August 17, 2014

Each week, you may find information here about the organ music and hymns in the traditional worship services at First United Methodist Church in Lewisville, Texas.  Some of this information is original; much of it is "borrowed" from other sources 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:

A Joyous Voluntary – Lowell Mason

In music a voluntary is a piece of music, usually for organ, that is played as part of a church service. In English-speaking countries, the music played before and after the service is often called a 'voluntary', whether or not it is titled so.  The title 'voluntary' was often used by English composers during the late Renaissance, Baroque, and Classical periods. Originally, the term was used for a piece of organ music that was free in style, and was meant to sound improvised (the word voluntary in general means free, i.e., "not forced to do something”). This probably grew out of the practice of church organists improvising after a service.  Later, the voluntary began to develop into a more definite form, though it has never been strictly defined. During the late 17th century, a 'voluntary' was typically written in a fugal or imitative style, often with different sections. In the 18th century the form typically began with a slow movement and then a fugue. Two to four movements were common, with contrasting tempos (slow-fast-slow-fast). In the 18th century England, the word 'voluntary' and 'fuge' were interchangeable. These English style 'fuges' (or fugue) do not follow the strict theoretic form of German-style fugues. They are more related to the 'fugues' written by Italian composers of the time.  Besides the fugal type of voluntary, two other common forms developed: the trumpet voluntary or cornet voluntary. These two were usually non-fugal, but still contained movements with contrasting tempos. These voluntaries were meant to feature the stops for which they are named. Some voluntaries were called double voluntaries. These were pieces written for organs with two manuals (keyboards). The pieces contrasted a loud manual with a soft one.

This voluntary consists of 3 short movements.  The first and third are the same, except the third features ornamentation.  The middle movement changes meter and tempo.  It is written by the early American composer Lowell Mason.  Lowell Mason (January 8, 1792 – August 11, 1872) was a leading figure in American church music, the composer of over 1600 hymn tunes, many of which are often sung today.  He was largely responsible for introducing music into American public schools, and is considered to be the first important music educator in the United States. In the last part of his career, as music director of the Fifth Avenue Presbyterian Church in New York City, he radically transformed American church music from a practice of having professional choirs and accompaniment to congregational singing accompanied by organ music.

 

A Joyous Organ Verse – Édouard Batiste

Edouard Batiste (1820-1876), the so-called "organ tamer", studied at the Conservatoire de Paris, solfège (1st prize in 1833), harmony and accompaniment (1st prize in 1837), organ (class of François Benoist) and counterpoint and fugue (1st prize in 1839 in both classes).  Recognized as choir director and solfège professor, Batiste’s reputation grew significantly following his arrival at Saint-Eustache which was one of the most important musical centers in the french capital at the time. Batiste was the organist of St. Eustache and served as professor of solfège, choir, and harmony at the Paris Conservatory. He edited twelve solfège textbooks and taught over 5000 students during his 40 year tenure at the conservatory.

          St. Eustache, Paris

 

 

About the Choral Music:

Shout with Joy to God! – John Purifoy

John Purifoy (b. 1952) is a composer and arranger with numerous published choral cantatas, anthems and keyboard collections. His stage musical "Lambarene," based on the life of Dr. Albert Schweitzer, received workshop productions at the state theatre of New Jersey and the North Shore Musical Theater near Boston.  Mr. Purifoy served as editor and director of music publishing for Word, Inc. from 1975-1982. He is the recipient of the Freedom’s Foundation Award and five-time recipient of the ASCAP Standard Award. 

The text of this anthem is based on Psalm 66.

            Shout with joy to God all the earth!

           Come and sing the glory of His name.

            Offer Him glory and praise, praise to His name.

            Come and see what God has done,

            How wondrous are His mighty works.

            He turned the sea into dry land.

            Come, let us sing and rejoice; sing to His name.

            Let the sound of praise be heard.

            He has preserved our lives.

            He keeps our feet from stumbling or falling.

            He has refined us like silver and brings us to a place of rest.

            I will come to Your temple and offer my vows to You,

            Vows my lips and mouth have spoken in times of fear.

            Come, listen, all you who fear God,

            Let me tell what He has done for Me.

