Andrew Schaeffer to Luther Memorial Church, Madison, Wisconsin

David Engen holds degrees in organ from St. Olaf College and the University of Iowa, and a master’s degree in software engineering from the University of St. Thomas. He has been in the organ business since 1970. He is currently president of Grandall & Engen, LLC, in Minneapolis where he shares duties with vice-president David Grandall.

Editor’s note: many of the organs mentioned in this article can be found with stoplists and pictures at the website of the Twin Cities Chapter of the American Guild of Organists.

Charles George Hendrickson, 85, died at his home in Saint Peter, Minnesota, on December 17, 2020. He was born June 10, 1935, in Willmar, Minnesota, to Roy and Frances (Eklund) Hendrickson. Roy Hendrickson was an attorney and member of the board of directors at Gustavus Adolphus College in Saint Peter, from which Charles graduated in 1957. His intent was to continue in nuclear physics, but he once admitted to me that during his time of graduate study at the University of Minnesota, aspects of nuclear physics were “beyond me.” He taught physics at the University of Wisconsin-Superior, Union University in Jackson, Tennessee, and Northeast State University, Tahlequah, Oklahoma.

I believe it was after his father’s death that his mother became secretary to the president of Gustavus Adolphus. It was she who introduced Charles to the woman he would marry, Birgitta Gillberg, a language teacher at Gustavus Adolphus and later at nearby Mankato State University. He taught physics at Mankato State, and he and Birgitta were married in Sweden in 1964. They had two sons: Eric and Andreas. Birgitta preceded him in death by two years.

In 1964 he started building his first organ in rented space in an old canning plant in Winthrop, an instrument for nearby First Lutheran Church. The three-manual organ of thirty-four ranks, which has since been enlarged, had the first Rückpositiv division in Minnesota. David N. Johnson, then of Saint Olaf College, played the dedication recital.

Philosophy

I first met Charles at about the time the Winthrop organ was completed in 1966. He was measuring pipes in the new Holtkamp organ (Job Number 1778) at my home church in Minneapolis, Westwood Lutheran Church, Saint Louis Park. He told me of the upcoming David Johnson recital at Winthrop, which I attended. I started working for him in 1970 and continued for much of the time until 1984.

Charles was a fan of the architect Mies van der Rohe and ascribed to his “less is more” philosophy (although in the shop we often changed it to “more is more”). Most of his designs with casework are simple boxes. He also much admired the work of the organbuilder Robert Noehren, whose unit organs on all-electric action were a big influence.

More than one hundred organs came from the Hendrickson shop, ranging in size from a one-stop, one-rank portable “organetto” (Opus 19) to his “magnum” Opus 92 of four manuals and seventy ranks for Wayzata Community Church in Wayzata, Minnesota. Most of his organs were built for churches, but many were built for colleges (both concert halls and practice rooms), and several were built for individuals. There was a series of three three-stop portativ organs built for touring groups, the first for the Saint Olaf Choir, designed to fit through the door of a Greyhound bus.

Many organs had mechanical action, and in general the smaller organs were unit organs on all-electric action. These followed the Noehren philosophy of unification, where octave unification was avoided if possible.

One of Charles’s notable innovations was the use of plywood Subbass pipes. Built in the shop, they were made of three-quarter-inch plywood. In the ravages of Minnesota’s wild seasonal humidity swings, almost every old organ we encountered had splits in the big pedal pipes. Plywood avoids this, and these pipes were used in virtually every organ. He also exclusively used aluminum for the façade pipes above 4′, made by Justin Matters of South Dakota.

Another unique feature of the small unit organs has to do with celeste and tierce stops. In a very small organ it is difficult to justify the expense of either of these. Both are typically the softest stops, and both can be either string or flute scale. We found that if the tierce is borrowed from the celeste (tuned flat instead of sharp), you can have both in a single stop by adding just a few more pipes. One tunes the tierce perfectly from middle C up, then tunes from there down for a pleasant flat celeste (beats tend to get too wild in that range if tuned to the perfect tierce). It is an inexpensive compromise that is of great benefit to a tiny organ.

Friends and collaborations

Some of the best organs to come from the shop during my time were designed in conjunction with friends who acted as consultants. Among those were Merrill N. (“Jeff”) Davis, III, of Rochester, Minnesota, and William B. Kuhlman of Luther College, Decorah, Iowa.

Both pushed Charles to some of his most inspired designs, visually and tonally. Opus 4 was a pair of positiv divisions added to a Wicks organ in memory of Jeff Davis’s first wife at the Congregational Church in LaCrosse, Wisconsin. In an acoustically dry room, these positivs pulled the sound of the enclosed Wicks into the church. This was but the first collaboration. Many other projects resulted in very unique and unusual instruments over the years.

Bill Kuhlman was behind what was to become the first mechanical-action organ constructed in Minnesota in the late twentieth century. This was a thirty-six-rank teaching organ for Luther College (Opus 10) in Decorah, Iowa. As a successful teacher, Bill had many students study on that organ who went on to careers in music.

Other consultants included Robert Kendall and Robert Thompson of Saint Olaf College and Kim Kasling, then of Mankato State University.

Significant instruments

I had personal experience and/or input in almost all of the organs from Opus 1 through Opus 70, and it would be tempting to tell stories of each one. Except for the three portativs, no two were alike. (Fritz Noack once told me that when you mass-produce organs, you have an opportunity to replicate your mistakes!)

One overriding memory I have is that every time we built a mechanical-action organ, the shop looked forward to building electric action. When we were lost in the wiring of electric-action instruments, we would long to build another tracker.

Luther College, Decorah, Iowa, Opus 10, two manuals, 36 ranks

After the Winthrop organ had launched the company (we cleaned and added to it some years later after a Christmas Eve fire), all organs through Opus 9 were built in the Hendrickson garage and backyard. Starting with the Luther College organ (Opus 10) the operation moved to the current shop location at the north end of Saint Peter in an industrial park. The shop was built during the winter of 1970–1971. During the first rainstorm in 1971 the skylights leaked, and several of us frantically covered the Luther windchests in the middle of the night to prevent damage.

There was a lot of overcompensation in design. The pallets were large, we had complex bleed holes in the channels, and we used foam slider seals. Having a heavy coupled action, it had optional electric couplers. The horizontal trumpet was on electric action and played at 16′, 8′, and 4′ on the Great and at 8′, 4′, and 2′ on the Pedal to create maximum “blast.” There were prepared stops in each division. Perhaps the most unusual feature was that the whole organ could be moved around Koren Chapel at Luther with an air flotation system by one person! Gerald Near wrote his Second Fantasy for the dedication concert.

Jensen-Noble Hall of Music was opened in late 1982 on the Luther campus, so the Hendrickson company was engaged to move the organ into a teaching studio in the spring and summer prior to the opening. Being the only employee left who had helped build it, I wound up in charge of disassembly and reinstallation. We were able to take what we had learned from building about a dozen tracker organs in the intervening years and apply those lessons to what became a successful renovation. Since there was no need for the flotation system in a studio, we removed it and built a new and more reliable pedal action in that space. Pallet openings and pallets were reduced in size, resulting in a lighter action that no longer needed electric couplers. The blast from the horizontal trumpet at multiple pitches was not needed in the smaller space, so the trumpet was placed on mechanical action and lower wind pressure, speaking from the Great channels. Three of the five prepared stops were added. It continues to function, fifty years after construction, as a teaching and practice organ under Bill Kuhlman’s successor, Gregory Peterson.

