Wayne Wold hymn festivals

Charles E. Hallman, 81, died on April 18. Born in Norristown, Pennsylvania, he graduated from Springfield Twp. High School in 1948 and served in the U.S. Army National Guard in Germany during the Korean War. Mr. Hallman began his career as a pipe organ technician in 1948 with Frederick Burness, and in 1967, with Howard Gamble and Alan Furman, established Burness Associates. He was also state qualified in basic fire fighting and had been a member of the Abington Twp. and Springfield Twp. volunteer fire companies. Charles E. Hallman is survived by his wife of 57 years, Anne (Bower) Hallman, four daughters, twelve grandchildren, a great-granddaughter, and a sister.

John H. Melcher died at his home in Elgin, Illinois, June 27, after a long battle with lung cancer. He was 73. Born in Perth, Ontario, Canada on March 1, 1936, John Melcher came with his family to the United States when he was still young. He attended Steinmetz High School in Chicago, and gained his U.S. citizenship through service in the U.S. Air Force. He received a bachelor’s degree from Beloit College, a master’s from the University of Michigan, and a Master of Sacred Music degree from Union Theological Seminary. He studied organ with Leo Sowerby, Robert Noehren, and Flor Peeters, and harpsichord with Isolde Ahlgrimm. He studied conducting with Margaret Hillis and Robert Shaw, and voice with Thomas Wikman and Henri Noel.
Melcher’s longest appointment was his over thirty years as the music director of the Northwest Choral Society. A member of the American Guild of Organists, he served as organist-choirmaster at St. Mark Lutheran Church, Chicago (1968–71), St. Martin’s Episcopal Church, Des Plaines (1971–80), and Morgan Park Methodist Church (1980–83); then as minister of music at the First United Methodist Church in Park Ridge (1983–97). He joined the staff of Christ the Lord Lutheran Church in Elgin, Illinois, in 1997, serving as cantor, organist, choral and handbell choir director. In March 2006, Melcher joined Holy Trinity Lutheran Church in Elgin as director of music ministries.
In 1998, Melcher joined the staff of the Suzuki School of Elgin, where through March 2008 he served as accompanist and coach for the ensemble classes. From 1999–2007, he conducted the ELCA Lutheran Outdoor Ministries Swing Choir for high school students in its summer choir tour of southern and central Illinois. John H. Melcher is survived by his long-time partner, John Morrison.

William “Bill” D. Usher II died April 30 in Los Angeles at the age of 40. He studied at Westminster Choir College and received a bachelor’s degree in organ performance and church music from the University of Louisville, and a master’s degree in organ performance from the University of Southern California. His organ studies were with Searle Wright, Donald McDonald, Melvin Dickinson, and Cherry Rhodes. Usher served at Parsippany United Methodist Church in Parsippany, New Jersey, St. Stephen United Church of Christ in Louisville, the Church of the Incarnation in Glendale, California, and St. Mel Roman Catholic Church in Woodland Hills, California. He was director of music at Holy Trinity Church in Georgetown, District of Columbia (parish of President John F. Kennedy) from 1995–2006; there he led the music ministry of the 3,500-household parish and established the Music at Trinity concert series. At the time of his death, he was director of music and organist at St. Gregory the Great Church in Whittier, California, which also began a concert series, featuring Usher’s Mass in Honor of St. Jude at its inaugural event in 2008. William D. Usher II is survived by his domestic partner, Christopher Sioco, his mother, Marjorie M. Usher, sisters Valerie S. Usher and Vickie Morf, and two nieces.

D. DeWitt Wasson of Cornwall, Pennsylvania, died June 23 at age 88. He earned the Diploma in Sacred Music from Nyack Missionary Training Institute, a bachelor’s degree from Eastern Baptist Seminary, a master’s and doctorate in sacred music from Union Theological Seminary. He held church music positions in Virginia, Maryland, New York and Pennsylvania, and was a reviewer of organ music reviewer for The American Organist. He edited the two-volume Free Harmonizations of Hymn Tunes published by Hinshaw Music and the three-volume Hymntune Index and Related Hymn Materials published by Rowman and Littlefield. He played fifty organ concerts in Europe on alternate years and represented America in numerous international organ festivals. He was founder and musical director of the Westchester Baroque Chorus and Orchestra for more than thirty years and dean of the Westchester County, New York AGO chapter 1961–63 and 1985–87. He established a research collection of organ music at the Westminster Choir College of Ryder University in Princeton, New Jersey. D. DeWitt Wasson married Josephine Diener in June 1947; she died in January of this year.

