Nunc Dimittis

John Courter, organist and carillonneur at Berea College and retired professor of music, died June 21, at the age of 68. Courter joined the Berea College faculty in 1971. After retiring from teaching in 2007, he continued to serve as college organist and carillonneur. In addition, he was organist at Union Church and had been a long-time contributor to the music of St. Clare Catholic Church, both in Berea.
A native of Lansing, Michigan, Courter earned a bachelor’s degree in choral music education from Michigan State University in 1962 and a master of music degree in organ in 1966 from the University of Michigan. He had also studied at the North German Organ Academy and held diplomas from the Netherlands Carillon School.
During his 39 years at Berea, Courter contributed to the musical life of the campus and larger community. He taught organ, piano, chime, and carillon performance, church music, and music theory, and was a former director of the Harmonia Society. A well-known organist in the region, he was dean of the Lexington AGO chapter. He was involved in the renovation of the Holtkamp pipe organ in Gray Auditorium at Berea and the recent restoration of the 10-bell chime in Phelps Stokes Chapel. He was the driving force behind Berea’s 56-bell carillon, the largest in the state of Kentucky.
In 1995 Courter received Berea College’s Seabury Award for Excellence in Teaching, and in 2006 received the Elizabeth Perry Miles Award for Community Service for his numerous contributions to the campus and community as a musician and for volunteer service with Madison County’s public radio station. In 1993, he was awarded the Berkeley Medal for Distinguished Service to the Carillon as a performer and composer. He was a Fellow of the American Guild of Organists and a member of the Guild of Carillonneurs in North America.
Courter won several international prizes for his carillon compositions, and his works have been published in Germany, the Netherlands, and the United States. He has written works commissioned by the Palace of Government in Barcelona, the cities of Utrecht, Kampen, and Almelo (the Netherlands), the Arts Council of Ireland, the University of Michigan, and Grand Valley State University.
In 2005, Courter established the Summer Carillon Concert Series at Berea College, which continues to bring international carillonneurs to Berea’s campus. In his will, Courter provided for the ongoing maintenance of Berea’s carillon, which will be dedicated as the John Courter Carillon during the college’s homecoming this fall.
John Courter is survived by two brothers, two sisters, seven nieces and nephews, nineteen great-nieces and nephews, and special friend and caregiver at the end of his life, Rev. Dr. Theresa Scherf. A memorial service took place June 24 at Union Church in Berea. There will be a special memorial concert later this year.

David Sanger, concert organist, teacher, and past president of the Royal College of Organists, was found dead on May 28. Born in London, Sanger was educated at Eltham College and the Royal Academy of Music, and also studied privately with Susi Jeans, Marie-Claire Alain, and Anton Heiller. He became well known as an organ recitalist when he won first prize in two international competitions: St. Alban’s, England in 1969 and Kiel, Germany in 1972. He recorded over 20 CDs, including the complete organ works of César Franck at the Katarina Church in Stockholm for BIS, and Vierne’s six organ symphonies for Meridian. He acted as consultant on a number of organ projects, including the new Cavaillé-Coll-style instrument at Exeter College, Oxford, and new, restored, or rebuilt organ projects at Bromley Parish Church, Haileybury College, St. Cuthbert’s and Usher Hall in Edinburgh, Sheffield Cathedral, and Trinity Hall, Cambridge.
Sanger also composed music for organ, and for strings and choirs. He authored an organ method book in two volumes for beginners, entitled Play the Organ, which has become the most widely used in Britain in recent years. Together with Jon Laukvik he edited the organ works of Louis Vierne, comprising 13 volumes in a boxed set, published by Carus Verlag, Stuttgart. From 1980–89 David Sanger was professor of organ at the Royal Academy of Music in London, serving as chairman of the organ department from 1987–89. Between 1989–97 he was a consultant professor at the Royal Academy of Music.

Kenneth Vernon Turvey died March 4 in Huntsville, Alabama. He was 81. Born in Dayton, Ohio, his first organ studies were with Frank Michael, and during high school, with Parvin Titus at the University of Cincinnati Conservatory of Music, to which Turvey made a 50-mile bus trip each week for lessons, and where he completed bachelor’s and master’s degrees. After finishing his degrees in 1951, he served in the Army during the Korean War. In 1955, Turvey began a 50-year career as music director for the First United Methodist Church in Huntsville. He also pursued doctoral organ studies with Oswald Ragatz at Indiana University. Turvey served for 42 years as director of the Huntsville Community Chorus, and conductor of the Decatur Civic Chorus for 17 years. He also taught at Athens State University and the University of Alabama in Huntsville, and was a co-founder of the Huntsville AGO chapter. Kenneth Turvey is survived by his wife, Janet, five children, seven grandchildren, and a great-grandaughter.

Jerry P. Whitten, 82 years old, died February 7 in Memphis, Texas. Born in Muskogee, Oklahoma, he received a bachelor’s degree from the University of Oklahoma, studying with Mildred Andrews, and a master’s degree in sacred music from Union Theological Seminary in New York City, studying with Vernon de Tar. Whitten was employed by Tarpley Music Co. in Pampa, Texas, for 43 years, and served as organist-choirmaster at St. Matthew’s Episcopal Church in Pampa for 15 years. Jerry Whitten is survived by his wife Nancy, four stepchildren, three step-grandchildren, three brothers, and two sisters.

Organbuilding in the United States and Canada is a thriving art practiced in hundreds of shops throughout the continent. Emerging from decades of stylistic extremes, organbuilders are combining a wealth of knowledge from the past with new technologies to meet contemporary design challenges. North American builders, compelled by a unique spirit of cooperation and openness, are successfully raising the artistic standards of this time-honored craft. (American Institute of Organbuilders, descriptive statement.)

The organ has occupied a prominent place in the musical culture of Canada since the days of the first European settlement, chiefly because of its close connection with church music and the ambitions of many congregations. The first organs, brought from France, were installed in Québec City around 1660. An anecdotal report mentions the acquisition by a Halifax church of a Spanish instrument that had been seized on board a ship in 1765.1 Following a period in which organs continued to be imported from England and France, organbuilding began as early as 1723 and flourished mainly in Québec and Ontario from the mid-19th century onward.2 By the second half of the 19th century, organ building had become a relatively important industry in Eastern Canada, where companies had acquired sufficient expertise to compete in the international market, including the United States.3

The development of organbuilding in Canada proceeded through several phases, beginning with early builders.4  The first known organbuilder was Richard Coates, who arrived in Canada from England in 1817; he supplied mainly barrel organs to several small churches in Ontario. Joseph Casavant, the first Canadian-born builder, installed his first instrument in the Montréal region in 1840; he transmitted his skills to his sons, who later established the company that achieved world-wide recognition. The arrival from the United States of Samuel Russell Warren in 1836 marked the introduction of professional-calibre organbuilding into the country. His family firm had produced about 350 pipe organs by 1869; it was sold in 1896 to D. W. Karn (see below). Other prominent organ builders included Napoléon Déry (active 1874-1889), Eusèbe Brodeur (a successor to Joseph Casavant in 1866), and Louis Mitchell (active 1861-1893) in Québec, and Edward Lye (active 1864-1919) in Ontario.

