Each week, you may find information here about the music in the worship services at Trinity United Methodist Church in Duncanville, 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.
Take My Life, and Let It Be - Bill Wolaver
(c.1986, Word Music)
Frances R. Havergal (1836-1879) originally composed her text in eleven couplets as a hymn of "self-consecration to Christ" on February 4, 1874. She told the following story about writing this hymn:
I went for a little visit of five days [to Areley House, Worcestershire, in December 1873]. There were ten persons in the house, some unconverted and long prayed for, some converted but not rejoicing Christians. [God] gave me the prayer, "Lord, give me all this house." And He just did! Before I left the house, everyone had got a blessing. The last night of my visit. . . I was too happy to sleep and passed most of the night in praise and renewal of my own consecration, and these little couplets formed themselves and chimed in my heart, one after another, till they finished with "Ever, only, all, for Thee.”
The text is a "catalog" hymn that lists aspects of our lives and offers them in Christ's service. "Take My Life and Let It Be" was first published in the 1874 appendix to Charles B. Snepp's Songs of Grace and Glory (1872). A twelfth couplet was added at some later point, producing the six stanzas published in the Psalter Hymnal.
Although her formal education was sporadic because of poor health, Havergal learned six foreign languages, including Greek and Hebrew, and was well read in many subjects. She began writing poetry at an early age and was also an accomplished singer and pianist. The daughter of a clergyman, she had a conversion experience at the age of fourteen and was confirmed in the Church of England in 1853. Taking seriously her own words "take my silver and my gold," she sent all her jewelry to the Church Mission Society to be sold. She also supported other charitable organizations. Her more than one hundred hymns were originally published in leaflets and later gathered into seven collections: Ministry of Song (1869), Twelve Sacred Songs for Little Singers (1870), Under the Surface (1874), Loyal Responses (1878), Life Mosaic (1879), Life Chords (1880), and Life Echoes (1883), as well as in one large volume, Poetical Works (1884).
The tune MESSIAH, also sometimes called HEROLD, was written by Ferdinand Herold (1791-1833).
Take my life and let it be consecrated, Lord, to thee.
Take my moments and my days; let them flow in endless praise.
Take my hands and let them move at the impulse of thy love.
Take my feet and let them be swift and beautiful for thee.
Take my voice and let me sing always, only, for my King.
Take my lips and let them be filled with messages from thee.
Take my silver and my gold; not a mite would I withhold.
Take my intellect and use every power as thou shalt choose.
Take my will and make it thine; it shall be no longer mine.
Take my heart it is thine own; it shall be thy royal throne.
Take my love; my Lord, I pour at thy feet its treasure store.
Take myself, and I will be ever, only, all for thee.
Bill Wolaver received his Bachelor of Music in Piano Performance from Oklahoma City University. He is a prolific and renowned composer and arranger in Nashville, TN, working with multiple publishing companies. He and his wife, Robin, have been involved with Christian music for over 20 years, with songs, musicals, and arrangements published by a number of leading Christian publishers. Together, they composed Make His Praise Glorious, recorded by Sandi Patty and nominated for Dove Award for 'Song of the Year.' In addition, they have received an ASCAP Award for 'Inspirational Song of the Year.' He is also the pianist/composer/arranger for the Annie Moses Band. He offers numerous arrangements and compositions at ManAlivePublishing.com.
Lord, Whose Love Through Humble Service
(c.1961, Oxford University Press, 1978, Lutheran Book of Worship)
Albert F. Bayly (1901-1984) was educated at London University and Mansfield College, Oxford. Beginning in the late 1920’s, he served at four Congregational churches in Northumberland, Lancashire and East Yorkshire; in 1962, he became pastor in Thaxted, Essex. After retiring in 1971, he moved to Springfield, Chelmsford, and was active in the local United Reformed Church. He wrote several pageants on mission themes, and librettos for cantatas by W. L. Lloyd Webber (father of Andrew).
Bayly wrote this text in response to a Hymn Society of America search for new hymns on social welfare. It was chosen as the theme hymn for the Second National Conference on the Churches and Social Welfare held in Cleveland, Ohio, October 23-27, 1961. The Hymn Society published the text in Seven New Social Welfare Hymns (1961).