Saint John Lutheran Church, Owatonna, Minnesota, Opus 34, three manuals, 51 ranks

Saint John Lutheran Church is a huge A-frame building, but the typical front transepts are in the back balcony. Floor to ceiling windows in the balcony provide wonderful light, but the acoustic issues for a gallery organ are significant since glass does not reflect bass. Charles’s solution was to cantilever the main organ as far into the room as possible and to provide a very large Rückpositiv as well as a prominent horizontal trumpet.

Since there was virtually no unification on the manuals, I talked Charles into building slider windchests. We opted to try the Holtkamp slider chest design with all-electric magnets on the channels rather than pallets with pull-downs. Forty-five years later the organ continues to serve the church—as does Shirley Erickson, who was organist when the organ was installed!

Saints Peter and Paul Catholic Church, Mankato, Minnesota, Opus 35, three manuals, 59 ranks

Following right behind the 51-rank Owatonna organ, we tackled what would briefly become the largest mechanical-action organ in Minnesota. (The Fisk organ at House of Hope Presbyterian Church, Saint Paul, followed very soon thereafter.) Kim Kasling was consultant, and Jim Dorn was organist. An original plan for a high, stacked organ in the right front of the nave eventually became a balcony installation. Again, a large Rückpositiv was in the design, but the ancient church balcony could not hold its weight if placed in the normal location on the rail. It sits instead on the floor, right behind the keydesk, with new steel beams under the floor to hold the weight.

A huge Great division with two mixtures sits above a relatively small Swell, with Pedal split and across the back inside the organ. There are many pipes from the previous organ spread throughout, as well as a 32′ Bourdon from the old Soul’s Harbor organ in Minneapolis and a 16′ open wood diapason discarded from the Sipe rebuild of the organ at Christ United Methodist Church in Rochester, Minnesota. The church interior has been tastefully remodeled since the organ went in, and there is now less carpet than there had been.

First Lutheran Church, Saint Peter, Minnesota, Opus 45, two manuals (with a third coupler manual), 44 ranks

First Lutheran Church in Saint Peter was the Hendrickson family church. Founded in 1857 by Swedish immigrants, 164 years later it retains its Swedish roots, although services have been held in English for 100 years. It has always been closely connected with Gustavus Adolphus College, which is just a mile away. On Mother’s Day, May 13, 1962, the old church was struck by lightning and burned to the ground. Charles was already involved in organ renovations, and there was an existing organ fund.

The firm of Harold Spitznagel and Associates of Sioux Falls, South Dakota, designed the new church to replace the old one on land purchased on the edge of town. The first service was held in the new edifice on September 5, 1965. The sanctuary was half a cube, 76 feet on each side and 40 feet high topped with clerestory windows. The congregation did not want to suffer another fire, so this building is made of concrete and brick. As a result, the sanctuary has incredible acoustics for music.

To avoid having a temporary electronic organ, Charles assembled parts he had on hand into an eight-rank exposed organ that he leased temporarily to the church. The four-second reverberation made this mongrel organ surprisingly successful. It was later rebuilt for another institution.

In 1975 plans began in earnest for a new organ. The original concept had four manuals with a Rückpositiv division. Fundraising and unrelated issues delayed the project, and in a period of high inflation the organ shrank by the month. We finally decided to start over and took the tonal design of the Luther College organ as a starting point. The entire Luther organ can be found within the specification of the First Lutheran organ. One major difference is inclusion of a coupler manual.

This became the flagship demonstration organ for the company, being located just a mile from the shop and in a room with incredible acoustics. What many do not realize is that the asymmetrical design of the organ case is inspired by the brick sculpture on the front wall of the church (the story of Creation). The pipe shades are inspired by the bird figures in that sculpture. The asymmetrical “Family of Man” and the birds are at the top.

Saint Wenceslaus Catholic Church, New Prague, Minnesota, Opus 47, three manuals, 43 ranks

Robert Thompson of nearby Saint Olaf College was consultant for this organ and gave the organ a decidedly French accent, although this is a congregation of Czech descendents. This was the only organ built during my time at the shop with supply house chests, ordered from Laukhuff. Robert Sperling always voiced in a Germanic style. Initially, the Recit 8′ flute sounded like a quintadena. After reworking it with higher cutups and nicks, it was the stop that elicited the most comments from visitors. Sperling thought he had ruined it. The whole time he was revoicing he grumbled that he was turning it into a 1920 Möller Melodia!

First Unitarian Church, Rochester, Minnesota, Opus 49, two manuals (with third coupler manual), 24 ranks

Merrill N. Davis, III, of Rochester was the consultant for this project. Fondly called “The Bell Organ,” the 2′ on the Ripieno division is a Glockenspiel; there is a wind-driven Zimbelstern; the Continuo mixture is a Glockenzimbel, which starts at 2⁄5′ pitch and includes a tierce on every note. The unison on the F above middle C is the F above high C of a 2′ and had to be voiced with a magnifying glass. Like First Lutheran Church, it has a third coupler manual. The casework is walnut, and the Continuo division in Rückpositiv position has no façade.

Saint John’s Lutheran Church, Kasson, Minnesota, Opus 57, two manuals, 29 ranks

Merrill N. Davis, III, was again consultant. Kasson is not far from Rochester. This organ was conceived with a big blockwerk on the Great based on a 16′ Principal with a big mixture. There are two cornets on the Great—a four-rank mounted cornet of flute scale, and a three-rank Sesquialtera of principal scale, along with a dark trumpet. Originally the Swell did not couple to either the Great or Pedal. These couplers have since been added. What started as an unsuccessful 1′ Principal on the Great was changed to 8⁄9′ to add spice to the ensemble and to the two cornets. The organ was originally tuned to Chaumont temperament.

Saint John’s Lutheran Church, Minneapolis, Minnesota, Opus 63, three manuals, 47 ranks

Saint John’s Lutheran Church in south Minneapolis is one of the biggest rebuild projects we undertook. Hillgreen-Lane had rebuilt the previous organ (perhaps a Hall) in 1959 at 32 ranks. Our 1983 rebuild significantly enlarged the organ and made access for tuning and servicing much easier than it had been in the Hillgreen-Lane organ. Many ranks were retained. Much of the Pedal is recycled from the Hillgreen-Lane. A string had been converted into an 8′ Gelind Gedackt by Hillgreen-Lane, but the scale was very small and the caps did not seal. We rescaled it again. We presume it had been Hillgreen-Lane that had soldered two diapasons together end-to-end to make a 16′ Salicional, which was retained. This organ had one of the early multiplex relay systems, this one donated by Dirk Moibroeck of Cincinnati (ICMI).

Union Presbyterian Church, Saint Peter, Minnesota, Opus 64, two manuals, 11 ranks

Though far from a significant organ, Union Presbyterian Church is an example of the smaller all-electric unit organs that were quite successful. Union Church’s acoustics were horribly dry when the organ was designed, but when the chancel was modified for the new organ we discovered a small space with a very warm acoustic. When the organ was first played the room amplified it too much! We dropped the pressure and revoiced everything. For many years this was the location of a well-attended hymn festival, and the organ has often been used with various instruments. A small-scale trumpet was added in later years, and the relay and combination action were recently replaced with current technology. The 4′ Octave, mixture, and trumpet are on the right side near the console. The Bourdon/Rohrflute and 8′ Principal trebles are on the left side behind the choir. The Swell is in the middle behind the grill, with the largest 16′ Subbass pipes (plywood) on its roof. Organist at the time, Charles Eggert, was consultant.

