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:
Thou Hidden Source of Calm Repose - Alfred Fedak
(c.2006, Birnamwood Publications, div. of MorningStar Music Publishers)
“Thou Hidden Source of Calm Repose” was introduced in Hymns and Sacred Poems (1749). Later, John Wesley reprinted it without any alteration to the text in A Collection of Hymns for the Use of the People Called Methodists (1780), in the section entitled “for believers rejoicing.”
In the 1808 supplement to the Methodist Pocket Hymn Book, the final phrase of the hymn was altered from the phrase “my heaven in hell” to a new phrase, “my all in all.” This alteration remained in all American Methodist hymnals until the original text was restored during the 20th century. A final alteration to the text occurred in the 1935 Methodist Hymnal. A phrase in stanza three, “the med’cine to my broken heart,” was altered into a new phrase, “the healing of my broken heart.” In today’s United Methodist Hymnal, the phrase “the healing of my broken heart” is still used.
The tune ST. PETERSBURG, attributed to Dmitri Stepanovich Bortniansky (1752-1825), first appeared in Johann Heinrich Tscherlitzky’s Choral-buch (Moscow, 1825). The tune was originally used for a setting in Russian folk songs that were appropriate for January in St. Petersburg.
Charles Wesley expresses a deep and personal faith. The poetry is a testimony of his faith that he affirmed to the world. These words may reflect difficulties and trials that the Wesley brothers faced as they traveled to the developing Methodist societies and preached in hostile environments. As a poet with deep theological understanding, Wesley incorporated his poetic skill into his theological thought through his hymns. The use of paradox in this hymn resonates with Christian joy in thanksgiving in any circumstances. Paradox is not just a poetic device. It illustrates the depth of theology, which will always be contrary to the world: Jesus, who is God born as a human; the resurrection and victory over death; the light that was polluted by the darkness of sin; the high priest, yet the sacrificial lamb. All these opposing elements bring the understanding of our God and our need of salvation in Christ.
The opening phrase might have come from the first line of John Wesley’s translation of Johann Anastasius Freylinghausen’s “Wer ist wol, wie du” (“O Jesu, source of calm repose”), which was included in the 1737 Charlestown Collection, the first hymnal published in America. The key word in the first stanza is “repose,” or “rest.” The idea of this “rest” may be a reference to Matthew 11:28-30, “Come to me, all you that are weary and are carrying heavy burdens, and I will give you rest.” As people come to God with their different burdens and problems, Jesus extends the invitation to come to him for respite and relief.
This hymn celebrates the “redeeming name” of Jesus through biblical images reflecting his presence and power. Jesus is praised even in the face of grief and suffering. In the spirit of John 14:6, Charles perhaps wanted the people to be aware that only through Jesus’ name may we receive salvation and peace with God. All together, the first two stanzas state that the Lord is our resting place. The stanzas celebrate comfort, power, peace, joy and everlasting love; forgiveness, holiness and heaven, in which will result in the faith and assurance in God. Overall, the emphasis of the hymn is all-sufficiency in Jesus. Jesus is the “hidden source of calm repose” even today—from the bustling of the world’s financial crisis and from the stress of daily life.
O hidden source of calm repose, O all-sufficient love divine,
my help and refuge from my foes, secure I am if you are mine:
and from all sin, and grief, and shame, I shelter, Jesus, in your name.
Your mighty name salvation is, and keeps my joyful soul above;
comfort it brings, and power, and peace, and joy, and everlasting love:
to me, with your dear name, are given pardon, and holiness, and heaven.
Master of all the healing art: my rest in toil, my ease in pain,
the medicine of my broken heart, in war my peace, in loss my gain,
my smile beneath the tyrant’s frown, in shame my glory and my crown.
In need my plentiful supply, in weakness my almighty power,
in chains my perfect liberty, my light in Satan’s darkest hour,
my help whenever I may call, my life in death, my heaven, my all.
Alfred V. Fedak (b. 1953) holds degrees from Hope Colege and Montclair State College. A Fellow of the American Guild of Organists, he is Minister of Music at United Reformed Church, Somerville, New Jersey.
Marche Religieuse - Charles-Alexis Chauvet
(c.1960, Carl Fischer)
Charles-Alexis Chauvet (1837-1871) was a French organist and composer. Born in Marines, Charles-Alexis Chauvet made his debut at the organ of St. Remi church in Marines when he was only 11 years old. He entered the Conservatoire de Paris at the age of 13 to study organ and music composition. In 1860, he was appointed to the choir organ of the Église Saint-Thomas-d'Aquin (Paris), then to the great organ the following year. He then appeared in the gallery of the Church of Saint-Bernard de la Chapelle where he inaugurated the organ in 1863, at Notre-Dame-de-Bonne-Nouvelle, then at Saint-Merri in 1866. Finally, he was appointed titular organist of the new Cavaillé-Coll organ of the Église de la Sainte-Trinité in 1869, a position he held until his premature death at the age of 34 years of tuberculosis.
