November 1, 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:

Herzlich lieb hab ich dich, o Herr – Georg Kauffmann

"Herzlich lieb hab ich dich, o Herr" (From my heart I hold you dear, o Lord) by the Protestant theologian and reformer Martin Schalling, written in Amberg in 1569 and first printed in 1571. It is sung to an anonymous melody, which appeared in a tablature book for organ in 1577. The first theme of the hymn is the love to God and one's neighbour, following the Great Commandment. Schalling included thoughts from Psalms 18:3.

            From my heart I hold you dear, o Lord,

            I ask that it may be your will to be not far from me with your kindness and mercy.

            The whole world gives me no delight;

            I do not ask for heaven and earth, if only I can have you.

            And even if my heart at once breaks, you are still my reassurance,

            My portion and my heart’s comfort, who has redeemed me through his blood.

            Lord Jesus Christ, my God and Lord, My God and Lord,

            Never again let me be put to shame!

            It is, Lord, your present and gift,

            My body and soul and what I have in this poor life.

            So that I may use this for your praise, for the benefit and service of my neighbor,

            May it be your will to grant me your grace!

            Guard me, Lord, from false teaching, defend me from Satan’s murder and lies,

            Sustain me in every affliction, so that I may endure with patience!

            Lord Jesus Christ, my Lord and God, my Lord and God,

            Comfort my soul in death’s distress.

Georg Friedrich Kauffmann (1679-1735) was a Baroque composer and organist from southern Germany who composed primarily sacred works for the organ and voice.  Late in his life, Kauffmann started to publish a complete edition of his organ chorales; however, he died of consumption before they had been completely published. His widow completed the publication of the Harmonische Seelenlust.  While they did not make a great first impression, over the next century they became one of the most significant achievements in German organ music, and remained in high demand well into the 19th century.

Let Us Talents and Tongues Employ – Mark Sedio

“Let Us Talents and Tongues Employ” was written by Fred Kaan in 1975.  Kaan was known and honoured throughout the English speaking world as a hymn writer. He was in the tradition of reformed ministers who wrote hymns to follow and sum up the sermons they preached. Having started to write hymns early in his ministry, his output grew steadily during his career.        

  

Let us talents and tongues employ, Reaching out with a shout of joy.                                                     Bread is broken, the wine is poured,      Christ is spoken and seen and heard. 

            Christ is able to make us one.  At the table he sets the tone,

Teaching people to live to bless, Love in word and indeed express.

Jesus calls us in, sends us out Bearing fruit in a world of doubt

Gives us love to tell, bread to share. God (Immanuel) everywhere!

Jesus lives again, earth can breathe again, Pass the Word around: loaves abound!

Mark Sedio currently serves as Cantor, organist, and choirmaster  at Central Lutheran Church in Minneapolis.  He is also on the music staff of Luther Seminary in St. Paul.

The Lord’s My Shepherd, I’ll Not Want – Sam Batt Owens 

James Leith Macbeth Bain (1860–1925) was a Scottish hymn writer, religious minister and author who became known to his peers as Brother James. He is remembered for his religious publications, as well as the hymn tune "Brother James' Air".  James was a Pupil Teacher in a Pitlochry school, and thereafter attended both the Edinburgh Free Church College and the Edinburgh Established Church College, with a view to becoming a Minister of Religion. He gained practical experience during this time by preaching in Argyllshire as well as Pitlochry and neighbouring Blair Athol.  James' ministry calling took him to Liverpool over the next decade, before going to London to work as a Spiritualist Minister. 

This beautiful version of Psalm 23 is found in the Scottish Psalter (1650).

The Lord’s my Shepherd, I’ll not want. He makes me down to lie
In pastures green; He leadeth me The quiet waters by.
He leadeth me, He leadeth me, the quiet waters by.

My soul He doth restore again; And me to walk doth make
Within the paths of blessedness, Ee’n for His own Name’s sake.
Within the paths of blessedness, Ee’n for His own Name’s sake.

Yea, though I pass through shadowed vale, Yet will I fear no ill;
For thou art with me; and thy rod And staff me comfort still.
Thy rod and staff they comfort still

My table thou hast furnished In presence of my foes;
My head with oil thou dost anoint, And my cup overflows.
My head thou dost with oil anoint, And my cup overflows.