The tune “Beach Spring” is attributed to Benjamin Franklin White, who with the help of Elisha J. King, published The Sacred Harp (Philadelphia, 1844), where it was sung with the text of “Come, ye sinners, poor and wretched.” Named after the Beech Spring Baptist Church in Harris County, Georgia, the church was given its name because of its close proximity to two beech trees at a spring. Although the original spelling of the name should be “Beech,” White’s misspelling “Beach,” has stuck with the hymn throughout the ages. White was mostly a self-taught singing school teacher from South Carolina. Eventually he moved to Hamilton in Harris County, Georgia, where he worked at many different vocations, including a stint in the Georgia Militia. Eventually White married Thurza Golightly, and together the two had 14 children (the same number of children that White’s parents had). At some point along the timeline of Benjamin Franklin White’s history, a rumor was started that he worked closely with William Walker (who was his brother-in-law) to publish Southern Harmonies, but this rumor was probably not true. The two books were wildly popular in the south, but both contained the same southern white spirituals which were popular in the more rural areas. In the 20th century, the tunes from The Sacred Harp, and Southern Harmonies entered into more denominational hymnals and inspired many different composers to arrange the melodies in various ways. The Sacred Harp is one of the most used books in the four-shape notation, and has gone through numerous editions that have been published throughout the years, and even to the present days.
Lord, whose love through humble service Bore the weight of human need,
Who upon the cross, forsaken, Offered mercy’s perfect deed,
We, Your servants, bring the worship Not of voice alone, but heart,
Consecrating to Your purpose Ev’ry gift that you impart.
Still Your children wander homeless; Still the hungry cry for bread;
Still the captives long for freedom; Still in grief we mourn our dead.
As, O Lord, Your deep compassion Healed the sick and freed the soul,
Use the love Your Spirit kindles Still to save and make us whole.
As we worship, grant us vision, Till Your love’s revealing light
In its height and depth and greatness, Dawns upon our quickened sight,
Making known the needs and burdens Your compassion bids us bear,
Stirring us to tireless striving, Your abundant life to share.
Called by worship to Your service, Forth in Your dear name we go,
To the child, the youth, the aged, Love in living deeds to show;
Hope and health, goodwill and comfort, Counsel, aid, and peace we give,
That Your servants, Lord, in freedom May Your mercy know and live.
Gloria Patri
Many congregations may take these words, sung weekly, for granted. Like many parts of liturgy, their roots extend to the deepest levels of our praise and prayer.
The text of the Gloria Patri falls into the broader category of doxology – in the Greek doxologia or “words of glory.” Doxology finds its roots in the Hebrew liturgy and the psalms as the kaddish. The kaddish is a doxology recited after the verses of a song. Its recitation signals the conclusion of one of the sections of the liturgy and has many different forms and purposes. In the Jewish context, a doxology blesses the One God and God’s everlasting nature. For example, Psalm 41:13 states: “Blessed be the Lord God of Israel from everlasting, and to everlasting. Amen and Amen” (KJV). This is a form of berakhah (blessing or benediction) that pervades Jewish liturgy and life. The Sh’ma is the most famous and prevalent statement in Reform Jewish liturgy that addresses these criteria:
Sh’ma Yisrael Adonai Eloheinu Adonai Eḥad (שְׁמַע יִשְׂרָאֵל יְהוָה אֱלֹהֵינוּ יְהוָה אֶחָֽד):
“Hear, O Israel, the Lord is our God, the Lord is One.” (Deuteronomy 6:4)
Baruch shem k’vod malchuto l’olam vaed (בָּרוּךְ שֵׁם כְּבוֹד מַלְכוּתוֹ לְעוֹלָם וָעֶד):
“Blessed is/be the name of the glory/honor of His kingdom forever and ever.”
The “Baruch” is a berakhah added in the rabbinic tradition. It is very similar to Psalm 72:19: “Blessed be His glorious name forever.”
Given this heritage, early Christians adapted the Jewish form to include the Triune God and the Trinity’s eternal nature – “world without end.” Scholars suggest that the opening trinitarian formula is taken from the Great Commission in Matthew: “Go therefore and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit” (28:19). Any trinitarian affirmation at the conclusion of a prayer became known as a “doxology.”
