July 26, 2015

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; 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:

God Leads Us Along – Ethel Tench Rogers

George Young (c. 1855-1935) was a carpenter, and a preacher of the gospel. In the late nineteenth century he laboured in obscurity, serving small rural areas in the United States. Often his income was so small he had difficulty supporting his wife and family. Finally, after a great deal of effort and years of sacrifice, the Youngs were able to move into a small house they had built for themselves. All were delighted with the new place, but tragedy soon overtook them. While George was away holding meetings in another community, some ruffians who were hostile to the gospel he preached set fire to the Young’s home burning it to the ground.

In 1903, George Young published a hymn for which he wrote both words and music. It is a testimony to his faith in God, in spite of this severe trial. It depicts different kinds of circumstances and experiences we face in life, with a reminder that the Lord provides for us in them all. The opening stanza paints a lovely picture, reminiscent of the 23rd Psalm. But the author was well aware that not all of life is like that. The song’s refrain gives a more sobering view of life’s trials.

Around 1942, hymn writer Haldor Lillenas decided to track down George Young’s widow. He got an address in a small town and, driving there, he stopped at a gas station to ask for directions. When the attendant saw the address, he said, “Why sir, that’s the County Poor House up the road about three miles. And mister, when I say poor house, I really mean poor house!”  Not knowing what to expect, Lillenas made his way there. He found Mrs. Young, a tiny, elderly woman, in surroundings that were far from congenial. However, she radiated the joy of the Lord, and spoke of how He’d guided her and her husband over many years. Then, she exclaimed, “Dr. Lillenas, God led me here!” I’m so glad He did, for you know, about every month someone comes into this place to spend the rest of their days….So many of them don’t know my Jesus. I’m having the time of my life introducing them to Jesus! Dr. Lillenas, isn’t it wonderful how God leads!”

In shady, green pastures, so rich and so sweet,

God leads His dear children along;
Where the water’s cool flow bathes the weary one’s feet, 

God leads His dear children along.

Refrain:

Some through the waters, some through the flood,
Some through the fire, but all through the blood;
Some through great sorrow, but God gives a song,
In the night season and all the day long.

Sometimes on the mount where the sun shines so bright,
God leads His dear children along;
Sometimes in the valley, in darkest of night,
God leads His dear children along.

Though sorrows befall us and evils oppose,
God leads His dear children along;
Through grace we can conquer, defeat all our foes,
God leads His dear children along.

Away from the mire, and away from the clay,
God leads His dear children along;
Away up in glory, eternity’s day,
God leads His dear children along.

Ethel Tench Rogers (1914-2008) studied organ at the University of Vienna, Austria. She wrote over 150 collections for piano, organ, synthesizer, and children's anthems.

About the Handbell Music:

I Will Arise and Go to Jesus/On Jordan’s Stormy Banks I Stand –

Martha Lynn Thompson

Joseph Hart (1712-1768) was never voted "most likely to become a minister" by the friends of his youth. Though raised among Christian influences, he was not serious about spiritual matters and soon fell into, as he put it, the "vanities and vices" of youth. But as an adult he began to feel a concern for his soul, running what he described as "an uneasy restless round of sinning and repenting." Frustrated by his inner turmoil, he looked for answers elsewhere; and listening to all the wrong voices of the age, fell captive to a doctrine that taught grace unfettered by any responsibility. Among his scholarly writings during this period was a scathing attack on John Wesley titled The Unreasonableness of Religion (1741), which reveals his adherence to the rationalist critics and to a certain extent to deism. But approaching the age of forty, he became convicted of the error of his beliefs and reformed his ways. Over the next few years he began in earnest to seek a truer path, and eventually became a minister to a Congregationalist body in London.

Hymns composed on various subjects (1759), which went through countless editions as "Hart's Hymns," was written during this period of deep soul-searching and repentance beginning around 1757. According to Hart, "They are published not only in the same order, but also in the same manner in which they were first written: for though they have since undergone a cursory revisal, and have been lightly retouched, the alterations I have made in them are neither very numerous nor material." His collection is therefore not only an anthology of his work, but a spiritual journal of this period in his life. And for a body of hymns so quickly got together, his work well stood the test of time. Augmented by his supplements of 1762 and 1768, "Hart's Hymns" became a staple in Calvinist circles.

