Sarah Mahler Kraaz book

Delbert Disselhorst

Delbert Disselhorst, 81, of Iowa City, Iowa, died September 1. He was born November 3, 1940, in Keokuk, Iowa, and attended public schools in Hamilton, Illinois. He enrolled at the University of Illinois where he graduated as a Bronze Tablet Scholar in 1962. Disselhorst was awarded a Fulbright scholarship for study with Helmut Walcha in Frankfurt, Germany. He returned to the United States in 1964 and earned a Master of Music degree in organ from the University of Illinois the following year.

Disselhorst taught at Hastings College, Hastings, Nebraska, from 1965 until 1968. He then went to the University of Michigan, Ann Arbor, and graduated with a Doctor of Musical Arts degree in organ in 1970, receiving the Palmer Christian citation as a distinguished graduate of the organ department.

Disselhorst was professor of organ at the University of Iowa, Iowa City, from 1970 until his retirement in 2008. He was affiliated for many years with Phyllis Stringham concert management, Waukesha, Wisconsin, and played recitals and gave masterclasses throughout the United States and in Germany, France, Denmark, and Korea. He was guest artist at international festivals and concert series including the International Organ Days at Trier Cathedral in Germany; Freiburg Munster; and the Cathedral of Notre Dame in Paris. He played at regional and national conventions of the American Guild of Organists and served as visiting professor of organ at the University of Notre Dame for the 2011–2012 academic year. Disselhorst recorded on the Arkay and Pro Organo labels. His two volumes of the chorale preludes of Helmut Walcha recorded at First Presbyterian Church in Springfield, Illinois, were released by the Naxos label in 2013. Recordings of an all-Bach recital that Disselhorst played in 1999 at Clapp Recital Hall on the University of Iowa campus are available at http://www.kaltura.com/tiny/03760.

Disselhorst served on the board of directors for Iowa City Early Keyboard Society. He was a long-time member of Trinity Episcopal Church, Iowa City, before joining First Presbyterian Church, Iowa City, where he was a member at the time of his death. Memorial contributions in Disselhorst’s memory may be made to the Frederick T. Rahn, Jr., Memorial Fund at the University of Iowa School of Music, payable to the University of Iowa Center for Advancement, P. O. Box 4550, Iowa City, Iowa 52244; or Bethel Presbyterian Church, Hamilton, Illinois.

A memorial service for Delbert Disselhorst was held September 24 at Gloria Dei Lutheran Church, Iowa City. Burial will take place at Oakwood Cemetery, Hamilton, Illinois.

Glen A. Douglas, M.D.

Glen A. Douglas, M.D., died March 1, 2021, in Houston, Texas. Born in Little Rock, Arkansas, he attended Little Rock Central High School; Hendrix College, Conway, Arkansas; University of Arkansas for Medical Sciences, Little Rock; and Tulane University, New Orleans, Louisiana. He served as a flight surgeon for the United States Air Force, stationed in Taiwan and throughout the American Southwest during the Vietnam conflict. Professionally, he served as medical director for occupational medicine for Texaco and later ExxonMobil.

Douglas’s all-consuming passions were adopting rescue dogs and building the pipe organ that stands in his home, Aeolian Manor, in Houston. He presented performers in concert on the ever-evolving instrument, and he created the Aeolian Manor Foundation to assist young organists with training and developing careers around the pipe organ. Douglas was always on the lookout for young talent he could present in recital at Aeolian Manor, and he gave generously toward student attendance at conventions and at the East Texas Pipe Organ Festival. He was a member of the American Guild of Organists, the Organ Historical Society, and the American Theatre Organ Society.

A memorial service for Glen Douglas at Aeolian Manor will be planned for a later date. The Aeolian Manor Foundation will continue its work according to Douglas’s wishes, and the organ and home will remain intact and in use. The foundation has begun expanding its offerings by providing music lessons of all types to underprivileged Houstonians and becoming involved in local arts festivals and musical celebrations of all cultures.

In lieu of customary remembrances, readers are encouraged to adopt a pet, attend an organ recital, fund a young person’s piano or organ lessons, fund a young person’s attendance at an organ convention, and give to the Aeolian Manor Foundation. For information: aeolianmanorfoundation.org.