Goodness and mercy all my days Will surely follow me;
And in my father’s heart always My dwelling place shall be.
And in my heart forevermore, thy dwelling place shall be.

Sam Batt Owens (1928-1998) enjoyed a long career as a well-known organist, composer, and church musician. He received a B. Mus. in organ performance, from the Birmingham Conservatory of Music, a M. Mus. in organ performance and composition from Birmingham- Southern College, and a D.M.A. in organ performance and musicology from Peabody College of Vanderbilt University.  Owens taught at Birmingham Conservatory of Music, Birmingham Southern College, Vanderbilt University, Fisk University, Grace-St. Luke's Episcopal School, and Christ School for Boys in Arden, N.C. He held his fIrst position as an organist at age 12, and began solo organ performances at age 16. He wrote more than 200 choral, organ, instrumental and solo vocal compositions. He was one of the Episcopal Church's leading musicians. He was President of the Association of Anglican Musicians from 1989-1991. In 1996, he had left his position at St. Andrew's on-the-Sound in Wilmington, N.C., to become a consultant for parishes and dioceses in artistic matters and a crusader for fair compensation and recognition of church musicians. In his later years he taught congregations in smaller parishes how to be full participants in corporate worship, presenting "music in liturgy and how music upholds and supports corporate worship."

Toccata in D – Johann Krieger

Johann Krieger (1651-1735) was a German composer and organist, younger brother of Johann Philipp Krieger. Born in Nuremberg, he worked at Bayreuth, Zeitz, and Greiz before settling in Zittau. He was one of the most important keyboard composers of his day, highly esteemed by, among others, George Frideric Handel. A prolific composer of church and secular music, he published several dozen of his works, and others survive in manuscript. However, hundreds more were lost when Zittau was destroyed by fire in 1757, during the Seven Years' War.

Krieger's keyboard music places him among the most important German composers of his time. The two published collections, Sechs musicalische Partien (1697) and Anmuthige Clavier-Übung (1698), contain harpsichord suites, organ toccatas, fugues, ricercars, and other works. Krieger's contemporaries praised his contrapuntal skill, evident in the extant fugues and ricercars. Johann Mattheson was particularly impressed with Krieger's double fugues, remarking that he knew nobody who surpassed Krieger in this form, except Handel. Handel himself admired and studied Krieger's work, even taking a copy of Anmuthige Clavier-Übung with him to England.

About the Choral Music:

Down to the River to Pray – Mary McDonald

          Souled Out Youth Choir

This choral setting by Mary McDonald combines two familiar songs: “Down to the River to Pray” and “Lord, Listen to Your Children Praying”.  Mary McDonald’s sacred music career spans over thirty-five years. More than eight hundred anthems, seasonal musicals and keyboard collections testify to her significant contribution to sacred literature. In 2000, Mary became the first ever woman President of the Southern Baptist Church Music Conference. In addition, she has served as accompanist for the Tennessee Men's Chorale since 1985. Her greatest desire is "to give God glory for the songs He has allowed me to compose. He alone, is the true Creator behind my pen."  In 2011, after serving as sacred music editor for The Lorenz Corporation in Dayton, Ohio for more than twenty years, Mary answered a new call. Now she takes her tremendous passion and love for music making directly to churches as an independent artist by holding Composer Weekend workshops.

"Down in the River to Pray" (also known as "Down to the River to Pray," "Down in the Valley to Pray," "The Good Old Way," and "Come, Let Us All Go Down") is a traditional American song variously described as a Christian folk hymn, an African-American spiritual, an Appalachian song, and a gospel song. It gained popularity in 2000 after Alison Krauss performed it for the soundtrack of the Coen Brothers film, O Brother, Where Art Thou?.  The exact origin of the song is unknown. Research suggests that it was composed by an African-American slave.  The earliest known version of the song, titled "The Good Old Way," was published in Slave Songs of the United States in 1867.  The song is credited to "Mr. G. H. Allan" of Nashville, Tennessee, who was likely the transcriber rather than the author.  In some versions, "in the river" is replaced by "to the river." The phrase "in the river" is significant, for two reasons. The more obvious reason is that the song has often been sung at outdoor baptisms. Another reason is that many slave songs contained coded messages for escaping. When the slaves escaped, they would walk in the river because the water would cover their scent from the bounty-hunters' dogs. Similarly, the "starry crown" could refer to navigating their escape by the stars. And "Good Lord, show me the way" could be a prayer for God's guidance to find the escape route, commonly known as "the Underground Railroad."

