Gilbert Mead dies at age 83

Henry August “Hank” Elling died October 10, 2010, in Catawba, North Carolina, at the age of 85. He was music director and principal organist at St. Paul’s Lutheran Church and School in Rockford, Illinois for 36 years. Born into a long line of Lutheran pastors, he first played the organ at age 15, for his sister’s wedding. Following service in the Philippines in World War II, he earned a bachelor’s degree in organ and piano from Augustana College, Rock Island, Illinois, a master’s from Wayne State University, and worked toward a Ph.D. at the University of Southern California. Elling served as choir director at Chicago’s Luther North High School, where the award-winning choirs concertized in Europe and sang at Christmas programs organized by Mayor Richard Daley. He was a longtime member of the Rockford AGO chapter. Henry August Elling is survived by his wife of 50 years, Martha, sons Henry J. (Cathy), Kurt A. (Jennifer), daughter Suzanne (Rev. Gregory) Alms, brother Rev. Norman (Selma) Elling, daughter-in-law Kerry Osley Elling, and grandchildren, nieces, and nephews.

Gilbert Mead died November 25, 2010 of complications from congestive heart failure at his home at Windsor Park Manor in Carol Stream, Illinois, at the age of 83. He was well known particularly in the Chicago area for his involvement as a musician on WMBI, the flagship station of the Moody Radio Network.
Born April 4, 1927, Mead began playing as a church organist when just a boy in his hometown of Battle Creek, Michigan. His fascination with pipe organs led him to seeking books on organbuilding from libraries some distance from Battle Creek. He particularly remembered the E. M. Skinner organ (Opus 720, 1928) at the First Presbyterian Church of Battle Creek, where his first piano teacher was the church’s organist. Battle Creek had many E. M. Skinner instruments of this period (1928–1932), with installations at the Kellogg Auditorium, St. Phillip Catholic Church, and St. Thomas Episcopal Church. Mead’s first organ lessons were at St. Thomas. He recalled the impeccable pedal technique of their organist who, according to his memory, played in highly polished white shoes that showed no sign of scuffing between the feet.
Gilbert Mead earned a Bachelor of Music degree in piano performance at the American Conservatory, where he studied with Leo Sowerby, Stella Roberts, Irwin Fischer, and Bruno Glade, and a master’s in organ performance from Northwestern University, where his instructors included Barrett Spach, Richard Enright, and Grigg Fountain.
Mead came to Chicago to study at the Moody Bible Institute in 1945 and gradually became involved at WMBI. Upon completion of a course in Biblical studies, he became a full-time staff musician, working in radio from 1950–1962. He logged thousands of hours in varied programming as a solo organist, pianist, accompanist, and director of various choirs. In 1962 Donald Hustad invited him to join the Sacred Music Department of Moody Bible Institute when the trend in radio was away from “live” music toward pre-recorded music. He joined a faculty with some renowned organists—Donald Hustad, Robert Rayfield, Lillian Robinson, Lester Groom, and Preston Rockholt.
Mead was known for his polished performance style at the organ, and was revered by a host of fine students on both piano and organ. He had a passion for providing engaging and sympathetic accompaniment to congregational singing. His approach caused one colleague to quip that Gilbert Mead always “played the words”.
Mead served four churches in the Chicago area over a period of about 55 years: Judson Baptist Church in Oak Park (1950–1968), First Baptist Church of Elmhurst (1968–1973), Wheaton Bible Church (1973–1989), and College Church in Wheaton (1990–1996). He filled the dual role of organist-choirmaster at Judson Baptist and First Baptist Churches. At Judson Baptist, he oversaw a large rebuilding of the church’s original Estey organ (10 ranks) into a much larger 3-manual organ with 31 ranks of new pipework from Aeolian-Skinner (Opus 1466). He finished his church music career as organist for five years at the College Church in Wheaton, where he served as consultant for the installation of the new 3-manual Schantz (1992).
Mead was well respected in the Chicago area for his conscientious work as an organbuilder and restorer. His weekends, apart from Moody Bible Institute and his church work, were filled with service calls to dozens of Chicago-area churches and colleges in tuning and in some rebuilding work. There are a handful of organs in the Chicago region bearing the nameplate “MEAD AND SONS, Elmhurst, Illinois.” His work in maintaining the historic Reuter organ at Moody Memorial Church was well on display when that organ was a featured instrument in the events held by the Romantic Organ Music Symposium in the summer of 1988. In preparation for a recital by Robert Glasgow when the weather had been extremely hot, and in an un-air-conditioned church, Mead managed to keep the organ in tune, to the delight of all.
Gilbert Mead is survived by his wife of 59 years, Martha (Jennison), four sons: Stephen (Marjorie Lamp), Robert (Connie Blaschke), David (Brenda Simms), and Donald (Karen Sarasin); and a sister Beverly (Mead) Todd.
—Donald Mead

Andrew Seivewright, master of music at Carlisle Cathedral for more than 30 years, died December 10, 2010, at age 84. He served as cathedral master of music from 1960 to 1991. He founded the Abbey Singers in 1962 and took the group on tours throughout Europe and the USA. He was an established composer whose latest choral CD, If Winter Comes, was released last year. He was also a pianist, organist and conductor.
Following his retirement, Seivewright was organist at Crosthwaite Church in Keswick for four years and then, from 1994, at Grasmere. The son of a clergyman, he began playing the organ when he was 10 years old. He studied at Denstone College before going on to read classics at King’s College, Cambridge. In World War II he joined the RAF, training as a navigator in Canada. After the war he returned to Cambridge and studied music. He and his wife Nora lived in Yorkshire, where he had teaching posts, and then, in 1960, they moved to Carlisle. In June 2010 a concert was held to mark Seivewright’s 50 years as a church musician.

