Elizabeth Ayers Compton Bellocchio dead at 65

Nunc Dimittis

Elizabeth Ayers Compton Bellocchio, 65, of Haverhill, Massachusetts, died August 30. She was an organist, organbuilder, historian, and museum and arts administrator, known professionally as Lisa Compton. Born October 9, 1953, in Greenfield, Massachusetts, she grew up in Exeter, New Hampshire. She began piano lessons at Ellerslie School, Great Malvern, England, where the family lived for a year while her father was an exchange professor at Malvern College.

Lisa Compton was executive director of the Seneca Falls Historical Society, Seneca Falls, New York, from 2000 until 2002, and was from 1998 to 2000 executive director of the Friends of Vista House, Corbett, Oregon. She was the first professional director of the Old Colony History Museum in Taunton, Massachusetts, 1982–1996, and served on the Taunton Historic District Commission, revising and editing the second edition (1986) of Taunton Architecture: A Reflection of the City’s History.

She researched and wrote many entries as editor of the Organ Historical Society’s 2005 Southeastern Massachusetts convention handbook and served on the convention planning committee, co-chaired by her husband, Matthew Bellocchio. She was consultant for the restorations of historic organs at the Congregational Church (c. 1834 E. & G. G. Hook), Berkeley, Massachusetts, and Pilgrim Congregational Church (1890 Johnson & Son), Taunton, Massachusetts.

In 1975, as a fellow in the Summer Museum Studies program at Historic Deerfield, Massachusetts, she researched the history of dancing and ballrooms in early New England and presented programs and lectures based on her research. She later served for two years as assistant curator at the Memorial Hall Museum in Deerfield, creating the summer Old Deerfield Sunday Afternoon Concert Series that continues to date.

She trained and supervised tour guides at Castle Hill, the mansion on the Crane Estate, Ipswich, Massachusetts, as an employee in the Education Department of The Trustees of Reservations, 2007–2010. She was administrator at the Universalist Unitarian Church of Haverhill, 2011–2017, and was a librarian at the Graves Music Library of Phillips Academy, Andover, Massachusetts, from 2010 until her recent illness prohibited continuing.

As an organbuilder, Lisa Compton was a member of the American Institute of Organbuilders, having been among the first women to take and pass the AIO examination in 1979 to receive the Colleague Certificate. Employed by the Berkshire Organ Company, she became the New York City service representative. She later worked occasionally with other firms and with her husband at the Roche Organ Co., Taunton, Massachusetts; Bond Organ Builders, Inc., Portland, Oregon; Parsons Pipe Organ Builders, Canandaigua, New York; and Andover Organ Company, Inc., Methuen, Massachusetts.

A 1975 graduate of Smith College, Northampton, Massachusetts, with a degree in art history and music, she studied organ with Vernon Gotwals at Smith and earlier with Richard Bennet, organist at her high school, Concord Academy. In 1970, she helped to relocate the 1872 E. & G. G. Hook & Hastings Opus 676 to the academy chapel (and since relocated to the Smithsonian Institution). She served as music director and organist at First Baptist Church, Northampton, Massachusetts; in Taunton, Massachusetts, at St. Thomas Episcopal Church, St. John’s Episcopal Church, and Pilgrim Congregational Church; First Presbyterian Church, Seneca Falls, New York; and as accompanist for the children’s choir at Trinity Episcopal Cathedral, Portland, Oregon, where she was also a substitute organist at other churches.

Elizabeth Ayers Compton Bellocchio is survived by her organbuilder husband Matthew Bellocchio and their daughter Holly Bellocchio Durso of Abington, Massachusetts. She is also survived by her brother Karl Compton of Rockport, Texas, and her sister Carol Compton of Keene, New Hampshire. A funeral was conducted September 28 at St. Thomas Episcopal Church, Taunton, where she had been a member since 1983. She sang in the choir, served on many committees and two terms on the vestry, and sewed the church banner that hangs by the organ case (1899 George Jardine & Son, Op. 1257/1980 Roche Organ Co.). Donations in her memory may be made to the Memorial Fund of St. Thomas Episcopal Church or to the Old Colony History Museum, 66 Church Green, Taunton, MA 02780.

Jared Jacobsen, organist, liturgist, choir director, and community faith leader, died August 27. He was born March 18, 1949, in New Castle, Pennsylvania. He grew up in Girard, Pennsylvania, graduating from Girard High School in 1967. He began music studies at age five as a piano student at the Chautauqua Institution, Chautauqua, New York, and had returned every summer since. He studied piano at Villa Maria College, Erie, Pennsylvania, and later enrolled in Westminster College, New Wilmington, Pennsylvania, where he earned a Bachelor of Music degree with honors. At the University of Arizona in Tucson, he earned a Master of Music degree and pursued doctoral study as a Haldeman Fellow in keyboard performance and choral studies.

He began his church music career at age thirteen as organist for Grace Episcopal Chapel, Fairview, Pennsylvania. A California resident since 1976, he served as fifth civic organist of the City of San Diego from 1978 through 1984, playing weekly concerts on the Spreckels Organ in Balboa Park. In 1984 he moved to San Francisco to serve a Catholic parish. While there he was organist for the 1987 papal Mass in San Francisco’s Candlestick Park for a congregation of 70,000 and a viewing audience of 70,000,000; the following year he was invited by Pope John Paul II to the Vatican as a delegate to its historic First World Conference on Church Music. A Presbyterian church called him to service in San Diego in the fall of 1991.

Since 1996, Jacobsen served as the organist and coordinator of worship and sacred music for the Chautauqua Institution. He presided over the Massey Memorial Organ of four manuals located in the amphitheater. He also led the Motet Choir for daily worship services and the Chautauqua Choir for Sunday morning and evening worship, played weekly recitals on the Massey organ and the 1893 Tallman mechanical-action organ in the Hall of Christ, and appeared frequently as soloist with the Chautauqua Symphony and Music School Festival Orchestras.

In recent years, when not at Chautauqua during summer months, Jacobsen served as director of music for First Lutheran Church, San Diego, California, and as a member of the performing arts faculty of The Bishop’s School, an independent college-preparatory middle and high school in La Jolla, California.

A memorial service for Jared Jacobsen was held August 30 in the Chautauqua Amphitheater, the Rt. Rev. V. Gene Robinson presiding.

Edward Brewer, 82, died April 3 in Leonia, New Jersey. Born in 1938 in Erie, Pennsylvania, his talent for music was revealed at an early age.

Brewer majored in organ at Oberlin Conservatory of Music, Oberlin, Ohio. As a graduate student at University of Illinois Urbana-Champaign, Brewer received a Fulbright Fellowship to continue his studies with organist Helmut Walcha in Frankfurt, Germany. His harpsichord studies continued with Maria Jaeger.

Edward Brewer’s school days ended in New York City in 1963 where he served in the Domestic Peace Corps until 1964, when he became organist and choir director at Judson Memorial Church in Greenwich Village. As a continuo player he served Amor Artis, Oratorio Society of New York, and New York Choral Society, as well as New York Philharmonic, New York Collegium, Orpheus, Orchestra of St. Luke’s, and Philharmonia Virtuosi. He participated in the Madeira Bach Festival, Mostly Mozart Festival, and North Country Chamber Players summer festival. He was founding director of the Soclair Music Festival, a role he filled for 30 years. As founder and director of the Brewer Chamber Orchestra, he participated in a series of first-time recordings of operas by George Frederick Handel for MMG, Nonesuch, Delos, and ESS.A.Y.