            He heard the voice of my prayer,

And His praise shall forever be my song!

About the Hymns:

Joyful, Joyful, We Adore Thee

"The Hymn of Joy" (often called "Joyful, Joyful We Adore Thee" after the first line) is a poem written by Henry van Dyke in 1907 with the intention of musically setting it to the famous "Ode to Joy" melody of the final movement of Ludwig van Beethoven's final symphony, Symphony No. 9.   Van Dyke wrote this poem in 1907 while staying at the home of Williams College president Harry Augustus Garfield. He was serving as a guest preacher at Williams at the time. He told his host that the local Berkshire Mountains had been his inspiration. The lyrics were first published in 1911 in Van Dyke's Book of Poems.

Van Dyke wrote of this hymn: “These verses are simple expressions of common Christian feelings and desires in this present time—hymns of today that may be sung together by people who know the thought of the age, and are not afraid that any truth of science will destroy religion, or any revolution on earth overthrow the kingdom of heaven. Therefore this is a hymn of trust and joy and hope.”

This hymn is generally considered by hymnologists to be one of the most joyous expressions of hymn lyrics in the English language.

Henry Van Dyke (1852-1933) chaired the committee that wrote the first Presbyterian printed liturgy, The Book of Common Worship of 1906. In 1908–09 Dr. van Dyke was an American lecturer at the University of Paris. By appointment of President Wilson, a friend and former classmate of van Dyke, he became Minister to the Netherlands and Luxembourg in 1913. He was elected to the American Academy of Arts and Letters and received many other honors.  Among his popular writings are the two Christmas stories, The Other Wise Man (1896) and The First Christmas Tree (1897). Various religious themes of his work are also expressed in his poetry, hymns and the essays collected in Little Rivers (1895) and Fisherman’s Luck (1899).

I Come with Joy

“I Come with Joy” was written in 1971 by Brian Wren (b. 1936), Emeritus Professor of Worship, Columbia Theological Seminary, Decatur, Georgia. He is a writer, preacher, worship and workshop leader, and internationally published hymn-poet, with entries in most recent denominational hymnals in North America, Britain and Australia. Some of his hymn-poems have been translated into Finnish, French, Japanese, Mandarin, Spanish and Korean. Brian holds undergraduate and doctoral degrees from Oxford University. He is a Minister of the United Reformed Church (UK). His publications include What Language Shall I Borrow? - God-Talk in Worship: A Male Response to Feminist Theology (1989 and 2009), Praying Twice: The Music and Words of Congregational Song (2000), Advent, Christmas and Epiphany: Liturgies and Prayers for Public Worship (2008), Hymns for Today (2009) and seven hymn collections totaling 250 hymns.

Rejoice, Ye Pure in Heart

Anglican priest and professor Edward Hayes Plumptre (1821-1891) composed “Rejoice, ye pure in heart” as a processional hymn for a choir festival in one of England’s majestic places of worship, Peterborough Cathedral.   Plumptre was a distinguished scholar of his day. Educated at University College, Oxford, he then became a fellow at Brasenose College, Oxford, receiving his ordination in the Anglican Church in 1846. After serving as a clergyman, he became chaplain and professor of New Testament exegesis at King’s College, London, and dean of Queen’s College, Oxford. His most prominent position as a clergyman was that of dean of Wells Cathedral.

Of the original 11 stanzas, five or six stanzas appear in most hymnals.  Omitted stanzas refer to this processional in martial terms as warriors who “march in firm array.” This kind of imagery is not only consonant with the times, but also reflects the theology of the Anglican Communion that views its role on earth as the “Church Militant” while the church in heaven is the “Church Triumphant.”   Hymnologist William Reynolds noted that it “was not unusual for a cathedral processional to take from ten to thirty minutes, and the hymn that was sung by both the choir and the congregation needed to have enough stanzas for this.”   It was first published in the third edition of Plumptre's Lazarus and Other Poems (1868) and in the Appendix to Hymns Ancient and Modern (1868).