Remembering the prolific and active church musician

Donald Paul Hustad, organist, choir director, radio musician, composer, arranger, scholar, educator, editor, and writer, died on June 22, 2013, at the age of 94. Active in church music for more than 85 years, he had become one of the most articulate scholars, chroniclers, and critics of the history and traditions of music in the evangelical and “free” (i.e., non-liturgical) church traditions. He wrote six books and over 100 articles, composed numerous hymns, hymn arrangements and choral octavos, edited a number of hymnals and authored hymnal companions, taught at Moody Bible Institute in Chicago and later the Southern Baptist Theological Seminary in Louisville, Kentucky, and played organ for the Billy Graham crusades beginning in the 1960s. He held two graduate music degrees from Northwestern University, plus AAGO and FRCO certificates. 

Though he retired from the Southern Baptist Theological Seminary in 1986, Hustad continued actively performing, writing, lecturing, and editing for the next two decades. Post-retirement activities included being the general editor for the hymnal, The Worshiping Church, which was first published in 1990, and revising his well-received textbook, Jubilate! Church Music in the Evangelical Tradition, first published in 1981, which was released in 1993 as Jubilate II: Church Music in Worship and Renewal. In 1989, he became a Fellow of the Hymn Society in the U.S. and Canada, in recognition of his contributions to hymnody. In 1991, Hope Publishing Company, which published music, hymnals, and books by Hustad, named him their first emeritus editor. In 2006, he received an honorary doctorate from Samford University, Birmingham, Alabama, and in 2008, he was honored for his contributions to church music at the American Choral Director’s Assocation’s Southern Division Conference.

Hustad’s legacy in the Chicago area is manifold, especially through his work at Hope Publishing Company (located in Carol Stream, Illinois) and through his tenure at Moody Bible Institute, beginning in 1942 at the Institute’s flagship radio station, WMBI, and then as conductor of the Moody Chorale beginning in 1947, and additionally as Director of Moody’s Music Department, 1950–1963. Under Hustad’s leadership, the Moody Chorale was critically acclaimed and the Music Department’s current facilities were built, including the Doane Memorial Music Building and the 4-manual Möller organ (now being rebuilt by R. A. Colby) in Torrey-Gray Auditorium. Hustad’s long relationship with Moody led to the opportunity for the following edited interview which took place on October 11, 2011.

Hustad was born October 2, 1918, in Yellow Medicine County, Minnesota. Following the death of his father in a hunting accident the year after his birth, his mother moved with Donald and his younger brother Wesley to the Boone Biblical College in Boone, Iowa, a home for indigent families. This is where Hustad’s musical life began.

Elizabeth M. Naegele: How did you first become interested in music?

Donald Hustad: At the age of four, I was taken under wing by a little lady at the Boone Biblical College where I grew up and where all of our music was from the “Holiness” tradition. She had me studying all the serious piano works of Beethoven, Liszt, Mendelssohn, etc., and in those days of limited entertainment, I ate it up. From my very first years, I improvised, but I never quit reading music that was serious.

You were doing church music alongside classical music?

Yes, I was in church music. In a very typically fundamentalist culture of church music where I improvised much of the time, I was also studying classical music. I grew up thinking of music schizophrenically because all the things that were ideal in classical music were taboo in the church music that we had, and all the things that we doted on in church music were just out-of-bounds in classical music. I had this love-hate relationship, understanding it, sensing it—from the very beginning—as being in two worlds . . . and I enjoyed them both! 

Curiously, I was also in radio at that age. Little Boone Biblical College had a ten-watt radio station which they bought in 1926, so when I began working at Moody Bible Institute’s radio station later in life, I was simply doing what I had done as an eight-year-old boy. I accompanied my mother who was a singer of sorts, and I played trombone in the orchestra. 

How did you begin your professional career?

Sacred music as a profession was a complete surprise to me. I didn’t realize that anyone could make a living with music, even though I studied it at the John Fletcher College in Oskaloosa, Iowa. The graduates from that school went to theology school and became ministers or they went to a university and became a school teacher. I didn’t want to do either, so I had nothing to do. I came to Chicago looking for any kind of a job. I went to the Christian Businessmen’s Committee downtown Chicago, where they referred me to a Christian businessman, Reamer G. Loomis, who had a real estate office on the south side of Chicago. There I wound up answering the telephone or did surveys in the neighborhood . . . until I got busy doing music. Interestingly enough, my future wife’s family was friendly with the real estate office’s owner.

Where did you meet your wife?

I met Ruth at Lorimer Memorial Baptist Church on the south side of Chicago—and the church had lost their musician, so I was hired to be their choir director and organist.

When had you studied organ?

Prior to this time, I had only one year’s instruction, 1940–1941, during the time I was working at a church in Zion, Illinois. I studied with Francis Moore, who had been a student of Alexandre Guilmant. He taught the organ at Oak Park Methodist Church. I remember him well because he was the first to teach me that I should have fingering written in for Bach. Would you believe I began with Bach’s Prelude and Fugue in E-flat Major? Moore kept active in music and years later, while I was at Moody, I remember that he was doing things for Lyon and Healy in downtown Chicago.

So your professional career began at the church where you met your wife?

