A LAKESIDE CHRISTMAS
December 15, 4:00 pm
THE REV DR PAMELA ANDERSON
Interim Pastor
DON SCOTT CARPENTER Organist & Director of Music
SESSION
CLASS OF 2024
Karl Morthole
Judith J. Murio
Beth Phipps
CLASS OF 2025
Joel Bruxvoort
Margaret Colfer
Margaret Elam
Cindy Young
CLASS OF 2026
Dan Anderson
Gail Hemenway, clerk
Lakeside Presbyterian Church 201 Eucalyptus Drive San Francisco, CA 94132
Lakeside Presbyterian Church is a member of the Presbytery of San Francisco and the Presbyterian Church (USA).
Lakeside Presbyterian Church, nestled in San Francisco’s tranquil West of Twin Peaks neighborhood, is a thriving community dedicated to worship, fellowship, and outreach. Blending a deep history in the Reformed tradition with a fresh, modern approach to ministry, Lakeside is a welcoming space for individuals and families from all walks of life. The church's mission is rooted in faith, love, and service, offering a spiritual home where people can grow and connect.
Worship at Lakeside is both meaningful and inspiring, featuring thoughtprovoking sermons and an exceptional musical program. Music plays a central role in the church's life, enhancing worship and serving as a bridge to the broader community. Lakeside is known for hosting concerts and events that draw music enthusiasts from across the Bay Area, reflecting its commitment to artistic expression and community engagement. These events include seasonal highlights like the annual Christmas Concert and collaborations with renowned musicians and ensembles, underscoring Lakeside’s reputation as a cultural hub.
Beyond its worship services, Lakeside extends its vision through vibrant outreach initiatives. These include small group gatherings, programs for children, and efforts in social justice and community care. The church actively supports meaningful causes, fostering connections and inspiring action among its members.
Lakeside Presbyterian Church invites everyone to experience its warmth, inclusivity, and dedication to faith and service. Whether participating in Sunday worship, joining a fellowship activity, or attending a concert, visitors encounter a dynamic, loving community where they can find purpose, connection, and belonging. In every aspect, Lakeside reflects its mission to be a beacon of light and hope in the San Francisco community and beyond.
Children of God, W elcome H ome!
Welcome to Lakeside Presbyterian Church’s annual holiday concert, “A Lakeside Christmas.” We are thrilled to have you with us to celebrate the season in the warmth of music and community. This afternoon’s concert promises an uplifting journey through beloved choral masterpieces and joyful holiday favorites that will resonate with the spirit of Christmas. This afternoon, our church transforms into a space of light, harmony, and connection, as we come together to share in the wonder and beauty of this festive time of year.
Our music ministry has prepared an exquisite program that captures the essence of Christmas, celebrating hope, peace, and joy. The Lakeside Symphony and Chorus will present pieces ranging from timeless classics to fresh interpretations of holiday pieces, ensuring something special for everyone. Whether it’s the triumphant sounds of Handel, the ringing of bells, the soulful beauty of Vaughan Williams, or the simple pleasure of Vivaldi, we invite you to let the music lift your spirit and fill your heart with the warmth of the season.
As we celebrate, we remember that the Christmas story is one of love, generosity, and unity. May this concert be a reminder of the joy that can be found in shared moments and in the spirit of giving. Your presence here adds to the magic of this afternoon, and we are grateful for the chance to celebrate with you.
Join us in the Narthex immediately following the concert for a mulled wine and cookie reception. We want to meet and greet you during this most celebrated time of the year.
On behalf of the members and leadership of Lakeside Presbyterian Church, thank you for being here. We hope this experience fills you with peace and inspiration, and that you leave with memories to carry you throughout the season. May the joy and light of Christmas stay with you long after the final notes fade, and we warmly invite you to join us again for worship or any of our upcoming events in the new year.
