Organ Dedication Concert

Dr. Hyokyoung (Hannah) Byun has served as Principal Organist at University Presbyterian Church (UPC) since October 2015, where she plays on the 93-rank Reuter . In addition to her organist duties, Dr. Byun is conductor of the UPC String Ensemble, an ensemble which has grown significantly in her tenure as director.

Dr. Byun is working to complete her second doctorate at the University of Washington where she is nearing completion of her studies in choral conducting. Prior to residing in Seattle, she earned a Konzert Examen (Doctor of Musical Arts) in Organ Performance and a Diplom für Dirigent (Masters in Conducting) from the Universität für Künste in Berlin, Germany. Prior to her studies in Germany, Dr. Byun earned her Bachelor of Musical Arts with a major in church music (emphasis on organ performance) from the prestigious Yonsei University in Seoul, Korea. She has served as adjunct professor of organ and choral conducting at Yonsei, Joongang, and Jangsin Presbyterian Universities (South Korea). In Korea, she was the founding director for the Goyand City Children’s Choir, an elite ensemble of 50 select music students.

Along with her position at UPC, Ms. Byun also serves as the music director at Seattle Dream Church (Korean church), serves on the board of the Seattle chapter of the AGO (American Guild of Organists), and remains active as a recitalist and regional chamber musician with recent appearances at Plymouth Congregational Church, Benaroya Hall, and as the “orchestra” in Poulenc’s Gloria with the Northwest Chorale.

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PROGRAM Sinfonia from cantata “Wir danken dir, Johann Sebastian Bach Gott, wir danken dir” BWV 29 (1685-1750) arr. Alexandre Guilmant

Suite du premier ton Louis-Nicolas Clérambault Grand plein Jeu (1676-1749) Duo Trio Basse et Dessus de Trompette Dialogue

The Arrival of the Queen of Sheba from Second Overture, Solomon HWV 67 (1685-1759) revised by P. Gouin

Nimrod from Enigma Variations, Opus 36 Edward Elgar (1857-1934)

Toccata pour Grand Orgue en Ré mineur Gaston Bélier (1863-1938)

Danse macabre, Opus 40 Camile Saint-Saëns (1835-1921) transcribed by Edwin H. Lemare

Scherzo from Sonata No. 5, Opus 80 Alexandre Guilmant (1837-1911)

Variations on “America” for organ Charles Ives (1874-1954)

Holy, Holy, Holy John B. Dykes (text on following page) (1823-1876)

Please join us for a reception following the concert! 2

Holy, Holy, Holy

1 Holy, holy, holy! Lord God Almighty! Early in the morning our song shall rise to Thee; Holy, holy, holy, merciful and mighty! God in three persons, blessèd Trinity!

2 Holy, holy, holy! All the saints adore Thee, Casting down their golden crowns around the glassy sea; Cherubim and seraphim falling down before Thee, Which wert and art and evermore shalt be.

3 Holy, holy, holy! Though the darkness hide Thee, Though the eye of sinful man Thy glory may not see, Only Thou art holy; there is none beside Thee, Perfect in pow’r, in love, and purity.

4 Holy, holy, holy! Lord God Almighty! All Thy works shall praise Thy name in earth and sky and sea. Holy, holy, holy, merciful and mighty! God in three persons, blessèd Trinity!

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Program Notes

Sinfonia from “Wir danken dir, Gott, wir danken dir” Johann Sebastian Bach BWV 29 Bach composed the cantata “Wir danken dir, Gott, wir danken dir” (We thank you, God, we thank you), BWV 29, in Leipzig in 1731 for Ratswechsel, the annual inauguration of a new town council, and first performed it on August 27th of that year. The cantata was presented at a festive service in the Nikolaikirche. As befits a community celebration, Bach scored the work for four vocal soloists, choir, and a robust Baroque orchestra of three trumpets, timpani, two oboes, strings, an obbligato organ and basso continuo. The Cantata was so well received that, later, Bach borrowed from the choral movement when composing his monumental Mass in B minor.

The cantata is one of few sacred Bach cantatas opened by an orchestral sinfonia. The music of the sinfonia is an arrangement of the prelude from Bach’s Partita for violin, BWV 1006, which Bach had already revised for organ and strings in 1729 for a wedding cantata. In this arrangement, the organ traverses both the original solo part and the orchestra part, offering what Bach called “virtuoso motoric” flourishes to set the stage for a joyous feast day.