"Come, ye sinners" is held by many to be Hart's greatest hymn. It is #100 in his original 1759 collection, and falls within the last group of hymns in that work, probably written in the spring of that year. These hymns as a group seem to look back in review of Hart's spiritual journey, though they still shows flashes of that "disorder and darkness of soul" that plagued him over his sins. Frequent themes are the assurance of salvation, our hopelessness without the atoning work of Christ, the majesty of Christ revealed in His humble sacrifice, and encouragement to the weak in faith.  To this extent, then, "Come, ye sinners" is as much autobiography as invitation.

Come, ye sinners, poor and needy, Weak and wounded, sick and sore;
Jesus ready stands to save you, Full of pity, love, and pow'r:
He is able, He is able, He is willing: doubt no more.

Come, ye thirsty, come and welcome, God's free bounty glorify;
True belief and true repentance, Ev'ry grace that brings us nigh,
Without money, without money, Come to Jesus Christ and buy.

Come, ye weary, heavy laden, Bruised and broken, full of sin;
If you tarry till you're better, You may never enter in:
Not the righteous, not the righteous; Sinners Jesus came to win.

The chorus that follows each stanza, however, is by an entirely different hand:

      I will arise and go to Jesus, He will embrace me in His arms;
      In the arms of my dear Savior, O! There are ten thousand charms.

Raymond Glover has identified this as a variant on one of the stanzas of Caleb Jarvis Taylor's "Don't you see my Jesus coming?" Caleb Jarvis Taylor (1763-1816) was a schoolteacher from Maryland who served as a fill-in preacher for Methodist churches in western Virginia and Pennsylvania. In 1792 he moved to north central Kentucky, where he continued to teach school as his primary support, but preached wherever and whenever he could. Sometimes he preached as an official circuit rider sponsored by a Methodist association, but more often it was his willingness to fill vacancies for other preachers that kept him in the pulpit. He was the founder of the Mt. Gilead Methodist Church just north of Paris, Kentucky, also known as the Old Matheny Meeting House, probably the earliest Methodist congregation in that area northeast of Lexington. By 1795 he relocated to the vicinity of what is now Maysville, Kentucky, along the Ohio River.

The Mt. Gilead meeting house was less than ten miles from the famous Cane Ridge meeting house, so it was inevitable that Taylor was right in the thick of the Second Great Awakening. And though he was known to be a successful revivalist, he was noted by his contemporaries as well as by modern historians as one of the chief songwriters of this watershed moment in American religious history.

The earliest appearance of this tune in print appears to be that found in William Walker's Southern Harmony. As was typical of the old colonial singing-school music, Walker's arrangement places the melody in the tenor voice; he added a bass part below and a "treble" above. The Sacred Harp version has an alto part, added in later years, to fill out a more typical voicing. William "Singing Billy" Walker (1809-1875) was a Baptist song leader from Spartanburg, South Carolina. His Southern Harmony (1835) is one of the most important hymn publications in American history, because it preserved many of the melodies of the camp-meeting folk hymns at a time when the generation that created them was passing away. (Earlier publications of camp-meeting songs did not include the music.)

The writer of “On Jordan’s Stormy Banks”, Samuel Stennett (1727-1795), an English Baptist, came from a long line of ministers. He was the son of a Seventh-Day Adventist pastor.  In the 18th century, university education was not easily available to nonconformist families—those who refused to swear allegiance to the Church of England.  Stennett did study at the academy at Miles End with distinction, however.  In spite of his nonconformist religious stance, Stennett was a personal friend to the reigning monarch, King George III.  Stennett was honored in 1763 with a doctor of divinity degree from King’s College, Aberdeen, for his accomplishments.  He served as an assistant to his father in his congregation in 1747 and assumed the position of pastor upon his father’s death in 1758. 

John Rippon, an English Baptist pastor, published in 1787 an influential collection, A Selection of Hymns from the Best Authors. Thirty-eight of Stennett’s hymns appeared in this popular collection. Among those was a hymn under the heading of “Heaven Anticipated” with the title of “The Promised Land” in eight four-line stanzas.  The hymn as it appeared in America looked and sounded much different. William Walker’s The Southern Harmony (1835) was the first to include “The Promised Land.” The Southern Harmony attributes the tune to “Miss M. Durham” but we know nothing else about the composer. The tune has many of the characteristics the traditional folk melodies of the time.  Originally written in a minor mode, Rigdon M. McIntosh, a Southern musician, altered the tune to the major mode, and as was customary among American evangelicals in the 19th century added a refrain beginning with “I am bound for the promised land.” This version was published in 1895 in H. R. Christie’s Gospel Light and has become the standard version for many hymnals since that time.  The hymn has appeared in each American Methodist hymnal since Francis Asbury included it in his Supplement to the Pocket Hymn Book (1808).