The years 1880-1950 were marked by unprecedented growth in organbuilding, beginning with the establishment of Casavant Frères in 1879 in Saint-Hyacinthe, Québec. The Canadian Pipe Organ Company/Compagnie d'orgues canadiennes was established in 1910 by some former Casavant staff, also in Saint-Hyacinthe (when the firm closed in 1931 its equipment was acquired by Casavant). Prominent Ontario builders included the firms of Richard S. Williams (founded 1854 in Toronto), Denis W. Karn (commenced 1897 in Woodstock), C. Franklin Legge (founded 1915 in Toronto, joined by William F. Legge 1919, who later established his own company in Woodstock around 1948), and the Woodstock Pipe Organ Builders (an organization of skilled craftsmen in that Ontario town, 1922-1948). Several smaller, independent builders were active for a time in Ontario, the Maritime provinces, and Manitoba (late 1880s). British Columbia, on the other hand, seems to have had no indigenous organbuilders, for instruments were imported from the United States or from England on ships that sailed around Cape Horn; one of the earliest arrived in Victoria from England by this route in 1861.

In the early 1950s some organbuilders, encouraged by younger organists who had played European instruments, as well as the increasing availability of sound recordings of these organs, turned to classical principles of organbuilding to counter what they perceived as the colorless sound palettes of Canadian organs of the 1930s. The return to earlier tonal aesthetics, inspired by the so-called 17th-century "Baroque organ," found expression in the construction of bright-toned, tracker-action instruments. The "new orthodoxy" was enthusiastically assimilated by Casavant Frères and by a number of independent builders in the same region, some of whom had received their training in Europe. Karl Wilhelm, Hellmuth Wolff, André Guilbault and Guy Thérien, Fernand Létourneau, Gabriel Kney, and Gerhard Brunzema were prominent in this movement, and many of them are still in business. Their accomplishments, along with the activities of other known organbuilders of the 1990s, will be described in chronological order, according to their founding dates, in the remainder of this article.5

Casavant Frères, Saint-Hyacinthe, Québec (1879)

Casavant is the oldest continuing name in organbuilding in North America. Joseph Casavant (1807-1874), the father of the founders of the company, began his organbuilding career while still a Latin student at a Québec religious college, where he completed an unfinished organ from France with the help of a classic treatise on organbuilding. By the time he retired in 1866, after 26 years in business in Saint-Hyacinthe, Québec, he had installed organs in 17 churches in Québec and Ontario, but none of them survive. His sons, Joseph-Claver Casavant (1855-1933) and Samuel-Marie Casavant (1850-1929), worked for Eusèbe Brodeur, their father's successor, for a few years. They opened their own factory in Saint-Hyacinthe, Québec, in 1879, following an extended tour of western Europe inspecting organs and visiting workshops; Claver had apprenticed briefly with a Versailles builder before the tour. In the early years the Casavant brothers were conservative in their tonal design, emulating the ensemble sound of the kind they had heard in old-world instruments that they had examined during their European tour. But from the outset the brothers were innovators, beginning with improvements in the electric operation of their organs in the 1890s. As their reputation spread beyond the cities and towns of their province, production increased steadily.

The company experienced difficult times in the 1930s due to economic conditions, much standardization, and repetitive tonal design. Production was curtailed during the years of World War II due to a shortage of materials, and the company manufactured many unit organs during this period. Later, new initiatives were undertaken by several imaginative artistic directors who served with the firm between 1958 and 1965: Lawrence Phelps from Aeolian-Skinner in the U.S.A.; and European-trained Gerhard Brunzema, Karl Wilhelm, and Hellmuth Wolff.

Most present-day Casavant organs exhibit a conventional design that retains both symphonic and modern elements in subtle synthesis. Casavant organs are recognized for their special tonal qualities and the way the individual stops are blended together into a chorus at all dynamic levels. Time-tested actions include tracker, electrically operated slider windchests, and electro-pneumatic (since 1892; tubular-pneumatic was last used in the mid-1940s). The company workshop has eight departments: metalworking, woodworking, mechanism, consoles, painting, racking, voicing, and assembly. Virtually all components are made in the workshop, including all flue and reed pipes (to 32-foot-length), reed shallots, windchests, consoles, keyboards and pedalboards, and casework, although specialized wood carving and gilding are done by outside artisans. A few electrical components, such as blowers, power-supply units, electromagnets, solid-state combination and coupling systems, and hardware, are purchased from world-wide suppliers. All visual designs are coordinated with their intended surroundings; there are no stock designs. Organs are completely assembled for rigorous testing and playing in preparation for on-time delivery.

The company resumed the construction of tracker-action instruments in 1961 after a lapse of about 55 years, producing 216 such organs since that date. By the end of 1998 the total output amounted to 3,775 organs of all sizes, and many of these have received enthusiastic testimonials from renowned recitalists over the years. Although sales were limited mainly to North America until World War II, Casavant organs now have been installed in churches, concert halls, and teaching institutions on five continents. The firm's largest instrument is a five-manual, 129-stop organ with two consoles installed in Broadway Baptist Church, Fort Worth, Texas, in 1996. The great majority of the very large instruments have been installed in locations in the United States; the exception is the four-manual, 75-stop organ in Jack Singer Concert Hall, Calgary Centre for the Performing Arts, in 1987. The company also engages in renovation projects and additions to existing organs.

The key personnel include Pierre Dionne, President and Chief Operating Officer (from 1978), formerly Dean of Administration at the Business School of the University of Montréal; Stanley Scheer, Vice-President (1984), formerly Professor of Music and Head of the Department of Fine Arts at Pfeiffer University, Misenheimer, North Carolina, holds a Master of Music degree in organ performance from Westminster Choir College, Princeton, New Jersey; Jean-Louis Coignet, Tonal Director (1981), a professionally trained physiologist with a doctorate from the Sorbonne, contributor to music journals, the most knowledgeable authority on the work of Cavaillé-Coll today, was formerly organ expert for the City of Paris; Jacquelin Rochette, Associate Tonal Director (1984), formerly Music Director of Chalmers-Wesley United Church, Québec City, holds a Master's degree in organ performance from Laval University, performs regularly on CBC radio, and has recorded works by several French composers for organ; Denis Blain, Technical Director (1986), with many years of practical experience in virtually all aspects of organbuilding, is in charge of research and development; Pierre Drouin, Chief Engineer, holds a Bachelor of Architecture degree from Laval University, introduced computer-assisted drafting, and supervises the design and layout of each organ. In 1998 the company had 85 full-time employees, many with more than 30 years of service with the company. All levels of management and production personnel function as a team.

Keates-Geissler Pipe Organs, Guelph, Ontario (1945)

The company was established in 1945 in London, Ontario, by Bert Keates (he came from England in his infancy) and relocated to Lucan, Ontario, in 1950. When it was incorporated in 1951 the assets of the Woodstock Pipe Organ Builders (formerly Karn-Warren) were purchased. The company moved to Acton, Ontario, in 1961, a more central location in the province. In 1969 the growing firm took over the business of the J. C. Hallman Company, a manufacturer of electronic instruments and pipe organs, when it discontinued making pipe organs (but not parts for them). For several years some organs were manufactured under the name of Keates-Hallman Pipe Organs.6 The company moved to Guelph, Ontario, in 1994.