Walter Lee Hillsman

Walter Lee Hillsman, 79, died August 19. He was born February 25, 1943, in Dallas, Texas, and began organ lessons at an early age. As a teenager, Hillsman was awarded a scholarship to attend a choral workshop at Westminster Choir College, Princeton, New Jersey. During that trip, he met Alexander McCurdy, head of the organ department at Curtis Institute of Music in Philadelphia, Pennsylvania. Hillsman was subsequently awarded a three-year scholarship to Curtis. He left Woodrow Wilson High School in Dallas to complete his high school education at Lincoln College Preparatory School, Philadelphia, while he studied at Curtis. In 1964 he graduated from Curtis with a Bachelor of Arts degree in music. During his time in Philadelphia, he served as organist and choirmaster of Immanuel Evangelical Lutheran Church and Old Christ Church.

After his graduation from Curtis, Hillsman was encouraged to apply to Oxford or Cambridge universities by one of his mentors, Robert Evans, professor of theology and organist at University of Pennsylvania. Hillsman was granted a scholarship to attend New College, Oxford University. He obtained a Bachelor of Arts degree from Oxford in 1967, his Master of Arts degree in 1971, and his Doctor of Philosophy degree in 1985. During his time at New College, Hillsman served as an organ scholar to David Lumsden, New College organist. At Oxford, Hillsman won a Fulbright scholarship to study with Karl Richter at the Staatliche Hochschule für Musik in Munich, Germany.

Hillsman was active with organ performances, articles, presentations, broadcast recitals, and positions as organist, choirmaster, instructor, lecturer, and performer during the years he lived in Oxford. He played recitals at Westminster Abbey, St. Paul’s Cathedral, Notre-Dame Cathedral, Chartres Cathedral, Washington National Cathedral, St. Thomas Church Fifth Avenue, Cathedral of St. John the Divine, and at Oxford, Cambridge, Edinburgh, Glasgow, Columbia, and Yale universities. Hillsman gave broadcast recitals for the BBC and Radio France. He recorded on the Vista label in England and the Teldec label in Germany. He taught at Trinity College of Music in London, Reading University, and as a member of the faculty of music at Oxford University. In 1966, Hillsman was chosen as accompanist for a performance by the joint choirs of New College, Oxford, and Magdalen College, Oxford, as they sang in a recital that was part of a concert series commemorating the 900th anniversary of the founding of Westminster Abbey.

In 1993, Hillsman moved back to Dallas where he held various positions, including as a German instructor at Eastfield College and as a customer service representative for Neiman Marcus. He obtained his brokerage license and worked for Fidelity Investments for fourteen years.

In 2015 Hillsman and his brother Roger moved together to Houston into an apartment at Clarewood House senior living facility. Roger Hillsman died in April 2022.

A memorial service for Walter Hillsman was held October 1 at Memorial Oaks Funeral Home Chapel, Houston, followed by graveside committal. Memorial contributions in the name of Hillsman may be directed to Help Musicians, Musicians Benevolent Fund in the UK (helpmusicians.org.uk) or to the New Organist Fund of the American Guild of Organists in the United States (agohq.org).

Reverend Richard F. Jones

Reverend Richard F. Jones died August 28. He was born July 17, 1956. Prior to retiring in 2020, he served for 25 years as pastor of First Parish Church of Bolton, Massachusetts. He was a leader in the cultural life of the Worcester, Massachusetts, area and an advocate for music and history throughout the region. As Hook organ curator and development officer of historic Mechanics Hall, Worcester, he instituted the popular free noontime Brown Bag concert series and worked with many well-known personalities from cellist Yo-Yo Ma to civil rights pioneer Rosa Parks. Jones served numerous organizations including two terms as dean of the Worcester Chapter of the American Guild of Organists and as board member of the Organ Historical Society. In his work as chapter dean, Jones instituted a public school program that educated thousands of students about the pipe organ. In 1985, he organized the Fuller International Organ Festival with organists including Simon Preston, Peter Hurford, and David Higgs. He further served as education director of the Worcester Historical Museum, was a contributing writer for Worcester Magazine, hosted a radio program on the local NPR station, The Art of the Organ, served as musical consultant for the Merchant-Ivory film, The Bostonians, and was an active member of the Worcester Shakespeare Club. He served on the organ restoration committees of both the 1864 E. & G. G. Hook Opus 224 in Mechanics Hall and the 1933 W. W. Kimball K.P.O. 7119 in Worcester Auditorium.

A memorial service for Reverend Richard F. Jones was held October 11 at Mechanics Hall, Worcester. A tribute concert is being planned at the hall for 2023. Memorial donations may be sent to the 1864 Hook Organ Fund at Mechanics Hall, 321 Main Street, Worcester, Massachusetts 01608, or donate at: MechanicsHall.app.neoncrm.com/forms/the-worcester-organ.