Saint Joseph’s Catholic Cathedral, Sioux Falls, South Dakota, Opus 78, three manuals, 62 ranks

The two largest organs were built after I left, and I have never seen the Sioux Falls organ. Nonetheless, it is a significant instrument in a large and very reverberant space.

Wayzata Community Church, Wayzata, Minnesota, Opus 92, four manuals, 70 ranks

The company’s magnum opus is in a suburb west of Minneapolis. C. Charles Jackson gave funds for it, and Charles Hendrickson’s long friendship with sculptor Paul Granlund at Gustavus Adolphus was the genesis of the sculpture (“Aeneous Aegis”) in the middle of the organ case. For many years this was home to an extensive organ concert series under staff organist, Diana Lee Lucker. Charles attended most of these concerts. Following Diana Lee’s retirement, this series ceased.

Trinity Episcopal Church, Excelsior, Minnesota, Opus 111, two manual, 29 ranks

Trinity Episcopal Church had been home to a five-rank Möller organ (Opus 8026). The new organ was impetus for a complete church remodel project, which is quite successful with movable chairs and hard surfaces. The Hendrickson organ includes pipes from the Möller as well as pipes from a practice organ (Opus 20) built for the University of Wisconsin in Eau Claire that was repurchased. Andreas Hendrickson designed the unusual façade.

Shop stories

The Luther College organ had a flotation system, which Charles developed the summer of 1971. Each iteration of his design resulted in the call to everyone in the shop to come and stand on a piece of plywood to see if it would float with the added weight. We eventually had a winner that was installed on the organ.

The Rochester Unitarian organ was playing in the shop when Jeff Davis came to see it. He did not like the relationship between the 4′ and 2′ of the Continuo division, so a new rank was ordered and the ranks affected were re-racked.

There was a fire at the shop on November 15, 2013, that originated in one of the light fixtures. Even though the majority of the building was left intact, insurance deemed the structure a loss, and a new building was put up in its place. Amazingly, only one wood pipe rank was in the shop at the time. The remainder of that particular project was stored down the hill in the nearby shop warehouse.

Children of the shop

Most organ shops have spinoffs, and Hendrickson’s shop was no exception. Notable among the “children” of the shop is Lynn Dobson, of Dobson Pipe Organ Builders, Ltd., of Lake City, Iowa, founded in 1974. I succeeded Robert Sperling as voicer in 1979 and remained until 1984. My company, Grandall and Engen, LLC, of Maple Grove, Minnesota, has been operating since 1984 and does tuning and enhancements for many clients in the Twin Cities area and western Wisconsin, including a number of universities. The third offshoot is Rob Hoppe, of Robert D. Hoppe & Associates of Algoma, Wisconsin, founded in 1986. He often builds new organs with digital enhancements. Charles’s two sons, Eric and Andreas, took over the business when Charles retired in 2015 and continue today.

Read more about Charles Hendrickson here.

Nunc Dimittis

Murray Albert Burfeind, 89, died December 16 in Red Wing, Minnesota. Born May 8, 1931, in Belvidere Township, rural Lake City, Minnesota, he grew up on the family farm. As a young boy he learned to play piano. By age 12 he started to play the pipe organ, and soon began playing for various churches. Burfeind graduated from Lake City High School in 1949. He went on to study at Bethany College, Mankato, Minnesota, and Concordia College, St. Paul, Minnesota. He graduated as a parochial school teacher and taught elementary school in Fond du Lac and Appleton, Wisconsin. At Fond du Lac, St. Peter’s Lutheran Church was buying a new organ, and as the church organist he served on the selection committee. After visiting Wicks Organ Company in Highland, Illinois, and recommending purchase of a pipe organ from that firm, he found his lifelong interest in organ construction. After one last year of teaching, he moved to Milwaukee, Wisconsin, to apprentice for United Organ Company, representative for Wicks in that region. He always referred to that day at the organ factory as the single day that changed his life.

In Milwaukee, he met and married his wife of more than sixty years, Flora Olm, a teacher and later a newspaper reporter and librarian. Together they followed the lure of building and designing new pipe organs, completing installations and providing service and tuning to organs in churches throughout the country with the Murray Burfeind Pipe Organ Company. From Milwaukee they moved first to Louisville, Kentucky, where their two oldest sons, Philip and Andrew, were born. They relocated to Arlington Heights, Illinois, to serve churches in Illinois and Indiana. Their third son, Steven, and daughter, Ann, were born while in Illinois.

After 15 years of travel and nights away from home, the family relocated to Minnesota near his family, living in the country near Goodhue, where Burfeind had his shop and continued his organ work, completing installations across the country.

Burfeind achieved his most satisfying goal of designing and completing the reinstallation of the Kilgen pipe organ at the Sheldon Theatre in Red Wing. He installed bird calls, truck horns, and bass drums in the upper reaches of the theatre above the proscenium arch.

His last installation was the Burfeind-designed and built organ at St. Norbert College in DePere, Wisconsin. That organ featured Subczyk and Meyer pipes built to order in Milwaukee. Originally it was installed in the La Crosse home of Betty Mittlestadt and later purchased and moved to St. Norbert College in 2012 and 2013.

Murray Albert Burfeind is survived by his wife Flora of rural Goodhue. He is also survived by his children Philip (Kimberly) of New Brighton, Minnesota; Andrew (Jacqueline) of St. Paul, Minnesota; Steven (Brenda) of Sioux Falls, South Dakota; and the Rev. Ann Burfeind (Florian) of Vancouver, British Columbia, Canada; as well as six grandchildren and several great-grandchildren. A celebration of his life will be held at a later date.

Catherine Ennis, organist and director of music since 1985 at the Church of St. Lawrence Jewry, London, UK, died December 24, 2020. Born in 1955, she was an organ scholar at St. Hugh’s College, Oxford, before serving as assistant organist of Christ Church Cathedral. Ennis joined the Royal College of Organists in 1978. She was a trustee of the RCO from 2012 to 2016 and vice president from 2015, and was also a diploma examiner. She served as artistic director of the RCO Summer Course for Organists in 2017.

Ennis served as consultant for four new organs in London, including organs by Rieger in St. Marylebone Parish Church (1987), Klais in St. Lawrence Jewry (2001), William Drake for Trinity College of Music (2003), and the Queen’s Organ in the Lady Chapel of Westminster Abbey, built by Mander. She also founded the London Organ Concerts Guide and was president of the Incorporated Association of Organists from 2003 to 2005.

In 2006 Ennis initiated (with Barbara Hill) the John Hill Organ Series, which showcased emerging young talented organists in a series of recitals in London each May. Most recently she became a patron of the Society of Women Organists.

Concert engagements in recent years included Christ Church Spitalfields, Westminster Cathedral, and Royal Festival Hall. Ennis recorded works by Bach, Reubke, Guilmant, and English romantic composers, among others; her latest CD for Priory Records of works by various composers on the Peter Collins organ in St. Bartholomew’s Church, Orford, was released in October 2020 (The Organs of St. Bartholomew’s Orford, Priory PRCD 1235).

Catherine Ennis was awarded the Medal of the Royal College of Organists in 2018. The citation for the medal details her contribution to the planning and execution of the college’s 150th anniversary celebrations in 2014.

An online musical remembrance occurred January 11.

