The plaintive cry of the ancient shofar called the people to order on Sabbath, June 24, at the Vallejo Drive church to dedicate their renovated Casavant pipe organ to God’s glory. For 10 months, the organ had been silent; at last it has “come alive” again.

The pastoral staff hoped that more than a grand instrument would take another breath; we prayed for the revitalization of our spiritual lives as well. With this in mind, the dedication program was designed to take us through Calvary to our Lord’s astounding resurrection.

The congregation participated by singing several great Christian hymns, with organ, choir and brass accompaniment and reading antiphonal lessons from the Bible and The Desire of Ages.

Organists Ladd Thomas and Elisabeth Remboldt evoked God's glory with resounding performances portraying Calvary and resurrection themes. Their music included Cocker's "Tuba Tune," Albinoni's "Adagio in G Minor," culminating with an organ duet, Rutter's "Variations on an Easter Theme 'Ye Sons and Daughters.'"

Dupré's "Symphonie-Passion, Op. 23 (Crucifixion; Resurrection)," was the program's musical centerpiece, with the third movement depicting the painful ascent to Calvary. Jagged dissonances built with a crescendo to a shattering climax, followed by soft fragments of the hymn, Stabat Mater Dolorosa ("The Sorrowful Mother Was Standing").

The final movement, “Resurrection,” based on the hymn, Adoro Te ("Thee We Adore, O Hidden Savior"), arises out of darkness into the dawn, then builds through thematic statements to a thunderous conclusion of cascading chords. The finale is one of the most joyous and triumphant in organ literature.

"Vallejo Drive Church has two of the finest organists in the country," said Senior Pastor Smuts Van Rooyen. For decades, Remboldt has led organ and choral worship for several congregations. Thomas is professor of music and chair of the organ department at USC's Thornton School of Music.”

The Chancel Choir and Brass Ensemble, directed by Maurita Phillips Thornburgh, offered full-throated praise with Peeters’ "Entrata Festiva," "Let the People Praise Thee, O God," by Mathias; and Beck's "Upon This Rock."

In his sermon, "A Single Golden G," Van Rooyen compared the resolution of the tension in a piano concerto by the striking of a simple g with the resolution of the anguish in Mary's mind at the open tomb by the simple calling of her name. To hear one's name spoken from the other side of the grave by the Lord is the ultimate reassurance any person can experience, he says.

Wayne Hooper, the moving spirit for the organ’s installation when the sanctuary was built, offered the prayer of dedication. He prayed that the glory of God might fill the church as the Shekinah glory filled the temple when Solomon dedicated it, “lifting heart and mind and soul to You, our Creator God, in joy-filled praise."