William Lewis Betts died October 8, 2011, in Colebrook, Connecticut. An organist and organbuilder in Connecticut, he was founder of the William Betts Pipe Organ Company in Winsted, Connecticut; he built, refurbished, and maintained numerous church organs in the Northeast. Among the instruments under his care were those in several churches in Winsted and New Haven; Norfolk Church of Christ, Congregational, Norfolk; St. Mark’s Episcopal Church, New Canaan; and St. Mary’s Roman Catholic Church, Bridgeport, Connecticut. In his younger years he worked for the Austin Organ Company, and he did technical work for the instruments at the Cathedral of St. John the Divine and churches in New York City. 

He was also a charismatic musician and performed outstandingly at the console. He played each instrument under his care with great skill. After adjusting the tones of select pipes, he tested the instrument with music from his repertory, played from memory. Workers and visitors to the churches often stood to listen to his impromptu concerts. He had loyal friends who enjoyed the prospect of working on choral extravaganzas under Bill’s direction. 

After suffering a stroke in 1997, he spent time writing, including a musical history of Northwestern Connecticut. Bill is predeceased by Bonnie Lincoln Betts, his wife of 33 years, and his son Will Betts, Jr. He is survived by his daughter, Caroline Salevitz of Scottsdale, Arizona, two grandchildren, and his sister, Mary Durand Seacord of Roxbury, Connecticut. 

—James R. Harrod

Donald Arthur Busarow died October 24 in Houston. He was 77. Born in 1934 in Racine, Wisconsin, he received a bachelor’s degree from Concordia University in River Forest, Illinois, a master’s degree from the Cleveland Institute of Music, and a PhD from Michigan State University. Busarow was a professor at Concordia College in Milwaukee before going to Wittenberg University in 1975, where he was professor of music, university organist, and in 1982, was named director of the Wittenberg Choir, which performed throughout the United States and Europe. He played numerous organ recitals and led hymn festivals and choral and organ workshops throughout the country. A member of St. Matthew Evangelical Lutheran Church in Huber Heights, Ohio, where he served for 24 years as organist and choir director, Busarow was also the organist at the First Presbyterian Church of South Charleston, Ohio, for the past ten years. 

A noted composer of church music, Busarow’s many compositions can be found in the catalogs of seven publishing houses. He was also involved in organ consultation and design; most recently, he designed the organ at Trinity Lutheran Seminary in Columbus, Ohio. Honors awarded Busarow include an honorary doctorate from Concordia University in 1996, and a hymn festival in his honor in Dublin, Ohio, this past May by the Columbus Association of Lutheran Church Musicians Cantor Connection, under the direction of his grandson, Jonathan. In Celebrating the Musical Heritage of the Lutheran Church, published by Thrivent, he was named one of the ten Lutheran composers representing the 20th century. 

Donald Arthur Busarow is survived by his wife of 55 years, Peggy, six children, 14 grandchildren, a great grandson, a brother, sister, two sisters-in-law, and nieces and nephews.

Gene Paul Strayer, age 69, died October 10 in York, Pennsylvania. He received a BA from American University, an MA from the University of Chicago, a Bestatigung from the Goethe Institute in Passau, Germany, an MSM from Union Theological School of Sacred Music, and a PhD from the University of Pennsylvania. Strayer taught the history of religions at Miles College, the University of Colorado at Boulder, and the University of Pennsylvania, where he received the Dean’s Award for Outstanding Teaching. He also taught piano, organ, conducting, and composition. 

He served as organist-choirmaster at churches in Bethesda, Maryland, Washington, D.C., Chicago, New York City, Boulder, and York, where he served Trinity United Church of Christ for ten years, and since 1996, at St. Rose of Lima Church, where he developed an extensive choral program for children. Strayer performed widely, including at the Cathedral of St. John the Divine in New York, Washington National Cathedral, and in England, Germany, and Switzerland. The founder and first director of the Boulder Bach Festival, he later founded the York Ecumenical Choral Society after moving to York. A past dean of the York AGO chapter, Strayer was a member of the American Academy of Religion, the American Musicological Society, the Organ Historical Society, and the Matinee Musical Club of York. Gene Paul Strayer is survived by relatives and friends.

