Donald Dumler dead at 77

Donald Wayne Dumler, age 77, died March 20 in Eden Prairie, Minnesota. Born in 1938, he joined the staff of St. Patrick’s Cathedral in New York City in 1970 as associate director of music. In 1990 he was appointed principal organist of the cathedral, and in 2012 played his forty-third Christmas Midnight Mass, a service that has been broadcast worldwide on television, radio, and the Internet. Dumler played for over 900 services a year in the cathedral, including the Masses celebrated during Pope John Paul II’s visits to the cathedral in 1979 and 1995.

Born in Oklahoma, Donald Dumler had early training with Curtis Chambers in Oklahoma City. He studied with Mildred Andrews at the University of Oklahoma and with Vernon de Tar at the Juilliard School. In addition to numerous recitals throughout the United States, Dumler made two recordings and performed with the Juilliard Orchestra and the American Symphony Orchestra in both Carnegie Hall and Philharmonic Hall (now Avery Fisher Hall) at Lincoln Center. In 2009, Dumler played to a more than sold-out crowd in Oklahoma, with a closed-circuit broadcast to accommodate the crowds.

Upon retirement on May 1, 2014, Donald Dumler was named Principal Organist Emeritus of St. Patrick’s Cathedral, in recognition of 43 years of service. His tenure was the longest of any musician in the cathedral’s history.

Donald Wayne Dumler is survived by his sister, Shirley Geis, brother-in-law Donald Geis, nephews Ken, Mark, and Scott Geis, and niece Laura Ackermann. A Donald Dumler memorial scholarship is being established. Mass was celebrated in Donald’s memory on May 9 at St. Patrick’s Cathedral in New York City; staff organists played some of his favorite organ repertoire, and former and present cathedral choristers sang.

David Clark Isele died June 25; he was 70. Born April 25, 1946, in Harrisburg, Pennsylvania, he was a graduate of the Oberlin Conservatory of Music (studying voice with Howard Hatton and organ with David Boe), Southern Methodist University (studying choral conducting with Lloyd Pfautsch and organ with Robert T. Anderson), and the Eastman School of Music (studying composition with Samuel Adler). 

From 1973–79, he served on the faculty of the University of Notre Dame, where he founded the Notre Dame Chorale and was conductor of the Notre Dame Glee Club. From 1980–2011 he served the University of Tampa as professor of music, composer in residence, and director of choral and vocal activities, founding the Collegiate Chorale, Women’s Glee Club, and OPUS, a musical theater ensemble. Isele composed more than 100 works, for orchestra, solo instruments, chorus (large works and anthems), voice, and chamber groups. He is known especially for the “Lamb of God” of his Holy Cross Mass, and his Psalms for the Church Year. Isele was also active as a conductor, organist, and church musician. His organ works Prologue and Conjugation and Cognitions have had European premieres; the latter was recorded for Swiss National Radio.

J. Reilly Lewis, conductor of the Washington Bach Consort and music director of the Cathedral Choral Society, died June 9. He was 71. Lewis served since 1972 as organist and choirmaster at Clarendon United Methodist Church, Arlington, Virginia. In 1977 he founded the Washington Bach Consort. Since 1985 Lewis had served as music director of the 140-voice Cathedral Choral Society; under his leadership, more than 20 new works were commissioned, and the group made nine recordings. 

Born in 1944 in California, Lewis moved with his family to Arlington at a young age. His career in music began before the age of 10; he served as a choirboy at the Washington National Cathedral. He earned a bachelor of music degree from Oberlin College and two advanced degrees, including a doctorate, from the Juilliard School of Music. 

J. Reilly Lewis is survived by his wife, Beth Lewis, of Arlington; a daughter from a previous marriage, Lauren Lewis, of New York; and a grandson.

Stewart W. Skates of East Hartford, Connecticut, passed away May 9 at age 75. Born in Northern Ireland, Stewart began in the organ business as an apprentice for Belfast City Organ Pipe Works. In 1960, at age 19, he sent letters looking for employment in America, to Aeolian-Skinner, Schlicker, and Austin. He received offers from all three, and told me that he conditionally accepted the offer from Aeolian-Skinner, but the response from Austin’s Vice President Percival Stark was so welcoming that he decided he would go to Hartford. Austin graciously provided ocean passage and shipped a tool box and his personal effects. He was also to receive housing on arrival until he was able to secure an apartment on his own. The housing provided by Austin was the downtown YMCA.

Arriving at Austin on April 2, 1960, he found that the company was only manufacturing reeds and occasional mixtures, or small other pipework, and various mitering and repairs. His mission was to build the pipe shop into a going concern. His first instrument was Opus 2332, the 120-rank organ for St. Joseph Cathedral in Hartford. Since that time, he built pipework for over 450 organs. His final stop, recently completed for Austin Opus 2798 at the Church of St. John Vianney in Houston, Texas, was a 4′ Spiel Flute, a special Austin-scaled flute of similar character to a Koppelflote. On his bench remains the metal arranged out and scribed for a Nazard for the same instrument.

