Fr. Columba Kelly, OSB, dead at 87

Nunc Dimittis

Donald A. Grooms, 78, died May 7, following complications caused by a stroke. Born in Paris, Texas, he was an honor graduate of Paris High School. During his high school and college years, he served as organist for several churches. He studied organ under Helen Hewitt at North Texas State University. In 1965, he graduated from the University of Texas Southwestern Medical School, and in 1971, he was elected a Fellow to the American Academy of Pediatrics.

Dr. Grooms served as a Major in the Army, attached to the 25th Evacuation Hospital, Da Nang, Vietnam, after which he relocated to New York City where he was associated with the international division of Pfizer Pharmaceuticals for 20 years. Following his retirement from Pfizer, Dr. Grooms became a partner in Petty-Madden Organ Builders, a position he held well into his seventies.

Fr. Columba Kelly, OSB, 87, a monk and priest of St. Meinrad Archabbey, St. Meinrad, Indiana, died on June 9 at the monastery. He was a jubilarian both of profession and priesthood. Born in Williamsburg, Iowa, on October 30, 1930, he was given the name John Joseph at his baptism. He attended St. Ambrose College, Davenport, Iowa, for several years before transferring to St. Meinrad College. Invested as a novice monk on July 30, 1952, he professed simple vows on July 31, 1953, and his solemn vows on August 6, 1956. Fr. Columba completed his theological studies in Rome and was ordained to the priesthood on July 5, 1958. The following year, he received a licentiate in sacred theology from the Pontifical Athenaeum Sant’ Anselmo. He then pursued graduate studies, earning his doctorate in church music at Rome’s Musica Sacra in 1963. He studied semiological interpretation of chant under Dom Eugène Cardine, OSB, monk of the Abbey of Saint-Pierre in Solesmes.

When Fr. Columba returned to Saint Meinrad in 1964, he was named choirmaster of the monastic community and began to teach in both the College and the School of Theology. His lasting contribution was to introduce chant in English into the celebrations of the Divine Office and the Eucharist. The monastery’s collection of his chant compositions numbers nearly 2,000.

In addition to his many years teaching at Saint Meinrad, he taught courses on liturgical music for 12 summers at St. Joseph’s College, Rensselaer, Indiana. Other summer teaching assignments included University of Wisconsin, Madison, and California State University-Los Angeles. Through his many workshops to parishes and religious communities, and through the collections of his antiphons published by GIA and Oregon Catholic Press, his work is known by many cantors, choirs, and parish communities throughout the United States.

Fr. Columba was a charter member of the Benedictine Musicians of the Americas, a member of the American Musicological Society, the American Guild of Organists, the National Catholic Music Educators Association, the Church Music Association of America, and the Composers’ Forum for Catholic Worship. He was also a standing member of the Chant Division of the National Pastoral Musicians Association. In 2015, he was named the second recipient of the Spiritus Liturgiae Award, given by the Liturgical Institute in Mundelein, Illinois.

In addition to his music scores, Fr. Columba contributed to the literature on chant and sacred music. These include his 2003 book, Gregorian Chant Intonations and the Role of Rhetoric; “The Organ,” an article in a book sponsored by the National Liturgical Conference and the Church Music Association; and, in 2006, his translation of and notes to the first volume of Agustoni and Göschl’s An Introduction to the Interpretation of Gregorian Chant. Fr. Columba also contributed entries on the Kyrie, Gloria, Agnus Dei, Benedicamus Domino, and Ite Missa Est for the New Catholic Encyclopedia.

The funeral Mass for Fr. Columba Kelly was celebrated June 13. Burial followed in the Archabbey Cemetery.

Henry Willis, IV, the last living family member of the Henry Willis & Sons organbuilding dynasty, died at a hospital near his home in India on June 23, at the age of 91. Willis was born January 19, 1927, to Henry Willis, III and Clara Constance (Sinclair) Willis at Streatham Hill, London. Educated at Gladstone Preparatory School, London, Westminster School, London, and Giggleswick School, North Yorkshire, he left school in 1944 to join the Royal Army during World War II. He was promoted to Lance Corporal in 1945 and commissioned to the Queen’s Royal Regiment in 1946, where he was placed in charge of a Japanese prisoner of war camp and the repatriation of British prisoners.

Willis joined the family organbuilding firm in 1948 as a laborer (at the insistence of his father) and then trained as a pipemaker and voicer under George Deeks. He was sent to manage the Liverpool Branch in 1954, principally to oversee the restoration of the great 1855 Willis concert organ in St. George’s Hall, which had been severely damaged by wartime bombing, theft, and general mishandling. He returned to London to manage the Head Office in 1965 due to his father’s worsening health. Following Henry Willis, III’s death on February 27, 1966, he began the search for property to construct a purpose-built organ factory in Petersfield, where he opened a shop in 1968 on land that had been the site of old dairy buildings.