On Jordan's stormy banks I stand, and cast a wishful eye
to Canaan's fair and happy land where my possessions lie.
Refrain
I'm bound for the promised land, I'm bound for the promised land.
Oh, who will come and go with me? I'm bound for the promised land.

There gen'rous fruits that never fail, on trees immortal grow.
There rocks and hills and brooks and vales with milk and honey flow.

All o'er those wide-extended plains shines one eternal day;
there God the Son forever reigns and scatters night away.

No chilling wind nor pois'nous breath can reach that healthful shore;
sickness and sorrow pain and death are felt and feared no more.

When shall I reach that happy place and be forever blest?
When shall I see my Father's face and in his bosom rest?

Martha Lynn Thompson has served as Organist and Associate Minister of Music at St. James United Methodist Church in Little Rock, Arkansas, since 1969. Her husband, Felix, is the Senior Minister of Music and together they direct a program that includes 12 handbell choirs and seven vocal choirs. Mrs. Thompson is certified as a Director of Music and is also a Diaconal Minister in the United Methodist Church. With numerous articles and collections in print, she has more than 190 published handbell arrangements and transcriptions that range from music for the beginning bell choir to music for the most advanced choirs. In 1995 she was designated "Master Instructor of Handbell Notation," a lifetime honor conferred by the American Guild of English Handbell Ringers, Inc.

About the Hymns:

O Worship the King

Of Scottish ancestry, Robert Grant (1779-1838) was born in India, where his father was a director of the East India Company. He attended Magdalen College, Cambridge, and was called to the bar in 1807. He had a distinguished public career a Governor of Bombay and as a member of the British Parliament, where he sponsored a bill to remove civil restrictions on Jews. Grant was knighted in 1834. His hymn texts were published in the Christian Observer (1806-1815), in Elliot’s Psalms and Hymns (1835), and posthumously by his brother as Sacred Poems (1839).

Grant’s text was influenced by William Kethe’s paraphrase of Psalm 104 in the Anglo-Genevan Psalter (1561). Grant’s text was first published in Edward Bickersteth’s Christian Psalmody (1833) with several unauthorized alterations. In 1835 his original six-stanza text was published in Henry Elliott’s Psalm and Hymns. Stanza 3 was omitted in the Psalter Hymnal.

Rather than being a paraphrase or versification, the text is a meditation on the creation theme of Psalm 104, focusing on God’s creation as a testimony to his “measureless might.” More personal in tone, stanzas 4 and 5 confess the compassion of God toward his creatures and affirm with apocalyptic vision that the “ransomed creation, with glory ablaze” will join with angels to hymn its praise to God.  In the last verse, Grant points to Christ as the ultimate reconciler of a broken, but still beautiful creation. An original last stanza that we no longer sing reads, “The humbler creation, though feeble their lays, with true adoration shall lisp to Thy praise.”

Jesus Loves Me

"Jesus Loves Me" was written by Anna Bartlett Warner (1827–1915). The lyrics first appeared as a poem in the context of an 1860 novel called Say and Seal, written by her older sister Susan Warner (1819–1885), in which the words were spoken as a comforting poem to a dying child. The tune was added in 1862 by William Bradbury (1816–1868). Along with his tune, Bradbury added his own chorus "Yes, Jesus loves me, Yes, Jesus Loves me"  After publication as a song it became one of the most popular Christian hymns in churches around the world,  especially among children.

Anna’s family home was quite close to the United States Military Academy at West Point, in New York, in the era just before the Civil War. Each Sunday Anna taught Bible classes to the cadets. Her remains are buried in the military cemetery, and her family home is now a museum on the grounds of the United States Military Academy.

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."  It 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 20^th  century and is still found in many hymnals.  It is a reminder of the Christian’s daily dependence on the promises of God.