Renowned for its interpretations of J. S. Bach and his improvisations, he was also regularly invited to participate in the inauguration of organs in Paris (e.g. in 1868, Notre-Dame de Paris), with Édouard Batiste, César Franck and Camille Saint-Saëns. A gifted and refined musician, he is considered one of the most brilliant composers for the organ with his friend César Franck who dedicated him his Fantaisie in C major for organ, Op. 16.
About the Choral Music:
Jesus is a Rock in a Weary Land - Glenn Burleigh
(c.1993, Burleigh Inspirations Music)
The songs that arose out of American slavery have preserved a poignant portrait of the hearts, sufferings, and hopes of their anonymous composers. The portrait painted by these spirituals, as well as the contexts from which the songs arose, is similar to that of ancient Israel, particularly as she sang and prayed the Psalms to the Lord in the bondage of exile, hoping for deliverance and restoration. The primary point of continuity between the slaves' African spirituality and their new practice of Christianity was in their style of worship. The many spirituals that have been preserved are fairly consistent with orthodox Christianity, focusing on biblical narratives of deliverance and faithful heroes, but unlike their white counterparts, whose worship was very reserved, the slaves' worship involved shouting, dancing, and unique intonation around what was known as the "ring shout.” They would stomp their feet, slap their thighs, and clap their hands in rhythm with the music, and they even used tones, sounds, and meter completely unknown to white Americans. These features were almost certainly carried over from African ritual, and because whites considered them “barbarous" and "idolatrous," slaves often had to worship in hiding.
Suffering is a prominent theme in both the Psalms and the African American spirituals. In the Psalms, suffering is usually expressed through the genre of lament, or a petition for deliverance from some kind of distress based on God’s faithfulness and power to save in history. Scholars disagree whether these psalms depict a movement from suffering to hope and joy, or if they hold suffering and hope in tension, affirming the need for and possibility of joy in the midst of suffering. The spirituals also seem simultaneously to affirm both suffering and joyous hope. Christa Tippet explains this dynamic well, describing the spiritualists' theology of suffering as one that "leans into suffering - and, in surrender, transforms and rises above it, if only in moments.” The spiritualists held suffering and joy in a necessary balance, arguing that the suffering in the spirituals is not an entirely depressing matter, but was actually the "departure for faith” for the slaves. The juxtaposition of suffering and praise is an example not of a denial of suffering, but an affirmation of faith.
Slaves also had a refuge in the church and, more importantly, in the Lord. Throughout the Psalter, God is portrayed as a "refuge," "shelter," “rock," and "hiding place" in storms and trials. Psalm 55 is replete with such imagery. Just as the psalmist finds safety, assurance, and hope in the Lord's profection and in Zion, so also the African American slave sought refuge in the Lord and in the church. “Jesus is a Rock in a Weary Land” is steeped in imagery similar to the Psalter.
Glenn Burleigh (1949-2007) was born into a family of ministers in Guthrie, Okla., Burleigh grew up to be a renowned pianist, conductor and clinician, as well as composer. His music has been performed on every continent in venues ranging from churches to classical concert stages. His "Alpha Mass" and "Lamentation and Celebration," (dedicated to the victims and survivors of the 1995 Oklahoma City bombing) were recorded by the Choral Arts Society of Racine, Wisconsin. One of Burleigh's many gifts was his ability to take disparate styles of music such as classical, blues, gospel and jazz, and bring them together. Burleigh operated his own publishing company in Oklahoma City assisted by his brother, Kenneth. In addition, he served as Director of Music for the National Baptist Congress for five years and as Composer-in-Residence for the Ambassadors’ Concert Choir of Oklahoma City from 1984-2000. He was inducted into the Oklahoma Jazz Hall of Fame in 2014.
Jesus is a Rock in a weary land, a weary land, a weary land,
Jesus is a Rock in a weary land, a shelter in a time of storm.
Jesus is a Rock in a weary land, a weary land, a weary land,
Jesus is a Rock in a weary land, a shelter in a time of storm.
I would not be a sinner. I’ll tell you the reason why.
I’m afraid my Lord might call my name, and I wouldn’t be ready to die.