 

August 10, 2014

Each week, you may find information here about the organ music and hymns in the traditional worship services at First United Methodist Church in Lewisville, Texas.  Some of this information is original; much of it is "borrowed" from other sources 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:

Just as I Am – Dale Wood

At the age of 32, Charlotte Elliott (1789-1871) suffered a serious illness that left her a semi-invalid for the rest of her life. Within a year, she went through a spiritual crisis and confessed to the Swiss evangelist Henri A. Cesar Malan that she did not know how to come to Christ. He answered, "Come to him just as you are." Thinking back on that experience twelve years later, in 1834, she wrote “Just as I Am" as a statement of her faith.  Hymn writing provided a way for Elliot to cope with her pain and depression – she wrote approximately 150 hymns, which were published in her Invalid's Hymn Book (several editions, 1834-1854), Hymns for a Week (1839), and Thoughts in Verse on Sacred Subjects (1869). Many of her hymns reflect her chronic pain and illness but also reveal that faith gave her perseverance and hope.

“Just as I Am" was first published in the 1836 edition of Invalid's Hymn Book with the subheading "Him that cometh unto me I will in no wise cast out" (John 6:37). She added a seventh stanza that same year, when the hymn was also published in her Hours of Sorrow Cheered and Comforted (1836). Widely translated, this hymn has brought consolation to millions.

Just as I am, without one plea,
but that thy blood was shed for me,
and that thou bidd'st me come to thee,
O Lamb of God, I come, I come.

Just as I am, and waiting not
to rid my soul of one dark blot,
to thee, whose blood can cleanse each spot,
O Lamb of God, I come, I come.

Just as I am, though tossed about
with many a conflict, many a doubt,
fightings and fears within, without,
O Lamb of God, I come, I come.

Just as I am, thou wilt receive,
wilt welcome, pardon, cleanse, relieve;
because thy promise I believe,
O Lamb of God, I come, I come.

Dale Wood (1934-2003) was a prominent composer, organist, choral director, and clinician.  He was honored many times by the American Society of Composers, Authors, and Publishers (ASCAP) for his “very important contribution towards the creation and development of contemporary American church music”.  He wrote many collections of organ works, most of which are based on both old and new hymn tunes.  Over eight million copies of his publications have been purchased in over 50 countries.

O Gott, du frommer Gott – Johannes Brahms

Johann Heerman (1585-1657), son of a furrier, was the fifth but only surviving child of his parents. During a severe illness in his childhood, his mother vowed that if he recovered she would educate him for the ministry, even though she had to beg the necessary money. He was appointed diaconus of Koben, a small town on the Oder, in 1611, and was promoted to the pastorate there.  Much of Heermann's life was spent amid the distressing scenes of the Thirty Years' War; and by his own ill health and his domestic trials he was trained to write his beautiful hymns of “Cross and Consolation." Between 1629 and 1634, Koben was plundered four times by the Lichtenstein dragoons and the rough hordes under Wallenstein sent into Silesia by the King of Austria in order to bring about the Counter-Reformation and restore the Roman Catholic faith and practice; while in 1616 the town was devastated by fire, and in 1631 by pestilence. In these troublous years Heermann several times lost all his moveables; once he had to keep away from Koben for seventeen weeks; twice he was nearly sabred; and once, while crossing the Oder in a frail boat loaded almost to sinking, he heard the bullets of the pursuing soldiers whistle just over his head. He bore all with courage and patience.  After 1623 he suffered from an affliction of the throat, which compelled him to cease preaching in 1634. 

As a hymnwriter, Heermann ranks with the best of his century.  He began writing Latin poems about 1605 and was recognized for his poetry at Brieg in 1608. He represents the transition from the objective standpoint of the hymnwriters of the Reformation period to the more subjective and experimental school that followed him. His hymns are distinguished by depth and tenderness of feeling; by firm faith and confidence in face of trial; by deep love to Christ, and humble submission to the will of God.In his House and Heart Music some of his finest hymns are in the section entitled "Songs of Tears. In the time of the persecution and distress of pious Christians."

O God, Thou faithful God.  Thou lavish Fount of giving,

without whom naught can be.  From whom we're all receiving. 

Oh, make my body well, and mayst thou then ordain

that it a humble soul and wholesome mind contain.