Willis was invited to attend, and became one of the founding members of, the American Institute of Organbuilders at its first annual convention in 1974, thereby beginning a relationship with his American organbuilding colleagues. A frequent attendee and lecturer at subsequent conventions, his last appearance was in Washington, D.C., in 1993, where he lectured on and demonstrated organ pipemaking and voicing. His acerbic wit and entertaining style covered quite a bit of useful information to those who “listened between the lines” during those lectures and demonstrations. His wife, Barbara, was a charming lady who did her best to keep Willis as well-behaved as possible, especially during times set aside for evening socializing!

In 1997 Willis stood down as Managing Director of Henry Willis and Sons. New management and new ownership relocated the firm to the Liverpool Branch in 2001 where the firm now survives him. He was a Freeman of the City of London and served as Master of The Worshipful Company of Musicians, of which he was the longest holder of the Livery.

Henry and Barbara Willis moved to India in 2008 where his mother’s family had been coffee planters in the 19th and 20th centuries. They purchased land and built a house there, in which he and Barbara have lived up to the present. He died peacefully at home in the Nilgris District of Tamil Nadu.

—John-Paul Buzard

James Jordan has performed as an organ accompanist and soloist throughout the United States and Europe, and was one of the first American organists to concertize in Siberia. He is currently Artist-in-Residence with Gloriæ Dei Artes Foundation, and frequently performs and records with the choir Gloriæ Dei Cantores. Jordan is the Music Development Consultant for Paraclete Press. He has published in the American Choral Review and was a contributing author to American Sacred Choral Music—An Overview and Handbook (Paraclete Press, 2001). Jordan earned his Bachelor of Music from Southern Methodist University in Dallas, Texas, studying with Robert Anderson. As a student of David Craighead, he received his master’s degree, doctorate and Performer’s Certificate from the Eastman School of Music in Rochester, New York. He has made extensive studies of Gregorian chant with the late Dr. Mary Berry of the Schola Gregoriana, Cambridge, England.

As the Abbey of St. Peter of Solesmes
in France celebrates its millennial anniversary (1010–2010), Paraclete Press acknowledges gratefully their faithfulness (and industriousness!) in the field of Gregorian chant restoration. Today, Gregorian chant enjoys a renewed vision and use by the Church as well as by the general public. The work of the Solesmes monks has played no small part in this “re-blossoming” in providing written materials as well as a living tradition that helps set an aural model for chanting.
The monastery of Solesmes cites as its founding date October 12, 1010, when the site was donated to the monks of La Couture by a French nobleman. The monastery survived pillaging, fires, English occupation, and other afflictions of the times over the next 500 years. In the latter part of the fifteenth century, the church was rebuilt and changed from its basilican form to that of a Latin Cross. In 1664, the abbey was absorbed by the congregation of St.-Maur, and the property, except for the church, underwent an extensive building project. In 1791, in the wake of the French Revolution, the abbey was closed and the monks dispersed, much to the dismay of the general population. The abbey was officially sold, although no new owner appeared and the buildings were not put to use. Then, in 1831, a young priest by the name of Prosper Guéranger, upon hearing of the abbey’s imminent destruction, with the help of friends gathered together enough money to rent the property and move in. Over the next four years, Dom Guéranger worked tirelessly to restore the monastic life of Solesmes. In 1837 the monastery received not only Vatican recognition, but also the title of Abbey.
A large part of Dom Guéranger’s efforts in restoring Solesmes focused on re-establishing Gregorian chant and its role in the liturgy. The following extract describes, in brief, the work of the monks of Solesmes in chant restoration:
“In the 1830s, the young French monk Dom Prosper Guéranger reopened the vacant monastery of Solesmes in his hometown and charged his monks with the task of restoring chant to its former beauty. This restoration consisted of two primary components: the study of ancient manuscripts and the development of a lighter style of chanting where ‘words took on their true meaning, and the musical phrases recovered much of their natural suppleness and beauty.’ By the 1850s, Solesmes monks were copying chant manuscripts from all over Europe. Carefully comparing manuscripts containing the ancient neumes to manuscripts containing lines and notes, they set about to determine how the chant would have been sung in its original form.
“In 1903, Pope Pius X authorized the monks of Solesmes to prepare editions of chant for the Mass for the entire Roman Catholic Church, and during the next sixty years, the ‘Solesmes Method’ of chant was taught throughout Europe and North America. Even as scholars debated the value of the Solesmes teachings, the recordings of the Solesmes monks became popular, and their books were widely distributed.
“In the second half of the twentieth century, a deeper understanding of chant taught by Dom Eugène Cardine, a monk of Solesmes, brought about the publication of chant books containing both line and note music as well as representations of various forms of ancient neumes. These books allowed singers to grasp the subtle nuances of the chants portrayed by the ancient neumes. Before his death in 1988, Dom Cardine insisted that the restoration work should be ongoing, and that he was leaving it to his successors to continue the search for truth and beauty contained in the ancient chants.”
(Adapted from The Song of Prayer: A Practical Guide to Learning Gregorian Chant, by The Community of Jesus, published by Paraclete Press, 2010)