Gail Archer is an international concert organist, recording artist, choral conductor, and lecturer who draws attention to composer anniversaries or musical themes with her annual recital series. She was the first American woman to play the complete works of Olivier Messiaen for the centennial of the composer’s birth in 2008; Time Out New York recognized the Messiaen cycle as “Best of 2008” of classical music and opera. Her recordings include her September 2017 CD, A Russian Journey and The Muse’s Voice. Archer’s 2017 European tour took her to Germany, Italy, Great Britain, Russia, Ukraine, and Poland. She is the founder of Musforum, an international network for women organists, college organist at Vassar College, and director of the music program at Barnard College, Columbia University, where she conducts the Barnard-Columbia Chorus. Archer serves as director of the artist and young organ artist recitals at historic Central Synagogue, New York, New York.

Musforum (www.musforum.org), a network for women organists, held its second conference, Prairie Voices, in Omaha, Nebraska, June 8 and 9, 2017. Omaha was the conference site because it is the only American city in which a woman serves as music director at both the Catholic and Episcopal cathedrals, Marie Rubis Bauer (at St. Cecilia Catholic Cathedral) and Marty Wheeler Burnett (at Trinity Episcopal Cathedral), respectively. Women organists, composers, and conductors from across the United States were the featured artists­­—from age 12, Gianna Manhart, the youngest student at the St. Cecilia Institute, Omaha, to age 88, the remarkable Wilma Jensen, who was our keynote speaker. The events took place at St. Cecilia Catholic Cathedral, Dundee Presbyterian Church, and First United Methodist Church in Omaha. The conference was made possible, in part, by a generous grant from Barnard College, Columbia University, New York.

Thursday, June 8

The events began on Thursday morning, June 8, with a program of early Dutch and German music combined with contemporary music by women composers played by Rhonda Sider Edgington from Holland, Michigan. Edgington is the organist and assistant music director at Hope Church and a staff accompanist at Hope College in Holland, Michigan. The Pasi organ at St. Cecilia Cathedral is really two organs, a mean-tone instrument and a well-tempered instrument on which it is possible to play a program in ancient and modern temperaments. The program opened with the variation set by Jan Pieterszoon Sweelinck, Est-ce Mars, followed by Intabulation on Alleluja, laudem dicte Deo nostro by Heinrich Scheidemann and Praeludium in G Minor, BuxWV 150, by Dieterich Buxtehude. Edgington made these works come alive with her precise articulation and colorful registrations, which were heightened by the meantone tuning.

She then turned to living women composers for the remainder of the hour: Patricia Van Ness, Cecilia McDowall, Rachel Laurin, and Margaret Sandresky. The Laurin pieces, “Fugue on a Bird’s Song” and “Scherzetto,” were taken from the Twelve Short Pieces, op. 64 (2012). The light, vivacious gestures in both pieces reached to the highest range of the keyboard and delighted the audience with their humor and rhythmic verve. Sandresky’s “And David danced before the ark of the Lord,” from Five Sacred Dances (1998), drew a fiery and powerful performance from the recitalist.

Chamber music played by the women’s ensemble, I, the Siren—Darci Gamerl, oboe, and Stacie Haneline, piano—was featured in the late morning performance in the nave of St. Cecilia Cathedral. The musicians presented works by Bach, Mahler, Clara Schumann, Amy Beach, and Alyssa Morris. The splendid ensemble playing, sparkling dialogue, and nuanced phrasing were such a pleasure for the audience, as these Omaha-based musicians have collaborated for many years.

Our keynote address was provided by Wilma Jensen from Nashville, Tennessee. Jensen was the music director at St. George Episcopal Church in Nashville and taught organ at Oklahoma City University, Vanderbilt University, and Indiana University. Her lively and amusing address focused upon healthy keyboard technique. She emphasized, “Each finger swings freely from the knuckle to the key, while the thumb rotates to the key to play. The thumb does not lift to play. Separating the action of the thumb from that of the fingers is often one of the most difficult tasks for keyboardists.” She demonstrated at both the organ and the piano, as we were in a classroom at the St. Cecilia Institute adjacent to the cathedral, which has a fine small pipe organ and a piano. The organ was built in 2000 by Darron Wissinger of New Hampshire and revoiced by Hal Gober in 2009 for its installation at St. Cecilia. 

Jensen encouraged organists to practice wisely using a gradual method for tempo. “Once I know a passage thoroughly at a slow tempo, I take it a little faster, generally only two metronome numbers, so that the mind and hands hardly notice the change. At each playing I increase the speed by two metronome numbers until I reach a limit where I can still deliver the passage accurately but can’t exceed the speed. There I stop.” Jensen also drew attention to resources for ordinary touch of Baroque keyboard music and cited texts by Quentin Faulkner, J. S. Bach’s Keyboard Technique: A Historical Introduction, and Organ Technique Modern and Early by George Ritchie and George Stauffer, as well as texts by Jon Laukvik, John Brock, and Sandra Soderlund.

