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.
What
Poor, Despised Company – Don Hustad
Ralph
Hudson (1843-1901) was born in Napoleon, OH. He served in the Union Army in the
Civil War. After teaching for five years at Mt. Vernon College in Alliance he
established his own publishing company in that city. He was a strong
prohibitionist and published The Temperance Songster in 1886. He compiled
several other collections and supplied tunes for gospel songs, among them Clara
Tear Williams' "All my life long I had panted" (Satisfied).
What poor despised company Of
travelers are these,
Who walk in yonder narrow way, The world they cannot please?
Who walk in yonder narrow way, The world they cannot please?
His yoke is
easy, his burden's light, I find it so, I find it so,
He leadeth me by day and by night, Where living waters flow.
He leadeth me by day and by night, Where living waters flow.
Ah, these are
of a royal line, All children of a King;
Heirs of immortal crowns divine, And lo, for joy they sing.
Heirs of immortal crowns divine, And lo, for joy they sing.
But why keep
they that narrow road, That rugged, thorny maze?
Why, that's the way their Leader trod, They love and keep his ways.
Why, that's the way their Leader trod, They love and keep his ways.
Why must they
shun the pleasant path, That worldings love so well?
Because that is the road to death, The open road to hell.
Because that is the road to death, The open road to hell.
What, is there
then no other road To Salem's happy ground?
Christ is the only way to God, None other can be found.
Christ is the only way to God, None other can be found.
I'd rather be the least of them, Who are the Lord's alone,
Than wear a royal diadem, and sit upon a throne.
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.
Only Thine – Lani Smith
The text of “Only Thine” is by R. A. John, who wrote 78 hymn
texts in German and English. The tune
was written by E. S. Lorenz, and it was first published in Songs of Revival Power (1907)
Edmund Simon Lorenz (1854-1942) was the son
of Edward Lorenz, a German-born shoemaker who turned preacher, served German
immigrants in northwestern Ohio, and was editor of the church paper, Froehliche
Botschafter, 1894-1900. Edmund
graduated from Toledo High School, taught German, and was made a school
principal. A self-taught musician, he moved to Dayton to
become the music editor for the United Brethren Publishing House at age 19. He
graduated from Otterbein College (B.A.), studied at Union Biblical Seminary, ,
then went to Yale Divinity School where he graduated (B.D.) in 1883. He then
spent a year studying theology in Leipzig, Germany. He was ordained by the Miami [Ohio]
Conference of the United Brethren in Christ. He served as pastor of the High
Street United Brethren Church in Dayton and as president of Lebanon Valley College.
In
1890, he founded the Lorenz Publishing Company of Dayton, to which he devoted
the remainder of his life. For their catalog, he wrote hymns, and composed many
gospel songs, anthems, and cantatas, occasionally using pseudonyms such as E.D.
Mund, Anna Chichester, and G.M. Dodge. Monthly
subscription services for church keyboardists and choirs were among the
company's first publications, all of which E.S. edited. These magazines were
incredibly successful and provided the foundation on which Lorenz intially
expanded. He edited three of the
Lorenz choir magazines, The Choir Leader, The Choir Herald,
and Kirchenchor. For pastors and church musicians, he wrote several
books stressing hymnody: Practical Church Music (1909), Church
Music (1923), Music in Work and Worship (1925), and The
Singing Church (1938). He wrote 195 hymn texts, over 40 hymn tunes,
and compiled over 20 hymnals. In 1936,
Otterbein College awarded him the honorary D.Mus. degree and Lebanon Valley
College the honorary LL.D. degree.
The sweetest songs I fain would offer Unto
Thy glory, Savior mine!
The grandest gifts my hands could proffer, Should, Lord, be thine and only thine.
And all for which my soul has striven, And all that life has ever given,
Only thine, only thine, All should be, O Savior, mine!
The grandest gifts my hands could proffer, Should, Lord, be thine and only thine.
And all for which my soul has striven, And all that life has ever given,
Only thine, only thine, All should be, O Savior, mine!
The fairest
flow’rs that e’er were bidden To grace the dewy morn in spring,
The treasured gold the earth has hidden, I fain, O Lord, to thee would bring.
And all that fortune has afforded And all that zeal and toil rewarded,
Only thine, only thine, All should be, O Savior, mine!
The treasured gold the earth has hidden, I fain, O Lord, to thee would bring.
And all that fortune has afforded And all that zeal and toil rewarded,
Only thine, only thine, All should be, O Savior, mine!
The rarest gems,
the priceless treasure That flashed and burned in royal crown,
My heart aflame would bless the pleasure Before thy throne to lay it down.
