Stanley Sadie dead at 74

Nunc Dimittis

Margaret Smith McAlister died September 11, 2017. Born November 20, 1923, she was a lifelong resident of Tampa, Florida. McAlister’s early organ study began at the age of 13 with Nella Crandall, organist of First Christian Church, Tampa. At age 14, McAlister became organist at Highland Avenue Methodist Church. She earned her bachelor’s degree in music education and a certificate in organ studies from Florida State College for Women (now Florida State University), where she studied with Margaret Whitney Dow and Ramona Beard. Her organ studies continued as a graduate student at The Juilliard School in New York City with Vernon de Tar.

In 1947, McAlister became organist at First Presbyterian Church, Tampa, where she served faithfully until her retirement in 2012. During her 65-year tenure at the church, she also served as music director at various times. She served two terms as dean of the Tampa Chapter of the American Guild of Organists and several terms as AGO district convener for Florida. Each year, the Tampa Chapter of the AGO provides a scholarship in McAlister’s name to a local organ student. 

McAlister was a member of Pi Kappa Lambda, national music honorary, and was a member of the music faculties at University of Tampa and Clearwater Christian College. She served as music department accompanist for 25 years at Hillsborough Community College, Ybor Campus, Tampa. McAlister served as state chairman and member of the national executive board of the Presbyterian Association of Musicians, and was a Certified Associate Church Musician in that organization. McAlister also served as a member of the worship subcommittee of the Presbytery of Tampa Bay.

Margaret Smith McAlister is survived by a sister, six children, seven grandchildren, and three great grandchildren. A funeral service was held September 23 at First Presbyterian Church, Tampa. The choir, which she had accompanied for 65 years, performed her favorite anthem, My Eternal King, by Jane Marshall, as well as two responses composed by McAlister.

Hugh John McLean, organist, choirmaster, and musicologist, died July 30, 2017, in Naples, Florida. He was born in Winnipeg, Manitoba, Canada, on January 5, 1930. McLean began organ study as a teenager with Hugh Bancroft in Vancouver. At age 15, he was appointed organist to St. Luke’s Anglican Church, Winnipeg, and at 17, presented his first broadcast organ recital on CBC. Attending the Royal College of Music, England, on an organ scholarship in 1949, studying with Arthur Benjamin (piano), William Harris (organ), and W. S. Lloyd Webber (composition), McLean was the first Canadian to be named Mann Organ Scholar at King’s College Chapel, Cambridge, under Boris Ord, 1951–1956. He made his London debut in 1955 at the Royal Festival Hall with Adrian Boult and the London Philharmonic Orchestra in the premiere of Malcolm Arnold’s Organ Concerto, a command performance in the presence of Queen Elizabeth II. Returning to Vancouver, Hugh served as organist and choirmaster at Ryerson United Church (1957–1973). He founded and conducted the Vancouver Cantata Singers, the Hugh McLean Consort, and the CBC Vancouver Singers. He taught at the universities of Victoria (1967–1969) and British Columbia (1969–1973) before joining the faculty of music at the University of Western Ontario, London. While at Western (1973–1995) he served as dean (1973–1980) and taught organ, harpsichord, and music history. During his tenure as organist at St. John the Evangelist, London, he collaborated with organbuilder Gabriel Kney on the installation of an organ for the church, and again for the Roy Thompson Hall organ, Toronto, performing at the instrument’s inaugural gala concert in 1985.

McLean retired from University of Western Ontario to assume the post of organist and choirmaster at All Saints’ Episcopal Church, Winter Park, Florida (1995–2010). The parish Senior Choir undertook four summer sojourns as guest choir in residence in Anglican cathedrals of the UK and Ireland. In addition to broadcasts on the CBC, McLean also broadcast with the BBC, the Australian Broadcasting Corporation, Swiss Radio, and NHK Japan. The first Canadian organist to tour the USSR, he also performed in San Francisco, Los Angeles, Chicago, and two of Bach’s churches (Muhlhausen and Leipzig’s Thomaskirche). He gave many Canadian premieres including Hindemith’s Organ Concertos No. 1 and No. 2, Vancouver (1970–1972) and appeared as organ soloist with the Toronto Symphony in 1979, 1982, and 1985. Specializing in 17th- and 18th-century musicology studies and awarded Canada Council grants to research at archives in Japan, Poland, and the the former East Germany, he served on the editorial board of the new C. P. E. Bach edition and wrote 19 articles for the New Grove Dictionary of Music and Musicians.

Hugh John McLean is survived by his wife, Florence Anne, and their children, Ross Alan and Olivia Anne, his sons Robert Andreas, John Stuart, and Hugh Dundas (by his late wife, Gunlaug Julie Gaberg), nine grandchildren, two sisters, and several nieces and nephews.

Lukas Foss, composer, performer, and teacher, died in New York on February 2. He was 86. German-born, Foss was trained in Germany, in Paris, and at the Curtis Institute in Philadelphia; he had studied composition with Randall Thompson and Paul Hindemith, and conducting with Fritz Reiner and Serge Koussevitzky. Known for composing in different musical styles, he often combined past and present influences and techniques. He served as the pianist of the Boston Symphony Orchestra from 1944–50, and he conducted numerous orchestras including the Brooklyn Philharmonic, the Jerusalem Symphony, and the Milwaukee Symphony. He taught composition and conducting at UCLA from 1953–62 and had served as composer-in-residence at Carnegie-Mellon University, Harvard University, the Manhattan School of Music, Yale University, and Boston University. Foss’s compositional output included many orchestral, chamber, and choral works, as well as several works for piano, and two organ compositions, Four Etudes (1967) and War and Peace (1995). Lukas Foss is survived by his wife Cornelia.

James Barclay Hartman died on January 23 at the age of 84. He was predeceased by his wife Pamela in 1983. Born in Winnipeg, Manitoba, Canada on January 12, 1925, he was educated at the University of Manitoba (BA 1948, MA 1951), Brown University, Providence, Rhode Island, and Northwestern University, Evanston, Illinois (Ph.D.). He began a teaching career at Iowa State University, Ames, Iowa, returning to Canada in 1967 to teach at Scarborough College, University of Toronto. In 1974 he was appointed director of development and external affairs at Algoma University College, Laurentian University in Sault Ste. Marie, Ontario, and in 1980 joined the Continuing Education Division at the University of Manitoba as associate professor and director, humanities and professional studies. At the time of his retirement he held the position of senior academic editor.
A skilled photographer, he did commercial photography to help finance his university education. His great passion was music, especially the music of J. S. Bach, and in particular the works for organ and for harpsichord, both of which he played. He served for many years as book reviewer for The Diapason, and authored reviews and articles for numerous academic journals. His chief publication was the book The Organ in Manitoba, published by the University of Manitoba Press in 1997.
Dr. Hartman’s articles published in The Diapason include: “The World of the Organ on the Internet” (February 2005); “Alternative Organists” (July 2004); “Seven Outstanding Canadian Organists of the Past” (September 2002); “Families of Professional Organists in Canada” (May 2002); “Organ Recital Repertoire: Now and Then” (November 2001); “Prodigy Organists of the Past” (December 2000); “Canadian Organbuilding” (Part 1, May 1999; Part 2, June 1999); “Purcell’s Tercentenary in Print: Recent Books” (Part I, November 1997; Part II, December 1997); “The Golden Age of the Organ in Manitoba: 1875–1919” (Part 1, May 1997; Part 2, June 1997); “The Organ: An American Journal, 1892–1894” (December 1995); and “The Search for Authenticity in Music—An Elusive Ideal?” (June 1993).

