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:
Arabesque on "Great is Thy Faithfulness" - John Barr
(c.1991, H. W. Gray, assigned to Alfred Music)
A native of the small Kentucky town of Franklin, Thomas Obediah Chisholm (1866-1960) was born in a log cabin. He lacked formal education. Nevertheless, he became a teacher at age sixteen and the associate editor of his hometown weekly newspaper, the “Franklin Advocate”, at age twenty-one. Though he was ordained a Methodist minister in 1903, he served only a single, brief appointment at Scottsville, Kentucky, due to ill health. He wrote more than 1200 poems, 800 of which were published. They often appeared in religious periodicals such as the “Sunday School Times”, “Moody Monthly”, and “Alliance Weekly”. Many of these were set to music.
Chisholm had sent a number of his poems to the Rev. William H. Runyan (1870-1957), a musician with the Moody Bible Institute and one of the editors of Hope Publishing Company in Chicago. The tune FAITHFULNESS was written in Baldwin, Kansas, in 1923, and was first published in my private song pamphlets." A phrase in Lamentations 3:22-23 provides a basis for the refrain: "The steadfast love of the Lord never ceases, his mercies never come to an end; they are new every morning; great is your faithfulness."
Twenty years later Runyan wrote:
Mr. Chisholm and I were devoted co-workers, and I wrote harmonies to some 20 or 25 of his poems. This particular poem held
such an appeal that I prayed most earnestly that my tune might carryover its message in a worthy way, and the subsequent
history of its use indicates that God answers prayer.
Showing early musical promise, Runyan was a substitute church organist by the age of twelve. He became a Methodist minister in 1891 and served several churches in Kansas but turned to evangelism in 1903; he worked for the Central Methodist Conference for the next twenty years. Following that service, Runyan became pastor at the Federated Church at John Brown University, Sulphur Springs [sic: Siloam Springs], Arkansas. Editor of Christian Workers Magazine, he also served the Moody Bible Institute and was an editor for Hope Publishing Company until his retirement in 1948. Runyan wrote a number of hymn texts, gospel songs, and hymn tunes. "Great Is Thy Faithfulness" became an unofficial school hymn at Moody Bible Institute.
George Beverly Shea (1909-2013), the famous Canadian-born singer of the Billy Graham Crusades, introduced this hymn to those attending the evangelistic meetings in Great Britain in 1954. It immediately became a favorite. This hymn appeared in many evangelical hymnals and song collections but was not chosen for an official Methodist hymnal until The United Methodist Hymnal (1989), even though the author was a Methodist. It was a very popular hymn of the former Evangelical United Brethren Church and had been included in their hymnals.
According to Carlton Young, "Great is thy faithfulness" was second only to "In the garden" as the most requested hymn for inclusion in The United Methodist Hymnal. A survey conducted in 2000 by Dean McIntyre, Director of Music Resources, General Board of Discipleship, revealed that "Great is thy faithfulness" remains one of the favorite hymns among United Methodists.
Great is thy faithfulness, O God my Father.
There is no shadow of turning with thee.
Thou changest not, thy compassions, they fail not.
As thou hast been thou forever wilt be.
Summer and winter, and springtime and harvest,
sun, moon, and stars in their courses above,
join with all nature in manifold witness
to thy great faithfulness, mercy, and love. [Refrain]
Pardon for sin and a peace that endureth,
thine own dear presence to cheer and to guide,
strength for today and bright hope for tomorrow;
blessings all mine, with ten thousand beside! [Refrain]
Great is thy faithfulness! Great is thy faithfulness!
Morning by morning new mercies I see.
All I have needed thy hand hath provided.
Great is thy faithfulness, Lord, unto me!
John Barr (b. 1938) studied organ and composition at Manchester College and Union Theological Seminary. Dr. Barr was music teacher at Hillcrest School for Missionary Children in Jos, Nigeria, 1962-65. He later became Professor of Organ and Piano at Bridgewater College, Bridgewater, VA, until his retirement. He is organist at Bridgewater Church of the Brethren.