Dieter Geissler was born in Dittelsdorf, Saxony, Germany, where he began his trade as a cabinetmaker. At the age of 14 he commenced his apprenticeship with Schuster & Sohn, Zitau, where he remained from 1946 to 1950. In 1951 he moved to Lübeck, West Germany, where he worked as a voicer with E. Kemper & Sohn for five years. In 1956 he moved to Canada to join Keates's staff. When Keates retired at the end of 1971 Dieter Geissler became president of the firm, which he purchased in 1972, and adopted the present company name in 1982. His son, Jens Geissler, joined the company in 1978.

Keates-Geissler organs are offered in all types of action and are custom built to any required size. Altogether, 147 new organs7 have been installed at locations in Canada, the United States (about 15), and Barbados, West Indies. The output includes a number of four- and five-manual instruments; the largest is a five-manual, 231-stop organ, installed in the First Baptist Church, Jackson, Mississippi, in 1992 (a compilation of its original 1939 E. M. Skinner instrument, a 1929 five-manual Casavant organ removed by Keates-Geissler in 1986 from the Royal York Hotel, Toronto, and some additional structures by the company). The firm has undertaken a substantial number of renovation, rebuilding, and reinstallation projects over the years, about 1,500 altogether, about 75 of these in the United States.

All wooden pipes are made in the factory, but metal pipes are made by Giesecke or Laukhuff in Germany to the company's scaling specifications; preliminary voicing is done in the factory before final voicing on-site. The windchests of electro-pneumatic instruments feature Pitman-chest action that includes some unique features to overcome the effects of extremes in temperature and humidity; the company is the only such manufacturer in Ontario and one of a few in Canada. Expandable electronic switching systems are designed and made in the factory from readily available components to facilitate replacement. Solid-state switching and multiple-memory combination actions are also manufactured. Console shells are handcrafted from solid wood in the factory; tracker touch is an available option. Keyboards are custom made to the company's specifications by Laukhuff, Germany, and blowers are acquired mainly from the same company. The company had four full-time employees in 1998; other part-time workers are hired as needed.  

Guilbault-Thérien, Saint-Hyacinthe, Québec (1946)

This company originated with the Providence Organ Company, established in Saint-Hyacinthe in 1946. The partners, André Guilbault, whose father Maurice Guilbault had worked for Casavant, and Guy Thérien, a voicer from Casavant, joined forces in 1968 when the elder Guilbault retired. The present company name was adopted in 1979. When André Guilbault retired in 1992, Alain Guilbault (no relation) acquired an interest in the company.

At the outset the company manufactured electro-pneumatic instruments, but built its first mechanical-action instrument (Opus #1 in a new series), a two-manual, 7-stop organ, in 1970, immediately followed by several small one- and two-manual instruments. From 1974 onward the typical instruments were medium-size, two-manual organs. Larger instruments of three or four manuals began to appear with greater frequency after 1983, the largest being a four-manual, 45-stop organ installed in Grace Church, White Plains, New York, in 1989, the only installation in the United States to that time. While the tonal layout of the organs is mainly inspired by European sources, mainly French, the swell divisions of the larger instruments are sufficiently versatile to handle symphonic literature.

The output of new organs was about 55 to 1998, mainly in Québec and Ontario. The company's work has also involved the restoration and reconstruction of a similar number of Québec organs, mainly by Casavant, but including some of historical significance that are over a hundred years old by such early builders as Napoléon Déry and Louis Mitchell. 

Several compact discs featuring performances by Québec organists on instruments manufactured by the company, or on reconstructed historical Casavant instruments, have been released in the past decade.8

Principal Pipe Organ Company, Woodstock, Ontario (1961)

The company was established by Chris Houthuyzen in Woodstock, Ontario, a town with a continuing tradition of organbuilding. The founder served his apprenticeship and received further training in The Netherlands before coming to Canada. Small to medium-sized instruments, employing electro-pneumatic action, are the company's specialty, with a contemporary emphasis on the guiding principles of Dutch organbuilding. A total of 119 installations have been completed over the years; the largest was a four-manual, 58-rank instrument. Wooden pipes are made in the shop, but most metal pipes come from suppliers in the United States; their scaling is dictated by the acoustics and intended use of the organ. Chests, reservoirs, ducting, consoles, and casework are manufactured on the premises. Much of the company's work involves rebuilding and maintaining organs, as well as the installation and servicing of church bells, including cast and electronic carillons on behalf of the Verdin Company, Cincinnati, Ohio. The company had three employees in 1998.

Gabriel Kney, London, Ontario (1962-1996)

Gabriel Kney was born in Speyer, Germany; his father was a master cabinetmaker and amateur bassoonist, and his mother was a singer. He served his apprenticeship in organbuilding with Paul Sattel in Speyer (1945-1951), where he assisted in the restoration of historic, sometimes war-damaged, instruments, along with new organ construction. Since the era was a time of transition from the "Romantic" style of organbuilding to the concepts of Orgelbewegung, this trend provided him with the opportunity to learn about and participate in the building of organs of both concepts. Concurrently he was a student of organ literature, liturgical music, harmony, and improvisation at The Institute of Church Music in the same city.

He emigrated to Canada in 1951 and joined the Keates Organ Company in Lucan, Ontario, as an organbuilder and voicer. In 1955 he was co-founder, with John Bright, of the Kney and Bright Organ Company in London, Ontario, with the intention of specializing in tracker instruments. The timing was premature, for only a few musicians and teaching institutions found such instruments of interest; with the exception of two teaching organs of tracker design supplied to a college in the United States, most of the early organs were requested to have electric key action. In 1962 Gabriel Kney established his own company in London, Ontario, where, with enlarged facilities and a staff of six to eight, he specialized in mechanical-action instruments. Organs from the period between 1962 and 1966 were designed in the historic manner of Werkprinzip, with organ pipes enclosed in a free-standing casework and separated into tonal sections. The tonal design of smaller instruments followed 18th-century North European practices, with some tuned in unequal temperaments of the period.

Altogether, his shops produced 128 organs since 1955; the largest in Canada being the four-manual, 71-stop, tracker-action instrument with two consoles in Roy Thomson Hall, Toronto. Since the early 1970s almost three-quarters of the installations were in locations in the United States, several of these in large universities. Occasionally maintenance and historic instrument restoration projects were undertaken.

Wooden pipes were made in the shop, with the exception of very large pipes made to specifications by suppliers in the United States, England, or Germany. Metal pipes also were made to order by independent pipemakers in Germany or Holland. Some console components, such as keyboards, were obtained from suppliers in the United States, England, or Germany. Electric switching devices came from the United States in earlier years, later from England. Blowers were imported from Laukhuff in Germany, Meidinger in Switzerland, or White in the United States. All casework and chest construction was done in the shop.

In 1996 Gabriel Kney retired from active organbuilding and closed his company. Since then he has acted as a consultant to churches seeking advice on organ purchase, restoration, and tonal redesign, and sometimes to other organbuilders.

Karl Wilhelm, Mont Saint-Hilaire, Québec (1966)

Karl Wilhelm was born in Lichtenthal, Rumania, and grew up in Weikersheim, Germany. At the age of 16 he entered apprenticeship with A. Laukhuff, Weikersheim (1952-1956), followed by working experience with W. E. Renkewitz, Nehren/Tübingen (1956-1957), and Metzler & Söhne, Dietikon, Switzerland (1957-1960). After moving to Canada, in 1960 he joined Casavant Frères, where he established the department and trained several employees for the production of modern mechanical organs; while there he was responsible for the design and manufacture of 26 organs. In 1966 he established his own firm, first in Saint-Hyacinthe, then moved to new facilities in Mont Saint-Hilaire, near Montréal, Québec, in 1974. For a while he was assisted by Hellmuth Wolff, now an independent builder (see below).

