An Organ Recital in a Time of Loss
Featuring Charles Potter, Organist
The COVID-19 pandemic has made 2020 a year of loss – loss of activities and events, loss of the usual way of doing things, and sadly, for many of us, the loss of friends and family members. This recital explores feelings of despair, fear, mourning, confusion, and anger we may feel with loss, and how through faith we can be assured of the hope and resolve to move forward.
The recital’s first part is based on the Ordinary of the Roman Catholic Mass – those parts of the Mass that are celebrated every week and are the basis of formal Communion services in mainline Protestant churches. The five parts of the Ordinary – Kyrie (Confession), Gloria (Glory to God), Credo (Creed), Sanctus (Holy), and Agnus Dei (Lamb of God) – display a variety of emotions.
The three Kyrie settings by Couperin were specifically written for Catholic Mass; the remaining selections are hymn settings that carry the feelings of the Mass sections that inspired them.
After a short break, chimes will indicate the beginning of the recital’s second part, which will convey a variety of emotions through several hymn settings.
Charles Potter, of Muscatine is a native of Cedar Rapids, Iowa. He studied music at Iowa Wesleyan College, and after service in the Navy continued music study at the University of Iowa.
He served as organist for 34 years at Central Park Presbyterian Church in Cedar Rapids and since 2008 has been an organist at Zion Lutheran Church in Muscatine, where for the last eight years he has also directed the Bell Choir.
Charles has been a journalist in both print and broadcast media and is a self-employed piano tuner. An avid runner, Charles has run the Des Moines Marathon past Central Presbyterian Church several time, and he is pleased to share this recital with the people of Central.
Diapason Movement John Bennett (1735–1784) We approach the Almighty as we experience loss. This piece unfolds like an English choral anthem, building to higher ranges as the four parts take their turns in sharing thematic material – perhaps reminiscent of a Kyrie – and returning to their original levels for a quiet conclusion.
Mass for the Parishes François Couperin (Three Kyrie settings) (1668–1733) We seek forgiveness. Couperin was a prominent Parisian musician. Settings from organ masses were intended to be performed in alternation with the chanting of priest, soloist or choir. Couperin’s first setting is in the time-honored style of placing the chant, in long notes, in the tenor range. In the second setting, a fugue, one can almost hear the fugue subject proclaiming “Kyrie Eleison” (Lord, have mercy). And the third setting is in the style of an operatic soprano solo of Couperin’s time.
All Glory be to God on High Georg Böhm (1661–1733) We proclaim God’s glory.
We All Believe in One True God Johann Pachelbel (1653–1706) We proclaim, through the Creed, our belief in the triune God. Martin Luther set his Creed paraphrase to an elaborate tune derived from a chant. In Pachelbel’s extensive setting, one can almost hear a firm but caring pastor explaining the meaning of the Creed line by line to a confirmation class.
Holy God, We Praise Your Name (*Hymn 4) Max Reger (1873–1916) We proclaim God’s holiness. This hymn, which began as a Catholic song of praise, has found its way into many Protestant hymnals. In this short setting, the Catholic Reger shows the great admiration he had for Lutheran hymns or chorales.
O Lamb of God Most Holy! Otto Scherzer (1821–1886) We implore Jesus, the Lamb of God, for mercy and peace. Scherzer uses the same “sigh” motive that Bach used in his “Orgelbüchlein” setting of this chorale over a century earlier.
Out of the Depths Alan Stout (Two settings, *Hymn 424) (1932–2018) The tune is first played in chimes, followed by two settings. The words are Luther’s paraphrase of Psalm 130; he also wrote the tune. Tradition holds that the congregation at Luther’s funeral spontaneously broke into this hymn as his body was carried from the church. The extremely dissonant compositional style used by Stout is very close to Twentieth Century twelve tone technique, or serialism. The first setting seems to portray confusion and denial. The second setting is pure anger.