Italian Hymn - Albert Travis
(c.2006, Birnamwood Publications, div of Morningstar)
This well-known hymn, now of uncertain authorship, was attributed to Charles Wesley in Methodist hymnals published in the United States until 1905. “Come, Thou Almighty King” appeared in a tract with a Wesley hymn, Jesus, Let Thy Pitying Eye,” a combination that led to the false assumption of Wesley’s authorship. It appeared as early as 1755 in the 22nd edition of George Whitfield’s Collection of Hymns for Social Worship. The poetic meter of this hymn, however, was not one used by Charles Wesley in any of his hymn and is the same meter used for the famous British national hymn, “God Save the King” and was originally sung to that tune. Though widely considered the oldest text in this unusual meter, for obvious reasons it could not be sung in England to the same tune as the British national hymn. Martin Madan, in his 1769 Collection of Psalm-Tunes never published before, paired “Come, Thou Almighty King” to the tune Italian Hymn, written for the text by Felice de Giardini. Though British Methodists have never included this hymn in their hymnals, it has been found in American Methodist hymnals since 1914.
This is a classic Trinitarian hymn full of biblical metaphors for deity, starting in the first stanza: “King,” “Father” and “Ancient of Days” (Daniel 7:9, 13, 22). In stanza two the second person of the Trinity is represented by the “incarnate Word” (John 1:1; I John 5:7). The third person of the Trinity has several names: “Spirit of holiness” (Romans 1:4), “holy Comforter,” (John 14:16, 26; 15:26; 16:7) and “Spirit of Power.” The Trinity itself is symbolized by “the great One in Three.”
"Come Thou Almighty King" is usually sung to the tune ITALIAN HYMN (also called "Moscow" or "Trinity"), which was written as a musical setting for this hymn by Felice Giardini at the request of Countess Selina Shirley. This hymn tune along with three others of Giardini's were first published in Martin Madan's Collection of Psalm and Hymn Tunes, 1769.
Come, Thou Almighty King, Help us Thy name to sing, Help us to praise.
Father, all glorious, O’er all victorious,
Come, and reign over us, Ancient of Days.
Come, Thou incarnate Word, Gird on Thy mighty sword, Our prayer attend:
Come, and Thy people bless, And give Thy word success;
Spirit of holiness, On us descend.
Come, holy Comforter, Thy sacred witness bear In this glad hour:
Thou who Almighty art, Now rule in every heart,
And ne’er from us depart, Spirit of power.
To Thee, great One in Three, Eternal praises be Hence evermore.
Thy sov’reign majesty May we in glory see,
And to eternity Love and adore.
It started in a farm pickup truck. To be precise, on the truck’s dashboard. Al Travis (b.1940) was born on a cotton farm in Batesville, Miss., and rode many times in his dad’s truck, sometimes with his grandfather also in the cab. He was about 6, he recalls, and he was playing on the dashboard as if it were a piano keyboard. “My grandfather said to my dad, ‘I think you need to get that boy a piano.’ Nobody in our family was a musician. So within a year, I was taking piano with our church organist and it took. “
Travis received a Bachelor of Music from Oklahoma Baptist University and a Master of Music from Syracuse University. He then studied with Helmut Walcha in Frankfurt for a year. He earned a Doctor of Musical Arts from University of Michigan.
Travis served as organist at Broadway Baptist Church, Fort Worth, for 41 years, which included overseeing the installation of the Rildia Bee O’Bryan Cliburn Organ. He taught at Dallas Baptist College and Southwestern Seminary in Fort Worth.
About the Vocal Solo Music:
Plowshare Prayer - Spencer LaJoye
(c.2022, Jennifer LaJoye)
"Plowshare Prayer" is a song written by Spencer LaJoye in 2021. The song is a folk-pop piece that focuses on themes of prayer, healing, and empathy, particularly for those who have felt marginalized or hurt by religious institutions. LaJoye wrote the song after experiencing a crisis of faith and feeling disconnected from traditional prayer practices, which they perceived as sometimes being used as weapons.
The song's title, "Plowshare Prayer," is a metaphor inspired by the biblical passage about swords being beaten into plowshares. LaJoye uses this imagery to express the idea of transforming prayer from something potentially harmful or judgmental into a tool for growth, healing, and connection. The lyrics address various groups facing hardship, such as the lonely, sick, addicted, poor, and victims of violence, offering prayers for their healing, peace, and support.
Since its release, "Plowshare Prayer" has resonated with many listeners, sparking conversations about faith, doubt, and the power of music to connect people and foster empathy. LaJoye has described the song as a declaration of both faith and doubt, and a way to ensure that no one feels unseen or unheard. The song's popularity has led to it being shared widely online and among various communities, with listeners sharing their personal stories and experiences with LaJoye.