Suite du premier ton Louis-Nicolas Clérambault Clérambault was one of the leading Parisian composers of the Baroque period, composing many cantatas, sacred motets and other music. He was organist of St. Sulpice (a post later held by the likes of Widor and Dupré) and also of the Royal House of St Louis at St Cyr near Versailles; but his sole contribution to the is a single ‘Livre d’orgue’, published in 1710. Suite du premier ton (Suite on the First Tone) is from this collection.

In late 17th century liturgy, it was common to alternate unaccompanied singing with short versets played by the organist. This practice was called alternatim; first established in 1400, alternatim remained in use in the church until the early 20th century. Clérambault’s Suite on the First Tone was an alternatim. Though the choral music between each instrumental verset would have been in the style anciens (imitative polyphony, modal figures, broad melismatic passages, gentle/flowing rhythmic passages), these organ suites are filled with a bouncy charm bordering on the galante, perhaps allowing, for just a moment, the virtuosity and skill of Clérambault to rise to the fore of the liturgy. The names of each verset indicate what kind of registration is to be used, so a Basse de Dessus de Trompette indicates that this movement has a Trumpet solo over the bass. Likewise, the Grand plein Jeu identifies a 4 principal-based plenum registration with the use of the grand reeds. Taken as a whole, Suite du premier ton offers remarkable variety and playfulness, and is likely a master organist’s attempt to subtly buck the strict controls exercised by mother church upon church musicians and the church music of the 17th century.

The Arrival of the Queen of Sheba George Frideric Handel The Arrival of the Queen of Sheba, a sinfonia originally composed for two oboes and strings, premiered in London on March 17, 1749, as the first scene of Act III in the oratorio Solomon. One of the last of Handel’s many oratorios, Solomon is not often performed in its entirety, but Handel’s bright and lively “The Arrival of the Queen of Sheba” interlude is a widely appreciated processional set piece. It often was (and it continues to be) played during wedding ceremonies. A noted public performance of the piece occurred during the opening ceremonies of the London 2012 Olympic Games.

Nimrod from Enigma Variations, Opus 36 Edward Elgar Edward Elgar composed his Variations on an Original Theme, Op. 36, popularly known as the Enigma Variations, between October 1898 and February 1899. It is an orchestral work comprising fourteen variations on an original theme.

Elgar dedicated the work “to my friends pictured within”, each variation being a musical sketch of one of his close acquaintances. Those portrayed include, among others, Elgar’s wife Alice, his friend and publisher Augustus J. Jaeger and Elgar himself. Augustus J. Jaeger, to whom the Nimrod variation is dedicated, was employed as music editor by the London publisher Novello & Co. He was a close friend of Elgar’s, giving him useful advice but also severe criticism, something Elgar greatly appreciated.

Once, when Elgar had been very depressed and was about to give it all up and write no more music, Jaeger had visited him and encouraged him to continue composing. He referred to Ludwig van Beethoven, who had a lot of worries, but wrote more and more beautiful music. “And that is what you must do”, Jaeger said, and he sang the theme of the second movement of Beethoven’s Piano Sonata No. 8 Pathétique. Elgar composed the opening bars of “Nimrod” to suggest that theme. “Can’t you hear it at the beginning? Only a hint, not a quotation.” The name of the variation refers to Nimrod, an Old Testament patriarch described as “a mighty hunter before the Lord” – Jäger being German for hunter. After its 1899 London premiere the Variations achieved immediate popularity and established Elgar’s international reputation.

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Toccata pour Grand Orgue en Ré mineur Gaston Bèlier By profession Gaston Bélier was a banker, but he also studied organ with Eugène Gigout, and for nearly 50 years was organist of the Cathedral of Saint Maclou de Pontoise. His only published compositions seem to consist of a piece for six hands at one piano (!), and this Toccata pour Grand Orgue, which he dedicated to his teacher, Gigout. (The inscription on the title page reads: To my master, E. Gigout). It was originally published in 1912, but recently became popular when a modern edition was published on the internet in 2011. The piece is a vibrant example of virtuoso French style, featuring a moto perpetuo series of 16th note flourishes with repeated block chord interjections in the pedal and middle voices.

Danse macabre, Opus 40 Camille Saint-Saëns Danse macabre is a tone poem for orchestra, written in 1874 by the French composer Camille Saint-Saëns. It started out in 1872 as an art song for voice and piano with a French text by poet Henri Cazalis based on an old French superstition. In 1874, the composer expanded and reworked the piece into a tone poem, replacing the vocal line with a solo violin part.

