Artwork by Judi Anderson

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

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

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Introduction

Ten years ago, the beautiful Goulding & Wood pipe organ whichgraces the chancel of Second Presbyterian Church’s 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 a“service 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 God’s love, and determination in response to God’scall. In true worship, all emotions have their season as honest responses to the “wind” of God’sSpirit moving among us.

With the 125th anniversary of the church’s founding coming in 2016, we celebrate SecondPresbyterian Church’s 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 congregation’scontinuing 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 didn’t mention George Anderson’s steadfast and cheerful encouragement before,during, after, and since the goal was accomplished. Additionally, Second’s 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 Étranger 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 Pièces 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 céleste (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) 8’Schalmei 4’

Notes on the ProgramNun danket alle Gott is one of Sigfrid Karg-Elert’s 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 Mendelssohn’s 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. Bach’s 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 that wander through ambiguous keys, swelling from loud to louder untilfinally landing in D minor with a thunderous close. Reger’s penchant for drastic contrasts becomes immediatelyevident as the “Passacaglia” theme is stated on the very softest stops in the pedal. The piece progresses through12 variations, each increasing in dynamic and in difficulty with trills for the pedal and sweeping scales for thehands. At last the work seems to arrive at its intended destination with a great chord in A major before plunginginto the final variation, closing with a few final dramatic measures before the immense, concluding D majorchord.

Louis Vierne was organist of Notre-Dame Cathedral in Paris from 1900 until his death in 1937. Althoughmuch of career centered on his duties in the church, Vierne also wrote a substantial collection of works he en-titled “fantasy pieces.” These pieces employ impressionistic harmonies, exotic scales, and brilliant virtuosity toevoke fantastical imagery; a similar trait often associated with the works of his close contemporaries Debussyand Ravel. The Impromptu was dedicated to Vierne’s friend, the organ virtuoso André Marchal. Clair de lune(“moonlight”) was dedicated to the American organ builder E. M. Skinner, whose organs were greatly admiredby Vierne. His instruments were particularly noted for their delicate and ethereal flue stops, employed to stun-ning effect in this piece.

Craig Phillips (b. 1961) is a distinguished and popular American composer and organist. His choral and organmusic is heard often in churches and cathedrals across the United States, and many of his works have been per-formed in concert throughout North America, Europe and Asia. He was named the American Guild of OrganistsDistinguished Composer for 2012 – the seventeenth recipient of this special award. The Toccata from the Suitefor Organ, Brass Quintet and Percussion is written in the form of a typical organ toccata with arpeggios, fastflourishes, and brass fanfare.

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From the Builder The past ten years have done nothing but confirm the sentiments expressed at the beginning ofthe article from the dedicatory program. The relationship that we have continued to nurturewith the good people of Second Presbyterian Church has ensured that the organ continues toexcel in its role in the musical leadership of worship. As hard as it is to believe that a decadehas passed since installing our Opus 43, we have definitely enjoyed each opportunity to visitRoanoke to check in on the organ and share a meal with Jeff and Marianne.

We have been gratified by the number and variety of programs that have featured the organ,from concerts of music by Bach to choral masterworks. The music department of Second Pres-byterian has certainly not held back on the demands they have placed on the instrument! Theorgan has also seen its share of physical demands, from roof leaks to an extensive building ren-ovation and expansion.  Through it all, we have been pleased to continue maintaining the organwith the expert assistance of the Victorine family. Phil Boggs has been a reliable support inkeeping the organ’s needs in prime consideration in these projects as well.

Our real satisfaction, however, comes from the number of hymns it has led the congregation tosing, the number of weddings and funerals that it has enriched, and the way the organ has be-come part of the very fabric of Second Presbyterian Church. We eagerly look forward to thenext decade!

Jason OverallNovember, 2015

Carole Terry, Organist

Carole Terry’s career as a renowned performer and teacher of the organ and harpsichord have taken her tomany cities and universities throughout the United States, as well as Europe and the Far East. Especially knownfor her performances and recordings of German Romantic music, she is also an expert on the physiology ofkeyboard performance.