Ken Medema (b. 1943) is a composer-singer-songwriter who has been performing in the United States, Canada, and Europe for more than thirty years. Some of his best known songs began as live improvisations.  Medema was born almost blind; his eyes let him tell light from shadow and see outlines of major objects. He began playing the piano when he was five years old, and three years later began taking lessons in classical music through braille music, playing by ear and improvising in different styles. In 1969, he majored in music therapy at Michigan State University in Lansing, studying both piano and voice. Afterwards he worked as a music therapist in Fort Wayne, Indiana, and later at Essex County Hospital in New Jersey.  In 1973, he began performing and recording his own songs while at Essex County Hospital. "I had a bunch of teenagers who were really hurting," he says, "and I started writing songs about their lives. Then I thought, 'Why don't you start writing songs about your Christian life?' So I started doing that, and people really responded."  Medema says the following about his writing of this prayer hymn: 

"Lord, Listen to Your Children Praying" came out of my New Jersey years. One night [in 1970], I was with a youth group. We started talking about a young man who was in the hospital and who really needed our prayers. In the middle of our prayer time, the idea for this little chorus came to me. I started humming, then singing. Soon the kids were mumbling along with me. We sang that chorus, "Lord, listen to your children praying," several times over. Then I started adding verses, and the kids quickly joined me in singing the new words. So it was a song born out of our concern and prayer for a friend.

The complete song was recorded on Medema's album Son Shiny Day  and published in an accompanying songbook.

            As I went down to the river to pray, studying about that good ole way

And who shall wear the starry crown, good Lord, show me the way.

O brother, let’s go down, let’s go down, come on down. 

O brother, let’s go down, down to the river to pray.

O Lord, listen to your children prayin’

O lord, send your Spirit in this place.

Send us love, send us power, send us grace.

Something’s gonna happen like the world has never known,

When the people of the Lord get down to pray.

A door’s gonna swing open, and the walls come a-tumblin’ down,

When the people of the Lord get down to pray.

About the Hymns:

Now Thank We All Our God

Martin Rinkart (1586-1649) was the Bishop of Eilenberg, Germany during the Thirty Years’ War.  Since Eilenberg was a walled city, it became a place of refuge for fugitives of the war, and also a place of famine and disease due to overcrowding.  In 1637, at the height of their misery, Rinkart was the only clergyman left in the city who could perform the 40 or 50 daily burial services, one of which was for his wife.   The city was sacked three times by invaders.  During this time, Rinkart managed to write 7 dramas and 66 hymns.  The hymn “Nun danket alle Gott” was originally titled “Tisch-Gebetlein” (a little prayer before the meal).  This humble prayer of thanksgiving is laid out simply and beautifully in the first verse.  This verse of thanks is followed by a verse asking for strength in time of trial and a doxology.   The tune, “Nun Danket” is named for Rinkart's text, has been associated with it ever since they were published together by Johann Crüger (1598-1662) in his Praxis Pietatis Melica (1647).

Sanctuary

The writer of “Sanctuary”, Randy Lynn Scruggs (b. 1953) is a music producer, songwriter and guitarist. He had his first recording at the age of 13. He has won a Grammy Award and was twice named "Musician of the Year" at the Country Music Association Awards. He is the middle son of Earl Scruggs.  As a songwriter, Scruggs's credits include "We Danced Anyway", "Love Don't Care (Whose Heart It Breaks)", "Love Has No Right", "Don't Make It Easy for Me", "Chance of Lovin' You", and "Angel in Disguise".  Scruggs has worked with many artists, including Michael Card, The Talbot Brothers, Waylon Jennings, George Strait and Emmylou Harris. His career dates back to the 1970 with the release of All the Way Home, a collaboration with his older brother Gary. Scruggs recorded his debut solo LP, Crown of Jewels, in 1998.In 1994, Scruggs teamed up with Earl Scruggs and Doc Watson to contribute the song "Keep on the Sunny Side" to the AIDS benefit album Red Hot + Country produced by the Red Hot Organization.