The tone poem recounts the following story: according to French superstition, Death appears at midnight every year on Halloween. Death calls forth the dead from their graves to dance for him while he plays his fiddle (here represented by virtuoso organ). His skeletons dance for him until the rooster crows at dawn, when they must return to their graves until the next year.

One notable quality of the piece – one which surely shocked audiences of the time – was the melodic use of the tritone, which was known as the diabolus in musica (“the Devil in music”) – achieved in the orchestral version by tuning the violinist’s E string down to an E-flat to create the dissonant tritone.

In another inspired stroke, Saint-Saëns quotes the Dies Irae (“Day of Wrath”) Gregorian chant from the ancient Requiem text (which would have been very familiar to French Catholic audiences), though he transforms it into a major key, making it all the stranger.

When Danse macabre was first performed it was not well received and caused widespread consternation, likely an adverse reaction to the “deformed” Dies irae plainsong, the “horrible” screeching from solo violin”, the use of a xylophone (the clackety-clack of skeletons dancing!), and the alarmingly hypnotic repetition found throughout the piece, all hallmarks of a diabolical mind at work! Today, however, it is considered one of Saint-Saëns masterpieces, widely regarded, and often appears in popular cultural references invoking the “wicked and grotesque.” 6

Scherzo from Sonata No.5, Opus 80 Alexandre Guilmant Felix Alexandre Guilmant was born in northern France in the small town of Boulogne- sur-Mer near Calais. His father, a church organist, taught Alexandre to play and he went on to study at the famed Conservatory in Brussels. Although other great French organist-composers like Franck and Widor may now be better known, Guilmant become one of the most famous organists of his day; one critic called him a “nineteenth century ‘pop star’.”

Guilmant was friendly with the brilliant nineteenth century French organ maker, Aristide Cavaillé-Coll, a leader in the technical evolution of the instrument. Largely through Cavaillé-Coll’s innovations, the organ developed far greater power, a warmer, more expressive tone, and a vastly increased range of timbres essentially the organ we know today. Caesar Franck reportedly commented about an early example, “My new organ? It’s an orchestra!”

One result was a revival of intense interest in the organ, as composers made the most of the new sound in show-stopping works written on a truly symphonic scale. Many were composed as stand-alone pieces intended to present the many-voiced organ as comparable to a full orchestra. Guilmant’s Eight Sonatas were conceived with the Cavaillé-Coll organ of La Trinité in mind, and are therefore symphonic in style and form, taking their place alongside the symphonic organ works of César Franck and the Organ Symphonies of Charles-Marie Widor. As one might expect from the symphonic model, Scherzo is the hurdy-gurdy dance movement (3rd movement) of Sonata No. 5, is in a quick one beat per bar, and travels through wildly disparate keys including E major/C# minor, C major/A minor before returning to its home of C minor.

Variations on “America” for organ Charles Ives In 1889, Ives’ beloved hometown of Danbury, Connecticut was incorporated as a city. Civic celebrations were held in June, with a concert produced by Ives’ bandleader father, George. The Danbury Newsman carried an account of the imposing spectacle, titled “A Musical Trip to Coney Island”: “Such an aggregation of musical talent was never seen on the Opera House stage before ... a musical presentation of the Danbury & Coney Island Railway ... chorus, band and orchestra appropriately sang Auld Lang Syne ...... F. Seymour’s novel solos on glasses, sticks, bars and bottles ... Trinity Church boy choir rendered Peasant’s Wedding March by Sodermann ... Mr. Pierpoint picked the banjo, Mr. Belden the guitar, rendered old airs ... The representations of the German and Scotch bands were unusually true to nature ... The whole entertainment concluded with the singing of America ... The fireworks were a surprise.”

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Ives’ memory of that gala performance, especially of its inspiring closing selection, was stirred two years later, in 1891, when he played the J.C.H. Rinck’s Variations on “God Save the King” (i.e., the same tune as America) on the organ of Danbury’s Baptist Church. Soon thereafter Ives wrote his own set of organ variations on the melody. He was seventeen. Though conventional in structure, Ives’ Variations on “America” are hardly orthodox in content, ranging from hymn to march to polonaise. The most startling part of the score, however, is the short polytonal interlude in which blazing dissonances are created though the simultaneous use of several keys. (This interlude was added to the 1891 Variations in 1894, and Ives liked the sound of its harmony so much that he wrote a fugue in four (!) different keys two years later.)