DON SCOTT CARPENTER , a Louisville native, is a distinguished composer, conductor, and organist based in San Francisco Presently, he serves as the Organist and Director of Music & Engagement at Lakeside Presbyterian Church, where he leads a multi-faceted program, as well as the Lakeside Community Choir and Camerata. He is also the Founder and General Director of Vox Humana SF, where he engages audiences through profound musical interpretations. Mr. Carpenter’s extensive experience includes prestigious roles such as Executive Director of the American Bach Soloists, Music Director of San Francisco Renaissance Voices, and General Director of the Santa Fe Desert Chorale. His choirs have performed in celebrated venues worldwide, including Carnegie Hall and the Dom in Salzburg. He has commissioned world premieres and produced recordings including Shalom and O Sing Joyfully. With an unwavering commitment to musical excellence and innovation, Mr. Carpenter is dedicated to enriching the cultural landscape of San Francisco and beyond.
DON SCOTT CARPENTER Organist and Director of Music & Engagement
PROGRAM NOTES
A CEREMONY OF CAROLS – BRITTEN
Benjamin Britten's A Ceremony of Carols, Op. 28, is one of the most cherished choral works for the holiday season. Composed in 1942 during Britten's return voyage from the United States to England, the work reflects both his British heritage and his distinctive modern voice. Inspired by medieval carols and set for treble voices and harp, the piece features eleven movements that blend English texts from The English Galaxy of Shorter Poems with Britten's inventive harmonic language and rhythmic vitality.
Each movement is distinct yet linked by a thematic unity that captures the mystery, joy, and reverence of Christmas. Opening and closing with the Gregorian chant “Hodie Christus Natus Est,” Britten frames the carols with an air of solemnity. Movements such as “Wolcum Yole!” and “This Little Babe” bring forth a lively celebration, while the delicate “Balulalow” explores the nativity with a reflective tenderness. Britten’s use of the harp lends the piece an ethereal, timeless quality, evoking medieval court music and sacred settings alike.
A Ceremony of Carols endures as a unique fusion of traditional and contemporary styles, standing out as both accessible and profound. Its blending of ancient texts with Britten’s modern style continues to resonate, captivating today’audiences with its artistry and depth.
FANTASIA ON “GREENSLEEVES” – VAUGHAN WILLIAMS
Ralph Vaughan Williams’ Fantasia on Greensleeves is a beloved orchestral arrangement based on the traditional English folk tune "Greensleeves." Originally conceived as part of his opera Sir John in Love (1929), the piece captures the pastoral beauty and rich musical heritage of England. Scored for strings and harp, Vaughan Williams’ setting enriches the haunting melody with lush harmonies and delicate orchestration that evoke an atmosphere of nostalgia and serenity.
The fantasia opens with the familiar "Greensleeves" melody, rendered with a gentle warmth, before transitioning into a contrasting section based on the folk tune "Lovely Joan," a second, lilting melody that flows seamlessly within the piece. By blending these traditional tunes, Vaughan Williams crafts a composition that feels timeless and evocative. Fantasia on Greensleeves remains a favorite for its melodic simplicity and Vaughan Williams' sensitive homage to England's folk traditions.
MAGNIFICAT – JOHANN CHRISTIAN BACH
Johann Christian Bach's Magnificat in C Major is a vibrant and expressive setting of Mary’s hymn of praise, the Magnificat, from the Gospel of Luke. Composed around 1760 during Johann Christian’s years in London, the piece showcases the influence of both his family legacy and his distinct style, which would go on to influence composers like Mozart. Known as the “London Bach,” Johann Christian, the youngest son of J.S. Bach, was renowned for his melodic grace and for integrating the galant style marked by elegance, clarity, and lightness into his sacred music.
The Magnificat in C Major, written for soloists, chorus, and orchestra, captures the joy and devotion of Mary’s words. Bach uses lively rhythms, clear melodic lines, and dynamic contrasts to bring the text to life, from the celebratory “Magnificat anima mea” (“My soul magnifies the Lord”) to the contemplative “Et misericordia” (“And His mercy”). Throughout the piece, Bach’s refined harmonic language and sophisticated counterpoint are apparent, revealing both his heritage and his innovation within the classical style.