Yes, but . . . there was a member of the church named Theresa Worman, who was in charge of children’s programming at Moody Bible Institute’s radio station, WMBI. She came to me one day and said, “Don, why don’t you audition? Down at Moody they hire a lot of musicians.” I asked, “They do? To do what?” She answered, “To play music. To write music. To arrange music. To make music!” So I arrived at WMBI’s Studio D on a Saturday morning in May, 1942, and was met by George Beverley Shea and Cornelius W. Kerr. Corny Kerr was one of the so-called “gospel” organists at Moody—there was a whole bevy of them. And they hired me . . . auditioned me on Saturday, and I showed up for work on Monday.

So you became a professional radio musician?

I played accompaniments for George Shea on Hammond organ, pipe organ, and piano. And I did solo organ programs, I did piano duet programs. I also very soon became an announcer, and then, like everyone else, I became a producer and sometimes an actor in a drama that the station had on for years, “Number Nine Elm Street.”

What music degrees did you earn?

I have a bachelor’s degree in music from John Fletcher College, and completed a master’s degree in piano from Northwestern University (Evanston, Illinois) in 1945, while I was working in radio. Later, I went back to Northwestern to do a Doctor of Music degree in church music, which combined organ, service playing, and conducting [completed in 1963]. I also have an Associate certificate from the American Guild of Organists and a Fellowship certificate from the Royal College of Organists in London. 

Interestingly enough, I never completed a conducting course in my life. The first official conducting I ever did was for a tour of the “Twelve Singing Men” from John Fletcher College. I simply watched people conduct, saw the motions, and practiced them myself as I walked across campus. 

When you were doing doctoral work in Northwestern, did you finally take some conducting courses?

Oddly enough, I didn’t take any conducting classes. I took more classes in literature. I didn’t even take any service playing . . . though I registered for thorough bass [figured bass/continuo playing], I opted out of it because I had played by ear all my life and could “bypass” the class.

In what educational institutions have you taught?

I take great pride in them all. One of the first teaching duties I had was as a substitute for Frank W. Van Dusen at Wheaton College for one full year. I worked at Olivet Nazarene College, now Olivet Nazarene University, 1946–1950, teaching piano and music literature. The lengthier stints: I taught at Moody Bible Institute, 1950–1963, and finally the Southern Baptist Seminary in Louisville, Kentucky, beginning in 1966 and officially retiring in 1986. 

What about your association with Billy Graham?

I joined the Graham team in 1961 and worked for them six years until 1967. At the beginning of my time with them, I was on a leave of absence from Moody but still chairman of the Music Department until 1963, one of those flitting chairmen who bounced off and on campus, helping make important faculty and catalog decisions, teaching assignments, and so forth. 

You started teaching at the Southern Baptist Seminary in 1966 before you were done with Billy Graham?

I kept playing for the Billy Graham team off and on for 20 years and retired from them around the same time that I retired from the seminary. 

What changed during your years of teaching church music?

When I began teaching people how to use music in the church, I knew only one kind of music, and that was what I had learned in the conservatory and colleges. As I understood it, musicians could take the same understanding, the same theory, same techniques, and work in, say, church or even nightclubs, just as well. They were trained for music, and they did music wherever they had to do it. Later, I began to realize the discipline of church music was separate from the ordinary discipline of music, and there were no books written about church music. Church music has different requirements, different objectives—so you should have different training for it. I learned the principal activity of the church was its worship, so I became intensely interested in worship, and I essentially began all over again to study worship and liturgics. My books Jubilate! and Jubilate II became journals on worship and church music and evangelism and Christian education . . . the whole activity of the church. 

Finances have become one of the primary problems with church music in our day. It costs too much to train musicians, so Northwestern University throws out its organ department. Other schools throw out a whole music department because it costs so much more to train a musician than it does to train a philosopher or a theologian. I’ve often wondered if maybe our system should be different. I’ve watched the Europeans teach all beginning applied music in classes. Only artists are taught privately. When I was on sabbatical in France, my daughter took flute classes, not private lessons, at the local conservatory. Everybody heard everybody play. Everybody learned from what everybody else learned, and they spent hours in a studio listening to teaching as well as practicing. I’ve wondered if we shouldn’t do more of that. I think we have the same problem in reverse when teaching conductors. Conductors need more private study than we give them. 

What do you see when you look ahead in church music?

None of us really know! But it’s very interesting for me to look at history, to see movements come and go. As I mentioned, I felt schizophrenic growing up, because I could see that church music and classical music were on two different tracks. For instance, my mother was an amateur singer, but she heard that Amelita Galli-Curci (1882–1963), a famous Italian opera soprano in the 1920s, was giving lessons for $25 to anyone who showed up in Des Moines. And my mother wanted to travel to Des Moines for a lesson because that was a different kind of music than she knew. So she learned Bernard Hamlin’s solo, “Beside Still Waters,” and I accompanied her when she sang it for Galli-Curci. Why did she do this? Well, because there was that other world of art music out there. And it was not a sinful world, it was God’s world. She didn’t know that, but she thought it might be. She had a chance to toy with it, and she did!

On the other hand, George Beverley Shea was a gospel singer from his youth. He grew up in an educated family, all of whom were university people, most of them scholars, preachers, and professors of various sorts in the denomination in which he grew up. But he was a gospel singer, he was different . . . though not completely, because his idol was the concert baritone, John Charles Thomas (1891–1960). Shea worshipped Thomas’s singing, because of his diction, which was the most accurate, most precise, most dramatic diction of any singer in the English language. Shea copied him. He went to Thomas’s coaches, and as a result, Shea had the sharpest diction in English of any singer I know. He’s the oldest singer whose words I can identify when the song is one I’ve never heard before. 