Elizabeth P. Farris, 86, of Edmond, Oklahoma, died December 1, 2020. Born February 28, 1934, she was organist for First United Methodist Church of Edmond and taught at Central State University (now University of Central Oklahoma). Farris earned her Bachelor of Music and Master of Music degrees summa cum laude in organ performance from University of Arkansas, Fayetteville. She then began teaching organ and piano at what was then Southern State College, Magnolia, Arkansas. Later she met Howard Farris, who taught art at the college in Magnolia, and they were married in 1961. The couple had two children, Lisa in 1963, and Karl in 1965.

In 1966 the Farris family moved to Norman, Oklahoma, where Howard earned his Ph.D. degree at University of Oklahoma. Then the next year Howard was offered a teaching position at Central State College in the School of Education. In 1967, Elizabeth was appointed organist of First United Methodist Church of Edmond, serving the church until her retirement in 1999. As the longest serving staff member in the church’s history, she was named organist emeritus on her retirement. She also spent many years of substituting, playing the organ and piano during and following her years as First Church. Elizabeth Farris was active in the Oklahoma City Chapter of the American Guild of Organists for over thirty years and served in various capacities, including several terms as chapter dean. 

Elizabeth P. Farris is survived by her children Lisa and Karl, and her older sister, Drusilla Appleyard and family in Fort Smith, Arkansas.

Gordon Sibley Auchincloss

Gordon Sibley Auchincloss, 79, died June 11 in Norfolk, Virginia. Born July 28, 1941, in New York City, he was a graduate of the Lenox School, Lenox, Massachusetts. After serving in the United States Navy as a medical corpsman, he earned a bachelor’s degree from The State University of New York at New Paltz. From an early age Auchincloss was fascinated by the sound of pipe organs and, thanks to his grandmother and an aunt, was able to travel widely with them in Europe, playing many organs.

These experiences inspired Auchincloss to become a pipe organ builder. He originally sought opportunities to build mechanical-action instruments with John Brombaugh, then with Fritz Mertel in Salzburg, Austria, returning to the United States to work with Richard Hamar, before ending his career as assistant vice president at Austin Organs, Inc., Hartford, Connecticut. He was widely known for his ability to diagnose and fix problems with actions and consoles. A lifelong member of various church choirs, Auchincloss also had a strong interest in Bible study, often serving as a leader. He considered his vocation as an organ builder to be a divine calling.

Gordon Sibley Auchincloss is survived by his wife of 53 years, Joyce Brooks Auchincloss, an organist; a brother, Stuart Auchincloss, and his wife, Susan Carpenter Auchincloss; a sister, Sibley Anne Hannigan; as well as nieces and nephews. A celebration of life service was held June 19 at Christ and St. Luke’s Episcopal Church, 560 Olney Road, Norfolk, Virginia 23507. Memorial donations may be made to the Friends of Music fund at the church.

Hans Haselböck

Hans Haselböck, 93, Austrian organist and composer, died October 20. Born July 26, 1928, in Nesselstauden, Austria, he attended school in Krems an der Donau. Beginning in 1947, he studied at the University of Music and the Performing Arts in Vienna as well as at the University of Vienna (classics and German), where he earned his doctorate in 1953.

In 1949, Haselböck became organist of the Dominican Church in Vienna, serving for more than 65 years. He taught Latin and German at the city’s Sigmund Freud Gymnasium. He won three consecutive first prizes at the Haarlem International Organ Improvisation Competition, 1958–1960, and in 1960 was appointed to the faculty of the Vienna University of Music and the Performing Arts. There he taught organ and improvisation, serving as chair of the church music department between 1963 and 1987. He was appointed professor of organ and improvisation in 1972. Between 1985 and 1990 he served as deputy director of the school.

Haselböck performed extensively throughout Europe, the United States, Japan, and Korea. He was a published composer as well as editor of numerous editions. His research into the history of the organ and performance practice led to several book-length publications. He served as juror at various international organ competitions. In 1997, Haselböck was awarded the Decoration of Honor for Services to the Republic of Austria.

Among his survivors are his sons, Martin Haselböck, organist, conductor, and composer; and Lukas Haselböck, composer, musicologist, and vocalist.

David Lunn Miller

David Lunn Miller, 70, died October 14 in Huntsville, Alabama. Born January 3, 1951, he was introduced to the organ at age three while spending time with his father, a pastor, in his church, studying the instrument in his youth in Kansas City. He received his undergraduate degree at Southern Nazarene University, Bethany, Oklahoma, his master’s degree at Westminster Choir College, Princeton, New Jersey, and his doctorate at University of Missouri, Kansas City, in both choral conducting and organ. Early in his career he was a part-time music director and then professor of music and organ at Nazarene colleges. He transitioned to full-time director of music ministries and church organist positions, most recently at Huntsville First United Methodist Church as the director of music ministries and organist from 2005 until his retirement in 2018.

David L. Miller is survived by his brothers Stephen (Cynthia) and Michael (Shawn), as well as a niece, Erin, and a nephew, Jordan (Maddyson and their two children). Donations in his memory may be sent to Ocular Melanoma Foundation, 1717 K St. NW, Suite 900, Washington, D.C. 20006, or Huntsville First United Methodist Church, 120 Greene St SE, Huntsville, Alabama 35801.

Frederick A. “Rick” Tripodi

Frederick A. “Rick” Tripodi died July 30. Born in Greenwich, Connecticut, on August 2, 1949, he was a 1967 graduate of St. Mary’s High School in Greenwich. He earned his bachelor’s degree in 1971 and master’s degree in 1976 in organ performance from The Juilliard School, New York, New York. Tripodi had a long career as a church organist and choir director throughout the New York and greater Fairfield County Catholic dioceses, including spending nearly thirty years at St. John’s Catholic Church, Darien, Connecticut. Most recently, he was music director and organist at Green Farms Congregational Church, Westport, Connecticut.

In addition to his church positions, Tripodi regularly performed concerts in many churches throughout the region, including St. Patrick’s Cathedral, the Cathedral Church of St. John the Divine, Trinity Church Wall Street, and St. Thomas Church Fifth Avenue, all in New York City. He was also an organ consultant to churches in the region.

Frederick A. “Rick” Tripodi is survived by his partner, Matthew Brien; his sisters, Anita Walton, her husband Bill Walton, and their children; and Janet Tripodi Gray, and her husband Zeb Gray. Memorial gifts may be given to Greens Farms Congregational Church, 71 Hillandale Road, Westport, Connecticut 06880.

David Martin Barnett

David Martin Barnett, 75, of Richmond, Virginia, died November 8, 2022. Born on December 6, 1946, he led a varied career in advertising, broadcasting, computers, welfare agencies, and administration of churches and non-profit organizations, including positions as building administrator of Second Presbyterian Church, Richmond, 2009–2014; and as facilities manager of St. James’s Episcopal Church, Richmond, 2010–2013.

Barnett served as treasurer of the Organ Historical Society from 1983 until 2010 and managed the OHS catalog between 2007 and 2010. He was vice president and operations manager of Duboy Advertising, 1974–1999, a Richmond firm specializing in advertising via broadcast media for automobile dealers nationwide. There, he wrote and produced more than 10,000 radio and television commercials for hundreds of clients. Barnett also operated DMB & Co., 1988–2011, designing and building computers and networks for small businesses and homes.

From 1965 until 1986, Barnett was weekend news anchor at radio station WLEE in Richmond and from 1965 until 1970 was announcer, studio engineer, traffic manager, and sales manager at radio station WFMV, Richmond’s classical music FM station. In 1964 and 1965, he worked at the Richmond Times-Dispatch as a newsroom copy boy. 