Edward Brewer also provided portable pipe organs and harpsichords in European styles of the 18th century for New York musical organizations involved in the performance of Baroque music. This service continues as Baroque Keyboards, LLC, under the management of his son and daughter.

Edward Brewer is survived by his wife of 51 years, oboist Virginia Brewer; his son Barry and wife Tomoko and their daughters Miako and Emiko; and daughter Hazzan Diana Brewer and wife Sara Brewer and their daughter Camilla.

Kenneth Gilbert, 88, harpsichordist, organist, musicologist, and teacher, died April 16. He was born December 16, 1931, in Montreal, Quebec, Canada. He studied organ with Conrad Letendre, piano with Yvonne Hubert, and harmony and counterpoint with Gabriel Cusson. Gilbert won the Prix d’Europe for organ in 1953 and studied for two years with Nadia Boulanger (composition), Gaston Litaize and Maurice Duruflé (organ), and Sylvie Spicket and Ruggero Gerlin (harpsichord). While he was on leave for these studies, he remained the organist and music director at Queen Mary Road United Church, Montreal, between 1952 and 1967. In 1959, he designed and oversaw the installation at Queen Mary Road Church of the first major modern mechanical-action organ in Canada, an instrument built by Rudolf von Beckerath of Hamburg, Germany. Gilbert was a leader in the formation of the Ars Organi society, which influenced organ performance standards in eastern Canada. He received an honorary doctorate degree in music from McGill University in 1981.

While in Paris in 1965 on a Quebec government grant doing research on Couperin in preparation for a CBC series of performances of the composer’s complete works for harpsichord, Gilbert undertook work for a new edition for the Couperin tercentenary in 1968. (He subsequently recorded the Couperin works for RCI, released on Harmonia Mundi in France, RCA in England, Musical Heritage Society in the United States, and other labels in Italy and Japan.) Heugel would publish Gilbert’s four volumes of Couperin works as part of its early-music series, Le Pupitre, between 1969 and 1972. Gilbert prepared a new edition from existing editions of the 555 sonatas of Domenico Scarlatti; eleven volumes were published by Heugel between 1971 and 1984. He prepared a facsimile edition of the complete harpsichord works of Couperin, published by Broude in 1973, and edited the complete harpsichord works of d’Anglebert, printed by Heugel in 1975. He also prepared new editions of Bach’s Goldberg Variations for Salabert in 1979, Frescobaldi’s first and second books of toccatas for Zanibon in 1979 and 1980, and Rameau’s complete harpsichord works for Heugel 1979. In 1980, he began to prepare a reissue of Couperin’s complete works for L’Oiseau-Lyre of Monaco. With Élizabeth Gallat-Morin, he produced an annotated edition of Livre d’orgue de Montréal, published in three volumes by Éditions Jacques Ostiguy in 1985, 1987, and 1988.

Gilbert’s performances were devoted primarily to the harpsichord. In 1968, he gave his first recital in London and commenced an international career of concerts, broadcasts, and recordings. He was a soloist with several Canadian and American orchestras.

Gilbert taught at the Conservatoire de musique du Québec à Montréal 1957–1974, at McGill University 1964–1972, at Laval University 1969–1976, and at the Royal Flemish Conservatory, Antwerp, Belgium, 1971–1974. In 1988, he began to teach at the Mozarteum in Salzburg, Austria, and he became professor of harpsichord at the Conservatoire de Paris. For some years, he taught at Accademia Chigiana, Siena, Italy. Furthermore, he presented masterclasses throughout North America and Europe.

In 1978, the Canadian Music Council named Gilbert Artist of the Year. He was honored with the Prix de musique Calixa-Lavallée in 1981. In 1986, he was named an officer of the Order of Canada and in 1988 was elected to the Royal Society of Canada. He was an honorary member of the Royal Academy of Music and Officier de l’Ordre des arts et lettres de France.

John Benjamin Hadley, 92, died January 5 in Hendersonville, North Carolina. Born July 1, 1927, in Iowa Falls, Iowa, he began playing organ in local churches at age 13 and received a Bachelor of Music degree from Iowa Falls Conservatory of Music in 1946.

After additional study in boy choir training and organ under John Dexter in Grand Rapids, Michigan, he entered the London School of Church Music, London, Ontario, where he spent three years under the tutelage of Ernest White and Raymond Wicher. While in London, he met and married Dorothy Helen Gallop with whom he would spend 52 years, while raising two daughters, Vicki and Kim.

The Hadleys moved to Chicago, Illinois, in 1951 where they would remain until the late 1980s. His first position was at St. Clement’s Catholic Church, Chicago, as organist and choirmaster, followed by Grace Episcopal Church, Hinsdale, and then Church of the Ascension, Episcopal, Chicago. In 1955, Hadley began assisting S. E. Gruenstein in his duties as editorial director and publisher of The Diapason. Upon the death of Gruenstein in December 1958, Hadley and Frank Cunkle were named associate editors of the journal. Hadley became publisher in August 1958 and left the staff of The Diapason September 1, 1959, for his duties at the Church of the Ascension. During his time in Chicago, he was a sales representative for the Schlicker Organ Company and held several positions with the Associated Pipe Organ Builders of America.

Hadley became an editor at Encyclopaedia Britannica. He made several trips to China in the 1980s as the editorial liaison for the Chinese edition of the encyclopaedia. Additionally, he was a senior editor of Compton’s Encyclopedia and executive editor for The Britannica Book of Music as well as The Britannica Book of English Usage. It was during this time that he became an entrepreneur, and along with the vision of wife Dorothy, they opened a British import store in Door County, Wisconsin, where they had a second home.

In 1993 the Hadleys moved to Hendersonville, North Carolina, to be closer to the Brevard Music Festival. He became passionate about the program, choosing to bequeath the majority of his estate for the continuing funding of its work. In his retirement he served as organist of Hendersonville’s First United Methodist Church and finally St. Mary’s Episcopal Church, Asheville, North Carolina.

John Benjamin Hadley was preceded in death by his wife Dorothy, his partner Phyllis Hansen, and daughter Vicki Anderson. He is survived by son-in-law John Anderson, grandson Matt Anderson, and daughter Kim Parr.

Edmund Shay died April 21 in Woodbury, New Jersey. He was born in the Bronx, New York City, and attended the High School for Music and Art in Manhattan, followed by The Juilliard School, New York City, where he received his bachelor’s and master’s degrees. In 1962 he was awarded a Fulbright fellowship allowing him to study in Germany with Helmut Walcha. He later earned his Doctor of Musical Arts degree in performance and music theory from the University of Cincinnati.

Shay’s career as concert organist, teacher, and composer included teaching at the University of the Pacific, Beloit College, Pembroke State University, Madison College (now known as James Madison University), and Columbia College, Columbia, South Carolina. He maintained an active recital schedule while teaching and wrote articles for The American Organist and The Diapason. From 1986 through 1991 he wrote organ music reviews for The Diapason. For fourteen years, Shay directed a summer seminar for organists called “Bach Week,” sponsored by Columbia College. Upon his retirement in 2003, Shay relocated to a winter home in Washington, D.C., with a summer home in Vermont. In 2014 he began to battle dementia, and in 2017, he moved to Friends Village in Woodstown, New Jersey, and subsequently to Merion Gardens Assisted Living in Carney’s Point, New Jersey.