And wealth and might should tell the story Of thee and thy eternal glory;
Only thine, only thine, All should be, O Savior, mine!
My heart aflame would bless the pleasure Before thy throne to lay it down.
And wealth and might should tell the story Of thee and thy eternal glory;
Only thine, only thine, All should be, O Savior, mine!
I cannot sing
the Master’s chorals That grandly thro’ the ages roll;
I have not wealth of pearls or corals— I can but bring my ransomed soul;
For this thy sacred side was riven, For this thy holy life was given;
Only thine, only thine, I would be, O Savior, mine!
I have not wealth of pearls or corals— I can but bring my ransomed soul;
For this thy sacred side was riven, For this thy holy life was given;
Only thine, only thine, I would be, O Savior, mine!
Lani Smith (1934-2015) is an organist best known for his church music compositions. He has been composing for nearly fifty years, and his
compositions include choral, organ and piano pieces. He is a regular
contributor to the Lorenz Corporation’s keyboard magazines The Church
Pianist, The Organist, The Organ Portfolio, and The Sacred
Organ Journal, as well as the choral magazines The SAB Choir and The
Volunteer Choir. He served as an editor,
composer, and arranger on the Lorenz Publishing editorial staff between 1967 and
1982. During this time, he received composing and arranging credits for over
1000 works.
O wie selig – Johannes Brahms
Simon Dach (1605-1659) attended the
Cathedral school at Königsberg, the Town school at Wittenberg, and the
Gymnasium at Magdeburg. In 1626, he returned to Königsberg, where, after
studying philosophy and theology at the University, he for some time acted as a
private tutor. In 1633, he was appointed assistant in the Cathedral school, and
in 1636 Conrector. In 1639, he became Professor of Poetry in the University,
was five times Dean of the Philosophical Faculty. Dach was virtually an
invalid, and nearly broke down under the hard labour and poor pay of his early
tutorial work at Königsberg.. In his later years the effects of the Thirty
Years' War made themselves visible in Königsberg by depression of trade and
famine. In 1648, he lost his wife by death, and in 1649 many of his fellow
professors fell victims to the pestilence. During the last year of his life, he
suffered from a lingering consumption. These facts explain the sombreness of
much of his verse. In 1636, he joined in forming the Poetical Union of
Konigsberg and was its poetic soul. He
was the most important poet of the Königsberg School, and one of the first
lyric poets of his time happy in expression, pure in style, and true hearted.
But of his poems (some 1360 in all, many of which were "occasional"
pieces for the Electoral House of Brandenburg, and for private friends) very
few retain popularity. Dach's hymns, some 165 in all, appeared in broadsheet
form, in H. Alberti's Arien, 1638-1650, and in the Königsberg Hymnbooks,
1639-1690. They deservedly place him amongst the best hymn writers of his time,
and win him the distinction of being one of the most lovable, most profound and
most elegant of the more contemplative hymn writers. Their personal and
subjective character, and the fact that so many are hymns of preparation for
death, have prevented all but a few from finding a place in modern hymnals.
“O wie selig seid ihr dooh, ihr
Frommen [Eternal Life.]” was printed at Danzig, 1635,
with music by J. Stobaus, as the Musikalisches Ehrengedächtniss of Hiob Lepner,
Burgomaster of the Königsberg Altstadt.
It is a fine hymn, founded on Revelations 14:13-14. “O
how blest are ye beyond our telling” is a good and full
translation by Winkworth (1863). The
most familiar translation is by Henry Wadsworth Longfellow: “O how blessed are
ye whose toils are ended.”
Oh, how
blest are ye whose toils are ended,
Who
through death have unto God ascended!
Ye have arisen From the cares which keep us still in prison.
Ye have arisen From the cares which keep us still in prison.
We are
still as in a dungeon living, Still oppressed with sorrow and misgiving;
Our undertackings Are but toils and troubles and heart-breakings.
Our undertackings Are but toils and troubles and heart-breakings.
Ye meanwhile
are in your chambers sleeping,
Quiet,
and set free from all our weeping;
No cross or sadness There can hinder your untroubled gladness.
No cross or sadness There can hinder your untroubled gladness.
Christ
has wiped away your tears forever;
Ye have that for which we still endeavor;
To you are chanted Songs that ne'er to mortal ears were granted.
Ye have that for which we still endeavor;
To you are chanted Songs that ne'er to mortal ears were granted.
Ah, who would,
then, not depart with gladness
To inherit heaven for earthly sadness?
Who here would languish Longer in bewailing and in anguish?
To inherit heaven for earthly sadness?
Who here would languish Longer in bewailing and in anguish?
