I Sing the Mighty Power of God – Isaac Watts

Isaac Watts was a father to many. In fact, you might say he was prodigious in producing offspring, and was a father to two different types of progeny. Yet, biologically speaking, he had no children of his own, no one to inherit the Watts name. If you think this is an unsolvable puzzle, then perhaps you haven’t been in a hymn-singing church in a while.

The ‘father of English hymns’, as Watts came to be known, lived three centuries ago, and many of his 750 poems are still sung today. “I Sing the Mighty Power of God” is still a standard in churches today, and its history tells us how Watts might have been considered a father in a second way. In 1715 Watts put together a songbook, which doesn’t really sound that unusual, right? Except that this was a songbook for children, gospel songs, in which “I Sing the Mighty Power of God” appears. Kids are usually heard singing fairy tale rhymes, or some other ditties us grown-ups think of as cute, but not especially instructive for adults. The Divine Songs for Children is thought to be the first-ever hymnal published for children, a testimony of Watts’ care for children that is so well-known that it is memorialized on a statue of him in Southampton, England. Through his compositions, Watts put into action Jesus’ directive to allow children to approach the Lord, rather than ignoring or ‘shushing’ or ‘shooing’ them away. One can imagine him guiding personally small minds with his songs, and so endearing himself to kids -- although not his own -- as a father-like figure, or perhaps a gentlemanly uncle.

The song’s text is pretty simple, with few words to confuse or bewilder the mind. It seems to come straight out of Genesis, with plain words that all humans can fathom – our mighty God made everything in the universe. It’s not a time for theological, hair-splitting debate, just worship. Look on God with awe. Honor Him. Trust Him. Just like a little child, which is, by the way, how God seems to want me to regard my relationship with Him (Matthew 19:14). I think I’ll sing Watts’ song with a newfound appreciation for what he was thinking when he wrote for someone about three or four feet tall. Maybe the position on my knees would be about right the next time I sing these words.

Information on the song was obtained from the books “101 Hymn Stories”, by Kenneth W. Osbeck, Kregel Publications, 1982; “Amazing Grace – 366 Inspiring Hymn Stories for Daily Devotions”, by Kenneth W. Osbeck, 1990; and “The Complete Book of Hymns – Inspiring Stories About 600 Hymns and Praise Songs”, by William J. and Ardythe Petersen, 2006. Also see the following website for information about Isaac Watts. http://en.wikipedia.org/wiki/Isaac_Watts

Praise the Lord – John Kempthorne and Edward Osler

From the lips of children and infants you have ordained praise because of your enemies, to silence the foe and the avenger. (Psalm 8:2) It shouldn’t come as a surprise that a birth, in fact many births, were observed in a hospital in England in 1796. The Foundling Hospital, as its name indicates, was indeed for orphaned children. It was established in the 18th Century Holborn section of London by seaman and philanthropist Thomas Coram. Yet, the children who were at this hospital (in fact, it really was only an orphanage) generally had already been born elsewhere. Instead, it may be said that many songs were born there, or at least became more well-known because of their association with the Foundling Hospital. Maybe it was the verse from Psalm 8 (see it above) and this child-care institution’s reputation that gave the composer his method for circulating the song “Praise the Lord”… There is still debate regarding the composer’s identity. Some people have assumed it was the English hymnist John Kempthorne who composed the original song’s first verses in 1796. Some have said that its composer is still unknown, although a final verse (or two verses, depending on which tune the song employs) was written by Edward Osler in the 19th Century. Most agree that the song first appeared in Hymns for the Foundling Hospital, the orphanage that became well-known as a music venue, not just for the children there, but also for the eminent musicians who visited there to further the children’s well-being. George Friedrich Handel often sponsored Messiah performances at Foundling Hospital in High Holborn in the mid-1700’s. One wonders if the original composer, whoever he is, was inspired by the songs of the orphans, and so brought to life “Praise the Lord”, and gave it to the children as part of their repertoire. The song seems to be a paraphrase of Psalm 148 and perhaps Psalm 150, what we as believers and children of the great Creator and Redeemer sing to Him. Here’s the additional words composed by Edward Osler: Worship, honor, glory, blessing, Lord, we offer unto Thee. Young and old, Thy praise expressing, In glad homage bend the knee. All the saints in heaven adore Thee; We would bow before Thy throne. As Thine angels serve before Thee, So on earth Thy will be done. Information on the song story is in “The Complete Book of Hymns – Inspiring Stories About 600 Hymns and Praise Songs”, by William J. and Ardythe Petersen, 2006. Information on John Kempthorne is at: http://en.wikipedia.org/wiki/John_Kempthorne Also see the below website, referring to the book “English Hymns: Their Authors and History” by Samuel Willoughby Duffield, published by Funk and Wagnalls, 1886 New York and London. (the book is part of public domain in the United States) http://books.google.com/books?pg=PA457&lpg=PA457&dq=Kempthorne%20Praise%20the%20Lord&sig=kxg5pdHM-RhxYTmFP9gpt-pFmqA&ei=NO_6SrKwCNTgnAfCrvH-DA&ct=result&id=OSkPAAAAIAAJ&ots=JILjaxGHhz&output=text Some background on the song, and the playing of the song as a completely different tune (FABEN, by John H. Wilcox) than the traditional one (PEREZ, by Lowell Mason) in Songs of Faith and Praise – 1994, is at the following website: http://www.hymntime.com/tch/htm/p/t/pthelyeh.htm