Thomas A. Klug, age 61, died suddenly at his home in Minneapolis on January 8. He received his bachelor’s degree in music from Lawrence University in Appleton, Wisconsin, and his master’s degree from Northwestern University, Evanston, Illinois. An accomplished organist for 44 years, he began his musical career at St. Michael’s United Church of Christ in West Chicago, Illinois. He went on to serve the First United Methodist Church in Elgin, Illinois, Olivet Congregational Church in St. Paul, Minnesota, and most recently was the organist for 20 years at St. Michael’s Lutheran Church in Roseville, Minnesota. Tom was a member of the American Guild of Organists and the Organ Historical Society, an outdoor enthusiast, gardener, and an accomplished cook. He will be deeply missed by his family and friends. A memorial service was held January 13 at St. Michael’s Lutheran Church, Roseville. He is survived by his parents, Armin and Marjorie Klug, brothers Kenneth (Cindy) and James (Diane Donahue), five nieces and nephews, one great-niece, and special friend Doug Erickson.
—Frank Rippl

Dutch organist and musicologist Ewald Kooiman died on January 25, on vacation in Egypt. He died in his sleep; the cause was heart failure.
Ewald Kooiman was born on June 14, 1938 in Wormer, just north of Amsterdam. He studied French at the VU University in Amsterdam and at the University of Poitiers, taking the doctorate in 1975 with a dissertation on the Tombel de Chartrose, a medieval collection of saints’ lives. He then taught Old French at the VU University, where he was appointed Professor of Organ Art in 1988.
As a teenager, Kooiman studied organ with Klaas Bakker. After passing the State Examination and encouraged by members of the committee to pursue music studies at a higher level, he continued with Piet Kee at the Conservatory of Amsterdam, earning a Prix d’Excellence—the equivalent of a doctorate—in 1969. While studying French at Poitiers, he simultaneously studied organ with Jean Langlais at the Paris Schola Cantorum, taking the Prix de Virtuosité in 1963.
Kooiman had a long and impressive international career as a concert organist. He twice recorded the complete organ works of Bach—first on LP, then on CD—and was awarded the Prize of German Record Critics in 2003. He was in the midst of recording his third complete Bach set—on SACD, using Silbermann organs in Alsace—which was scheduled to come out in late 2009 or early 2010.
Although Bach was at the heart of his musical activities, Kooiman took an interest in many other parts of the organ repertoire, for example the French Baroque. His study of this repertoire and the relevant treatises was, of course, greatly facilitated by his knowledge of the French language. His interest in the French Baroque organ also led to the construction of the so-called Couperin Organ (Koenig/Fontijn & Gaal, 1973) in the auditorium of the VU University.
But he also loved playing—and teaching—Reger and Reubke; he very much enjoyed learning Widor’s Symphonie gothique when he was asked to play the work as part of a complete Widor series in Germany; and he admitted to having “a weak spot” for Guilmant’s Variations on “Was Gott tut das ist wohlgetan.”
As a scholar, Kooiman edited some 50 volumes of mostly unknown organ music in the series Incognita Organo (published by the Dutch publisher Harmonia). Much of the series was devoted to organ music of the second half of the eighteenth and of the early nineteenth century, traditionally considered a low point in history of organ music. He also published widely on eighteenth- and nineteenth-century performance practice, mainly in the Dutch journal Het Orgel. His inaugural address as Professor of Organ Art was about the nineteenth-century roots of the French Bach tradition.
Besides teaching at the famous International Summer Academy for Organists at Haarlem—at first French Baroque repertoire, later Bach—Ewald Kooiman was for many years chairman of the jury for the improvisation competition in the same city. His fluency—besides French—in English and German and his ability to listen critically to the opinions of his colleagues made him the ideal person for such a job.
Although he was never the titulaire of one of the major historical Dutch organs, Kooiman served as University Organist of the VU University, playing the Couperin Organ in recitals and for university functions. But he also played organ for the Sunday morning services in the chapel of the university hospital.
In 1986, Kooiman succeeded Piet Kee as Professor of Organ at the Conservatory of Amsterdam, mostly teaching international students at the graduate level. I had the pleasure of studying with him for three years before graduating with a BM in 1989, having previously studied with Piet Kee for two years. Although much time was naturally spent with Bach—I learned at least two trio sonatas with him—he also taught later repertoire very well: Mozart, Mendelssohn, Reubke, Reger, Hindemith, Franck, and Alain come to mind. From time to time, I had to play a little recital, and he personally took care of “organizing” an audience by inviting his family.
As Professor Ars Organi at the VU University, Ewald was the adviser for three Ph.D. dissertations, all dealing with organ art at the dawn of Modernism: Hans Fidom’s “Diversity in Unity: Discussions on Organ Building in Germany 1880–1918” (2002); David Adams’s “‘Modern’ Organ Style in Karl Straube’s Reger Editions” (2007); and most recently René Verwer’s “Cavaillé-Coll and The Netherlands 1875–1924” (2008).
Ewald Kooiman was a Knight in the Order of the Dutch Lion; an honorary member of the Royal Dutch Society of Organists; and a bearer of the Medal of Merit of the City of Haarlem. For his 70th birthday, the VU University organized a conference in his honor and a group of prominent colleagues—including American Bach scholars Christoph Wolff and George Stauffer—offered him a collection of essays entitled Pro Organo Pleno (Veenhuizen: Boeijenga, 2008). Piet Kee’s contribution was the organ work Seventy Chords (and Some More) for Ewald. Earlier, Cor Kee (Piet’s father, the famous improviser and improvisation teacher) had dedicated his Couperin Suite (1980) as well as several short pieces to Ewald.
Though clearly part of a tradition and full of respect for his teachers, Kooiman was in many ways an individualist. He enjoyed frequent work-outs at the gym, not only because it kept him physically fit and helped him deal with the ergonomic challenges of playing historic organs, but also because he liked talking with “regular” people. Among colleagues—particularly in Germany—he was famous for wearing sneakers instead of more orthodox organ shoes. One of his favorite stories about his studies with Langlais was that the latter was keen on teaching him how to improvise a toccata à la française, a genre that Kooiman described as “knockabout-at-the-organ”—not exactly his cup of tea. “Non maître, je n’aime pas tellement ça,” he claimed to have answered: “No professor, I don’t like that too much.”
Ewald Kooiman is survived by his wife Truus, their children Peter and Mirjam, and two grandchildren. The funeral service took place at the Westerkerk in Amsterdam on February 4.
—Jan-Piet Knijff

Joseph F. MacFarland, 86, died on December 29, 2008, at the Westport Health Care Center in Westport, Connecticut. A native and lifelong resident of Norwalk, Connecticut, he was born on February 14, 1922. He earned bachelor’s and master’s degrees from the Juilliard School in New York, and studied organ with David McK. Williams and Jack Ossewarde at St. Bartholomew’s Church. For 56 years MacFarland served as organist-choirmaster at the First Congregational Church on the Green in Norwalk. He also was the accompanist for the Wilton Playshop, Staples High School, and Norwalk High School. He was a lifelong member of First United Methodist Church, Norwalk, Connecticut, and a member of the Bridgeport AGO chapter. He was a veteran of World War II, having served in the U.S. Army Air Corps.