Edmund Shay was predeceased by his life partner of over 35 years, Raymond Harris; he is survived by his adopted nephew and niece, Dale and DeeAnn Harris of Salem, New Jersey. Memorial gifts in Shay’s name may be given Alzheimer’s research or your local animal shelter.

Nicholas Temperley, professor emeritus of the School of Music, University of Illinois, Urbana-Champaign, died April 8. Born and educated in England, Temperley came to the University of Illinois in 1959 as a postdoctoral fellow, and he joined the faculty in 1967. He taught classes in the School of Music, supervised over fifty dissertations and theses, and served on dozens of doctoral committees. His publications include The Music of the English Parish Church (1979), Hymn Tune Index (1998), editions of music (including volumes for the Musica Britannica series and an edition of Berlioz’s Symphonie fantastique), and Bound for America: Three British Composers (2003), as well as several edited essay collections and scores of book chapters and journal articles.

After retiring in 1996, Temperley continued to be a researcher, writer, and editor. He also went on to guide the establishment of the North American British Music Studies Association [NABMSA] (2003) and serve as its first president, and he endowed prizes for student research: the Nicholas Temperley Dissertation Prize (later the Nicholas Temperley Musicology Research Scholarship, University of Illinois) and the Nicholas Temperley Student Paper Prize (NABMSA). In 1977, he was one of the co-founders of the Midwest Victorian Studies Association [MSVA], a group that sought to promote the interdisciplinary study of Victorian culture.

In 2012, a festschrift in his honor (Music and Performance Culture in Nineteenth-Century Britain, ed. Bennett Zon) was published. In April 2019, MVSA presented him with its Lifetime Achievement Award for his work in bringing music into the purview of Victorianists.

A memorial service will be planned for a later date. Memorial gifts may be sent to the Evelyn Burnett Underwood fund at the Urbana School District, which provides musical instruments to students who cannot afford them (contact Stacey Peterik at [email protected]).

James Merle Weaver, 82, died April 16 in Rochester, New York. Born in Danville, Illinois, he began piano and organ studies there. He attended the University of Illinois, Champaign-Urbana, during which time he gave piano and organ demonstrations and private lessons at a local music store and played Sunday church services. While on a high school field trip to Washington, D.C., Weaver saw his first harpsichords, displayed at the Smithsonian Institution’s National Museum of Natural History. During his sophomore year at the U of I, he went to Amsterdam to study harpsichord and historical performance practice with Gustav Leonhardt.

Returning to Illinois, Weaver completed his bachelor’s (1961) and master’s (1963) degrees. Weaver and his young family then moved to Boston’s North End. His facility as a continuo player developed, both as a concert artist and for recordings. While in Boston, he befriended the music director of Old North Church, John T. Fesperman, who had been Leonhardt’s first American student (1955–1956). Fesperman left Boston in 1965 to take a position at the collection of musical instruments in the Smithsonian’s newly opened National Museum of History and Technology; Weaver followed him to the Smithsonian the next year, where he began a diverse career producing concert programs and exhibits, among other activities. In 1971, he worked to found the Friends of Music at the Smithsonian, which continues to support the Smithsonian Chamber Music Society.

Weaver pursued his exploration of newly restored harpsichords and forte-pianos in the Smithsonian’s collection, producing recordings. He established an ensemble in residence at the museum in 1976, the Smithsonian Chamber Players, which produced recordings through the Smithsonian Collection of Recordings, an arm of the institution’s Division of Performing Arts (DPA), which Weaver joined in the late 1970s.

In 1983, DPA’s functions were absorbed by other portions of the institution, and Weaver returned to the Division of Musical Instruments at the National Museum of American History (NMAH), as the National Museum of History and Technology had been renamed in 1980.

In addition to his Smithsonian activities, Weaver occasionally appeared with the National Symphony Orchestra and various professional choruses of the area. With the Smithsonian Chamber Players, he had a presence in the inaugural festivities for Jimmy Carter and later performed twice, including once as harpsichord soloist, at the Carter White House. He was subsequently invited to play at five inaugural luncheons, from Ronald Reagan’s second inaugural to George W. Bush’s first. Weaver taught at various times at American University, the University of Maryland, Cornell University, the Aston Magna Academy, and the Baroque Performance Institute at Oberlin Conservatory of Music.

Following his move to Washington, D.C., in the 1960s, Weaver served as organist or organist/choirmaster at several churches, including Baltimore’s Mount Calvary Church, Washington’s St. Columba’s Episcopal Church and All Souls Episcopal Church, and finally at All Hallows Episcopal Church, Davidsonville, Maryland.

Following retirement from the Smithsonian, Weaver was appointed executive director (later chief executive officer) of the Organ Historical Society. During the last years of his tenure at the OHS, he supervised the relocation of its headquarters and archives to “Stoneleigh” in Villanova, Pennsylvania. He also expanded the E. Power Biggs Fellowship program.

James Merle Weaver is survived by husband/partner Samuel Baker; son Evan (Jill), three grandchildren, and two great-grandchildren. He was predeceased by wife Patricia Estell and long-time former partner Eugene Behlen. Memorial gifts may be given to the Biggs Fellowship Program of the Organ Historical Society, 330 N. Spring Mill Road, Villanova, PA 19085; or the Friends of Music at the Smithsonian, P. O.
Box 37012, Washington, DC 20013-7012 (https://www.smithsonianchambermusic.org/donate).

Susan Palo Cherwien

Susan Louise Palo Cherwien died December 28, 2021. Born May 4, 1953, in Ashtabula, Ohio, she was active in music in school and at Zion Lutheran Church (Finnish-American), Lutheran Church–Missouri Synod. Her undergraduate degree in church music and voice was earned from Wittenberg University, Springfield, Ohio, in 1975. Her junior year was spent at the Berlin Church Music School, Spandau, Germany. After graduating from Wittenberg, she returned to Berlin to complete a graduate degree at the Berlin Conservatory of Music. She was active in the American Lutheran Church in Berlin, a mission church of the Lutheran Church in America (now part of the Evangelical Lutheran Church in America).

It was through this church in Berlin that Susan Palo met David Cherwien, who came in 1979 to study at the Berlin Church Music School. They returned to the United States in 1981 and were married on August 8 at Central Lutheran Church, Minneapolis, Minnesota. Two weeks later they moved to Seattle where David served at First Lutheran Church of Richmond Beach. Two sons were born, Jeremiah in 1983 and Benjamin in 1986. In 1987 the family moved to the Chicago area for David to serve at St. Luke’s Evangelical Lutheran Church of Park Ridge, Illinois. During these years, Susan earned a master’s degree from Mundelein University and began her career as a writer. Since 1990 the family has lived in St. Louis Park, Minnesota, and has been a part of the community at Mount Olive Lutheran Church, Minneapolis, where Susan served in many capacities as volunteer, sacristan, and soloist.

As a poet, Susan Cherwien wrote extensively, especially in two areas: hymn texts and reflections for hymn festivals, published by Augsburg Fortress and MorningStar Music Publishers. Her hymns are included in hymnals of many denominations, including Evangelical Lutheran Book of Worship and its newest supplement hymnal, All Creation Sings.