He Is Exalted - Twila Paris

Little Twila Paris. That’s what she came to be called when she started out singing as a four-year old, and that was the name of her first record, cut when she was just six. So, it wasn’t hard to think of her as ‘little’ then, although she might have been thought of as small the way Shirley Temple was. Some 45 years later, no one probably calls her that anymore, not if they want to thank her and applaud her career, to recognize her for all the wonderful music she has contributed to Christendom. But, it could probably be said that Paris still thinks of herself as ‘Little Twila’, at least when she thinks about her calling and the song, “He Is Exalted”, that she wrote in 1985.


 In fact, she’d probably not want us to think too much about her, but instead about the one she exalts in this song. Paris thought a long time as a teenager and then as a young woman before she decided music was her mission in life, but she knew that it had to be about Him ultimately. She started producing albums by 1980, and when she composed “He Is Exalted” in 1985 she obviously had not forgotten that God’s praise was still the primary focus of her music. Look at the rest of her song library and one can see that that divine hub remains firmly in place. In fact, she’s returned to this song to re-emphasize its point to an international audience, when she recorded it in Portuguese for Brazilian churches in 1992 (It’s on the album Sanctuary.). Wouldn’t it be something to hear God exalted in every language spoken around the globe? I think, in my corner of the world, that I need to begin with that attitude in my neighborhood and my workplace, how about you?


When I think about His exaltation, I couldn’t help addressing that this week, in a way I need to more frequently. I had to summon my courage with someone I work with every day, to remind him of my feelings. I was a bit apprehensive, I admit, although I am convicted that God is indeed worthy of my praise, and of my actions flowing from that conviction. Sensitively, but firmly, I broached this with my co-worker, and guess what? It was OK that I felt God’s name should be held in respect. None of us are perfect, for I too have been frustrated and overwhelmed in the office, with spleen-venting vocal tirades still occupying my memory. But, this episode reminded me that my God hasn’t moved, and He still occupies a position that I can applaud with renewed commitment. I don’t have to go being a world-class evangelist on Broadway to exalt Him. I did that, at least a little bit this week, in my 50 X 50 foot area in a pretty ordinary-looking building in Glen Echo, Maryland. I just need to keep singing “He Is Exalted”, wherever I am.


 Some information on Twila Paris is from the following website: http://en.wikipedia.org/wiki/Twila_Paris

Information on Twila Paris ia also available at the following website:http://www.twilaparis.com/

Information on the song story is in “The Complete Book of Hymns – Inspiring Stories About 600 Hymns and Praise Songs”, by William J. and Ardythe Petersen, 2006.

Great Is Thy Faithfulness – Thomas Chisholm

Perhaps Thomas Chisholm identified with the people of Jerusalem, at least a little – what do you think? In 1923 he wrote the song “Great Is Thy Faithfulness”, a poem that calls out to worshippers from the book of Lamentations, a cry of people in abject misery. Maybe on one hand, one would have to experience war to really appreciate what Lamentations has to say. Pictures of bombed-out cities in Europe in 1945, where people reverted to wild, animal-like behavior to survive spring to mind. Have you seen the film “The Pianist”, the biography of the Jewish-Polish musician Wladyslaw Szpilman, who endured the horror of Warsaw in World War II ? That’s akin to what Jerusalem might have been like when under siege by Babylon. Yet, nothing from Chisholm’s life appears to be Szpilman-like. In fact, Chisholm says nothing especially stark in his life, including in 1923, inspired the words of the ode he composed. But Chisholm’s humble life experiences and shortcomings do relate something with which we can all probably identify, especially if we compare them to what God offers.