July 19, 2015

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; 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:

Jesus, Savior, Pilot Me – Don Hustad

The sea is a favorite image of eighteenth- and nineteenth-century hymn writers on both sides of the Atlantic Ocean. Traveling by ship, although an adventure, was also potentially a long and arduous journey fraught with danger, especially storms and unseen rocks.  “Jesus, Savior, pilot me” falls in this long and rich tradition of hymns that draw upon the imagery of the sea to establish the relationship between the believer and Christ. Edward Hopper (1816-1888) was inspired by the accounts of Jesus who stilled the storm found in all of the synoptic gospels (Matthew 8:23-27; Mark 4:35-41; Luke 8:22-25). Written at the request by George S. Webster, secretary of the Seaman’s Friend Society, the hymn was first published in the Society’s magazine, The Sailor’s Magazine and Seaman’s Friend in the March 3, 1871 issue. The designation was, “By Rev. Edward Hopper, D.D., Pastor of the Church of the Sea and Land.”  Hopper, a graduate of New York University (1839) and Union Theological Seminary (1842), was well acquainted with the sea, pastoring the Sag Harbor Presbyterian Church on Long Island for eleven years, and then spending the majority of his ministry at the Church of the Sea and Land in New York City. It was in this latter congregation that he became well known for his ministry to sailors.

Jesus, Saviour, pilot me, Over life's tempestuous sea;
Treach'rous waves before me roll, Hiding rock and dang'rous shoal,
Chart and compass came from thee, Jesus, Saviour, pilot me.

Though the sea be smooth and bright, Sparkling with the stars of night,
And my ship's path be ablaze With the light of halcyon days;
Still, I know my need of thee; Jesus, Saviour, pilot me.

When the darkling heavens frown, And the wrathful winds come down,
And the fierce waves toss'd on high, Lash themselves against the sky;
Jesus, Saviour, pilot me Over life's tempestuous sea.

When th' Apostles' fragile bark Struggled with the billows dark;
On the stormy Galilee. Thou didst walk upon the sea;
And when they beheld thy form, Safe they glided through the storm.

As a mother stills her child, Thou canst hush the ocean wild;
Boist'rous waves obey thy will When thou say'st to them, "Be still,"
Wond'rous Sovereign of the sea, Jesus, Saviour, pilot me.

When at last I near the shore, And the fearful breakers roar,--
Thou canst calm my anxious breast, And conduct me to my rest.
Then, dear Saviour, pilot me Over Death's tempestuous sea.

Don Hustad (1918-2013) was one of the giants of Christian music of the 20th century. Hustad had a distinguished ministry and a life-long profession as a recording artist, composer, arranger, teacher, conductor, hymnal editor, and author.  He began work as staff musician of Chicago's WMBI in the early 1940s, worked with soloist George Beverly Shea on a weekly broadcast called "Club Time," and served for some 20 years as organist for a popular radio broadcast "Songs in the Night." He taught at Olivet Nazarene College in Kankakee, Illinois from 1946 to 1950, at which time Hustad was appointed director of the Sacred Music Department at Moody Bible Institute—a position he held until 1961.  During his 11-year tenure at Moody he developed the Moody Chorale into a superior choral ensemble that achieved fame nationally and internationally.   In 1961 he became Crusade organist for the Billy Graham Evangelistic Association and directed the Crusader Men Choir in the "Hour of Decision" broadcasts.  His publications include over 100 articles and five books.  Throughout his career, Hustad devoted considerable energy to music arranging and hymnal editing, serving as editorial consultant and musical advisor to Hope Publishing Company. Among his editorial contributions are fourteen hymnals and songbooks, as well as dozens of collections.  In 1989, Hustad was awarded Fellow of the Hymn Society for his outstanding contribution to American hymnody.  In 2008, he was honored by the American Choral Director's Association Southern Division Conference for his contributions to church music. He earned diplomas as an Associate of the American Guild of Organists (AAGO) and a Fellow of the Royal College of Organists (FRCO), London, UK.

Softly and Tenderly – Dale Wood

Rebuffed in an ear­ly at­tempt to sell his songs to a com­mer­cial pub­lish­er, Will Lamartine Thomp­son (1847-1909)  start­ed his own pub­lish­ing com­pa­ny. He lat­er ex­pand­ed, open­ing a store to sell pi­an­os, or­gans and sheet mu­sic. Both a lyr­i­cist and com­pos­er, he en­sured he would al­ways re­mem­ber words or mel­o­dies that came to him at odd times: "No mat­ter where I am, at home or ho­tel, at the store or tra­vel­ing, if an idea or theme comes to me that I deem wor­thy of a song, I jot it down in verse. In this way I ne­ver lose it."