Richard H. (Dick) Peterson died at age 83 on January 29, fourteen years after suffering a debilitating stroke. Besides spending time with Carol, his devoted wife of 53 years, and with his other family members, Richard’s greatest passion in life was applying modern technology to pipe organ building. His goal was always to make organs better, more affordable, and consequently more available for people to enjoy. During his long and prolific career, he was awarded over 70 U.S. and foreign patents.
Dick Peterson was born on February 26, 1925 in Chicago. He served in the U.S. Army as a radio engineer from 1943 until 1946 and studied electronics at the City College of New York. While stationed in New York City, he often visited Radio City Music Hall and loved the room-filling sound of the organ there while also being fascinated by the mechanics of pipe organs. It was during that time that he told his parents his goal in life was to “perfect the organ.”
Mr. Peterson soon co-founded the Haygren Church Organ Company in Chicago, which built 50 electronic organs for churches all around the Midwest. Soon thereafter, he founded Peterson Electro-Musical Products, currently in Alsip, Illinois. In 1952, he presented a prototype spinet electronic organ to the Gulbransen Piano Company. Gulbransen’s president was thrilled with the sound of the instrument, and they soon negotiated an arrangement where Richard would help the piano company get into the organ business and, as an independent contractor, he would develop and license technology to be used in building a line of classical and theatre-style home organs for Gulbransen to sell. One particularly notable accomplishment was Gulbransen’s introduction of the world’s first fully transistorized organ at a trade show in 1957. Gulbransen would ultimately sell well over 100,000 organs based on Peterson inventions.
Meanwhile, many of Peterson’s developments for electronic organs evolved into applications for real pipe organs. Especially notable among over 50 of Dick’s innovative products for the pipe organ are the first digital record/playback system; the first widely used modular solid state switching system; the DuoSet solid state combination action; a line of “pedal extension” 16-foot and 32-foot voices; and the first commercially available electronic swell shade operator. Many thousands of pipe organs worldwide utilize control equipment that is the direct result of Richard’s pioneering efforts. Also carrying his name is a family of musical instrument tuners familiar to countless thousands of school band students and widely respected by professional musicians, recording artists, musical instrument manufacturers and technicians.
In the 1950s, Dick Peterson enjoyed learning to fly a Piper Cub airplane, and in more recent times preceding his illness enjoyed ham radio, boating, and restoring and driving his collection of vintage Volkswagens. He was a longtime member of Palos Park Presbyterian Community Church in his home town of Palos Park, Illinois.
Memorial donations may be made to the American Guild of Organists “New Organist Fund,” where a scholarship is being established in Richard Peterson’s name.
—Scott Peterson

William J. (Bill) Stephens, 84, of Lawrence, Kansas, died suddenly at home of heart failure on December 19, 2008. Born in Jacksonville, Texas on June 28, 1924, his organ playing career began at the Episcopal Church in Jacksonville while in his early teens. He later studied organ with Roy Perry in Kilgore, Texas, and became interested in organ building at the workshop of William Redmond in Dallas. He graduated from the University of North Texas in 1949 with a bachelor’s degree in organ, where he was a pupil of Helen Hewitt. Stephens served in the Navy during WWII as a gunner’s mate 2nd class in the Pacific theater. He subsequently studied organ at the University of Colorado, Boulder, where he was a teaching assistant in organ and a pupil of Everett Jay Hilty in organ and Cecil Effinger in theory.
Stephens taught public school music in south Texas, was the organist-choirmaster of Trinity Episcopal and Trinity Lutheran Churches in Victoria, Texas, and was south Texas representative for the Reuter Organ Company, Lawrence, Kansas. He married Mary Elizabeth Durett of Memphis, Tennessee, in Denton on November 19, 1946. In 1968 Bill moved his family to Lawrence, Kansas, and installed Reuter pipe organs in all of the 50 states except Alaska. He operated an organ building and maintenance service business, covering most of the Midwest. He was also organist-choirmaster at Grace Episcopal Church, Ottawa, Kansas, for three years.
During his years at Reuter he taught many young men the mechanics, care and feeding of pipe organs and was very proud of their work when they became full-fledged “Organ Men.” For 40 years he was curator of organs at Christ Church Cathedral, Houston, and was proud of the recognition he received upon retiring. He also took special pride in rebuilding the organ at Trinity Episcopal Church, Aurora, Illinois. It had been water-soaked and inoperable for 25 years. Kristopher Harris assisted, and Christopher Hathaway played the dedication recital November 11, 2001.
Bill Stephens was a member of the Organ Historical Society. He is survived by his wife, Mary Elizabeth Durett Stephens, five children, four grandchildren, and two great-grandchildren.
—Rumsey-Yost Funeral Home
Lawrence, Kansas

Marguerite Long Thal died December 5, 2008, in Sylvania, Ohio. She was 73. Born January 27, 1935, in Quinter, Kansas, she studied organ with Marilyn Mason at the University of Michigan, where she earned bachelor’s and master’s degrees in music. After graduation, she received a Fulbright grant to study in Paris, France for two years, where she attended the American University and studied with Jean Langlais and Nadia Boulanger. Returning to the U.S., she was appointed minister of music at the First Congregational Church in Toledo, Ohio, and taught organ at Bowling Green State University. In 1961, she married Roy Thal Jr., and they moved to Sylvania, where they remained for more than 40 years.
Active in the AGO, Mrs. Thal was a past dean of the Toledo chapter and served as Ohio district convener. She served as minister of music at Sylvania United Church of Christ for 18 years, gave many solo performances, and appeared with Prinzipal VI, a group of six organists who performed regionally. She is survived by her husband, Norman, two daughters, and three grandchildren.

Elise Murray Cambon died December 30, 2007, at Touro Infirmary, New Orleans, Louisiana. Dr. Cambon received a B.A. from Newcomb College in 1939, a Master of Music in organ from the University of Michigan (1947), and a Ph.D. from Tulane (1975). For 62 years she served St. Louis Cathedral as organist, music minister, and director of the St. Louis Cathedral Choir and Concert Choir. She was named Director Emerita in 2002.
A Fulbright Scholar, Dr. Cambon studied in Germany in 1953, attended Hochschule fur Musik in Frankfurt-am-Main, and continued her studies in organ with Helmut Walcha, harpsichord with Marie Jaeger Young, and conducting with Kurt Thomas. She also did post-graduate work at Syracuse University, Oberlin College, and Pius X School of Liturgical Music in Purchase, New York. She spent a summer at the Benedictine Abbey of Solesmes, France, studying Gregorian chant.
Dr. Cambon was a professor in Loyola’s College of Music (1961 to 1982), founding their Department of Liturgical Music, and also taught music at the Louise S. McGehee School and Ursuline Academy. She was one of the founders of the local chapter of the American Guild of Organists. She received the Order of Chevalier des Arts et des Lettres from the French government for encouraging French music in New Orleans. She led the St. Louis Cathedral Concert Choir on five pilgrimages to Europe, where they sang at St. Peter’s in Rome, Notre Dame de Paris, and other famous cathedrals and churches. In 2004, she made a gift of a new Holtkamp organ for the cathedral. Dr. Cambon was interviewed by Marijim Thoene for The Diapason (“Her Best Friends Were Archbishops—An interview with Elise Cambon, organist of New Orleans’ St. Louis Cathedral for 62 years,” October 2004).

Anita Jeanne Shiflett Graves died September 16, 2007, at age 86. Born September 20, 1920, in Lincoln, Illinois, she attended Macalester College in St. Paul, Minnesota, and earned a master’s degree in music at Northwestern University. She had worked as a church organist, choir director and funeral home organist, and taught at Drake University and San Jose State University. A funeral service was held at Campbell United Methodist Church in Campbell, California.

Kay Wood Haley died July 10, 2007, at age 90 in Fairhope, Alabama. Born March 26, 1917, in Sumner, Illinois, she began playing for church services in Flora, Alabama, at age 14. She attended Stephens College in Columbia, Missouri, and then transferred to the Eastman School of Music, where she studied with Harold Gleason and graduated in 1938. From 1939–1983, Mrs. Haley was organist at Judson College in Marion, Alabama, and at First Baptist, First Presbyterian, and St. Paul’s Episcopal churches, all in Selma, Alabama. She helped found the Selma Choral Society and the Selma Civic Chorus, and helped lead the Alabama Church Music Workshop.