Musforum provided luncheon each day and a wine and cheese gathering on Thursday afternoon. These social occasions are as important as the musical events, as they give everyone a chance to get to know each other and discuss our work in a relaxed and informal setting. One of the problems for women who are organists is that we are separated by great distances and do not have regular opportunity for the conversations that we enjoyed at the conference. The conference schedule is deliberately arranged so that we all attend every event and we all have sufficient time to meet our colleagues.

Organist Elisa Bickers and the Bach Aria Soloists from Kansas City performed on Thursday afternoon in St. Cecilia Cathedral. Soprano Sarah Tannehill Anderson joined the violinists and organist in arias by Claudio Monteverdi, Si dolce è’l tormento, and G. F. Handel, Da Tempeste il legno infrante from the cantata Giulio Cesare in Egitto, HWV 17. Bickers performed the Variations on John Dowland’s ‘The Prince of Denmark’s Galliard’ by Samuel Scheidt and Toccata in F Major, BuxWV 156, by Dieterich Buxehude. The varied program also included chorale preludes, Herzlich tut mich verlangen by Pamela Decker and Wo Gott der Herr nicht bei uns halt by Cecilia McDowall. The concert concluded with Prayer by Olufela Sowande and Nun danket alle Gott by Egil Hovland. The rich variety of the repertoire was the hallmark of the programming, and this factor drew many people from the general Omaha community to all of the performances. 

The afternoon session concluded with a reading session: “Women Composers for Lent” presented by Stacie Lightner. Lightner serves as director of music at St. Martin’s Lutheran Church in Annapolis, Maryland. During the workshop, we sang a number of the choral works listed in the extensive 12-page resource guide, which included both choral music and organ literature appropriate for the liturgical season of Lent, all composed by women.

The St. Cecilia Cathedral Choir under the direction of Marie Rubis Bauer presented an inspiring evening concert, which included choral music by Omaha composers J. Michael McCabe, Marty Wheeler Burnett, and Marie Rubis Bauer. Music arranged by Alice Parker, Hark, I Hear the Harps Eternal and Be Thou My Vision, as well as the Messe pour deux voix egales, op. 167, by Cécile Chaminade were featured in the program. Rubis Bauer played Ave Maris Stella by Girolamo Cavazzoni as the prelude and “Dialogue sur les grandes Jeux” from Ave Maris Stella by Nicolas De Grigny as the postlude. Certainly one of the most inspiring moments was provided by 12-year old Gianna Manhart playing Galleries ancient by Dennis Janzer. The beautiful music from the Latin Office, “O Caecilia felix! O felix Caecilia!” began the concert, and the audience sang Magnificat on the Fifth Tone by Kevin C. Vogt at the conclusion.

Friday, June 9

Our Friday morning session at Dundee Presbyterian Church began with a fine organ recital by Chelsea Vaught, music director and organist at First Presbyterian Church in Fort Wayne, Indiana, followed by a lecture/recital by Catherine Rodland on the choir and organ traditions at St. Olaf College, Northfield, Minnesota. The morning concluded with three young women organists currently enrolled in graduate study, playing a joint recital, with half hour segments for each performer: Sarah Johnson at Boston University, Yumiko Tatsuta at Indiana University, and Shayla Van Hal at the University of Kansas. The afternoon session began with a lively lecture on the more than 500 hymn texts written by Rae E. Whitney, presented by Marty Wheeler Burnett, who researched these texts for her doctoral dissertation. We learned about Whitney’s fascinating life story and sang a number of the hymn settings of her poetry together. There was also a professional quartet of singers who performed additional musical works set to Whitney poetry. Burnett emphasized the importance of including women’s voices when planning music for worship.

The afternoon concluded with a duo organ performance by Melody Steel and Ann Marie Rigler. Steel played Sanctuary by Gwyneth Walker as a solo selection, and Rigler performed Psalm 151 by Emma Lou Diemer as a soloist. The duo organist repertoire was powerful and very exciting: Variations on Veni Creator Spiritus by David Briggs, Martyrs: Dialogues on a Scottish Psalm-tune, op. 73, by Kenneth Leighton, and Rhapsody for Organ Duo by Naji Hakim. 