When the world-re­nowned lay preach­er, Dwight Ly­man Moody, lay on his death bed in his North­field, Mass­a­chu­setts, home, Will Thomp­son made a spe­cial vi­sit to in­quire as to his con­di­tion. The at­tend­ing phy­si­cian re­fused to ad­mit him to the sick­room, and Moody heard them talk­ing just out­side the bed­room door. Re­cog­niz­ing Thomp­son’s voice, he called for him to come to his bed­side. Tak­ing the Ohio po­et-com­pos­er by the hand, the dy­ing evan­gel­ist said, “Will, I would ra­ther have writ­ten “Soft­ly and Ten­der­ly Je­sus is Call­ing” than an­y­thing I have been able to do in my whole life.”

Softly and tenderly Jesus is calling, Calling for you and for me;
See, on the portals He’s waiting and watching,  Watching for you and for me.

Come home, come home, You who are weary, come home;
Earnestly, tenderly, Jesus is calling, Calling, O sinner, come home!

Why should we tarry when Jesus is pleading, Pleading for you and for me?
Why should we linger and heed not His mercies, Mercies for you and for me?

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.

I, the Lord of Sea and Sky – Robert Farlee

Dan Schutte is a native of Wisconsin, who received his education at St. Louis University with a bachelor’s degree in 1973, a master of divinity degree in 1979 at the Jesuit School of Theology, Berkeley, Calif., and a master’s degree in 1980 at the Graduate Theological Union in Berkeley.  Following graduation, Mr. Schutte joined the Jesuits and served as the director of liturgy at Marquette University (1982-1986). He entered parish ministry in Milwaukee serving as director of music at Immaculate Heart of Mary and then Our Lady of Lourdes parishes.   He is currently director of music at the University of San Francisco, a Jesuit institution, and tours extensively as a Christian concert artist. Of his many hymns, “Here I Am, Lord” is the most commonly sung.

A salient feature of Catholic renewal hymnody since the Second Vatican Council is a stirring and memorable refrain. “Here I Am, Lord” recalls immediately Isaiah 6:8: “Then I heard the voice of the Lord saying, ‘Whom shall I send, and who will go for us?’ And I said, ‘Here am I; send me!’”

An unusual attribute of this hymn is the change in point of view that the singer makes between the stanzas and the refrain. The stanzas speak from the perspective of God in the first person singular, while the refrain, though remaining in first person, is from the perspective of the singers of the hymn offering their lives to God.   Each stanza reflects a paradox. The powerful God, creator of “sea and sky,” “snow and rain” and “wind and flame” is also the God who hears the “people cry,” bears the “people’s pain” and “tend[s] the poor and lame.”  This is a hymn of transformation. God transforms the darkness into light in stanza one, melts “hearts of stone” with love in stanza two and nourishes the “poor and lame” with the “finest bread”—a clear Eucharistic reference.  Each stanza ends with the question, “Whom shall I send?” Rhetorical questions are very common poetical devices in Christian hymnody, but this is not one of them. The refrain immediately offers the response, “Here I am, Lord.”

I, the Lord of sea and sky,
I have heard My people cry.
All who dwell in dark and sin,
My hand will save.
I who made the stars of night,
I will make their darkness bright.
Who will bear My light to them?
Whom shall I send?

Here I am Lord, Is it I Lord?
I have heard You calling in the night.
I will go Lord, if You lead me.
I will hold Your people in my heart.

Robert Buckley Farlee (b. 1950) is Associate Pastor and Director of Music at Christ Lutheran Church in Minneapolis.  Bob Farlee and his wife Jane Buckley-Farlee (pastor at Trinity Lutheran Congregation, ELCA, Minneapolis) were ordained on July 13, 1980, in St. Louis, Missouri, at Unity Lutheran Church, Bel-Nor. It was at Unity Lutheran that Bob served as music director. Then in November of 1981, Bob joined the staff at Christ Church Lutheran, Minneapolis, where he has served both as a pastor and as cantor. Farlee is a graduate of Christ Seminary-Seminex, St. Louis, Missouri. He also serves on the worship editorial staff at Augsburg Fortress Publishers, and was deeply involved in the recent publication of Evangelical Lutheran Worship, the new book of worship for the Evangelical Lutheran Church in America.

