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  • Artwork by Judi Anderson

    Tenth Anniversary RecitalGoulding & Wood Organ, Opus 43 (2005)

    Sunday, November 15, 2015, 3:00 p.m.

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    Ten years ago, the beautiful Goulding & Wood pipe organ whichgraces the chancel of Second Presbyterian Churchs sanctuary wasdedicated. Carole Terry was the guest organist then as she is today.At that time, I wrote about the pipe organ being the lungs of thesanctuary. At the hands of a skilled musician such as Carole andour own Marianne Sandborg, the pipe organ is a breathing instru-ment that can express the full range of the emotions of human experience.

    To be biblical and Reformed, all emotions belong in worship. Worship is often spoken of as aservice of praise. I have used that expression in the past because there is a way to understandpraise including experiences such as lament. I now worry that the emphasis on praise can leadto monotonous worship with the nature of repeated pep rallies and with the goal of enter-tainment. Those whose questions are pressing, or whose hearts are wounded, can feel they donot belong when they are not in the mood to rejoice.

    Praise may be the last word of the Psalms (Psalm 150) and of the Bible (Revelation 21), butpraise that is only gladness cannot be the sole emotion of worship. Sometimes, worship is even-keeled as when information is gained and instruction given. Sometimes, worship is dynamic(the Greek word for Spirit is dunamis). Hard hearts are broken, and broken hearts healed.Desperate pleas for help are voiced and bitter tears of confession are shed. Relief comes withreconciliation, joy with the experience of Gods love, and determination in response to Godscall. In true worship, all emotions have their season as honest responses to the wind of GodsSpirit moving among us.

    With the 125th anniversary of the churchs founding coming in 2016, we celebrate SecondPresbyterian Churchs past and anticipate her future. My hope for the Goulding & Wood pipeorgan in the future is that it serves in worship as it has served us in worship since 2005. Myprayer is that the conversation with God that is worship be carried in all its moods in music;that full expression be given to the broad range of emotions of those who are claimed, judged,forgiven, called and redeemed by God in Jesus Christ.

    George C. Anderson, D. Min.Roanoke, VA October, 2015

    From the Church Organist

    It is difficult to imagine that what we celebrate today actually began in 1999, when plans weremade to explore the possibility of purchasing a new organ. Thousands of miles were travelled,including visits to many organ builders and many meetings. Two committees were ultimatelyformed, resulting in a decision to replace our former instrument and then, later, the task of rais-ing funds. The latter was accomplished in record time which is a testament to this congregationscontinuing support of the music program.

    I remain indebted to the leaders of those two aforementioned committees Joe Duckwall, Chairof the Pipe Organ Study Committee, and Lynda Starr, who steered the Pipe Organ FundraisingCommittee. They demonstrated passion, focus and unwavering support of the project. I wouldbe remiss if I didnt mention George Andersons steadfast and cheerful encouragement before,during, after, and since the goal was accomplished. Additionally, Seconds great fortune was todiscover the Goulding & Wood company which guided us artfully through the process, answer-ing innumerable questions, supplying daily photos of the instrument while being built in theirshop, and which constructed an instrument that is perfectly suited to our sanctuary and musicneeds. We look forward to having this organ with us for the next 100 years!

    Marianne SandborgRoanoke, VAOctober, 2015

    Photo credit: Dr. James C. Morris, III

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    Dedicatory Program

    Carole Terry, Guest Organist

    with James Bean & Jeff Kresge, trumpetsWallace Easter, hornJay Crone, trombone

    Mike Minor, tuba

    Brass quintet gifted by

    Sally Anne & Nathan Goff, Evelyn & U. V. Henderson,Jim Morris, George & Millie Anderson

    Nun Danket Alle Gott (March Triomphale), opus 65 Sigfrid Karg-Elert (1877-1933)

    Sonata No. 4 in B-Flat Major, opus 65 Felix Mendelssohn (1809 -1847)Allegro con brioAndante religiosoAllegrettoAllegro maestoso e vivace

    Noel tranger Louis-Claude Daquin (1694-1772)

    Prelude and Fugue in A Minor, BWV 543 Johann Sebastian Bach (1685-1750)

    Introduction and Passacaglia in d minor Max Reger (1873-1916)

    24 Pices de Fantasie, Suite III, opus 54 Louis Vierne (1870-1937)ImpromptuCarillon de Westminster

    Suite for Organ, Brass Quintet and Percussion Craig Phillips (b. 1961)Toccata

    From Lynda Starr

    Dear Friends,

    Can you believe that it has been over ten years since our wonderful Goulding & Wood organwas installed? It seems like just a few months ago that our committee was meeting weekly toorganize and plan the campaign to solicit funding for the new instrument. Thanks to the gen-erous and loving spirit of giving in our church family, we met and exceeded our financial goalin a few short months during the spring and summer of 2003 and were able to suspend thecampaign in September. We were pleased to be able to use the extra financial gifts to establisha much needed organ maintenance fund at that time.