The gala final recital took place on Friday evening at St. Cecilia Cathedral featuring Lynne Davis, Crista Miller, and myself, Gail Archer. A well-known specialist in French repertoire, Davis began with “Offertoire sur les Grand Jeux” from the Mass of the Convents by François Couperin, followed with Choral II in Si mineur by César Franck, and concluded with Te Deum by Jeanne Demessieux. My own program featured Ceremonies Suite by Jennifer Higdon, Prelude and Fugue by Alexander Shaversaschvili, and Power Dance by Joan Tower. Tower and I worked together on this piece on the organ at Vassar College for nearly a year, and it was a great pleasure to play the work at this event. Crista Miller concluded the concert with works by Fanny Mendelssohn, Prelude in G Major, Pamela Decker, “Ubi Caritas” from Retablos, Brenda Portman, Trio on St. Helena, and Naji Hakim, “Rags” from Esquisses Persanes.

All women, no matter what age or point in their professional career, are welcome in the Musforum network. Women organists are cordially invited to join us by sending me an email: [email protected], and I will add your name to the free listserve. Women need to move forward in the field on the basis of merit: their education, skill, and accomplishment. The world will be enriched by our musical gifts, and we will lift up hearts and minds by the beauty and powerful inspiration of our song.

David Spicer is Minister of Music and the Arts at the First Church of Christ in Wethersfield, Connecticut and is chair and co-founder of the Albert Schweitzer Organ Festival/USA. He is a graduate of the Curtis Institute of Music and the Eastern Baptist Theological Seminary. He has been a member of the music faculty at Central Connecticut State University in New Britain, Connecticut and is House Organist at Hartford's Bushnell Memorial Arts Center.

The organ, IV/62 Austin, Opus 2403, is capable of playing a wide range of literature.

Tapes were sent in by June 1, and from these were selected two high school and four college finalists. Judges for the 2001 Festival were John Walker,  Cherry Rhodes, and Frederick Hohman.

Friday morning featured a tour of the Austin Organ Company in nearby Hartford. Special thanks to Kimberlee Austin, president, and her wonderful staff. Friday evening, the three judges joined with David Spicer, Minister of Music and the Arts at First Church of Christ and co-founder of the ASOF/ USA, in a celebration concert. Rev. T. Michael McDowell, Associate Minister, welcomed all to this fourth ASOF/USA. Opening the concert was the hymn tune Rock Harbor: "Let Heaven Rejoice." A new anthem, Psalm 150, by Connecticut composer Thomas Schmutzler, was presented by the Festival Choir. Words of welcome from Donald Croteau, Chair of the Board of Directors of the Albert Schweitzer Institute were followed by the anthem Neighbors, a melody from Ghana arranged by Austin C. Lovelace, with African drumming.

That anthem was in marked contrast to the new composition by another Connecticut composer, Elizabeth R. Austin, whose work for brass quintet and organ entitled A Triadic Tribute is based on several hymns that begin with do-mi-sol relationships. At one point, the brass players are called to leave their positions and roam around the hall while playing bits and pieces of the various hymn tunes. They then come together again and after a full organ hint of Wachet auf! the piece subsides to the quietest tones of the ensemble. The Thread City Brass Quintet joined David Spicer for this new work.

Following the Austin selection (no relation to the organ company!) the three judges were introduced. Then Cherry Rhodes played Four piezas para la Misa by José Lidón (1748-1827): Cantabile para organo al alzar en la Misa - Ofertorio - Elevación - Allegro.

The introduction of the six finalists and ASOF/USA sponsors followed, as did an introduction of guest dignitaries Roberta Bitgood, past national president of the American Guild of Organists, along with her daughter Grace and son-in-law Stuart; John Anthony, former district convener for Connecticut, Rhodes Island and Argentina for the New England Region AGO; Curt Hawkes, factory representative from Austin Organs, Inc.; Renée Louprette, Dean of the Hartford AGO Chapter; and David Harper, AGO treasurer and producer of the local organ radio program "The King of Instruments."

After these introductions, Judge Frederick Hohman played his own composition The Homecoming. Then an offertory anthem He Comes to Us by Jane Marshall and text by Albert Schweitzer was sung by the Festival Choir. For the postlude (all remained seated) John Walker played the Chorale with Variations on Nun danket alle Gott by Ronald Arnatt (written for John Walker). After this rousing finale, all were treated to a reception sponsored by the Albert Schweitzer Committee and the First Church Choir. On display were pictures of Albert Schweitzer in his Lamberane, Africa hospital, and also on display was the harmonium that he played there. These were on loan from Quinnipiac University in Hamden, Connecticut, which houses the Albert Schweitzer Institute. In addition, Austin Organs, Inc. had a display of recent installations and pipe organ mechanisms.