About the Handbell Music:

All Night, All Day – Hart Morris

“All Night, All Day” is a traditional African-American spiritual.  The text is derived from a child’s bedtime prayer.

All night, all day, angels watching over me, my Lord.
All night, all day, angels watching over me.

Sun is setting in the West;  Angels watching over me, my Lord.
Sleep my child, take your rest;  Angels watching over me.

Now I lay me down to sleep. Angels watching over me, my Lord.
Pray the Lord my soul to keep. Angels watching over me.

Lord, stay with me through the night. Angels watching over me, my Lord.
Wake me with the morning light. Angels watching over me.

Hart Morris has been Minister of Music at Asbury United Methodist Church, Tulsa, Oklahoma, since August 1992. He has served in the same capacity for churches in Florida, Texas and Tennessee. He is a graduate of Oklahoma Baptist University, Shawnee, Oklahoma, and the University of Houston, Houston, Texas, with additional studies in percussion at Oklahoma City University and the University of Houston. He has served as a clinician for AGEHR National Seminars and Festivals, and has led numerous AGEHR Conferences and workshops; he has twice served as AGEHR conductor for International Handbell Symposia. He is a published composer / arranger of handbell and choral music. 

About the Hymns:

A Mighty Fortress

"A Mighty Fortress Is Our God"  (“Ein feste Burg ist unser Gott”) is one of the best known of Martin Luther's hymns. Luther wrote the words and composed the melody sometime between 1527 and 1529.  It has been translated into English at least seventy times and also into many other languages.  The words are a paraphrase of Psalm 46.  "A Mighty Fortress" is one of the best loved hymns of the Lutheran and Protestant traditions. It has been called the "Battle Hymn of the Reformation" for the effect it had in increasing the support for the Reformers' causeHeinrich Heine states that it was sung by Luther and his companions as they entered Worms on 16 April 1521 for the Diet.

The earliest extant hymnal in which it appears is that of Andrew Rauscher (1531), but it is supposed to have been in Joseph Klug's Wittenberg hymnal of 1529, of which no copy exists. Its title was “Der xxxxvi. Psalm. Deus noster refugium et virtus.”  Before that it is supposed to have appeared in the Hans Weiss’ Wittenberg hymnal of 1528, also lost.  This evidence would support its being written in 1527–1529, since Luther's hymns were printed shortly after they were written.

Tradition states that the third Protestant King of Sweden, Gustavus Adolphus, had it played as his forces went to battle in the Thirty Years' War. The hymn had been translated into Swedish already in 1536, presumably by Olaus Petri, with the incipit, “Vår Gud är oss en väldig borg.”  In the late 19th century the song also became an anthem of the early Swedish socialist movement.

It was first translated into English by Myles Coverdale in 1539 with the title, “Oure God is a defence and towre.” The first English translation in common usage was “God is our Refuge in Distress, Our strong Defence” in J.C. Jacobi's Psal. Ger. in 1722. The most popular English version is “A mighty fortress is our God, a bulwark never failing” and was translated by Frederick H. Hedge in 1853.

The hymn's enduring popularity in Western Christendom has breached boundaries set in the Reformation as it is now a suggested hymn for Catholic Masses.  It currently appears in the second edition of the Catholic Book of Worship, published by the Canadian Conference of Catholic Bishops, though its adoption is not without controversy.

Luther composed the melody, named "Ein feste Burg" from the text's first line, in meter 87.87.55.56.7. This is sometimes denoted "rhythmic tune" to distinguish it from the later isometric variant, in 87.87.66.66.7 meter which is more widely known and used. In 1906 Edouard Rœhrich wrote, "The authentic form of this melody differs very much from that which one sings in most Protestant churches and figures in (Giacomo Meyerbeer's) The Huguenots. ... The original melody is extremely rhythmic, by the way it bends to all the nuances of the text ..." While 19th-century musicologists disputed Luther's authorship of the music to the hymn, that opinion has been modified by more recent research; it is now the consensus view of musical scholars that Luther did indeed compose the famous tune to go with the words.

Jesus, Lord, We Look to Thee

Charles Wesley (1707-1788), the son of Samuel Wesley, was born at Epworth, educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand.

“Jesu, Lord, we look to Thee” appeared in Hymns and Sacred Poems, 1749, and again in the Wesleyan Hymn Book, 1780, No. 495.