Western music in the year 1000 had no place to operate except in the church. And for hundreds of years, serious composers were trying to imitate the “music of the spheres”—the music that the Book of Job writes about when God says to Job, “Where were you when I laid the earth’s foundation . . . while the morning stars sang together?” (see Job 38:1–7). This was the music of heaven’s angels joined with all of creation, which has together moved to earth only twice in history: once at the creation of the world, once at the birth of Jesus Christ. And did you ever notice this comes full circle in the Book of Revelation, where it says that we will sing in heaven an anthem to God who created, to God who redeemed? That’s all. That’s all there is. That’s all! For eternity!

How does this fit with contemporary music in the church?

Evangelicals have always been plagued with the love of novelty. The gospel is the “good news”—the new good news. Got to have a different music for it. Can’t have ordinary music that God blessed from eternity. Got to have a special music, so we’ll throw out Watts, we’ll throw out Wesley, we’ll throw out Luther, and we’ll have the gospel song. And in the late 19th century, evangelicals did it thoroughly, throwing out the tried and true, God-given music of Watts and Wesley and sang the gospel song. Had a lovely time, and founded Moody Bible Institute to perpetuate it, but knew all the time that they really shouldn’t have let the other go—that they should have hung on to it. The conductors of the auditorium choir at Moody Bible Institute knew this in 1910. The teachers at Moody who played the organ knew this about the organ, and so they had serious organ study back in those days. They never let serious music go because they had a sneaking suspicion that somehow God had blessed it, and they should bless it and protect it and teach it forever. But evangelicals may not do it today. They’ve frittered around to the point now that many have let classical music go. 

Who knows what will happen? The present movement has lasted so long there are few classical musicians left. A cousin in Minneapolis sent me a copy of a program from a Covenant church that had a prelude on the organ by Bach, anthems—true anthems, liturgy, and straightforward hymns, but I don’t know many other evangelical churches that do that. To you that do, I say, “Hang on!”

What activities are you involved in now that you’re really retired?

Years ago I started writing a memoir, and I’ve had so much fun just writing it, I’m on my 15th chapter. 

Are you going to publish it?

No—somebody else can! The title of the 15th chapter is the name of the retirement community where we live now, Plymouth Place. And that’s the end. Plymouth Place has been ideal—it has so many people with all kinds of ideas and interesting backgrounds. There are a lot of Congregationalists, a lot of Catholics, a lot of Lutherans. I wake up remembering that my first memory of Billy Graham was in Western Springs, Illinois, and he was considered too conservative by most of the people in this place.

You know, for me, I’m back where I started. I grew up in a communal living center and now, though we never thought we’d go to a retirement home, it’s a perfect situation. Our needs are cared for and we can use our energy to do what we want to do. 

What do you think music will be like in heaven?

On earth, we’re preparing to worship in eternity—why don’t we do it the biblical way? Thank goodness, the biblical way is happening in some places, and I have faith that God will not let it die.

At this point in the interview, Mrs. Hustad interjected and asked if she and her husband could share the prayer by John Donne which they said every night. Dr. Hustad agreed and—together—they recited:

Since I am coming to that holy room

Where, with Thy choir of saints forevermore,

I shall be made Thy music, as I come

I tune the instrument here at the door,

And what I must do then, think now before.

—from Hymn to God my God, in my Sickness, by John Donne (1572–1631)⁸

On January 14, 2013, Dr. Hustad addressed the music faculty and students at Moody Bible Institute for what turned out to be his final time. He distributed a handout, which included his personal credo (see sidebar) and an outline of his lecture titled “Creation, Culture and Musica Mundana.”⁹ The lecture covered the biblical story of music from creation to the music of heaven, the history of church music from Greek culture through 19th-century Romanticism, and the history of Moody from the music promulgated by Moody’s founder, evangelist Dwight Lyman Moody (1837–1899) through the history of contemporary Christian music. He challenged the students (1) to use the hymnal, even in personal devotions; (2) to use all kinds of music; and (3) to use their education in music. He also reminded them that we are not called to be successful; rather we are called to be faithful. Finally, he left the following exhortations ringing in our ears: 

Worship God!

Teach what God taught!

Live out truth!

Sing to the glory of God!

Ruth Hustad died less than one month after her husband, on July 18, 2013. Their daughter Marcia reported that as her mother was saying goodbye to her father, she said, “Don’t walk too fast, darling…I’ll be right behind you.” The memorial service Mrs. Hustad had planned for Dr. Hustad was revised and became a double ceremony, celebrating both their lives. The service was held July 27, 2013, at Western Springs Baptist Church, the church where Billy Graham was pastor when he first became famous. Current members and alumni of the Moody Chorale sang at the service under the direction of longtime former conductor and faculty member emeritus Gerald H. Edmonds. Their repertoire included an excerpt from Brahms’s Requiem and an original anthem with both words and music by Hustad, “Prayer Before Singing,” which was published in the 1950’s (copyright 1959, Hope Publishing) and recorded by the Chorale. 

Notes

1. Hustad’s life and contributions to church music have been well documented by Rhonda S. (Rogers) Furr, especially (1) in her dissertation, Rhonda S. Rogers, “The Life and Work of Donald Paul Hustad,” DMA dissertation, The Southern Baptist Theological Seminary, 1988; (2) in her article “Jubilate!—‘Shout for Joy!’ 70 Years in Church Music: Donald Hustad,” The Hymn, Vol. 47, No. 2 (April 1996); and (3) in her contributions to Jubilate, Amen!: A Festschrift in Honor of Donald Paul Hustad, Timothy W. Sharp & Paul Richardson, editors, Hillsdale, NY: Pendragon Press, 2010 (see “Biography,” pages 23-55, and “Bibliography,” pages 57–103). 