Robert Graham Lent

Robert Graham Lent, 72, of Lyndhurst, Virginia, died August 27. Born October 18, 1949, in Richmond, Virginia, he married Jean Ellen Taomina on March 3, 1981. Lent was a veteran having served his country honorably as a Corporal with the United States Marine Corps from 1971 until 1973. Following his service to his country, he worked as a police officer in Berkeley Township, New Jersey, from 1973 until 1978.

In 1986 Lent moved to Waynesboro, Virginia, where he worked for Klann Organ Supply. He worked as a pipe organ mechanic for over 60 years and later owned and operated Shenandoah Organ Studio, Inc. As an organist, he served as house organist at Tower Theater in Philadelphia, Pennsylvania, 1969–1975; Byrd Theater in Richmond, Virginia, 1989–1990; and other places around the country. He was a member of the Marine Corps League and the Mid-East Division of the Military Order of the Devil Dogs in which he served as the 48th Past Chief.

Survivors of Robert Graham Lent include his wife, Jean Ellen Lent of Lyndhurst; sons, Robert Harding Lent and wife Lynne of Dayton, Virginia, and Raymond Taliaferro Lent of Lyndhurst; grandson Robert Edward Lent of Dayton, Virginia; two sisters, Nancy Moore of Robbinsville, New Jersey, and Charlotte Lent of Newfoundland, Pennsylvania; and brother, Russell Lent. He was buried with military honors September 23 at Quantico National Cemetery, Triangle, Virginia. Memorial contributions may be made to the Augusta Health Foundation, c/o Shenandoah Hospice House, P. O. Box 1000, Fishersville, Virginia 22939, or the Navy-Marine Corps Relief Society, attn: Development Department, 875 North Randolph Street, Suite 225, Arlington, Virginia 22203, or online at support.nmcrs.org/a/homepage.

Stephen L. Pinel holds two degrees from Westminster Choir College, Princeton, New Jersey, and did graduate study in historical musicology at New York University. A church musician for forty-five years, he retired from full-time work in the fall of 2017, but immediately accepted another appointment as organist and choirmaster at All Saints Church, Bay Head, New Jersey. He held a Langley Fellowship at New York University, is a member of Pi Kappa Lambda Music Honor Society, an honorary member of the Organ Historical Society, and a past chair of the St. Wilfrid Club of New York City. He is the author of several books and regularly contributes articles on organ history both here and abroad.

Pioneers in American Music, 1860−1920, The New England Classicists, by Barbara Owen. Leupold Editions, a division of the Leupold Foundation, Colfax, North Carolina, 2021, xvi + 303 pages, 55 black & white illustrations, discography, bibliography, and index, $69 + postage and handling.

During the past generation, organists have been blessed with a number of scholarly studies of the organ music of some significant composers. One has only to look at the exceptional three-volume set, The Organ Music of J. S. Bach by Peter Williams, published by Cambridge University Press (1980, 1980, 1984); Kerala J. Snyder’s Dieterich Buxtehude, Organist in Lübeck, University of Rochester Press (2007); William A. Little’s Mendelssohn and the Organ, Oxford University Press (2010); and Rollin Smith’s astonishing trilogy, Saint-Saëns and the Organ (1992), Playing the Organ Works of César Franck (1997), and Louis Vierne, Organist of Notre-Dame Cathedral (1999), published by Pendragon Press. Others could be cited, but regrettably, not even one of the recent studies is focused on the organ music of an American.

Nor has the organ fared especially well in general histories of American music. Most of the standard texts—John Tasker Howard (1929),¹ Gilbert Chase (1955),² Wilfred Mellers (1964),³ and
H. Wiley Hitchcock (1974)⁴—hardly mention the organ, if at all. So, dear readers, to set the record straight, here is the honest truth: before World War II, the pipe organ in the local church was the live instrumental music most Americans heard on a reoccurring basis, and most American composers of the late-nineteenth and early-twentieth centuries were not only organists who played the organ in church as a part of their livelihood, they also wrote music for it. This fact has been largely written out of the historical narrative, so isn’t the time ripe for a correction?

Distinguished author Barbara Owen and Wayne Leupold Editions have joined forces to publish Pioneers in American Music, 1860−1920, The New England Classicists, a splendid new book that examines nine organist-composers who plied their trade in and around Boston. Barbara (she is so well known that her given name alone is sufficient to identify her!) approaches the subject by discussing the figures in detail. Each receives a documented biography, a discussion of their organ works in historical context, and a complete and annotated catalog of their organ pieces. For the record, the nine are John Knowles Paine, Dudley Buck, W. Eugene Thayer, George E. Whiting, Samuel B. Whitney, Arthur Foote, George W. Chadwick, Horatio Parker, and Henry M. Dunham—a veritable “Who’s Who” of the Boston organ landscape in the decades before and after the turn of the twentieth century.