Jesus is a Rock in a weary land, a weary land, a weary land,
Jesus is a Rock in a weary land, a shelter in a time of storm.
I would not be a backslider. I’ll tell you the reason why.
I’m afraid my Lord might call my name, and I wouldn’t be ready to die.
Jesus is a Rock in a weary land, a weary land, a weary land,
Jesus is a Rock in a weary land, a shelter in a time of storm.
He is a Rock in a weary land. He is a Rock in a weary land.
He is a Rock in a weary land, a shelter in a time of storm.
He is a Rock in a weary land. He is a Rock in a weary land.
He is a Rock in a weary land, a shelter in a time of storm.
Has He ever made a way when you didn’t have a dime?
Has He ever stepped in just right on time?
Has He ever picked you up when you were down?
Has He ever placed your feet on solid ground?
Then you know He is a Rock in a weary land, a shelter in a time of storm.
Jesus is a Rock and He is my shelter in a time of storm.
Has He ever made a way when you didn’t have a dime?
Has He ever stepped in just right on time?
Has He ever picked you up when you were down?
Has He ever placed your feet on solid ground?
Then you know He is a Rock in a weary land, a shelter in a time of storm.
Jesus is a Rock and He is my shelter in a time of storm.
Jesus is a Rock in a weary land, in a time of storm.
He’s a Rock of Ages in a weary land. He is a shelter in a time of storm.
I’m a witness He’s a Rock.
Jesus is a Rock and He is my shelter in a storm. Oh yes, in a weary land,
A shelter in a time of storm. I’m a witness He’s a Rock.
Jesus is a Rock and He is my shelter in a time of storm. Yes, in a weary land,
a shelter in a time of storm. I’m a witness He’s a Rock.
Jesus is a Rock in a weary land, a weary land. Oh yes, He’s a Rock,
Yes, yes, in a weary land, a shelter in a time of storm.
A shelter in a time of storm!
About the Hymns:
My Hope is Built
Edward Mote (1797-1874) falls into the rare category of hymn writers who grew up without religious training and whose parents were pub owners. He was apprenticed at a young age by his parents to a cabinetmaker, but found faith when he heard the preaching of John Hyatt at the Tottenham Court Road Chapel in London at age 15. Living in Southwark near London, he established a successful cabinet-making enterprise and became a Baptist minister in 1852, at 55 years of age. He ministered for 21 years at Strict Baptist Church in Horsham, Sussex.
Singing hymns was of great interest to him. The master cabinetmaker became a prolific hymn writer, composing more than 100 hymns. The hymn "My Hope Is Built on Nothing Less" was published anonymously in several hymn collections before first being attributed to Edward Mote in a collection of approximately 100 of his hymns published in 1837 under the title Hymns of Praise, A New Selection of Gospel Hymns, Combining All the Excellencies of our Spiritual Poets, with Many Originals. Hymnologists note that this is the first time the now common term “gospel hymn” appears. Mote's original title was "The Immutable Basis for a Sinner's Hope" in this collection. The refrain of "My Hope Is Built on Nothing Less" refers to the Parable of the Wise and the Foolish Builders and builds around the metaphor of Christ as a rock with a firm basis (1 Corinthians 10:4).
The Sunday school hymn writer William B. Bradbury composed SOLID ROCK in 1863 for Edward Mote's "My Hope Is Built on Nothing Less." The tune name derives from that song's refrain: "On Christ, the solid rock, I stand. . . .” Bradbury published SOLID ROCK in his 1864 children's collection The Golden Censor.
My hope is built on nothing less than Jesus’ blood and righteousness.
I dare not trust the sweetest frame but wholly lean on Jesus’ name.
In ev’ry rough and stormy gale, my anchor holds within the vale.
When all around my soul gives way, he then is all my hope and stay.
Not earth, nor hell, my soul can move; I rest upon unchanging love.
I trust his righteous character, his counsel, promise, and his pow’r.
When he shall come with trumpet sound, oh, may I then in him be found,
dressed in his righteousness alone, faultless to stand before the throne.
On Christ, the solid rock, I stand; all other ground is sinking sand,
all other ground is sinking sand.
Standing on the Promises
R. Kelso Carter became an ordained Methodist minister (1887) at the age of 38. A year earlier, he was a professor at the Pennsylvania Military Academy, where he wrote the hymn, "Standing On the Promises," after reading Apostle Paul’s second letter to the Corinthians I: 20: "For all the promise of God in him are yea, and in him Amen, unto the glory of God by us." I was published in Songs of Perfect Love, one of two hymns compiled by Carter. The drum-beating, military march style of the music reflects the influence of the military academy life that surrounded Carter when it was written. Carter was active in the Methodist Camp-Meeting movement, and “Standing on the Promises” was widely used in evangelistic crusades well into the 20th century and is still found in many hymnals. It is a reminder of the Christian’s daily dependence on the promises of God.
