A special service of songs and stories led by Worship Leader, Uriah Moore and featuring the Pender Praise Band. This was a contemporary worship experience featuring music from Doe, Elevation Worship, Kari Jobe, Karen Clark Sheard, and more.
In addition to singers, the band consists of guitar, drums, percussion, autoharp, saxophone, trumpet and clarinet.
This group leads worship every Sunday at 11:15 am online and in person at Pender UMC, 12401 Alder Woods Drive, Fairfax, VA US 22033.
The Pender UMC Traditional Service Opening Hymn “Jesus, Thine All-Victorious Love” on Sunday May 14, 2023 was played by Heidi Jacobs on piano and Brian Stevenson on organ.
This was Heidi’s first Sunday as Pender’s Pianist.
“Jesus, Thine All-Victorious Love,”
by Charles Wesley The United Methodist Hymnal, No. 422.
Methodists need no introduction to Charles Wesley. For that matter, neither do most singing Christians! Perhaps no other hymn writer except Isaac Watts is so well loved as Charles Wesley. Few were as prolific, at least, or as wide-ranging with regard to the theological topics they addressed….
“Jesus, Thine All Victorious Love” is found in the United Methodist Hymnal at No. 422. As with many Wesley hymns that we sing today, the four stanzas given in the UMH are but part of a much longer hymn called “My God! I know, I feel thee mine.” The complete hymn is found in Collection of Hymns for the Use of the People Called Methodists in the section, “For Believers, Groaning for Full Redemption.” Atop the hymn text in the early editions sits a scripture reference to Romans 4:13, which speaks of the promise God made to Abraham and the righteousness of his faith. The full hymn has twelve stanzas, which can be divided thematically into four groups. Stanzas 1 to 3 articulate an individual’s desire for intimate communion with God the Father using physical, even visceral, images. Stanza 2 is particularly beautiful and connects to the passage from Romans 4, using the language of faith:
I hold Thee with a trembling hand,
But will not let Thee go,
Till steadfastly by faith I stand,
And all Thy goodness know.
This opening group of stanzas speaks of how such an intimate relationship with God not only sustains us, but gives us “health, and life, and power, and perfect liberty.” The use of superlatives such as “all Thy goodness” and “perfect liberty” highlights well the Wesleyan idea of Christian perfection.
The second section focuses on the love of Jesus and that love’s redemptive power. There are several scriptural images at play, and as one might expect from Wesley, or indeed from most anyone writing about love, conversion of the heart is central to this section. The United Methodist Hymnal version begins with this stanza, which is number 4 in the original.
Jesus, thine all victorious love
shed in my heart abroad;
then shall my feet no longer rove,
rooted and fixed in God.
The third section of the text focuses on the Holy Spirit; its three stanzas are all included in TheUnited Methodist Hymnal. One particularly potent stanza speaks of the sanctifying power of the Spirit, highlighting another key tenet of Wesleyanism.
Refining fire, go through my heart,
Illuminate my soul;
Scatter Thy life through every part,
And sanctify the whole.
The fourth section brings to completion the sanctification of the believer and the experience of Christian perfection. The poetry of Wesley’s final stanza is both beautiful and unequivocal in its theological witness:
My steadfast soul from falling free,
Shall then no longer move;
But Christ be all the world to me,
And all my heart be love.
Those who might bravely choose to sing all twelve stanzas of this hymn would experience a beautiful, thoroughly trinitarian witness to the redemptive power of God’s love in Jesus Christ through the sanctification of the Holy Spirit. However, most congregations will probably opt to sing a subset of stanzas. The four stanzas found in the United Methodist hymnal are well suited to the Easter season. Beginning with a stanza about the “victorious love” of Jesus Christ reminds us of Jesus’s resurrection and victory over death, that is, of Easter. Following that stanza, then, the next three stanzas about the working of the Spirit seem to suggest the kind of liturgical flow that the Church experiences in the transition from Easter to Pentecost. That liturgical flow is made especially apparent in Year C of the Sunday lectionary, when the gospel of Luke is read.
“Jesus, Thine All Victorious Love” is a common meter text (18.104.22.168.) and could be sung to a great many tunes. It is often paired with Lowell Mason’s version of AZMON, which is ideal for most stanzas of the text. The iambic structure of the hymn aligns well with the fact that AZMON begins with a pickup note. However, because two lines of the stanza “Jesus, thine all victorious love” begin with a stressed syllable (“Je-sus” and “root-ed”), using AZMON, which has both a pickup and fast note values on the downbeat of each measure, could be awkward. One might consider singing the hymn to a common meter tune that begins without a pickup, such as ST. AGNES. Regardless of the tune chosen, though, or the number of stanzas one endeavors to sing, “Jesus, Thine All Victorious Love” is an exemplary Wesleyan hymn. Consider it the next time you sing during Eastertide.
Adapted from https://www.umcdiscipleship.org/resources/history-of-hymns-jesus-thine-all-victorious-love-wesley
The Pender UMC Traditional Service Prelude “Great is Thy Faithfulness” on Sunday May 14, 2023 was played by Hetty Jacobs on piano. This was Hetty’s first Sunday as Pender’s Pianist.
The Pender UMC Traditional Service Opening Hymn “Great is Thy Faithfulness” on Sunday July 10, 2022 was played by Liz Sellers on piano and sung by the Pender Congregation.