Spencer LaJoye is a coast-to-coast singer/songwriter and vocal loop artist with Midwest roots, a classically-trained violinist with an inner theater kid’s love of group choreography, and a student of Americana music with a theology degree hanging in their studio. They’ve been writing and touring their own autobiographical folk/pop music for over a decade, but their viral 2021 anthem “Plowshare Prayer” secured them a permanent place in hearts and households across the world, as well as a peculiar career as a veracious songsmith with an unshakeable pastoral presence.
LaJoye said this about this song: “In the middle of the Covid-19 pandemic, I found myself working for 3 churches at once. And as much as I loved these communities, this work is draining, both physically and mentally. Soon, health challenges and moral struggles made me unable to serve those faith communities with the grace and integrity I always had. So I listened to my body, and I left. This song was one of the last things I wrote during this time period. It’s honest about my moral struggles and my pain, but it’s also a love letter, and probably the most faithful thing I’ve ever written. It asks the question: what would a prayer sound like it it was used as a plowshare rather than a sword? A toll for growing new things in the most disregarded and traumatized places, rather than a weapon wielded by the institutionally powerful?”
Dear blessed creator, dear mother, dear savior,
Dear father, dear brother, dear holy other,
Dear sibling, dear baby, dear patiently waiting,
Dear sad and confused, dear stuck and abused,
Dear end of your rope, dear worn out and broke,
Dear go it alone, dear running from home,
Dear righteously angry, forsaken by family,
Dear jaded and quiet, dear tough and defiant,
I pray that I'm heard, And I pray that this works.
I pray if a prayer has been used as a sword
Against you and your heart, Against you and your word,
I pray that this prayer is a plowshare of sorts,
That it might break you open, It might help you grow.
I pray that your body gets all that it needs,
And if you don't want healing, I just pray for peace.
I pray that your burden gets lighter each day,
I pray the mean voice in your head goes away,
I pray that you honor the grief as it comes,
I pray you can feel all the life in your lungs,
I pray that if you go all day being brave
That you can go home, go to bed Feeling safe,
I pray you're forgiven, I pray you forgive,
I pray you set boundaries and openly live,
I pray that you feel you are worth never leaving,
I pray that you know I will always believe you,
I pray that you're heard, And I pray that this works.
Amen on behalf of the last & the least,
On behalf of the anxious, depressed and unseen,
Amen for the workers, the hungry, the houseless,
Amen for the lonely and recently spouseless,
Amen for the queers and their closeted peers,
Amen for the bullied who hold in their tears,
Amen for the mothers of little Black sons,
Amen for the kids who grow up scared of guns,
Amen for the addicts, the ashamed and hung over,
Amen for the calloused, the wisened, the sober,
Amen for ones who want life to be over,
Amen for the leaders who lose their composure,
And amen for the parents who just lost their baby,
Amen for chronically ill and disabled,
Amen for the children down at the border,
Amen for the victims of our law and order.
I pray that you're heard, And I pray that this works.
I pray if a prayer has been used as a sword
Against you and your heart, Against you and your word,
I pray that this prayer is a plowshare of sorts, Amen.
About the Hymns:
Christ Beside Me
(c.1969, Selah Publishing)
The story of St. Patrick (c. 5th cent.), patron saint of Ireland, is filled with mystery and miracle – from his surviving a pirate kidnapping and driving all the snakes from Ireland to turning his walking stick into a living tree. This history provides the backstory for the text of the hymn “Christ Beside Me.” Patrick raised this prayer of protection, as he and his fellow monks feared an ambush by bloodthirsty men who opposed their Christian evangelism. God answered the holy man’s prayers by making him appear to his attackers as a wild deer and his monks as fawns following him. Thus, this song is also known as “The Deer’s Cry” or the Lorica (a prayer of protection) of St. Patrick. The complete modern translation of the Lorica of St. Patrick is:
I arise today
Through a mighty strength, the invocation of the Trinity,
Through belief in the Threeness,
Through confession of the Oneness of the Creator of creation.
I arise today
Through the strength of Christ's birth with His baptism,
Through the strength of His crucifixion with His burial,
Through the strength of His resurrection with His ascension,
Through the strength of His descent for the judgment of doom.