Standing on the promises of Christ my King,
Through eternal ages let His praises ring,
Glory in the highest, I will shout and sing,
Standing on the promises of God.
Standing on the promises that cannot fail,
When the howling storms of doubt and fear assail,
By the living Word of God I shall prevail,
Standing on the promises of God.
Standing on the promises I now can see
Perfect, present cleansing in the blood for me;
Standing in the liberty where Christ makes free,
Standing on the promises of God.
Standing on the promises of Christ the Lord,
Bound to Him eternally by love’s strong cord,
Overcoming daily with the Spirit’s sword,
Standing on the promises of God.
Standing on the promises I cannot fall,
List’ning every moment to the Spirit’s call,
Resting in my Savior as my all in all,
Standing on the promises of God.
Standing, standing, Standing on the promises of God my Savior;
Standing, standing, I’m standing on the promises of God.
Goodness of God - Jenn Johnson, Ed Cash, Jason Ingram, Ben Fielding, and Brian Johnson
(c.2018, Alletrop Music/Shout! Music Publishing Australia/Fellow Ships Music/So Essential Tunes/Bethel Music Publishing)
Jennifer "Jenn" Johnson (b.1982) is an American Christian worship singer, songwriter and worship pastor. She is a co-founding member of Bethel Music, and is one-half of the husband-and-wife worship duo Brian and Jenn Johnson. She is also a senior worship pastor at Bethel Church in Redding, California, and a Senior Overseer of WorshipU, an online school of worship sponsored by Bethel.
The story behind Bethel Music's "Goodness of God" centers on Jenn Johnson's personal experience of adopting her fourth child, Ryder Moses.
Johnson related this story: “We had just gotten home from our adoption of our son, Ryder. He was a gift that we never saw coming. We have three kids already. We thought we were done having children. Brian and I were always open to adoption. But, out of the blue, we just felt like the Lord say to us, 'I have this for you if you want this--like a gift. I have a present for you." We knew adoption was the Lord's plan for us; to have a baby again when you've been out of baby season for eight years was such a blessing. Darlene Zschech, who had been with us, told us the translation of the verse 'Here I am, send me' from Isaiah 6:8 says, 'my answer is yes before you even ask.' I was so struck with that phrase. When we had the chance to adopt, I felt myself saying yes before I was even asked. Within the next year, we were matched up. And, we brought our new son home to our family. During the adoption process, I found myself driving on a long country road. I was just singing to the Lord when I recorded a song on my phone about the "faithfulness" and "kindness of God." I wrote and sang most of "Goodness of God" as an overflow of my heart at that moment. That led to finishing and recording this song with Ed Cash, Jason Ingram, and Ben Fielding.”
This unplanned recording session became the foundation for the song, which expresses gratitude for God's unwavering presence and goodness through life's challenges and joys.
I love You, Lord. For Your mercy never failed me.
All my days I've been held in Your hands.
From the moment that I wake up Until I lay my head,
Oh, I will sing Of the goodness of God.
And all my life You have been faithful;
And all my life You have been so, so good.
With every breath That I am able,
Oh, I will sing Of the goodness of God.
I love Your voice, You have led me through the fire.
And in darkest night You are close like no other.
I've known You as a Father; I’ve known You as a Friend.
And I have lived In the goodness of God, yeah.
'Cause Your goodness Is running after, It's running after me;
Your goodness is running after, It’s running after me.
With my life laid down, I’m surrendered now.
I give You everything, ’Cause Your goodness
Is running after, It’s running after me, oh.
Deep Peace – Benjamin Harlan
(c.1998, Hal Leonard Corp.)
Dr. Benjamin Harlan has set this traditional Gaelic text. Harlan is a Professor of Church Music at New Orleans Baptist Theological Seminary. He is an internationally known arranger and composer of choral, keyboard and handbell works. He has received awards from ASCAP annually since 1990. Dr. Harlan is a member of ASCAP, American Choral Directors Association and the Southern Baptist Church Music Conference.
Deep peace of the running wave to you, Deep peace of the flowing air to you.
Deep peace, deep peace, deep peace of the Father’s love to you.
First United Methodist Church, Lewisville, Texas
A Community of Everyday People Learning to Love Like Jesus
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