Susan Louise Palo Cherwien is survived by her husband, David; sons and daughters-in-law, Jeremiah and Karen and their children Hannah and James Cherwien in Batesville, Arkansas; Benjamin and Angel and their daughter Gabriella Hull Cherwien in Blaine, Minnesota; brother John Palo (Freddie) of Lenexa, Kansas; and sister Nancy Bukowski of Sacramento, California. A funeral service was held on December 31, 2021, at Mount Olive Lutheran Church. Memorials may be directed to Mount Olive Lutheran Church debt reduction fund (mountolivechurch.org) or National Lutheran Choir (nlca.com).

Merrill Nathaniel (“Jeff”) Davis III

Merrill Nathaniel (“Jeff”) Davis III, 80, died October 16, 2021, in Rochester, Minnesota. Born February 13, 1941, in Chicago, Illinois, he lived most of his childhood and teen years in La Crosse, Wisconsin. He was an active organist while still in grade school, and at age 15 was dean of the La Crosse area chapter of the American Guild of Organists. Davis earned his bachelor’s degree at the University of Wisconsin, La Crosse, and studied organ privately with Arthur B. Jennings, Jr. He completed his Master of Music degree at Southern Methodist University, Dallas, Texas, as a student of Robert T. Anderson. Additional studies and coaching were with Willard Irving Nevins, Gerald A. Bales, Arthur Poister, and Heinrich Fleischer.

Davis served as musician for various congregations, including First Congregational Church, La Crosse, Wisconsin; St. Clement’s Episcopal Church, St. Paul Church, Zumbro Lutheran Church, First Unitarian Universalist Church, and the Congregational (United Church of Christ) Church, all in Rochester, Minnesota. He was a frequent guest organist at Seventeenth Church of Christ, Scientist, Chicago, Illinois. Davis concertized widely and was known for his skills as an improviser. In 1974, he was one of four finalists at the International Organ Improvisation Competition at St. Bavo Church, Haarlem, the Netherlands, and the first American to be invited to compete there. He was an active member of the Southeast Minnesota AGO Chapter.

Davis was also involved in the pipe organ industry as a sales representative and freelance consultant. The firms for which Davis worked included the Aeolian-Skinner Organ Company, Rodgers Instruments, and Rieger-Kloss of Krnov, Czech Republic. He also consulted on behalf of other companies, in particular Hendrickson Organ Company, St. Peter, Minnesota. He also was involved as a personal financial advisor, working for IDS.

Merrill Nathaniel Davis III is survived by two sons and two sisters-in-law. He was preceded in death by his parents, a brother, a sister, and by his first wife, Jane Schleiter Davis, and his second wife, June Fiksdal Davis. A memorial concert is planned for February 12 at the Congregational Church, Rochester, Minnesota.

Richard Stanley Houghten

Richard Stanley Houghten, 78, died December 29, 2021, from complications following heart surgery. Born October 7, 1943, in Detroit, Michigan, he was introduced to the organ partly from exposure to the Barton organ at Ann Arbor’s Michigan Theatre, and partly at an organbuilding class taught by Robert Noehren at the University of Michigan, where he was studying psychology. He eventually apprenticed to Noehren as an organbuilder, as did classmate Jerroll Adams; Adams and Houghten would soon be sharing a barn-workshop in Milan, Michigan, and regularly collaborating.

A conscientious and well-rounded organbuilder, Richard became best known as a specialist in consoles and electrical systems. Early in his career he worked for Solid State Logic, eventually becoming president and board chairman. In this role he was central to the industry’s adoption of solid-state technology, particularly in the 1970s and 1980s when such equipment was still novel. He was further central in evolving multilevel combination actions and other advanced console aids. By 1995, he was fully independent of SSL, undertaking projects and occasional organbuilding. From 1989 he also acted as North American representative for the German supplyhouse/organbuilder Aug. Laukhuff.

For Houghten, demystifying solid-state technology was religion. He not only sold early systems but installed them, where, on site, he was intent on showing local technicians how to diagnose and service the new equipment. The reliable results of these early projects earned him a high reputation. Projects readily came his way, often without competition, and his client list over 57 years reads as impressively as any could. In the last 15 years alone, St. Paul’s School, Concord, New Hampshire; Duke University, Durham, North Carolina; Harvard University, Cambridge, Massachusetts; Calvary Church, Memphis, Tennessee; the Community of Jesus, Orleans, Massachusetts; and Trinity Church, Boston, Massachusetts, sought his work. In turn, Richard regularly collaborated with
J. Zamberlan & Co. for woodworking and his trusted affiliate Vladimir Vaculik, whose wiring had all the Houghten trademark elegance.

Houghten was equally active as a subcontractor, working largely in the background to builders wanting clear systems design coupled to immaculate installation and wiring. The relationships he forged with those shops, together with his technical mastery and reassuring demeanor, meant that it was often he, not the electronics manufacturer, who would be called in a crisis. “Is there smoke? Good. Next question . . . .”

Throughout his career, Houghten retained connections to the University of Michigan. During Jerroll Adams’s long tenure as organ curator there, the Houghten team renovated consoles for many campus organs, including the large four-manual at Hill Auditorium. The University link was further strengthened through a steady stream of organ students who also served as housemates in the Houghten condominium, tending to the cats and technology Richard gathered there.

The funeral for Richard Stanley Houghten was held January 12 at St. Paul’s Episcopal Cathedral, Detroit. A broader celebration of his life is being scheduled immediately preceding the 2022 Atlantic City Convention of the American Institute of Organbuilders, with which Houghten was centrally active and at whose regular October gatherings he celebrated a half-century of his own birthdays. That same community remembers him as an uncommonly generous colleague, ready to share knowledge, solve a problem, or make something as good as it could be for the benefit of all organbuilding.

—Jonathan Ambrosino, Arlington, Massachusetts

Marilyn Kay Stulken Rench

Marilyn Kay Stulken Rench, 80, organist, teacher, recitalist, author, and genealogist, died December 28, 2021, in Franklin, Wisconsin. She was born August 13, 1941, in Hastings, Nebraska, and studied organ and church music at Hastings College in Hastings, where she earned a Bachelor of Arts degree in 1963. During this time, she had several piano and organ students and from 1962–1965 served as organist and program director at All Faiths Chapel, Ingleside, Nebraska. At Eastman School of Music, Rochester, New York, she studied organ performance and church music, earning a Master of Music degree in 1967 and a Doctor of Musical Arts degree in 1975. One of her positions while in Rochester was as a sewing therapist at Strong Memorial Hospital.

Stulken Rench held a number of church positions, including organist and choir director at St. Paul’s Lutheran Church, Pittsford, New York, 1966–1973; organist at St. Mark’s Lutheran Church, Cedar Rapids, Iowa, 1975–1979; director of music at Trinity Lutheran Church, Kenosha, Wisconsin, 1979–1985; and organist at St. Luke’s Episcopal Church, Racine, Wisconsin, from 1986 to the time of her death. In addition, she taught at Coe College, Cedar Rapids, Iowa; the University of Iowa, Iowa City; Carthage College, Kenosha; University of Wisconsin-Parkside, Kenosha; and Concordia University Wisconsin, Mequon.