She has appeared at The Bamboo Organ Festival, Manila, Philippines, as well as The Attersee Barock Akademie,Schleswig-Holstein Musik Festival, in Lübeck, Germany. She adjudicated the prestigious 2000 InternationalMusashino Organ Competition in Tokyo, Japan, where she also appeared as a lecturer and master class teacher.She performed and taught at the International Summer School for Young Organists in Oundle, Great Britain,and she performed and taught at the Mount Royal College Organ Academy and International Summer School,Calgary, Canada. She also taught at the McGill Summer Organ Academy specializing in the organ works ofFelix Mendelssohn.

In September 2004, she was the first American organist to perform in the organ concert hall of Perm, in theRussian Federation, having been in Kaliningrad the year before to adjudicate the Third Mikael Tariverdiev In-ternational Organ Competition.

She has participated in such conferences and seminars as the San Anselmo Organ Festival, The Historical Organin America, the Oregon Bach Festival and the Montreat Festival of Worship and Music. In addition, she hasbeen a featured recitalist at numerous American Guild of Organists’ conventions, including July 2000 AGOConvention in Seattle and the Organ Historical Society Convention, July 2008. This year she performed at theAGO Regional Convention in San Diego.

As Resident Organist and Curator for the Seattle Symphony, from 2000 to 2003, she inaugurated the new C. B.Fisk organ in Seattle’s acclaimed Benaroya Hall, and played many solo concerti in addition to monumental worksfor organ and orchestra.

For The Musical Heritage Society she recorded Brombaugh Organs of the Northwest and The Complete OrganWorks of Johannes Brahms (based on the Henle edition). As a harpsichordist she recorded works of Albright,Persichetti, Cowell, and Rorem for CRI, and baroque chamber music for Crystal Records (with violist YizhakSchotten). Her recording, Carole Terry in Schwerin, is a two-CD set of German romantic organ music recordedon the notable 1871 Ladegast organ at Schwerin Cathedral, Germany. In July 2008, she released a recordingof the Benaroya Hall organ entitled Carole Terry plays the Watjen Concert Organ.

In September 2013, she toured Korea and played concerts and taught classes at several colleges and universitiesin Seoul. In 2014, she also toured Italy and played recitals in Solomeo and Collescipoli in Umbria. This yearshe performed and adjudicated at the St. Albans International Organ Competition in England.

Carole Terry is Professor of Organ and Harpsichord at the University of Washington School of Music and Artistin Residence of Epiphany Parish, Seattle.

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Goulding & Wood Company HistoryGoulding & Wood, Inc., is one of the nation’s leading organbuilders, focusing on the needs ofworshiping congregations through the installation of highly refined musical instruments. Thecompany was incorporated in 1980 as a collaboration between John Goulding and ThomasWood. At the time of incorporation, Mr. Goulding had more than twenty-five years of experi-ence as an organ builder, including tenures with the firms of Gratian Organ Company andHoltkamp Organ Company, as well as several years as a partner in the firm of E. H. HollowayCorporation. Mr. Goulding developed many of the mechanical components in use at the shop,including our exclusive design of electro-pneumatic slider and pallet wind chests, schwimmerwind-regulators and tremulant action. Mr. Wood brought a background including electricalengineering training and organ study.

Prior to joining forces with John Goulding, Mr. Wood headed the electronic music laboratoryof Indiana University, served as pipe organ curator for the university, and led several restorationprojects under his own name.

Shortly after the formation of Goulding & Wood, the firm obtained national recognition for itsquality of work and dedication to the craft. Notable among the early projects was a new organfor the 1982 National Convention of the Episcopal Church in New Orleans.

By the firm’s tenth anniversary, Goulding & Wood had completed seventeen new organsthroughout Indiana as well as in Arkansas, Illinois, Maryland, and North Carolina. In additionto new instruments, the company also completed several renovation projects throughout thecountry. In 1990 the firm was nominated for membership in the Associated Pipe Organ Buildersof America (APOBA).

Since this time, Goulding & Wood has continued to confirm its reputation as one of America’spremier organ builders while also expanding its geographic presence throughout the UnitedStates. In addition to APOBA, Goulding & Wood is a member of the International Society of Or-ganbuilders. Several members of our team have held leadership positions in APOBA, the Amer-ican Institute for Organbuilders and the American Guild of Organists.

