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\item Although born in Denmark, Buxtehude became prominent as the cathedral
organist in L\"ubeck, northern Germany. As the leading organist of the
middle Baroque period, he composed many sacred cantatas as well as organ works.
Bach, in his late teens, once walked several hundred miles in order to hear
Buxtehude play. The {\sl Prelude and Fugue in F\/\sharp\ Minor} is one of Buxtehude's
most masterful and finished works. Its key signature, F\sharp\ minor, was
quite unusual at the time, since the ``well-tempered'' system of tuning was not yet
in use. Buxtehude's music is characterized by short sections that contrast
strongly with each other. In this case there are two contrasting parts in the
prelude, followed by two fugues in different moods; then comes a dramatic
recitative or solo section, and the final coda, which returns to the rhythm
and tempo of the first fugue.

\item This English writer of both sacred and secular music rooted his compositions
in English folk songs and the polyphonic style of the Tudor period. He reclaimed
for the Anglican Church its r\A ole as the source and inspiration for music
composed especially for use in worship. {\sl Rhosymedre} is a chorale prelude
based on a 19\th\ century Welsh hymn tune. The original melody serves as a solid
foundation upon which Vaughan Williams overlays a subtle, rhythmic theme,
producing one of the finest chorale preludes of the 20\th\ century.

\item For many years this concerto was attributed to Vivaldi, but now it is known
to be the work of Prince Johann Ernst, the young nephew of the Duke of Wiemar who
was a friend of Bach. His music showed genius, but unfortunately this was never
fully realized, for he died at age 19. Ernst originally wrote this concerto for
violin; Bach adapted it for the organ. The first movement alternates between
a march-like theme in \tempo24 time and a dance-like theme in \tempo68 time.
In the second, introspective movement, two voices answer each other. The joyful
final movement features a slow chromatic pedal voice, decorated with a rapid
filigree in the manuals.

\item Born in Belgium of German parents, Franck went to France as a student and
remained there the rest of his life. He was organist at Ste. Clotilde in Paris
and gained a reputation as a great improvisor. He composed noted works for
orchestra, chorus, and piano, but was perhaps most successful with his organ
music, which is considered to be the finest of the Romantic period. Franck's
work is characterized by chromaticism and by haunting, recurring themes and motifs.
The pastoral theme of this prelude is followed by a transitional section of
bold chords introducing the fugue. Here a second theme is heard in various
combinations of up to four voices. The fugue is followed by a repetition of
the prelude theme with a harp-like accompaniment.

\item \halign{\hskip 15pt#\hfill\cr
O world, I now must leave thee;\cr
My Lord will soon receive me,\cr
For I am homeward bent.\cr
My body, life, and spirit,\cr
And everything I merit,\cr
I place in God's most gracious hand.\cr}

\item \halign{\hskip 30pt#\hskip 0pt plus 1000pt\cr
Farewell I gladly bid thee,\cr
False, evil world, farewell!\cr
Thy life is dark and sinful,\cr
With thee I would not dwell:\cr
\noalign{\vskip 3pt}
In Heav'n are joys untroubled,\cr
I long for that bright sphere\cr
Where God rewards them doubled\cr
Who serve Him truly here.\cr
\hfill---Catherine Winkworth\cr}

\item Brahms was a German composer best known for his choral {\sl Requiem} and for
his orchestral works, some of the leading compositions of the Romantic period.
He turned to organ composition during the last summer of his life, when he
wrote the {\sl Eleven Chorale Preludes for Organ}, Opus 122. Most of these
preludes deal with ``last things'' and are somber, yet they have a warm,
peaceful quality. Although the text of the Bach choral is similar to the
Brahms chorale in its Christian longing for death, Bach's music expresses the
soul's joyous farewell to the world.

\item Bach, a German Lutheran, was noted during his lifetime as an outstanding
organist, harpsi\-chord\-ist, and expert on organ design. Only many years after his
death was he recognized as one of the greatest composers of all time. His work
marked the peak of the late Baroque period. This prelude and fugue is one of
six such pieces now called ``Great''. The prelude was composed in 1709, the
fugue after 1723, yet they complement each other perfectly. The steady,
pulsing quality of the prelude serves as a fitting introduction to
the fugue, which is a masterpiece of fugal form: The same melody and musical
characteristics appear in four different voices in turn, intricately interwoven
but never losing momentum.

\item The congregation is asked to rise for the singing of this hymn, then to
be seated again as the organist continues with Walcha's improvisation.

