Annual Hymn Sing 2025
Opening Hymn: UMH 140 "Great Is Thy Faithfulness" (all verses)
“Great is Thy Faithfulness” didn’t appear in a Methodist hymnal until 1989 in The United Methodist Hymnal (our red hymnal). It was the second most requested hymn to be added to our hymnal at that time, second only to “In the Garden.” The text for “Great is Thy Faithfulness ” was written by a small town Kentucky native, Thomas Obediah Chisholm. Chisholm was ordained as a Methodist minister, and wrote more than 1200 poems, many of these poems ended up being set to music. The tune for “Great is Thy Faithfulness” was written by William Marion Runyun in 1923, and the hymn was made popular by George Beverly Shea, a famous singer during the Billy Graham Crusades. In a moment we will sing this beloved hymn together, now, let’s stand together as we share in the responsive Call to Worship.
Resources
Dr. Michael Hawn, umcdiscipleship.org, History of Hymns https://www.umcdiscipleship.org/resources/history-of-hymns-great-is-thy-faithfulness#hymn
Hymnary.org https://hymnary.org/text/great_is_thy_faithfulness_o_god_my_fathe
HYMN SING
UMH 400 "Come, Thou Fount of Every Blessing" (V1&2)
The text for “Come, Thou Fount of Every Blessing” was written by Robert Robinson in 1758. Robinson began his career as a barber’s apprentice, but eventually became a prominent Baptist pastor. In verse two of this hymn we sing “Here I raise mine Ebenezer, hither by thy help I’m come.” This text comes from 1 Samuel 7:12: “Then Samuel took a stone and set it up between Mizpah and Jeshanah, and named it Ebenezer; for he said, ‘Thus far the Lord has helped us.’” The 1989 Hymnal Revision Committee received requests to change the term “Ebenezer,” but they weren't able to find a suitable substitute. Often, this text is paired with the the tune NETTLETON that first appeared in John Wyeth’s Repository of Sacred Music, Part Second in 1813. Now, let’s sing together verses 1 & 2 of “Come, Thou Fount of Every Blessing.”
Resources
Dr. Michael Hawn, umcdiscipleship.org, History of Hymns https://www.umcdiscipleship.org/resources/history-of-hymns-come-thou-fount-of-every-blessing
"Work For the Night is Coming" (all verses) Annie L. Coghill, Lowell Mason
Authored by Annie Louise Walker in 1854 while visiting Canada, the hymn "Work, For the Night Is Coming" was inspired by the short Canadian summers, and urges diligence before time expires. Lowell Mason later composed the tune (Work Song), altering the poem for musical adaptation in 1864. The hymn's central theme encourages continuous spiritual labor throughout one's life, drawing parallels to the biblical call to work before the “night cometh,” each verse representing a different stage of life.
The Morning hours are childhood and youth, the Sunny noon: Middle-age, and Sunset skies are Old age. This progression underscores a lifelong commitment to Christian service. Now, let’s sing together “Work for the Night is Coming.”
Resources
Hymn Studies Blog https://hymnstudiesblog.wordpress.com/2008/12/09/quotwork-for-the-night-is-comingquot/
UMH 384 "Love Divine, All Loves Excelling" (V1&4)
“Love Divine, All Loves Excelling,” written by Charles Wesley was first published in a collection of hymns in 1747. Charles Wesley is one of the founders of Methodism in the eighteenth century, and wrote over 6,500 hymns! The opening line was a play on the opening line of John Dryden's poem, from the late 17th century, “Fairest Isle, All Isles Excelling.” The tune BEECHER, was written by John Zundel in 1870 and the tune was named after the composer’s pastor, Henry Ward Beecher. Let's sing together verses 1 & 4 of “Love Divine, All Loves Excelling.”