The Magnificat reflects Bach’s skill in balancing reverence with accessibility, making it a significant and engaging example of 18th-century sacred music. Though Johann Christian’s sacred works are less known today than those of his father, his Magnificat continues to be appreciated for its elegance and spirited expression, offering a window into both his individual artistry and the evolving musical landscape of his time.
LO, HOW A ROSE E’ER BLOOMING – SANDRA EITHUN
Sandra Eithun’s handbell arrangement of Lo, How a Rose E’er Blooming beautifully reimagines the traditional German Christmas hymn for bell choirs. Known for her sensitive approach to handbell composition, Eithun preserves the hymn’s serene, reflective quality, layering gentle harmonies and smooth, flowing lines to evoke a sense of calm and reverence. Her arrangement allows each bell to resonate fully, creating a warm, meditative atmosphere. The piece invites listeners into the quiet beauty of the season, honoring the message of hope and grace central to the hymn.
Antonio Vivaldi's Winter from The Four Seasons (1723) vividly captures the drama and beauty of the coldest season through expressive string writing and innovative use of musical imagery. Part of his iconic violin concertos that portray each season, Winter (Concerto No. 4 in F minor, Op. 8, RV 297) stands out for its striking portrayal of icy landscapes, shivering cold, and cozy moments by the fire. Inspired by a descriptive sonnet, most likely written by Vivaldi, himself, each of the three movements of Winter corresponds to vivid scenes and emotions of the season
The opening Allegro non molto begins with brisk, biting rhythms that emulate freezing winds, while high, staccato notes depict the trembling and chattering of people in the cold. In the middle movement, Largo, Vivaldi shifts the mood to a serene warmth, conjuring images of sitting by a crackling fire while icy rain falls outside, with the solo violin expressing calmness amidst the harsh season. The final movement, Allegro, reawakens the chill, bringing to life skidding across ice, stumbling, and the inevitable arrival of fierce winds. Vivaldi uses musical effects such as rapid bowing, unusual harmonies, and a variety of tempos to mirror each of these actions with vivid clarity.
Winter is not only a testament to Vivaldi's inventive genius but also to his pioneering spirit in program music, as he vividly translates descriptive poetry into sound. The work’s dramatic contrasts and intricate violin passages make it a thrilling conclusion to The Four Seasons, celebrated for its engaging narrative and brilliant virtuosity.
MESSIAH – HANDEL
Handel’s Messiah, composed in 1741, is one of the most beloved works in choral music, especially celebrated during the holiday season for its Christmas portion, Part 1, and the iconic “Hallelujah” chorus. The text, compiled by Charles Jennens from both Old and New Testament scriptures, focuses on prophecy, the birth of Jesus, and the promise of salvation.
Among the highlights of Part 1 are the joyful chorus “For Unto Us a Child Is Born,” which celebrates the birth of Christ with intricate vocal lines and harmonies that reflect both reverence and exultation. The energetic chorus “Glory to God in the Highest” captures the heavenly announcement of peace on earth with Handel’s trademark contrasts, portraying angelic praise alongside themes of divine serenity.
The “Hallelujah” chorus, the end of Part 2, is perhaps the most iconic movement in the oratorio. Its powerful lines and rich counterpoint proclaim the glory of Christ’s eternal reign. Tradition holds that audiences stand during this chorus, moved by its majesty and celebratory power.
Together, Part 1 and the “Hallelujah” chorus showcase Handel’s mastery in blending emotional depth with musical drama. These pieces, particularly “For Unto Us” and “Glory to God,” have become synonymous with the holiday season, celebrated worldwide for their warmth, grandeur, and uplifting message.