The following statement by Dom Joseph Gajard, a choirmaster at Solesmes and leading proponent of research conducted by the Solesmes monk and scholar Dom André Mocquereau (1849–1930), illustrates Solesmes’ ultimate goal in providing a chant discography that would carry on their work for many years:
“These recordings were made on location at Solesmes, with the participation of all the choir monks. Our wish was to give those who cannot come to Solesmes, an idea of what our choir actually sounds like in its daily singing. Had we chosen to record only the best voices, it might have given the false impression that Gregorian chant is concert music, reserved for the talented few. In reality, whether we like it or not, Gregorian chant is prayer, the prayer of the Church, requiring the active participation of the people, one and all, at the sacred liturgy.
“Taken as a whole, these recordings provide various impressions of Gregorian chant . . . an impression of being firm, sustained, perfectly well-balanced and peaceful. Next, an impression of suppleness . . . reinforced by the almost ethereal elasticity of the Latin accents. Finally, the impression of life, deriving as it does from the fluidity of the musical phrase and the meaning of the text . . . and the traditional nuances of the manuscripts, which add so much warmth and ‘soul’ to the prayerful expressivity of text and melody.
“Gregorian chant is an ideal instrument for prayer and for the deeply spiritual relationship existing between the soul and God. It is a supple and vibrant lyre, sensitive to each and every inspiration of the Holy Spirit who, according to St. Paul, prays in the Church with ‘inexpressible sighs,’ gemetibus inenarrabilibus.
“If these records can help develop a taste for the sung prayer of the Church, if they can enhance the chant’s beauty and holiness, while enabling people to better love and understand it, we will consider that our goal has been achieved.”
(Dom Joseph Gajard, adapted from the CD booklet accompanying Gregorian Chant Rediscovered: The First Recordings by the Choir of Solesmes in 1930, Paraclete Press, 1995.)

In light of Dom Gajard’s words, we close with a short passage from Fr. J. F. Weber’s recent review in Fanfare magazine:
“. . . this recording (Sundays in Ordinary Time [1–3], Paraclete SN 18) has remained a touchstone of chant singing. . . . Its elegance, its utter rightness once more became evident as I listened to a continuing flow of other recent CDs for the purpose of analyzing their contents. . . . We can only hope that Dom Lelièvre (choirmaster for this Solesmes recording) will have an opportunity to pursue the series that this disc seemed to have launched. . . . The work of the monks is not yet done.” (Fanfare, July/August 2010, review by Fr. J.F. Weber, pp. 538–539)
Please visit the Solesmes website at www.solesmes.com to learn more about the monks, their ongoing work, and their history. 

The Conference of Roman Catholic Cathedral Musicians (CRCCM) met in Washington, D.C., January 6–9 at the Basilica of the National Shrine of the Immaculate Conception (National Shrine) for its 31st annual gathering. Members of the National Shrine’s music staff—Peter Latona, director of music; Richard Fitzgerald, associate director of music; and Benjamin LaPrairie, assistant director of music—designed and directed the conference gathering with help from the National Shrine’s support staff. Assistance was also provided by the CRCCM steering committee: Michael Batcho, director of music at the Cathedral of St. John the Evangelist, Milwaukee; Marie Rubis Bauer, director of music for the Archdiocese of Omaha and at St. Cecilia Cathedral, Omaha; Anthony DiCello, director of music at the Cathedral of St. Peter in Chains, Cincinnati; Donald Fellows, director of music at St. Paul Cathedral, Pittsburgh; Ezequiel Menéndez, director of music at the Cathedral of St. Joseph, Hartford; Christoph Tietze, director of music and organist at the Cathedral of St. Mary of the Assumption, San Francisco; Leo Nestor and Gerald Muller, advising.