Karl Wilhelm specializes in building mechanical organs of all sizes, 147 to date, of which 69 are located in the United States and two in Seoul, Korea. Of the total output, 43 are one-manual instruments, 93 are two-manual instruments of medium size, and 11 are three-manual instruments--the largest is a 50-stop instrument in St. Andrew's Presbyterian Church, Toronto, installed in 1983. Two have detached consoles, and four have combination actions with electric stop-action; all instruments have mechanical key action. The design and layout of instruments adhere to the principles of the classical tradition of German and French organbuilding. Three-manual instruments feature a large swell division, suitable for the performance of Anglican Church music and the Romantic repertoire.

All wooden pipes are made on the premises, along with almost one-half of the metal pipes that are handmade of a tin-lead alloy; other metal pipes are imported from Germany. Scaling and voicing are done in the classical open-toe manner for natural speech and mellow blend. Windchests and bellows, consoles and action, and cases are manufactured in a 9,000 sq. ft. workshop. Organs may have cases of contemporary design, or perhaps are more ornate with moldings and hand-carved pipe shades that are compatible with the architecture of the location. Blowers are acquired from Laukhuff, Germany; miscellaneous parts come from other suppliers. The firm does not engage in rebuilding or renovation but services and tunes its own instruments throughout North America. In 1998 the firm had five employees, all trained by Karl Wilhelm.

Wolff & Associés, Laval, Québec (1968)

Hellmuth Wolff was born in Zurich, Switzerland. While a teenager he apprenticed with Metzler & Söhne, Dietikon, Switzerland (1953-1957); in his spare time he built his first organ, a four-stop positiv instrument. He received additional training with G. A. C. de Graff, Amsterdam (1958-1960) and with Rieger Orgelbau, Schwarzach, Austria (1960-1962). In the United States (1962-1963) he worked with Otto Hofmann, in Austin, Texas, and Charles Fisk, in Gloucester, Massachusetts. After moving to Canada he worked with Casavant Frères (1963-1965) in its newly established tracker-action department, and then with Karl Wilhelm (1966-1968), with whom he had worked at Casavant. In the interval 1965-1966 he returned briefly to Europe to work as a designer and voicer with Manufacture d'orgues Genève, in Geneva. Besides playing the piano and singing in choirs wherever he went, he completed his musical training by taking organ lessons with Win Dalm in Amsterdam and later with Bernard Lagacé in Montréal.

In 1968 he opened his own business in Laval, Québec, with one employee; his present associate, James Louder, started his apprenticeship with Hellmuth Wolff in 1974, after training in classical guitar and English. The first large project undertaken in that year was the construction of a three-manual, 26-stop instrument at the Church of St. John the Evangelist, New York City; this was one of the city's first modern tracker-action organs and it incorporated features not yet seen in North America. In 1977 the company moved to a new shop; the firm became incorporated in 1981, and James Louder became a partner in 1988.

Hellmuth Wolff has been part of the Organ Reform in North America since the movement came to this continent in the early 1960s. He specializes in mechanical-action instruments, large and small, whose design is inspired by French or German classical traditions, although other styles are represented that are designed to accommodate a wide range of organ literature. A total of 42 organs have been manufactured; about one-half of these were installed in locations in the United States. While a few small residence or practice instruments have been built, the majority are two-manual organs, in addition to eight three-manual organs, and one four-manual, 50-stop/70-rank instrument installed in Christ Church Cathedral, Indianapolis, Indiana, in 1989.9 Other related activities include rebuilding, restoration, and maintenance work, chiefly in the Montréal area.

Wooden pipes are made on the premises, while metal pipes are acquired from several pipemakers in Canada, U.S.A., and Europe; some reeds are made there, also. Windchests, consoles, and cases are also manufactured on site. Blowers are acquired from Meidinger and Laukhuff in Germany. Several installations feature both mechanical stop-action and capture systems; the first was built in 1977 for the Eighth Church of Christ, Scientist, in New York City; it was probably the first such system in North America. Both sequencers and traditional multilevel capture systems are used. There were eight employees in 1998.

Hellmuth Wolff, along with his associate, James Louder, have contributed to symposiums and written publications on organs and organbuilding.10 Fourteen compact discs, featuring performances by Canadian and American artists on Wolff instruments, have been released, and three others are in preparation.11

Brunzema Organs, Fergus, Ontario (1979-1992)

Gerhard Brunzema was born in Emden, Germany, and grew up in Menden on the Ruhr river, a northern part of the country where there was an abundance of historic organs. After World War II he apprenticed with Paul Ott in Göttingen and worked with him as a journeyman organbuilder (1948-1952). He received extensive technical training, including acoustics, at the Brunswick State Institute for Physics and Technology (1953-1954), and received a Master's degree in organbuilding in 1955. In 1953 he joined the prominent European organbuilder Jürgen Ahrend in the construction and restoration of organs, some in Holland and Germany of great historical significance; this association continued for 18 years. After emigrating to Canada he joined Casavant Frères in 1972 and served as artistic director until 1979; during that time he was responsible for the design of several notable organs in Canada, the United States, Japan, and Australia, along with the restoration of a number of historic Casavant instruments in Ontario and Québec. His experience at Casavant gave him the opportunity to work with very large organs, an experience that was lacking in Germany.

In 1979 he established his own business in Fergus, Ontario. Throughout his career he specialized mainly in small, one-manual, four-stop, continuo organs (25 in all); most of his nine two-manual instruments--the largest was 25 stops--were made between 1985 and 1987. In 1990 he was joined by his son, Friedrich, who had completed his apprenticeship in Europe. Until the time of his death in 1992, Gerhard Brunzema's total output amounted to 41 instruments; of these, 20 were installed in Canadian locations (mainly in eastern provinces), 17 in the United States, one in the Philippines, one in South Korea, and two in European countries. The tonal design of his instruments was strongly influenced by Schnitger organs that he had studied and restored while in Europe. He believed that basic organ design cannot be learned through restoration work, because such instruments were conceived by others; nevertheless, in restorations the intentions of the original builders should be respected. As for new instruments, his philosophy was that "An organbuilder should choose a style and stay with it, so that he not only continues to develop his own skills, but also continues to help improve the skills of the people working for him. . . . Become a master of one thing, get over the initial difficulties very quickly, and then polish your knowledge, the details of which will finally add up to a very good result."12

Koppejan Pipe Organs, Chilliwack, British Columbia (1979)

Adrian Koppejan was born in Veenendaal, Holland, and apprenticed with his father, who was an organbuilder there. He worked with Friedrich Weigle in Echterdingen by Stuttgart, Germany (1963-1966), with Pels & Van Leeuwen in Alkmaar, Holland (1968-1972) as shop foreman of the mechanical organ department, and with his father's company, Koppejan Pipe Organs, in Ederveen, Holland (1968-1972). He moved to Canada in 1974 and established his own company five years later.

Adrian Koppejan strives for a clear, warm, but not loud sound in his instruments, a preference inspired by classical organs of North Germany. This sound palette is reflected in the instruments in which he specializes: small and medium-size tracker instruments; he has built five electromechanical organs, as well. His output to date consists of 19 organs; these have been installed in churches and private residences in British Columbia, Alberta, and Washington state. His largest organ is a three-manual, 31-stop, electromechanical instrument, with a MIDI system, installed in the Good Shepherd Church, White Rock, B.C., in 1995. An instrument of similar size was constructed in 1998. Rebuilding, restoration, maintenance, and tuning are also part of regular activities.

