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Hymn History: When Jesus the Healer Passed Through Galilee

 

“When Jesus the Healer Passed through Galilee”
Peter D. Smith
The United Methodist Hymnal, No. 263

“When Jesus the Healer Passed Through Galilee” was the closing hymn at Pender’s 9:00 am Traditional Service on September 10, 2023 It was sung by Pender’s Sanctuary choir, congregation and accompanied on piano by Heidi Jacobs.

The Pender UMC Traditional Service Closing Hymn “When Jesus the Healer Passed Through Galilee” on Sunday June 19, 2022 was accompanied by Liz Sellers on piano, Brian Stevenson on guitar and sung by Brian and the Pender Congregation.

During the season of Epiphany, we recall those actions of Jesus, especially the miracles, that demonstrate that he was indeed the Christ, the Son of God. “When Jesus the healer” provides a compendium of many of Christ’s miraculous healing activities.

Peter David Smith was born in Weybridge, Surrey, England, in 1938. After working for a time in the aircraft industry, he became a Methodist minister. A hallmark of his ministry was his gift as a folksinger. Though trained as a classical pianist, the folk guitar became his instrument of choice. He edited several popular song collections including Faith, Folk, and Charity (1968), Faith, Folk and Nativity (1969), Faith, Folk, and Festivity (1969), and New Orbit (1972). These collections appeared during the height of the popularity of the folk music idiom.

The folk idiom in the service of the church provides an immediacy and accessibility to great biblical truths. While classical hymnody often engages through the depth of metaphors and symbolic use of language, the more colloquial language of the folk idiom captures us with its earthiness—what you see is what you get. The music of a successful folksong must be easily learned—captured immediately—or it works against the directness of the language.

Folk Songs often tell stories, or have a narrative quality. The guitar is the preferred instrument of the folksinger. Its portability and accessibility invite participation. An organ or even a piano might separate the singer and the people, both in physical and psychological space, but not the guitar.

In many ways, Christian folk singers of the 1960s and 1970s find their roots in the songs of Woody Guthrie (1912-1967), Pete Seeger (b. 1919) and Bob Dylan (b. 1941), to name a few. However, the prototype of the Christian folksong may be found in Sydney Carter (1915-2004) and his famous “Lord of the Dance” (1963). Carter shocked the faithful and endeared himself to the prophets in the church. While he is known primarily for “Lord of the Dance” in the United States, many more of his songs are commonly sung in England.

The overarching narrative of Jesus as healer guides this hymn. In a mere 22 syllables and a brief refrain, the author opens up an entire healing narrative in each stanza: stanza 1, Luke 4:31-41; stanza 2, Mark 2:3-12; stanza 3, Mark 5:22-24, 35-43; stanza 4, Mark 10:46-52; stanzas 5 and 6, Matthew 10:5-15. A soloist carries the weight of the narrative in the third person while the people respond from the perspective of those needing healing in the first person plural: “Heal us, heal us today!”

Mr. Smith composed this song during a course he was teaching on contemporary worship for the Iona Community in 1975. Later, he served on the editorial committee for the hymnal, Partners in Praise (1979), and this was one of ten contributions by the composer included in its contents.

One stanza was omitted due to sensitivity to discriminatory language and a slight alteration to one line in stanza five was made for the same reason. Other than that, the hymn comes to us as originally composed.

The composer skillfully draws the people into the narrative in the final stanza by pointing out that the need for Christ’s healing power is still with us today: “There’s still so much sickness and suffering today. . . . We gather together for healing and pray: Heal us, Lord Jesus!”

*© 1979 Stainer & Bell, Ltd. Used by permission. All rights reserved.

Dr. Hawn is professor of sacred music at Perkins School of Theology.

Adapted from https://www.umcdiscipleship.org/resources/history-of-hymns-when-jesus-the-healer-passed-through-galilee

 

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Pender Music: When We Gather

 

Pender’s Joy Ringers (handbells), Sanctuary Choir and Congregation perform “When We Gather” by Kath Wissinger on September 26, 2021.

The Soloist was Brian Stevenson.

 

From the composer:

 
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Posted by on September 14, 2026 in Music, Music Ministry, Pender UMC, Special Music, Videos

 

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Hymn History: Standing on the Promises

 

“Standing on the Promises”
R. Kelso Carter
UM Hymnal, No. 374

The Pender UMC Traditional Service Middle Hymn “Standing on the Promises”, Sunday February 25, 2024 was played by Hetty Jacobs on piano and sung by the Sanctuary Choir and congregation.  This was the second Sunday in Lent.

“Standing on the Promises” was the middle hymn at Pender’s 9:00 am Traditional Service on June 18, 2023 It was sung by Pender’s congregation, accompanied on piano by Heidi Jacobs and guitar by Brian Stevenson.

The Pender UMC Traditional Service Opening Hymn “Standing on the Promises” on Sunday November 6, 2022 was played by Liz Eunji Moon on piano, accompanied on guitar by Brian Stevenson and sung the Pender Sanctuary Choir and congregation.