On December 27, 1984, in Omaha, Nebraska, Marilyn Stulken married Thomas R. Rench, a pipe organ builder. Marilyn often played programs on instruments that Tom had built or restored. As a lecturer and organ recitalist, she appeared throughout the United States and Canada, including ten recitals for national conventions of the Organ Historical Society. After Tom installed a pipe organ in the family room of their home, the instrument was used for practicing and teaching. When her multiple sclerosis precluded her from playing the pedals, Tom engineered the keyboard at St. Luke’s so that a note played by her left hand could sound that same note on the pedalboard.

Stulken Rench is the author of the Hymnal Companion to the Lutheran Book of Worship (1981) and An Introduction to Repertoire and Registration for the Small Organ (1995), and coauthor with Catherine Salika of Hymnal Companion to Worship, Third Edition (1998). She was one of three contributors who assisted in the preparation of historical notes on the hymns in The New Century Hymnal (1995). With Martin A. Seltz and others, she compiled Indexes for Worship Planning (1996), and with James R. Sydnor and Bert Polman, she edited Amazing Grace: Hymn Texts for Devotional Use (1994). She contributed an article, “Hymnody from German, Scandinavian and Finnish Sources,” to The New Century Hymnal Companion (1998), and “Hospital Hymnody as Transition Hymnody” to We’ll Shout and Sing Hosanna: Essays on Church Music in Honor of William J. Reynolds (1998). She is the author of With One Voice Reference Companion (2000) and authored numerous articles and reviews for musical journals. Stulken Rench was active in the American Guild of Organists, the Organ Historical Society, the Hymn Society of America, and, for a time, was the worship representative on the Southport District Cabinet of the Wisconsin-Upper Michigan Synod of the LCA (Lutheran Church in America).

Marilyn Kay Stulken Rench was predeceased by her husband, Thomas R. Rench, and a stepson, Evan Rench. (For an obituary for Thomas R. Rench, see the January 2016 issue, p. 8). She is survived by her stepchildren Alan (Mary) Rench, Eric (Bobbie) Rench, and Kari (Jeff) Eschmann; seven grandchildren and seven great-grandchildren; as well as two sisters and a brother. A memorial service will be held in the spring. Memorial gifts may be made to St. Luke’s Episcopal Church, 614 Main Street, Racine, Wisconsin 53403.

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.

In memory of Alan Laufman: the birth of the Organ Clearing House

I have written often about the dynamic renaissance that dominated the history of the pipe organ in the United States in the second half of the twentieth century. In the 1950s and 1960s, E. Power Biggs toured Europe, bringing home recordings of distinguished historic instruments, catching the ears of the listening public. A large, four-manual tracker organ by Rudolf von Beckerath was installed at Trinity Lutheran Church in Cleveland, Ohio, in 1957, the same year that Biggs arranged for the installation of the iconic Flentrop organ in the museum formerly known as the Busch-Reisinger at Harvard University in Cambridge, Massachusetts. American organbuilders and organists developed a renewed interest in organs with mechanical key actions and low wind pressures because of the clarity of tone and sensitivity of touch. Many new firms devoted to building tracker-action instruments were established, and with that came renewed interest in nineteenth-century American organs with their mechanical action and low-pressure voicing.

The change of direction affected electro-pneumatic instruments as well. In June 1956, G. Donald Harrison was hurrying to finish the new Aeolian-Skinner organ at Saint Thomas Church on Fifth Avenue in New York City, a substantial “American Classic” rebuild of the original Skinner organ built in 1912. The national convention of the American Guild of Organists would be held in the city later that month, and Pierre Cochereau, organist of the Cathedral of Notre Dame in Paris, France, was scheduled to play the new organ for the convention. There was both a heat wave and a taxi strike in New York, and after working into the evening on June 14, Harrison had to walk home to his apartment on Third Avenue. After dinner, while watching Victor Borge on television, G. Donald Harrison died of a massive heart attack. He was sixty-seven years old.

By coincidence, John Scott, the brilliant British organist whose tenure as organist at Saint Thomas ended with his untimely death in 2015, was born on June 18, 1956, four days after the death of G. Donald Harrison.

On June 27, less than two weeks after Harrison’s death, with the AGO convention in full swing, a group of ten people interested in historic American organs gathered in the choir room of Saint Bartholomew’s Church on Park Avenue to discuss the possibility of forming an organization for like-minded people. Present were Horace Douglas, Dorothy Ballinger, Robert Clawson, Albert F. Robinson, Barbara J. Owen, Donald Paterson, Kenneth F. Simmons, Charlene E. Simmons, Homer D. Blanchard, and Randall E. Wagner. They discussed the possibility of maintaining a list of endangered instruments and publishing a newsletter for the exchange of information of interest to members, and the Organ Historical Society was born. Barbara Owen and Randy Wagner are the two survivors of that group.*

One of the many reasons why historic organs were being threatened came from an act of Congress. The Federal Aid Highway Act passed in 1956 led to the creation of the Dwight D. Eisenhower National System of Interstate and Defense Highways (the Interstate Highway System). As commander of Allied Forces in Europe during World War II, Eisenhower had been impressed by the importance of the German autobahn system in the mobilization of the military, and building highways was a priority of his presidency. It is difficult to imagine the United States without interstate highways, but their construction caused significant collateral damage as rights of way were carved through American cities causing the destruction of countless buildings, including churches and their pipe organs.

Barbara Owen was the first keeper of the endangered organ list. She solicited information from colleagues around the country and published the list in the mimeographed (remember that smell?) newsletter of the foundling OHS. Within a couple years, the newsletter was replaced by the society’s professionally printed journal, The Tracker, and Alan Laufman became interested in the movement to preserve historic organs. Around 1960, Alan assumed responsibility for the list of endangered organs; in 1961, he petitioned the board of the OHS to allow him to spin “The List” into an independent company, and by 1962, Alan Laufman was listed as director of the Organ Clearing House on the masthead of The Tracker.*

Alan Miller Laufman (1935–2000)

Alan was born in Arlington, Massachusetts. He taught English at Saint Thomas Choir School and later at the Thomas More School in Harrisville, New Hampshire. He was interested in the organ as a child, an interest that was surely nurtured during his time at Saint Thomas. In the early days of the Organ Clearing House, Alan was able to turn the list into action, finding homes for organs slated for destruction. He organized deals between churches that would cover moving costs and solicited thousands of hours of volunteer labor from organbuilders, organists, and enthusiasts. Parishioners provided lodging and meals, and organs were moved by the dozen at low cost.

Decades before the introduction of cell phones, Alan would commandeer the phone of the church where he was working, calling all over the country to arrange the next deal. Gradually, the operation became professional. Organs were delivered to organbuilders’ workshops for restoration. A permanent, paid crew was established, many of whom joined the company because they happened to live near where a project was underway. Alan would approach a group of kids, asking if they wanted to “earn some money over the weekend.” Amory Atkins, who first worked with Alan in 1978, and Joshua Wood, who joined in 1986, became Alan’s business partners and are officers in the company today.

Dozens, then hundreds of wonderful organs of all sizes by such builders as Hook, Hook & Hastings, Hutchings, Stevens, Erben, Jardine, Barckhoff, and Appleton were given “second wind” through Alan’s efforts. Organs facing demolition typically were moved without purchase price; so, from the beginning, the OCH charged a finder’s fee to the recipient of an instrument rather than receiving a sales commission.