“Great Is Thy Faithfulness”
Thomas O. Chisholm The United Methodist Hymnal, No. 140
A native of the small Kentucky town of Franklin, Thomas Obediah Chisholm (1866-1960) was born in a log cabin. He lacked formal education. Nevertheless, he became a teacher at age sixteen and the associate editor of his hometown weekly newspaper, the Franklin Advocate, at age twenty-one.
In 1893 Chisholm became a Christian through the ministry of Henry Clay Morrison, the founder of Asbury College and Seminary in Wilmore, Kentucky. Morrison persuaded Chisholm to move to Louisville where he became editor of the Pentecostal Herald. Though he was ordained a Methodist minister in 1903, he served only a single, brief appointment at Scottsville, Kentucky, due to ill health. Chisholm relocated his family to Winona Lake, Indiana, to recover, and then to Vineland, New Jersey, in 1916 where he sold insurance. He retired in 1953 and spent his remaining years in a Methodist retirement community in Ocean Grove, New Jersey.
By the time of his retirement, he had written more than 1200 poems, 800 of which were published. They often appeared in religious periodicals such as the Sunday School Times, Moody Monthly, and Alliance Weekly. Many of these were set to music.
Hymnologist Kenneth Osbeck provides the background for “Great Is Thy Faithfulness.” Chisholm had sent a number of his poems to the Rev. William H. Runyan (1870-1957), a musician with the Moody Bible Institute and one of the editors of Hope Publishing Company in Chicago. Runyan wrote of the hymn: “This particular poem held such an appeal that I prayed most earnestly that my tune might carry over its message in a worthy way, and the subsequent history of its use indicates that God answered prayer. It was written in Baldwin, Kansas, in 1923, and was first published in my private song pamphlets.”
George Beverly Shea (1909-2013), the famous Canadian-born singer of the Billy Graham Crusades, introduced this hymn to those attending the evangelistic meetings in Great Britain in 1954. It immediately became a favorite.
A phrase in Lamentations 3:22-23 provides a basis for the refrain: “The steadfast love of the Lord never ceases, his mercies never come to an end; they are new every morning; great is your faithfulness.” Stanza one emphasizes God’s unchanging nature: ” . . . there is no shadow of turning with thee;/thou changest not, thy compassions they fail not.” Perhaps James 1:17 provides the scriptural basis for this concept: “Every good and perfect gift is from above, coming down from the Father of the heavenly lights, who does not change like shifting shadows.”
In stanza two, the natural created order, including the cycle of the seasons, bears witness to the faithfulness of God. The final stanza brings the eternal, unchanging God into contact with humanity. We receive from the presence of God “Pardon for sin and a peace that endures.” Indeed, William Runyan’s tune was the ideal musical complement to the warmth of the text. The subtle changes in harmony and the solemnity of the melody amplify the text, bringing the climax on the word “faithfulness” perfectly at the end of the refrain.
This hymn appeared in many evangelical hymnals and song collections, but was not chosen for an official Methodist hymnal until the current United Methodist Hymnal (1989), even though the author was a Methodist. It was a very popular hymn of the former Evangelical United Brethren Church and had been included in their hymnals.
According to Carlton Young, “Great is thy faithfulness” was second only to “In the garden” as the most requested hymn for inclusion in The United Methodist Hymnal. A survey conducted in 2000 by Dean McIntyre, Director of Music Resources, Discipleship Ministries, revealed that “Great is thy faithfulness” remains one of the favorite hymns among United Methodists.
Dr. Hawn is distinguished professor of church music at Perkins School of Theology. He is also director of the seminary’s sacred music program.
Suite for Flute and Jazz Piano Trio by Claude Bolling “Suite for Flute and Jazz Piano (aka Suite for Flute and Jazz Piano Trio) is a “crossover” composition, synthesizing Baroque and swing era jazz elements, by the jazz pianist and composer Claude Bolling. The composition, originally written in 1973, is a suite of seven movements, written for a classical flute, and a jazz piano trio (piano, string bass, and drums).
Helen Kim, Liz Sellers and AJ Rios performed the first movement – “Baroque and Blue”. It follows a large scale ABA form — beginning in G major, modulating to the parallel minor at 1:54, and returning to G at 4:36.
The Pender Concert Supporting Ukraine on April 23 featured Liz Sellers on piano, Brian on harp, and local professional musicians, including woodwind quintet, drums, organ, guitar, flute, penny whistle, singing and violin.
Concert repertoire included: Harp arrangements by Debussy, Piano trio of Jazz/Baroque, Flute Concertino by Chaminade, Woodwind Quintet with music of Duke Ellington, The Widor Toccata Organ Symphony Movement V and an Irish session!
There was no charge for this concert but there was a free will offering taken to support Ukraine through Advance #982450, UMCOR International Disaster Response and Recovery. This fund provides direct assistance to those in Ukraine as well as assistance to Ukrainians fleeing to neighboring countries.
One hundred percent of all Advance contributions go to the designated cause. (The independent charity watchdog, “Charity Watch,” gives UMCOR an “A+” ranking, and includes the UM organization on a highly selective list of charities it recommends when considering how to support the Ukrainian people. Read more)
The United Methodist community in Ukraine, though quite small, is actively engaged in assisting neighbors in need. Global Ministries is in touch with the church’s leadership as well as with church leaders in countries welcoming those who are fleeing from violence in Ukraine.
Click this link and choose UMCOR to send direct aid. In the memo line, put Advance #982450, UMCOR International Disaster Response and Recovery.