    The Goulding & Wood Company installed our new instrument in time for Palm Sunday servicesin March of 2005. In November of that year the inaugural concert was held featuring organistProfessor Carole Terry of the Washington University School of Music, as well as a specially com-missioned anthem by Andrew Carter which was performed by our choir. Since its installation,this very fine instrument has anchored and enhanced countless worship services. Throughoutthese years it has excelled in solo performance as well as in ensemble. It was a key element inthe splendid Bach, Handel, Vivaldi, and Mozart projects in which it combined with orchestra,choir, and soloists to highlight sacred works of these composers. So now, ten years later, on No-vember 15, we will have the opportunity to hear a concert commemorating the 10th anniversaryof the organ featuring returning organist and teacher, Professor Terry.

    As many of you know, John and I moved to Cleveland, Ohio in July to be near our daughter,Amy and her family. We miss our dear Second family but look forward to being with you againfor the 10-year anniversary concert. We look forward to being with you!

    Soli Deo Gloria,

    Lynda StarrCleveland, OH October, 2015

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    Instrument Specifications

    Great Violone 16 Principal 8 Violone (ext.) 8 Claribel Flute 8 Stopped Diapason 8 Octave 4 Spire Flute 4 Twelfth 2-2/3 Fifteenth 2 Seventeenth 1-3/5 Fourniture IV 1-1/3 Trumpet 8 Tremolo Great to Great 16-UO-4

    Choir Conical Flute (ext. 8) 16 Diapason 8 Chimney Flute 8 Conical Flute 8 Flute Celeste (TC) Fugara 4 Spindle Flute 4 Nazard (TC) 2-2/3 Recorder 2 Tierce (TC) 1-3/5 Larigot 1-1/3 Mixture III 2 Clarinet 8 English Horn 8 Tremolo Choir to Choir 16-UO-4

    Swell Gedeckt (ext. 8) 16 Geigen Diapason 8 Gedeckt 8 Viole de gambe 8 Voix cleste (GG) 8 Principal 4 Clear Flute 4 Octave 2 Flageolet 2 Quint 1-1/3 Plein Jeu III-IV 2 Cymbale III 1 Basson-Hautbois 16 Trompette 8 Hautbois (ext. 16) 8 Voix Humaine 8 Clairon 4 Tremolo Swell to Swell 16-UO-4

    Pedal Contre Bourdon (Digital extension) 32 Contre Violone (Digital extension) 32 Open Wood 16 Bourdon 16 Violone (Gt) 16 Gedeckt (Sw) 16 Octave 8 Violone (Gt) 8 Bass Flute (ext.) 8 Gedeckt (Sw) 8 Choral Bass 4 Nachthorn 4 Mixture III 2 Contre Posaune (Digital extension) 32 Posaune 16 Basson (Sw) 16 Trumpet 8 Basson (Sw) 8Schalmei 4

    Notes on the ProgramNun danket alle Gott is one of Sigfrid Karg-Elerts most famous pieces for organ. Sigfrid Karg-Elert was a Germancomposer of considerable fame in the early twentieth century, best known for his compositions for organ andharmonium. He studied at the Leipzig Conservatory, and in 1919 he became a member of the staff there. Hisearly works show the influence of composers such as Claude Debussy Aleksandr Scriabin, and Arnold Schoen-berg, but he later developed an original style that melded chromaticism and expanded harmonies with olderforms. Now Thank we all our God is an improvisation for organ based on the Thanksgiving hymn.

    In 1844, the English music publisher Coventry and Collier commissioned Felix Mendelssohn to write a set ofvoluntaries for organ. In response, he composed six sonatas, opus 65, which do contain some aspects of theEnglish voluntary style. The first movement of Sonata No. 4 begins and ends with an improvisatory section ofarpeggios which frame a middle section in overture style. The second movement is a religious adagio whilethe third movement is reminiscent of one of Mendelssohns Songs without Words, a beautiful flowing melodysupported by pianistic figuration. The final movement opens and closes with a broad chordal theme framing amiddle section of joyous ascending sixteenth notes.

    The A Minor Prelude and Fugue was written during J. S. Bachs remarkably prolific years of organ compositionin Weimar. The prelude begins with a chromatic string-like figuration over a pedal point, followed by an ex-tended pedal solo and a series of antiphonal figures. The fugue is dance-like, and reminiscent of similarly in-spired works in the Well Tempered Clavier. It ends with bravura pedal and manual passagework.

    Max Reger, a south German composer known for his large-scale organ works, wrote over two hundred com-positions for the instrument including the dramatic Introduction and Passacaglia. The tempestuous Introduc-tion begins with dissonant chords t

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