Monday, January 6

Conference participants arrived in Washington and were welcomed to the National Shrine. They enjoyed open bench access to the gallery organs of the Upper Church, attended daily Mass in the Crypt Church, and toured the basilica before the meeting officially opened with evening prayer in the Crypt Church, with Monsignor Walter Rossi, rector of the National Shrine, presiding; Monsignor Charles Antonicelli, vicar for canonical services of the Archdiocese of Washington, delivered the homily; and Peter Latona, Richard Fitzgerald, Benjamin LaPrairie, and the Choir of the National Shrine provided the liturgical music. Following evening prayer, participants enjoyed refreshments and fellowship at Monsignor Rossi’s welcome reception; the CRCCM Statement of Purpose was read aloud, after which the participants introduced themselves and described their work in their cathedral churches.

The CRCCM welcomed new members and first-time conference participants for 2014: Joseph Balistreri, director of the office of worship for the Archdiocese of Detroit and co-director of music at the Cathedral of the Most Blessed Sacrament, Detroit; Robert Carr, director of music at the Cathedral of Our Lady of Lourdes, Spokane; Richard Fitzgerald, associate director of music at the National Shrine; McDowell Fogle, director of music and principal organist at the Cathedral of St. John the Baptist, Savannah; Brian Gurley, director of music and organist at the Cathedral of the Immaculate Conception, Albany, New York; Stephen Handrigan, director of the Choir School of St. Michael Cathedral, Toronto, Canada; and Mary Rooney of the Cathedral of St. John the Baptist, Savannah.

Tuesday, January 7

The day began with the Reverend Robert A. Skeris presenting a lecture, “Laus Vocalis Necessaria: The Music Must Pray, the Prayer Must Sing.” Father Skeris shared reflections on the necessary integration of musica sacra with the Logos in the liturgy: “Chant and liturgy have one nature; they belong together like belief and prayer.” Father Skeris currently serves as director of the Center of Ward Method Studies at the Benjamin T. Rome School of Music at the Catholic University of America (CUA). From 1986 to 1989, he served as professor and prefetto della casa at the Pontifical Institute of Sacred Music in Rome, Italy.

After the lecture, the day continued with a tour of the Blessed John Paul II Institute. A gift of the Archdiocese of Detroit, the institute is owned and operated by the Knights of Columbus and is currently under renovation. Jem Sullivan, director of research at the institute, led conference participants through several exhibits, including a biographical exhibit of the life of Blessed John Paul II, and an exhibit depicting the election of Pope Francis and the process of the conclave.

The conference participants met at 12:15 p.m. for midday prayer with the Dominican Friars at the Dominican House of Studies. Father James Junipero Moore, O.P., welcomed everyone in the chapel and explained some of the Dominican traditions that were manifest in the liturgy. One example was that the alternatim practice of praying the psalms includes alternate standing and sitting. Standing represents preaching, while sitting represents the reception of preaching.

Following midday prayer, Father Moore conducted a brief concert sung by the Schola Cantorum of the Dominican Friars. Repertoire included the Dominican hymn O spem miram (plainsong), Sancta et immaculata by Francisco Guerrero, and Salvation Is Created by Pavel Tchesnokov. One of the singers in the schola is an expert in Church Slavonic, so the friars learned the text and sang it in the original language. Father Moore indicated that only two or three of the friars were music majors, and that they only rehearse for one hour per week. Lunch followed at the National Shrine.

At 2 p.m., Father Moore gave a talk entitled “The Spiritual Life of the Musician” in the Dominican Rosary Chapel of the National Shrine. Among the many exhortations he made to the conference participants, Father Moore encouraged everyone to maintain an active prayer life and to avoid the sins of pride and being underprepared.

The afternoon continued with the first of two business meetings, during which Anthony DiCello presented the proposed schedules and locations of upcoming CRCCM gatherings. He also described the duties and the rotation process of the steering committee. Marc Cerisier, organist of the Cathedral of the Immaculate Conception, Memphis, Tennessee, demonstrated updates to the CRCCM website and reminded everyone that service leaflets, compositions, and other resources may be uploaded for sharing among CRCCM members. DiCello presented his project of setting the collects of the Roman Missal (3rd edition) to modern notation. These documents are available for PDF download on the website of the Athenaeum of Ohio (www.athenaeum.edu/liturgical-resources.aspx).

Following the business meeting, Richard Fitzgerald led a session on improvisation techniques on the South Gallery Organ of the National Shrine. Fitzgerald’s doctoral dissertation at the Peabody Institute focused on improvisation techniques; he shared original musical examples as well as templates from organ literature, which can provide the basis for improvisation in liturgy. Workshop participants included Ricardo Ramirez, director of music and organist at Holy Name Cathedral, Chicago, Illinois, Joseph Balistreri, and Brian Gurley.

Conference participants enjoyed fellowship at the Washington Court Hotel lobby and bar and found dinner on their own.