Barbara divides the figures into two generations: Buck, Paine, Thayer, Whitney, and Whiting are the seniors, while Chadwick, Dunham, Foote, and Parker are the juniors. Most if not all of these musician-composers have been the subjects of earlier monographs, but as was so often the case, any discussion of their organ compositions was cursory at best. Thus, the collaboration between Barbara and Wayne is fortuitous, because Wayne Leupold Editions has republished much of this music in practical editions. It is currently available for sale; you can buy them, study them, perform them, and add them to your repertoire. Most of this music was in print around 1900, but it quickly fell from fashion during the Baroque and Renaissance revival. It was not until the 1990s that Leupold Editions started reprinting this music for a new and younger generation of organists.

You might fairly ask: “Did any American composers write organ music worth serious consideration?” For those wearied by a thirty-fifth rendition of the Leipzig Chorales—however profound those works may be—this group of nine Americans offers modern players many opportunities for something “new” and refreshing. Be reminded that when John Knowles Paine played a recital, the crowd was often so large that part of the audience was turned away at the door for lack of seating. At the music’s best, such as the grandiose Concerto in E-flat Minor for Organ and Orchestra, op. 55, 1903, by Horatio Parker, or the delightful and studious works of Dudley Buck and George Whitfield Chadwick, modern audiences just might depart an organ recital with a twinkle in their eye. There are cheery settings of “America,” the “Star Spangled Banner,” “Old Folks at Home,” and “Annie Laurie.” Being honest, modern organ recitals could use a little mojo these days, and some novel and perhaps even pleasurable repertory based on familiar tunes might go a distance in retaining an audience for The King of Instruments.

Yet Pioneers is far more than a collection of unrelated essays. Collectively, the book portrays an intimate circle of like-minded and very gifted musicians, an energetic and fervent subgroup among New England’s high culture. Influenced by the transcendentalists­—Ralph Waldo Emerson, Henry David Thoreau, and John Greenleaf Whittier—many of these composers worked in the shadow of the Great Organ in the old Boston Music Hall. But they were not disembodied souls, toiling apart or in competition with one another; rather, they were associates, colleagues, and friends. Several had student-teacher relationships, and many shared the common experience of European tutelage, mostly in Germany. They were keenly aware of and interested in each other’s work. They played one another’s music, attended one another’s performances, and relished in each other’s successes. Pioneers is a profound story of humanity. It is a story of affection, collaboration, interaction, and mutual respect, a narrative that is unfortunately a rarity in today’s very fractured world. And Barbara tells this narrative with a writing style that is both lucid and seamless. Plainly put: The book is a good read about some great New England musicians!

Besides colleagueship, these “Classicists” shared one other commonality. All of them were keenly focused on education—on teaching the organ to an ever-new generation of young students. And they often taught in ways that departed from the expected lessons in a studio. John Knowles Paine was a university professor and lecturer. At Harvard, he taught theory and music history. Eugene Thayer edited an organ journal, The Organists’ Journal & Review (incidentally, the first published in the United States!), that reached organists throughout the country, even in rural locations. Several of these composers were associated with the New England Conservatory and other schools of music. Most of them authored tutors and didactic works about choir directing, church music, organ playing, teaching, and theory. Organ pedagogy was more than just a living, it was a personal extension of their own backgrounds, composition, training, and professional efforts.

As an author, Barbara brings to this study a unique set of experiences and skills. She is equally competent discussing the music, the churches, the institutions, and the organs. She actually worked for decades as a builder in the organ shop of Charles Fisk (1925–1983) in Gloucester, Massachusetts. She was herself a practicing church musician at the First Religious Society in Newburyport, Massachusetts, for some five decades. She had already edited some of this music for her ground-breaking series, A Century of American Organ Music 1776–1876, published by McAfee Music Corporation. She is uniquely qualified to tell this story as she herself basked much of her life in the very organ culture she wrote about. Barbara walked these streets, heard this music in the churches, and in some cases even played the same organs as the subjects of the book. There are places in the text where her imagery is so convincing, the reader is almost transported back into the nineteenth century with her.

At the back of the book, readers will find an informative section describing the organs associated with these composers, often with stoplists and details about their construction. The instruments of E. & G. G. Hook, Wm. A. Johnson, and especially Hutchings, Plaisted & Co. are repeatedly referenced throughout the text. The book concludes with a discography, an exhaustive bibliography, and a detailed index. Perhaps it comes as no surprise that the book is affectionately dedicated to Barbara’s colleagues in the American Guild of Organists; a number of the organist-composers she wrote about were founders of the organization.