You Satisfy the Hungry Heart

This hymn unites the work of composer, Robert Kreutz, and hymn text writer, Omer Westendorf.  It was among 200 texts submitted for possible use at the 41st International Eucharistic Congress in Philadelphia in 1976. "You Satisfy the Hungry Heart" was selected as the official hymn of that gathering.  First embraced by Roman Catholics, this hymn has since become well-known and a favorite in many denominations.   Following the reforms of the Second Vatican Council (1962-1965), the role of congregational song became much more prominent in Roman Catholic worship. The ecumenical worshipping community has been the beneficiary of some music composed for Catholic worship since that time, especially music for Communion.   We would not have some of our favorite Communion hymns in The United Methodist Hymnal and The Faith We Sing without the contribution of post-Vatican II Catholic composers. “One bread, one body” (UMH No. 620) and “Take our bread” (UMH No. 640) are just a two of these. 

Omer Westendorf (1916-1997) was one of the leading post-Vatican II composers and his hymn, “Gift of finest wheat,” is one of the best-known Communion hymns to come from the decades immediately following the liturgical reforms of the Second Vatican Council.  This hymn unites the work of composer, Robert Kreutz, and hymn text writer, Omer Westendorf.  It was among 200 texts submitted for possible use at the 41st International Eucharistic Congress in Philadelphia in 1976. "You Satisfy the Hungry Heart" was selected as the official hymn of that gathering.  The hymn was first published in We Celebrate with Song (1979).

Beginning at age 20, Westendorf received his master of music degree at the Cincinnati Conservatory of Music, and for most of his professional musical career served as organist and choirmaster at St. Bonaventure Church in Cincinnati, Ohio.  Under his direction, the Bonaventure Choir sang concerts and recorded sacred music for several decades. One of his greatest achievements was the founding of the World Library of Sacred Music in 1950 and World Library Publications in 1957. These organizations have been primary distributors of music for the Mass in the U.S. and beyond.  

Westendorf was also known for his lectures and seminars on sacred music, consultations on liturgical music, and as a hymn writer. UM Hymnal editor Carlton Young notes that Westendorf’s “People’s Mass Book, 1964, 1966, 1970, 1976, was the first vernacular hymn and service book to implement the Catholic liturgies decreed by Vatican Council II. He wrote Music Lessons for the Man in the Pew to teach the art of sight reading choral music.”

One of the prominent features of Catholic hymns from this era is a memorable and singable refrain. For example, think of how easily congregations learn the refrain by Catholic musician Daniel Schutte, “Here I Am, Lord.”  “You satisfy the hungry heart” has an equally memorable refrain, though more reflective.   The refrain evokes the agrarian image of “finest wheat,” the source of bread, a primary staple that sustains life. The hymn writer first addresses Christ directly in the second person, implying an intimate relationship, and offers a petition to Christ to “give to us... the bread of life to eat.”

The hymn is replete with biblical references. The refrain echoes John 6:25-37, a passage where Christ develops the imagery of bread and says, “I am the bread of life; he who comes to me shall not hunger.” Stanza one focuses on the metaphor of Christ as shepherd drawn from several passages, but especially from John 10. Stanza three is almost a direct quotation of I Corinthians 10:16-17: “The cup of blessing which we bless, is it not a participation in the blood of Christ. The bread which we break, is it not a participation in the body of Christ?”  The final stanza sites the selfless and self-giving gift of Christ reminding us of Philippians 2:5-11, a creedal hymn of the early church. 

October 25, 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:

Carol  on ‘Tis a Gift to be Simple – Charles Callahan

"Simple Gifts" is a Shaker song written and composed in 1848 by Elder Joseph Brackett (1797-1882).  Brackett, a lifelong resident of Maine, first joined the Shakers at Gorham, Maine, when his father's farm helped to form the nucleus of a new Shaker settlement.   “Turning” refers to a form of Shaker dance.  Shaker worship included a form of round dance.