Wooden pipes are mostly acquired from Laukhuff, Germany; metal pipes come from Stinkens in Holland and Laukhuff in Germany. Keyboards are made in Germany by Laukhuff or Heuss. Winding mechanisms, consoles, solid oak cabinets, and casework are manufactured in the shop. Blowers are supplied by Laukhuff, and electrical control systems come from Peterson in the U.S.A. There were two part-time employees in 1998 as Adrian Koppejan reduced the scope of his operations in anticipation of retirement.

Orgues Létourneau,  Saint-Hyacinthe, Québec (1979)

Fernand Létourneau was born in Saint-Hyacinthe, Québec, where he worked for while as a carpenter before entering employment with Casavant Frères in 1965; there he apprenticed with his uncle, Jean-Paul Létourneau, who was head reed voicer. He remained with the company for 14 years, where he was head voicer from 1975 to 1978, when he decided to set up his own independent company. First, with the help of a Canada Council grant, he embarked on an organ tour of Europe to study the voicing of old masters. Upon his return to Canada in 1978 he began building organs in Sainte-Rosalie, Québec, and became incorporated in 1979. His first organ, a two-manual, 6-stop instrument, was started in the basement of the family house and then displayed in the shop of a cabinetmaker; it was later acquired by the Conservatoire de Musique du Québec, Hull, where dozens of students have learned to play the organ on this small instrument. In 1984 he moved back to Saint-Hyacinthe, where three other organbuilders were already established. The factory's first building was formerly a municipal water-filter plant; the partially underground space provided a room 35 feet in height, ideal for erecting organs. A second industrial building was acquired recently to supplement the original premises.

A total of 55 organs of various sizes have been built to 1998; 13 others are in progress. The great majority have mechanical action, utilizing classical principles used in European instruments, and with the flexibility provided by ranks inspired by Dom Bédos, Schnitger, and Cavaillé-Coll. The largest will be a four-manual, 101-stop, mechanical-action instrument intended for the Francis Winspear Centre, Edmonton, Alberta. International distribution has been common from the outset, beginning with three early instruments that were installed in Australian locations in the early 1980s (the builder had become known on account of his activities as a voicer of Casavant instruments in that country). Others have been placed in New Zealand, Austria, England (Pembroke College, Oxford, 1995; an instrument is under construction for the Tower of London for completion in late 1999), the United States (over one-third of the total production), and Canada (chiefly eastern provinces, a few in the west). The company now has permanent representatives in the United States, England, and New Zealand. Fernand Létourneau prefers to build instruments of eclectic tonal design that are suitable for the performance of a wide range of organ literature. Historic restorations have also been undertaken.

All organ components, with the exception of electronics, are made in the factory, including wooden and metal pipes to 32-foot length, keyboards, consoles, and casework. Blowers are acquired from Laukhuff, Germany. Middle-size organs are equipped with electronic sequencers, card readers, and similar devices. The company is constantly engaged in rebuilding and restoring instruments of different vintages to original condition, about 50 to date, several of which have been designated as historical or heritage instruments. In 1998 there were 45 full-time staff in the Létourneau "family," of which a number are related to one another as father-son/daughter, uncle, brother, cousin, and husband-wife.  

Lucien Deiss, C.S.Sp., died on October 9. His funeral was celebrated on October 13 at Seminaire des Missiones in Larue, France. Best known to Roman Catholics in the U.S. through his scriptural songs such as “All the Earth,” “Keep in Mind,” and “Grant to Us, O Lord,” Fr. Deiss was also widely known in Europe and the United States as a scholar in the fields of sacred scripture and patristics. He was selected by Pope Paul VI to coordinate the Lectionary psalter following the Second Vatican Council. His Biblical Hymns and Psalms was one of the first collections of congregational music for Roman Catholics. For this he was given an honorary doctorate in sacred music from Duquesne University. An advocate of the reforms of Vatican II, Fr. Deiss dedicated much of his life to liturgical catechesis through workshops and the well-known “Deiss days” sponsored by WLP (then World Library of Sacred Music).

Czech composer Petr Eben died October 25 at his home in Prague at the age of 78. Born January 22, 1929, in Zamberk, Eben began piano study at age six and organ at nine. At 10, he composed his first musical pieces. As a teenager, he was imprisoned in the Nazis’ Buchenwald concentration camp. After the war, he studied piano and composition at Prague’s Academy of Music.
He taught for several decades, first at Prague’s Charles University, and later at the Academy of Performing Arts. From 1977–78, Eben was teaching composition at the Royal Northern College of Music in Manchester, England. In 1990 he became professor of composition at the Academy of Performing Arts in Prague and president of the Prague Spring Festival.
Over his career he composed some 200 pieces, including works for organ and piano, orchestral and chamber compositions, oratorios, masses and cantatas as well as pieces for children. Among his best-known works were the organ cycle Job; the oratorio Sacred Symbols for the Salzburg Cathedral; Windows (four movements for trumpet and organ inspired by Marc Chagall’s stained glass designs for a synagogue in Jerusalem); and Prague Te Deum. He concertized around the world, performing his compositions as well as improvisations on organ and piano, including at Paris’s Notre Dame Cathedral, London’s Royal Festival Hall, and the Crystal Cathedral in Garden Grove, California.
Eben’s music is regularly performed throughout Europe, the USA, Canada, Japan and Australia. He was awarded many prizes for his works: 1990, by the Czech government for his organ cycle Job; 1991, the Ordre Chevalier des Arts et des Lettres from the French Minister of Culture; 1992, Professor (honoris causa) of the Royal Northern College of Music in Manchester; 1993, the Stamitz Prize of the German Künstlergilde; 1994, doctorate (honoris causa) from Prague Charles University; and in 2002 he received a high Czech decoration, the Medal of Merit. Eben is survived by his wife Sarka and three sons, Marek, David and Krystof.
Eben’s works for organ include:
Concerto for Organ and Orchestra No. 1 (Symphonia gregoriana), 1954.
Concerto for Organ and Orchestra No. 2, 1983.
Windows on the Pictures of Marc Chagall (trumpet and organ), 1976.
Fantasia for Viola and Organ Rorate Coeli, 1982.
Landscapes of Patmos (organ and percussion), 1984.
Tres iubilationes (brass and organ), 1987.
Two Invocations for Trombone and Organ, 1987.
Sunday Music, 1957–59.
Laudes, 1964.
Ten Chorale Preludes, 1971.
Two Chorale Fantasias, 1972.
Small Chorale Partita, 1978.
Faust, 1979–80.
Mutationes, 1980.
Versetti, 1982.
A Festive Voluntary (On Good King Wenceslas), 1986.
Hommage à Buxtehude, 1987.
Job (organ), 1987.
Two Festive Preludes, 1990, 1992.
Biblical Dances, 1990–91.
Amen, es werde wahr, 1993.
Momenti d’organo, 1994.
Hommage à Henri Purcell, 1994–95.

