literary Society of London. Hull versified the text and it was published in her Poem Book of the Gael (1912).
Following the original publication in Ireland, the hymn was included in a number of British hymnals. After World War II, the hymn came to the attention of hymnal editors in the U.S. and it has become a standard hymn in most hymnals today.
Irish liturgy and ritual scholar Helen Phelan, a lecturer at the University of Limerick, points out how the language of this hymn is drawn from traditional Irish culture: "One of the essential characteristics of the text is the use of 'heroic' imagery to describe God. This was very typical of medieval Irish poetry, which cast God as the 'chieftain' or 'High King' (Ard Ri) who provided protection to his people or clan. The lorica is one of the most popular forms of this kind of protection prayer and is very prevalent in texts of this period." The original chieftain language of the "High King of heaven" has given way to the more inclusive "Great God" in the UM Hymnal.
When Hull's versification was paired with the lovely traditional Irish tune SLANE in The Irish Church Hymnal in 1919, its popularity was sealed. The folk melody was taken from a non-liturgical source, Patrick Weston Joyce's Old Irish Folk Music and Songs: A Collection of 842 Airs and Songs hitherto unpublished (1909). "Most 'traditional' Irish religious songs are non-liturgical," says Dr. Phelan. "There is a longstanding practice of 'editorial weddings' in Irish liturgical music, where traditional tunes were wedded to more liturgically appropriate texts. This is a very good example of this practice.” The tune name SLANE is drawn from deep in Irish history. It was on Slane Hill in County Meath around 433 CE that St. Patrick lit candles on Easter Eve, defying a decree by High King Logaire of Tara that no one could light a fire before the king signaled the beginning of the pagan spring festival by lighting a fire on Tara Hill. King Logaire was so impressed by Patrick's devotion that, despite his defiance, he was permitted to continue his work as Ireland's first Christian missionary.
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.
Be thou my vision, O Lord of my heart;
Be all else but naught to me, save that Thou art;
Be thou my best thought in the day and the night,
Both waking and sleeping, Thy presence my light.
Be thou my wisdom, be thou my true word;
Be thou ever with me, and I with thee, Lord;
Be thou my great father, and I thy true son;
Be thou in me dwelling, and I with thee one.
Be thou my breastplate, my sword for the fight;
Be thou my whole armour, be thou my true might;
Be thou my soul’s shelter, be thou my strong tower;
O raise thou me heavenward, great Power of my power.
Riches I heed not, no man’s empty praise.
Be thou mine inheritance, now and always;
Be thou and thou only the first in my heart;
O Soverign of heaven, my treasure thou art.
High King of heaven, thou heaven’s bright Sun.
O grant me its joys after victory is won;
Great Heart of my own heart, whatever befall,
Still be thou my vision, O Ruler of all.
Still be thou my vision, O Ruler of all. O Ruler of all.
About the Hymns:
Trust and Obey
This hymn was inspired in 1886 when the composer of the music, Daniel B. Towner (1850-1919), was the music leader during one of Dwight L. Moody’s famous revivals. Towner provided the following account cited by Moody’s musical partner, Ira D. Sankey, in his biography, My Life and the Story of the Gospel Hymns: “Mr. Moody was conducting a series of meetings in Brockton, Massachusetts, and I had the pleasure of singing for him there. One night a young man rose in a testimony meeting and said, ‘I am not quite sure—but I am going to trust, and I am going to obey.’ I just jotted that sentence down, and sent it with a little story to the Rev. J. H. Sammis, a Presbyterian minister. He wrote the hymn, and the tune was born.”
Sammis is said to have composed the lines of the refrain upon receiving the letter:
“Trust and obey—for there’s no other way
To be happy in Jesus, but to trust and obey.”
As is the case with most gospel songs, these lines provide the central theme around which all of the stanzas were written. The text and first Towner’s tune, TRUST AND OBEY, appeared in the 1887 collection, Hymns Old and New, and has been included in countless hymnals since. Methodist hymnals in the United States have carried it since 1897.
When we walk with the Lord in the light of his word,
what a glory he sheds on our way!
While we do his good will, he abides with us still,
and with all who will trust and obey.
Not a burden we bear, not a sorrow we share,
but our toil he doth richly repay;
not a grief or a loss, not a frown or a cross,
but is blest if we trust and obey.
But we never can prove the delights of his love
until all on the altar we lay;
for the favor he shows, for the joy he bestows,
are for them who will trust and obey.
Then in fellowship sweet we will sit at his feet,
or we'll walk by his side in the way;
what he says we will do, where he sends we will go;
never fear, only trust and obey.
Trust and obey, for there's no other way
to be happy in Jesus, but to trust and obey.