Back in 1980, Barbara wrote The Organ in New England: An Account of Its Use and Manufacture to the End of the Nineteenth Century. That volume dealt with the organs and organ builders of New England. Pioneers largely covers the same period, but instead of the instruments, this book focuses on the music. Taken together these two volumes provide about as complete a picture of this passionate organ culture we are likely to get.

If you teach organ, you need to own this book. If you study organ, you ought to read it to expand your basic knowledge of the literature. Finally, it should be in the library of every college, conservatory, or university that has offerings in music as a fundamental reference. Barbara concludes her study by quoting Ralph Waldo Emerson, “Do not go where the path may lead, go instead where there is no path and leave a trail.” This is not only true of the nine organist-composers, but it is equally appropriate for the author herself. This book is recommended with enthusiasm; at the same time, order the music from Leupold Editions.

Notes

1. John Tasker Howard, Our American Music: Three Hundred Years of It, New York: Thomas Y. Cromwell Co. [1929].

2. Gilbert Chase, America’s Music From the Pilgrims to the Present, Revised second edition, New York [et al.]: McGraw Hill Book Co. [1966].

3. Wilfred Mellers, Music in a New Found Land: Themes and Developments in the History of American Music, London: Barrie and Rockliff [1964].

4. H. Wiley Hitchcock, Music in The United States: A Historical Introduction. Second edition (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1974).

5. Barbara Owen, The Organ in New England: An Account of Its Use and Manufacture to the End of the Nineteenth Century, Raleigh: The Sunbury Press, 1980.

Let All the World in Every Corner Sing: The Yale Institute of Sacred Music Celebrates Fifty Years

The Yale Institute of Sacred Music (ISM) is an interdisciplinary graduate center for the study and practice of sacred music, worship, and the related arts. Its students pursue degrees in choral conducting, organ, and concert voice with the Yale School of Music, or they engage in ministerial or academic studies in liturgy, religion and literature, music, or visual arts with the Yale Divinity School. The ISM is essentially a sequel to the School of Sacred Music at Union Theological Seminary (New York City), which lost its funding in the early 1970s and closed its doors. Robert Baker, then organist and dean of the School of Sacred Music at Union, relocated three faculty and one administrator from the Union school to Yale in New Haven, Connecticut, after securing funding from the Irwin-Sweeney-Miller foundation of Columbus, Indiana. This family foundation was headed by Clementine Miller Tangeman, whose late husband was a musicologist at Union, and her brother J. Irwin Miller, who was serving as senior trustee of the Yale Corporation. With its strong programs in divinity and music, Yale was deemed the perfect place to reconstitute a school or institute of sacred music. In 1973 inaugural director Robert Baker, together with chaplain and liturgical scholar Jeffery Rowthorn, musicologist Richard French, and administrator Mina Belle Packer, migrated to New Haven. After a year of intense preparation, the Yale ISM welcomed its first class of students: five in music and five in divinity. In 2024 the ISM celebrated the fiftieth anniversary of that momentous occasion.

The School of Sacred Music at Union Theological Seminary

The roots of the ISM begin with Union Theological Seminary. Music was an important component of the curriculum at Union since its founding in 1836. That this ecumenical Protestant seminary held such value for music and the arts can trace some of its inspiration to Anglican and Roman Catholic instantiations of liturgical renewal stemming from the Oxford and Solemnes movements. Church musicians were regularly appointed to the theological faculty at Union to teach music history, hymnody, and related musical subjects to complement the theological education of seminarians.

In 1928 Clarence Dickinson (who had been teaching music to the seminarians at Union since 1912), together with his wife, Helen Snyder Dickinson, met with seminary president Henry Sloane Coffin to discuss establishing a separate entity at Union: a school of sacred music. This school would specifically train church musicians within the context of the seminary. Since the “joining of music and theology, of divinity students and music students, did not seem at variance with the Seminary’s history,” Union began admitting musicians into the seminary, granting them the degree Master of Sacred Music. One sees similarity of vision with that of the Schola Cantorum in Paris, founded by Dickinson’s teacher, Alexander Guilmant.