Albert Fuller, harpsichordist, conductor, teacher and author, died September 22 at his home in Manhattan, at the age of 81. As co-founder in 1972 and artistic director of the Aston Magna Foundation in Great Barrington, Massachusetts, he was among the pioneers of the revival of playing baroque music on the original instruments for which it was conceived. A frequent recitalist, Fuller also recorded extensively, including the first American original-instrument complete set of Bach’s Brandenburg Concertos. The 1977 recording, made at the Metropolitan Museum of Art, became the initial release of the Smithsonian Institution’s recording program and went on to sell more than 100,000 copies.
Born July 21, 1926, Fuller grew up in Washington, D.C., where he was a boy soprano with the choir at the National Cathedral and studied organ with Paul Callaway. He went on to study harpsichord at the Peabody Conservatory of Music and at Yale University, where his teachers included Ralph Kirkpatrick and Paul Hindemith, and then went to Paris on a Ditson fellowship. He made his New York debut at Town Hall in 1957, and in 1964 joined the faculty of Juilliard as professor of harpsichord. He was also on the faculty of Yale University, 1976–79.
In 1972, Fuller founded the Aston Magna Foundation. Up to 30 performers gathered for several weeks each summer to study and play early music on the original instruments. Fuller left the Aston Magna Foundation in 1983 and went on to found the Helicon Foundation, a New York-based ensemble whose repertoire included music by Mendelssohn, Schumann, and Brahms.

Rudolf “Rudy” O. Inselmann died July 6 in Newport Beach, California at the age of 72. He majored in piano at Wartburg College, Waverly, Iowa, then attended Capital Bible Seminary and became an ordained Lutheran minister. He received an MA in organ from Indiana University and a doctorate in sacred music from the University of Southern California in Los Angeles. After teaching music at the University of El Paso, he joined the faculty of Christ College, now Concordia University, Irvine, California. He served as organist at Church of the Good Shepherd in Arcadia; St. Clement’s Episcopal Church, San Clemente; St. Kilian Catholic Church, Mission Viejo; and Our Lady Queen of Angels, Newport Beach. Dr. Inselmann was dean of the Orange County AGO chapter from 1998–2000; he was also a longtime member of the Music Teachers Association of California.

Henry Ray Mann died June 30 in Greenville, Michigan. He was 72. A graduate of the University of Richmond, he earned a master of sacred music degree at Union Theological Seminary in New York City, where he served as organist-director in several churches and formed an organbuilding firm in partnership with Larry Trupiano. Henry Mann was known for his skill and artistry in the manufacture and voicing of wood pipes. He retired to Trufant, Michigan in 1992, subsequently serving as organist at Settlement Lutheran Church.

Bruce E. Mathieson died July 19 in Morgantown, West Virginia, from injuries sustained in an accident. He was 50 years old. Early in his 42 years of organ playing, he won two junior organist competitions. He was a graduate of Holyoke Community College with an associate degree in music. Mr. Mathieson served in the U.S. Navy for 24 years, and was the organist on the U.S.S. Enterprise during his service on that ship; he also played for Pope John Paul II while in Rome. After retiring from the Navy, he worked for West Virginia University and was organist at Point Marion Baptist Church in Point Marion, Pennsylvania; he also assisted the choir of Westover United Methodist Church in Westover, West Virginia. He was a charter member of the new Monongahela AGO chapter in West Virginia. Bruce Mathieson is survived by his wife of 29 years, Karla Landry Mathieson, a son, a daughter, his mother, two brothers, three sisters, and two grandchildren.

Roy G. Wilson died May 31 at the age of 92 in El Paso, Texas. A graduate of New Mexico State College, he earned a master’s degree from Texas Western College and focused his career on school administration in several El Paso schools. A lifelong musician, he served Grace United Methodist Church for over 50 years as organist, choir director, or as both. He regularly provided music for the Grace pre-school program and area school districts, and accompanied for solo and ensemble contestants. A member of the El Paso AGO chapter, he served as dean on several occasions. Mr. Wilson is survived by two daughters, a son, eight grandchildren, and eleven great grandchildren.

Nunc Dimittis

Robert V. (Bob) Clement, 67, of Avondale, Pennsylvania, died November 18 after a brief illness. An electrical engineer by profession, his greatest passion was music. He started piano lessons at age five. and on a visit to the U.S. Air Force Academy Chapel at age 17 he discovered the pipe organ. He immediately began lessons and continued to play at churches for weddings and other services throughout his life. He studied electrical engineering at the University of Texas at El Paso, and moved to South Carolina after graduation to work for the DuPont Company in the Fibers Division. He served churches for 25 years, ending at Hanover Presbyterian Church.

Clement retired in 2011 after 38 years with DuPont/INVISTA. He married his interests in designing, model building, and music by building his own Hauptwerk organ in the basement of his home. He became treasurer of the Albert Schweitzer Organ Festival, joined the board of the Delaware American Guild of Organists chapter, and became the director of the English Cathedral Tour, which offered the chance to play pipe organs in famous cathedrals around the United Kingdom. 

Clement’s other hobbies included architecture (he designed two homes that were built in Lugoff, South Carolina), home computers, and learning about the Titanic. One of his lifelong dreams was completing a trans-Atlantic crossing by boat, which he did in 2012 during the 100th anniversary of the sinking of the Titanic. He was fascinated with London, its history and cathedrals, and golf. 

Robert Clement is survived by his wife Karen Hudson of Avondale, Pennsylvania; son Chris Clement of Newark, Delaware; daughter Renee and husband Dan Roush of Haymarket, Virginia; grandchildren Megan Diehl, Davis Roush, and Maggie Roush; mother Shirley Fouts; and siblings Brian Clement, Carol Abraham, and Rosemary Schultz.

Richard Gordon Enright, 93, died December 23, 2016, in Atlanta, Georgia. Born on November 29, 1923, in Freeport, Illinois, he had completed two years of study at the University of Dubuque when World War II broke out. Subsequently he served in Patton’s Third Army of the 26th Infantry Division from 1943 until the war ended in 1946.

Enright received his Bachelor of Music degree from Northwestern University in 1948, followed by a Master of Music degree a year later and a Doctor of Music in 1961. While at Northwestern, he met his future wife, Clara Mae (Sandy) Sandehn, an organist and singer. They were married in 1949. Enright served on the faculty of the School of Music at Northwestern for 35 years, becoming chairman of the department of church music and organ in 1969 and serving until his retirement in 1989, when he was named Professor Emeritus of Church Music and Organ.

Enright pursued additional study at the Royal School of Church Music in England and at the Staatliche Hochschule fur Musik in Frankfort, Germany. His text on organ instruction, Fundamentals of Organ Playing, continues in wide use. He lectured at Chicago Theological Seminary and at the Music Teachers Conference in Berkeley. He presented numerous recitals across the United States. He served as associate organist and choirmaster at Fourth Presbyterian Church of Chicago under the direction of his teacher Barrett Spach, followed by a 22-year tenure as organist and choirmaster at First Presbyterian Church in Evanston. He then served the First Presbyterian Church of Lake Forest as organist for 23 years, retiring at age 70. In 2005 Dick and Sandy relocated to Atlanta to be closer to their daughter and her family. 

Richard Gordon Enright is survived by his wife of 67 years, Sandy, daughter Catharine (Walton Reeves) and son Steven (Krista) of Fort Worth, and grandsons Harrison Reeves and Kevin and Scott Enright. A memorial service was held January 6 at Trinity Presbyterian Church of Atlanta. Donations may be made in his memory to the Adele McKee Music Fund of Trinity Presbyterian Church, 3003 Howell Mill Road, NW, Atlanta, Georgia 30327.