Wednesday, January 8

The first event of the morning was a lecture-presentation by Bertrand Cattiaux, organ builder and Curator of Organs at the Cathedral of Notre Dame in Paris, France. Cattiaux surveyed six centuries of French organ building, incorporating audio and visual examples in his thorough presentation.

The morning continued with a lecture given by the Reverend Monsignor Kevin Irwin, entitled “What We Have Done and What We Have Failed To Do,” focusing on state of liturgical and musical reforms since the Second Vatican Council. Monsignor Irwin invited his audience to consider whether or not the liturgical music prepared in their cathedrals fits the liturgy of the Roman Rite. He proposed a reexamination of repertoires consisting primarily of Protestant hymnody—which tend to be didactic in nature—at the expense of the proper antiphons of the Gradual. Monsignor Irwin is a priest of the Archdiocese of New York and served as dean of the School of Theology and Religious Studies at the Catholic University of America from 2005–2011. He currently holds the Walter J. Schmitz Chair of Liturgical Studies. His latest book, What We Have Done and What We Have Failed To Do (2014), assesses the liturgical reforms of Vatican II and is available through Paulist Press.

At 12:15 p.m., Richard Fitzgerald presented a lunchtime organ recital at St. John’s Church, Lafayette Square. Fitzgerald’s program consisted of varied improvisations inspired by the stained glass windows of St. John’s Church. Following the recital, Benjamin Hutto, organist and director of music ministry at St. John’s Church, welcomed CRCCM conference participants and gave a brief tour of the 2009 Lively-Fulcher organ. 

At 3 p.m., the conference participants visited Washington National Cathedral (WNC). Director of music, Canon Michael McCarthy, led a workshop,  “Techniques for the Choral Conductor,” in the lower chapel of WNC. McCarthy encouraged participants to maintain vocal health and to seek periodic vocal instruction and coaching, which would strengthen their work with their own choirs.

At 5:15 p.m., Monsignor Rossi celebrated Mass and preached in the Crypt Church of the National Shrine, during which prayers were offered for deceased members of the CRCCM. As is custom, the CRCCM necrology was read during the Universal Prayer. Liturgical music (Lassus, Kyrie from Missa Quinti toni; Clemens non Papa, Magi viderunt stellam; Friedell, Song of Mary) was provided by Peter Latona, Richard Fitzgerald, Benjamin LaPrairie, and the Choir of the National Shrine.

Following Mass, the Choir of the National Shrine presented a concert entitled “Moveable Feasts: Sacred Music for the Church Year.” The program included the Epiphany Proclamation for 2014, with repertoire selected for each feast. Repertoire included works by Whitacre, Dove, Palestrina, Lukaszewski, L’héritier, Allegri, Stanford, Mendelssohn, Harris, Byrd, and Vierne (organ). Peter Latona conducted the choir, and Benjamin LaPrairie accompanied from the Crypt Church’s 1987 Schudi organ. 

Thursday, January 9

Thursday morning began with the second of two business meetings, held in the chapel of the Theological College of CUA. Gerald Muller, director of music at the Theological College (TC), described the musical and liturgical formation of the seminary students. During the meeting, participants suggested possible programs or scholarships that CRCCM could fund and oversee. These would be especially focused on the formation of future church musicians. Additional agenda items included the nomination of CRCCM members to the steering committee, as well as further discussion of possible locations for future conference meetings.

The business meeting was followed by the composers’ reading session, also held in the TC Chapel. Participants were joined by members of the Choir of the National Shrine to read through new compositions.

Later Thursday morning, Grayson Wagstaff, professor of music, director of the Latin American Music Center, and dean of the Benjamin T. Rome School of Music at CUA, gave a lecture-presentation on the influence of the Spanish Renaissance on the sacred music of the New World. Wagstaff surveyed the latest scholarship on the topic, which has attracted the attention of many musicologists in recent years. He discussed evidence of Spanish Salve services, which were devoted to the Blessed Virgin Mary and resulted in a great number of settings of the Marian votive antiphon Salve Regina. Wagstaff encouraged the continued pursuit of this scholarship, since it presents an opportunity to help people appreciate historically important music that is intimately tied to Hispanic liturgical, musical, and cultural heritage. 

Johann Vexo, choir organist at the Cathedral of Notre Dame, Paris, presented a survey of sacred liturgical music at Notre Dame. He described the responsibilities of the organists, the singing practices at cathedral liturgies, and the Choir School. Later that evening, Vexo played a brilliant program of French masterworks on the organs of the Upper Church at the National Shrine; repertoire included music of Vierne, Franck, Dupré, and Duruflé. Prior to the concert, Robert Grogan, carillonneur and organist emeritus of the National Shrine, gave a prelude concert on the carillon of the Knights of Columbus bell tower. Repertoire included carillon literature and works arranged for carillon.