Resources
Mr. Beggs, a Master of Theological Studies student at Perkins School of Theology, Southern Methodist University, studies hymnology with Dr. C. Michael Hawn. Dr. Michael Hawn, umcdiscipleship.org, History of Hymns https://www.umcdiscipleship.org/resources/history-of-hymns-love-divine-all-loves-excelling
Anthem: "How Can I Keep From Singing" arr. Adam & Matt Podd
Text:
The text of this hymn first appeared in The New York Observer (1868), titles "Always Rejoicing," and attributed to "Pauline T." It appeared without attribution in The Christian Pioneer, Vol 23, page 53. William Bradbury included it in Bright Jewels for the Sunday School, published in 1869. Bradbury died a year before the collection was published. Robert Lowry was the designated editor. In that book, the initials “R.L.” appear above the music where the composer is credited, but the space for the author of the text is blank. However, “Shall We Gather at the River” (number 110 in Bright Jewels), which was unquestionably written entirely by Lowry, is attributed in the same way. The text was originally written in three long stanzas. Modern hymnals split the stanzas in half; the second half of the original second stanza is used as a refrain, and the first half of the original third stanza is omitted. It usually appears with four stanzas and a refrain. The theme of the text is Christian peace and joy, even in times of trial.
Tune:
Robert Lowry wrote the tune HOW CAN I KEEP FROM SINGING (also called ENDLESS SONG from the opening line of the first stanza) to accompany these words, and it appeared with the text in Bright Jewels in 1869. It was originally written in triple meter (3/2), but some modern hymnals have changed the tune to a slightly irregular duple meter (4/4) with a little syncopation. The tune is pentatonic with a consistent rhythmic pattern (in its original form), and works well when sung unaccompanied.
The Podd Brothers
ADAM & MATT PODD are Vermont-bred, Brooklyn-based music directors, pianists, composers, and arrangers. Making their mark on the music industry’s top institutions, they work in prominent performance spaces and concert halls throughout New York City with choirs, orchestras, and popular artists across all genres. From dive bars to Carnegie Hall, the Podds proudly make the best music they can, whenever and wherever possible.
As experienced improvisers who were classically trained, their creative work expertly blends a wide array of musical influences. Their catalog draws heavily from music beyond the classical canon, especially informed and influenced by gospel, pop, R&B, folk, and jazz. Adam and Matt have both been making and directing music in bands, theaters, and churches since their early teenage years in New England and continue to do so in a wide variety of artistic projects throughout New York City and beyond.
Collectively, they’ve worked with some of the top artists and organizations in their field including The Boston Pops, The National Symphony Orchestra, The New York Pops, Barbra Streisand, Renee Fleming, Andre de Shields, Eva Noblezada, Darlene Love, Jason Mraz, Idina Menzel, Ingrid Michaelson, Macy’s Entertainment and The Young People’s Chorus of New York City in such venues as Carnegie Hall, The Kennedy Center, The Apollo Theater, Jazz at Lincoln Center, Broadway theaters, and others.
Resources
Hymnary.org https://hymnary.org/text/my_life_flows_on_in_endless_song_above
poddbrothers.com https://poddbrothers.com/pages/about-us
Closing Hymn: UMH 451 "Be Thou My Vision"
According to mythology, when St. Patrick was a missionary in Ireland in the 5th century, King Logaire of Tara decreed that no one was allowed to light any fires until a pagan festival was begun by the lighting of a fire on Slane Hill. In a move of defiance against this pagan ritual, St. Patrick did light a fire, and, rather than execute him, the king was so impressed by his devotion that he let Patrick continue his missionary work. Three centuries later, a monk named Dallan Forgaill wrote the Irish poem, “Rop tú mo Baile” (“Be Thou my Vision”), to remember and honor the faith of St. Patrick. Forgaill was martyred by pirates, but his poetry lived on as a part of the Irish monastic tradition for centuries until, in the early 20th century, Mary Elizabeth Byrne translated the poem into English, and in 1912, Eleanor Hull versified the text into what is now a well-loved hymn and prayer that at every moment of our lives, God would be our vision above all else.