Stewart was a wonderful person with a great sense of humor and fierce devotion to his craft. Every nuance in pipe design was carefully documented on various scale sticks and notes. He would usually arrive around 4:30 a.m., and occasionally over coffee he and I would chat about “the old country,” cats, boats, “the old company,” and the “state of the union.” Some days, work would not begin for quite a while, depending on the depth of conversation required! He can be seen in a cameo on the History Channel’s episode of Modern Marvels—LEAD, which featured the making and voicing of organ pipes here at Austin.

Stewart is survived by Myrtle, his wife of 55 years, daughter Kimberly (Paul) Serksnas, son Scott (Lisa), four grandchildren, sister June (Willie) Humphries, and brother-in-law Desmond (the late Maude) McMurray. 

—Michael B. Fazio, President & Tonal Director, Austin Organs, Inc.

Marijim Thoene received a D.M.A. in organ performance/church music from the University of Michigan in 1984. She is an active recitalist and director of music at St. John Lutheran Church in Dundee, Michigan. Her two CDs, Mystics and Spirits and Wind Song, are available from Raven Recordings. She is a frequent presenter at medieval conferences on the topic of the image of the pipe organ in medieval manuscripts.

Introduction
Joe Hoppe has been organist and director of music for over 40 years at St. Patrick’s Roman Catholic Church in New Orleans, Louisiana, located in the business district at 734 Camp Street. This historic church, completed in 1840, is in the Gothic style with a vaulted ceiling, massive hand-carved doors, and towering stained glass windows. Here the Roman Mass continues to be celebrated in Latin, and here Joe Hoppe developed one of the finest music programs in the Archdiocese of New Orleans. He built a fine choir of volunteers, conducted choral masterworks with full orchestra, maintained the pipe organ, and in 2009 realized his dream of presenting the church with a new pipe organ, a magnificent instrument built by Patrick J. Murphy and Associates, Opus 53. Joe Hoppe retired from St. Patrick’s in March 2010. This interview is intended to celebrate his remarkable contributions to the musical life of St. Patrick’s Church, the community of New Orleans, and the lives of many international visitors, and to let you see some of the behind-the-scenes work of his remarkable tenure at St. Patrick’s. His music has touched the ears and hearts of thousands.
Joe was born on February 13, 1938 in New Orleans. He received a Bachelor of Arts degree, majoring in philosophy, from Notre Dame Seminary in June 1961. In 1964 he completed three and a half years of postgraduate studies in theology, where he studied the theory and practice of Gregorian chant with Father Robert Stahl, S.M., and sang in the Notre Dame Seminary Schola Cantorum, which participated in joint concerts with the Saint Louis Cathedral Choir under the direction of Elise Cambon and Father Stahl.
In August 1968 Msgr. John P. Reynolds hired him as the organist for St. Patrick’s Church, where, as Joe said, “There was no choir or cantor. I was the music program!” Over time he recruited singers, and had a choir of over 40 voices. In September 1990 he was accepted into the master’s program at the University of New Orleans, where he studied organ with H. Gerald Aultman and choral conducting with Raymond Sprague. In May 1993 he was awarded a Master of Music degree, which coincided with the 25th anniversary of his employment at St. Patrick’s. In September 2008 he was honored at a banquet at the New Orleans Country Club and awarded a Waterford crystal cross for 40 years of devoted and dedicated service to St. Patrick’s Church. Also at this banquet, James Hammann, chair of the music department at the University of New Orleans, presented him with a “Distinguished Alumnus Certificate from the University of New Orleans Department of Music for Forty Years of Distinguished Service as Organist at St. Patrick’s Church, New Orleans, Louisiana.”
Here is Joe Hoppe who, when asked by a bride how long it takes to learn to play the organ, answered, with a twinkle in his eye, “Oh, a couple of weeks!”

Marijim Thoene: My favorite photo of you is as a young cleric. Knowing of your remarkable education, I’m not surprised that you should make that choice. When was this photo taken?
Joe Hoppe: In 1967 I was assigned as an assistant to the pastor (now referred to as Parochial Vicar) at St. Angela Merici Parish, and that is the photo that was printed on the weekly bulletin to introduce me to the parishioners.

M.T.: You have all the qualities I think a man of the cloth should have—compassion, a fine education, integrity, reverence, a sense of humor. Are you glad that you chose to serve the church as a musician rather than as a priest, that you chose to follow “a road less traveled ?”
J.H.: Yes. After two years in the active ministry, I came to the realization that for personal and spiritual reasons, I had to make a change in my life. After much prayer and consideration and consultation with my spiritual director, together we came to the conclusion that I should request an indefinite leave of absence from the archbishop. I made the request, and it was granted in February 1968. In August of that year, Msgr. John P. Reynolds, who was well aware of my situation and status, hired me as music director and organist for St. Patrick’s Church.