Conference participants enjoyed an elegant closing banquet at Johnny’s Half-Shell, located on North Capitol Street NW. Sincere gratitude and appreciation were extended to Peter Latona, Richard Fitzgerald, and Benjamin LaPrairie for hosting a very successful week.

The 2015 meeting of the CRCCM will take place in the Twin Cities of Minneapolis-St. Paul, Minnesota. It will be hosted by the Basilica of St. Mary (Minneapolis) and the Cathedral of St. Paul (St. Paul) in conjunction with the Cathedral Ministries Convention. 

Father Gerard John Benedict Farrell
style='font-weight:normal'>, O.S.B., an acknowledged leader in Gregorian Chant
studies, died on January 9, 2000. He was 81. A monk of St. John's Abbey in
Collegeville, Minnesota since 1940, Fr. Gerard served as abbey organist from
1946-1969, and choirmaster from 1951-1969. He had earned a Bachelor of Music
from Montréal University, a Master's degree from the Eastman School of
Music, and a Certificate in Organ and Composition from the Royal Flemish
Conservatory in Antwerp, Belgium. In 1952 he introduced the practice of daily
sung Vespers, and under his direction the monastic schola recorded several LP
albums of Gregorian Chant. Also, in consultation with Flor Peeters, Fr. Gerard
was instrumental in the installation of the 1960 Holtkamp organ for the
then-new Marcel Breuer-designed Abbey Church in Collegeville, where he
developed a series of organ recitals which featured leading organists from
around the world. Following two years of additional study at Boston University
and Harvard University, in 1976 Fr. Gerard became professor of Gregorian Chant
and Catholic Church Music at Westminster Choir College in Princeton, New
Jersey, where he taught until a few weeks before his death. He also served as associate
priest at St. Paul's Church, Princeton, and was adjunct professor of Gregorian
Chant at Duquesne University in Pittsburgh. A compact disc of his performance
of one of the liturgical organ suites by Charles Tournemire, with related
Gregorian Chant propers, was issued by the Liturgical Press in Collegeville.
(Information kindly provided by Michael Barone.)

Pierre Firmin-Didot
died on January 5, after a long battle with cancer, at the age of 79. The
funeral mass was held on January 11 at Chartres Cathedral, France. He is
survived by his wife, international recitalist Lynne Davis. Mr. Firmin-Didot
was the founder, in 1970, of the Chartres International Organ Competition
(Grand Prix de Chartres) and the support organization, the Association des
Grandes Orgues de Chartres, which runs an annual summer-long festival of organ
recitals at Chartres Cathedral as well as, every second year, the competition.
Firmin-Didot was president of the association, and thus of the competition,
until his death.

Mr. Firmin-Didot decided to save the organ at Chartres
Cathedral in 1964, when it was in such bad condition that an orchestra had to
be substituted for the organ during a visit to the cathedral by the president
of France. He enlisted all kinds of artists and celebrities in the cause,
raising money at musical benefit concerts as well as in other ways. The
inauguration of the rebuilt instrument took place in 1971 in the presence of
the President of France, Georges Pompidou. In the autumn of that year the first
competition was held, with Pierre Cochereau as president of the jury. The first
jury also included Maurice Duruflé, Gaston Litaize, Jacques Charpentier,
Victor Ruello, Feike Asma (Holland), Hans Geferte (Germany), Nicolas Kynaston
(England), Anthony Newman (USA), and Pierre Segond (Switzerland). Many
prominent organists from around the world have served on subsequent juries
including George Thalben-Ball, Jean Langlais, Marie-Claire Alain, Martin Jean,
etc. The first prize of the initial competition in 1971 was shared by Daniel
Roth and Yves Devernay. American winners have included Charles Benbow (1972),
George Baker (1974), Todd Wilson (1978), James Kibbie (1980), Martin Jean
(1986), and Matt Curlee (1996).

Mr. Firmin-Didot was also instrumental in other facets of
the preservation and restoration of Chartres Cathedral. He was founder and
president of L'Association Chartres, Santuaire du Monde, and also of the Centre
International du Vitrail, which maintains a museum of stained glass near the
cathedral and both helps to restore the famous stained glass at Chartres
Cathedral and encourages new artists in the field of stained glass. President
of France Valéry Giscard-d'Estaing pre-sided at the museum's dedication.
Mr. Firmin-Didot was made a Chevalier of the French Legion of Honor in 1973 in
recognition of having saved the organ at Chartres Cathedral.