As an audio components salesman, Barnett was employed between 1969 and 1975 by Audio Fidelity Corporation, a central Virginia audio salon. Between 1970 and 1974, he worked for the City of Richmond as a welfare eligibility technician, supervisor, and child welfare eligibility supervisor, and in a similar role in 1972 for the state. He attended the University of Richmond following graduation from George Wythe High School in 1964.

Barnett served as an officer or member of the National Trust for Historic Preservation, Theatre Historical Society of America, American Theatre Organ Society (several chapters), Organ Historical Society, Cinema Organ Society (UK), Association for the Preservation of Virginia Antiquities, and Virginia Museum of Fine Arts. He volunteered extensively for the Mosque Theater (now the Landmark Theatre) and the Byrd Theatre, where he served as announcer beginning in 1982. 

With friends, Barnett installed a nine-rank Wurlitzer organ in his Richmond home. Following closure of Monumental Episcopal Church, Richmond, he helped renovate the 1926 Skinner Organ Company Opus 574 before it was relocated in 1975 to St. Bridget’s Catholic Church, Richmond, and subsequently was incorporated into the organ completed in 2014 by Kegg Pipe Organ Builders at the Cathedral of the General Church of the New Jerusalem, Bryn Athyn, Pennsylvania.

James H. Litton

James H. Litton, 87, died November 1, 2022, in Florham Park, New Jersey. He was born December 31, 1934, in Charleston, West Virginia. Recognizing his talent and passion for music, his parents purchased a piano and provided piano lessons at the Mason College of Music and Fine Arts in Charleston. His piano teacher encouraged him to progress to the organ, securing him a position as his assistant organist at a local church to get access to a practice instrument. That teacher later convinced him to pursue his college education at Westminster Choir College, Princeton, New Jersey, studying with Alexander McCurdy. He earned bachelor’s and master’s degrees in music and continued postgraduate studies at Canterbury Cathedral in England with Allan Wicks.

Litton’s choral music career spanned more than 60 years, serving as organist, choirmaster, and music director at the American Boychoir School, Princeton, New Jersey; Washington National Cathedral, Washington, DC; St. Bartholomew’s Church, New York City; Trinity Episcopal Church, Princeton; Christ Church Cathedral, Indianapolis, Indiana; and Trinity Episcopal Church, Southport, Connecticut. He also served as organist at several churches during his graduate and undergraduate studies at Westminster Choir College (now Rider University) and while in high school.

Litton toured with his various choirs and led choral festivals worldwide. He prepared his choirs for performances of major works with many of the world’s orchestras and for several dozen recordings, including a track with the American Boychoir on a platinum album by Michael W. Smith, Go West Young Man. As organist, Litton played organ recitals throughout the United States, Canada, Europe, South Africa, and Asia.

Litton was assistant professor of organ and head of the church music department at Westminster Choir College and the C. F. Seabrook Director of Music at Princeton Theological Seminary. He also served as visiting lecturer at Virginia Theological Seminary, Alexandria, and at Sewanee: The University of the South.

A Fellow of the Royal School of Church Music, Litton was awarded honorary Doctor of Music degrees from the University of Charleston and from Westminster Choir College of Rider University. The Litton-Lodal music directorship of the American Boychoir School was endowed by a gift from Jan and Elizabeth Lodal in honor of his career.

As a member and vice chairman of the Episcopal Church’s Standing Commission on Church Music, he participated in the preparation and publication of The Hymnal 1982. He was also the editor of The Plainsong Psalter for the Episcopal Church. Litton was a co-founder in 1966 and former president of the Association of Anglican Musicians. He also founded choral ensembles in West Virginia, Connecticut, Indiana, New Jersey, and New York.

James Litton met his late wife, Lou Ann, in seventh grade in Charleston, West Virginia, brought together by their mutual love of music. They married after graduating from college in 1957. 

James H. Litton was predeceased by his wife Lou Ann. He is survived by his son Bruce Litton and daughter-in-law Patricia of Bedminster, New Jersey; daughter Deborah Purdon of Maplewood, New Jersey; son David Litton and daughter-in-law Carol Dingeldey of West Hartford, Connecticut; and son Richard Litton and daughter-in-law Alysia of Wall Township, New Jersey; sister Betty Ray of Charlottesville, Virginia; and three grandchildren. A funeral was held on November 12 at Trinity Church, Princeton. Burial will take place at a later date at the Church of St. Mary the Virgin in the village of Litton in Somerset County and the Diocese of Bath and Wells in England. Memorial gifts may be made to the Association of Anglican Musicians James Litton Grant for Choral Training (anglicanmusicians.org/litton-gift) and the Alzheimer’s Association (alz.org).

Wayne Kerr Riddell

Wayne Kerr Riddell, 86, died November 6, 2022. Born September 10, 1936, in Lachute, Québec, Canada, he began playing organ in the local United Church when he was 14. Graduating in 1960 from McGill University, Montréal, he taught music and singing in the public school system. In 1968 he joined McGill’s faculty, where he taught keyboard harmony, ear training, and choral conducting, and was head of choral studies. At the same time, he worked in church music for congregations including Westmount Park Church, Erskine United Church, and American United Church. For 14 years he was director of music at the Church of St. Andrew and St. Paul. In 1976, he founded The Tudor Singers, a professional choir that toured the United States, Canada, and Europe. McGill University awarded him a Doctor of Music degree in 2014. He would serve as competition adjudicator, choral workshop clinician, guest conductor, mentor, and philanthropist. 

Wayne Kerr Riddell was predeceased by his life partner, Norman Beckow. A memorial service was held at the Church of St. Andrew and St. Paul on November 22. Memorial gifts may be given to the Wayne Riddell Choral Scholarship Fund, McGill University (mcgill.ca), or to the music program, the Church of St. Andrew and St. Paul, Montréal (standrewstpaul.com).

Ned Rorem

Ned Rorem, 99, died November 18, 2022, in New York, New York. He was born in Richmond, Indiana, on October 23, 1923. The family would move to Chicago where Rorem was educated at the University of Chicago Laboratory Schools and the American Conservatory of Music. He studied at Northwestern University before attending the Curtis Institute of Music, Philadelphia, and The Juilliard School, New York City. Rorem was raised a Quaker, and this influenced the composition of his organ work, A Quaker Reader, based on Quaker texts.

In 1966 he published The Paris Diary of Ned Rorem. This was followed by Later Diaries 1951–1972 in 1974 and The Nantucket Diary of Ned Rorem, 1973–1985 in 1987. Rorem wrote essays collected in the anthologies Music from Inside Out (1967), Music and People (1968), Pure Contraption (1974), Setting the Tone (1983), Settling the Score (1988), and Other Entertainment (1996). He was the subject of a 2005 film, Ned Rorem: Word & Music. He composed in a wide variety of genres, including operas, orchestral, and chamber music. He also wrote extensively for organ and organ with choral and orchestral forces.

Ned Rorem was predeceased by his life partner, organist James Roland Holmes, in 1999.

Frederick Lewis Swann

Frederick Lewis Swann, 91, died November 13, 2022. Born July 30, 1931, in Lewisburg, West Virginia, he was the son of a Methodist pastor (and later bishop). He began taking piano lessons at age five from the organist at Market Street Methodist Church, Winchester, Virginia, and soon thereafter began taking organ lessons. He began playing his first church services at age ten at Braddock Street Methodist Church, Winchester, where his father was pastor.