M.T.: What led you to playing the organ and directing choirs?
J.H.: When I was 13, Sister Mary Celia, SSND (School Sisters of Notre Dame), was the organist at Our Lady of Good Counsel Church and music teacher in the grammar school. I was studying piano with her, and she suggested that I should learn to play the organ. My parents gave their consent, and she began to give me organ lessons on the 11-rank, two-manual Tellers-Kent pipe organ, dated 1920, in the church. This was back in the days when Novenas and such things as evening May Devotions were very popular. As soon as I had learned the very basics of the instrument, she had me learn one hymn at a time, and as I learned each one, she would have me play it during the service. Then she had me learn the accompaniment to the Latin Masses that the school children sang at the 8:00 am High Mass every morning of the week, and she would let me play for these Masses. This was while I was still in grammar school. When I was in high school, I joined the church’s adult choir and sang with them.
When I was employed at St. Patrick’s in 1968, there was no choir. I was hired only to play the organ, and once in a while maybe sing for a morning High Mass. Between 1968 and 1987 I would invite musician friends to perform at the church for big feast days such as Christmas Midnight Mass or on Easter Sunday morning, but there was no organized music program. In 1987 I formed a male choir to sing an all-Gregorian High Mass on Passion Sunday of that year. Then in May I formed a female choir to sing a High Mass in honor of Mary. In September of that year, these two groups combined to form what became known as St. Patrick’s Concert Choir. This continued until March 7, 2010, when it was disbanded.
M.T.: To hear the Roman Rite sung in Latin is becoming a rare experience, yet you have kept this tradition alive at St. Patrick’s Church. When did you learn Latin and how were you able to maintain a volunteer choir that could sang the Latin Mass so beautifully?
J.H.: When the liturgical changes went into effect after Vatican II (1962), the pastor at St. Patrick’s Church was granted permission to continue the Tridentine Latin Mass because the Stella Maris Center (the Catholic Maritime Organization for Foreign Seamen) was directly across Camp Street from St. Patrick’s; the reasoning was that the foreign seamen would not understand the English language being used in the new liturgy, but would be more at ease and understand the Latin.
At present there are at least two additional churches in New Orleans that celebrate with the Latin liturgy.

Singing Latin
When I was in grammar school, beginning in the fifth grade, the whole student body was taught to sing Latin by rote. We sang a Missa Cantata (High Mass) every morning during the week at 8 am. The Children’s Mass was at 8:30 am Sunday, and all the students sang; on Saturday morning at 7 am individual classes were assigned on rotating schedule. During the summer months, individual classes were assigned to sing the 7 am Mass six days a week.
In 1953, when I was 15 years old, the nun who was the church organist—and also my first organ instructor—hired me to play for all the High Masses in June, July, and August. I was thrilled when at the end of the summer I was paid $150 for my services. The time I spent at Notre Dame was before the Vatican II changes went into effect. All the liturgies were in Latin. Even the philosophy courses had Latin textbooks.
When I started the choir at St. Patrick’s, it was with men who volunteered to sing a Latin Gregorian chant Mass for what in the old days was called Passion Sunday (two Sundays before Easter) 1987. In May I had volunteer women sing a two-part Mass. We called this a “Mary Mass” in honor of the Blessed Virgin. Then in September of that year I put the two groups together and St. Patrick’s Concert Choir was formed; some of these people assisted with the repair of the Möller.
All of the original members of the choir had sung Latin when they were in school, so Latin was not a problem. Most of these people knew how to pronounce Latin, but had a very limited knowledge of the meaning of what was being sung. As the years went along, there were very few members who had not been exposed to Latin, and the few who were not familiar with it were helped along by the older members of the group.

M.T.: Who were the greatest influences on your life as a musician and why?
J.H.: The two teachers who probably influenced me the most were Father Robert J. Stahl, S.M. (Society of Mary) and Elise Cambon. Father Stahl was in charge of the music program at Notre Dame Seminary for the six years that I was a student there. He conducted the Notre Dame Seminary Schola Cantorum, of which I was a member, and every day there was a 15-minute Gregorian chant rehearsal for the entire student body. Here I received my background in Gregorian chant. Eventually I was able to conduct the student body at High Mass when chant was sung. We sang two or three High Masses a week, and the entire student body was able to sing all of 18 Masses in the Kyriale and the Gregorian chant Propers of the Mass in the Liber Usualis. It was from Father Stahl that I received my foundation in chant, and learned much about choral conducting.
Dr. Elise Cambon, the organist at St. Louis Cathedral for 60 years, served on the faculty of Loyola Music School. I spent several semesters studying with her. She required hard work and dedication, and any success that I may have enjoyed as an organist must be attributed to her instruction and example.

M.T.: What have you enjoyed the most in your career as a musician?
J.H.: I have always enjoyed playing music, and playing for other people, either piano or organ. As long as I have been at St. Patrick’s, whenever I played a service, it was not unusual for me to play for thirty minutes before the service began. This was just as important for me as was playing for the service itself. I enjoyed improvising the long organ prelude and creating a prayerful and quiet time for anyone who was in church.
The most rewarding aspect of my tenure at St. Patrick’s has been conducting large works for choir and orchestra. Over the years I conducted Haydn’s Mass in Honor of John de Deo (also referred to as The Little Organ Mass) and the Lord Nelson Mass; Mozart’s Trinity Mass, Coronation Mass, Sparrow Mass, and D-minor Mass; Dvorak’s Mass in D; Charpentier’s Messe de Minuit pour Noël; Rheinberger’s Mass in C; Bach’s Cantatas #142 and #190; Saint-Saëns’ Christmas Oratorio; and Schubert’s Mass in G.
Every time I listen to a recording of one of these performances, I have difficulty believing that I was able to put something like this together and achieve such glorious results. It humbles me and makes me grateful that I have been blessed to be able to do this.