Alan maintained the list of available organs in large, three-ring binders, typically one page per organ. He called the binders “The Family Album.” There would be a snapshot, a stoplist, and a brief description of the organ, its location, and situation. In the late 1980s and through the 1990s, I was running the Bishop Organ Company in the Boston area, and I was able to sell several organs to my clients through OCH with Alan’s help. I recall the lengthy phone calls as I described the buildings where an organ might be installed. Alan was often casually munching on something as he rifled through those binders. I would hear the click as he snapped the rings open and the creak of his desk chair as he swiveled toward the fax machine. Through the miracle of then-modern technology, I would receive pages describing a few organs Alan thought might be good candidates. The snapshots were taped to the three-hole page and showed up on the faxes as black blobs. “Laufman and his black blobs” was a common snicker between organbuilders. Looking back, it seems primitive, but it sure was effective, and I know many other organ guys listened to the munching and creaking as they received their black blobs.

A few examples

In 1981, the Metropolitan Museum of Art in New York City acquired an organ built in 1830 by Thomas Appleton through the Organ Clearing House. Sacred Heart Catholic Church in Plains, Pennsylvania (near Wilkes-Barre), was closing, and the OCH removed the organ and delivered it to the workshop of Mann & Trupiano for restoration. It was installed in the balcony in the grand acoustic of the marble Equestrian Gallery of the Pierpont Morgan Wing where it joined the museum’s iconic collection of musical instruments. The organ has more recently been removed for cleaning and renovation and returned to its lofty location concurrent with the renovation of the gallery. The oldest organ in the United States was built by Snetzler of London in 1762—it is located in the Congregational Church of South Dennis, Massachusetts. There are a few British-built instruments in the Boston area dating from around 1800, and there is a two-manual organ built in 1800 by David Tannenberg at Old Salem, North Carolina. With those, the Appleton organ at the “Met” is one of the earliest extant American-built organs and perhaps the second oldest with two manuals.

One of the grandest OCH relocation projects involved the 1871 organ with three manuals and fifty-four stops built by E. & G. G. Hook of Boston for Saint Alphonsus Catholic Church on West Broadway in New York City, near the entrance to the Holland Tunnel. The church was to be demolished to make space for a parking garage. There is a luxury apartment complex at that address today. This massive organ is over fifty feet tall, including the seven-foot-tall angels perched high atop the pedal towers. Ithaca, New York, area organbuilder Culver “Cullie” Mowers told of transporting those angels from New York to New Haven in his “Beech Wagon.” Driving through a toll booth on Interstate 95, the toll-taker took a look and asked, “Where are you taking them?” Alan gathered a large crew to remove the organ from its original home and created a consortium of organbuilders to renovate the instrument and install it at Saint Mary’s Catholic Church in New Haven, Connecticut. The project started in 1981, the same year as the relocation of the Appleton organ, and was completed in 1982.

Transitions

In July 2000, the Organ Historical Society held its convention in Boston at the Park Plaza Hotel. Though he was suffering from cancer, Alan addressed the convention, traveling across town from the hospital to speak about the history of the Organ Clearing House. During that lecture, he estimated that in nearly forty years he had been involved directly or indirectly in the relocation of more than two thousand pipe organs. Later that week, Amory, Joshua, and I met with Alan in his hospital room to discuss my succeeding Alan as director of the OCH, allowing the company to continue supporting their families and to continue the work that Alan had started and nurtured. We all shook hands, and Amory made the quip that has defined my life since, “Okay John, you kill ’em, and we’ll skin ’em.”

As Alan’s condition worsened, hospice care was set up for him in the front room of Amory’s house in Cambridge, Massachusetts, where friends and family, colleagues and associates traveled from far afield to visit Alan. The number of people who passed through that house during the fall of 2000 is tribute to Alan’s influence on the world of the pipe organ and the wide reach of his professionalism and friendships. Amory, his wife Virginia, and children Ty and Sydney gave Alan a profound gift by making the farewell procession possible. He passed away during the evening of November 30, 2000.

Alan’s memorial service was held at the Church of the Immaculate Conception, the Jesuit Urban Center in Boston, home of the monumental four-manual 1902 Hook & Hastings organ, created by the rebuilding of E. & G. G. Hook’s Opus 322 (1863). Thomas Murray played the organ, and I’ll not forget the experience of singing ST. CLEMENT (“The day Thou gavest, Lord, is ended . . .”) with the vast, musically sophisticated congregation.

Alan lived in Harrisville, New Hampshire, for many years, a community he served as a selectman. He brought a one-manual Hook organ to Saint Denis Catholic Church, which he played for services when he was at home. His ashes were interred in Saint Denis Cemetery, enclosed in a box made by a colleague organbuilder from an old bass Bourdon pipe.

Among his many accomplishments, Alan was especially proud of the twenty-seven issues of The Organ Handbook he produced annually as editor from 1972 until 1999. Those publications were the program guides for conventions of the Organ Historical Society, and along with schedules and recital programs, they included organ specifications and historical essays about each instrument visited. Alan spent months in each convention city, visiting each instrument and researching the history of the organs and their buildings. Each volume was scholarly, comprehensive, and impeccably accurate. Complete sets of these vital books documenting hundreds of organs are to be seen in the offices of organists and organbuilders all across the country.*

Organbuilder David Wallace of Gorham, Maine, first met Alan at the 1963 OHS convention in Portland, Maine, and has been associated with the Kotzschmar Organ (Austin Organ Company, 1912, five manuals, ninety-six ranks) in Portland’s City Hall since he was a child. David tells of a conversation with Alan at the 1983 OHS/AGO convention in Worcester, Massachusetts, that has helped guide his career. Alan was asking David about the efforts to preserve the Kotzschmar Organ that was by then in poor condition having fallen victim to municipal budget cuts a few years earlier. A passerby cut in, “Why don’t they get rid of that piece of junk and get something decent in there.” After a stunned silence, Alan replied, “Because it is a noteworthy instrument on a global basis that significantly merits preservation.” Now David was stunned, “. . . here was the sacrosanct nineteenth-century organ hero Alan Laufman advocating for an over-the-hill twentieth-century orchestral organ.” Alan went on to say that each individual organ should be looked at with an eye for what it has to offer, not only its past but also what it can carry to the future. Recently, the organ has been thoroughly renovated and is in terrific condition well into its second century.

And the rest is history.

Since Alan’s death, the Organ Clearing House has continued the work of maintaining information about available organs, placing instruments in appropriate new homes. The pace has slowed to an average of about fifteen sales a year, and the emphasis has changed from the ubiquitous ten-stop Hook & Hastings organ to three and four-manual electro-pneumatic instruments. With organists’ renewed interest in orchestral transcriptions and complex Romantic music, the organs most likely to sell are those with lots of solo voices and fundamental tone, at least two expressive divisions (preferably more), and state-of-the-art consoles with the latest of whizbang solid-state gadgets allowing hundreds of registration changes at the speed of light.