Come, 0
Christ, and loose the chains that bind us:
Lead us forth and cast this world behind us.
With Thee, the Anointed, Finds the soul its joy and rest appointed.
Lead us forth and cast this world behind us.
With Thee, the Anointed, Finds the soul its joy and rest appointed.
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.
About the Choral Music:
Rejoice, Ye Pure in
Heart – Shirley McRae
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).
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).
Shirley W. McRae is Professor
Emerita at the Rudy E. Scheidt School of Music, The University of Memphis,
Memphis, Tennessee, where she taught for 25 years and served as coordinator of
music education for seven years. McRae is a widely known specialist in Orff
Schulwerk, an innovative approach to teaching music to children, and has taught
certification courses at the University of Wyoming, Central Connecticut State
University, Samford University, the University of Nevada at Las Vegas,
University of Central Florida, and the University of Memphis. She also presents
numerous in-service workshops in cities in the United States and Canada and has
presented sessions at national conferences of the American Orff-Schulwerk
Association and at state and regional MENC meetings. She has long been active
in adult and children's choirs, serving as children's choir director at
Evergreen Presbyterian Church in Memphis, and is an active clinician in choir
festivals and regional summer seminars (Lake Junaluska and Montreat, in North
Carolina). She was a member of the editorial board of The Chorister.
McRae has published extensively, with articles in church and music education
journals. Also a composer and arranger, she has published nine books of folk
and original songs arranged for treble voices and Orff instruments. A major
work, Directing the Children's Choir: A Comprehensive Resource, was
published in 1991 by Schirmer Books and covers all aspects of the choir
program, establishing a philosophical base as well as providing many practical
ideas. She was the 1991 recipient of the
Dean's Faculty Creative Achievement Award at the University of Memphis.
Rejoice, ye pure in
heart; rejoice, give thanks and sing;
Your glorious banner
wave on high, the cross of Christ your King.
Rejoice, rejoice,
rejoice give thanks and sing.
Your clear Hosannas
raise, and Alleluias loud;
While answering echoes
upward float like wreaths of incense cloud.
Hosanna! Alleluia! Sing praise to Christ your King.
Praise God who reigns on
high, the Lord whom we adore,
The Father, Son, and
Holy Ghost, one God forevermore.
Rejoice, rejoice,
rejoice, give thanks and sing.
About the Hymns:
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.
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?” 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.
“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.
There is no better way of describing
the culmination of adhering to the biblical teachings of Christ, than in stanza
four of this hymn. Wesley’s phrase, “changed from glory into glory” is almost a
direct quotation from 2 Corinthians 3:18 (KJV). Wesley describes that day in
heaven when “we take our place, till we cast our crowns before thee, lost in
wonder, love, and praise.”
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!
Take
My Life and Let It Be
Frances R. Havergal
(1836-1879) originally composed her text in eleven couplets as a hymn of
"self-consecration to Christ" on February 4, 1874. She told the
following story about writing this hymn:
I went for a little
visit of five days [to Areley House, Worcestershire, in December 1873]. There
were ten persons in the house, some unconverted and long prayed for, some
converted but not rejoicing Christians. [God] gave me the prayer, "Lord,
give me all this house." And He just did! Before I left the house,
everyone had got a blessing. The last night of my visit. . . I was too happy to
sleep and passed most of the night in praise and renewal of my own
consecration, and these little couplets formed themselves and chimed in my
heart, one after another, till they finished with "Ever, only, all, for
Thee."
The text is a
"catalog" hymn that lists aspects of our lives and offers them in
Christ's service. "Take My Life and
Let It Be" was first published in the 1874 appendix to Charles B. Snepp's Songs
of Grace and Glory (1872). A twelfth couplet was added at some later point,
producing the six stanzas published in the Psalter Hymnal.
Although
her formal education was sporadic because of poor health, Havergal learned six
foreign languages, including Greek and Hebrew, and was well read in many
subjects. She began writing poetry at an early age and was also an accomplished
singer and pianist. The daughter of a clergyman, she had a conversion
experience at the age of fourteen and was confirmed in the Church of England in
1853. Taking seriously her own words "take my silver and my gold,"
she sent all her jewelry to the Church Mission Society to be sold. She also
supported other charitable organizations. Her more than one hundred hymns were
originally published in leaflets and later gathered into seven collections: Ministry
of Song (1869), Twelve Sacred Songs for Little Singers (1870), Under
the Surface (1874), Loyal Responses (1878), Life Mosaic
(1879), Life Chords (1880), and Life Echoes (1883), as well as in
one large volume, Poetical Works (1884).