M.T.: I know the crowning glory of your tenure at St. Patrick’s Church is installation of the organ built by Patrick J. Murphy & Associates in 2009. However, before this, you yourself resuscitated the 1962 Möller instrument. Your efforts to rescue it in the 1980s are remarkable. Please tell us how you did this.
J.H.: In 1982, the 1962 Möller (#9614) became unplayable because of the deterioration of the pouch leather and reservoir leather in the organ mechanism. An estimate of the cost to make the needed repairs was in the neighborhood of $60,000. At this particular time, St. Patrick’s Church building was undergoing an extensive and expensive renovation (1977–1990), and the funds needed to repair the organ were not available. So the church purchased a small Allen organ to substitute for the Möller until the necessary repairs could be made.
In 1986 someone made a $3,000 donation to the church for organ repairs. This was the seed money that began the restoration of the Möller. I dismantled and rebuilt the 1962 Möller in the 1980s. At this time I had a piano tuning, repair, and rebuilding business. I specialized in the old-time mechanical player pianos. This work on player pianos required the use of leather, pneumatic cloth, and hot liquid hide glue, many of the same materials that are used in a pipe organ. So René Toups, some of the choir members, and I decided to undertake the organ repair project. I purchased several books on organ construction and repair and the project began.
While the ceiling plaster was being repaired, the workmen did not properly cover and protect the organ pipes. As a result, several large pieces of plaster fell onto the Great pipes and damaged about a dozen pipes. Since Möller was still in business at this time, I sent the pipes back to Möller for repair or replacement. Much of the dirt from this work was not only dropped on the exposed Great and Pedal pipes, but it also found its way into the Swell and Choir chambers. So all the pipes of the organ had to be removed and cleaned, and all the windchests had to be cleaned. This was very dirty work. Our crew removed all except the bottom octave of three 16-foot sets of pipes and cleaned each one individually. When the pipes were removed and cleaned and all the pipe chests vacuumed, I replaced all of the primary pouch leather, recovered all the pneumatics in the relay chest with new leather, and also releathered eleven of the thirteen reservoirs. We began this work in September 1987 and had the organ back together roughly tuned in time for Christmas Midnight Mass the same year. In January I hired a professional organ technician to tune the organ properly and do some voicing.

M.T.: Your final gift to St. Patrick’s is the splendid organ built by Patrick J. Murphy, Opus 53. What prompted you choose him as the builder? And how were you able to accomplish this?
J.H.: The pitch on the old Möller was about 20 cents flat. It had been this way for years. Any time that the organ was tuned, it was tuned at that pitch. Finally in 2007 after we began the orchestra Masses and all the instrumentalists complained about how difficult it was to tune their instruments to the organ, I decided that maybe it was time to bring it up to A = 440 Hz. I asked Jim Hammann if he would undertake this task for us, but it was a bigger job than Jim could handle at the time because of his involvement with the university. Since Jim could not undertake this task, he recommended Patrick J. Murphy. I engaged Patrick to tune the organ to 440. I was very impressed with his tuning ability and his overall knowledge about organs.
It had been over 20 years since I had completed the re-leathering work in 1987, and there were many indications that the Möller was going to need a rebuild in a very short time. After all these years, it was obvious that the leather I had installed was nearing the end of its usefulness.
Patrick Murphy was very impressed by the acoustics of the church, and expressed an interest in building a new organ for St. Patrick’s. By this time his company had already constructed or completely rebuilt 52 pipe organs throughout the country. I suggested that he draw up a proposal for an instrument that he thought would serve our needs and submit it to the pastor. The proposal was submitted in the summer of 2007, and several organists whose opinion I respect examined it. Everyone felt that the organ described in this proposal would be a wonderful instrument for St. Patrick’s Church. I presented the proposal to the Parish Council meeting in the fall of 2007, and the group was in favor of the new instrument. All we needed was the funds to pay for it. About a month later, Mrs. Betty Noe, a longtime choir member, informed me that she would underwrite the cost of the new instrument in memory of her late husband. By the end of December the contract was signed. In January 2009 the Möller was completely removed, 27 of the 29 ranks were reconditioned and used in the new organ, along with 23 new ranks, giving the new organ a total of 50 ranks. The week after Easter 2009, the new organ arrived and was installed in time to be used for the first Mass of a newly ordained priest in June.
The Patrick J. Murphy organ was officially dedicated and blessed by the pastor, Rev. Stanley P. Klores, S.T.D., on Sunday, September 14, 2009, during the celebration of a Solemn High Mass, celebrated in the Extraordinary Form of the Roman Rite (the Tridentine Latin Mass). At this Mass the choir sang Dvorak’s Mass in D, with only organ accompaniment. Dr. James Hammann was the organist, and I conducted. I chose this Mass for the dedication of the organ because it was originally commissioned to be sung at the dedication of a chapel.

M.T.: Thomas Murray, University Organist and Professor of Music at Yale University, played the dedication concert of the Patrick J. Murphy organ on December 6, 2009 for a packed church. I was delighted to be invited to play the second recital on February 28, 2010. The instrument and sacred space of St. Patrick’s are perfect for the music of Bach, Franck, Langlais, Alain, and Hovhaness. One teenager commented that he thought Langlais’ Suite Médiévale sounded “Gothic” and suited the architecture of St. Patrick’s. High praise indeed!
You, Betty Noe and her children, Rev.Stanley Klores, S.T.D., and the builder, Patrick J. Murphy & Associates, are to be thanked for this pipe organ that will bring solace, joy, and hope to those who hear it. It is a marvel, and without you, it would not exist! We thank you, Joe Hoppe, for your determination, vision and legacy. Knowing you, you will continue to make wonderful things happen. 