I arise today
Through the strength of the love of cherubim,
In the obedience of angels, In the service of archangels,
In the hope of resurrection to meet with reward,
In the prayers of patriarchs, In the predictions of prophets,
In the preaching of apostles, In the faith of confessors,
In the innocence of holy virgins, In the deeds of righteous men.
I arise today, through
The strength of heaven, The light of the sun,
The radiance of the moon, The splendour of fire,
The speed of lightning, The swiftness of wind,
The depth of the sea, The stability of the earth,
The firmness of rock.
I arise today, through
God's strength to pilot me, God's might to uphold me,
God's wisdom to guide me, God's eye to look before me,
God's ear to hear me, God's word to speak for me,
God's hand to guard me, God's shield to protect me,
God's host to save me From snares of devils,
From temptation of vices,
From everyone who shall wish me ill, afar and near.
I summon today
All these powers between me and those evils,
Against every cruel and merciless power that may oppose my body and soul,
Against incantations of false prophets, Against black laws of pagandom,
Against false laws of heretics, Against craft of idolatry,
Against spells of witches and smiths and wizards,
Against every knowledge that corrupts man's body and soul;
Christ to shield me today Against poison, against burning,
Against drowning, against wounding,
So that there may come to me an abundance of reward.
Christ with me, Christ before me, Christ behind me,
Christ in me, Christ beneath me, Christ above me,
Christ on my right, Christ on my left,
Christ when I lie down, Christ when I sit down,
Christ when I arise,
Christ in the heart of every man who thinks of me,
Christ in the mouth of everyone who speaks of me,
Christ in every eye that sees me,
Christ in every ear that hears me.
The Latin word lorica means “armor” or “breastplate,” and its use here hearkens to the apostle Paul’s admonition to the church members in Ephesus to gird themselves for spiritual warfare with the whole armor of God (Ephesians 6: 14-17) Attributions of this ancient hymn to St. Patrick have been traced to at least 690, with the earliest manuscripts dated from the eleventh century. The original Gaelic beginning with “Atomriug indiuniurt tréun togarim Trindóit” (“At Temur today I invoke the mighty power of the Trinity”) was first brought to light in an Irish journal by George Petrie.
The section of text found in this hymn was adapted by Scottish Jesuit priest James Quinn (1919-2010) Quinn’s adaptation is set to the Scottish folk tune BUNESSEN. It first appeared in print in 1931 and is most likely best known as “Morning Has Broken” by English poet and literary figure Eleanor Farjeon (1881-1965).
Christ beside me, Christ before me,
Christ behind me King of my heart;
Christ within me, Christ below me,
Christ 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 beside me, Christ before me,
Christ behind me King of my heart;
Christ within me, Christ below me,
Christ above me never to part.
His Eye is on the Sparrow
Civilla Durfee Martin (1866-1948) was born in Nova Scotia and died in Atlanta, Ga. In “His eye is on the sparrow” (1905), she has provided one of the most influential and often-recorded gospel hymns of the 20th century. Martin was the daughter of James N. and Irene Harding Holden, and was a schoolteacher with modest musical training. Together with her husband, Walter (1862-1935), they often wrote gospel songs for revival meetings. “Be not dismayed” is an example of their collaboration. Walter Stillman Martin was a Baptist minister who received his education at Harvard. He later became a member of the Disciples of Christ, teaching at Atlantic Christian College (now Barton College) in Wilson, N.C., before moving to Atlanta in 1919, a location that became the base for revivals that he held throughout the U.S.
The song was obviously inspired by Matthew 6:26: “Look at the birds of the air; they neither sow nor reap nor gather into barns, and yet your heavenly Gather feeds them. Are you not of more value than they?” Later in Matthew (10:29-31), the Gospel writer continues on this theme: “Are not two sparrows sold for a farthing? And one of them shall not fall on the ground without your Father. But the very hairs of your head are all numbered. Fear ye not therefore, ye are of more value than many sparrows.” Similar thoughts are cited in Luke 12:6-7. Stanza two quotes part of John 1:14 directly, “Let not your heart be troubled...”