The company has evolved to offer new services. With the experience of dismantling hundreds (thousands?) of pipe organs, we are specialists in hoisting and rigging delicate and heavy components inside ornate buildings chock full of precious artworks, and we are frequently engaged to assist organbuilders in the installation of new organs, erecting scaffold towers with hoisting equipment that rolls along I-beams on trolleys, and engaging truck transportation and overseas shipments. We have sent organs to Madagascar, Bolivia, New Zealand, China, Australia, Great Britain, and Germany. We cover organs for protection during building renovation, and we provide consultation services, advising owners of organs about their care, improvement, and replacement.

We prepare empty organ chambers for the installation of an organ, building level floors, repairing leaking gallery windows, plastering and painting, and working with HVAC, plumbing, electrical, and fire protection contractors to ensure a safe home for the organ. And we have enhanced, renovated, and installed organs under our own name. We are especially proud of the three-manual 1915 Casavant organ we moved from Maine to the Upper East Side of New York City, transforming it from a country organ to a city organ, and from a “downstairs church organ” to an “upstairs church organ.”

I have been director of the Organ Clearing House for twenty years, and I’m the new guy. Amory Atkins, Joshua Wood, Terence Atkin, and I all worked with and for Alan, and his influence is very much alive in our work. I was invited in 2008 to visit Madagascar by the country’s Federal President, Marc Ravalomanana, who was also an official of the national Protestant Church, to study the possibility of bringing American organs to Malagash churches. My “cold call” came from Madagascar’s Ambassador to the United Nations, Zina Andrianarivelo. Zina took me to the Presidential Palace in Antananarivo, the capitol city. Sitting in an upholstered chair waiting for my meeting with the president, I thought, “Alan would have loved this.”

* Thanks to the Organ Historical Society Library and Archives and archivist Bynum Petty for supplying and confirming this historical information.

Photo: Alan Laufman in 1979 at a Stevens organ, Blue Hill, Maine (photo credit: William T. Van Pelt)

Richard Bond, 73, died in Portland, Oregon, February 17. Bond first became interested in organbuilding at age fifteen. After graduating with a degree in engineering science from the University of Redlands, Redlands, California, he began his organbuilding career in the company of other builders in Los Angeles, including Manuel Rosales and Michael Bigelow. In 1976, Bond and his wife Roberta moved to Portland to found their own firm. Under his leadership, Bond Organ Builders, Inc., has built thirty-six new organs and maintains instruments throughout the Pacific Northwest, as well as in California and Montana. The firm has also completed numerous rebuilds, additions projects, restorations, and relocations of significant historical instruments. For many years, Richard Bond was curator of the famous hanging Casavant organ at Portland’s Lewis & Clark College. More recently he took up the care of the Rosales organ at Trinity Episcopal Cathedral, also in Portland, where he and Roberta sang in the choir. In addition to his membership in the American Institute of Organbuilders, Bond served on the Historic Organs Committee of the Organ Historical Society. Bond Organ Builders, Inc., holds membership in the Associated Pipe Organ Builders of America and the International Society of Organbuilders. Richard Bond is survived by his wife Roberta and a son Tim.

John C. Gumpy, 80, of Macungie, Pennsylvania, died September 29, 2019. Born in 1939 in Danville, Pennsylvania, John owned and ran Lehigh Organ Company for over thirty years, building and rebuilding organs. For sixteen years, he also served as organist for Trinity Episcopal Church, Easton, Pennsylvania, home to his Opus 128, a three-manual instrument of thirty-six ranks. His home congregation was Grace Church, Bethlehem. He was a founding member of the American Institute 
of Organbuilding. For his projects, Gumpy generally favored electric-valve windchests and open-toe nickless voicing for chorus work; he was a skilled recycler of older pipes as well. Some Lehigh projects included Opus 30 at First United Church of Christ in Reading, Pennsylvania (1986), in which a 1958 M. P. Möller organ was expanded to 80 ranks, including a new Great division and other material. John C. Gumpy is survived by his wife of fifty-seven years, Margery; son, Edward J. Gumpy and wife Kathryn of Vernon, New Jersey; daughter, Katherine E. and husband Jeffrey Crawford of Golden, Colorado; and grandson, Logan Gibson Gumpy. A memorial service was held October 4, 2019, at New Goshenhoppen U.C.C. in East Greenville, Pennsylvania.

Homer H. Lewis, Jr., a reed voicer who worked for both M. P. Möller and his own firm Trivo, died May 4 in Hagerstown, Maryland. Known familiarly as “Junie,” Lewis was 93. In 1942, while still a high school senior, Lewis began employment at Möller doing defense work. In 1943, he enlisted in the United States Navy, serving aboard the USS Bronstein, a destroyer escort, as a fire control man, Third Class, in the Atlantic Ocean and Mediterranean Sea. At the conclusion of World War II, Lewis returned to Möller to become a reed voicer alongside his uncle, Adolf Zajic (1909–1987), who had come to Möller from Welte-Tripp in 1931. In 1963, Lewis, Joseph E. Clipp, and Edward Lushbaugh founded the Trivo Company, initially as a part-time enterprise. In 1969, the partners incorporated the business as Trivo Company, Inc., to provide voicing and reconditioning of reed stops, as well as new pipes. Lewis retired from Möller in 1972. While continuing to work part time at Trivo, he taught principles of electricity at Victor Cullen Reform School for Boys in Sabillasville, Maryland, a correctional institute run by the State of Maryland. In 1974 when the state relocated the school, Lewis switched to full-time work at Trivo, and in 1983, Lewis and Clipp bought out Edward Lushbaugh’s share of Trivo. Lewis retired in 2012 at age 86. His career in the organ business spanned seven decades. Lewis was a member of the Improved Order of Red Men #84, Williamsport, Maryland; Washington County Amvets (Post 10), Hagerstown; and the American Legion. He was a founding member of the American Institute of Organbuilders. His wife, Nancy, who frequently joined her husband at AIO conventions, died last year.