Thomas Harmon, organist and educator, died November 14 at age 77 in Medford, Oregon, after a long illness. Born in Springfield, Illinois, on February 28, 1939, he began playing the piano at age 6 and organ at age 11. He played regularly at the First Methodist Church, on radio, and in local restaurants and lounges. He also is remembered for renovating the theatre organ from the Orpheum Theatre and moving it to Springfield High School.

Harmon earned bachelor’s and doctoral degrees in music with honors at Washington University, St. Louis, and a master’s degree in music with honors at Stanford University. He was awarded a Fulbright Scholarship to study organ in Austria with Anton Heiller. It was there that he met and married fellow Fulbright student Sue Snow in June 1964. His special research interest was the organ works of J. S. Bach.

Harmon’s academic career was devoted to the University of California at Los Angeles (UCLA), where he began in 1968 as assistant professor and university organist. He went on to become full professor and served as chairman of the Department of Music for seven years. Harmon performed frequently as organist with the Los Angeles Philharmonic and Chamber Orchestras, American Youth Symphony, UCLA Philharmonic Orchestra, UCLA Wind Ensemble, and the Los Angeles Master Chorale.

Thomas Harmon performed recitals across the United States, with broadcasts on American Public Radio, the BBC, as well as in Mexico, Japan, and numerous European countries. As university organist, he oversaw a major renovation of the UCLA concert hall organ after damage from the 1994 Northridge earthquake. During his tenure at UCLA he also served for 20 years as organist of First United Methodist Church in Santa Monica.

Harmon retired in 2002 to Medford, Oregon, where he continued to perform in concerts and churches. He was preceded in death by his domestic partner, John Crutcher.

Thomas Harmon is survived by his brothers, Charles Harmon of Tulsa, Oklahoma, and Bob Harmon of Jacksonville, Florida, and his former wife, Sue Harmon of Ashland, Oregon. A memorial service was held on November 21. Donations may be made to the American Guild of Organists/Southern Oregon Chapter, c/o Margaret Evans, 1250 Green Meadows Way, Ashland, Oregon 97520.

Sister Marie Juan Maney, OP, died December 2, 2016, at Sinsinawa, Wisconsin. Sister Marie Juan was born April 25, 1927, in Big Bend, Wisconsin. She made her first religious profession as a Sinsinawa Dominican 1947 and her final profession in 1950. She taught music for 37 years, served as liturgist and music director for six years, and directed numerous choirs and coordinated musical events for 24 years, serving communities in Iowa, Wisconsin, Illinois, Nebraska, and Minnesota. As a liturgist and music director, she served St. Cajetan Parish, Chicago, 1984–1988, as well as St. Peter Parish, Forest Lake, Minnesota, 1988–1990. She was organist and choir director for St. Augustine Parish, Platteville, Wisconsin, 1990–2010, as well as at her motherhouse in Sinsinawa from 1990 until 2014. There, she also orchestrated the Elizabethan Dinner, the Sinsinawa Summer Organ Concert Series, and the annual Messiah concert at “Sinsinawa Mound.”

Sister Marie Juan Maney is survived by two sisters, Eileen Nettesheim and Margaret Loughney, and her Dominican Sisters with whom she shared life for 69 years. The funeral Mass for Sister Marie Juan Maney was held in Queen of the Rosary Chapel at Sinsinawa, December 5. Memorials may be made to the Sinsinawa Dominicans, 585 County Road Z, Sinsinawa, Wisconsin, 53824-9701 or online at www.sinsinawa.org.

Philip D. Minnick, 68, died December 26 in Columbus, Ohio. He was born August 25, 1948, in Springfield, Ohio, and attended Capital University of Columbus, from 1966 to 1969, majoring in voice and organ studies. His interest in the pipe organ began in 1960 with the installation of an organ by
M. P. Möller in Central Methodist Church (now Faith United Methodist Church), Springfield. While in college he worked for A. W. Brandt Pipe Organ Company of Columbus. During this time, he met his future business and life partner, Robert W. Bunn, Jr. In 1969, the Bunn=Minnick Pipe Organ Company was formed in Columbus, a firm which has built organs for installations in Florida, Indiana, Kentucky, North Carolina, Ohio, Pennsylvania, and West Virginia. Philip Minnick was a founding member of the Ohio Village Singers, a member of the Columbus Maennerchor, the Broad Street United Methodist Church of Columbus, and the American Institute of Organbuilders.

Philip Minnick is survived by his business and life partner, Robert W. Bunn, Jr., of Columbus, sister Lisa of Ft. Myers, Florida, and adopted sister, Karen Freudigman of Columbus.

Nunc Dimittis

Wilbur R. Dodge, 83, died November 20, 2017, in Binghamton, New York, an engineer, physicist, professional photographer, English country dancer, organist, organbuilder, and organ technician. He graduated from Clarkson University and Harpur College (now Binghamton University) with degrees in electrical engineering and physics and followed in his father’s footsteps working at Ansco Film Company.  With Norman Smith, he started their company, R D & D before he moved on to Link Aviation where he worked on simulators for the Gemini and Apollo missions.

Dodge was a member of the choir and guest organist for various churches in the community including Trinity Memorial and Christ Churches. He also maintained and tuned pipe organs in churches throughout the region. He was dean of the Binghamton Chapter of the American Guild of Organists, 1999–2001. 

Wilbur R. Dodge is survived by his partner, Anneliese Heurich; children: Glenn Burch (Bellefonte, Pennsylvania), Michael and Tammy Burch (Deland, Florida), Barbara Burch (Paisley, Florida), and Laura Appleton (Binghamton); several grandchildren and great-grandchildren. A memorial service was held at Christ Episcopal Church in Binghamton on January 20.

Mark Coan Jones died December 24, 2017. Born February 25, 1957, in Asheville, North Carolina, he studied organ with Marilyn Keiser and with Donna Robertson at nearby Mars Hill College. For the past 22 years, Jones was director of music and organist for The Pink Church (First Presbyterian Church), Pompano Beach, Florida. He previously served St. Nicholas Episcopal Church, Pompano Beach; First Presbyterian Church, Newton, North Carolina; and Trinity Episcopal Church, Asheville.

Jones appeared with the Florida Philharmonic, New World Symphony, Lynn University Conservatory Orchestra, Young Artists Chamber Orchestra, Palm Beach Atlantic Symphony, and Miami Bach Society, and in collaborations with chamber groups and area choruses, including the Nova Singers, Florida Philharmonic Chorus, Master Chorale of South Florida, Masterworks Chorus of the Palm Beaches, Fort Lauderdale Christian Chorale, and Gay Men’s Chorus of South Florida. He arranged music for organ and brass and performed with the Dallas Brass, Avatar Brass, Empire Brass, Lynn Conservatory Brass, and Eastman Brass. He performed extensively across Europe, Scandinavia, and Russia, in collaborations and solo recitals. 

Jones’s organ compositions have been performed in venues across the United States and in Europe, and have been broadcast nationally. His Three Lenten Hymn Meditations, Trumpet Tune in D, and Lenten Hymntunes have been recorded and performed by various organists.

From 2006 through 2014, Mark was principal accompanist for the von Trapp Children, the great-grandchildren of the singing family made famous by the Rodgers & Hammerstein movie The Sound of Music. His solo appearances and concerts with the von Trapps included performances around the world.