Chisholm grew up in a log cabin, was only minimally educated, and suffered from ill health, a chronic problem that made his lifelong income pretty limited. If that sounds like a recipe for disappointment, Chisholm must have ignored it, because he shares his ‘astonishing gratefulness’ at God’s work in his life. So grateful was he, that we know of 1,200 poems that Chisholm wrote in his 94 years. Can you think of 1,200 worthwhile things you’ve done in your life! Nevertheless, the Lamentations-origin of “Great Is Thy Faithfulness” hints that Chisholm was aware of his own life’s regrets. After all, aren’t we all at times, when dealt reverses? Did he perhaps subconsciously identify with the background of Jeremiah’s message, and so compose from a visceral vantage point? The weeping prophet did not make Chisholm the weeping poet, however. No, the words of his song are no less upbeat than the few optimistic verses in Lamentations that the prophet gave us. Even a cursory, ten-minute reading of the book leaves one seeing the verses Chisholm focused on as an oasis, a ray of hope in an otherwise bleak outlook. It’s pretty heartening that a piece of Jeremiah’s song, composed 2,600 years ago, was renewed in 1923, and still has power in our century too. Does it say something to you today? It’s 2009…have you been suffering? Have you lost a job, maybe your home? How’s your health? Some of us might even feel like we’re at war, depending on where we live, or where we’ve been. But, the glimmer we all can get from Thomas Chisholm’s tune is this: God’s faith cuts through the gloom. Chisholm saw the light, despite what happened to him. So did Jeremiah.

Chisholm’s song reminds me that the Lord’s faith may be compared to His creation (verse 2), so that if the seasons persist, the stars still shine, and the sun rises and sets each day, I know God is still near. Despite the misery I may find here, God’s promises are for me. He controls. The world still turns. The Son’s life-offer endures. What a God! What a deal!

Information on the song was obtained from the books “101 Hymn Stories”, by Kenneth W. Osbeck, Kregel Publications, 1982; “Amazing Grace – 366 Inspiring Hymn Stories for Daily Devotions”, by Kenneth W. Osbeck, 1990; and “The Complete Book of Hymns – Inspiring Stories About 600 Hymns and Praise Songs”, by William J. and Ardythe Petersen, 2006.

Father I Adore You – Terrye Coelho Strom

A birth took place in sisters Terrye and Cathy Coelho’s car in southern California in 1972. But, it wasn’t a boy or a girl. It could be said that in fact a ‘father’ was born in that car. What? Terrye says that car ride with her sister was where she wrote the song “Father, I Adore You”, a tune that extols the Father, and the Son and Holy Spirit too. Terrye Coelho says some other things about this song’s origin that probably seem unconventional, at least to those who haven’t been born like her.

The Coelho sisters were driving to and from a fun time in Newport Beach that summer, and doing what lots of teenagers do when on the road. Singing. I remember being on a bus with other teenagers in the 1970’s, and we sang lots of songs to pass the time, perhaps because we were all band kids and music seemed so natural to us. I cannot remember ever having sung spiritual tunes, though, so our singing never conceived nor brought to fruition anything that notable. Terrye Coelho seems to have somewhat the same attitude, saying that she was only the “vessel” through whom God worked that day. And, the song she helped God deliver that day was so simple, at least on paper it might look a little underwhelming. It contains some very simple thoughts about love and devotion, and transparency before the Holy One. One might say it’s summed up as ‘God, I’m open to you and I love and admire you’. That’s it. Indeed, the words of the song are just about that simple. Terrye says that’s what makes the song, and one other thing she and her sister did with it, such a winner.

Terrye and Cathy sang the song as a round, meaning one of them sang about the Father first, and then the other joined in singing about Jesus. With three people, a third person could join in on the third ‘round’ appreciating the Spirit. That makes it possible for a group -- like a church -- to sing to the Trinity all at the same moment. And, the musical harmony that Terrye heard the Spirit speaking to her was pretty simple too, but just as memorable as the words. Each voice sings a different part of the song’s chords, perhaps not unlike the unique, but complementary, voices of the Trinity. It’s a beautifully straightforward way to think about music – hear the chords, and just do a ‘do-mi-so’. It’s not hard, but one does have to listen and sense how one’s voice and notes fit into the overall scheme. Hmmm…kinda how one’s life fits into and around others in the kingdom, huh? Maybe God says something in music that we need to listen to and practice more intently.


 One source for Terrye Coelho Strom’s song story is the book “Celebrate Jesus: The Stories behind Your Favorite Praise and Worship Songs”, by Phil Christensen and Shari MacDonald, Kregel Publications, 2003.

See also “The Complete Book of Hymns – Inspiring Stories About 600 Hymns and Praise Songs”, by William J. and Ardythe Petersen, 2006.

O Love That Will Not Let Me Go – George Matheson

George Matheson’s life was about to change in 1882, and so he wrote a poem that became a song just over a year later. One can guess that something deep inside his heart, something about love, was on his mind. Was he feeling melancholy or troubled? Yes – in his own words, he was suffering ‘severe mental anguish’, although he does not say why. We know that his sister had been married that day, June 6th. Matheson’s only engagement had ended some 22 years earlier, and since that time he had relied on his own flesh and blood, his sister, to provide much of what he could not himself do in his preaching ministry in Scotland. And, we know that by this time, when he was 40 years old, George Matheson was blind. So, as he sat by himself that evening, maybe he was struggling with loneliness. ‘Why me?’ might have been his soul’s cry. He tells us that the words came quickly, as he reached out with fidelity and determination to someone he knew would not leave him. 