Catharine Crozier
died on Friday, September 19, 2003 in Portland, Oregon, at the age of 89. The
cause of death was a severe stroke with complications from pneumonia.

Catharine Crozier was born in Oklahoma, where she began to
study the violin, piano and organ at an early age, making her first appearance
as a pianist at the age of six. She was awarded a scholarship to the Eastman
School of Music in Rochester, New York, where she studied organ with Harold
Gleason and graduated with the Bachelor of Music degree and the
Performer's Certificate. As a graduate student, Ms. Crozier received the
Artist's Diploma and the Master of Music degree. In 1939 she was
appointed to the organ faculty of the Eastman School of Music and became head
of the organ department in 1953. Ms. Crozier received the following honorary
degrees: Doctor of Music, from Smith College, Baldwin-Wallace College, and the
University of Southern Colorado; the Doctor of Humane Letters from Illinois
College, and in October, 2000, the Doctor of Musical Arts from the Eastman
School of Music, University of Rochester.

Following her debut at the Washington National Cathedral,
Washington, DC, in 1941, Catharine Crozier joined the roster of the Bernard
LaBerge Concert Management (currently Karen McFarlane Artists, Inc.) with which
she remained for 61 years. Dr. Crozier played recitals throughout the United
States, Canada and Europe, and was heard on national radio in many European
countries, the United States, and on Danish National Television. She was one of
three organists chosen to play the inaugural organ recital at Avery Fisher Hall
at Lincoln Center in 1962, and was engaged for a solo recital there in 1964.
She returned to Lincoln Center to perform a concerto with orchestra at the
inauguration of the Kuhn organ in Alice Tully Hall in 1976, followed by a solo
recital there one year later. In 1979 she was awarded the International
Performer of the Year Award by the New York City AGO chapter, presented to her
by Alice Tully at the conclusion of Crozier's award recital at Alice
Tully Hall. Shortly after this event, she recorded many of the pieces from that
recital for Gothic Records.

From 1955 to 1969 Dr. Crozier was organist of Knowles
Memorial Chapel at Rollins College in Florida. She conducted master classes
throughout the United States, teaching at Union Theological Seminary in New
York, the Andover Organ Institute, at Claremont College and Stanford University
in California, and Northwestern University. In addition she served as a member
of the jury at many international organ competitions, the latest being the 1994
Calgary International Organ Festival.

In addition to performing and teaching, Dr. Crozier
co-edited several editions of the Method of Organ Playing
style='font-style:normal'>, written by her husband, Harold Gleason. The first
edition of the Gleason book appeared in 1937. Following the death of Dr.
Gleason, Catharine Crozier edited the seventh edition (1987) and the eighth
edition (1995).

In 1993 Catharine Crozier moved to Portland, Oregon, where
she was artist-in-residence at Trinity Cathedral until early 2003. As
artist-in-residence, she frequently played organ voluntaries at services, gave
solo recitals and continued to teach. Her recent performances were broadcast
over Oregon Public Radio and in 2001 she was a featured artist on Oregon Public
Television's "Oregon Art Beat." Known for her definitive
playing of organ works of Ned Rorem and Leo Sowerby, two of the five Delos
International CDs she made during the last twenty years of her life included
the major organ works of these two composers.

On Dr. Crozier's 75th and 80th birthdays, she
performed solo recitals from memory at The Crystal Cathedral in Garden Grove,
California; her 85th birthday recital was played at The First Congregational
Church of Los Angeles. Recently, the American Guild of Organists began to
compile a video archive series of great organists; Catharine Crozier was the
subject of The Master Series, Vol. I,
which shows her performing and teaching in her 86th year.

A memorial service/concert and reception will be held on
January 26, 2004, at Trinity Cathedral in Portland, Oregon, with the Trinity
Cathedral Choir (John Strege, director) and organists David Higgs and Frederick
Swann. Memorial donations may be sent to: Music Endowment Fund, Trinity
Cathedral, 147 NW 19th Avenue, Portland, OR 97209.

Morris Chester Queen
died on August 3. Born on September 30, 1921, he grew up in Baltimore,
Maryland, where he began music study at age 7. He became musically active at
Mt. Zion Methodist Episcopal Church, where he and his family worshipped, and
played piano and organ for the church, sang tenor in the Senior Choir, and
directed the youth choir at age 17. During World War II, he served in the U.S.
Navy, where he directed the Great Lakes Naval Octet. In 1947 he was appointed
music director at Sharp Street Memorial Methodist Episcopal Church, Baltimore,
where he would serve for 55 years. That same year he entered Howard University,
where he received both the bachelor of music and bachelor of music education
degrees. In 1955, he received the master of music degree in composition and
choral conducting from Howard University. In addition to his church post, he
also founded and conducted the Morris Queen Chorale and taught at Lemmel Junior
High School and then at Walbrook Senior High School. He also directed the
Baltimore Chapel Choir, including more than 20 performances of Handel's
Messiah. During his tenure at Sharp Street Church, he served under 11 pastors
and missed only one Sunday in 55 years. On May 6, 2002, he was awarded the
Honorary Doctor of Sacred Music by the Richmond, Virginia Seminary. He is
survived by his wife, Ovella Queen, nieces, nephews, cousins, and a host of
other relatives and friends. A memorial service was held on August 9 at Sharp
Street Memorial United Methodist Church, Baltimore.