Johannes Brahms (1833-1897) was a German composer and pianist.  Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna, Austria. In his lifetime, Brahms's popularity and influence were considerable; following a comment by the nineteenth-century conductor Hans von Bülow, he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs".
Brahms is often considered both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Baroque and Classical masters. He was a master of counterpoint, perfected in the Baroque period, and of thematic development, characteristic of the Classical era. Brahms aimed to honor the "purity" of these established "German" structures and advance them into a Romantic idiom, in the process creating bold new approaches to harmony and melody. While many contemporaries found his music too academic, the diligent, highly constructed nature of Brahms's works was a starting point and an inspiration for a generation of composers.

Es ist das heil uns kommen her – J. S. Bach

Es ist das Heil uns kommen her (English: Salvation now has come for all) is a Lutheran hymn in 14 stanzas by Paul Speratus. It was first published as one of eight songs in 1524 in the first Lutheran hymnal, the Achtliederbuch, which contained four songs by Luther, three by Speratus, and one by Justus Jonas. The same year it appeared in Erfurt in Eyn Enchiridion.

According to tradition, Speratus wrote this hymn while he was in prison in Olomouc, condemned for his evangelical beliefs to death by fire. Only by the intercession of friends was he released, on condition that he leave Moravia. The text by Speratus is based on Romans 3:28. and expresses Luther's teaching about salvation. According to Scott Hendrix, "It not only emphasizes justification by faith alone but it also underlines the vitality of that faith manifested in service to others.”

Our whole salvation doth depend

On God's free grace and Spirit;

Our fairest works can ne'er defend

A boast in our own merit:

Derived is all our righteousness

From Christ and His atoning grace;

He is our Mediator.

Johann Sebastian Bach (1685-1750) was a German composer and musician of the Baroque period.  He enriched established German styles through his skill in counterpoint, harmonic and motivic organization, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France.  Bach's compositions include the Brandenburg concertos, the Mass in B minor, The Well-Tempered Clavier, two Passions, keyboard works, and more than 300 cantatas, of which nearly 100 cantatas have been lost to posterity.  His music is revered for its intellectual depth, technical command, and artistic beauty.  Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognized as a great composer until a revival of interest and performances of his music in the first half of the nineteenth century.  During the late eighteenth and early nineteenth century, Bach was recognized by several prominent composers.  Wolfgang Amadeus Mozart, Ludwig van Beethoven,  Frédéric Chopin, Robert Schumann, and Felix Mendelssohn were among his admirers; they began writing in a more contrapuntal style after being exposed to Bach's music.  Beethoven described him as "Urvater der Harmonie", the "original father of harmony".  He is now generally regarded as one of the main composers of the Baroque period and as one of the greatest composers of all time.  A highly devout Christian, Bach signed all of his compositions “soli Deo Gloria”  (to God alone be the glory).  

This chorale prelude is one of 46 found in the Orgelbüchlein ("Little Organ Book").  The collection was originally planned as a set of 164 chorale preludes spanning the whole liturgical year. The chorale preludes form the first of Bach's masterpieces for organ with a mature compositional style in marked contrast to his previous compositions for the instrument. Although each of them takes a known Lutheran chorale and adds a motivic accompaniment, Bach explored a wide diversity of forms.  The Orgelbüchlein is at the same time a collection of organ music for church services, a treatise on composition, a religious statement and a pedagogical manual.

About the Choral Music:

At the Name of Jesus – Cindy Berry

Since 1985, this gem has been a recognized standard in church choral literature. The text has been adapted from Philippians 2:6-11.  The appeal to humility (Phil 2:3) and to obedience (Phil 2:12) is rooted in christology, specifically in a statement about Christ Jesus (Phil 2:6–11) and his humbling of self and obedience to the point of death (Phil 2:8).  Therefore, the appeal is to have in relations among yourselves that same relationship you have in Jesus Christ, serving one another as you serve Christ (Phil 2:4).

Cindy Woods Berry was born in Houston, Texas and attended Houston Baptist University. She is a composer and arranger of numerous sacred choral works, children's musicals and piano collections. She frequently serves as a choral and keyboard clinician, leading "composer weekends" and various other workshops throughout the country. She has been the recipient of annual ASCAP Special Awards for many years.  Cindy and her husband Bruce (a Minister of Music) currently serve at First Baptist Church in Killeen, Texas. Cindy serves as a church pianist and director of the children's choir. Her goal as a musician is to always present her music as an offering of worship to God.