Swann’s family moved to Staunton, Virginia, in 1943, and Frederick continued organ study with Carl Broman. After graduating from high school, Swann entered the School of Music at Northwestern University, Evanston, Illinois, studying with Thomas Matthews and John Christensen. Upon graduation, he attended the School of Sacred Music at Union Theological Seminary in New York City, studying with Hugh Porter and Charles M. Courboin. After serving as interim organist at Brick Presbyterian Church during the illness of Clarence Dickinson and serving as Harold Friedell’s assistant at St. Bartholomew’s Church, Swann entered the United States Army for two years.

From 1952 until 1982, Swann worked for The Riverside Church, New York City, first as a substitute organist for Virgil Fox and then appointed organist in 1957. With the retirement of Richard Weagly as choir director in 1966, Swann became director of music and organist through 1982.

At that time, Swann was appointed director of music and organist at the Crystal Cathedral (now Christ Cathedral), Garden Grove, California, where he conducted the choir and presided over the five-manual, 265-rank Hazel Wright organ, appearing weekly on the internationally televised Hour of Power worship services. In 1988, Swann became organist of First Congregational Church, Los Angeles, which houses the largest church organ in the world, serving there until 2001.

Frederick Swann performed recitals throughout North America, Europe, South America, and Asia, including such venues as Notre Dame Cathedral, Paris; St. Paul’s Cathedral and Westminster Abbey, London; and the cathedrals of Cologne and Passau in Germany. His accomplishments include more than 3,000 recitals in all 50 of the United States and 12 other countries, including events dedicating new, rebuilt, and restored instruments. He performed with orchestras such as the Chicago Symphony Orchestra and the San Francisco Symphony. Swann announced his retirement as a concert organist with a series of programs beginning in August 2016 at age 85. He would continue to serve as artist-in-residence at St. Margaret’s Episcopal Church, Palm Desert, California. For decades he was represented in North America by Karen McFarlane Artists, Inc.

Swann served on the adjunct faculties of the Guilmant Organ School, Union Theological Seminary School of Sacred Music, and Teacher’s College of Columbia University, all in New York City. He also served on the faculty of Manhattan School of Music and was the school’s organ department chair. From 2007 until 2018, he was university organist and artist teacher of organ at University of Redlands in California.

Swann was active in the American Guild of Organists, serving in various capacities including the organization’s president from 2002 until 2008. Also in 2002, he was named International Performer of the Year by the New York City AGO Chapter. At the 2010 AGO national convention in Washington, DC, he was presented the Edward A. Hansen Leadership Award. In 2015, the Royal Canadian College of Organists named Swann a Fellow, honoris causa, and in 2018 the AGO honored him as the organization’s first honoris causa recipient of its Fellow certificate (FAGO). Swann received the honorary Doctor of Music degree from University of Redlands upon his retirement in 2018.

Frederick Swann published more than three dozen anthems for choir, as well as organ works based on hymntunes. Perhaps his best-known composition is his Trumpet Tune in D Major. Swann’s discography of organ and choral recordings includes albums featuring the organs of The Riverside Church, Crystal Cathedral, First Congregational Church of Los Angeles, and the Basilica of the National Shrine of the Immaculate Conception.

For more information, see Steven Egler’s interview, “A conversation with Frederick Swann, Crown Prince of the King of Instruments,” in the November 2014 issue, pages 20–24.

A memorial service for Frederick Lewis Swann will take place January 25, 10:30 a.m., at St. Margaret’s Episcopal Church, Palm Desert, California. Memorial gifts may be made to The American Guild of Organists Frederick Swann Scholarship, The American Guild of Organists Herrmann/Swann Fund (agohq.org), or to the Fred Swann Music Endowment, St. Margaret’s Episcopal Church, Palm Desert, California (stmargarets.org).

Thomas H. Anderson

Thomas H. Anderson, 86, of North Easton, Massachusetts, died December 30, 2023. Born May 25, 1937, in Belfast, Northern Ireland, he met his late wife Susan in Belfast, where they grew up on the same street.

Anderson started working at age 14 as an apprentice pipe maker at an organ pipe manufacturer in Belfast. At age 19, he emigrated to the United States, where he worked at the Aeolian-Skinner Organ Company, Boston, Massachusetts, as a pipe maker. Later he started his own company, Thomas H. Anderson Organ Pipe Company. He traveled around the country working on various projects including the National Cathedral in Washington, D.C. In his later years, he traveled to teach others to make organ pipes.

Anderson’s wife Susan died December 31, 1996, almost 27 years before the date of his death; they were married 38 years. They raised four children who survive him: Gail McGill and her husband Mark of Raynham, Massachusetts; Thomas Anderson of Lake Wylie, South Carolina; Cheryl Dekeon of Haverhill, Massachusetts; and Elizabeth Lehr and her husband Donald of Berryville, Virginia. He is also survived by six grandchildren, two step-grandchildren, and three great-grandchildren.

The funeral for Thomas H. Anderson, Jr., was held January 6 at Southeast Funeral and Cremation Services, Easton, Massachusetts, with burial following at South Easton Cemetery. Memorial gifts may be made to Old Colony Hospice and Palliative Care (oldcolonyhospice.org).

Harold Gilchrest Andrews, Jr.

Harold Gilchrest Andrews, Jr., of High Point, North Carolina, died December 3, 2023. He was born March 31, 1932, in Framingham, Massachusetts, and grew up in Centerville on Cape Cod. At the age of eight, under the tutelage of Virginia Fuller, his first piano teacher, Andrews played services at the local Unitarian church. After his 1949 high school graduation, he attended Oberlin Conservatory of Music, Oberlin, Ohio, where he earned a Bachelor of Music degree in organ performance. After college, he served in the United States Army for two years as an organist at West Point. He then moved to Greensboro, North Carolina, playing first at First Friends Meeting House and then at Guilford Park Presbyterian Church. During this same period, he began his long tenure as a professor of organ at Greensboro College, where he remained until 1988. The C. B. Fisk, Inc., organ, Opus 102 (1993), at Finch Memorial Chapel of Greensboro College was donated and installed through his efforts. He also co-founded the Greensboro Chapter of the American Guild of Organists.

Leaving Guilford Park Church, Andrews took the position as organist and master of choristers at St. Mary’s Episcopal Church, High Point, where he would spend the next 55 years. While working at St. Mary’s, Andrews completed a Master of Music degree in organ and church music at Oberlin Conservatory and a Doctor of Musical Arts degree from Boston University.

Andrews founded and owned Organ Craft, a local organbuilding company. He built and installed pipe organs all over the east coast, including part of the organ at Christ United Methodist Church in Charlotte and the organ at Guilford Park Presbyterian Church in Greensboro. The organ at St. Mary’s in High Point was also significantly altered over the years by Andrews.

As an organist, he offered recitals in Europe, including at Canterbury Cathedral; St. Paul’s Cathedral, London; Saint-Sulpice, Paris; and Chartres Cathedral. In his retirement, he finished his manuscript for a study of music in the works of William Shakespeare.

Harold Gilchrest Andrews, Jr., is survived by one brother, Robert Francis Andrews. His funeral featuring Gabriel Fauré’s Requiem was held at St. Mary’s Episcopal Church, High Point, on January 27. Interment in the church columbarium followed. Memorials may be directed to the music endowment at St. Mary’s Episcopal Church, 108 West Farriss Avenue, High Point, North Carolina 27262.

Charles Edmund Callahan, Jr.