Resources
Hymnary.org https://hymnary.org/text/be_thou_my_vision_o_lord_of_my_heart
Learn More Here: Dr. Michael Hawn, umcdiscipleship.org, History of Hymns https://www.umcdiscipleship.org/resources/history-of-hymns-be-thou-my-vision
Choral Benediction: "The Lord Bless You and Keep You" by Peter Lutkin
BENEDICTION was composed in 1900 by Peter Christian Lutkin (b. Thompsonville, WI, 1858; d. Evanston, IL, 1931). This music is more an anthem than a hymn; it was called a "Farewell Anthem with Sevenfold Amen." Without the original series of "Amens," the current setting is accessible to congregations. Choirs may still love to sing the entire anthem–or if the choir wishes to sing just the blessing, the congregation can respond with a simple "Amen" cadence. Sing this music with a sense that its text is divinely ordained in the manner of an authoritative proclamation. The song's inner parts require good leadership from the choir for well-executed congregational singing. The popularity of this song can be attributed in part to its use for many years at the end of the weekly radio broadcasts of the Back to God Hour, an international ministry of the Christian Reformed Church.
Orphaned at an early age, Lutkin was raised in Chicago and had his early musical training in the choir school of the St. James Episcopal Cathedral. He studied under prominent organ teachers in Chicago, continued his education in Europe (1881-1884), and earned a doctorate in music from Syracuse University in 1900. In Chicago he served as organist and choirmaster at St. Clements Episcopal Church (1884-1891) and St. James Cathedral (1891-1896) and taught music theory at the American Conservatory (1885-1895). Lutkin was one of the founders of the American Guild of Organists. He also established the Chicago North Shore Festivals and founded the Northwestern University School of Music, of which he was the first dean (1896-1920). At several different times Lutkin was president of the Music Teachers National Association. A composer of organ and choral music, he served on the editorial committees for both the Methodist Hymnal (1905) and the Episcopal Hymnal (1918). --Psalter Hymnal Handbook
Resources
Hymnary.org https://hymnary.org/tune/benediction_lutkin
Learn more here: Dr. Michael Hawn, umcdiscipleship.org, History of Hymns https://www.umcdiscipleship.org/articles/history-of-hymns-the-lord-bless-you-and-keep-you
“Great is Thy Faithfulness” didn’t appear in a Methodist hymnal until 1989 in The United Methodist Hymnal (our red hymnal). It was the second most requested hymn to be added to our hymnal at that time, second only to “In the Garden.” The text for “Great is Thy Faithfulness ” was written by a small town Kentucky native, Thomas Obediah Chisholm. Chisholm was ordained as a Methodist minister, and wrote more than 1200 poems, many of these poems ended up being set to music. The tune for “Great is Thy Faithfulness” was written by William Marion Runyun in 1923, and the hymn was made popular by George Beverly Shea, a famous singer during the Billy Graham Crusades. In a moment we will sing this beloved hymn together, now, let’s stand together as we share in the responsive Call to Worship.
Resources
Dr. Michael Hawn, umcdiscipleship.org, History of Hymns https://www.umcdiscipleship.org/resources/history-of-hymns-great-is-thy-faithfulness#hymn
Hymnary.org https://hymnary.org/text/great_is_thy_faithfulness_o_god_my_fathe
HYMN SING
UMH 400 "Come, Thou Fount of Every Blessing" (V1&2)
The text for “Come, Thou Fount of Every Blessing” was written by Robert Robinson in 1758. Robinson began his career as a barber’s apprentice, but eventually became a prominent Baptist pastor. In verse two of this hymn we sing “Here I raise mine Ebenezer, hither by thy help I’m come.” This text comes from 1 Samuel 7:12: “Then Samuel took a stone and set it up between Mizpah and Jeshanah, and named it Ebenezer; for he said, ‘Thus far the Lord has helped us.’” The 1989 Hymnal Revision Committee received requests to change the term “Ebenezer,” but they weren't able to find a suitable substitute. Often, this text is paired with the the tune NETTLETON that first appeared in John Wyeth’s Repository of Sacred Music, Part Second in 1813. Now, let’s sing together verses 1 & 2 of “Come, Thou Fount of Every Blessing.”