Another good resource for information about Hustad is the Donald Paul Hustad Collection (SC 5585), Special Collection, Harwell G. Davis Library, Samford University, Birmingham, Alabama.

2. Hustad met Ruth McKeag on February 12, 1942, and they were married on November 28, 1942. They had three daughters and were married for over 70 years. Lorimer Memorial Baptist Church was at 73rd St. and St. Lawrence Avenue on Chicago’s south side. It later moved to Dolton, Illinois, and today is called New Community Church and includes two locations in Chicago’s suburbs, one in Dolton and the other in Park Forest.

3. During his last year at John Fletcher College, Hustad’s keyboard talent earned him his first church job at the First Methodist Church in Oskaloosa, Iowa, where he taught himself basic organ technique. Following graduation in 1940, he continued playing organ for another year when he worked at two churches in the Chicago area, filling in for the organist who was on leave at Ravenswood Methodist Church on Sunday mornings and assisting at the Christian Catholic Church (now Christ Community Church) in Zion, Illinois, on Sunday afternoons.

4. George Beverley Shea (1909–2013) was best known as a soloist who sang with Billy Graham’s Crusades, beginning in 1947. Shea died on April 16, 2013, at the age of 104, only a few months before Hustad died.

5. Hustad was also associated with other radio programs that originated in the Chicago area, most notably the American Broadcasting Radio network’s Club Time, a 15-minute weekly program of hymns, and the longtime popular radio series, Songs in the Night, for which Hustad played organ for two decades beginning in 1947. Songs in the Night began in 1943 and since 1968 has been produced and broadcast by the Moody Church, an organization separate from Moody Bible Institute (though named after the same 19th-century evangelist Dwight Lyman Moody) and also located in downtown Chicago.

6. It may be assumed that Hustad’s conducting of a nationally known choir, the Moody Chorale, and his outstanding improvisation skills made it possible for him to “bypass” course work in conducting and service playing, leaving his remaining studies in various areas of music literature, primarily choral and organ. His two doctoral research projects, both completed in 1963, were “A Study of Sacred Choral Music by Ralph Vaughan Williams” and “The Organ Music of Paul Hindemith.” Hindemith died in 1963, making Hustad’s project the first major document that covered the complete organ works of the composer.

7. Frank W. Van Dusen began teaching at Wheaton College in 1935; he also taught at the American Conservatory in Chicago.

8. This is the first strophe of six in Donne’s Hymn to God my God, in my Sickness. Some scholars suggest Donne wrote it when he was on his deathbed, 1630–1631. Others suggest it was written during a life-threatening illness in 1623.

9. Musica mundana means the “music of the spheres” or universal music, the music that occurred in God’s creation as differentiated from the music of heaven and its angels.

10. E-mail from Marcia Hustad, July 19, 2013.

11. Billy Graham returned to lead Western Springs Baptist Church’s 50th anniversary celebration in 1962. Don Hustad participated in organ dedications at this church in 1962 and again in 1980.

William Ferris, composer, conductor, and organist, died on May 16 in Chicago, Illinois, from a massive heart attack. He was 63 years old.

Founder and director of the William Ferris Chorale, he died during a rehearsal with the chorale of the Verdi Requiem, which was to be performed in concert on Friday, May 19. The chorus had been singing the final section, "Libera me," when Ferris faltered, fell backward, and was helped to the floor. One of the choristers who is a physician administered CPR, but Ferris was never revived. Born in Chicago on February 26, 1937, he attended DePaul University, studying composition with Alexander Tcherepnin and organ with Arthur C. Becker. Between 1957 and 1962 he studied composition privately with Leo Sowerby. Ferris was organist at Holy Name Cathedral in Chicago from 1954-58 and 1962-64, he taught at the American Conservatory of Music from 1973-83, when he resigned to become composer-in-residence and director of music at Our Lady of Mount Carmel Church in the Lakeview neighborhood. He also served as director of music at Sacred Heart Cathedral in Rochester, NY from 1966-71. Ferris composed more than 500 works, including two operas, a dozen orchestral works, 15 chamber pieces, and well over 60 choral compositions. In 1960 he founded the William Ferris Chorale, specializing in works of 20th-century composers and often bringing them to Chicago for festival concerts of their music. Albany records has recently released a CD of Angels, an oratorio Ferris wrote and presented with his chorale in 1998. In 1992 Northwestern University established the William Ferris Archive, which contains his compositions, preliminary sketches, correspondence, and memorabilia.

Lester H. Groom died on March 28 in Seattle, Washington, at the age of 71. He received his early keyboard training from both of his parents, and later his father became his major professor in organ and composition at Wheaton College (Illinois), where he received the BMus in 1951. He earned the MMus in organ from Northwestern University in 1952, the Associate certificate of the AGO in 1954, and did further study with Stella Roberts at the American Conservatory of Music in Chicago. Mr. Groom held teaching positions at Moody Bible Institute, Chicago, Blue Mountain College (Mississippi), and Baker University (Kansas). He joined the faculty of Seattle Pacific University in 1969, where he taught organ, harpsichord, music theory and composition. He retired from SPU in 1991 and was named Professor Emeritus the following year. Throughout his career he held positions as a church organist and choir director. He served as organist of First Presbyterian Church, Seattle, from 1979 until his retirement in 1996. Groom’s published works include organ and choral compositions, articles and music reviews. He was a specialist in the art of improvisation and often featured free improvisations in his organ recitals throughout the country. He was a frequent lecturer at church music workshops. For 13 summers he served on the faculty of the Evergreen Conference of Church Music, Evergreen, Colorado, and was conference president from 1972-77. He was active in the AGO throughout his career, most recently serving as regional Education Coordinator, and he prepared the study guide for the AGO Service Playing Certificate. A memorial service was held at First Presbyterian Church, Seattle, on April 4.