Clarence and Helen Dickinson were the quintessential interdisciplinary couple. Clarence was an organist, choir director, composer, and teacher whose profound influence earned him the moniker “Dean of American Church Musicians.” His wife Helen, the first woman to graduate with a Ph.D. from Heidelberg University, was an art and liturgical historian who taught alongside her husband at Union. Together they envisioned a curriculum in which the church musician would acquire not only musical skills, but also the theological and pastoral skills needed to successfully navigate the complex ministry of church music. The Dickinsons also understood the benefits of having musicians and clergy interact with each other at the seminary: “In such an atmosphere, the church musician . . . and the minister meet and train together in much the same way as they will work together in actual parish situations.” Interdisciplinary study and collaboration between clergy and musicians were hallmarks of the School of Sacred Music at Union, and it is upon this foundation that the Yale Institute of Sacred Music was built.

Early years at the Yale Institute of Sacred Music

The 1975 Bulletin of the Yale Divinity School includes a succinct description of the ISM: “The curriculum will lay particular stress upon organ playing, choral conducting, historical aspects of the church’s musical development, the liturgical framework of religious worship of all faiths, and practical musical techniques, and will be of a highly participatory nature.” Three early graduates of the program, however—Steven Roberts, Patricia Wright, and Walden Moore—paint a broader, more colorful picture of the nascent ISM and its early years. Steven Roberts was an organ student in the first class that arrived at the ISM in 1974; he later taught organ at Western Connecticut State University and was music director at Saint Peter Church in Danbury before retiring to Bolivia. Patricia Wright was also an inaugural organ student at the ISM, receiving her Master of Musical Arts degree in 1976 and Doctor of Musical Arts degree in 1982. An adjunct organ professor at the University of Toronto, Wright was director of music at Toronto’s Metropolitan United Church, where she played Canada’s largest pipe organ for thirty-five years before retiring in 2022. Walden Moore came to the ISM in 1978. Not long after graduating in 1980, he was appointed organist and choirmaster of Trinity Church on the Green, New Haven. Although Moore retired from Trinity in 2024 after forty years of distinguished service, he and composer/organist Mark Miller continue to teach service playing to organists at the ISM. These three remarkable church musicians share common threads in reminiscing about their time at the ISM in the 1970s: the importance of interdisciplinary study, the emphasis on church music, and the benefits of studying at one of the great research institutions of the world.

Interdisciplinary study in the 1970s primarily involved the study of worship and liturgy. Wright and Roberts both highlight the importance of Jeffery Rowthorn’s liturgy class, Wright going so far as to describe the course as “life changing.” In many ways, it is this study of worship and liturgy—that is, the church at prayer—that unites the musician, seminarian, and scholar. Liturgical studies has become a part of the very DNA of the ISM; it was inherited from the School of Sacred Music at Union, and continues to play a seminal role in the work of the ISM today.

When director Robert Baker brought the ISM to Yale, the School of Music already had an established and prestigious program in organ performance led by university organist Charles Krigbaum. Baker added to the mix an emphasis specifically on training organists for work in the church. Roberts recalls that “Dr. Baker taught me about being a church musician, not just an organist.” Wright remembers Baker teaching conducting from the console. Students were taught the art of leading congregational song and accompanying anthems. Moreover, Baker encouraged students to learn this craft from multiple experts. Moore recalls the director sending him to observe Vernon de Tar on a Sunday morning at Church of the Ascension in New York. Moore was so impressed with this experience that he always welcomed ISM students to observe his program at Trinity.

Yale added a more rigorous academic vision to what had been offered at Union, says Moore, and organists took full advantage of all that Yale had to offer. Roberts took courses on Scarlatti and Couperin with harpsichordist Ralph Kirkpatrick; Wright studied Schenkerian analysis with Allen Forte. Trips to the Beinecke Rare Book and Manuscript Library were commonplace. With a profusion of courses and resources at their fingertips, organists were able to tailor their education to their specific interests while acquiring a solid grounding in church music. “It was up to us organ students to take advantage of the myriad of opportunities Yale afforded us,” says Wright. The opportunities have only increased over time.

The Institute of Sacred Music today

The ISM has grown exponentially over the past fifty years; the original community of three faculty and ten students now numbers well over a hundred individuals. Successive directors have expanded the program. John Cook (1984–1992) created a robust program in religion and the arts at the ISM, a development that undoubtedly would have delighted Helen Dickinson. Under Margot Fassler (1994–2004), the music program expanded from organ and choral conducting to include a major in early vocal music and oratorio (James Taylor, program coordinator). Current director Martin Jean (2005–) has fostered a fellowship program in which international scholars and practitioners join the ISM community for an academic year to further their work while collaborating with the ISM community. Together with the Divinity School, Jean also launched an interdisciplinary program in Music and the Black Church (Braxton Shelley, program director).