Gerald W. Herman Sr. died August 25, 2007 at age 81 in Gainesville, Florida. Born November 9, 1925, he began his 61-year organist career on April 28, 1946, at Rockville United Brethren Church in Harrisburg, Pennsylvania, and played for several other churches in the area. A job transfer with Nationwide Insurance in 1979 brought him to Gainesville, Florida, where he served as organist at Kanapaha Presbyterian Church and then at Bethlehem Presbyterian Church in Archer, Florida. He is survived by his wife of 61 years, Charlotte, a daughter, and a son.

Theodore C. Herzel died September 28, 2007, in York, Pennsylvania. Born October 10, 1927, in Conshohocken, Pennsylvania, he held church positions in Lynchburg, Virginia, and Detroit, Michigan, and served as organist-director of music for 28 years at First Presbyterian Church, York, Pennsylvania, retiring in 1988. He earned a bachelor’s degree at Westminster Choir College and a master’s at the Eastman School of Music. He was an active member of the York AGO chapter and the Matinee Music Club.
H. Wiley Hitchcock, musicologist, author, teacher, editor and scholar of American as well as baroque music, died December 5 at the age of 84. In 1971 he founded the Institute for Studies in American Music at Brooklyn College of the City of New York, and in 1986 he edited, with Stanley Sadie, the New Grove Dictionary of American Music. He retired from CUNY in 1993 as a Distinguished Professor, but maintained a consulting relationship with ISAM until the end.
Born on September 28, 1923, in Detroit, Michigan, Hitchcock earned his B.A. in 1944 from Dartmouth College and served in the military during WW II. After the war he studied music with Nadia Boulanger at the Conservatoire Américan and at the University of Michigan, from which he earned his Ph.D. in 1954. His dissertation was on the sacred music of Marc-Antoine Charpentier.
He started teaching in 1950 at Michigan and in 1961 moved to Hunter College in New York. A decade later he went to Brooklyn College and became founding director of ISAM. In his honor, the ISAM is to be renamed the Hitchcock Institute for Studies in American Music. In addition to his work on Grove, Hitchcock edited numerous publications. His last book, Charles Ives: 129 Songs (Music of the United States of America), was published by A-R Editions in 2004.

Everett W. Leonard died June 9, 2007, in Katy, Texas, at age 96. Born March 4, 1911, in Franklin, New Hampshire, he began piano lessons at age nine and organ lessons in high school. He worked for 40 years for the U.S. Postal Service in Washington, DC. In addition, he served as organist at Central Presbyterian Church and Mount Olivet Methodist Church, both in Arlington, Virginia, and at the Episcopal Church of the Good Shepherd, Punta Gorda, Florida, and at the Lutheran Church of the Cross, Port Charlotte, Florida. A longtime member of the AGO, he served as dean of the District of Columbia chapter.

W. Gordon Marigold, longtime author and reviewer for The Diapason, died November 25, 2007, in Urbana, Illinois. Born May 24, 1926, in Toronto, he earned a B.A. and Ph.D. from the University of Toronto, and earned an M.A. from Ohio State University. He also studied in Munich, Germany. Dr. Marigold taught German at the University of Western Ontario, Trinity College Schools, the University of Virginia, and at Union College in Barbourville, Kentucky. At Union College, he was a department head, division chairman, and college organist, and he supervised the installation of a new organ by Randall Dyer in 1991. He retired as professor emeritus of German in 1991, and moved to Urbana, Illinois.
Dr. Marigold received his musical training in piano, organ, and voice at the Royal Conservatory of Music in Toronto, and in Munich. He served as organist at churches in Toronto, at First Methodist Church in Charlottesville, Virginia, where he gave an annual series of recitals, and churches in Columbus, Ohio. He was heard in radio organ recitals broadcast by station WOSU in Columbus, and played on the annual Bach recital at St. Andrew’s Lutheran Church in Champaign, Illinois.
Professor Marigold was an internationally known scholar of German Baroque literature and music, and author of five books, countless articles in scholarly journals (including The Diapason, Musical Opinion, and The Organ), hundreds of reviews of German literature for Germanic Notes and Reviews, and countless reviews of recordings and books for The Diapason. He was a recipient of many research grants for study and research in Germany.
Dr. Marigold is survived by his wife Constance Young Marigold, whom he married on August 22, 1953. A Requiem Eucharist was celebrated on December 1 at the Chapel of St. John the Divine in Champaign, Illinois. Linda Buzard, parish organist and choirmaster, provided music by Bach, Purcell, Byrd, and Willan, along with hymns Lobe den Herren, Austria, Slane, and Darwall’s 148th.
In addition to numerous reviews of new recordings and books, Dr. Marigold’s Diapason bibliography includes:
“Max Drischner and his organ writings: a neglected modern,” Oct 1955;
“Austrian church music experiences extensive revival,” May 1956;
“The organs at the Marienkirche at Lübeck,” Dec 1969;
“A visit to Preetz, Germany,” April 1971;
“Some interesting organs in Sweden,” May 1971;
“Organs and organ music of South Germany,” Oct 1974;
“Organs in Braunschweig: some problems of organ placement,” Aug 1982;
“18th-century organs in Kloster Muri, Switzerland,” Feb 1986;
“Organ and church music activity in Munich during the European Year of Music,” Aug 1986;
“A variety of recent German organs,” April 1989;
“Dyer organ for Union College, Barbourville, KY,” Dec 1991.
(Dr. Marigold continued to write reviews to within weeks of his death. The Diapason will publish these reviews posthumously.—Ed.)

Johnette Eakin Schuller died September 21, 2007, at age 66 in Brewster, Massachusetts. She earned degrees from the College of Wooster, Ohio, and the Eastman School of Music. She and her husband, Rodney D. Schuller, served for 31 years as ministers of sacred music and organists at the Reformed Church of Bronxville, New York. Johnette Schuller also held positions at Andrew Price Memorial United Methodist Church in Nashville, Tennessee; the Presbyterian Church in Bound Brook, New Jersey; the Post Chapel in Fort George G. Meade, Maryland; and Calvary Lutheran Church in Verona, New Jersey.

Godwin Sadoh is currently writing his doctoral dissertation on the organ works of Fela Sowande at Louisiana State University.
An earlier version of this article was originally published in the February issue of "The Organ."

Nigeria has been blessed with very few, but seasoned organist-composers
since the arrival of Christianity around 1842. The schools and churches built
by the missionaries had a great impact on the emergence of the Nigerian
"organ school." The incentive to become professional organists and
composers was further propelled and inspired through the private lessons given
to talented Nigerian church musicians at an early age. All the musicians in
question had their formative periods at the mission schools, in church choirs,
and under organ playing apprenticeships.

The genealogy of Nigerian organist-composers is confined to
four generations from around the 1880s to the present. These are professional
organists trained at various schools of music in Great Britain and America.
Interestingly, each generation has produced only one musician: Thomas Ekundayo
Phillips (1884-1969), Fela Sowande (1905-1987), Ayo Bankole (1935-1976), and
Godwin Sadoh (1965-).

First Generation

Thomas Ekundayo Phillips is the pioneer and grandfather of the Nigerian school of
organist-composers, and he paved the way for the younger generations that were
to come after him. Born in 1884, he attended the Church Missionary Society
(CMS) Grammar School in Lagos. He received his first organ lessons from his
uncle, the Reverend Johnson, and at the age of eighteen he was appointed
organist of St. Paul's Anglican Church, Breadfruit, Lagos. Phillips served at
St. Paul's for nine years. In 1911, he proceeded to the Trinity College of
Music, London, to study piano, organ and violin. Thus, he became the second Nigerian
(after Rev. Robert Coker who studied in Germany in 1871) to study music at a
professional level. After returning from England in 1914, he was appointed
Organist and Master of the Music at Christ Church, now Cathedral Church of
Christ, Lagos (the headquarters of the Nigerian Anglican Communion). Phillips
held this position until his retirement in 1962--a total time span of
forty-eight years of outstanding accomplishments.