Saturday morning is the time traditionally reserved for the high school division competition. However, be-cause one finalist observed Sabbath beginning at sundown on Friday, the judges were able to adjudicate this finalist late Friday afternoon and the other finalist on Saturday. In the high school division first place went to Christopher Johnson of Dickinson, Texas (a student of Marjorie Rasche). He received an award of $1000 sponsored by Fleet Bank of Hartford; second place, Tamara Logan of Fresno, California (a student of Aran Vartanian), received an award of $500 sponsored by Anne and Walter Kelly of Glastonbury, CT.

The college division competition on Saturday was held from 11:00 a.m. to 1:00 p.m. and 2:00 to 4:00 p.m. First place went to Thomas Schuster of Leonard, Michigan (a student of Ray Ferguson, Wayne State University), the Austin Grand Prize of $2000 sponsored by Austin Organs, Inc. of Hartford. Second place, Hyo Kun Kang of Palisades Park, New Jersey (a student of John Weaver, the Juilliard School), $1000 sponsored by Dutch Point Credit Union, Wethersfield; third place, Stephen Scarlato of Ellington, Connecticut (a student of Larry Allen, the Hartt School at the University of Harford), $500 by the Hartford AGO Chapter; honorable mention, Joshua Hearn of Denver, Iowa (a student of Marilou Kratzenstein, University of Northern Iowa), $300 sponsored in part by the Wethersfield Committee on Culture and the Arts.

After this very long day, the judges and finalists and members of the ASOF/USA Committee were treated to a marvelous dinner by Dana Spicer at Wethersfield's "Mainly Tea." Mrs. Spicer is co-owner of this establishment.

Sunday morning, preludes and postludes were presented by the finalists at the services of worship at the First Church of Christ. At the 8:00 a.m. service, Hyo Kun Kang played Prelude in a minor by J.S. Bach for the prelude and the Fugue (BWV 543) for the postlude. Tamara Logan played "The Peace May Be Exchanged" from Rubrics by Dan Locklair for the offertory.

At the 9:15 a.m. service, Tamara Logan played Prelude in G Major by J.S. Bach for the prelude and the Fugue in G Major (BWV 541) for the postlude. At the 11:00 a.m. service Stephen Scarlato played Dan Locklair's Jubilo: A Prelude for Organ for the prelude and Joshua Hearn played J. S. Bach's Fugue in G minor (BWV 542) for the postlude. Associate organist Bruce Henley played the service music at 8:00 a.m. and David Spicer the service music at 9:15 and 11:00 a.m.

The winner's recital was held on Sunday afternoon at 4:00 p.m. During this time awards were presented to the finalists by the sponsors and to the host families. The first place winners in both divisions were featured in recital. Christopher Johnson opened the program with the hymn tune St. Thomas (a theme of this festival) and then played Concerto in a minor, Vivaldi/Bach (BWV 593); Pange Lingua, Verbum Caro and Tantum Ergo (from Pange Lingua), Hakim; and Andante Sostenuto (from Gothic Symphony), Widor. Thomas Schuster played Choral No. 1, Franck, then all in attendance joined as he led in the singing of the hymn tune Coronation. He ended the recital with a brilliant rendition of Anton Heiller's Tanz-Toccata.

We wish to thank Nancy Andersen, the festival coordinator, for her many areas of expertise and hard work. Also, we give a special "thank you" to Bon Smith of Austin Organ Service Company of Avon, Connecticut for the gift of tuning and maintenance of the Austin organ used in this festival. We wish to thank the following for the use of their instruments for additional practice: St. Paul's Lutheran Church, Wethersfield, Rev. Hugh Haffenneffer, pastor and Melissa Cheney, organist; and Sacred Heart Roman Catholic Church, Wethersfield, Father Thomas Campion, pastor, Deacon Seth English and Thaddeus Terzo, organist. Curt Hawkes and Gordon Auchincloss of the Austin Organ Company deserve a note of appreciation for their assistance with this festival.

Our emotions, so high from this time of music making, plummeted to the depths two days later on September 11, with the terrorists' attacks on New York City, Washington, D.C. and Pennsylvania. We praise God that all finalists, their families and our judges arrived home safely. Albert Schweitzer's philosophy of "Reverence for Life" never seemed so germane.

Next year's ASOF/USA dates are September 6-8, 2002. Entry deadline is June 1.