An abundance of courses awaits organ students admitted to the ISM. In addition to weekly instruction in organ performance from Martin Jean and/or James O’Donnell, students are invited to lessons and masterclasses with visiting artists. Church music skills, originally taught by Robert Baker during lessons, now include courses in choral conducting (Felicia Barber), liturgical keyboard skills (Walden Moore and Mark Miller), and improvisation (Jeffrey Brillhart). Musicological study has expanded to include both historical musicology (Markus Rathey) and ethnomusicology (Bo kyung Blenda Im). Offerings in liturgical studies comprise courses in historical and contemporary issues taught by an expanding and increasingly diverse faculty. Students wishing to broaden their knowledge in religion and the arts can take courses in religious poetry, architectural history, and other related arts.

Ten concert and liturgical choirs are supported by the ISM, the newest of which is the Yale Consort, a group of professional vocalists who sing evening liturgies (Choral Evensong or Vespers) in local parishes under the direction of James O’Donnell. Organ students accompany these services, acquiring liturgical service playing skills in a unique pedagogical setting from one of the world’s finest and most recognized church musicians.

International study tours, typically every other year, take the entire ISM student body around the globe to study the ways in which sacred arts are manifested in areas of the world not our own. The organ faculty often extend the study tour for their students, to allow them to visit and play the significant organs of the region.

In recent years the ISM has offered a week-long summer Organ Academy, in which advanced undergraduate organ students study with some of the nation’s top organists. Participating students receive daily lessons and attend workshops and recitals, all while interacting with their peers from around the country.

What began as Robert Baker’s humble continuation of the noble interdisciplinary program at Union has blossomed into an extensive program of sacred music, religion, and the arts at one of the world’s leading research institutions. As the ISM celebrates fifty years at Yale, Robert Baker’s stately anthem on the hymn text “Let all the world in every corner sing” provides an apt motto. The interdisciplinary, ecumenical, and expansive vision of the ISM, shaped by faculty, students, performers, and fellows, is indeed one in which all the world in every corner sings. May this glorious vision continue for many years to come.

Organ professors at Yale, 1973 to the present 

Charles Krigbaum had already been at Yale for fifteen years when the Institute of Sacred Music arrived in 1973. His legacy at Yale includes acquiring the Rudolf von Beckerath organ for Dwight Chapel (1971), premiering the newly discovered Neumeister Chorales of Bach in Battell Chapel (1985), and recording the organ works of Widor and Messiaen on the Newberry Memorial Organ in Woolsey Hall.

An advocate of the organ reform movement, Krigbaum was well versed in all organ music, his seminars covering composers from Titelouze to Tournemire. He promoted well-roundedness, so that students who came to him with a solid background in the North German Organ School left with an admiration for Widor, and those with knowledge of the Romantic schools left with appreciation for Scheidt.

A student of Clarence Dickinson at the School of Sacred Music at Union Theological Seminary, Robert Baker was the quintessential church musician. In addition to teaching the standard organ literature, he instructed students in the practical skills of the church musician. Baker loved the Newberry Memorial Organ and enjoyed teaching in the Romantic style. He would tell his students to always include a “gum drop” (something sweet that people will enjoy) in every recital. Baker’s arrival at Yale complemented the organ performance program directed by Charles Krigbaum.

Thomas Murray came to Yale in 1981 from the Cathedral of Saint Paul in Boston. An organ student of Clarence Mader at Occidental College, Murray became one of the most renowned and field-changing organists of the second half of the twentieth century. He is best known for his interpretation and transcriptions of the Romantic repertoire. He has concertized around the globe, and his multiple recordings have earned him universal acclaim.

On the Newberry Organ at Yale, Murray taught students the art of registering exhilarating crescendos and dramatic diminuendos. His transcriptions often required manipulation of two enclosed divisions at the same time to gracefully bring out a melody. The Newberry Organ, however, was not merely a symphonic organ for Murray; his teaching of the other Romantic repertoire, whether Rheinberger or Mendelssohn, was most authoritative. Indeed, he brings integrity to every musical style and period.

Martin Jean joined the Yale faculty in 1997. A self-professed generalist, Jean brought with him particular expertise in the north and central European Protestant organ repertories but also sustained a love for the French symphonists. With an earnest interest in historic performance, Jean led the project with Thomas Murray and Margot Fassler that resulted in the meantone organ (Opus 55) of Taylor & Boody in Marquand Chapel. Jean accrued some formal training in theological studies, which made him a natural partner at the ISM.