If Thou but Trust in God to Guide Thee Helmut Walcha (*Hymn 816) (1907–1991) Both text and tune of this Lutheran chorale were written by Georg Neumark (1621–1681) after he was robbed of nearly all his possessions. In Walcha’s setting, we hear the quiet and loving call of God reaching out to our despair and hope- lessness. The blind Walcha set the tune in the top voice, accompanied by austere but caressing melodic material, over a pedal point that perhaps signifies God’s everlasting presence.
My Faith Looks Up to Thee Charles Callahan (*Hymn 829) (b. 1951) We accept the compassionate care of the Lamb of God.
Before Your Throne I Now Appear Johann Sebastian Bach (1685–1750) According to tradition, this is Bach’s last composition, dictated when blind and from his deathbed, revealing his ultimate trust in God. Each melodic phrase appears in the top voice after being introduced by three voice counterpoint derived from that phrase.
O World, I Now Must Leave You Johannes Brahms (1833–1897) This is the last composition of Brahms, penned when he knew he was dying of cancer. The tenderness of the writing indicates his gratitude for what has been and his acceptance for what will be.
Carillon Louis Vierne (1870–1937) Louis Vierne knew loss. He was nearly blind from birth, his marriage failed, and his brother and son perished in World War I. But he served faithfully as the principal organist of Notre-Dame Cathedral in Paris from 1900 to his death, turning great personal loss to a life of triumph.
Organist: Charles Potter Audio/Visual: Rich Dewein Production designer & video editor: Kim Coulter
Diapason Movement. Music: John Bennett (1735–1784). ©1966 Oxford University Press. Mass for the Parishes, three Kyrie settings. Music: François Couperin (1668–1733). ©1949 L’Oiseau-Lyre, a French music publishing company. All Glory be to God on High. Music: Georg Böhm (1661–1733). ©1949 Theodore Presser Company. We All Believe in One True God. Music: Johann Pachelbel (1653–1706). ©1950 Barenreiter-Verlag Music Corporation. Holy God, We Praise Your Name. Music: Max Reger (1873–1916). ©1929 C.F. Peters Corporation. O Lamb of God Most Holy! Music: Otto Scherzer (1821–1886). ©1928 C.F. Peters Corporation. Out of the Depths, two settings, *Hymn 424. Music: Alan Stout (1932–2018). ©1969 Augsburg Fortress. If Thou but Trust in God to Guide Thee, *Hymn 816. Music: Helmut Walcha (1907–1991). ©1954 C.F. Peters Corporation. My Faith Looks Up to Thee, *Hymn 829. Music: Charles Callahan (b. 1951). ©1992 Morning Star Music Publishers. Before Your Throne I Now Appear. Music: Johann Sebastian Bach (1685–1750). ©1949 Theodore Presser Company. O World, I Now Must Leave You. Music: Johannes Brahms (1833– 1897). ©1949 Mercury Music. Carillon. Music: Louis Vierne (1870–1937). ©1914 Durand-Schoenewerk & Cie, a French music publisher.
*All hymn references are from the Glory to God hymnal. Music is reprinted and streamed with permission under: One License #A-732825; CCLI License #116-22081; and Stream License #CSPL 168161. All rights reserved.
The Rev. Wallace W. Bubar The Rev. Dr. Annika Lister Stroope Pastor Parish Associate Kimberly Sanford Randi McNally Office Manager Children’s Ministry Director Kim Coulter Ben Patzlaff Communications Director Youth Ministry Director Marc Michaelsen Rich Dewein Finance Director Music Director Tim Clark Lois Harms Resident Caretaker Organist Maria Sharpe Mary Pohlmann Custodian Children’s Music Director Leslea Phelps Sue Hudson Nursery Coordinator Morgen Bells Director Kathy Haines Beth Triebel Wedding Coordinator Youth Bell Choir Director
We strive to be a Christian congregation dedicated to a strong tradition of worship, committed to spiritual inquiry and growth, caring for one another, and bearing witness to God’s love in the world.