Martha Novak Clinkscale, American musicologist and researcher in the history of the early piano, died in Dallas on April 24 from injuries sustained in an automobile accident. Born in Akron, Ohio (June 16, 1933), Dr. Clinkscale held piano performance degrees from the University of Louisville (Kentucky) and Yale University, and the PhD in musicology from the University of Minnesota. Her two-volume study Makers of the Piano 1700–1820 and Makers of the Piano 1820–1860 (both published by Oxford University Press) comprises nearly a thousand pages of carefully detailed information about extant instruments: an invaluable and oft-quoted source.
The introductory essays to these books immediately reveal both a mastery of vocabulary and the wide-ranging extent and geographical distribution of the many colleagues who contributed information about the instruments listed. Two short examples from the second volume: “Those musicians who preferred the caress of the clavichord’s tangent found in the early square pianoforte a felicitous addition to their musical experience” (p. ix); “[This book] is not intended to be a frivolous addition to its owners’ libraries. It seeks to inform . . .” (p. x).
Precise and carefully crafted prose as well as the avowed intent to maintain a consistency of style were also hallmarks of the author’s approach to life. John Watson, creator of the technical drawings accompanying the second volume and primary collaborator in a related online database Early Pianos 1720–1860, summed it up succinctly: “She was an elegant woman.”
Martha Clinkscale served the American musical community in many capacities, including as editor of the Journal of the American Musical Instrument Society (1993–6) and as treasurer of the Southeastern Historical Keyboard Society (2004–8). She taught at the University of California, Riverside (1979–96) and the Meadows School of the Arts at Southern Methodist University (1998–2004), where she was also a member of the organ department’s examining juries each semester of her years in Dallas.
Survivors include daughter Lise Loeffler-Welton and son Thor Loeffler, as well as professional colleagues and friends on both sides of the Atlantic Ocean.
—Larry Palmer

Anna G. Fiore-Smith died in Fall River, Rhode Island, on November 11, 2009, at the age of 81. She studied piano at the New England Conservatory and the Juilliard School, and studied organ with Homer Humphrey and later with George Faxon at the New England Conservatory; she also studied with Nadia Boulanger at Fontainebleau, France, winning first prizes in piano, organ, chamber music, and solfège. Fiore-Smith served as organist and choir director at St. Stephen’s Church, the Church of the Ascension, and Temple Beth El, all in Providence, R.I., and later at the Barrington Congregational Church; she also taught organ at Barrington College. A former dean of the Rhode Island AGO chapter, her name was given to a chapter award that is bestowed on a member organist who typifies her devotion to the organ. She was also active in the Greater Fall River Symphony Society, and was a member of its first executive board. Anna G. Fiore-Smith was preceded in death by her husband, Harold N. Smith; she is survived by her brother and sister-in-law, Faust D. and Susanne Fiore, and many nieces and nephews.

Martin Owen Gemoets died on February 3 in Galveston, Texas. He was 42. He earned a bachelor’s degree at the University of Houston, and a master’s degree in organ from the University of North Texas at Denton in 1996. A member of the Dallas and later Fort Worth AGO chapter, Gemoets held the AAGO and ChM certifications and promoted interest in the certification exams, writing articles on music history for the Fort Worth chapter’s newsletter. He was working toward his FAGO certification. He had recently relocated to Galveston. Martin Owen Gemoets was interred next to his father in Houston during a private graveside service.

Donald M. Gillett died April 3 in Hagerstown, Maryland, at the age of 90. He was the last president of the Aeolian-Skinner Organ Company of Boston, Massachusetts, which closed in 1972. Born April 8, 1919, in Southwick, Massachusetts, he earned a degree in business administration from the University of Maryland. He served four years in the Army Air Corps, stationed in Midland, Texas, as a chaplain’s assistant.
Don’s musical interest started when he was four years old, his parents having taken him to a number of organ recitals at the Municipal Auditorium in Springfield, Massachusetts. He started piano lessons at age six with Dorothy Mulroney, the Municipal Auditorium organist. After moving to Washington, D.C., he studied piano and organ with Lewis Atwater, organist at All Souls Unitarian Church and also Washington Hebrew Congregation. Don’s interest in organbuilding also started with the study of the organ.
His first organbuilding job was with Lewis & Hitchcock in Washington, D.C. Four years later in 1951, with a desire to learn voicing and tonal finishing, he was hired at Aeolian-Skinner, working under G. Donald Harrison and reed voicer Herbert Pratt. In later years, Don became a vice president and head tonal finisher. Upon the retirement of Joseph Whiteford in 1968, Don was offered the opportunity to buy up controlling interest in Aeolian-Skinner, and then became president and tonal director.
In the early 1970s, Aeolian-Skinner was building its last three instruments: St. Bartholomew’s NYC, Trinity Wall Street, and the Kennedy Center in Washington, D.C. The company was in the final stages of Chapter 11 and eventual closing. Don’s last finishing for Aeolian-Skinner was the Kennedy Center.
In March 1972, Riley Daniels, president of the M. P. Möller Organ Company in Hagerstown, offered Don a job at Möller as head flue pipe voicer. After the death of John Hose, Möller’s tonal director, Don became tonal director, and eventually vice president. He retired from Möller in 1991.
Also an avid art collector, he served on the Board of Directors of the Washington County (Maryland) Museum of Fine Arts. Donald M. Gillett is survived by his companion of 40 years, Warren S. Goding of Hagerstown; sister-in-law, Jane Mace of Palm City, Florida; and cousin, Mary Davis of Fort Lee, New Jersey.
—Irv Lawless
Hagerstown, Maryland