In 1964, Phillips was awarded an honorary Doctorate of Music
degree by the University of Nigeria, Nsukka, for his contribution to the
development of church music in Nigeria. One of Phillips' most important
achievements was his training of many prominent modern Nigerian composers such
as Fela Sowande and Ayo Bankole. These were some of the leading and prolific
composers in Africa, and they constitute the next generation of professionally
trained organists.1

Ekundayo Phillips wrote only two major works for organ solo:
Passacaglia on an African Folksong, and Variations on an African Folksong.
These pieces are based on his postulations in his book, Yoruba Music, a
treatise on the compositional style of early Nigerian church music. In the
book, Phillips demonstrated various techniques in traditional Nigerian musical
processes that could be utilized to create new forms of church music which
indigenes could easily assimilate.2 His compositional style is simple and
conservative.

Second Generation

Fela Sowande
represents the second generation of Nigerian organist-composers. He can be
regarded as the father of the Nigerian "organ school." It was he who
propelled the musical genre to an unprecedented height through his extensive
compositions and publications for the King of Instruments. Up to the time of
writing this essay, no one else has written such a great number of works for
organ in Nigeria. Interestingly, Sowande composed for other media such as
orchestra and voice, but his works for organ outnumbered the rest.
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Sowande was born at Lagos, in 1905, into a musical family.
His father, Emmanuel Sowande, was a minister of the Gospel and one of the
pioneers of church music in Nigeria. Sowande received his first lessons in
music from his father. Another influence on his early musical training was
Thomas Ekundayo Phillips. Under the tutelage of Phillips, as a chorister at the
Cathedral Church of Christ, Lagos, Sowande was exposed to European sacred music
and indigenous church music. He received private lessons in organ from Phillips
while singing in the Cathedral Choir. Sowande asserts that Phillips' organ
playing, the choir training, and the organ lessons he received had a major
impact on his aspiration of becoming an organist-composer.

At age 27, Sowande decided to become a civil engineer and
went to London to study in 1935. After six months, he changed his mind and
decided to study music. He played jazz in London nightclubs to support himself.
Sowande enrolled as an external candidate at the University of London and
received private lessons in organ from George Oldroyd and George Cunningham. He
became a Fellow of the Royal College of Organists with credit in 1943--the
highest British qualification for organ playing. He happens to be the first
Nigerian and perhaps the first African to receive the prestigious British FRCO
diploma. Sowande was awarded the Harding Prize for organ playing, the Limpus
Prize for theoretical work and the Read Prize for the highest aggregate marks
in the fellowship examination. Sowande also obtained the Bachelor of Music
degree from the University of London and became a Fellow of the Trinity College
of Music.

Sowande had a rounded musical experience in England. He was
a solo pianist in a performance of Gershwin's Rhapsody in Blue in 1936, and was
appointed organist and choir director at the West London Mission of the
Methodist Church (1945 to 1952). It was during this period that he began
composing for organ. The influence of his participation in and exposure to
church music during his formative years could be seen in the abundance of works
written for organ. His organ compositions at this time included Kyrie,
Obangiji, K'a Mura, Jesu Olugbala, Go Down Moses, Joshua Fit the Battle of
Jericho, and Yoruba Lament.3 

These pieces are based on borrowed themes from Nigeria's
Yoruba culture and African-American spirituals. Indig-enous songs are employed
in Sowande's music for three reasons: 1) as a symbol and mark of national
identity; 2) to classify the works under the umbrella of modern Nigerian art
music; and 3) to arouse the interest of Nigerian/African audiences in
performing, studying and analyzing the music. Apart from rhythm, the indigenous
songs are the elements of Nigerian culture most audible to the audiences and
performers. Hearing those songs enabled them to categorize the works as
Nigerian musical heritage.

During the war, Sowande enlisted with the Royal Air Force,
but was released at the request of the Ministry of Information to go to the
Colonial Film Unit as a Musical Adviser of the British Ministry of Information
in London. He was designated to provide background music for a series of
educational films geared towards Africa. Sowande also presented several
lectures titled West African Music and the Possibilities of its Development for
the BBC's Africa Service. He collected a substantial amount of indigenous
folksongs during this period. The songs were later to be employed in creating
large works such as African Suite and the Folk Symphony. The Folk Symphony was
commissioned by the Nigerian government in 1960 to mark the nation's
independence. Although the work was not accepted, the New York Philharmonic
Orchestra in Carnegie Hall eventually premiered it in 1962.

In 1944, Sowande was invited to conduct the BBC Symphony
Orchestra in the performance of his tone poem Africana, a work for orchestra
based on a Nigerian melody. In 1952, his African Suite for strings and a
selection of his original compositions for organ were recorded by the Decca
Records Company (London Records, U.S.) under the title "The Negro in
Sacred Idiom." Sowande received two outstanding positions on his return to
Nigeria in 1953. He was appointed as the Musical Director to the Nigerian
Broadcasting Corporation in Lagos and as honorary organist at the Cathedral
Church of Christ, Lagos.

Among his numerous awards are Member of the British Empire
(MBE) from Queen Elizabeth II for distinguished services in the cause of music
(1956); the Member of the Federal Republic of Nigeria (MFN) in 1956; the
Traditional Chieftaincy award, the "Bagbile of Lagos" in recognition
of his research in Yoruba folklore (1968); and an honorary doctorate from the
University of Ife (now Obafemi Awolowo University) in 1972. Sowande also
received partial grants from the Ford and Rockefeller Foundations.4

Sowande first came to the United States in 1957, playing
organ recitals sponsored by the U. S. Department of State. He also toured as a
guest conductor of symphony orchestras and as a guest lecturer. He later came
back to take up permanent residency in 1968. His teaching career included
tenures at the University of Ibadan in Nigeria, Howard University in
Washington, D.C., the University of Pittsburgh, and Kent State University,
Ohio. Sowande died on Friday, March 13, 1987, at a nursing home in Ravenna,
Ohio.

Sowande composed sixteen major works for organ:

K'a Mura, 1945 (Chappell, London)

Obangiji, 1955 (Chappell, London)

Kyrie, 1955 (Chappell, London)

Yoruba Lament, 1955 (Chappell,

London)

Jesu Olugbala, 1955 (Chappell,

London)

Joshua Fit de Battle of Jericho, 1955 (Chappell, London)

Go Down Moses, 1955 (Chappell,

London)

Oyigiyigi, 1958 (Ricordi, New York)

Gloria, 1958 (Ricordi, New York)

Prayer (Oba A Ba Ke), 1958 (Ricordi, New York)

Sacred Idioms of the Negro

Pastourelle

K'a mo Rokoso

Plainsong

Fantasia in D

Festival March

Sowande's sixteen pieces for organ are all based on Yoruba
Christian or folksongs from Nigeria, with the exception of Joshua Fit de Battle
of Jericho, Go Down Moses and Bury Me Eas' or Wis' (from the Sacred Idioms of
the Negro) which are based on African-American spirituals. The structures of
these pieces range from simple three-part forms to continuous development
types, fugues, and theme and variations. To create contrast in the music he
uses bicinium, tricinium, homophony, and contrapuntal textures between the
pedal and manuals. Sowande has a predilection for a continuous tonal shifting
within a work. He sometimes begins a piece in one key and ends in another, such
as Go Down Moses which begins in F and closes in D major. He uses a wide
variety of tonal resources ranging from diatonicism, pentatonality and
chromaticism. The pedal part is generally simple and sparse, but explores
extremes of range. Pedalpoints are used to tonicize specific tonal centers and
to create climax.