The Church’s One Foundation

Songs are a powerful means of teaching. The melodies, rhythms, and rhymes that characterize songs make the words easier to remember. The best and most effective songs combine lyrics and music to cultivate feelings that complement the meaning.  The Rev. Samuel John Stone (1839-1900) was well aware of the effectiveness of singing when he wrote and published Lyra Fidelium in 1866. As a curate in the small town of Windsor, England, he was aware of his parishoners’ habit of using the Apostles’ Creed in their private prayers. But he was concerned that many of them did not grasp the meaning of what they said. The prose felt too academic, disconnected from the average worshipper, and lacking a devotional spirit. It was in this context that he wrote Lyra Fidelium, which consisted of twelve hymns, one for each article of the Apostles’ Creed. With each hymn he included a short “summary of truths confessed” in that article, along with a list of the Scripture passages supporting it. “The Church’s One Foundation” was the hymn he wrote for article 9 of the Creed, which affirms belief in “the holy catholic church” and “the communion of saints.”

“The Church’s One Foundation” is the best known of the twelve hymns in this collection. Louis Benson quotes one English archbishop as saying that “wherever he was called upon to open or dedicate a church, he could always count on two things—cold chicken and ‘The Church’s one Foundation’.”  The hymn’s long legacy undoubtedly owes to the many doctrines it includes, its use of the words and concepts of Scripture to express them, and its uniqueness in teaching the doctrine of the church. Benson describes it as embodying “practically every doctrine concerning the church [Stone] held most dear (its divine origin, its unbroken continuity, its catholicity and essential unity, its orthodoxy, its sacramental grace, its communion with God and with the departed saints, its militancy and final triumph).”

July 12, 2015

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; 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:

God’s Time is Best – J. S. Bach

Gottes Zeit ist die allerbeste Zeit (God's time is the very best time), BWV 106, also known as Actus Tragicus, is a sacred cantata composed by Johann Sebastian Bach in Mühlhausen.  Although Bach's manuscript is lost, the work is agreed to be one of the earliest Bach cantatas, probably composed during the year he spent in Mühlhausen 1707/1708 as organist of the Divi Blasii church.  Bach was probably only 22 years old when he composed the opening sonatina, in which two obbligato alto recorders mournfully echo each other over a sonorous background of viola da gambas and continuo. The cantata ranks among his most important works. Inspired directly by its biblical text, it exhibits a great depth and intensity. Alfred Dürr called the cantata "a work of genius such as even great masters seldom achieve... The Actus Tragicus belongs to the great musical literature of the world".  The quotation from Acts in the opening chorus is taken from Paul’s speech before the Council of the Areopagus.  The text, taken from both the Old and New Testaments, reminds us that all things in life and in death occur in God’s time and not our own, and that, whether waiting or grieving, God’s time is always best.

            God’s time is the very best time.

            In Him we live, move and are, so long as He wills.

            In Him we die at the right time, when He wills.

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).  

Ich hab’ mein sach’ Gott heimgestellt – J. S. Bach

Johannes Leon (c.1530-1597) was an army chaplain, then in 1557, pastor at Königsee (Schwarzburg-Rudolstadt), in 1560 at Gross-Muhlhausen, and in 1575 at Wolfis, near Ohrdruf. Leon's hymns appeared principally in his  Handbüchlin, , 1566, and  Trostbüchlein., 1588.  The only hymn ascribed to him which has passed into English is “Ich hab mein Sach Gott heimgestellt”, with 18 5-line stanzas found in  Trostbüchlein. This hymn has been translated as “My Life I now to God resign”, “My all I to my God commend”, and “My cause is God's, and I am still”.

Bach incorporated this chorale in his cantata, “Gottes Zeit ist die allerbeste Zeit” at the end of the second movement.  He later used this melody in three organ chorale preludes.

            I have left all that concerns me up to God.

            Let Him do whatever He wants with me.

            If I continue to live on here still longer,

            Without striving against Him.

            I will surrender myself to His will.

            My time and hour will be when God wills;

            I do not dictate to Him any bounds.

            My each and every hair is numbered,

            Both great and small;

            Not a single one falls without His will.

About the Handbell Music:

Canon in D – Johann Pachelbel

Johann Pachelbel (1653 – 1706)  was a German Baroque composer, organist and teacher, who brought the south German organ tradition to its peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era. Pachelbel's music enjoyed enormous popularity during his lifetime; he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D, as well as the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.