The Lesser Doxology has for centuries been chanted in Latin at the conclusion of psalms and canticles, especially in the daily monastic prayers:
Gloria Patri, et Filio, et Spiritui Sancto,
Sicut erat in principio, et nunc, et semper,
et in saecula saeculorum. Amen.
The Greater Doxology is the fourth-century hymn Gloria in excelsis Deo, the incipit (opening line) of which was drawn from the angel’s canticle, Luke 2:14. This non-biblical canticle was introduced during the fourth-century Christological controversies as a corrective to Arianism – a doctrine attributed to Arius (c. 256–336) claiming that Jesus was subordinate to God the Father. The Gloria became a stable part of the ordinary (fixed) sections of the Roman Catholic mass except during Advent and Lent when it is omitted.
Protestants often limit the doxology to a single stanza from morning and evening hymns composed by Anglican Bishop Thomas Ken (1637–1711) for a resident boys’ school. While the four lines of this well-known stanza are Trinitarian, Ken does not specifically mention the eternal nature of the Trinity. However, he references the cosmic perspective of our praise to God – taking place both on earth and in heaven:
Praise God, from whom all blessings flow;
Praise him, all creatures here below;
Praise him above, ye heav’nly host,
Praise Father, Son, and Holy Ghost.
The Gloria Patri, also known in English as the Glory Be to the Father or, colloquially, the Glory Be, is also referred to as the Minor Doxology (Doxologia Minor) or Lesser Doxology, to distinguish it from the Greater Doxology, the Gloria in Excelsis Deo. The lesser doxology is of Syrian origin:
shubho labo w-labro wal-ruho qadisho
men 'olam w'adamo l'olam olmin, Amin.
Glory be to the Father and to the Son and to the Holy Spirit,
from everlasting and for ever and ever (literal translation).
The Greek wording is as follows:
Δόξα Πατρὶ καὶ Υἱῷ καὶ Ἁγίῳ Πνεύματι,
καὶ νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. Ἀμήν.
Glory to the Father, and to the Son, and to the Holy Spirit,
Both now and always, and unto the ages of ages. Amen.
The Latin version differs from the Greek version because of the insertion of "sicut erat in principio", which is now taken to mean "as it (glory) was in the beginning", but which seems originally to have meant "as he (the Son) was in the beginning", and echo of the opening words of the Gospel according to John: "In the beginning was the Word". In 529, the Second Synod of Vasio (Vaison-la-Romaine) in Gaul said in its fifth canon that the second part of the doxology, with the words "sicut erat in principio", was used in Rome, the East, and Africa, and ordered that it be said likewise in Gaul. Writing in the 1909 Catholic Encyclopedia, Adrian Fortescue, while remarking that what the synod said of the East was false, took the synod's decree to mean that the form originally used in the West was the same as the Greek form. From about the 7th century, the present Roman Rite version became almost universal throughout the West.
Gloria Patri, et Filio, et Spiritui Sancto,
sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.
Glory to the Father, and to the Son, and to the Holy Spirit,
as it was in the beginning, and now, and forever, and unto the ages of ages. Amen.
The following traditional form is the most common in Anglican usage and in older Lutheran liturgical books:
Glory be to the Father, and to the Son: and to the Holy Ghost;
as it was in the beginning, is now, and ever shall be: world without end. Amen.
The translations of "semper" as "ever shall be", and "in saecula saeculorum" as "world without end" date at least from Thomas Cranmer's Book of Common Prayer (1552).
Congregations use several traditional musical settings. One is by Charles (Christoph) Meineke (1782–1850), a German-born organist who moved to England around 1810 and then to Baltimore in 1820. He served as organist of St. Paul’s Episcopal Church for several decades. Meineke authored Music for the Church . . . Composed for St. Paul’s Church, Baltimore (1844). His musical setting, included in this collection, is usually given the name MEINEKE.
We Are Called to be God’s People - Stan Pethel
(c.2018, Lorenz Publishing Company)
Dr. Thomas Jackson (b. 1931) was pastor of Wake Forest Baptist Church and taught at Campbell University in North Carolina. He studied at the University of Richmond and Johns Hopkins University. He has published in religious journals and has written several hymn texts, including “We are Called to be God’s People.” He was also an excavator on the Capernaum Archeological Expedition in 1982.