Frances M. Heusinkveld, 83 years old, died February 22 in Forest City, Iowa. She attended Northwestern Junior College in Orange City, Iowa, and Central College in Pella, where she studied piano and began organ lessons. She pursued a master’s degree in piano at the University of Iowa and later eared a Ph.D. in organ literature there. Heusinkveld taught in various schools in Iowa, including Upper Iowa University and for 33 years at Buena Vista College in Storm Lake, where she taught theory, music appreciation, piano, and organ. She was also organist of the United Methodist Church in Storm Lake, where she helped the church install a Bedient organ in 2002. Heusinkveld earned the Service Playing, Colleague, and AAGO certifications, and served as dean of the Buena Vista AGO chapter; she also played the cello and was a member of the Cherokee Symphony Orchestra. She enjoyed the study of foreign languages and traveled extensively. Frances M. Heusinkveld is survived by two brothers and many nieces and nephews.

Richard Dunn Howell died January 26 in Dallas. He was 78. Born in Great Bend, Kansas, he began playing for church services at Grace Presbyterian Church in Wichita at the age of 13. He graduated from Wichita University in 1954 and Perkins School of Theology at Southern Methodist University in 1957; he received a master of sacred music degree from Southern Methodist University in 1966. Howell taught elementary music in Richardson and Dallas, and played for many children’s, youth, and adult choirs. He also directed various handbell ensembles. In the course of his activities, he worked with Austin Lovelace and Lloyd Pfautsch. Richard Dunn Howell is survived by his wife of 52 years, Bradley Sue, three children, and three grandchildren.

Austin C. Lovelace, composer and church organist, and Minister of Music, Emeritus, at Wellshire Presbyterian Church in Denver, died April 25 at the age of 91. Born March 26, 1919, in Rutherfordton, North Carolina, he began serving as a church organist when he was 15 and went on to do workshops and recitals in 45 states and six countries. He earned his bachelor’s degree in music at High Point College in North Carolina in 1939 and his master’s (1941) and doctorate (1950) in sacred music from Union Theological Seminary in New York City.
Lovelace was a chaplain’s assistant in the Navy and served as minister of music at a number of churches, including First Baptist Church and First Methodist in High Point, North Carolina; Holy Trinity Episcopal, Lincoln, Nebraska; Myers Park Presbyterian Church and Myers Park Baptist, Charlotte, North Carolina; First Presbyterian Church, Greensboro; First Methodist, Evanston, Illinois; Christ Methodist, New York City; Lover’s Lane Methodist in Dallas, and Montview Boulevard Presbyterian Church and Wellshire Presbyterian in Denver.
He was still filling in as organist at area churches when he was 87. He taught at several colleges, including Queen’s College and Davidson College in North Carolina, Union Theological Seminary, Iliff School of Theology in Denver, and Garrett Theological Seminary in Evanston, Illinois.
Lovelace was fond of jazz. Twice, he had Dave Brubeck and Duke Ellington, both with their bands, join the choir at Montview Boulevard Presbyterian Church for performances. Lovelace, known for his sense of humor, wrote five books, including “Hymns That Jesus Would Not Have Liked.” A prolific writer and composer, Lovelace has several hundred compositions in print, as well as numerous articles and books on church hymnody; he was involved with twenty denominations in the development of their hymnals. A past president and Fellow of the Hymn Society of America, Lovelace was also active in the American Guild of Organists, including serving as dean of the North Shore chapter. In 2009 he received the American Music Research Center’s Distinguished Achievement Award, and was honored by the Denver Chapter of the American Guild of Organists with a hymn festival.
Austin Lovelace is survived by his wife of 69 years, Pauline Palmer (“Polly”) Lovelace, daughter Barbara Lovelace Williams, and a grandson.