Resources
Dr. Michael Hawn, umcdiscipleship.org, History of Hymns https://www.umcdiscipleship.org/resources/history-of-hymns-come-thou-fount-of-every-blessing
"Work For the Night is Coming" (all verses) Annie L. Coghill, Lowell Mason
Authored by Annie Louise Walker in 1854 while visiting Canada, the hymn "Work, For the Night Is Coming" was inspired by the short Canadian summers, and urges diligence before time expires. Lowell Mason later composed the tune (Work Song), altering the poem for musical adaptation in 1864. The hymn's central theme encourages continuous spiritual labor throughout one's life, drawing parallels to the biblical call to work before the “night cometh,” each verse representing a different stage of life.
The Morning hours are childhood and youth, the Sunny noon: Middle-age, and Sunset skies are Old age. This progression underscores a lifelong commitment to Christian service. Now, let’s sing together “Work for the Night is Coming.”
Resources
Hymn Studies Blog https://hymnstudiesblog.wordpress.com/2008/12/09/quotwork-for-the-night-is-comingquot/
UMH 384 "Love Divine, All Loves Excelling" (V1&4)
“Love Divine, All Loves Excelling,” written by Charles Wesley was first published in a collection of hymns in 1747. Charles Wesley is one of the founders of Methodism in the eighteenth century, and wrote over 6,500 hymns! The opening line was a play on the opening line of John Dryden's poem, from the late 17th century, “Fairest Isle, All Isles Excelling.” The tune BEECHER, was written by John Zundel in 1870 and the tune was named after the composer’s pastor, Henry Ward Beecher. Let's sing together verses 1 & 4 of “Love Divine, All Loves Excelling.”
Resources
Mr. Beggs, a Master of Theological Studies student at Perkins School of Theology, Southern Methodist University, studies hymnology with Dr. C. Michael Hawn. Dr. Michael Hawn, umcdiscipleship.org, History of Hymns https://www.umcdiscipleship.org/resources/history-of-hymns-love-divine-all-loves-excelling
Anthem: "How Can I Keep From Singing" arr. Adam & Matt Podd
Text:
The text of this hymn first appeared in The New York Observer (1868), titles "Always Rejoicing," and attributed to "Pauline T." It appeared without attribution in The Christian Pioneer, Vol 23, page 53. William Bradbury included it in Bright Jewels for the Sunday School, published in 1869. Bradbury died a year before the collection was published. Robert Lowry was the designated editor. In that book, the initials “R.L.” appear above the music where the composer is credited, but the space for the author of the text is blank. However, “Shall We Gather at the River” (number 110 in Bright Jewels), which was unquestionably written entirely by Lowry, is attributed in the same way. The text was originally written in three long stanzas. Modern hymnals split the stanzas in half; the second half of the original second stanza is used as a refrain, and the first half of the original third stanza is omitted. It usually appears with four stanzas and a refrain. The theme of the text is Christian peace and joy, even in times of trial.
Tune:
Robert Lowry wrote the tune HOW CAN I KEEP FROM SINGING (also called ENDLESS SONG from the opening line of the first stanza) to accompany these words, and it appeared with the text in Bright Jewels in 1869. It was originally written in triple meter (3/2), but some modern hymnals have changed the tune to a slightly irregular duple meter (4/4) with a little syncopation. The tune is pentatonic with a consistent rhythmic pattern (in its original form), and works well when sung unaccompanied.
The Podd Brothers
ADAM & MATT PODD are Vermont-bred, Brooklyn-based music directors, pianists, composers, and arrangers. Making their mark on the music industry’s top institutions, they work in prominent performance spaces and concert halls throughout New York City with choirs, orchestras, and popular artists across all genres. From dive bars to Carnegie Hall, the Podds proudly make the best music they can, whenever and wherever possible.
As experienced improvisers who were classically trained, their creative work expertly blends a wide array of musical influences. Their catalog draws heavily from music beyond the classical canon, especially informed and influenced by gospel, pop, R&B, folk, and jazz. Adam and Matt have both been making and directing music in bands, theaters, and churches since their early teenage years in New England and continue to do so in a wide variety of artistic projects throughout New York City and beyond.