Remembering Bethel Knoche (1919-2003)

Bethel D. Knoche, 83, the first person to serve as principal
organist at the world headquarters of the Community of Christ (formerly,
Reorganized Church of Jesus Christ of Latter Day Saints) in Independence,
Missouri, died on April 27, 2003, at her home in Independence following a long
illness. During her service to the world church, which was a period of nearly
thirty years, Bethel's ministry reached literally thousands of people
internationally, initially as organist for the church's radio broadcast
of daily morning devotions from the Stone Church and subsequently during her
years presiding at the Auditorium Organ as a participant in worship at world
conferences, recitalist, workshop leader and teacher, and as originator of the
weekly broadcast recital, "The Auditorium Organ."

A native of Arcadia, Kansas, she moved with her family to
Independence when she was eight. Following graduation from William Chrisman
High School, Bethel attended Graceland College for a year and then returned to
Independence, whereupon she began her service with the world church. In
addition to her radio work, her responsibilities included playing for many
church services, accompanying various choirs at the Stone Church, as well as
providing the organ accompaniment for the church's annual broadcast
performance of Handel's Messiah. During that time she began studying organ
with Powell Weaver, well-known Kansas City organist and composer, and completed
a bachelor of music degree in 1946 from Central Missouri State Teachers
College, Warrensburg, Missouri. She then entered a master's degree
program at the Eastman School of Music in Rochester, New York, where she was a
student of Harold Gleason for the next six years.

Many area organists began to recognize that there was
something quite special about Bethel's playing, and thus her career as a
teacher began. In addition to her serving on the faculties of Graceland and at
Warrensburg, she joined the faculty of the newly-formed, but short-lived,
Independence branch of the Kansas City Conservatory of Music. She also served a
number of years as an adjunct instructor of organ at the University of Missouri-Kansas
City's Conservatory of Music, where she taught degree-seeking students at
the bachelor's, master's and doctoral levels. Following her tenure
at the Auditorium, Bethel continued to influence the lives of hundreds of children
by teaching elementary music in the Raytown, Missouri public school system
until her retirement.

In the 1940s Bethel was in a position to share the dreams
and aspirations of the church leadership of having a fine pipe organ in the
world headquarters building, which at the time was a large incomplete domed
shell. It was her association with Harold Gleason and his famous wife, organ
virtuoso Catharine Crozier, that culminated in the design and installation of
the Aeolian-Skinner organ in the Auditorium, completed in 1959, which at the
time was the largest free-standing organ in the United States. Dr. Gleason
served as organ consultant for the church, Ms. Crozier played the inaugural
recital in November 1959, and Bethel was at the organ for its dedication during
the church's world conference in April 1960.

The arrival of the organ, which was considered by many
(including Aeolian-Skinner's president, Joseph Whiteford) to be
Aeolian-Skinner's masterpiece, heralded a new era in the musical life of
the community as well as the church. From the very beginning, Bethel invited
many distinguished guest musicians from all over the United States and abroad
to perform in Independence, a tradition which continues to the present day. Not
only has the Auditorium Organ been a superb instrument for performing great
organ literature, it was designed to possess in abundance the necessary
qualities for encouraging a vast congregation to sing. A congregational hymn
with Bethel Knoche at the Auditorium Organ was a truly inspiring moment for all
present. The organ also provided a new outlet for the church's
longstanding commitment to radio ministry and eventually became one of the most
frequently heard organs on the air. "The Auditorium Organ," a
program heard for more than thirty years, originated as a 30-minute recital
featuring Bethel Knoche and broadcast weekly over an international network. The
organ also set a new standard of excellence against which all future organs in
the Midwest would be measured, and Bethel provided invaluable assistance to countless
congregations in their selection and purchase of new organs.

Sensing the need to have many people prepared to play the
new organ on a regular basis, Bethel assembled and trained a small, but very
dedicated, corps of volunteer organists to share the playing responsibilities
at the many events that would be taking place in the Auditorium. In addition to
the many services that occur in conjunction with the church's biennial
world conference, a daily listening period was instituted, for which the organ staff
would provide invaluable assistance, enabling countless visitors to the
building to experience the beauty and power of the splendid new organ. The
daily recitals have continued to the present day (daily during the summer and
weekly throughout the rest of the year), made possible by a volunteer staff
that now comprises thirty-five gifted musicians.

Bethel is survived by her husband of fifty-six years, Joseph
T. Knoche; her daughter, Anne McCracken of Jackson, Tennessee; her son, Joseph
K. Knoche of Independence; her sister, Shirley Elliott of Fremont, Nebraska;
five grandchildren; seven great-grandchildren, and a host of former students,
friends and admirers from all over the world. Plans are now being formulated
for an appropriate world church commemoration of the life and ministry of
Bethel Knoche.