            Jesus, though He was God, did not cling to his rights as God,

            But laid aside His mighty power and glory.

            Taking the form of a servant, and becoming like men.

            He humbled Himself, and became obedient unto death,

            Even death on the cross!

At the name of Jesus, every knee shall bow in heaven and in earth.

Every tongue shall confess that Jesus Christ is Lord!

About the Hymns:

Come Thou Fount of Every Blessing

“Come Thou Fount of Every Blessing” was written by the 18th century pastor and hymnist Robert Robinson. Robert Robinson (1735-1790) was eight years old at the time of his father's death. He was a very bright, headstrong boy who became increasingly more difficult for his mother to handle. When Robert turned 14, she sent him to London for an apprenticeship with a barber. Robert proceeded to get into even more trouble, taking on a life of drinking and gambling. 

At 17, Robert and some of his drinking buddies decided to attend an evangelistic meeting, with a plan to make fun of the proceedings. When George Whitfield began to preach, Robert felt as if the sermon was just for him. He did not respond to the altar call that night, but the words of the evangelist would haunt him for the next three years.  On Dec. 10, 1755, at age 20, Robert finally yielded his life to Christ, and very soon thereafter answered a call to the ministry. Three years later, as he was preparing to preach a sermon at the Calvinist Methodist Chapel in Norfolk, England, Robert wrote “Come Thou Fount of Every Blessing” to complement his sermon. The music for the hymn was composed by Asahel Nettleton in 1813.

The lyrics, which dwell on the theme of divine grace, are based on 1 Samuel 7:12, in which the prophet Samuel raises a stone as a monument, saying, "Hitherto hath the Lord helped us". The English transliteration of the name Samuel gives to the stone is Ebenezer, meaning Stone of Help. The unusual word "Ebenezer" commonly appears in hymnal presentations of the lyrics.

Grace Greater than Our Sin

Julia Harriet Johnston (1849-1919) was a Sunday school teacher at First Presbyterian Church in Peoria, Illinois, and for 41 years was head of the infant class in the children’s department.  For twenty years, Julia was president of the Presbyterian Missionary Society of Peoria which had been founded by her mother. Also a prolific author, she produced primary Sunday school lesson material for the David C. Cook Publishing Co. of Chicago, IL, and had several of her own works published, including School of the Master in 1880, Bright Threads in 1897, Indian and Spanish Neighbors in 1905, and Fifty Missionary Heroes in 1913. Furthermore, Miss Johnston is credited with about 500 hymns, set to music provided by a number of different composers.

"Grace Greater Than Our Sin" is dated 1910, and the tune (Moody) was composed that same year by Daniel Brink Towner (1850-1919), the director of the music department at the Moody Bible Institute in Chicago, IL  The first appearance of "Grace Greater Than Our Sin" seems to have been in Towner’s Hymns Tried and True, published in 1911 by the Bible Institute Colportage Association of Chicago.

This “marvelous, infinite, matchless grace, freely bestowed on all who believe,” finds a scriptural basis in Paul’s teaching of justification by faith in Romans 5:1-2: “Therefore being justified by faith, we have peace with God through our Lord Jesus Christ: By whom also we have access by faith into this grace wherein we stand, and rejoice in hope of the glory of God.”

Paul continues in verses 14-16, “Nevertheless death reigned from Adam to Moses, even over them that had not sinned after the similitude of Adam’s transgression, who is the figure of him that was to come. But not as the offence, so also is the free gift of grace. For if through the offence of one many be dead, much more the grace of God, and the gift by grace, which is by one man, Jesus Christ, hath abounded unto many. And not as it was by one that sinned, so is the gift: for the judgment was by one to condemnation, but the free gift is of many offences unto justification.”