'Tis the gift to be simple, 'tis the gift to be free                            

'Tis the gift to come down where we ought to be,                      

And when we find ourselves in the place just right,             

 'Twill be in the valley of love and delight.

When true simplicity is gain'd,                                                         

To bow and to bend we shan't be asham'd,                                      

To turn, turn will be our delight,                                                    

 Till by turning, turning we come 'round right.

Te ofrecemos – Jeffrey Honore

The composition and dissemination of music from cultures in the southern hemisphere began in earnest in the Roman Catholic Church in the late 1960s following the Second Vatican Council (1962-1965) whose documents acknowledged the “genius of all races” and encouraged congregational singing.  Compositions in vernacular musical styles followed. Early folk Masses paved the way for reinforcing cultural identity through congregational music. Even though the forms of the Mass are set, composers found ways to contextualize them for their own situations.  Spanish language Masses reflected the dance forms, musical instruments, and folkloric patterns of specific cultures throughout Central and South America as well as in the Caribbean

“Let Us Offer to the Father” is an offertory song from one of the earliest of the Central American Masses, the Misa Popular Nicaragüense (c. 1968). The dance-like cross rhythms give a sense of celebration (fiesta) as the people make their offerings and prepare to receive communion.

            Let us offer to the Father, with the bread and with the wine,

            All our joys and all our sorrows; all our cares, Lord, all are thine.

            From the country, from the city, from the riches of the land,

            We bring back to our Creator many gifts of heart and hand.

            All your people here together bring you offerings of love,

            Joining with your whole creation, seeking liberty and peace.

            Glory be to God, the Father, and to Christ, the living Son,

            Who together with the Spirit make the holy Three-in-One.

Jeffrey Honoré has served as a choir director in churches of many different denominations and worked as an organist, trombonist and voice teacher. He is the liturgical music director of St. Matthias Parish in Milwaukee, Wisconsin and directs the archdiocesan choir. Jeffrey received the Vatican II Award for Distinguished Service in 1999.

Fanfare – C. S. Lang

Craig Sellar Lang 1891-1971) was a New Zealand-born British organist, composer and music teacher.  Born in Hastings, New Zealand, CS Lang (known to his friends as "Robin") was educated at Clifton College and the Royal College of Music.  He was an ARCM and received his Doctor of Music from The University of Durham.

In 1929 he was appointed Director of Music at Christ's Hospital school in Horsham, West Sussex, where the choristers of Westminster Abbey were briefly evacuated to during the Second World War. Lang resigned from this post in 1945 in order to devote more time to examining and composition. His instructional works, aimed at students, were highly influential. Generations of organists were brought up on his Harmony at the Keyboard, Exercises in Score Reading, as well as his books entitled Exercises for Organists, designed to prepare organ students for the keyboard tests of the Royal College of Organists' diploma exams.  An obituary recorded his "personal magnetism" and determination to awaken "the budding musicianship of every sort of pupil".


CS Lang's choral music includes service settings (such as the Magnificat and Nunc Dimittis in B flat, Op.16), and anthems such as He shall give his angels charge over thee (1941). There are also many anthems for trebles' voices, composed for use at Christ's Hospital, as well as numerous secular choral works.  His best-known work is the Tuba Tune for organ, Opus 15, a favourite of recitalists. This dashing little piece, which owes its title to the boisterous melody sounded forth on the organ's tuba stop, begins in the style of Handel but, in its central section, has some brief key changes that could belong to no century except the 20th. Lang's numerous other works for organ include a lengthy Sonata in D minor (Op. 47, 1947), the Introduction and Passacaglia in A minor (Op.51, 1952), the Fugue-Trilogy on E.G.B. (Op. 58, 1952), and many hymn preludes and sets of preludes and fugues.

About the Choral Music:

Somebody’s Knockin’ – Ken Berg

          God’s Project

This traditional spiritual has been set by Ken Berg, a native of the Virginia/North Carolina region, who graduated from Samford University in Birmingham, Alabama with a BME in 1977 and an MME in 1981.  For 28 years, Ken served as the Director of Choirs and Fine Arts Chairman at John Carroll Catholic High School in Birmingham. The choirs at John Carroll consistently received highest ratings in district, state and national festivals under his leadership.  After retiring from teaching high school in 2005, Ken served for 6 years as the full-time Music Minister and Composer in Residence at Mountain Brook Baptist Church, also in Birmingham. As of the summer of 2011, after serving as the part-time director for 33 years, Ken now serves as the first full-time Music Director and Resident Composer for the Birmingham Boys Choir.