Sally Cherrington Beggs, chair of the music department and college organist at Newberry College, Newberry, South Carolina, died March 17. Born in Allentown, Pennsylvania
in 1959, she received her undergraduate education at Susquehanna University, and master’s and doctoral degrees at Yale University, where she studied with Thomas Murray and Charles Krigbaum. While at Yale she won the Charles Ives Organ Prize and the Faculty Award from the Yale Institute of Sacred Music, and was named the Frank Bozyan Organ Scholar from 1989 to 1991. An instructor in organ at Yale as well as the minister of music at the First Congregational Church in Wallingford, Connecticut, she had served as staff organist and teacher for the Allen Organ Company.

Cherrington relocated to South Carolina in 2000 from the Chicago area, where she served for ten years as director of music at St. Luke’s Lutheran Church in Park Ridge, and as college organist and adjunct faculty at Elmhurst College. She served as a substitute organist throughout the Columbia area, including at Aveleigh Presbyterian in Newberry and St. Francis of Assisi Episcopal Church in Chapin, and as a part-time organist at St. Stephen’s Lutheran Church in Lexington. She had performed recitals and conducted workshops throughout the eastern seaboard and Midwest, including at two OHS conventions, as well as making several concert tours of Europe as a soloist or accompanist. Dr. Cherrington had articles published in The Diapason, Your Church, Grace Notes, and CrossAccent; her article on “Organ Pedagogy” appears in the new International Organ Encyclopedia published by Routledge. Sally Cherrington Beggs is survived by her husband of 19 years, Mike Beggs, sons Zachary and Nathan, and sisters Linda Svok and Peggy Reese.

David Craighead died March 26 in Rochester, New York, at the age of 88, after a long and distinguished career as a recitalist and as professor of organ at the Eastman School of Music. Craighead joined the Eastman faculty in 1955 and served as professor of organ and chair of the organ division of the keyboard department until his retirement in 1992. He was also organist of St. Paul’s Episcopal Church in Rochester from 1955 to 2003. He was named Professor Emeritus at Eastman and Organist Emeritus at St. Paul’s when he retired. 

A renowned recitalist, David Craighead performed throughout the United States and Europe. He played in seven national conventions of the American Guild of Organists as well as at International Congresses held in London, Philadelphia, and Cambridge, England. He made several recordings, including one with his wife, Marian Reiff Craighead, to whom he was married for 47 years. Until her death in May 1996, they presented concerts for organ duet in numerous cities across the United States.

“David Craighead’s contribution to the music world is incalculable,” said David Higgs, Professor and Chair of Organ and Historical Keyboards. “He was a virtuoso performer, able to make the most difficult technical passages seem easy; he was a tireless champion of new music for our instrument, having played the first performances of many of the pieces that are now in our standard repertoire; and a beloved teacher, mentor, and friend to the legions of students he taught in his 37 years as professor of organ and chair of the organ department here.”

Craighead received both teaching and performance honors. In 1974, the Eastman School of Music awarded him its first Eisenhart Award for Teaching Excellence. The New York City AGO chapter named him International Performer of the Year in 1983. He received honorary doctorates from Lebanon Valley College and Duquesne University, where he also served as adjunct professor of organ. He also was awarded an honorary Fellowship in the Royal College of Organists, London, England.

In 2008, the new organ in Rochester’s Christ Church was inaugurated as the Craighead-Saunders Organ, named in honor of Professor Craighead and Russell Saunders, who was professor of organ at Eastman from 1967 until 1992.

Born on January 24, 1924, in Strasburg, Pennsylvania, David Craighead was the son of a Presbyterian minister and received his first music lessons from his mother, an organist. He was awarded his Bachelor of Music degree in 1946 from the Curtis Institute of Music in Philadelphia, where he also was the organist of the Bryn Mawr Presbyterian Church. While still at Curtis, he was a touring recitalist and taught at Westminster Choir College in Princeton, New Jersey, during his senior year.

In 1944 he was accepted as a touring recitalist by Concert Management Bernard R. LaBerge, which is now Karen McFarlane Artists, making his first transcontinental tour shortly after. 

Craighead was appointed organist at the Pasadena Presbyterian Church, where he helped design the church’s organ and did bi-weekly organ recital broadcasts. He also taught in the music department of Occidental College from 1948 through 1955 before his appointment to the Eastman School of Music.

Recordings include a 1968 Artisan LP disc of compositions by Franck, Mendelssohn, and Messiaen; and two recordings for the Crystal Record Company (one of works of Samuel Adler, Paul Cooper, and Lou Harrison; the second, The King of Instruments by William Albright and Sonata for Organ by Vincent Persichetti). He also made two recordings for Gothic, one of late nineteenth-century American composers, and the other of Albright’s Organbook I and Organbook III. The most recent recording, for Delos, features Reger’s Second Sonata and Vierne’s Symphony VI.