Charles Edmund Callahan, Jr., 72, died December 25, 2023, in Burlington, Vermont. He was born September 27, 1951, in Cambridge, Massachusetts. Callahan was a graduate of the Curtis Institute of Music, Philadelphia, Pennsylvania, and earned graduate degrees from The Catholic University of America, Washington, D.C. He held the Associate and Choirmaster certificates of the American Guild of Organists. In 2014 he was honored with the Distinguished Artist Award of the guild.

Callahan taught at Catholic University; Middlebury College, Middlebury, Vermont; Baylor University, Waco, Texas; Rollins College, Winter Park, Florida; and the Bermuda School of Music, Hamilton, Bermuda. He served as organist and music director for churches in Pennsylvania, Washington, D.C., New York, Vermont, and his native Massachusetts. Callahan moved to Orwell, Vermont, in 1988.

He was consulted often on the design of new organs and restorations and improvements of existing instruments. His two books on American organbuilding history, The American Classic Organ and Aeolian-Skinner Remembered, became standard reference works on 20th-century American organ history.

Callahan was a prolific composer; his compositions include commissions for Papal visitations to the United States and from Harvard University. His four-movement orchestral work, Mosaics, was premiered at the Cathedral Basilica of St. Louis, Missouri, and other works have been performed at Harvard, Yale, and Princeton universities.

Charles Callahan was laid to rest with his parents in Cambridge, Massachusetts. Memorial contributions in his memory may be made to the music programs at St. Mary’s Catholic Church, 326 College Street, Middlebury, Vermont 05753, or Cornwall Congregational Church, 2598 Route 30, Cornwall, Vermont 05753.

James P. Callahan

James P. Callahan of St. Paul, Minnesota, died December 28, 2023. Born in North Dakota and raised in Albany, Minnesota, he earned his Bachelor of Arts degree in 1964 from St. John’s University, Collegeville, Minnesota, and his Master of Fine Arts degree in piano and a Ph.D. in music theory and composition from the University of Minnesota, Minneapolis. In addition, he studied at the Mozarteum University, Salzburg, Austria, and Universität für Musik und darstellende Kunst Wien, Vienna, Austria. His teachers included Anton Heiller, organ; Willem Ibes and Duncan McNab, piano; and Paul Fetler, composition.

Callahan was Professor Emeritus at the University of St. Thomas, St. Paul, Minnesota, where he taught piano, organ, composition, music theory, and piano literature over a 38-year period, retiring in 2006. As an organist, Callahan performed recitals in the upper Midwest, New York, and Austria. His performances appeared on the nationally broadcast radio program Pipedreams. He was instrumental in overseeing the commissioning of the organ for the chapel at the University of St. Thomas, Gabriel Kney Opus 105, completed in 1987. On this instrument he recorded a disc for Centaur, James Callahan: Oberdoerffer, Reger, Rheinberger, Schmidt. He also performed solo piano recitals and made concerto appearances. In addition to his solo performances, he was a member of the Callahan and Faricy Duo piano team, performing throughout the upper Midwest.

James Callahan composed over 150 works for piano, organ, orchestra, band, opera, and chamber ensembles. Cantata for two choirs, brass, percussion, and organ premiered at St. John’s Abbey Church and was performed at the Cathedral of St. Paul in 1975. His Requiem was premiered by Leonard Raver in 1990 at the University of St. Thomas. Callahan’s music was published by McLaughlin-Reilly, GIA, Paraclete Press, Abingdon Press, and Beautiful Star Publishing. Awards included a study grant from the National Endowment for the Humanities and a Bush Artist Fellowship.

Quentin Faulkner

Quentin Faulkner, 80, died December 30, 2023, in Houston, Texas. He was Larson Professor of organ and music theory/history (emeritus) at the University of Nebraska-Lincoln, a writer of scholarly books in the areas of church music and J. S. Bach performance practice, the translator of German treatises of the 17th and 18th centuries, and an organ recitalist.

Faulkner earned his undergraduate degree in organ and church music from Westminster Choir College, Princeton, New Jersey, where he studied organ with George Markey and Alexander McCurdy. He received graduate degrees in sacred music and theology from Perkins School of Theology, Southern Methodist University, Dallas, Texas, where he studied conducting with Lloyd Pfautsch, organ with George Klump, and liturgics with James White. Faulkner completed his doctoral studies at the School of Sacred Music, Union Theological Seminary, New York City, where he studied organ with Alec Wyton. Each of these schools subsequently awarded him its distinguished alumni award for his contributions to the field of church music. While a student in New York City, he served for three years as assistant organist at the Cathedral Church of St. John the Divine, during which time he led the musical celebration honoring Wyton at his retirement and was the organist for Duke Ellington’s funeral.

For 32 years Faulkner served on the faculty at the University of Nebraska-Lincoln, where he developed a comprehensive cycle of courses in church music and received numerous teaching awards. He and his colleague George Ritchie were co-coordinators of a distinguished series of organ conferences at the university, each conference with a distinct topic of scholarly investigation and culminating in the first conference held in Naumburg, Germany, at the newly restored 1746 Hildebrandt organ in St. Wenzel’s Church. In 1998 Faulkner was awarded a Fulbright grant to teach as guest professor at the Evangelische Hochschule für Kirchenmusik in Halle, Germany, a position to which he returned for the academic year 2006–2007 following his retirement from the University of Nebraska.

Faulkner’s professional career included both academic and practical pursuits. He was equally respected for his scholarly investigation in the field of church music (Wiser than Despair: The Evolution of Ideas in the Relationship of Music and the Christian Church, Greenwood Press, 1996) and in historical performance practice of the organ works of Bach (J. S. Bach’s Keyboard Technique: A Historical Introduction, Concordia, 1984; The Registration of J. S. Bach’s Organ Works, Wayne Leupold Editions, 2008; Johann Sebastian Bach, The Complete Organ Works, Series II, Volume I, The Performance of the Organ works: Source Readings, Leupold Editions, 2020). He translated historic German treatises into English, and then edited and annotated the translations to make them accessible to contemporary students and scholars (Jacob Adlung, Musica mechanica organoedi, Parts 1, 2, and 3, Zea E-Books, 2011; Michael Praetorius, Syntagma Musicum II: De Organographia, Parts III–V, Zea E-Books, 2014).

Faulkner reveled in working at the intersections of various disciplines, particularly enjoying the interplay of the scholarly and the performing musician and extensively studying the relationships between and among religion, culture, and the arts. He served as a member of the advisory board for the Encyclopedia of Keyboard Instruments for Garland Publishing Co., as consultant for the J. S. Bach Tercentenary publishing project of Concordia Publishing House, as editor for performance issues for the Leupold Edition of J. S. Bach’s organ works, and as a member of the advisory board of the Institute of Sacred Music at Yale University, New Haven, Connecticut. He also led multiple tours of Bach’s Organ World in eastern Germany, sharing his passion and knowledge with participants as they studied, played, and listened to instruments with direct connections to J. S. Bach.

Throughout his career and in retirement, Faulkner remained a performing musician, presenting organ recitals, workshops, and lectures. He and his wife served as church musicians in Dothan, Alabama; New York City; Lincoln, Nebraska; and Greenfield, Massachusetts. He was particularly concerned with music in small churches and wrote numerous practical articles for professional journals, composed anthems for small choirs, and served as a clinician for more than fifty church music workshops in Nebraska. He served the American Guild of Organists on various local and national committees and as its national councilor for education. He was an honorary lifetime member of the Lincoln Chapter of the AGO.