Somebody’s knockin’ at your door,

Somebody’s knockin’ at your door!

Oh, sinner, why don’t you answer?

Somebody’s knockin’ at your door!

Somebody’s prayin’ for your soul,

Somebody’s prayin’ for your soul!

Oh, sinner, why don’t you answer?

Somebody’s prayin’ for your soul!

Someone is a-knockin’,

Someone is a-knockin’,

Someone is a-knockin’ at your door!

Somebody’s singin’ “Hallelu!”

Somebody’s singin’ “Hallelu!”

Oh, sinner, why don’t you listen?

            Somebody’s singin’ “Hallelu!”

My Shepherd Will Supply My Need – Douglas Wagner

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.

Douglas E. Wagner, a native of Chicago, Illinois, is an international recognized composer and arranger. With thirty years as a high school music educator and administrator behind him, Mr. Wagner now devotes all of his time and energy to writing, editing and their allied activities. He is an A.S.C.A.P. award-winning composer, an editor for a major publishing company, and has served several denominations as a church musician.  2,500 titles by Douglas E. Wagner have been published since 1973, included works for choir (sacred and secular), concert band, orchestra, handbell ensemble, organ, piano, instrumental solo, and voice. Fifteen million copies of his music have been sold to date.

            My shepherd will supply my need, Jehovah is his hame;

            In pastures fresh he makes me feed beside the living stream.

            He brings my wandering spirit back when I forsake his ways,

            And leads me, for his mercy’s sake, in paths of truth and grace.

            When I walk through the shades of death, thy presence is my stay;

            One word of thy supporting breath drive all my fears away.

            Thy hand in sight of all my foes does still my table spread.

            My cup with blessing overflows, thy oil annoints my head.

            The sure provisions of my God attend me all my days;

            O may thy house be mine abode and all my work be praise.

            There would I find a settled rest, while others go and come;

            No more a stranger or a guest, but like a child at home.

About the Hymns:

God of Grace and God of Glory

“God of grace and God of glory” was written in 1930 by Harry Emerson Fosdick (1878-1969) for the dedication of the famous Riverside Church in New York City.   Fosdick was granted degrees from Colgate University and Union Theological Seminary. He was ordained in 1903 to ministry in the Baptist Church and became pastor of First Baptist Church, Montclair, N.J.   Fosdick served as a chaplain during World War I and then was pastor of First Presbyterian Church in New York City. From this congregation he was called to pastor Park Avenue Baptist Church, which was renamed Riverside Church.

“God of grace and God of glory” was written while the United States was in the throes of the Great Depression between the two World Wars. Fosdick was a champion of the social gospel, a movement that recognized the plight of the poor, especially in the urban Northeast during the Industrial Revolution.   UM Hymnal editor Carlton Young has noted: “Fosdick’s stirring radio sermons, books, and public pronouncements established Riverside as a forum for the critique of the same wealth and privilege whose gifts had made possible the building of the church.  Under his leadership Riverside Church was interdenominational, interracial, without a creed, and, astonishingly for Baptists, required no specific mode of baptism. At the center of Fosdick’s ministry was urban social ministry.”   Fosdick was perhaps the most vocal proponent of the social gospel of his time—a position that brought both wide acclaim and broad disdain. 

Seek Ye First

"Seek Ye First the Kingdom of God." was written in 1972 by Karen Lafferty.  The following is an excerpt from an interview in Reformed Worship magazine.