Standing on the promises of Christ my King,
Through eternal ages let his praises ring;
Glory in the highest, I will shout and sing,
Standing on the promises of God.

Russell Kelso Carter (1849-1928) was a man of diverse interests and abilities. A native of Baltimore, Md., Carter was known as an outstanding athlete in his younger days. The Methodist Holiness camp meeting movement had a profound impact on his life and he was ordained into ministry in 1887.

Carter held a number of teaching posts at the Pennsylvania Military Academy including professor of chemistry, natural science, civil engineering and mathematics. Not only did he teach, but he also published text books in his various disciplines and even authored several novels. Other interests included sheep-raising and practicing medicine.

If this were not enough, Carter also edited hymnals. He assisted A.B. Simpson in the compilation of a hymnal for the Christian and Missionary Alliance Church, Hymns of the Christian Life (1891), a collection that contained 68 of his tunes and 52 of his texts.

“Standing on the Promises” was composed in 1886 while Carter was teaching at the military academy. He was a member of the first graduating class in 1867 and had a strong affinity for the school. Author Phil Kerr makes a connection between the music and the military academy in his book, Music in Evangelism, stating that Carter’s military experience was reflected in the martial musical style of the hymn.

Published the year it was written in the collection, Songs of Perfect Love, edited by John K. Sweeny and Carter, the original text had five stanzas. The missing stanza reads:

Standing on the promises I now can see
Perfect, present cleansing in the blood for me;
Standing in the liberty where Christ makes free,
Standing on the promises of God.

The second line of this stanza has a particular Wesleyan tone with its focus on perfection and cleansing blood. The Rev. Carlton Young, editor of the UM Hymnal, notes: “As in other single-theme evangelical hymns and songs of this period, the biblical source of the hymn is not clear. ‘Stand firm’ from Ephesians 6:14 has often been cited as the theme of the hymn, although the word ‘promise’ tends to be reinforced as well.”

Thus, two passages of Scripture seem to undergird the central premise of this gospel song: “Stand firm then, with the belt of truth buckled around your waist, with the breastplate of righteousness in place. . . .” (Ephesians 6:14). Several passages relate to the promises of God including 2 Samuel 22:31: “As for God, his way is perfect; the word of the LORD is tried; he is a buckler to all them that trust in him.”

Dr. Young points out that this hymn was not included in authorized hymnals for Methodists (or in the 1957 hymnal of the Evangelical United Brethren Church) until the current hymnal. He states, “Its place in our hymnal came from its inclusion in a list of hymns determined to be widely used by evangelical United Methodists.”

As is the case of many gospel songs, this song revolves around its refrain. The stanzas, rather than serving to develop a sequential train of thought, are more like the spokes of a bicycle—all serving as an entry point to the refrain from various perspectives. One could reorder the stanzas and not lose any train of thought.

Hymnologist Kenneth Osbeck places the hymn in its context: “The hymn has been widely used in the great evangelistic crusades throughout the past century.” It is in this context that its single focus and rousing, martial music may be best suited.

Adapted from https://www.umcdiscipleship.org/resources/history-of-hymns-stirring-promises-serves-as-popular-crusade-hymn

 

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Hymn History: ‘It Is Well With My Soul’

The Pender UMC Traditional Service Middle Hymn “It is Well With My Soul” on Sunday November 13, 2022 was played by Liz Eunji Moon on piano, directed by Brian Stevenson and sung the Pender Sanctuary Choir and congregation.

The hymn “It Is Well With My Soul” was written by a successful Christian lawyer called Horatio Spafford.

His only son died at age 4 in 1871. That year, the Great Chicago Fire wiped out his vast estate, made from a successful legal career.

In 1873 he sent his wife Anna and four daughters over to Europe on a summer trip on the ill-fated SS Ville du Havre. Since he had a lot of work to do, he had planned to travel to England with his family on the SS Ville du Havre, to help with D. L. Moody’s upcoming evangelistic campaigns. In a late change of plan, he sent the family ahead while he was delayed on business concerning zoning problems following the Great Chicago Fire.

On November 22 the ship was struck by an iron sailing vessel killing 226 people, including all four of Spafford’s daughters: Annie, age 12; Maggie, 7; Bessie, 4; and an 18-month old baby. His wife survived the tragedy.

Upon arriving in England, she sent a telegram to Spafford that read “Saved alone.”

Shortly afterwards, as Spafford traveled to meet his grieving wife, he was inspired to write these words as his ship passed near where his daughters had died.;Bliss called his tune Ville du Havre, from the name of the stricken vessel.

It is Well With My Soul

  1. When peace, like a river, attendeth my way,
    When sorrows like sea billows roll;
    Whatever my lot, Thou hast taught me to say,
    It is well, it is well with my soul.