In June of 2003, John Goulding and Thomas Wood retired leaving the company in the capablehands of shop general superintendent Mark Goulding and head voicer Brandon Woods. JasonOverall was at that time appointed president of the firm, establishing a leadership team withvast experience in all phases of organ building. Now well into its second generation, Goulding& Wood continues the company’s tradition of unparalleled mechanical reliability and tonal in-tegrity of its instruments that enrich worship of congregations across denominational lines. Wedesign organs specifically to meet the liturgical needs of the contemporary church as well as tofollow historical precedents. The resulting instruments lead congregations with authority andrender the rich repertoire of organ literature with fidelity and conviction.

Special Thanks

Judi AndersonGeorge and Millie Anderson

James BeanBrandon Oaks

Phil BoggsJay Crone

Joe DuckwallGoulding & Wood

Wallace EasterSally Anne and Nathan Goff

Sally GravelyU. V. and Evelyn Henderson

Jeff KresgeElizabeth Link

Alice LoftinKaren MarkhamMae Lee Miller

Mike MinorLarry Monahan

Stacy MooreJim Morris

Michael NesterDiane NordtGlen Powers

Organ Study Committee, Joe Duckwall, ChairOrgan Fundraising Committee, Lynda Starr, Chair

Raleigh Court Presbyterian ChurchDenise Revercomb

Patty RuckerLynda Starr

Mike Victorine, Victorine’s Pipe Organ ServiceWorship and Music Committee, Alison Conte, Chair

Members, Second Presbyterian Church

††††††

At the conclusion of today’s program, we ask that you consider a donation ofany amount, to go towards the Organ Maintenance and Music Fund.

This will help provide music for many years to come.Ushers can be found as you leave the church. Thank you!

Carole Terry’s recital performance today is made possible by Phillip Truckenbrod Concert Artists.

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Gifts to the Organ Maintenance Fund

Rob and Diane Nordt, in gratitude for Jeff and Marianne Sandborg

Granger and Anne Macfarlane, in honor of Jeff and Marianne Sandborg

The Baynton Family, in memory of Elaine H. Baynton

Ann and Bill Stevens, in memory of Barbara Boyle Lemon

In memory of the Gammon and McCoy families, given by Susan McCoy Carter

Paul and Frances Buford

In honor of Mae Lee Miller, given by Martha Clay L. Martin

Mae Lee Miller

Biff and Shirley Fitzpatrick, in memory of Jane Rasmussen and Christina Graham

In memory of Peter A. Leggett, given by Nancy H. Leggett

In memory of Whitney Denman, given by Jeff and Marianne Sandborg

In memory of Jack Shaver, given by Betty Shaver

In honor of Joe and Spuzzie Duckwall, given by Frank and Lucy Ellett

In honor of Bill Durham, given by Nathan and Sally Anne Goff

In honor of Dick and Fran Hodges, given by Richard and Gloria Burleigh

In memory of Lou Showalter and Ann Whitney Denman, given by Mae Lee Miller

In honor of Lynda Starr, given by Phil and Linda Shiner

In memory of Virginia Henley, given by Patsy G. Baker

In honor of Marianne and Jeffrey Sandborg, given by Mary Phillips

In memory of our parents, given by Buster and Sharon Jones

In dedication of Chancel Choir Members, Past and Present,given by Marianne and Jeffrey Sandborg

In memory of Dalton Miller, Pete Leggett, and Bob Murray,given by Marianne and Jeffrey Sandborg

In memory of Dorothy E. Miller, given by Marianne and Jeffrey Sandborg

In memory of Dr. Charles Loftin, given by his family

Marie H. Kinzie

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In memory of my parents, James and Nancy Robertson,given by Mary Robertson Delaney

In memory of my parents, Russ and Altha Harrison, given by David Harrison

In memory of Barbara Boyle Lemon, given by Kirk and Sarah Ludwig

Notes from Today’s Recital

Goulding & Wood Organ, Opus 43 (2005)upon its completion in the factory before

being installed.

Carole Terry Marianne Sandborg

Second Presbyterian Church 214 Mountain Avenue SW Roanoke, VA 24016www.spres.org 540.343.3659