Mark Coan Jones is survived by his parents Hubert Mack and Shirley Williams Jones of Asheville, his sister Suzanne Jones Hamel and husband Richard Anson Hamel of Covington, Kentucky, and his partner Hilarion (Kiko) Suarez Moreno of Deerfield Beach, Florida.

Yuko Hayashi died January 7 in Salem, New Hampshire, at the age of 88. She was born in Hiratsuka, Japan, on November 2, 1929. For more than 40 years she was professor of organ at the New England Conservatory and department chair for 30 years. As a performer, she concertized extensively on three continents—Asia, North America, and Europe—giving recitals and masterclasses in Japan, South Korea, the United States, Holland, Germany, Belgium, Austria, Switzerland, Denmark, Italy, Spain, and Portugal. She was the recipient of the coveted Arion Award from the Cambridge Society for Early Music as an “outstanding performer and master teacher of the historical organ.” She was also awarded the Distinguished Alumni Award from the New England Conservatory.

Hayashi graduated with a degree in organ performance from Tokyo University of the Arts in 1948 and for five years was organist for the symphony orchestra of NHK, the Japanese national broadcasting company. She came to the United States in 1953 on scholarship, sponsored by Philanthropic Educational Organization and studied for one year at Cottey College in Nevada, Missouri. She then transferred to the New England Conservatory in Boston where she was awarded three degrees in organ performance: Bachelor of Music, Master of Music, and Artist Diploma. In 1960 she began teaching at the conservatory and was appointed chair of the department in 1969 by then president Gunther Schuller. Her primary teachers were George Faxon, Donald Willing, Anton Heiller, and Gustav Leonhardt (harpsichord).

Her frequent travels to Europe began in 1966 when she went to the Haarlem Organ Academy in the Netherlands and began life-long associations with Anton Heiller, Luigi Tagliavini, and Marie-Claire Alain. In 1971, she studied with Michel Chapuis in France and was introduced to many historic organs in North Germany and Holland by Harald Vogel and Klaas Bolt. This was the beginning of many exchanges of concerts and masterclasses across the Atlantic Ocean between Boston and Europe. It was during this time that Hayashi became organist of Old West Church in Boston, performing on a new mechanical-action organ built by Charles B. Fisk. She served as organist there for nearly 40 years and was the founder and executive director of the Old West Organ Society until her retirement in 2010.

Beginning in 1970, Hayashi crossed the Pacific Ocean yearly to give recitals and masterclasses in Japan. With Italian organist Umberto Pineschi and the assistance of Japanese organ builder Hiroshi Tsuji and his wife Toshiko Tsuji, she founded the Italian Organ Academy in Shirakawa. She was influential in persuading organ committees from universities, churches, and concert halls to commission mechanical-action organs from organbuilders from around the world. Most noteworthy are the instruments for International Christian University (Rieger), Toyota City Concert Hall (Brombaugh), Minato Mirai Concert Hall, Yokohama (C. B. Fisk, Inc.), and Ferris University, Yokohama (Taylor & Boody, Noack Organ Company, and J. F. Nordlie Pipe Organ Company organs).

In 1989, Yuko Hayashi took a leave of absence from the New England Conservatory to accept a position as professor of organ at Ferris University, Yokohama. She taught there for six years before returning to Boston. She also became titular organist at St. Luke’s International Hospital Chapel, which houses an organ built by Marc Garnier of France. She was responsible for relocating a historic 1889 organ built by Hook & Hastings to St. Andrew’s Episcopal Cathedral in Yokohama where her father served as priest for many years.

Yuko Hayashi is survived by two brothers, Makoto Hayashi and Satoru Hayashi, and several nieces and nephews, all residing in Japan. A memorial service for Yuko Hayashi will be held at Christ Church, Andover, Massachusetts, April 28, at 11:00 a.m. Memorial contributions may be directed to: Old West Organ Society, c/o Jeffrey Mead, Treasurer, 72 Trenton Street, Melrose, Massachusetts 02176;  St. Andrew’s Cathedral, 14-57 Mitsuzawa-shimo-cho, Kanagawa-ku, Yokohama City, Kanagawa, 221-0852, Japan; or St. Luke’s International Hospital Chapel, c/o Organ Committee, 9-1 Akashi-cho, Chuo-ku, Tokyo, 140-8560, Japan.

Pierre Pincemaille, 61, died, January 12, an international concert organist, church organist, music professor, and composer. Born in Paris, France, December 8, 1956, Pincemaille was awarded five first prizes at the Conservatoire National Supérieur de Musique de Paris (harmony, counterpoint, fugue, organ interpretation, and organ improvisation) and won five international improvisation competitions: Lyon (1978), Beauvais (1987), Strasbourg (1989), Montbrison (1989), and Chartres (1990).

In 1987, Pierre Pincemaille was appointed titular organist of the prestigious 1841 Cavaillé-Coll at the Gothic Saint-Denis Cathedral-Basilica. He loved accompanying beautiful liturgy there, amidst the tombs of the Kings of France. Highly inspired by Pierre Cochereau, Pincemaille founded a concert series there, from 1989 to 1994. For his 30th anniversary there, he performed his last concert on November 5, 2017, programming choral works he cherished, conducted by Pierre Calmelet: Louis Vierne’s Messe Solennelle and three of his own recently composed vocal motets (to be published), as well as J. S.
Bach’s Pièce d’Orgue, BWV 572, symbolizing for him the three periods of life.

Pierre Pincemaille also performed with orchestras under the direction of conductors such as Mstislav Rostropovitch, Myung-Whun Chung, Riccardo Muti, Charles Dutoit, and John Nelson. His recordings include the complete organ works of Maurice Duruflé and César Franck, Charles-Marie Widor’s ten symphonies, selected pieces by Jehan Alain, Pierre Cochereau, Olivier Messiaen, and Louis Vierne, his own improvisations and transcriptions of Stravinsky’s The Firebird and Petrushka, as well as works with orchestra by Camille Saint-Saëns, Hector Berlioz, Joseph Jongen, and Aaron Copland. Several of Pierre Pincemaille’s compositions were published: Prologue et Noël varié [Prologue and Variations on a Noel] (Sampzon, Delatour France, 2007), a 4-voice a cappella Ave Maria (Lyon, À Coeur Joie, 2013), and En Louisiane for trombone and piano (Delatour France, 2017).

Recently, Pierre Pincemaille taught counterpoint at the Conservatoire National Supérieur de Musique de Paris, harmony at the Conservatory in Saint-Germain-en-Laye, and organ improvisation at the Conservatory in Saint-Maur-des-Fossés for the past 17 years. For the past 14 years, he formed a generation of French and foreign organ improvisers, many who have won prizes in international competitions: among them, six Parisian organists: David Cassan (at the Oratoire du Louvre), Thomas Lacôte (La Trinité), Samuel Liégeon (St.-Pierre-du-Chaillot), Hampus Lindwall (St.-Esprit), Baptiste-Florian Marle-Ouvrard (St.-Eustache), and Olivier Périn (St.-Paul-St.-Louis).

Among his honors and distinctions, Pierre Pincemaille was a Knight in the following three orders: the Academic Palms, Arts and Letters, and St. Gregory the Great. 

Pierre Pincemaille is survived by his wife, Anne-France, and their three children, Claire, Marc, and Éric.

—Carolyn Shuster Fournier, Paris, France