Lord, I Want to be a Christian

In Negro Slave Songs in the United States (1953), Miles Mark Fisher suggests that this African American spiritual could well have originated in Virginia in the 1750s, based on this story from Hanover, Virginia, 1756: "A black slave asked Presbyterian preacher William Davies, 'I come to you, sir, that you may tell me some good things concerning Jesus Christ and my duty to God, for I am resolved not to live any more as I have done. . . Lord [Sir], I want to be a Christian.'"  Both text and tune were first published in Folk Songs of the American Negro (1907), compiled by brothers Frederick Work and John W. Work, Jr.

How Shall I Come Before the Lord

Dean B. McIntyre grew up in a Methodist pastor's family and began at an early age playing piano, organ, and leading choirs in a variety of denominations. After many years as a full-time United Methodist music director, he is currently the Director of Music Resources at The United Methodist General Board of Discipleship in Nashville. He is active in developing and promoting music resources for use in the UMC, as well as speaking and leading workshops on a variety of worship- and music-related topics. McIntyre served on the editorial committee of The Faith We Sing and chaired the General Conference Music and Worship Study (2004-2007). He was named co-editor (2007) of the United Methodist Hymnal Revision Project. He served on the editorial committee of Worship & Song, was editor of the Worship & Song Worship Resources Edition, and chaired the national introductory event. He is a composer, arranger, and author, major contributor to the GBOD worship and music website, and moderator of the Methodist Musicians' Listserv and Ruach List.

The setting of Micah 6:6-8 in Worship & Song seeks to simplify the text as rhymed poetry while remaining close to the actual scriptural text. What, indeed, does God require? God requires us to act and live with justice, loving kindness, and to walk humbly with our God.

August 3, 2014

Each week, you may find information here about the organ music and hymns in the traditional worship services at First United Methodist Church in Lewisville, Texas.  Some of this information is original; much of it is "borrowed" from other sources 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:

Corporis Mysterium – Gian Domenico Cattenacci

Pange Lingua Gloriosi Corporis Mysterium is a hymn written by St Thomas Aquinas (1225–1274) for the Feast of Corpus Christi (now called the Solemnity of the Holy Body and Blood of Christ), which St. Thomas drew up in 1263, at the request of Pope Urban IV. This hymn is considered the most beautiful of Aquinas' hymns and one of the great seven hymns of the Church. The rhythm of the Pange Lingua is said to have come down from a marching song of Caesar's Legions: "Ecce, Caesar nunc triumphat qui subegit Gallias." There are two plainchant settings of the Pange Lingua hymn. The better known is a Phrygian mode tune from the Roman liturgy, and the other is from the Mozarabic liturgy from Spain. The Roman tune was originally part of the Gallican Rite. It is found in the Roman (Venice, 1478; and again, untouched, in 1632); Mozarabic of 1502, Sarum, York, Aberdeen, Paris of 1736, and many other Breviaries.  Pange Lingua has been translated into many different languages for worship throughout the world. However, the Latin version remains the most popular.

Tell, tongue, the mystery

of the glorious Body

and of the precious Blood,

which, for the price of the world,

the fruit of a noble Womb,

the King of the Nations poured forth.

The Word as Flesh makes true bread

into flesh by a word

and the wine becomes the Blood of Christ.

And if sense is deficient

to strengthen a sincere heart

Faith alone suffices.

Thomas of Aquino, confessor and doctor, commonly called The Angelical Doctor, “on account of," says Dom Gueranger, "the extraordinary gift of understanding wherewith God had blessed him," was born of noble parents, his father being Landulph, Count of Aquino, and his mother a rich Neapolitan lady, named Theodora. The exact date of his birth is not known, but most trustworthy authorities give it as 1227. At the age of five he was sent to the Benedictine monastery at Monte Cassino to receive his first training, which in the hands of a large-hearted and God-fearing man, resulted in so filling his mind with knowledge and his soul with God, that it is said the monks themselves would often approach by stealth to hear the words of piety and wisdom that fell from the lips of the precocious child when conversing with his companions.