 

 

God is true and faithful, and fulfilling. That sense comes through in Matheson’s words, a hope that he was calling upon to lift his spirit that night. Every verse of his song hints that he was struggling with his own downcast emotions, and that he desperately needed his Friend, the Lord, to not just be a temporal companion, but a source of supernatural strength. We all have probably felt despondent occasionally, but how many of us have written words like Matheson’s? He didn’t just wallow in self-pity, but sought His provision, knowing that God’s presence does more than salve a hurt. God brings me to another plane altogether. That’s how He fulfills, transports me, if I let Him. Matheson’s testimony about this song’s swift creation also implies that he was hearing the Spirit speak to him that night. 

 

 

 Maybe that’s what George Matheson discovered in writing the song’s words – that if I lay prostrate, and depend completely on Him, as Matheson’s words suggest he did on June 6th, then God can take me above the fray. God’s Spirit is available, and if I’m alone, then I can hear, really hear like I’ve never been able to before. Perhaps that was easier for Matheson, since he wasn’t bombarded with visual stimuli to distract communication with Him. I cannot help wondering if Matheson ever met Fanny Crosby, a contemporary who also experienced God’s empowering Spirit. She too was blind and undeterred, although completely dependent on others for sight. Matheson is yet another whose existence defies the word ‘disability’. Isn’t it great that God makes a mockery of that word, and reminds us of that when we sing Matheson’s tune? He won’t let me go…he turns my world inside out. My ‘flickering torches’ are lit into a sunshine-like blaze (verse 2), my life is consumed in His ocean-like life (verse 1), my tears are dried in His presence (verse 3), and my death is stood on its head in a never-ending home (verse 4). You see? George Matheson did. 

 

 

Information on the song was obtained from the books “101 Hymn Stories”, by Kenneth W. Osbeck, Kregel Publications, 1982; “Amazing Grace – 366 Inspiring Hymn Stories for Daily Devotions”, by Kenneth W. Osbeck, 1990; and “The Complete Book of Hymns – Inspiring Stories About 600 Hymns and Praise Songs”, by William J. and Ardythe Petersen, 2006.

Holy, Holy, Holy – Reginald Heber

Reginald Heber died too early, tragically most would say. In Calcutta, India one hot, humid Sunday in 1826 he preached to a crowd, and very suddenly suffered sunstroke and died. He was just 43 years old. But, the song words he wrote to His God, and that we now sing, didn’t end with his physical demise, for his wife and friends gathered Heber’s hymns that he had written – 57 of them – and published them. The words he wrote enrich our worship of God and give us a glimpse of the man who was known for his character, his decency. It’s no surprise that Heber, a man respected by those who knew him, would be in touch with God’s holiness, and that he wrote these words to coax us to do the same. It’s said that Reginald Heber was searching for a song for Trinity Sunday (it comes eight weeks after Easter), and decided that he’d write his own words for the occasion, since he could not find another. Kind of amazing if you think about it, for the doctrine of the Trinity had been codified in Christianity several hundred years earlier. In 325 A.D., the council of Nicea (in modern-day Turkey) had determined that the Bible teaches something quite profound -- that the Father, Son, and Holy Spirit make up the Godhead, the Trinity. If you look on the margins of the sheet music for Heber’s song, you might even see the word ‘Nicea’ there, a reminder of that historic event 1,500 years before the tune written by John Dykes in 1861 was paired with Heber’s words to produce this song. One cannot miss in Heber’s words, and in his collaborator’s efforts too, the primacy of the message. God’s purity endures. I wonder if Heber’s last years, indeed his last moments, made this song more meaningful for him. Heber spent the 1823-26 years in India, and labored in a climate that wore heavily upon him physically. Heber’s wide-ranging responsibilities, as bishop of Calcutta, India, and of Ceylon, and Australia too, must have also been overwhelming at times. ‘How did he manage this?’, we might ponder. I might have quit, told my superiors ‘I’m chuckin’ this’, and gone home to the easier life of England, where Heber was born, educated, and ministered for 16 years before traveling to south Asia. Instead, Heber delivered God’s message, a testimony of His holiness to a nation mired in a caste system, rife with injustices. Who better than Heber, who sought God and patterned his own life after Him, to spread His hope to the poor and disadvantaged in India? How did he manage? Seeing God for who He is, in His unpolluted, unstained, eternal form can compel us, even transform us, even though it may cost us our mortality. I’m gonna try remembering that when I sing Heber’s song next time. Information on the song was obtained from the book “101 Hymn Stories”, by Kenneth W. Osbeck, Kregel Publications, 1982.