David Craighead is survived by his children, James R. Craighead and Elizabeth C. Eagan; grandsons Christopher and Jeffrey Eagan; his sister-in-law and three great-granddaughters.

Father Larry Heiman, a member of the Missionaries of the Precious Blood (C.PP.S.), died in his sleep on February 26, in the infirmary at St. Charles Center, Carthagena, Ohio. Born in 1917, he entered his religious community in 1932 and graduated from St. Joseph’s College in Rensselaer, Indiana, in 1940. Soon after ordination, he began teaching music and drama at St. Joseph’s College; he spent most of his life teaching at this institution. In summer 1960, he initiated a summer program that would become the Rensselaer Program of Church Music and Liturgy. Father Heiman completed graduate studies at the Pontifical Institute of Sacred Music in Rome, earning his doctorate in 1970, and returned to Rensselaer to establish a similar education program in Gregorian chant and polyphony. 

Father Heiman served the National Association of Pastoral Musicians as a frequent contributor to Pastoral Music, as a speaker at NPM conventions, and as the calendar editor for Pastoral Music from 1976 until his “retirement.” NPM honored Father Heiman with its Jubilate Deo Award in 2002. 

Joseph Johann Karl Ritter II, organbuilder, age 70, died March 19, 2011, at Cape May Court House, New Jersey. Born in Clinton, Illinois, he was trained in structural engineering and industrial mechanics, and his interest in organbuilding began as an outgrowth of these disciplines. In 1973, he took possession of a 1905 II/15 Hinners tracker from a closed Baptist church in Clinton. He disassembled and reassembled the instrument two times in situ, and twice more after relocating to Ft. Pierce, Florida (where he worked for a small marine engineering company) and Green Creek, New Jersey, successively. While maintaining his full-time career in heavy industry, he began the study of organbuilding, with a focus on case design, structural layout, and 20th-century electro-pneumatic windchest design.

After settling in Green Creek in the early 1980s, Ritter converted a large portion of his workshop facilities to organ work, including woodworking, pipe repair, leathering, windchest construction, electrical wiring, and fabrication of structural and winding components. At this time he built a III/12 unit organ in his private studio. This instrument was combined with a full 35mm Simplex movie projector, screen, and seating for eight. In 1997 he began a long association with the firm of Russell Meyer & Associates of Bridgeton, New Jersey, becoming shop foreman, and was involved in the construction and installation of ten of the firm’s instruments.

In retirement, at the time of his death, Ritter was involved in a substantial remodeling of his home, which involved conversion of a room into an organ chamber, into which he was in the process of installing Midmer-Losh Opus 5025, a five-rank unit organ, and had begun work on expanding it to an expected ten ranks. 

Heinz Wunderlich, organ virtuoso, teacher, and composer, died on March 10, 2012, in Großhandsdorf, Germany, at the age of 92. He was predeceased by his first wife, Charlotte, in 1982, and by his second wife, the violinist Nelly Söregi Wunderlich, in 2004. He is survived by three daughters and a stepson.

Wunderlich’s early study was with his father and the local church organist. At the age of sixteen, he was admitted to the Academy of Music in Leipzig, where he was the youngest student. While he was studying with Karl Straube and Johann Nepomuk David, his lifelong interest in the music of Max Reger began. Despite growing up and living in the tumultuous time between the First and Second World Wars, he held prestigious positions and became well known for his many recitals and improvisations. Since he was trapped in the East, his career could not advance until he was able to escape in 1958 with his wife and daughters. He took the position of music director at St. Jacobi in Hamburg, where he oversaw the reconstruction of the well-known Arp Schnitger organ, which had been removed during the war. For many years he was also Professor of Organ and Improvisation at the Hamburg College of Music, where he met his second wife.

As he began to concertize throughout the world, including several tours with his choir, the Kantorei St. Jacobi, his fame grew exponentially. In the United States alone he made twenty-six tours. Students came from all over the world to study with him—many to study the works of Max Reger, as Wunderlich was one of the few musicians who was in a direct line of succession with Reger. 

Wunderlich leaves quite an extensive body of organ works, as well as choral music. He remained active as a recitalist until his 91st year, when he decided not to play any more. (See “Heinz Wunderlich at 90,” by Jay Zoller, The Diapason, April 2009, pp. 19–21; “80th Birthday Tribute—Heinz Wunderlich,” by David Burton Brown, The Diapason, April 1999, p. 18; “Heinz Wunderlich at 74,” by David Burton Brown, The Diapason, April 1994, p. 6; and “The Published Organ Works of Heinz Wunderlich,” by David Burton Brown, The Diapason, April 1994, pp. 12–13.)

—Jay Zoller