Pender Spring Concert Series concert in the Sanctuary with a reception to follow in the Gathering Place.
Tag Archives: Heidi Jacobs
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
Hymn History: Rejoice, Ye Pure in Heart
“Rejoice, Ye Pure in Heart”
Edward H. Plumptre
The UM Hymnal, Nos. 160 and 161
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.
“Rejoice Ye Pure in Heart” was the middle hymn at Pender’s 9:00 am Traditional Service on October 15, 2023 It was sung by Pender’s Sanctuary choir, congregation, directed by Patrick King and accompanied on piano by Heidi Jacobs.
The Pender UMC Traditional Service Closing Hymn “Rejoice, Ye Pure in Heart” on May 29, 2022 was directed by Brian Stevenson and accompanied by Liz Sellers on piano and sung by the Pender Sanctuary Choir and Congregation.
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.
Writing in the mid-20th century with perhaps a hint of condescension, hymnologist Albert Bailey describes the context for this hymn by saying that the “untravelled American can hardly realize the emotional effect of a processional made up of choirs from a dozen different communities, marching with full panoply through ‘long-drawn aisle’ and under ‘fretted vault’ while we hear:
The storm their high-built organs make,
And thunder-music, rolling, shake
The prophets blazoned on the panes.
“The massiveness of the old Norman Peterborough makes a marvelous background and amplifier for such a processional.”
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. Stanza one refers (in the original text) to the “festal banner” and “Cross of Christ your King,” symbols of the faith that would be carried at the head of such a procession in the Anglican context.
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.”
Of course, the music used for this text must reflect the spirit of a stately processional. American hymnologist Leonard Ellinwood said that the tune MARION was written for this text by Arthur Messiter (1834-1916). Messiter added the refrain drawn from the first two lines of stanza one: “Rejoice, rejoice, rejoice give thanks and sing” echoes Philippians 4:4, “Rejoice in the Lord always; again I will say, Rejoice.”
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.”
Mr. Bailey’s earlier comments notwithstanding, not all participants in festival worship were enamored by such lengthy processionals. Mr. Reynolds goes on to say that “A review of a hymnal… [commented] that some of the processional hymns were so long that some of the congregation would need to walk about in order to stay awake.”
The United Methodist Hymnal includes a second tune, VINEYARD HAVEN, with this text. Richard W. Dirksen composed this tune in 1974 for the installation of John M. Allin as the presiding bishop of the Episcopal Church in Washington Cathedral.
Carlton Young, editor of The UM Hymnal, found this text less than worthy, and notes: “Dirksen’s setting… [saves] a maudlin hymn from its deserved place in hymnic obscurity.”
Regardless of how one evaluates the quality of this text, we can all be grateful to be spared from 30-minute processionals in worship.
Dr. Hawn is professor of sacred music at Perkins School of Theology.
From https://www.umcdiscipleship.org/resources/history-of-hymns-rejoice-ye-pure-in-heart
Pender Music: Badinerie
For Pender’s offertory on June 18, 2023 Brian Stevenson, Director of Music Ministries, played Badinerie BWV 1067 from “Orchestral Suite No. 2 in b minor” by J.S. Bach (1685-1750) on his flute. He was accompanied by Heidi Jacobs on the piano.
The Badinerie (literally “jesting” in French – in other works Bach used the Italian word with the same meaning, scherzo) has become a showpiece for solo flautists because of its quick pace and difficulty.
Pender Music: A Prayer for Healing
“A Prayer for Healing” was the offertory anthem at Pender’s 9:00 am Traditional Service on October 1, 2023. It was sung by Pender’s Sanctuary choir, directed by Jane McKee and accompanied on piano by Heidi Jacobs. With words and music by Joseph M. Martin, this powerful music references John 2, Jeremiah 14:1-22, John 14:27, John 9:1-41
Written during the height of the COVID-19 pandemic, this song of spiritual and physical wellness speaks to many moments of need. Opening with the first few chords of O God, Our Help in Ages Past, the anthem is framed as a petition for God’s healing mercy. The unison melody gently rises and falls before all join in on the prayerful refrain: “In the silence help us hear words of hope and promise clear. Teach us not to live in fear. Lord of all, we pray to you.” A true anthem of hope!
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