Third Generation

Ayo Bankole alone
represents the third generation of Nigerian organist-composers. A prolific
composer, Bankole had the makings of a genius. He had a special skill for
composition and a talent for presenting his material in an eclectic and
personal way that made him stand as a master composer and performer in his own
right. Bankole continued from where Fela Sowande left off, a generation before
him.

Ayo Bankole was born on May 17, 1935, at Jos, in the plateau
State of Nigeria. He belongs to the Yoruba ethnic group. Bankole spent the
first five years of his life with his father, the late Mr. Theophilus Abiodun
Bankole (M.B.E.), who was then organist and choirmaster at St. Luke's Church,
Jos. During those early years in Jos, Bankole began to show great promise for
music, since he was from a musical family. The composer's biography was
exclusively obtained from Afolabi Alaja-Browne's M.A. thesis.5

In 1941, Bankole came down to Lagos with his father and
began living with his grandfather, the late Mr. Akinje George, who exposed him
to various types of musical styles. In 1945, at the age of 10, Bankole went to
school at the Baptist Academy, Lagos. He played piano and through his activity
in organizing small groups to perform, he began one aspect of his life-long
contributions to music--choral conducting. Bankole was appointed as a clerical
officer at the Nigerian Broadcasting Corporation in 1954. During this period,
he came in contact with notable Nigerian musicians such as Dr. Thomas Ekundayo
Phillips and Professor Fela Sowande. Bankole had great admiration for Fela
Sowande, and a few years later he was to come under his influence both as
organist and composer.

Between 1954 and 1957, Bankole was already very active as
organist in Lagos churches. For instance, he was assistant organist at the
Cathedral Church of Christ, Lagos, under the leadership of late Ekundayo
Phillips. It was about 1956 when he began composing his first major work,
Sonata No. 2 (The Passion), for piano.

In August 1957, Bankole left Lagos on a Federal Government
Scholarship to study music at the Guildhall School of Music and Drama in
London. He was enrolled in the graduate program (GGSM), a three-year teacher's
diploma, and studied piano, composition, organ, harmony, and counterpoint. Some
of his teachers included Alan Brown (organ), Harold Dexter (organ), and Guy
Eldridge (composition). During his time at the Guildhall School of Music,
Bankole was exposed to a variety of musical styles. His works from this period
show the influence of these various styles. He experimented, progressing from
works that were tonally simple, to works in which he explored diverse
twentieth-century compositional devices as exemplified in the Three Yoruba
Songs for voice and piano (1959) and the Toccata and Fugue for organ (1960). In
spite of the intensity of the program at Guildhall, Bankole found time to sit
for and obtain a series of professional diplomas: Associate of the Royal
College of Music (piano), Licentiate of the Trinity College (piano), Licentiate
of the Royal Academy of Music (Teacher's Diploma), Associate of the Royal College
of Organists, and the Graduate of the Guildhall School of Music and Drama
(GGSM).

In addition to his activities as organist-composer, Bankole
was able to organize and train a special mixed choir, comprising fellow
students, which gave performances of his compositions, many of them in the
Yoruba language and musical idiom. Members of his choir and the audiences were
captivated by the Nigerian melodies and rhythms. This type of creative
procedure led to the synthesis of Yoruba and Western musical elements in his
works. Some of the works in this category are Sonata No. 1, Christmas (1958),
Cantata No. 1 in Yoruba, Baba Se wa l'Omo Rere (Father, make us good children)
(1959), Sonata No. 2, Passion (1959), and the variations Op. 10, No. 1 (1959),
based on a Yoruba folktune, Ise Oluwa. 

After spending four years at the Guildhall School of Music,
Bankole moved to Claire College, Cambridge University, London, where he
obtained his first degree, the Bachelor of Arts in Music, at the end of 1964.
While at Cambridge as an organ scholar (1961-64), Bankole obtained the
prestigious Fellowship of the Royal College of Organists (FRCO), thus becoming
the second and the last Nigerian to receive this British highest diploma in
organ playing.

During Bankole's stay in England, he wrote music that he
himself could perform. A tremendous amount of music was composed for piano and
organ. He also wrote some choral and orchestral works that are technically
oriented towards European performers. The works of this period include Sonata
No. 4, English Winter Birds for piano, Variations Liturgical (theme and nine
variations for piano), Three Toccatas for organ, Fugal Dance for piano, Second
Organ Symphonia (with drums, trumpets and trombones), and a number of choral
works such as Art Thou Come (1964), Little Jesus, Gentle Jesus (1964), Canon
for Christmas (1964), and Four Yoruba Songs (1964). 

After completing his bachelor's degree at Cambridge
University in 1964, Bankole received a Rockefeller Foundation Fellowship to
study ethnomusicology at the University of California, Los Angeles. Works
produced at UCLA include Ethnophony and Jona. Jona is a cantata in Yoruba for
mixed media comprising a narrator, singers, a dancer and an unusual combination
of musical instruments, including the Indian tambura.

In 1966, Ayo Bankole returned to Nigeria, and was appointed
to the post of Senior Producer in Music at the Nigerian Broadcasting
Corporation (N.B.C.). He remained in this position until 1969, when he was appointed
Lecturer in Music, School of African and Asian Studies, University of Lagos.
His job as a senior producer at the N.B.C. brought him into contact with
various Nigerian musical genres. This contact was to become useful to him both
creatively as well as in his development as a scholar. Two works were written
as a result of his experiences at this time--Fun mi Ni'beji (Give me twins),
parts 1 and 2 for unaccompanied chorus (1967), and the opera Night of Miracles
for chorus, soloists, and Nigerian instruments (1969).

While at the radio station, Bankole had a series of
programs, which he designed to educate the Nigerian public and to present
indigenous African music to the world at large. Some of his works were
performed and recorded under a project initiated by Fela Sowande and jointly
sponsored by the Federal Ministry of Information, Lagos, and the Nigerian
Broadcasting Corporation. Some of the works from this period are Ore Ofe (The
Grace) for unaccompanied chorus (1967) and Adura fun Alafia (Prayer for Peace)
for voice and piano (1969).

In 1969, he was appointed  Lecturer in Music at the University of Lagos, where he
continued his research into Nigerian indigenous music and presented scholarly
papers. From 1970 onwards, as a result of his research efforts, Bankole began
to employ more traditional materials in his compositions. A work which marks
the beginning of this phase is the Cantata No. 4, Festac, completed in 1974 and
scored for soloists, chorus, organ and orchestral accompaniment consisting of woodwinds,
brass, and some Nigerian traditional instruments. Ona Ara is scored for
soloists, chorus, organ, and Yoruba musical instruments.

Between 1971 and 1974, Bankole spent a lot of time on
special assignments, both within and outside Nigeria. For instance, he was
External Examiner to the University of Nigeria, Nsukka, in 1971. Between 1971
and 1972, he was Visiting Lecturer at Ohio State University. In 1973, he
received a Federal Government Commission to compose the anthem for the Second
All-African Games. Between July and August 1974, he was director of a music
seminar, organized by the Rivers State Center for Arts and Culture, and in
April 1974, he was Nigerian Composer-Elect to the Fifth Congress of Soviet
Composers, held in Moscow.

From 1974, Bankole began studying diverse musical practices
of the various ethnic groups in Nigeria. The result of these studies gave birth
to three major projects: 1) Dictionary of Musical Instruments of Nigeria; 2)
The Music of the Rivers' People of Nigeria; and 3) a special study of the Edo
musical instruments.