James O’Donnell came to Yale in 2022 after a forty-year career leading two of the most prominent London choral foundations. As organist and master of the choristers at Westminster Abbey, he presided over such state occasions as the wedding of Katherine Middleton and Prince William, which was broadcast to millions. One of his final acts in London was to lead the music for the funeral liturgy of Queen Elizabeth II, which 4.6 billion people were said to have heard, comprising arguably the largest single broadcast audience in history for an event featuring classical music. An internationally acclaimed concert artist, O’Donnell is a model for many students at the ISM: organist, conductor, liturgical musician.

The pipe organs at Yale

The Newberry Memorial Organ in Woolsey Hall ranks among the finest symphonic organs in the world. The original instrument was built by the Hutchings-Votey Organ Company in 1902. Expanded in 1915 by J. W. Steere & Sons, it was rebuilt and expanded again in 1928 by Skinner Organ Company, all through the generosity of the Newberry family. University organist Harry Jepson, who played in the inaugural recital of the original build (it is reported that there were 3,000 people in attendance despite a drenching rainstorm) as well as both rebuilds, curiously programmed Franck’s Pièce Héroïque in all three recitals.

The final Skinner rebuild is a glorious four-manual Romantic organ with 142 stops, 197 ranks, and 12,641 pipes. While Romantic organs fell out of favor in the decades that followed, many such organs falling victim to replacement or alteration, the Newberry Organ remains in its original condition to this day, a stunning instrument lovingly maintained by the A. Thompson-Allen Company. (The Woolsey Hall organ is featured on the cover of the November 2016 issue of The Diapason.)

The 1951 Holtkamp organ in Battell Chapel is a fine example of the mid-twentieth-century Orgelbewegung. The main three-manual transept organ is complemented by a two-manual apse organ (one organ, two consoles). This organ was designed by university organist Luther Noss together with Walter Holtkamp. Yale’s organ curator, Joe Dzeda, recalls that during Sunday services at Battell Chapel, Noss would often play the prelude and postlude from the transept while assistant university organist H. Frank Bozyan would accompany the choir from the apse console. Built on the principles of low wind pressure, balanced registers, and exposed pipework, this three-manual organ has 71 ranks and 3,740 pipes.

In his History of the Yale School of Music, 1855–1970, Noss, who was later dean of the Yale School of Music, wrote: “With the availability of the Newberry Memorial Organ in Woolsey Hall, an outstanding example of the 19th- and 20th-century ‘romantic design,’ and the classic Holtkamp instrument in Battell Chapel, organ students at Yale would now have the rare and valuable opportunity of studying the organ literature of all periods on the appropriate instrument.” (The Battell Chapel organ is featured on page 1 of the June 1950 issue of The Diapason.)

H. Frank Bozyan was appointed instructor in organ in 1920 to assist Harry Jepson in teaching an organ class that averaged twenty-five students. At the time of his death in 1965, he was university organist and organ instructor emeritus. The three-manual, 54-rank Beckerath in Dwight Hall is named in honor of Bozyan’s forty-five years of dedication to the organ program at Yale. Charles Krigbaum, who followed Bozyan as university organist, had Rudolf von Beckerath design and build this colorful tracker. Notable stops include the Terzian, Trichterregal, and Rankett. Krigbaum adored this organ, presenting a series of five Bach recitals after its installation. Some fourteen years later, on March 21, 1985, Krigbaum, along with nine other organists from Yale and New Haven, performed an all-day Bach marathon to celebrate Bach’s 300th birthday. (The Dwight Chapel organ is featured on page 1 of the December 1971 issue of The Diapason.)

Thomas Murray, Professor Emeritus in the Practice of Organ, likes to speak of Yale’s collection of pipe organs as the “goodly heritage.” The most recent addition to this goodly heritage is the Charles Krigbaum Organ in Marquand Chapel. Martin Jean was the impetus behind this three-manual tracker in meantone temperament built by Taylor & Boody. Modeled on the 1683 Arp Schnitger organ in the St. Jacobi Kirche, Lüdingworth, this instrument is ideal for teaching early organ music. Its seventeenth-century design, however, does not preclude it from playing contemporary organ music; indeed, the ISM commissioned Matthew Suttor to compose a new work, Syntagma, which was premiered by Martin Jean in 2007 as part of its year-long celebration to welcome its newest pipe organ.

For further information

To explore the many opportunities at the Yale Institute of Sacred Music, visit ism.yale.edu. For information about the various degree programs, contact admissions manager Loraine Enlow at [email protected]. For information about long- and short-term fellowships,  contact assistant director Eben Graves at [email protected].

—Glen J. Segger, Yale ISM ’95

Lecturer, Yale Divinity School

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.