I was raised in a Christian home, but like many young people I wanted to discover life for myself and did some drifting. I was working as a nightclub entertainer in New Orleans when a friend came to visit me and got me back on the right track. I decided to pursue entertainment for the time being—to try to be salt and light in the entertainment world. So I moved to California.  Soon I did find a church, Calvary Chapel, and at my first service I met a lot of other young musicians.  At this time "Maranatha! Music" was part of Calvary Chapel. It was very small yet and had produced only one album, An Everlasting Jesus Music Concert. At the chapel we had a special fellowship for musicians which taught us principles on how to serve through music. Most of us were especially interested in contemporary Christian music, music that would reach young people.  I stayed with Maranatha! Music for about eight years. In 1980, and out of that relationship came Musicians for Missions. Youth with a Mission is very involved with the idea of cross-cultural missions. Even though we dealt with a subculture of young people who all liked the same kind of music, there were still many cultural differences. I felt I had to live outside of the U.S. to really learn what it is to be in another country. And under the umbrella of Youth with a Mission, I was able to organize Musicians for Missions.

Back in 1971, I had quit my entertainment job and was trying to support myself with teaching guitar lessons. I had three students! When my savings were all gone and I had no money to make my car payments, I became very discouraged and confused.  One evening I went to a Bible study at church, and we talked about Matthew 6:33.1 was tremendously encouraged and challenged by the words about Christ's kingdom. So I went home, wrote the tune, recorded it on a tape recorder, and then sang this little descant part.  I taught the song at church the next week, and it caught on right away. The Lord really paved the way for me with that song. "Seek Ye First" has opened doors for me all over the world. And because it's in so many hymnbooks, about 40 percent of my mission support comes from that song!

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.

October 18, 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:

Gott, durch deine Güte– J. S. Bach

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.

God, grant that, through Your goodness,

You graciously guard the hearts, minds, and souls

Of us poor folk from the devil’s raging, in life and in death.

Christ, Savior of the world, stretch out your hand over us,

Guard us from mankind’s trifles;

Through your divine Word lead us into the Father’s land.

May the Holy Spirit’s love take root in us,

Drive sin from us, and inscribe his grace

That we may remain with you eternally.

Today Your Mercy Calls Us – Mark Sedio

Oswald Allen (1816-1878) was a banker in Kirkby and Glasgow, Scotland.  In 1861, he published Hymns of the Christian Life, which contains 148 hymns, a few of which are in common use.

Today Your mercy calls us To wash away our sin.
However great my trespass, Whatever we have been,
However long from mercy Our hearts have turned away,
Your precious blood can wash us And make us clean today.

O all-embracing Mercy, O ever-open Door,
What shall I do without You When heart and eye run o'er?
When all things seem against us, To drive us to despair,
We know one gate is open, One ear will hear our prayer.

Mark Sedio currently serves as Cantor, organist, and choirmaster  at Central Lutheran Church in Minneapolis.  He is also on the music staff of Luther Seminary in St. Paul.

Fanfare – Guy H. Eldridge

Guy Henry Eldridge (1904-1976) studied at the Royal College of Music, was organist of the Church of St. Michael and All Angels, Hollington, and was the conductor of the Hollington Choral and Orchestral Society.  “Fanfare” was published in 1961 and is typical of British organ music of the period.  It is mildly dissonant and has a sense of confidence about it.  It is a trumpet tune framed by fanfares and a darker middle section.  

About the Choral Music:

He Shall Feed His Flock – John Ness Beck

John Ness Beck (November 11, 1930 - June 25, 1987) graduated from Ohio State with Bachelor of Arts and Bachelor of Science degrees with a major in English. After working for a year in Student Union activities at the State College of Washington, he spent two years in the U.S. Army. During this time, he became increasingly involved in arranging for various musical groups. After his discharge from military service, he returned to Ohio State and completed Bachelor of Music and Master of Arts degrees in music with composition as his major.  Beck was a faculty member of Ohio State University School of Music for seven years, teaching harmony and theory. He left the university to become owner and manager of The University Music House, a retail sheet music store in Columbus. In this capacity, he was able to observe the business side of the music industry, gaining insight into the complexities of music publishing and merchandising. As his compositions found their way into print and popularity, he joined forces in 1972 with John Tatgenhorst in the creation of Beckenhorst Press. His reputation as a composer and his experience as a choral director soon led to an increasing demand for appearances as guest conductor and lecturer at various musical clinics and festivals throughout the country.

Tender and sincere are the two words which characterize John Ness Beck’s setting of these beloved verses from Isaiah 40 and Psalm 23. 