\item The Lutheran Dreik\"onigskirche (Church of the Three Kings) in Frankfurt
has been served for many years by the blind organist, Helmut Walcha, a master of
improvisation. Walcha's chorale preludes, like
those of Bach, are addressed to the Christian congregation, offering
instrumental elaboration on the texts and tunes of hymns. Although we have just
finished singing hymn 39, to set the melody in our ears, this prelude was
originally meant to be played just before the hymn, to stimulate and enliven the
singing. It opens with a free improvisation on the hymn tune and ends with a
magnificent canon between the soprano and bass voices.

\item Although his grandfather Moses Mendelssohn was a renowned Jewish
philosopher in 18\th\ century Germany, Felix Mendelssohn was baptized as a
Lutheran. Felix was a child prodigy who
had written 13 symphonies by the time he was 17 years old. He is now known
primarily for his symphonies and operas, but during his lifetime he frequently
performed piano and organ works. This monumental sonata is based on the
chorale ``Vater Unser im Himmelreich'' (Our Father in Heaven). It opens
with the chorale itself, which is followed by two movements that are
improvisations on the tune. The fourth movement is a fugue, based freely on
parts of the same melody; and the finale is pastoral and peaceful in
character, serving as an ``Amen'' to the hymn.

\item Charles Ore was born in Winfield, Kansas, and he is presently Associate Professor
of Music at Concordia Teacher's College in Seward, Nebraska, where he is
chairman of Church Music and Organ. He is also the Director of Music at
Pacific Hills Lutheran Church in Omaha, Nebraska. In June of 1978,
Ore was one of the leaders in the {\sl Worship Alive!\/} conference here at
Bethany. Since he feels that the fitness of an organist's whole body is
very important to organ playing, Ore's compositions have a strong physical
quality. The first movement of this sonata is primarily in \tempo34 time,
which gives it a light, dance-like quality. The second movement is quiet, marked
by passages in which the melody is played by both feet in parallel fifths. The
fast-moving final movement uses the full organ with reeds; the music pushes
forward, galloping to a joyous conclusion.

\item Everyone is cordially invited to a reception in the Parish Hall following
the recital.

\item While she was a student at California Concordia College in Oakland,
Dalene studied organ with Hugo Gehrke. She has attended Concordia Tea\-cher's
College in River Forest, Illinois, and the College of Marin. Dalene received
a Bachelor of Music degree in Music Education, and a secondary teaching credential,
from California State University in San Francisco. She has studied organ with
Wilbur Russell of San Anselmo; Sandra Soderland and Alex Post of San Francisco.

Formerly a Music Specialist for the San Rafael City School District, Dalene has
been a music teacher for the past six years at McKinley school in Redwood City,
where she also lives. She has been Director of Music and Organist at Trinity
Lutheran in San Rafael, Redeemer Lutheran in Oakland, and Hope Lutheran in
Daly City. Presently she is one of the organists here at Bethany Lutheran in
Menlo Park, and she also gives private piano and organ lessons.

Dalene Hitzeman has presented several recitals in Marin and San Francisco, and
this is her second recital at Bethany.

\item Bethany's organ was installed in 1972 by the Wicks Organ Company of
Highland, Illinois. It has 22 ranks, voiced in the German Baroque tradition,
with independent voicing in Great, Swell, and Pedal divisions.

\item \halign{\hfill# --- ⊗#\hfill\cr
Fred Krueger⊗Director of Music\cr
Cathie Bush⊗page turner\cr
Don and Jill Knuth⊗invitations and programs\cr
Margaret Miner⊗publicity\cr
Worship Committee⊗refreshments and reception\cr
People of Bethany⊗support and encouragement\cr}

\item The main purpose of the music program at Beth\-any is to enrich
congregational worship. The various musical organizations are also leading in
the introduction of new worship forms and hymns, working closely with the
Worship Committee. Three musicians currently take turns as organists for
our worship services. Worship is also enhanced by the newly acquired handbells
and by Orff instruments and percussion.

Bethany's Adult Choir leads in congregational singing, offers anthems, and
periodically presents major musical works such as Bach cantatas. The
Children's Choir (grades 1--4) and the Junior Choir (grades 5--8) not only
provide a training ground for young singers, but also make frequent
contributions to worship services. At least one service each month is led by
the Adult Folk Instrument Group, and the Children's Folk Group often supports
the weekly school chapel service.

The school string program has led to the formation of a string orchestra, and it
will provide instrumental support for Sunday services. Students from third grade
on are taught to read music and play an instrument such as the recorder. Students
in 5\th\ through 8\th\ grades receive instruction in music history.

Bethany takes pleasure in supporting musical presentations such as today's
organ recital. In the past, visiting organists Paul Manz, Herbert Nanney, and
Charles Ore have given stimulating performances, and we have recently been
hosts to the Handbell Choir from Bethany, Long Beach, and the Concordia A Capella
Choir from Seward, Nebraska.

\vfill\end