Quentin Faulkner is survived by his wife of 56 years, Mary Murrell (Bennett) Faulkner, three brothers, a daughter and son-in-law, a son and daughter-in-law, and four grandchildren. A memorial service will be held April 20 at Christ Church Cathedral, Houston, Texas. Memorial contributions may be made to the Alzheimer’s Association (Attention: Donor Services, 225 North Michigan Avenue, Floor 17, Chicago, Illinois 60601; alz.org/donate), Church Music Institute (5923 Royal Lane, Dallas, Texas 75230; churchmusicinstitute.org/donate), or the charity of one’s choice.

Brian E. Jones

Brian E. Jones, 80, organist and choir director, died November 17, 2023. A native of Duxbury, Massachusetts, he began piano studies at age eight and discovered the pipe organ soon thereafter. During his first visit to Trinity Church, Copley Square, Boston, Massachusetts, as an eager ten-year-old, he was said to have exclaimed, “I want to be the organist here someday!” Some three decades later, his dream became a reality.

After earning an undergraduate degree from Oberlin Conservatory of Music, Jones landed a teaching position at Noble and Greenough School, Dedham, a post he would hold for the next twenty years. Concurrently he completed the Master of Music program at Boston University. While at Noble and Greenough he conducted numerous choral groups and expanded the music program to include the production of a wide variety of musicals.

Soon after commencing his teaching career, Jones was appointed music director of the Dedham Choral Society, a position he held for 27 years. During his tenure, the group grew in size from 25 to 150 members, expanding their audiences by performing in Symphony Hall and Jordan Hall in Boston. In 1984 Jones fulfilled his childhood dream when he was appointed director of music at Trinity Church, Boston. Over the next two decades he and his choirs produced five recordings, including the Christmas CD, Candlelight Carols. In addition to his work as a choral conductor, Jones enjoyed a solo organ career, performing concerts and dedicatory recitals in churches and cathedrals throughout the United States and England. Upon assuming the mantle Emeritus Director of Music and Organist at Trinity Church in 2004, Jones accepted interim positions from as far afield as Albuquerque, New Mexico. In 2007 a number of former Trinity choir members coalesced to form The Copley Singers under Jones’s direction. This semi-professional group of musicians began performing together several times each year, most notably during the holiday season.

Brian E. Jones is survived by his husband, Michael Rocha, with whom he shared the past 35 years, as well as two children, Eliza Beaulac and her husband, Joe, and Nat Jones and his wife, Kiera; four grandchildren and one great-grandson. A celebration of life is planned for spring. Memorial gifts in memory of Brian Jones may be made to the Parkinson’s Foundation (parkinson.org).

Uwe Pape

Uwe Pape, 87, died August 13, 2023, in Berlin, Germany. He was born May 5, 1936, in Bremen, Germany. In his early life, he studied mathematics, physics, pedagogy, and philosophy at Georg-August-Universität, Göttingen, graduating in 1959, earning a doctorate in computing technology at Technische Universität Braunschweig in 1971.

From 1971 to 2001 Pape was professor of business informatics at the Technische Universität Berlin. He was visiting professor at the Massachusetts Institute of Technology, Cambridge, Massachusetts, in 1974 and in 1984–1985; at the University of Maryland, College Park, in 1975; at the University of Texas at Austin in 1976; and at the University of Szczecin, Poland, from 1988 until 1998.

Pape was recognized worldwide for his expertise in pipe organs, especially historic mechanical-action instruments. Pape had his first contact with organbuilding in 1953 at the Liebfrauenkirche, Bremen, where he studied with Harald Wolff and had contact with the organ builder Paul Ott. Pape began to document the organs of the Braunschweig Lutheran Church in 1959. In 1962 he founded a publishing house for works on organbuilding history, which exists today as Pape Verlag Berlin. He became a freelance organ expert for regional churches and foundations in Berlin, Bremen, Lower Saxony, and Saxony. From 1985 to 2016 he led a research project on organ documentation that resulted in an organ database at the Technische Universität Berlin. With Paul Peeters of Gothenburg and Karl Schütz of Vienna, Pape was one of the founders of the International Association for Organ Documentation (IAOD) in 1990. He made significant contributions to the documentation of historic north German organs. Among his many book-length publications is The Tracker Organ Revival in America/Die Orgelbewegung in Amerika, first published in 1978. One of his most recent publications is Organographia Historica Hildesiensis: Orgeln und Orgelbauer in Hildesheim, printed in 2014. For The Diapason, he wrote “Documentation of Restorations,” which appeared in the December 2006 issue, pages 20–22.

Alice Stuart Parker

Alice Stuart Parker, 98, born December 16, 1925, in Boston, Massachusetts, died December 24, 2023, in Hawley, Massachusetts. Having grown up in Winchester, Massachusetts, she graduated from Smith College, Northampton, Massachusetts, in 1947, having studied organ and composition. After earning a Master of Music degree in choral conducting from The Juilliard School in New York City two years later, she began teaching in a high school. Parker would then study and begin a long collaboration with Robert Shaw and the Robert Shaw Chorale. She would meet and marry one of the chorale’s singers, Thomas F. Pyle, in 1954.

As a composer she would pen more than 500 choral works and arrangements, from choral anthems to cantatas and operas. In 1985 Parker founded Melodious Accord, which presents choral concerts, singing workshops, and other events. The Musicians of Melodious Accord, a 16-member chorus, made several recordings with her. Parker authored books including The Anatomy of Melody in 2006 and The Melodious Accord Hymnal in 2010, both available from GIA Publications. She conducted masterclasses and seminars widely.

Alice Stuart Parker was predeceased by her husband in 1976. Survivors include her sons David Pyle and Timothy Pyle; daughters Katharine Bryda, Mary Stejskal, and Elizabeth Pyle; 11 grandchildren; and six great-grandchildren.

Michael Radulescu

Michael Radulescu, 80, born June 19, 1943, in Bucharest, Romania, died December 23, 2023. He studied organ and conducting with Anton Heiller and Hans Swarowsky in Vienna, Austria, at the Academy (now University) of Music and Performing Arts, where he taught as professor of organ from 1968 to 2008. His career encompassed work as a composer, organist, and conductor. With his debut in 1959 he presented concerts throughout Europe, North America, Australia, South Korea, and Japan. He regularly presented guest lectures and masterclasses in Europe and overseas, focusing mainly on the interpretation of Bach’s organ and major choral works.

As a composer, Radulescu wrote sacred music, works for organ, voice and organ, choral and chamber music, and orchestral works. He was frequently engaged as a jury member in international organ and composition competitions and as an editor of early organ music. Radulescu conducted international vocal and instrumental ensembles in performances of major choral works. As an organist, he recorded among other items Bach’s complete works for organ, without any technical manipulation.

For his musical and pedagogical contributions, Radulescu was awarded the Goldene Verdienstzeichen des Landes Wien in 2005. In 2007 he received the Würdigungspreis für Musik from the Austrian Ministry of Education and Art. In December 2013 Michael Radulescu’s book on J. S. Bach’s spiritual musical language, Bey einer andächtig Musiq: Schritte zur Interpretation von Johann Sebastian Bachs geistlicher Klangrede anhand seiner Passionen und der h-Moll-Messe, focusing on the two passions and the B-Minor Mass, was published. For The Diapason, his article, “J. S. Bach’s Organ Music and Lutheran Theology: The Clavier-Übung Third Part,” was printed in the July 2019 issue, pages 16–21.