The French organist and musicologist Jean Bonfils died on November 26, 2007 in Rennes (Ille-et-Vilaine) at the age of 86. His funeral was celebrated on November 29 at the Notre-Dame Church in Vitré and a memorial mass was held in his honor at La Trinité Church in Paris on February 16, 2008.
Born in Saint-Etienne (Loire) on April 21, 1921, Jean Bonfils studied at the Paris Conservatory and received first prize in organ in 1949 in Marcel Dupré’s class, a second prize in composition in Jean Rivier’s class in 1948, and a first medal in analysis in Olivier Messiaen’s class in 1950.
Jean Bonfils substituted for Olivier Messiaen at La Trinité Church in Paris for over forty years (from 1950 to 1992), then for Naji Hakim. According to Denis Havard de la Montagne (http://www.musimem.com/BonfilsJean.htm), he also played the Merklin organ at the Grande Synagogue in Paris, rue de la Victoire, for over thirty years (succeeding Henriette Roger in 1953), and in 1964 he was also named titular of the Cavaillé-Coll/Mutin organ at Saint-Ignace (succeeding Paule Piédelièvre, remaining until 1975). After assisting Jean Langlais as organ professor at the Schola Cantorum, he taught organ there from 1973 to 1992.
He was editor of numerous liturgical journals and musical publications, including the collection he co-directed with Gaston Litaize, L’Organiste liturgique, Heinrich Schütz’s works for choir, and an organ method he wrote with Noëllie Pierront (Nouvelle méthode de Clavier, four volumes, 1960–68, and in 1962 a two-volume Nouvelle méthode d’orgue), which has formed an entire generation of organists, notably Olivier Latry. Seuil Editions published his reconstitutions of Goudimel’s psalms and motets. Jean Bonfils edited numerous 16th- and 17th-century French organ compositions, including Jacques Boyvin’s First and Second Organ Books as well as Deo Gloria, collections of liturgical organ music he prepared with Noëllie Pierront from 1962 to 1968.
A musicologist, Jean Bonfils wrote numerous articles, notably in L’Orgue: on the Christmas carols of Pierre and Jean-François Dandrieu (no. 83, pp. 48–54) and on Olivier Messiaen (1992, no. 224, pp. 12–14); in Recherches sur la musique française classique edited by Picard: on the instrumental fantasies of Eustache Du Caurroy (in 1961–62) and on Jehan Titelouze’s organ works (1965), as well as numerous biographical notices on French musicians for Die Musik in Geschichte und Gegenwart (Bärenreiter) and for Corliss Arnold’s Organ Literature: A Comprehensive Survey (Scarecrow Press).
Jean Bonfils composed an organ piece, Communion on “Beata Viscera,” published in L’Organiste liturgique (Schola Cantorum). Jean Langlais dedicated to him his Trois Méditations sur la Sainte-Trinité, op. 129 (Philippo, 1962).
At La Trinité Church, I had the joy of working with him from 1989 to 1997. Like Olivier Messiaen, Jean Bonfils was very discreet, modest and cordial, and was an excellent musician. He played an eclectic repertory and carefully chose the pieces he played during the church services, strictly in keeping with their specific liturgical functions; an excellent musicologist as well, he was an immense inspiration to me and countless other musicians and students. In addition, he generously gave numerous manuscripts, musical scores and letters to the music department at the Bibliothèque nationale and to the library at the Conservatory in Boulogne-Billancourt.
—Carolyn Shuster Fournier
Titular of the A. Cavaillé-Coll Choir Organ at La Trinité Church in Paris

Robert N. Cavarra died February 8 in Denver, Colorado after complications from kidney failure. He was for many years professor of music at Colorado State University and a leading participant in the revival of the classical organ tradition in North America.
Under Cavarra’s leadership, three examples of this movement were realized in Fort Collins: the Casavant Frères organ at CSU (1969), the Lawrence Phelps opus 1 organ at St. Luke’s Episcopal Church (1973), and the Danish Marcussen and Son organ at First United Methodist Church (1987). He brought together artists from throughout the world for master classes and recitals on these instruments, including E. Power Biggs, Marie-Claire Alain, Luigi Tagliavini, Gillian Weir, Lionel Rogg, Bernard Lagacé, and Anton Heiller. He taught from 1963 until 2000 on the faculty of CSU’s Department of Music, Theater and Dance. At his death, he was Professor Emeritus of Music. As a student of both philosophy and music, Cavarra also served as organist for the North American College.
Robert Nicholas Cavarra was born on February 23, 1934, in Denver. His musical training began in childhood, and by age 12 he was performing publicly. As a recitalist, Cavarra toured widely, including concerts in Denmark, Sweden, France, England, Canada, Mexico and the United States. He and his wife Barbara founded an international non-profit foundation, “Pro Organo Pleno XXI.” As a recording artist, he released CDs through the Musical Heritage Society, and he was a major figure in the “Christmas at CSU” series of recordings. He was also a published composer and solo and ensemble harpsichordist.
In addition to the classical organ, Cavarra was responsible for the installation of a Wurlitzer theatre organ at CSU, and sponsored numerous workshops on theatre organ music. He was organist at St. Joseph and St. Pius X Roman Catholic Churches and St. Barnabas Episcopal Church in Denver, and St. Joseph Roman Catholic Church, St. Luke’s Episcopal Church, and the First United Methodist Church in Fort Collins. He also taught music at Loretto Heights College and St. Thomas Theological Seminary in Denver, as well as at the University of Wyoming. Cavarra is survived by his wife Barbara, a daughter, three sons, and five grandchildren.