--Rodney Giles

Ft. Lauderdale, FL and Cherry Grove,NY

Past Dean, Greater Kansas City AGO

Otto Alexander Altenburg died on October 18, 1997, at the age of 72. He was a Navy veteran, a graduate of the Massachusetts Institute of Technology, and President of Altenburg Piano House in Elizabeth, New Jersey. The Altenburg Company is the oldest family-owned piano house in the U.S., and has remained in family hands since its founder made the first Altenburg piano in 1847. During his tenure as president, Mr. Altenburg expanded the house's operations to 11 showrooms, including one at Carnegie Hall in New York City. He continued to improve his own pianos while offering several lines of European and domestic instruments. Altenburg was also interested in pipe organs. He sponsored concerts to celebrate the openings of new houses of worship, and furnished organs to churches throughout the U.S. and abroad. He was an elder and trustee of the First Presbyterian Church in Elizabeth. Mr. Altenburg is survived by his wife Nancy, two sons, two daughters, a sister, and two grandchildren.

John-Michael Caprio, Director of Music at St. Patrick's Cathedral, New York City, died on December 25, 1997. A native of Newark, New Jersey, Caprio was appointed to the cathedral in 1991. During his tenure he oversaw the restoration of the cathedral's historic Kilgen organs, and was conductor for several cathedral ensembles, including the Cathedral Choir, Chamber Singers, Schola, and Cathedral Singers. In 1976 he was appointed executive director of the Commission on Church Music of the Archdiocese of New York, and was also the founding director of the New York School of Liturgical Music. Mr. Caprio was also the founder and conductor emeritus of The Riverside Symphonia, a professional chamber orchestra based in central New Jersey. In October 1995 he coordinated and conducted the music for both the Papal Mass in New York City's Central Park and the rosary service celebrated by Pope John Paul II in St. Patrick's Cathedral. Prior to his appointment to St. Patrick's, Mr. Caprio served as director of music and organist at the Church of St. John the Evangelist, Lambertville, NJ; the Church of the Resurrection, Rye, NY; St. Patrick's Pro-Cathedral, Newark; and Church of St. Philip the Apostle, Clifton, NJ. He was a graduate of the Manhattan School of Music and Rutgers University. In September of 1997, Caprio was inducted into the Knights of the Holy Sepulchre of Jerusalem.

Sister Lucilda Meyer, FSPA, 94, died on April 30, 1997 at Villa St. Joseph, La Crosse, Wisconsin. Sister Lucilda was born on September 30, 1902 on a farm south of Dedham, Iowa. She began piano lessons at age eight, walking two miles to the school for lessons. She entered St. Rose Convent on August 26, 1920, and continued studying music with visiting professors from La Crosse Teachers' College. She earned a Master's degree in piano from McPhail School of Music in Minneapolis. A second graduate degree in organ, theory and composition was earned from the Wisconsin Conservatory of Music in Milwaukee. In 1940 she was awarded the AAGO certificate. Sister Lucilda served as a music instructor and organist for 57 years. From 1952-1979 she was a member of the music faculty at Viterbo College of La Crosse. She retired to the Villa St. Joseph in 1979 where even in retirement she served as organist and choir director at the Villa and at St. Joseph Ridge Parish. Sister Lucilda was a charter member of the La Crosse AGO chapter, and served as dean and secretary for many years.

Catherine Ritchey Miller died in Cary, North Carolina, on January 10 at age 93. A graduate of the University of Montana, she joined the AGO in 1930. She served as organ instructor and college organist at Peace College, Raleigh, North Carolina, for many years, retiring in 1973. Mrs. Miller served as organist at Edenton Street United Methodist Church, Raleigh, from 1948 to 1967, and at White Memorial Presbyterian Church, Raleigh, 1967-1971. In 1989 she was appointed organist emeritus at White Memorial, and in 1990 was made an honorary life member of the Central North Carolina AGO chapter. She is survived by her husband of 69 years, Dr. William D. (Ted) Miller, a sister, and a brother.

Donald Trowbridge Bryant, age 95, died on April 11. Born in Chesterville, Ohio, he began piano study at age 8, and received bachelor’s degrees in music education and composition at Capital University in Columbus, Ohio. After four years of service in the Army during World War II, he entered the Juilliard School of Music in 1946; he earned a master’s degree in piano, studied singing with Mack Harrell, and served as Harrell’s studio accompanist.

During the next 20 years, Donald Bryant served as director/pianist of the Columbus Boychoir, now known as the American Boychoir. The choir toured Japan, Italy, and South America, recorded ten albums for RCA and Columbia, and appeared many times on NBC-TV. The Columbus Boychoir was involved in such performances in New York as the official opening of Lincoln Center, the American premieres of Leonard Bernstein’s Symphony No. 3 (“Kaddish”) and Britten’s War Requiem, and numerous concerts under Arturo Toscanini.  

In 1969, Bryant moved to Michigan to become the music director of the University Musical Society (UMS) Choral Union and director of music at First Presbyterian Church in Ann Arbor. At the church, he established the annual Boar’s Head Festival and Festival Sundays, which featured larger choral works.