At the University of Lagos, Bankole combined the roles of
music educator, composer, performer and musicologist. As a music educator, he
was especially concerned with promoting the cause of music at the grassroots. He
achieved this by training young talents, teaching them to read music and also
giving voice and piano lessons. Furthermore, he organized and trained several
choral groups. He composed regularly for these groups and exposed them to
various indigenous and foreign musical works. Among the groups he founded and
trained were The Choir of Angels, comprising students from three secondary
schools in the Lagos area; The Lagos University Musical Society; The Nigerian
National Musico-Cultural Society; and The Choir of the Healing Cross.

Although Bankole contributed immensely to the development of
modern art music in Nigeria, he did not live long to witness the fruits of his
efforts. For on November 6, 1976, at the age of forty-one, Ayo Bankole and his
wife, Toro Bankole, were killed in very tragic circumstances. Today he is still
greatly admired by Nigerian musicians for his magnificent contributions to
Nigerian music as a composer, music teacher, musicologist, organist, pianist,
conductor, and choral director--an extremely gifted man who was not able to
develop his God-given gifts to full potential. Bankole composed five major
works for organ solo:

Toccata and Fugue (1960), published by the University of Ife
Press, Ile-Ife, 1978

Three Toccatas, published under Operation Music One, 1967

Fugue, published under Operation Music One, 1967

Organ Symphonia Nos. 1 & 2, for organ, drums, trumpet
and trombone, unpublished, 1961-64

Fantasia (1961-64), unpublished.

Fourth Generation

Godwin Sadoh
represents the fourth and present generation of Nigerian organist-composers.
Interestingly, like his predecessors, he is the only one in this category, and
his musical training, contribution, experience and expertise are eclectic and
extremely diverse. He is a Nigerian ethnomusicologist, African musicologist,
teacher, composer, pianist, scholar, organist/choir director and an ordained
minister of the Gospel.

Sadoh was born on March 28, 1965, at Lagos, Nigeria, to a
middle-class family. Unlike his predecessors, he was not fortunate to have musicians
in his family. The only musical exposure he had during childhood was the
rendition of folksongs by his late mother and older sisters. His mother
enrolled him in one of the local church choirs, St. Paul's Anglican Church,
Idi-Oro, Lagos, in 1979. It was at this choir that Sadoh was first introduced
to European church music. 

Sadoh attended Eko Boys' High School, Lagos, from 1977 to
1982, where he received private lessons in music theory and piano from Mr.
Ebenezer Omole, the school's music teacher. Omole quickly noticed Sadoh's
talents and interests in music and got him appointed as one of his assistants
in conducting and accompanying the school's choir at the piano. It was Omole
who prepared him for the theory examinations of the Associated Board of the
Royal Schools of Music, London. When Omole was transferred to another
institution, the school's principal and the teaching staff unanimously
appointed Sadoh to the position of organist and choir director of Eko Boys'
High School in 1981 at the age of sixteen. During his tenure, he coordinated
musical activities for the school and directed a Festival of Nine Lessons and
Carols in December, 1981.

In 1980, Sadoh joined the renowned Cathedral Church of
Christ Choir, Lagos, to sing tenor under the leadership of Mr. Obayomi Phillips
(son and successor of Thomas Ekundayo Phillips), who was then the organist and
master of the music. Worthy of mention is the fact that all the Nigerian
organist-composers passed through the Cathedral Church of Christ, Lagos, and
were directly or indirectly trained by Ekundayo Phillips. Obayomi Phillips, who
gave Sadoh private organ lessons, was trained by his father, Ekundayo Phillips.
Obayomi Phillips took keen interest in Sadoh's talents and dedication to
advance his skills and aptitudes in music. Phillips soon appointed Sadoh as the
assisting organist to accompany the choir practices on Tuesdays and Thursdays
and to play for the 7:15 am communion services on Sundays. Phillips also gave
Sadoh private lessons in piano, organ and general musicianship (aural skills),
and he prepared Sadoh for all the piano examinations of the Associated Board of
the Royal Schools of Music, London, from grade 3 through grade 7.
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During his fourteen years at the Cathedral Church, Sadoh was
privileged to meet prominent Nigerian trained musicians such as Yinka Sowande,
substitute organist at Cathedral Church and brother of Fela Sowande; Mrs. Tolu
Obajimi, a graduate of the Guildhall School of Music, London, and music
teacher; Kehinde Okusanya, a concert pianist and Director of the Music
Department of Nigerian Broadcasting Corporation, Lagos; Professor Lazarus
Ekwueme, a Nigerian musicologist, singer, choral conductor, and Professor of
Music at the Department of Music, University of Lagos; Kayode Oni, a graduate
of Trinity College of Music, London, and one of the notable concert organists
in Lagos; and Christopher Oyesiku, a bass singer and choral conductor. Obayomi
Phillips gave Sadoh a personal scholarship from his own purse to study music at
the University of Ife (now Obafemi Awolowo University) from 1984 to 1988.
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Between 1982 and 1984, Sadoh founded and directed several
choral groups in Lagos. He accompanied and directed most of the groups by
himself at rehearsals and concerts. It was during this period that Sadoh
discovered his gifts in composition. Among his creative works at this early
stage are Oluwa Gbo Adura Mi (Lord Hear My Prayer) for tenor and piano, Oluwa
mi (My Lord) for two voices and piano, Ale ti le (Night has Fallen) for
baritone and piano, Gbo Ohun Awon Angeli (Hear the Voices of Angels) for SATB
and piano, and several other works. He wrote mainly vocal music during this
period.

In 1984, Sadoh was accepted to the Obafemi Awolowo
University, Ile-Ife, to study piano performance and composition. Between 1985
and 1986, he was appointed as the director of the Unife Joint Christian Mission
Choir (over 250 voices). He was formally introduced to traditional African
music at the Obafemi Awolowo University. It was there that he became more
conscious of his existence as an African musician and the component elements of
the music. Sadoh's interest in African music was invigorated through his
exposure to diverse musical cultures of the world. He took courses such as
music in African culture, survey of world music, black music in the Americas,
music in the Middle East and India. As time went on he acquired deeper
theoretical knowledge of African music. Sadoh's musical studies at Ile-Ife
paved the way for his growing interest in incorporating indigenous Nigerian
elements and the creative procedures in his musical compositions. Hence, he
began to employ distinct Nigerian rhythmic patterns, harmony, tonal
organization, and scale systems in his works. Sadoh's creative output during
this period includes Memoirs of Childhood for piano, Moonlight Dances for
piano, Akoi Wata Geri for SATB and piano, and Akoi Wata Geri for tenor and
piano. Sadoh completed his Bachelor of Arts degree with a Second Class
Upper-Division in 1988. He was retained to teach in the same Department of
Music from 1988 to 1994 as a result of his diligence and academic excellence.
While teaching at the Obafemi Awolowo University, he founded and directed two
major choral groups, the Ile-Ife Choral Society and the Ile-Ife Junior Choral
Society. With these two groups, he directed several public concerts of choral,
vocal solos, and instrumental music within and outside Ile-Ife. Sadoh also
played piano solo recitals on the university campus and other regions in
Nigeria.

In 1994, Sadoh was accepted to the graduate program in
ethnomusicology and African music at the University of Pittsburgh where he
obtained an M.A. degree in 1998. As a teaching assistant at the institution, he
taught several courses including world music, class voice, and class piano. During
this period, he was apointed as a guest/visiting lecturer at GoldenWest
College, California, in 1995, and at Thiel College from 1995 to 1998. Sadoh
studied organ with Dr. Robert Sutherland Lord at the University of Pittsburgh
for three years. While in Pittsburgh, he also served as organist and choir
director at St.  Stephen's
Episcopal Church, Wilkinsburg, from 1996 to 1998.