St. Thomas was a most voluminous writer, his principal work being the celebrated Summa Theologiae, which, although never completed, was accepted as such an authority as to be placed on a table in the council-chamber at the Council of Trent alongside of the Holy Scriptures and the Decrees of the Popes. But it is outside the province of this work to enlarge on his prose works. Though not a prolific writer of hymns, St. Thomas has contributed to the long list of Latin hymns some which have been in use in the services of the Church of Rome from his day to this. They are upon the subject of the Lord's Supper. The best known are:—Pange lingua gloriosi Corporis Mysterium; Adoro te devote latens Deitas; Sacris sollemniis juncta sint gaudia; Lauda Sion Salvatorem; and Verbum supernum prodiens. The 1st, 3rd, and 5th of these are found in the Roman Breviary, the 2nd, 4th, and 5th in Newman's Hymni Ecclesiae; the 4th in the Roman Missal; all of them appear in Daniel; the 2nd and 4th in Mone; and the 2nd, 4th, and 5th in Königsfeld.  Of these hymns numerous translations have been made from time to time, and amongst the translators are found Caswall, Neale, Woodford, Morgan, and others.

Gian Domenico Cattenacci (c.1735-c.1800) was a Franciscan monk at St. Angelo’s, Milan.  He wrote a number of organ works, including 24 sonatas.  This piece is one of a set of versets based on the Pange Lingua, which were used as incidental or interlude music in the mass or in alternatum with the singing of the chant.

Sing My Tongue – Wilbur Held

This setting of the Pange Lingua features the Gregorian chant melody prominently.   WILBUR C. HELD (b. 1914) was born in Des Plaines, Illinois, and received his B.M. and M.M. degrees at the American Conservatory of Music in Chicago. He then attended Union Theological Seminary in New York City where he earned his S.M.D. A member of the Episcopal Church, for many years Dr. Held was Professor of Organ and Church Music at The Ohio State University, Columbus, Ohio.  He remained in this position for over 30 years, and for most of that time was also organist-choirmaster at Trinity Episcopal Church in Columbus, Ohio.  Dr. Held started composing little pieces for the organ because he felt there was a lack of teaching material aimed at developing style and registration, especially for the romantic use of the instrument.  Having written several suites primarily for pedagogical use, he turned his attention to broadening the repertoire for church use, continuing to stress modest technical requirements and flexibility of registration. To date he has published 325 organ works. He has served on the national councils of both the AGO and the Hymn Society of America, and has appeared as recitalist at their national conventions.

My Shepherd Will Supply My Need – Alice Jordan

Isaac Watts (1674-1748) was the son of a schoolmaster and was born in Southampton. He is said to have shown remarkable precocity in childhood, beginning the study of Latin, in his fourth year, and writing respectable verses at the age of seven. At the age of sixteen, he went to London to study in the Academy of the Rev. Thomas Rowe, an Independent minister. In 1698, he became assistant minister of the Independent Church, Berry St., London. In 1702, he became pastor.  The number of Watts' publications is very large. His collected works, first published in 1720, embrace sermons, treatises, poems and hymns. His "Horae Lyricae" was published in December, 1705. His "Hymns" appeared in July, 1707. The first hymn he  composed for religious worship, "Behold the glories of the Lamb," was written at the age of twenty.  Some of his hymns were written to be sung after his sermons, giving expression to the meaning of the text upon which he had preached. Montgomery calls Watts "the greatest name among hymn-writers," and the honor can hardly be disputed. His published hymns number more than eight hundred.  There is a monument to his memory in the South Choir of Westminster Abbey.  The inscription reads, "Happy will be that reader whose mind is disposed, by his verses or his prose, to imitate him in all but his non-conformity, to copy his benevolence to men, and his reverence to God."

Psalm 23 has inspired numerous paraphrases and hymn texts, including this text by Isaac Watts. Watts included it in his large 1719 collection of psalm paraphrases, The Psalms of David Imitated.  Psalm 23 remains the most well-loved and often recited psalm, and Isaac Watts' powerful paraphrase, coupled with the peaceful yet strong American folk tune, make this hymn a moving rendition of that psalm. Watts’ interpretation of the last line of psalm, “and I will dwell in the house of the LORD forever,” gives a new understanding to the original psalm: “No more a stranger or a guest, but like a child at home.” Watts gives us a concrete image of dwelling – a child, knowing he or she is safe and secure, and in a place of love and comfort – to help us understand what it is we hope for. The same peace we find in the pasture and by the stream, we find in the house of the LORD, to which our Shepherd is leading us day by day.