            He shall feed His flock like a shepherd. He shall gather the lambs in His arm,

            And carry them in His bosom, and gently shall lead those that are with young.

            He shall gather the lambs in his arm, He will shelter them,

            And carry them close to His heart;

and gently, so gently, ever so gently shall lead those with young.

The Lord is my shepherd.  I shall not want.  Amen.

About the Hymns:

God, Whose Love is Reigning O’er Us

“God, Whose Love Is Reigning O’er Us” was written at the request of Susan Jane Grove and Douglas Alan DeJarnett and used as a processional hymn for their wedding in November 1980.  United Methodist Bishop William Boyd Grove (b. 1929), Susan’s father, penned his first hymn for this occasion. The hymn found its way into the Upper Room Worshipbook (1985) and then into the United Methodist Hymnal (1989).

Bishop Grove was born in Johnstown, Pa., and received his education at Bethany College (1951), Drew University (1954) and Pittsburgh Theological Seminary (1978). He served as a pastor in congregations in the Western Pennsylvania Conference, and was consecrated bishop of the West Virginia Conference in 1980. After 12 years of service in this conference, he served for four years in the Albany (N.Y.) Area before retiring from the active episcopacy in 1996. Throughout his ministry, Bishop Grove has championed the ecumenical connections of the broader church, serving as a member of the executive committee of the Consultation on Church Union (1988-2000), the ecumenical officer of the denomination’s Council of Bishops (1996-2000) and president of the General Commission on Christian Unity and Interreligious Concerns.

Freely, Freely

Carol Sue Owens (b.1931) attended San Jose State College and Cathedral School of the Bible, Oakland, Calif. She and her husband James composed Christian musicals. “Freely, Freely” is featured in Come Together, A Musical Experience in Love, written in 1974.

Love Divine, All Loves Excelling

Charles Wesley (1707-1788) was a prolific hymn writer of the 18th century. Coming from a musical family, he left a lasting legacy of congregational song.  The youngest of 18 children, Charles possessed prodigious talents that soon blossomed. Little did he know that “Love Divine, All Loves Excelling,” would rise to become one of the most popular and consistently vocalized Christian songs.  Writing hymn texts that are solidly based on the Scriptures gives them an appeal across denominational lines. It is estimated that during his lifetime, Wesley penned more than 9,000 poems of a spiritual nature, 6,000 of which are hymns. What really set Charles apart from other hymn writers was his effective use of scriptural allusions, providing a spiritual roadmap whereby individuals could imagine a Christ-centered life. His writings were passionate and well-crafted, conveying the true essence of Christian teaching. 

A substantial number of his writings were completed while riding on horseback to his evangelical meetings.  Scholars suggest that he was able to compose about 10 lines of verse daily for 50 years. Charles’ brother John sometimes served as editor to his hymns. John’s typical response was, “some were good, some were mediocre, and some were exceptional.” John can also be credited with improving the singability of Charles’ hymns.

Both John and Charles were instrumental in changing the spiritual environment of Britain during the 18th century. In doing so, they formed the bedrock of what Methodism has become worldwide. Their unwavering devotion to expressing Christian spirituality through hymns has impacted individuals across all denominational lines.  We are fortunate to be the recipients of the poetic genius of Charles Wesley. He influenced Methodism more than any other hymn writer. Upon hearing of Charles’ death, an elderly Londoner asked, “Who will write poetry for us now?” 

“Love Divine, All Loves Excelling” was first published in a collection of hymns entitled Hymns for those that Seek, and those that Have, Redemption in the Blood of Christ (1747). The incipit (opening line) was a play on the opening line of John Dryden’s (1631-1700) poem “Fairest Isle, All Isles Excelling” set to music by Henry Purcell (1659-1695) in the generation before Charles Wesley was born.  The hymn is written around a progression of thoughts: (1) our prayers for the Holy Spirit, (2) praying for the return of our Lord through the second coming, and (3) prayers for the finalization of his new creation.

Stanza 2 expresses the Wesleyan concept of the “second rest.” When Charles referred to this in his hymns, it specifically applies to the “second birth,” “second blessing,” “second gift.” All of these are directed toward achieving full “sanctification” or “Christian perfection.” This is an important theological tenet of Methodist preaching from the very beginning.