Pachelbel's Canon is the name commonly given to a canon by the German Baroque composer Johann Pachelbel in his Canon and Gigue for 3 violins and basso continuo, sometimes referred to as Canon and Gigue in D or simply Canon in D. It is his most famous composition. It was originally scored for three violins and basso continuo and paired with a gigue. Both movements are in the key of D major.  Like most other works by Pachelbel and other pre-1700 composers, the Canon remained forgotten for centuries and was rediscovered only in the 20th century. Several decades after it was first published in 1919 the piece became extremely popular.  It is frequently played at weddings and included on classical music compilations.

You may be wondering why it is called “canon” when there is no canon.  The original setting contained a true canon at the unison in the three violin parts. It also has elements of a chaconne, which is a set of variations over a ground bass.  It has frequently been arranged and transcribed for many other instruments.  All of these transcriptions retain the chaconne; however, few contain the canon.

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).

‘Tis So Sweet to Trust in Jesus

From her childhood, the call to missionary service was the guiding motivation for Louisa M. R. Stead (c. 1850-1917). Born in Dover, England, and converted at the age of nine, Stead came to the United States in 1871, living in Cincinnati. She attended a camp meeting in Urbana, Ohio, where she dedicated her life to missionary service. Ill health prevented her from serving initially. She married in 1875, and the couple had a daughter, Lily. Hymnologist Kenneth Osbeck describes a major turning point in the family’s life:

“When the child was four years of age, the family decided one day to enjoy the sunny beach at Long Island Sound, New York. While eating their picnic lunch, they suddenly heard cries of help and spotted a drowning boy in the sea. Mr. Stead charged into the water. As often happens, however, the struggling boy pulled his rescuer under water with him, and both drowned before the terrified eyes of wife and daughter. Out of her ‘why?’ struggle with God during the ensuing days glowed these meaningful words from the soul of Louisa Stead.”

 The hymn, “’Tis so sweet to trust in Jesus” was inspired by this personal tragedy.

 Soon after, Lousia and Lily left for the Cape Colony, South Africa, where Louisa worked as a missionary for fifteen years. She married Robert Wodehouse, a native of South Africa. Because of her health, the family found it necessary to return to the United States in 1895. Wodehouse pastored a Methodist congregation during these years until, in 1900, they returned to the mission field, this time to the Methodist mission station at Umtali, Southern Rhodesia (present day Zimbabwe). Kenneth Osbeck records a message sent back to the United States shortly after her arrival in Southern Rhodesia:

“In connection with the whole mission there are glorious possibilities, but one cannot, in the face of the peculiar difficulties, help but say, ‘Who is sufficient for these things?’ But with simple confidence and trust we may and do say, ‘Our sufficiency is of God.’”

While the exact date of the composition is not known, Lousia Stead’s hymn was first published in Songs of Triumph (1882).  The hymn might be described as a mantra on the name of Jesus. Indeed, “Jesus” is sung twenty-five times if one sings all four stanzas and the refrain.

He Leadeth Me

Although Joseph Gilmore (1834-1918) became a distinguished university and seminary professor, an author of several textbooks in Hebrew and English literature, and a respected Baptist minister, he is best remembered today for this one hymn, hurriedly written when he was just twenty-eight. Gilmore scribbled down these lines in 1862, while visiting with friends after preaching about the truths of the 23^rd Psalm at the Wednesday evening service of the First Baptist Church in Philadelphia. He left this account:

At the close of the service we adjourned to Deacon Watson’s pleasant home, where we were being entertained. During our conversation the blessedness of God’s leading so grew upon me that I took out my pencil, wrote the text just as it stands today, handed it to my wife, and thought no more of it.

Without telling her husband, Mrs. Gilmore sent the verses to the “Watchman and Reflector Magazine”, where it first appeared the following year. Three years later Joseph Gilmore went to Rochester, New York, as a candidate to become the pastor of Second Baptist Church. He recalls:

Upon entering the chapel I took up a hymnal, thinking—I wonder what they sing here. To my amazement the book opened up at “He Leadeth Me,” and that was the first time I knew that my hurriedly written lines had found a place among the songs of the church.

William Bradbury, an important American contributor to early gospel hymnody, added two additional lines to the chorus: “His faithful foll’wer I would be, for by His hand He leadeth me.”