Alice Jordan (1916-2011) is known for her widely published choral and organ compositions which are regularly used in churches, schools and colleges in this country and abroad. Some of her compositions have won recognition in national competition.  She was the recipient of over 40 commissions from across the United States.

Fuge - Jan Křtitel Vaňhal

A fugue is a contrapuntal compositional technique in two or more voices, built on a subject (theme) that is introduced at the beginning in imitation (repetition at different pitches) and recurs frequently in the course of the composition.  The English term fugue originated in the 16th century and is derived from the French word fugue or the Italian fuga. This in turn comes from Latin, also fuga, which is itself related to both fugere ("to flee") and fugare ("to chase"). Variants include fughetta (literally, "a small fugue") and fugato (a passage in fugal style within another work that is not a fugue). A fugue usually has three sections: an exposition, a development, and a recapitulation containing the return of the subject in the fugue's tonic key, though not all fugues have a recapitulation. In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint.

Jan Křtitel Vaňhal (1739-1813), also known as Johann Baptist Wanhal, was born bonded to a local nobleman; he received his first musical training from his family and local musicians, excelling at the violin and organ from an early age. From these humble beginnings he was able to earn a living as a village organist and choirmaster. He was also taught German from an early age, as this was required for someone wishing to make a career in music within the Habsburg empire.  He went to Vienna in 1760 and was so successful as a teacher of voice, violin, and piano that he was able to buy his freedom. He toured Italy  in preparation for a position at the Dresden court of Baron Ignaz Wolfgang Reisch, but backed out of the job and returned to Vienna where he promptly suffered a mental collapse. During the 1760s and '70s, he composed more than 70 symphonies, but afterwards concentrated on keyboard music and sacred music. He remained in Vienna until his death, an important contributor to the development of the Viennese classical style.

Vaňhal  composed 100 string quartets, at least 73 symphonies, 95 sacred works, and a large number of instrumental and vocal works.  Many of Wanhal's symphonies are in minor keys and are considered highly influential to the "Sturm und Drang" movement of his time.  Around 1780, Vaňhal  stopped writing large-scale instrumental music, and rather contented himself with writing piano music for the growing middle class, and church music.  He was also the most prolific writer of Masses and other Catholic church music of his generation in Vienna.  Despite this, it appears that he was never in the employ of any religious institution.

About the Hymns:

Praise to the Lord, the Almighty

"Praise to the Lord, the Almighty" is a hymn based on Joachim Neander's German chorale Lobe den Herren, den mächtigen König der Ehren, published in 1680. John Julian, in his A Dictionary of Hymnology, calls the German original "a magnificent hymn of praise to God, perhaps the finest creation of its author, and of the first rank in its class." It was the favorite hymn of King Frederick William III of Prussia, who first heard it in 1800

The melody used by Neander, first published in 1665, is probably based on a folk tune. The common name given to this melody is "Lobe den Herren". Several variants were published with various secular texts between 1665 to 1680, when Joachim Neander published his German hymn, Lobe den Herren, den mächtigen König der Ehren, using its meter. The text paraphrases Psalm 103 and Psalm 150.  

Near to the Heart of God

Clcland B. McAfee (1866-1944) is known for this one hymn, his “one-hit-wonder”.  McAfee wrote “Near to the Heart of God” in 1903, after two daughters of his brother Howard died os diphtheria within 24 hours of each other.  The choir of Park College went to Howard McAfee’s quarantined house and sang it outside the window to encourage the grieving family.  McAfee was at Park College, Parkville, MO, for almost 20 years, serving on the faculty and as college chaplain and choir director.  He then pastored in Chicago, IL and Brooklyn, NY.  He was also on the faculty at McCormick Theological Seminary in Chicago and directed the Presbyterian Board of Foreign Missions.

Great is Thy Faithfulness

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.  Runyan wrote of the hymn: "This particular poem held such an appeal that I prayed most earnestly that my tune might carry over its message in a worthy way, and the subsequent history of its use indicates that God answered prayer.  It 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." 

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.