Jack Hennigan died November 11, 2007 in Pelham Manor, New York, at the age of 64. Born in Scranton, Pennsylvania, he earned a bachelor of music degree at Juilliard, having studied organ with Vernon deTar. Further studies were in Cologne, Germany, with Michael Schneider (organ) and Gunther Ludwig (organ). He earned master’s and doctoral degrees from Yale, studying organ with Charles Krigbaum and piano with Donald Currier. He won international organ competitions in Bruges, Belgium, and Worcester, Massachusetts. Hennigan served as organist-choirmaster at St. Matthews Church, Wilton, Connecticut, and the Church of Christ the Redeemer (Episcopal) in Pelham Manor, New York. He wrote a monthly column for The American Organist dealing with fingering, hand coordination, and performance anxiety, and lectured to AGO groups on these topics. He was also known as a gourmet cook, traveling and studying food preparation in France. Jack Hennigan is survived by his partner, Martin Nash, of Pelham Manor.

Winston A. Johnson died February 4. He was 92. Born in China in 1915 to Covenant missionaries, he first studied piano with his mother. His family returned to the U.S. in 1927, eventually settling in Illinois. Johnson began organ study at age 13 and by age 16 held his first church organist position. He earned bachelor and master of music degrees from the American Conservatory of Music in Chicago, and the master of sacred music from Union Theological Seminary in New York City. His teachers included Clarence Dickinson, Marcel Dupré, Hugh Porter, and Leo Sowerby. He served in the U.S. Army from 1942–46 as a chaplain’s assistant, playing for Protestant, Catholic, and Jewish services.
Winston Johnson served as organist and choir director for over 60 years, including at University Presbyterian Church in Seattle for 32 years. Active in the American Guild of Organists, he was one of twelve organists who studied with Sowerby in Chicago for the Associate certificate; he was the only candidate who passed the two-day examination that year. Johnson held several offices with the Seattle AGO chapter, including as dean. He also played for two AGO regional conventions, and had performed with the Seattle Symphony Orchestra and the Seattle Opera. He taught at North Park College and Trinity Bible Institute in Chicago, and at Simpson Bible Institute and Seattle Pacific University in Seattle, and taught privately. He gave his last piano lesson three days before his death. Winston Johnson is survived by Irma, his wife of nearly 50 years, his sister, two sisters-in-law and a brother-in-law, and nieces and nephews.

Robert V. McGuire died November 12, 2007, in Haines City, Florida, at the age of 79. Born and raised in Chicago, his doctoral dissertation from the University of Chicago dealt with the use of the augmented second in Bach’s Passions and other choral works. Dr. McGuire served as organist-choirmaster at churches in Illinois and in Florida; his last position was at St. Mark’s Episcopal Church in Haines City, retiring in 2002. He served on the boards of the Messiah Association of Polk County and the Bach Festival of Central Florida, for which he authored program notes for many years. A lifelong member of the AGO, he served as dean of the Lakeland Area (Florida) chapter. Robert McGuire is survived by many cousins, nieces, nephews, and his friend Jeanette Stokes.

Edward Lamond Nobles, age 72, died January 2 in Meridian, Mississippi. Born in Meridian, he first studied piano with an aunt; he earned a bachelor of music degree at Jackson State College (now Jackson State University) in 1958, and a master of music education degree from Columbia University in New York City in 1968. Nobles taught music for eight years in Mississippi and for 18 years in Michigan; he also served as organist-choir director in various churches in those two states. He returned to Mississippi in 1984 and served as organist at St. Patrick Catholic Church of Meridian for over 20 years. Nobles was a member of Phi Mu Alpha Sinfonia Music Fraternity and the AGO, and was active in the Jackson, Mississippi chapter. He is survived by several cousins and many friends.

Glenn Edward Pride, 57, died suddenly February 26 at his residence on St. Simons Island, Georgia. Born in Nashville, Tennessee, he graduated from Peabody Demonstration School in Nashville and from Hope College in Holland, Michigan, majoring in organ performance. His graduate degree in sacred music was completed at Southern Methodist University, Perkins School of Theology, in Dallas, Texas. Mr. Pride had served St. Simons Presbyterian Church as director of music and organist since 2000. During his 34-year music career, he also served First Presbyterian Church of Dalton, Georgia; First Presbyterian Church of Bartlesville, Oklahoma; First Presbyterian Church of Jonesboro, Georgia; and the First Presbyterian Church of Douglasville, Georgia. He was a member of Rotary International and the American Guild of Organists. He was also artistic director of the Island Concert Association of St. Simons Island.