Bryant’s compositions included anthems and responses, and an opera, The Tower of Babel. Commissions included settings for the poems of Hungarian poet Sandor Weores and Polish-American Nobel Laureate Ciesław Miłosz; a choral work, Death’s Echo, set to poetry of W. H. Auden for performance at the 1984 Ann Arbor Summer Festival; and a Missa Brevis, premiered at First Presbyterian in 1988. In honor of his retirement as director of the Choral Union, the UMS commissioned the three-act oratorio Genesis, given its world premiere in a special tribute concert to Bryant on January 14, 1990. In 1992, the U of M’s Museum of Art commissioned him to compose a choral work on the biblical Esther, which was premiered in conjunction with an exhibit featuring the museum’s painting by Guercino of Esther before Ahasuerus. 

After his retirement from First Presbyterian Church, Bryant continued to compose: A Requiem for Our Mothers (premiered at the Chapel of the Holy Trinity at Concordia University in Ann Arbor on June 5, 1999); a set of piano miniatures, Pictures from Childhood; and several songs based on texts by his ancestor, William Cullen Bryant. He also continued to conduct a small choir that performed several times a year, and to practice piano every day, performing a recital as recently as February 27, 2014, for his friends and new acquaintances at Chelsea Retirement Community. 

Bryant was awarded an honorary doctorate by Westminster Choir College in Princeton, New Jersey; an Annie Award by the Washtenaw Council of the Arts in Ann Arbor; and was named a Paul Harris Fellow by the Rotary Club of Ann Arbor. 

Donald Trowbridge Bryant was preceded in death by his wife of 62 years, Lela Neoma Cultice Bryant. He is survived by his sister, Doris (Theodore) Bruckner; his son, Milton Travis Bryant of New York City; son and daughter-in-law, Stephen Lee Bryant and Caryl Heaton Bryant of Montclair, New Jersey; grandsons David and Andrew Bryant; and friends and former students.

James K. Hill, age 72, died on April 16 in Bay City, Michigan. He received a bachelor’s degree in music education and a master’s degree in organ performance from Central Michigan University, and a master’s degree in education from Michigan State University. He was a music and elementary teacher in the Essexville-Hampton Public Schools, and a member of the Saginaw Valley AGO chapter. Hill played organ at several regional churches, sang with the Bay Chorale, and played with the Saginaw Valley State University Collegium. 

James K. Hill is survived by his wife Rosemary, a son, a daughter, a granddaughter, a brother, a sister, a niece, and a nephew. 

Frances Kelly Holland died in Charlotte, North Carolina, on April 3; she was 92. Born in Mount Holly, North Carolina, she received a bachelor of music degree from Greensboro College in 1938. She served as organist and choir director at the First United Methodist Church, and the First Presbyterian Church, both in Mount Holly, for many years, until her retirement in 1984. Holland was an officer of the Charlotte AGO chapter for 22 years, and was certified as an organist by the Presbyterian Association of Musicians. Frances Kelly Holland is survived by her husband of 69 years, Thomas Marshall Holland, two children, five grandchildren, and six great-grandchildren. 

Ronald A. Nelson died April 18 at the age of 86. Born in Rockford, Illinois, he received a B.Mus. from St. Olaf College in Northfield, Minnesota, and an M.Mus. from the University of Wisconsin, Madison. In 1955 he became music minister at Westwood Lutheran Church in suburban Minneapolis, serving for 37 years; he directed nine choirs and a resident orchestra and founded a children’s choir school. His compositions were published by Augsburg Fortress, GIA, Santa Barbara, and Selah; he is well known as the composer of Setting 2 of the Communion Service in the Lutheran Book of Worship. Nelson received the Distinguished Alumnus Award from St. Olaf College and the F. Melius Christiansen Award from Minnesota American Choral Directors Association.

Ronald A. Nelson is survived by his wife, Betty Lou, daughter Rachel, sons Peter and Paul, and
a grandson.

Robert J. Schaffer died on May 20 at the age of 92 in Edgewood, Kentucky. Born in 1921 in St. Bernard, Ohio, he received his early education in Cincinnati. During World War II, he served in England in a U.S. Army band, which played the national anthem for Gen. Dwight D. Eisenhower during the embarkation ceremony for troops heading to fight on Normandy’s beaches. After the war, he returned to Cincinnati, serving as an organist, freelance trombonist, and pianist, while studying Gregorian chant at the Athenaeum of Ohio and earning a bachelor’s degree in music from the Cincinnati Conservatory of Music. He moved to New York and earned a master’s degree in musicology from New York University. 

In 1949 Schaffer was hired as organist by the Cathedral Basilica of the Assumption in Covington, Kentucky, beginning an association that would endure for more than sixty years. After a short break to conclude his doctoral studies, he returned in 1952, and was named director of music in 1958. In 1953, Schaffer married his wife of 55 years, Rita, former organist at Cincinnati’s Christ Church Cathedral and Church of the Redeemer. She died in 2009. Schaffer composed several Masses and other compositions, which were published by World Library Publications. He taught music in the parish elementary school, in high schools, at Villa Madonna College (later Thomas More College) in Covington, and at St. Pius X Seminary, and served as an organist for the Cincinnati Symphony Orchestra. In 1975, to celebrate the addition of the Matthias Schwab Organ to what were eventually the three organs of the basilica (the pipes and other parts were dismantled and carried two blocks from Old St. Joseph Church, which had formerly housed the instrument), Schaffer began the Cathedral Concert Series. Robert J. Schaffer is survived by his son Gregory Schaffer, daughter Rebecca Wells, and four grandchildren.