Civilla Martin describes the context out of which the hymn was born: “Early in the spring of 1905, my husband and I were sojourning in Elmira, New York. We contracted a deep friendship for a couple by the name of Mr. and Mrs. Doolittle—true saints of God. Mrs. Doolittle had been bedridden for nigh twenty years. Her husband was an incurable cripple who had to propel himself to and from his business in a wheelchair. Despite their afflictions, they lived happy Christian lives, bringing inspiration and comfort to all who knew them. One day while we were visiting with the Doolittles, my husband commented on their bright hopefulness and asked them for the secret of it. Mrs. Doolittle’s response was simple: ‘His eye is on the sparrow, and I know He watches me.’ The beauty of this simple expression of boundless faith gripped the hearts and fired the imagination of Dr. Martin and me. The hymn ‘His Eye Is on the Sparrow’ was the outcome of that experience.” The next day she mailed the poem to Charles Gabriel, a famous composer of gospel songs, who wrote a tune for it.
Why should I feel discouraged, Why should the shadows come,
Why should my heart feel lonely And long for Heav’n and home,
When Jesus is my portion? A constant Friend is He:
His eye is on the sparrow, And I know He watches me;
“Let not your heart be troubled,” His tender word I hear,
And resting on His goodness, I lose my doubts and fears;
Though by the path He leadeth But one step I may see:
His eye is on the sparrow, And I know He watches me;
Whenever I am tempted, Whenever clouds arise,
When songs give place to sighing, When hope within me dies,
I draw the closer to Him, From care He sets me free:
His eye is on the sparrow, And I know He cares for me;
I sing because I’m happy, I sing because I’m free,
His eye is on the sparrow, And I know He watches me
God Be with You till We Meet Again
“God Be With You Till We Meet Again”, which was written by Jeremiah Eames Rankin’s (1828-1904), was composed so his church choir could have something to sing when they parted each week. Rankin, a congregational minister and later the president of Howard University (Washington D.C.), was a prolific hymn writer and preacher. Rankin was the minister for the First Congregational Church in Washington, D.C. and said this about the hymn, “Written…as a Christian goodbye, it was called forth by no person or occasion, but was deliberately composed as a Christian hymn on basis of the etymology of “goodbye,” which is “God be with you.” He got the idea for the first stanza of the song when he saw the dictionary definition of “good-bye” was short for “God be with you.” While Rankin was responsible for writing the lyrics, William Tomer, who was the music director at Grace Methodist Episcopal Church, composed the music.
The hymn became the official closing song for the Christian Endeavor Convention. Dr. Rankin said: “It has had no sweeter recognition than that given it by its adoption by the Young People’s Society of Christian Endeavor. Long, long, may they sing it!”
During the war, many postcards were printed with hymn lyrics to help soldiers in battle feel at ease. One such postcard was a colorful picture of soldiers going to battle with the following verse: “God be with you till we meet again; keep love’s banner floating o’er you, smite death’s threatening wave before you; God be with you till we meet again.”
The original hymn had eight verses and first appeared in the collection Gospel Bells (1880), Rankin’s (1828-1904) text is often amended to include a refrain, mimicking the style and content of other hymns used to close camp meetings, revivals, or sung on the occasion of the departure of a church leader to a new assignment. This practice of singing a goodbye may also be linked to the history of shaped-note singing schools concluding with a goodbye or farewell song.
God be with you till we meet again; By His counsels guide, uphold you,
With His sheep securely fold you; God be with you till we meet again.
God be with you till we meet again; Neath His wings protecting hide you;
Daily manna still provide you; God be with you till we meet again.
God be with you till we meet again; With the oil of joy anoint you;
Sacred ministries appoint you; God be with you till we meet again.
God be with you till we meet again; When life’s perils thick confound you;
Put His arms unfailing round you; God be with you till we meet again.
God be with you till we meet again; Of His promises remind you;
For life’s upper garner bind you; God be with you till we meet again.
God be with you till we meet again; Sicknesses and sorrows taking,
Never leaving or forsaking; God be with you till we meet again.
God be with you till we meet again; Keep love’s banner floating o’er you,
Strike death’s threatening wave before you; God be with you till we meet again.
God be with you till we meet again; Ended when for you earth’s story,
Israel’s chariot sweep to glory; God be with you till we meet again.
Till we meet, till we meet, Till we meet at Jesus’ feet;
Till we meet, till we meet, God be with you till we meet again.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
No comments:
Post a Comment