Franz Joseph Haydn (1732-1809) wrote the hymn tune AUSTRIAN HYMN. It was taken from one of his string quartets, which was first performed for the Emperor Francis II's fifth birthday. It is widely recognized as the melody as well for the German national anthem. But it has been used to set many hymns, most well-known being “Glorious Things of Thee are Spoken”, published in 1920. Haydn is remembered as the first great symphonist and the composer who essentially invented the string quartet. The principal engineer of the classical style, Haydn exerted influence on the likes of Mozart, his student Ludwig van Beethoven and scores of others.
We are called to be God's people, Showing by our lives His grace.
One in heart and one in spirit, Sign of hope for all the race .
Let us show how He has changed us And remade us as His own;
Let us share our life together As we shall around His throne.
We are called to be God's servants Working in His world today.
Taking His own task upon us, All His sacred words obey.
Let us rise then to His summons; Dedicate to Him our all
That we may be faithful servants Quick to answer now His call.
We are called to be God's prophets Speaking for the truth and right;
Standing firm for godly justice; Bringing evil into light.
Let us seek the courage needed Our high calling to fulfill,
That we all may know the blessing Of the doing of God's will.
Dr. Stan Pethel is Chair of the Fine Arts at Berry College near Rome, Georgia. He has been on the music faculty there since 1973. In addition to his duties as Chair of Fine Arts at Berry College Dr. Pethel teaches music theory, composition and arranging, world music, and low brass lessons. He is a widely published composer and arranger with over 1000 works in publication with 26 different publishers. His writing includes works for choir, piano, organ/piano duet, symphonic band, jazz ensemble, orchestra, handbells, solo instrument and piano, and various chamber music ensembles. He is a regular recipient of the ASCAP Standard Award.
Jesu, Jesu
(c.1989, Hope Publishing Company)
Following African independence movements throughout the 1960s and 1970s, a number of Western missionaries encouraged the composition of Christian song in African idioms. Thomas S. Colvin (1925-2000) was one of these missionaries. Colvin was a pastoral missionary for the Church of Scotland in Ghana from 1958-1964 and Nyasaland (now Malawi) from 1954-'58 and 1964-'74. Trained as an engineer before studying theology at Trinity College in Glasgow, he was an active member of the ecumenical Iona Community for nearly 50 years.
In concert with his commitment to the rule of Iona Community members, Colvin's missionary ministry was characterized by justice issues such as Christian service committees, refugee resettlement and community development projects. Among his many activities, Colvin participated in community development training in parts of southern Africa and aided refugees from Mozambique seeking sanctuary in neighboring Malawi. These areas of service were the focus of Colvin's ministry, rather than the development of indigenous congregational song.
The songs collected by Colvin have been spread by members of the Iona Community around the world. Several of his texts set to African melodies have found a home in Western hymnals. Colvin nurtured new African congregational songs by adapting local melodies and writing new texts appropriate for African Christians and, as it turns out, Christians around the world. He introduced his hymns first to the Iona Community and then beyond in two collections, Free to Serve (1969) and Leap My Soul (1976). These collections were brought together in a single volume, Fill Us With Your Love (1983). A last volume, Come, Let Us Walk This Road Together, was added in 1997.
"Jesu, Jesu" is Colvin's most popular hymn. The melody is adapted from a Ghanaian folk song he heard during his years of service in that country. The tune name CHEREPONI comes from a town in northern Ghana, where the hymn was written. The composition of the hymn is symbolic of collaboration between two cultures. The text comes from a European Christian inspired by his service in Ghana. The melody comes from a West African country. In this composition, even the act of hymn singing may become a metaphor for neighborly relationships that are possible in Christ.
Kneels at the feet of his friends, silently washes their feet,
Master who acts as a slave to them.
Neighbors are rich folk and poor, neighbors are black, brown, and white,
neighbors are nearby and far away
These are the ones we should serve, these are the ones we should love;
all these are neighbors to us and you.
Loving puts us on our knees, serving as though we are slaves:
this is the way we should live with you.
Refrain:
Jesu, Jesu, fill us with your love,
show us how to serve the neighbors we have from you.