A Lakeside Christmas
DON SCOTT CARPENTER, CONDUCTOR
BENJAMIN BRITTEN A CEREMONY OF CAROLS, OP. 28
B. LOWESTOFT, 1913
D. ALDEBURGH, 1976
PROCESSION “HODIE CHRISTUS NATUS EST”
II. WOLCOM YOLE!
III. THERE IS NO ROSE
IVA THAT YONGË CHILD
IVB. BALULALOW
V. AS DEW IN APRILE
VI. THIS LITTLE BABE
LAKESIDE CHORUS
MACY MULLINS, SOPRANO | SALLY MOUZON, MEZZO-SOPRANO
AMY AHN, HARP
RALPH VAUGHAN WILLIAMS FANTASIA ON GREENSLEAVES
B. DOWN AMPNEY, 1872
D HANOVER TERRACE, 1958
LAKESIDE SYMPHONY
JOHANN CHRISTIAN BACH MAGNIFICAT, WARBURTON E 22
B. LEIPZIG, 1735
D. LONDON, 1782
MAGNIFICAT (CORO)
QUIA RESPEXIT (SOPRANO)
QUIA FECIT MIHI MAGNA (CORO)
ET MISERICORDIA EJUS (CORO)
FECIT POTENTIAM (BASS)
DISPERSIT SUPERBOS (CORO)
DEPOSUIT POTENTES (ALTO)
ET EXALTAVIT (CORO)
ESURIENTES (TENOR)
SUSCEPIT ISRAEL (CORO)
SICUT LOCUTUS EST (BASS)
ABRAHAM ET SEMINI EJUS (CORO)
GLORIA PATRI (CORO)
ET IN SAECULA SAECULORUM (CORO)
LAKESIDE SYMPHONY AND CHORUS
MACY MULLINS, SOPRANO | SALLY MOUZON, ALTO | GABRIEL LIBOIRON-COHEN, TENOR | CORBY YORK, BASS
SANDRA EITHUN LO, HOW A ROSE E’ER BLOOMING
B. KIEL, 1963
JUBILATION RINGERS
ANTONIO VIVALDI LE QUATTRO STAGIONI , RV 297 (THE FOUR SEASONS)
B VENICE, 1678
D. VIENNA, 1741
L’ INVERNO (WINTER)
I. ALLEGRO NON MOLTO
II. LARGO
III. ALLEGRO
GAIL HERNÁNDEZ-ROSA, VIOLIN
LAKESIDE SYMPHONY
GEORGE FRIEDERIC HANDEL
B. HALLE, 1685
D. WESTMINSTER, 1759
MESSIAH, HMV 56
11. FOR UNTO US A CHILD IS BORN
12. PIFA
RECITATIVO: THERE WERE SHEPHERDS
13B. ARIOSO: BUT LO, THE ANGEL OF THE LORD
RECITATIVO: AND THE ANGEL SAID UNTO THEM
ACCOMPAGNATO: AND SUDDENLY, THERE WAS WITH THE ANGEL
15. CHORUS: GLORY TO GOD
RECITATIVO: THEN SHALL THE EYES OF THE BLIND BE OPEN
17C AIR: HE SHALL FEED HIS FLOCK
18. REJOICE
39. HALLELUJAH
LAKESIDE SYMPHONY AND CHORUS
MACY MULLINS, SOPRANO | SALLY MOUZON, ALTO
LAKESIDE CHORUS
SOPRANOS
Kelly Ballou
Margaret Elam
Corinne Hansel
Marielle Leiboff
Macy Mullins*
Beth Phipps
Rachel Schlesinger
Sandra Tye#
ALTOS
Naomi Braun
Gail Hemenway
Sally Mouzon
Judith J. Murio
Michelle Pavlova
Kyle Tingzon*#
Cindy Young#
TENORS
Sheng Feng Chan
Gabriel Liboiron-Cohen
Toan Nguyen
Owen Purcell
Vacant*
BASSES
Daniel Brakefield
Corby York*
Joey Valkevich
*Section leader
#Unable to perform in today’s concert.