    • Refrain:
      It is well with my soul,
      It is well, it is well with my soul.
  2. Though Satan should buffet, though trials should come,
    Let this blest assurance control,
    That Christ hath regarded my helpless estate,
    And hath shed His own blood for my soul.
  3. My sin—oh, the bliss of this glorious thought!—
    My sin, not in part but the whole,
    Is nailed to the cross, and I bear it no more,
    Praise the Lord, praise the Lord, O my soul!
  4. For me, be it Christ, be it Christ hence to live:
    If Jordan above me shall roll,
    No pang shall be mine, for in death as in life
    Thou wilt whisper Thy peace to my soul.
  5. But, Lord, ’tis for Thee, for Thy coming we wait,
    The sky, not the grave, is our goal;
    Oh, trump of the angel! Oh, voice of the Lord!
    Blessed hope, blessed rest of my soul!
  6. And Lord, haste the day when the faith shall be sight,
    The clouds be rolled back as a scroll;
    The trump shall resound, and the Lord shall descend,
    Even so, it is well with my soul.
 

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Hymn History: I Want to Walk as a Child of the Light

“I Want to Walk as a Child of the Light” by Kathleen Thomerson,
The United Methodist Hymnal, No. 206

The Pender UMC Traditional Service Opening Hymn “I Want to Walk As a Child of the Light” on Sunday September 18, 2022 was played by Liz Eunji Moon on piano, accompanied on guitar by Brian Stevenson and AJ Rios and sung the Pender Sanctuary Choir and congregation.

I want to walk as a child of the light.
I want to follow Jesus.
God set the stars to give light to the world.
The star of my life is Jesus.
Refrain: In him there is no darkness at all.
The night and the day are both alike.
The Lamb is the light of the city of God.
Shine in my heart, Lord Jesus.*

From time to time, a hymn captures our imagination because of its simplicity and transparency. Such a hymn is “I want to walk as a child of the light.” In singing this hymn, we feel the spirit of Epiphany unfold.

Kathleen Armstrong Thomerson (b. 1934) is a native of Tennessee. She wrote the hymn during the summer of 1966 during a visit to the Church of the Redeemer in Houston, Texas, the location providing the origin for the tune name HOUSTON. Her musical education took place at the University of Texas and Syracuse University, with additional studies at the Flemish Royal Conservatory in Antwerp. She has studied with several of the most noted organists of the twentieth century.

Ms. Thomerson directed music at University United Methodist Church in St. Louis and was on the organ faculties of St. Louis Conservatory and Southern Illinois University in Edwardsville. From 2004 through 2013, she served Mt. Olive Lutheran Church in Austin, Texas. In addition to this hymn, she contributed tunes for hymns by Patricia B. Clark in their joint collection, A Taste of Heaven’s Joys: A Collection of Original Hymns (2005).

“I want to walk as a child of the light” comes to The United Methodist Hymnal by way of the Episcopal Hymnal 1940 supplement, Songs for Celebration (1980). A musician with such a distinguished musical pedigree does not usually compose a gospel hymn of such elegant simplicity. A folk-like melody conveys a text based upon a wide range of scriptural allusions and biblical images. United Methodist Hymnal editor, Dr. Carlton Young notes some biblical passages that support the text: Isaiah 42:6c, “I have given you as a covenant to the people, a light to the nations.”; Malachi 4:2, “But for you who revere my name the sun of righteousness shall rise, with healing in its wings”; Revelation 21:25b, “And there will be no night there,” and 22:5b, “They need no light of lamp or sun.”

“I want to walk as a child of the light” communicates deep conviction and personal sincerity, while avoiding any hint of pretence. The first person perspective invites the singer to join Christ, the Light of the World, in discipleship – a journey of faith. The second line of each stanza deepens this commitment:
Stanza 1: “I want to follow Jesus.”
Stanza 2: “I want to look at Jesus.”
Stanza 3: “I want to be with Jesus.”

From a Wesleyan perspective, the theology of this hymn outlines sanctifying grace, the perspective of the Christians as they move toward perfection in the faith, becoming transformed in the image of Christ. Each stanza adds greater luminosity to this walk. In the first stanza, “God set[s] the stars to give light to the world.” Christ in turn becomes the “star of my life.” References to stars support the hymn’s appropriateness for Epiphany. Stanza two expresses the desire to “see the brightness of God.” The “Sun of Righteousness” illumines “the way to the Father.” The final stanza extends the journey toward the “coming of Christ,” an eschatological direction toward our future hope.

As in most gospel hymns, it is the refrain that carries the essence of its meaning; and indeed it is this refrain, with its scriptural allusions that virtually quote from Revelation 21 and 22, that distinguishes this hymn from many earlier expressions of discipleship. While a deeply personal expression of piety, the poet roots her devotional expression firmly in Scripture, avoiding the maudlin and simplistic notions of some gospel songs.

The simplicity of the music and text does not imply a simplistic faith. “I want to walk as a child” reminds us of one of the paradoxes of our faith, that we need to become as a child to fully understand the realm of God (Matthew 18:2-4).

*Text © 1970, 1975 Celebration, P.O. Box 309, Aliquippa, PA 10001, USA. Used by Permission.

Adapted from https://www.umcdiscipleship.org/resources/history-of-hymns-i-want-to-walk-as-a-child-of-the-light

 

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