Surely the Presence of the Lord is in this Place
(c.1977, Lanny Wolfe Music)
Lanny Wolfe (born 1942) is a Christian songwriter who has won numerous awards. Wolfe served for a number of years as the Dean of the School of Music at Jackson Bible School, Jackson College of Ministries, but his most significant influence has been introducing black Gospel music to Pentecostal churches.
"Surely the Presence of the Lord Is in This Place" is based on Jesus promise, "Where two or three are gathered together in my name, there I am in their midst" (Matthew 18:20). It emphasizes the senses––feeling, hearing, touching, and seeing. We can feel the presence of the Lord––and hear the brush of the angel's wings––and see glory on each face. Wolfe was inspired to write this song in 1977 when a friend invited The Lanny Wolfe Trio to sing at a dedication service for a new building. "Surely the Presence" is the song that the Trio sang for that occasion.
Surely the presence of the Lord is in this place;
I can feel his mighty power and his grace.
I can hear the brush of angels’ wings, I see glory on each face;
Sure the presence of the Lord is in this place.
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.
Refrain:
Trust and obey, for there's no other way
to be happy in Jesus, but to trust and obey.
A Closing Prayer - Don Besig
(c.1978, Harold Flammer, Inc.)
Don Besig was a public school music teacher for over thirty years in western New York. He taught at all levels and since his retirement has continued to serve as a guest conductor, clinician and adjudicator. Recognizing a need for choral music written especially for student singers and volunteer church choirs, he began composing for his own choral groups in 1960. He is also the recipient of several ASCAP Plus Awards Don is a graduate of Ithaca College and a member of Phi Mu Alpha and ASCAP. He and Nancy Price collaborate to write music and lyrics.
The time has come, O Lord, for us to leave this place.
Guide us and protect us and lead us in thy grace.
Wherever life may take us as we go our separate ways,
Help us share with others the things we've shared today.
Lead On Medley - Dick Torrans
(c.1994, Singspiration Music)
When Ernest Shurtleff’s seminary class was preparing for their graduation in 1887, they turned to Ernest, who had written two volumes of poetry, and asked him to write a hymn for their graduation ceremony. He wrote “Lead on, O King Eternal” for that occasion.
This hymn is really a prayer — a prayer for God’s guidance. It speaks of marching and “fields of conquest” and “battle song” — not because it celebrates war, but because it acknowledges the daily struggle in which good people must engage against evil. It looks forward to the celebration of victory — not with clashing swords and stirring drums, but with “deeds of love and mercy” — acknowledging that Christ calls us to conquer the world by demonstrating love and showing mercy rather than by using force. This hymn acknowledges the difficulties of the Christian life — standing armed only with holiness against “sin’s fierce war. It acknowledges the reality of the cross, but celebrates the reality of the crown — the reward of those who are faithful — and closes, “Lead on, O God of might!”
Henry T. Smart composed the tune LANCASHIRE in 1835 for use at a missions festival at Blackburn, Lancashire, England. For that festival, which celebrated the three-hundredth anniversary of the Reformation in England, the tune was set to Reginald Heber's “From Greenland's Icy Mountains.” First printed in leaflets, LANCASHIRE was published In Smart's Psalms and Hymns for Divine Worship (1867). It was set to Shurtleffs text in the 1905 Methodist Hymnal. In some hymnals this tune is also associated with "The Day of Resurrection”.
Lead on, O King eternal, the day of march has come;
henceforth in fields of conquest your tents will be our home.
Through days of preparation your grace has made us strong;
and now, O King eternal, we lift our battle song.
Lead on, O King eternal, till sin's fierce war shall cease,
and holiness shall whisper the sweet amen of peace.
For not with swords' loud clashing or roll of stirring drums
with deeds of love and mercy the heavenly kingdom comes.
Lead on, O King eternal; we follow, not with fears,
for gladness breaks like morning where'er your face appears.
Your cross is lifted o'er us, we journey in its light;
the crown awaits the conquest; lead on, O God of might.
Dick Torrans studied piano pedagogy at Michigan State University and church music at Southern Seminary. He is currently president of Melode, Inc., Franklin, Tenn. He has published a number of piano and organ arrangements.
Trinity United Methodist Church, Duncanville, Texas
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