OUR MUSICIANS
LAKESIDE SYMPHONY
VIOLIN I
Gail Hernández Rosa concertmaster
Wilton Huang
Christine Meals
VIOLIN II
Carla Moore
Maxine Nemerovski
Titia Martin
VIOLA
Yvonne Smith
Maria Caswell
CELLO
Eva Lymenstull
Hasan Abualhaj
BASS
Daniel Turkos
OBOE
Matthew Hudgens
Alessandra Ramos
TRUMPET
Dominic Favia
Dustin Hart
CORNO
Sadie Glass
Reese Romero
KEYBOARD
Amy Ahn, harp
Dan Anderson, organ
JUBILATION RINGERS
PLAYERS
Dan Anderson
Jane Sharp
Beth Phipps
Janet Kendall
Cindy Young#
Judith J. Murio
Corinne Hansel
Margaret Elam
Corby York
TEXT AND TRANSLATIONS
A CEREMONY OF CAROLS
PROCESSION
Hodie Christus natus est: hodie Salvator apparuit: hodie in terra canunt angeli: laetantur archangeli Hodie exsultant justi dicentes: gloria in excelsis Deo. Alleluia!
II. WOLCOM YOLE
Wolcum Yole!
Wolcum be thou hevene king, Wolcum Yole!
Wolcum, born in one morning, Wolcum for whom we sall sing!
Wolcum be ye Stevene and Jon, Wolcum innocentes every one, Wolcum Thomas marter one.
Wolcum be ye good Newe Yere, Wolcum, Twelfthe Day both in fere, Wolcum, seintes lefe and dere, Wolcum Yole! Candelmesse, Quene of bliss, Wolcum bothe to more and lesse.
Today Christ is born; today the Savior has appeared. Today the angels sing on earth; the archangels rejoice. Today the righteous exult, saying: Glory to God on high! Alleluia!
Wolcum be ye that are here, Wolcum, wolcum, make good cheer. Wolcum alle another yere. Wolcum!
- Anonymous. 14th c.
III. THERE IS NO ROSE THERE IS NO ROSE OF SUCH VERTU
As is the rose that bare Jesu. Alleluia. For in this rose conteined was Heaven and earth in litel space, Res miranda.
By that rose we may well see There be one God in persons three, Pares forma.
The aungels sungen the shepherds to Gloria in excelsis Deo, Gaudeamus. Leave we all this werldly merth And follow we this joyous birth, Transeamus.
- Anonymous. 14th c.
IVA THAT YONGË CHILDE
That yongë child when it gan weep With song she lulled him asleep; That was so sweet a melody It passèd alle minstrelsy. The nightingalë sang also: Her song is hoarse and nought thereto: Whoso attendeth to her song And leaveth the first then doth he wrong.
- Anonymous. 14th c.
O my deare hert, young Jesu sweit, Prepare thy creddil in my spreit, And I sall rock thee to my hert, And never mair from thee depart. But I sall praise thee evermoir with sanges sweit unto thy gloir; The knees of my hert sall I bow, And sing that richt Balulalow.
-James, John, and Robert Wedderburn (1548)
V. AS DEW IN APRILE
I syng of a mayden that is makeles, kyng of alle kynges to here sone che ches.
He came also stylle ther his moder was as dew in aprylle, that fallyt on the gras.
He cam also stylle to his moderes bowr as dew in aprille, that fallyt on the flour.
VI. THIS LITTLE BABE
This little Babe so few days old, Is come to rifle Satan’s fold; All hell doth at his presence quake, Though he himself for cold do shake; For in this weak unarmed wise The gates of hell he will surprise.
With tears he fights and wins the field, His naked breast stands for a shield. His battering shot are babish cries, His arrows looks of weeping eyes, His martial ensigns Cold and Need, And feeble Flesh his warrior’s steed.
He cam also stylle þer his moder lay as dew in Aprille, that fallyt on the spray.;
Moder & mayden was neuer non but che wel may swych a lady Godes moder be.