God of Grace and God of Glory
“God of grace and God of glory” was written in 1930 by Harry Emerson Fosdick (1878-1969) for the dedication of the famous Riverside Church in New York City. Fosdick was granted degrees from Colgate University and Union Theological Seminary. He was ordained in 1903 to ministry in the Baptist Church and became pastor of First Baptist Church, Montclair, N.J. Fosdick served as a chaplain during World War I and then was pastor of First Presbyterian Church in New York City. From this congregation he was called to pastor Park Avenue Baptist Church, which was renamed Riverside Church.
“God of grace and God of glory” was written while the United States was in the throes of the Great Depression between the two World Wars. Fosdick was a champion of the social gospel, a movement that recognized the plight of the poor, especially in the urban Northeast during the Industrial Revolution. UM Hymnal editor Carlton Young has noted: “Fosdick’s stirring radio sermons, books, and public pronouncements established Riverside as a forum for the critique of the same wealth and privilege whose gifts had made possible the building of the church. Under his leadership Riverside Church was interdenominational, interracial, without a creed, and, astonishingly for Baptists, required no specific mode of baptism. At the center of Fosdick’s ministry was urban social ministry.” Fosdick was perhaps the most vocal proponent of the social gospel of his time—a position that brought both wide acclaim and broad disdain.
CWM RHONDDA was composed in 1905 by John Hughes (1873-1932) during a church service for a Baptist Cymanfa Ganu (song festival) in Capel Rhondda, Pontypridd, Wales. Hughes received little formal education; at age twelve, he was already working as a doorboy at a local mining company in Llantwit Fardre. He eventually became an official in the traffic department of the Great Western Railway. Much of his energy was devoted to the Salem Baptist Church in Pontypridd, where he served as both deacon and precentor. Hughes composed two anthems, a number of Sunday school marches, and a few hymn tunes, of which CWM RHONDDA is universally known. At first widely disseminated in leaflet form, CWM RHONDDA gradually was adopted into various hymnals. The tune is named after the valley of the Rhondda River, a coal mining area in Wales.
God of grace and God of glory, on your people pour your pow’r;
crown your ancient Church’s story, bring its bud to glorious flow’r.
Grant us wisdom, grant us courage for the facing of this hour,
for the facing of this hour.
Lo, the hosts of evil round us scorn the Christ, assail his ways.
From the fears that long have bound us free our hearts to faith and praise.
Grant us wisdom, grant us courage for the living of these days,
for the living of these days.
Cure your children’s warring madness; bend our pride to your control;
shame our wanton, selfish gladness, rich in things and poor in soul.
Grant us wisdom, grant us courage lest we miss your kingdom’s goal,
lest we miss your kingdom’s goal.
Save us from weak resignation to the evils we deplore;
let the gift of your salvation be our glory evermore.
Grant us wisdom, grant us courage serving you whom we adore,
serving you whom we adore.
Christ Be Beside Me
(c.1987, Faith Alive Christian Resources)
Scottish Jesuit Father James Quinn (1919-2010) was born in Glasgow, Scotland and educated at St. Aloysius' College in Glasgow and Glasgow University. His first hymn collection, New Hymns for All Seasons, was published in 1969, and Praise for All Seasons, which contained texts drawn from some of his earlier works, was published in 1994. In 2017, after becoming sole publisher and licensing agent, OCP published Hymns for All Seasons, the first-ever complete edition of Fr. Quinn's hymn texts. Fr. Quinn worked for decades to make the theology of the Second Vatican Council (1962–1965) accessible and easily sung by worshipers. He wrote paraphrases of psalms and Scriptures or English translations of Marian prayers to the number of beats in the lines of existing melodies. Many of his texts, set to traditional hymn tunes appear in the English-language hymnals of nearly every Christian denomination around the world. In 1998, the “Journal of the Association of Anglican Musicians” praised Father Quinn's ability to articulate the orthodox aspects of Christianity in new and fresh ways. He published more than 200 texts during his lifetime.
This hymn is a reworking of the prayer known as ‘St Patrick’s Breastplate’. The tune ‘Bunessan’ is said to have been noted down by Alexander Fraser from the singing of a wandering Highland singer and appeared in print first in Songs and Hymns of the Gael, which Lachlan McBean published in 1888. McBean was a major influence in widening the appreciation of Gaelic culture in his time.
Christ be beside me, Christ be before me,
Christ be behind me, King of my heart.
Christ be within me, Christ be below me,
Christ be above me, never to part.
Christ on my right hand, Christ on my left hand,
Christ all around me, shield in the strife.
Christ in my sleeping, Christ in my sitting,
Christ in my rising, light of my life.
Christ be in all hearts thinking about me,
Christ be on all tongues telling of me.
Christ be the vision in eyes that see me,
In ears that hear me Christ ever be.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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