Even father George, avowed experimentalist that he was (he would, for example, accompany his son on the home piano in one key and have the boy sing the melody in another), warned Charlie that he should leave out this section at a performance in Brewster, New York because the rehearsals in Danbury had shown that it “made the boys laugh out loud and get noisy.” The interlude remained. Ives had a special fondness for this early piece. When he was in his seventies, he wrote to the organist E. Power Biggs that performing it, especially the fast pedal part at the end, brought him almost as much joy as playing baseball. (When someone found out Ives was a musician and asked him what he played, his favorite answer was “Shortstop!”)

In its 1963 orchestral arrangement by the American composer William Schuman, the Variations on “America” has become one of Ives’ most frequently heard works.

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Lamb of God Lutheran Church—Organ Specifications (Pipe Organ Foundation Opus 8, 2018 )

Great Front of church, left. Unexpressive. 4 ranks, 256 pipes P* 8’ Open Diapason (61 pipes)—8’ octave is façade, east side P 4’ Octave (61 pipes) P 2’ Fifteenth (61 pipes) F 8’ Rohrflute—plays at 8’ & 4’ (73 pipes) Couplers: Gt to Gt 4, Sw to Gt 8’, Sw to Gt 4’, Ant to Gt 8’

Swell Front of church, right. Expressive. 7 ranks, 463 pipes F 8’ Gedeckt—plays at 8’ & 4’ (73 pipes) S 8’ Salicional—plays at 8’ & 4’ (73 pipes) S 8’ Voix Celeste (t.c.) (49 pipes) P 4’ Principal (61 pipes) F 4’ Harmonic Flute—plays 4’, 2 2/3’, 2’, & 1 3/5’ (73 pipes) R 8’ Trumpet—plays at 8’ & 4’ (73 pipes) R 8’ Clarinet (61 pipes) Chimes and Tremulant Couplers: Sw to Sw 16’, Sw to Sw 4’, Ant to Sw 8’

Antiphonal Back of church. Floating division—playable on both Great and Swell manuals. Unexpressive. 4 ranks, 268 pipes P 8’ Geigen Diapason—plays at 8’ & 4’ (73 pipes) F 8’ Melodia—plays at 8’, 4’, 2 2/3’ & 2’ (73 pipes) S 8’ Viole—plays at 8’ & 4’ (73 pipes) R 8’ Oboe—plays at 8’ (t.c.) & at 4’ (61 pipes)

Pedal Front of church, left. Unexpressive. 2 ranks, 112 pipes F 16’ Bourdon—plays at 16’, 8’ & 4’ (56 pipes). 16’ Lieblich-Gedeckt—12 note downward extension of Antiphonal Melodia (12 pipes). At back —plays at 16’ and 8’ P 8’ Octave—plays at 8’ & 4’ (44 pipes). 8’ octave is façade, west side

Couplers: Gt to Ped 8’, Sw to Ped 8’, Ant to Ped 8’

Totals: 17 ranks; 1,099 pipes P= Principal (35%) F=Flute (29%) S=String (18%) R=Reed (18%) 9

Note: The pipes in this organ came from a number of other pipe organs with the oldest being made in approximately 1905-1908 and the newest being made (as far as can be told) in 1949. Thus, the pipes are 70-110 years old approximately and the typical pipe is approximately 90 years old. Essentially all of the pipes in the 1949 Moller organ at Zion Lutheran (Greenlake) were included in this organ. At least six builders made the pipes including Moller, Austin, Kimball, Aeolian, Organ Supply, and Estey. Other parts of the organ were made by these builders and others as well including Balcom and Vaughn and Rodgers (console). The operating system was made by Artisan Instruments.

Pipe Organ Foundation

The Pipe Organ Foundation is a 501(c)(3) public charity which receives pipe organs which are no longer in use and which designs, adapts, and rebuilds these instruments for public settings at nominal cost using volunteer labor almost exclusively. The organ at Lamb of God Lutheran is the eighth organ rebuilt and placed by the Foundation, led by Carl Dodrill, President. The following volunteers contributed approximately 2,600 hours of time in order to make this organ a reality:

Mark Andersen Don Dunscomb Roger Meers Fred Beck Barbara Graham Roselyn Newton Bruce Cozens Chuck Huffington Carl Presley Bart Dawson Jay Keehan Walt Ritchie Carl Dodrill Jonathan Kipper Beverly Roecker Dale Dodrill Brian Kowalski Wes Spore Halie Dodrill Jim Johnston Ben Weyhing

The Foundation wishes to recognize that major gifts which made this organ possible were made by the following:

Mark Andersen Elton and Wanda Hanneman Tom Blackwell Paramount Theatre (Seattle)

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