- Anonymous. 14th c
His camp is pitched in a stall, His bulwark but a broken wall; The crib his trench, haystalks his stakes; Of shepherds he his muster makes; And thus, as sure his foe to wound, The angels’ trumps alarum sound.
My soul with Christ join thou in fight; Stick to the tents that he hath pight [pitched]. Within his crib is surest ward; This little Babe will be thy guard. If thou wilt foil thy foes with joy, Then flit not from this heavenly Boy.
- Robert Southwell (1561?-1595)
MAGNIFICAT
Magnificat anima mea Dominum; et exsultavit spiritus meus in Deo salutari meo, quia respexit humilitatem ancillae suae; Ecce enim ex hoc beatam me dicent omnes generationes.
quia fecit mihi magna, qui potens est, et sanctum nomen eius, Et misericordia eius a progenie in progenies timentibus eum.
Fecit potentiam in brachio suo; dispersit superbos mente cordis sui; deposuit potentes de sede, et exaltavit humiles; esurientes implevit bonis et divites dimisit inanes.
Suscepit Israel puerum suum, recordatus misericordiae suae, sicut locutus est ad patres nostros, Abraham et semini eius in saecula.
Gloria Patri, et Filio, et Spiritui Sancto, sicut erat in principio, et nunc, et semper: et in Saecula saeculorum. Amen.
“WINTER” FROM FOUR SEASONS
Aggiacciato tremar trà nevi algenti
Al servo spirar d’orrido Vento
Correr battendo i piedi ogni momento
E per soverchio gel batter I denti
Passar al foco I di quieti e contenti
Mentre la pioggia fuor bagna ben cento
Caminar sopra ‘l giccio; e à passo lento
Per timor di cader girsene intenti
Gir forte, sdrucciolar cader à terra
Di nuovo ir sopra ‘l giaccio, e corer forte Sin che ‘l giaccio si rompte, e si disserra
Sentir uscir dale ferrate porte
Sirocco, Borea, e tutti I venti in Guerra Questi è ‘l Verno, mà tal, che gioia apporte.
My soul doth magnify the Lord.
And my spirit hath rejoiced in God my Savior. For he hath regarded: the lowliness of his handmaiden: For behold, from henceforth: all generations shall call me blessed. For he that is mighty hath magnified me: and holy is his Name.
And his mercy is on them that fear him: throughout all generations.
He hath shewed strength with his arm: he hath scattered the proud in the imagination of their hearts.
He hath put down the mighty from their seat: and hath exalted the humble and meek.
He hath filled the hungry with good things: and the rich he hath sent empty away.
He remembering his mercy hath holpen his servant Israel:
As he promised to our forefathers, Abraham and his seed forever.
Glory be to the Father, and to the Son: and to the Holy Spirit;
As it was in the beginning, is now, and ever shall be: world without end. Amen.
To shiver, frozen, amid icy snows,
At the harsh wind’s chill breath;
To run, stamping one’s feet at every moment; With one’s teeth chattering on account of the excessive cold;
To pass the days of calm and contentment by the fireside
While the rain outside drenches a hundred others;
To walk on the ice, and with slow steps
To move about cautiously for fear of falling;
To go fast, slip, fall to the ground;
To go on the ice again and run fast
Until the ice cracks and breaks open;
To hear, as they sally forth through the iron-clad gates, Sirocco, Boreas, and all the winds at war.
This is winter, but of a kind to bring joy.
“Winter” poem composed by Antonio Vivaldi with English language translation by Paul Everett Ó Cambridge University Press 1996, Reproduced with permission.
11. Chorus
For unto us a child is born, unto us a son is given: and the government shall be upon his shoulder; and his name shall be called Wonderful, Counsellor, The mighty God, The everlasting Father, The Prince of Peace.
-Isaiah 9:6
Pifa Pastoral Sinfonia
Recitative
There were shepherds abiding in the field, keeping watch over their flock by night.