Paul R. Dickinson, 40, died August 27, 1994, at his home in Orlando, FL, following a lengthy illness. He received the BMus from Heidelberg College, Tiffin, OH, and the MMus from the University of Michigan, studying with Marilyn Mason and James Kibbie. While at Michigan he assisted the late Samuel Koontz, curator of organs at the school, and was employed to install pipe organ components for the Rodgers Organ Co. After serving as organist/music director for several churches in Michigan and Ohio, Dickinson moved to Orlando in 1986, when he was named Director of Music at St. John Lutheran Church, Winter Park. He was later appointed Organist and Director of Music at First Presbyterian Church, Kissimmee, where he established the Kirk Chamber Orchestra. He continued his interest in pipe organ construction in partnership with David McCain. In addition to maintenance and tuning in the Orlando area, the partnership installed several organs. Dickinson presented recitals in this country and in Europe. His last recital took place April 10, 1994, at the dedication of a new organ at Trinity Lutheran Church, Kissimmee. He was an active member of the Presbyterian Association of Musicians, a founding member of the Association of Lutheran Church Musicians, and had served as sub-dean of the North Central Ohio AGO chapter and board member of the Central Florida AGO chapter.

Roy Andrew Johnson, Jr. (AAGO), professor of organ at the University of Arizona, was abducted, robbed and murdered on February 28, 1995, as he returned to his home in Tucson following a Faculty Showcase Recital at a retirement community in Green Valley, AZ. His brutally beaten, tuxedo-clad body was found in a desert wash four days later when helicopter searchers spotted his tuxedo from the air. His music was scattered around him. He was 58 years old. Professor Johnson studied at the Collegio di Musica di Santa Cecilia in Rome, Italy (1954-55), held the diploma in Sacred Music from the Moody Bible Institute of Chicago (organ performance with Preston Rockholt and Robert Rayfield), earned the BMus with Robert Noehren, MMus with Robert Glasgow and the DMA with Marilyn Mason, all in organ performance at the University of Michigan. He was professor of organ at the University of Arizona for 29 years where he taught organ, music theory and counterpoint and where he was also director of graduate studies in music for eight years, a position in which he advised all graduate students in music. Johnson recently oversaw the installation of a 29-rank Schoenstein organ in a new University of Arizona organ recital hall and performed the dedication recital. He served as organist and organist-choir master in several churches over the course of 40 years as a church musician.

Vernon de Tar died on October 7 in Kennett Square, Pennsylvania, at the age of 94. He was organist and choirmaster at the Episcopal Church of the Ascension in Greenwich Village for 42 years, and had taught at Union Theological Seminary, Yale University, and the Juilliard School. Born in Detroit, Michigan, he studied piano and organ at Syracuse University, graduating in 1927, and continued studies with Franklin Cannon, David McK. Williams and Fernando Germani. He was appointed organist and choirmaster at Calvary Episcopal Church in New York in 1932 and moved to the Church of the Ascension in 1939. There he oversaw the installation of a Holtkamp organ, established a notable sacred music program and a concert series. Dr. de Tar taught at the Juilliard School from 1947 to 1982, the School of Sacred Music at Union Theological Seminary 1945-72, and at the Institute of Sacred Music at Yale University 1975-78. He was a member of the American Guild of Organists, the Association of Anglican Musicians, and the Hymn Society of America. After his retirement from the Church of the Ascension in 1981, he served as a substitute organist at several churches in Pennsylvania and continued to teach privately.

Michael R. Israel died on September 14 following a lengthy illness. Born on October 23, 1962, in North Carolina, he began his musical studies at the University of Cincinnati-Conservatory of Music and earned a degree in organ performance at the University of Louisville. He served as organist and director of music at churches in Cincinnati and in the Kentuckiana area, including Jefferstown Christian Church, Christ Evangelical United Church of Christ, St. John United Presbyterian Church, and Anchorage Presbyterian Church. He also played oboe and English horn, as well as singing baritone in various choral groups. Mr. Israel joined the staff of Miller Pipe Organ Company, Louisville, Kentucky, in 1988, first on a part-time basis while a college student, and later full-time as a technician and eventually service department manager. In that capacity, he had charge of scheduling quarterly visits throughout a ten state area as well as being a tuning team leader. He was a member of the American Institute of Organbuilders, the American Guild of Organists, and the Organ Historical Society. In 1993, he was selected as an E. Power Biggs Fellow by the OHS for the national convention in Louisville and Southern Indiana. He also performed as a recitalist at the convention, playing an 1879 organ by Koehnken & Grimm.

Robert Rayfield died on October 18 in Bloomington, Indiana, at the age of 79. He was professor emeritus of music at Indiana University, an international concert organist, and a church musician. Born April 15, 1920 in Selma, Alabama, he studied at the American Conservatory of Music in Chicago, where he won the Conservatory Commencement Contest, the Van Dusen Organ Club Scholarship, and the Society of American Musicians Contest. He was later awarded a Fulbright Scholarship for study in Paris, France with Rolande Falcinelli and Jean Langlais. While in Europe, he traveled extensively, playing recitals and studying organ design. After returning from Europe he earned the Doctor of Music degree from Northwestern University, Evanston, Illinois. He was a P51 pilot in the U.S. Air Force and received the Distinguished Flying Cross and the Air Medal. He concertized extensively and had made several recordings. Before his appointment to Indiana University in 1963, he served as Chairman of the organ department at Moody Bible Institute and organist of St. Paul’s Episcopal Church in Chicago. He retired from Indiana in 1990. He was known especially for his performances of the music of Leo Sowerby and Jean Langlais, and had written articles for The Diapason, The American Organist, and Clavier. Dr. Rayfield was a member of the American Guild of Organists and the Association of Anglican Musicians, and continued as organist of Trinity Episcopal Church, Bloomington, at the time of his death. Survivors include his wife, Nancy Platt Rayfield, two sons, one sister, and one grandson. A Requiem Eucharist was celebrated on October 22 at Trinity Episcopal Church.