Collectively, they’ve worked with some of the top artists and organizations in their field including The Boston Pops, The National Symphony Orchestra, The New York Pops, Barbra Streisand, Renee Fleming, Andre de Shields, Eva Noblezada, Darlene Love, Jason Mraz, Idina Menzel, Ingrid Michaelson, Macy’s Entertainment and The Young People’s Chorus of New York City in such venues as Carnegie Hall, The Kennedy Center, The Apollo Theater, Jazz at Lincoln Center, Broadway theaters, and others.
Resources
Hymnary.org https://hymnary.org/text/my_life_flows_on_in_endless_song_above
poddbrothers.com https://poddbrothers.com/pages/about-us
Closing Hymn: UMH 451 "Be Thou My Vision"
According to mythology, when St. Patrick was a missionary in Ireland in the 5th century, King Logaire of Tara decreed that no one was allowed to light any fires until a pagan festival was begun by the lighting of a fire on Slane Hill. In a move of defiance against this pagan ritual, St. Patrick did light a fire, and, rather than execute him, the king was so impressed by his devotion that he let Patrick continue his missionary work. Three centuries later, a monk named Dallan Forgaill wrote the Irish poem, “Rop tú mo Baile” (“Be Thou my Vision”), to remember and honor the faith of St. Patrick. Forgaill was martyred by pirates, but his poetry lived on as a part of the Irish monastic tradition for centuries until, in the early 20th century, Mary Elizabeth Byrne translated the poem into English, and in 1912, Eleanor Hull versified the text into what is now a well-loved hymn and prayer that at every moment of our lives, God would be our vision above all else.
Resources
Hymnary.org https://hymnary.org/text/be_thou_my_vision_o_lord_of_my_heart
Learn More Here: Dr. Michael Hawn, umcdiscipleship.org, History of Hymns https://www.umcdiscipleship.org/resources/history-of-hymns-be-thou-my-vision
Choral Benediction: "The Lord Bless You and Keep You" by Peter Lutkin
BENEDICTION was composed in 1900 by Peter Christian Lutkin (b. Thompsonville, WI, 1858; d. Evanston, IL, 1931). This music is more an anthem than a hymn; it was called a "Farewell Anthem with Sevenfold Amen." Without the original series of "Amens," the current setting is accessible to congregations. Choirs may still love to sing the entire anthem–or if the choir wishes to sing just the blessing, the congregation can respond with a simple "Amen" cadence. Sing this music with a sense that its text is divinely ordained in the manner of an authoritative proclamation. The song's inner parts require good leadership from the choir for well-executed congregational singing. The popularity of this song can be attributed in part to its use for many years at the end of the weekly radio broadcasts of the Back to God Hour, an international ministry of the Christian Reformed Church.
Orphaned at an early age, Lutkin was raised in Chicago and had his early musical training in the choir school of the St. James Episcopal Cathedral. He studied under prominent organ teachers in Chicago, continued his education in Europe (1881-1884), and earned a doctorate in music from Syracuse University in 1900. In Chicago he served as organist and choirmaster at St. Clements Episcopal Church (1884-1891) and St. James Cathedral (1891-1896) and taught music theory at the American Conservatory (1885-1895). Lutkin was one of the founders of the American Guild of Organists. He also established the Chicago North Shore Festivals and founded the Northwestern University School of Music, of which he was the first dean (1896-1920). At several different times Lutkin was president of the Music Teachers National Association. A composer of organ and choral music, he served on the editorial committees for both the Methodist Hymnal (1905) and the Episcopal Hymnal (1918). --Psalter Hymnal Handbook
Resources
Hymnary.org https://hymnary.org/tune/benediction_lutkin
Learn more here: Dr. Michael Hawn, umcdiscipleship.org, History of Hymns https://www.umcdiscipleship.org/articles/history-of-hymns-the-lord-bless-you-and-keep-you