-Luke 2:8
Recitative
Then shall the eyes of the blind be opened, and the ears of the deaf unstopped. Then shall the lame man leap as an hart, and the tongue of the dumb shall sing.
-Isaiah 35:5–6
13b. Accompagnato
And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.
-Luke 2:9
17c. Duet
He shall feed his flock like a shepherd: and he shall gather the lambs with his arm, and carry them in his bosom, and gently lead those that are with young.
-Isaiah 40:11
Come unto him, all ye that labor, come unto him, that are heavy laden, and he will give you rest. Take his yoke upon you, and learn of him; for he is meek and lowly of heart: and ye shall find rest unto your souls.
-Matthew 11:28–29
Recitative
And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Savior, which is Christ the Lord.
-Luke 2:10–11
18. Rejoice
Rejoice greatly O daughter of Zion, O daughter of Zion, Rejoice. Shout! O daughter of Jerusalem. Behold thy king cometh unto thee. He is the righteous savior, and he shall speak peace unto the heathen.
-Zechariah 9:9
Accompagnato
And suddenly there was with the angel a multitude of the heavenly host praising God, and saying,
-Luke 2:13
15. Chorus
Chorus Glory to God in the highest, and peace on earth, good will toward men.
-Luke 2:14
39. Chorus
Hallelujah: for the Lord God omnipotent reigneth.
-Revelation 19:6
The kingdom of this world is become the kingdom of our Lord, and of his Christ; and he shall reign for ever and ever.
-Revelation 11:15
King of Kings, and Lord of Lords.
-Revelation 19:16
The music ministry of Lakeside Presbyterian Church has a long and creative history. Since the church’s inception in the summer of 1941 by the Rev. Dr. Harry Clayton Rogers, preaching and enthusiastic hymn and Psalm singing were immediately a part of the worship service. With the church’s second pastor, the Rev. Dr. Clark Neale Edwards, the music ministry was formalized, and the church enlisted the help of San Francisco State University’s choral director, Dr. Roy Freeburg, alongside voice teacher, Harold Hollingsworth. Every telling of the church’s history states that this congregation likes to sing.
Today, the music ministry is a strong, vibrant program of the church which allows members and guests, alike, to sing, ring, and act praise to Almighty God. The church has established numerous musical groups to support the outreach of the congregation. Children's and youth choirs, both singing and handbell ringing, the Chancel Choir (as it is now known), the Lakeside Handbell Choir, and the Lakeside Drama Troupe all make up a ministry poised to serve the Ingleside and Stonestown communities. Our ministry at Lakeside has seen annual services of Nine Lessons and Carols (Advent and Christmas); Christmas Pageants; Evensong services, Liturgical Dance; regional and national Handbell festivals, and tours to the Rose Bowl in Pasadena, Idaho, Nevada, and Festivals in Hawaii; special performances of Magnificat (Vaughn Williams), Messiah (Handel), Amahl and the Night Visitor (Menotti), Requiem (Fauré), Requiem (Rutter), Requiem (Mozart), Messe Solennelle (Vierne); world premieres of anthems composed for the church; and a handbell outreach project at Chinese Grace Church in Chinatown. It has presented the Broadway musical Godspell; and a review titled “Broadway: Then and Now”. The program has also hosted a competition for young composers, summer music camps for members and the community, and in 2016 it established the annual community Handbell Festival. In 2018, the Chancel Choir made its Carnegie Hall debut, and in 2024 the Lakeside Camerata (formed in 2018) became the Lakeside Symphony and Chorus as part of its outreach initiative to engage more of the community in the church’s daily life.
The Lakeside organ was built by Robert Pearson in 2003; the original sanctuary organ was built in Germany in 1965. The sanctuary houses a 7’ Nordiska grand piano with many smaller instruments throughout the church supporting its mission and outreach efforts. The church also has five octaves of English handbells, cast at the Whitechapel Foundry in London, England; and a three-octave set of Malmark tone chimes.