Marvin Garrett Judy, 76, founder of Schudi Organ Company, died February 29. Born in Saint Louis, Missouri, in 1943, he moved with his family to Dallas, Texas, in 1952. He studied ’cello through high school and college years. After attending Southern Methodist University for several years, he left in 1963 to work for Robert Sipe and Rodney Yarbrough at the Sipe-Yarbrough Organ Company, Texas’s second 20th-century builder (after Otto Hofmann) to concentrate on mechanical key action. When Sipe went to the Aeolian-Skinner Organ Company in that firm’s final years (1969–1972), Judy installed that firm’s organs in the south and southeastern states, a phase of his career that drew to a close with Aeolian-Skinner’s bankruptcy, Sipe’s return to Texas, and Judy’s founding of Schudi in Garland, Texas, in 1972. In all, the Schudi firm built twenty-seven new organs, primarily in Texas but also Oklahoma, California, Colorado, Massachusetts, and Washington, D.C. Beginning with Opus 17 (1980), a two-manual tracker in Texarkana, Texas, the Schudi shop concentrated on mechanical action. Keyboards, slider windchests, key and stop actions, casework, and consoles were made in-house; pipes, blowers, and electronic components came from other firms. Schudi’s first instrument to draw national attention was a three-manual electric-slider instrument, Opus 6 of 1978, for St. Thomas Aquinas Catholic Church, Dallas. Opus 6 was expanded in 1987 and became widely noticed that year for Todd Wilson’s recording of the complete organ works of Maurice Duruflé (DELOS 3047). As esteemed was the firm’s Opus 38 (1987) in the Crypt Church of the Basilica of the National Shrine of the Immaculate Conception, Washington, D.C. In addition to servicing Schudi organs, Judy maintained those by others, notably his twenty-two-year curatorship of C. B. Fisk’s Opus 100 at Meyerson Symphony Center, Dallas. In all of the shop’s endeavors, Marvin was surrounded by considerable talent: the conceptual and creative input of George Gilliam early on; long-term staffers Charles Leonard, Jim Lane, James Stillson, Jonathon Maedche, Ivan Witt, Szymon Januszkiewicz, and Piotr Bolesta; also the now-deceased David Zuber, Moises Carrasco, and E. O. Witt; the periodic support of friend and colleague Mark Lively; and through it all, the business and logistical support of Nanette Gordon, initially hired in 1980 to carve pipe shades. She and Marvin Judy married in 1983. The financial downturn of the late 1980s and early 1990s dealt harshly with several organbuilding establishments, Schudi among them. Despite the loss of contracts and a reduction of scope, Judy persevered, with a genial nature and persistent work ethic that continued to the end. Even until his final months, he remained active in rebuilding and service work in the Dallas area. Marvin Judy is survived by his wife Nanette; his son, John Judy, of Savannah, Georgia; a daughter, Allison Gordon and Stephen Shein of Houston, Texas; and his brother, Dwight Judy, and sister-in-law, Ruth Judy of Syracuse, Indiana.  —Jonathan Ambrosino

David C. Scribner died April 16. Born September 21, 1947, in Chicago, Illinois, he received most of his organ instruction as a student of Arthur C. Becker and René Dosogne at DePaul University. At Saint Vincent de Paul Catholic Church, Scribner became Becker’s assistant and then successor as organist. During his time in Chicago, Scribner was a member of the Windy City Gay Men’s Chorus. Scribner would move to San Francisco, California, Pensacola, Florida, and finally Little Rock, Arkansas. His most recent organist position was at Christ Episcopal Church, Little Rock, as a substitute. He also served as a vestryman of that parish, where he freely contributed computer expertise to allow the church to spread its ministry through social media. Having previously worked for other organ firms, Scribner spent the last twenty years at Nichols & Simpson Organbuilders in Little Rock. David Scribner was an active member of the American Institute of Organbuilders, the Organ Historical Society, the American Guild of Organists, the Atlantic City Convention Hall Organ Society, the Organ Media Foundation, and Pipechat.org, the latter being his creation. All these organizations he served in numerous ways, much of which involved his expert computer technical knowledge. In addition to his passion for the pipe organ, Scribner was a lifelong railroad enthusiast, greatly enjoying travel on Amtrak and anything else with a connection to train tracks. In this vein, he supported numerous historical clubs and railway museums. Per his wishes, Scribner’s cremains were interred in Christ Church, Little Rock, on May 1, as near to the organ as possible. A memorial organ concert in his honor will be scheduled in the future at Christ Church, where memorial donations may be made in his name.

William Chandler Teague, 97, died June 27. He was born July 8, 1922, in Gainesville, Texas, where he began musical training at age three with his mother. At age 12 he became the organist for a large Methodist church. As a teenager he studied organ in Dallas, Texas, and entered Southern Methodist University at age 16. His studies were interrupted when Alexander McCurdy invited him to study at the Curtis Institute of Music in Philadelphia, Pennsylvania. His studies at Curtis were interrupted by World War II, as he joined the United States Army Air Force as a chaplain’s assistant. He returned to Curtis after the war to study and serve as McCurdy’s assistant, playing for Sunday oratorio performances at First Presbyterian Church. Accompanying Teague to Philadelphia was his young bride, the former Lucille Ridinger, whom he had married during the war. They had met at a Methodist camp when they were 12 years old. Teague’s organ teachers included Dora Poteet Barclay, Alexander McCurdy, Marie-Claire Alain, Harold Gleason, and Catharine Crozier. After graduation from Curtis in 1948, Teague came to Shreveport, Louisiana, to accept the position of organist/choirmaster at St. Mark’s Episcopal Church (now the location of The Church of the Holy Cross, St. Mark’s having relocated in 1954 and in 1990 became a cathedral) and a teaching position at Centenary College of Louisiana in the organ and sacred music departments. He taught for 44 years earning the rank of full professor. He was later designated Professor of Music Emeritus at the college, which granted him an honorary Doctor of Fine Arts degree. He served as accompanist as he and his wife traveled with the Centenary College Choir to various countries including China. He served St. Mark’s Cathedral for 39 years before being designated Organist Emeritus. Teague maintained an active concert career, performing in such venues as Notre Dame Cathedral in Paris, France, St. Stephen’s Cathedral in Vienna, Austria, Westminster Abbey, Trinity Church Wall Street and the Riverside Church in New York City, National Cathedral in Washington, D.C., and the armed forces academies. He was invited to play behind the Iron Curtain with concerts in East Berlin, Poland, and in other countries. He and Lucille were in East Berlin at the Wall when the first blows were struck to tear it down. He would perform in Japan, Australia, all over the United States and Europe, and in North Africa. In addition to solo organ concerts, William joined his son, Chandler, in presenting music for organ and percussion in concerts across the United States. Following his retirement from St. Mark’s Cathedral, Teague was interim organist for churches throughout the region. Teague was active in the American Guild of Organists, the Association of Anglican Musicians, the Sewanee Music Conference, and the Evergreen Summer Conference. He was a Fellow in Church Music at Washington National Cathedral. For ten summers Teague was summer organist at St. Ann’s by-the-Sea Episcopal Church, Kennebunkport, Maine. He was a founding member of Baroque Artists of Shreveport, founded the Great Masterpiece Series at St. Mark’s Cathedral, recorded a weekly organ concert for radio broadcast for eight years, trained thousands of choristers in the tradition of Anglican music, and played for hundreds of weddings, funerals, and festivals. Raven Recordings released a two-CD set of organ music performed by Teague at St. Mark’s Cathedral, The Aeolian-Skinner Sound (OAR-800), including works by Dupré, Messiaen, and Willan. In 1988, the City of Shreveport honored him with William C. Teague Day, and the Teague Music Scholarship was established at Centenary College. The Teague-Smith Scholarship Fund for young choristers was later established at St. Mark’s Cathedral. Teague is listed in volumes of Who’s Who including the International Who’s Who, and was recently honored by the East Texas Pipe Organ Festival. William Chandler Teague is survived by a son, Chandler Teague, and wife, Janis Adams Teague, of Shreveport, Louisiana; a daughter, Lynda Gayle Teague Deacon of Memphis, Tennessee; three grandchildren, Sandra Deacon, Clay Deacon, and Hunter Deacon; and four great-grandchildren. He was preceded in death by his wife of 77 years, Lucille Ridinger Teague. A combined service for Dr. and Mrs. Teague will be held at a later date. Memorials may be made to the Shreveport Symphony Orchestra, 616 Jordan St., Shreveport, LA 71101; the Teague-Smith Scholarship Fund at St. Mark’s Episcopal Cathedral, 908 Rutherford St., Shreveport, LA 71104; or the Teague Music Scholarship Fund at Centenary College, 2911 Centenary Blvd., Shreveport, LA 71104.