Sadoh continued his musical training in organ performance
and church music at the University of Nebraska-Lincoln from 1998 to 2000. His
teachers were Dr. George Ritchie and Dr. Quentin Faulkner. Sadoh was often
called upon to present several guest lectures on African and world music at the
School of Music, University of Nebraska. In fact, he created the curriculum of
the African music program and taught the course from 1998 to 2000. During his
two-year sojourn in Nebraska, he served as organist at Christ Lutheran Church,
Grace Lutheran Church, and as associate director of music ministries at the
First United Methodist Church. Sadoh obtained the M.Mus. degree in May of 2000
after playing two Master's organ recitals in one academic year--November 1999
and April 2000. He published his first scholarly article "Music at the
Anglican Youth Fellowship: An Intercultural Experience" in the HYMN
journal, in January 2001. This was a paper he wrote for twentieth-century
church music class, and it was Dr. Faulkner, the instructor, who encouraged him
to get the paper published.

In 2000, Sadoh was accepted to the Doctor of Musical Arts
degree program in organ performance and composition at the Louisiana State
University, Baton Rouge. With this admission, he became the first African to
study organ at doctoral level. He has been studying with Dr. Herndon Spillman
(organ) and Dr. Dinos Constantinides (composition). At LSU, he wrote mostly
instrumental and chamber works at the instigation of his composition teacher.
His major works at this time include Three Dances for piano, Three Pieces for
flute solo, Illusion for violin and piano, Potpourri for trombone, flute, oboe,
clarinet in B-flat, and string quartet, A Folk Dance for percussion ensemble of
four players, Yoruba Wedding Dance for brass quintet, Badagry for woodwind
quartet, A Suite of Nigerian Folksongs for string quartet, Tribute to Homeland
for chamber orchestra, Harmattan Overture for symphony orchestra and Nigerian
instruments, Summer Evening at Ile-Ife for wind quintet, and Three Wedding
Songs for soprano and piano. Sadoh wrote his first major works for organ in the
summer of 2002: 1) Folk Dance, 2) Ore Ofe Jesu, and 3) Nigerian Toccata.
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The Folk Dance was composed on August 13, 2002. The thematic
material was derived from a Nigerian folksong "Owo o, Omo o, ma m'omo se
ire" (money and children are both desired and I will embrace both and revere
them). It is divided into three sections. The first introduces the main theme
on the Great with an ostinato in the Pedal. The second section is the
development of the theme in D-flat, while the third section returns back to the
home key (F) and ushers in the principal theme triumphantly in the Pedal with
full organ. Nigerian Toccata was influenced by nineteenth and twentieth-century
French toccatas. Composed on August 14, 2002, it is a virtuoso piece that calls
for all the resources of the organ from the smallest pianissimo to the loudest
fortissimo. The four thematic materials are original. Structurally, it is in a
quasi-sonata allegro form without a development. The harmonic framework and
sonority are purely modern. The work is characterized by diatonicism,
chromaticism, pentatonicism and sequences. Ore Ofe Jesu (The grace of Jesus)
was composed on August 15, 2002. It is a quiet and meditative piece most
suitable for offertory, communion or any other contemplative aspect of a divine
service, and is in three sections. It opens with a prelude in duple meter and
moves into the second section in triple meter. This section is based on a
Yoruba church hymn "Idahun re l'a nreti" (We are waiting to receive
your answer). It closes quietly with the first four measures of the prelude.
These three pieces were published by Wayne Leupold Editions in April 2003 as
one major work titled Nigerian Suite No. 1 for organ solo.

In 2002, Sadoh wrote and published two articles: "A
Centennial Epitome of the Organs at the Cathedral Church of Christ, Lagos,
Nigeria," published in The Organ (London), and "The Creative Process
in Nigerian Hymn-Based Compositions," published in The Diapason (August,
pp. 15-17). Several scholarly articles by him are to be published in 2003.
"Creativity and Dance in Joshua Uzoigwe's Music," will be published
in ComposerUSA, "Organ Building in Nigeria" and "A History of
South Africa's Organ Builders" will be published in the Organ
Encyclopedia. In May 2003, Sadoh was nominated by members of the faculty at LSU
for membership in the Beta Lambda Chapter of Pi Kappa Lambda, for his academic
and musical accomplishments.

It is interesting to note that an organist-composer is born
in Nigeria every thirty years. Sowande was born in 1905, Bankole in 1935 and
Sadoh in 1965. Hypothetically, the composer-organist for the fifth generation
must have been born in 1995 somewhere in Nigeria.

Others

The following are organists only.

Kayode Oni studied
organ at the Trinity College of Music in London. He came back to Nigeria in the
1970s and was subsequently appointed Honorary Organist at the Cathedral Church
of Christ, Lagos. He was also organist and choir director in several Anglican
churches in Ogun and Lagos States. He taught several budding organists in
Lagos, including Deji Osun.

Deji Osun studied
organ privately with Kayode Oni for several years in Lagos. He sat for the
theory, piano, and organ examinations of the Associated Board of the Royal
Schools of Music, London, while studying with Kayode Oni. He served as organist
in various churches in Lagos and Ogun States before leaving for the Trinity
College of Music, London, to continue his studies in organ in early 1980s. He
has completed his training and currently resides in England.

Merriman Johnson was
the organist at the Tinubu Methodist Church, Lagos, for several years. He went
to study organ in one of the British schools of music in the early 1980s. He
has finished his training and is currently residing in England.

J. Bunker Clark died of melanoma on December 26, 2003, in Lawrence, Kansas, at the age of 72. Born on October 19, 1931, he earned a BMus and MMus in music theory, and a Ph.D. in musicology from the University of Michigan, Ann Arbor. Further study as a Fulbright Scholar took him to Jesus College, Cambridge University, in England. Bunker Clark's teaching career began in 1957-59 as instructor of theory and organ at Stephens College, Columbia, Missouri. From 1959-61, he served as organist-choirmaster, Christ Church Cranbrook, Bloomfield Hills, Michigan. Following a 1964-65 position as lecturer in music (music history, harpsichord, piano) at the University of California, Santa Barbara, Dr. Clark began his long tenure at the University of Kansas in 1965 as assistant professor of music history; in 1969 he was promoted to associate professor, and in 1975 he became professor. He retired in 1993 as professor emeritus of music history.

An inveterate author and editor, Bunker Clark wrote on numerous topics and served as editor for Harmonie Park Press in the Detroit Studies in Music Bibliography, Detroit Monographs in Musicology/Studies in Music, and Bibliographies in American Music. In addition, he worked as general editor for Information Coordinators, which later became Harmonie Park Press. Although Dr. Clark's specialty was American church music of the English Baroque, he wrote extensively on early American keyboard music, including these books and articles, among others: Anthology of Early American Keyboard Music, 1787-1830, Recent Researches in American Music, vols. 1-2; "American Organ Music before 1830: A Critical and Descriptive Survey"; The Dawning of American Keyboard Music; American Keyboard Music through 1865; "18th-Early 20th-Century American Piano and Harpsichord Music in Anthologies, Reprints, and Recordings"; and Charles Zeuner (1795-1857): Fantasias and Fugues for Organ and Piano. In addition to his writing and teaching, Bunker Clark presented a series of radio broadcasts entitled Early American Keyboard Music. This series of 13 half-hour programs, funded by a research grant from the University of Kansas--with material gathered in 1972-73 on a National Endowment for the Humanities grant--ran in 1975 on the University of Kansas radio station KANU, and was purchased by other libraries or radio stations across the country.

Bunker Clark was a founding member of the Sonneck Society, now known as the Society for American Music, and he was awarded with the Citation for Distinguished Service at its meeting in Kansas City, February 1998. He was active in the American Musicological Society, Music Library Association, College Music Society (life member), American Musical Instrument Society, Midwestern Historical Keyboard Society, and other music organizations.

Memorial services were held on January 2, 2004, at Trinity Lutheran Church, in Lawrence, Kansas. A Michigan memorial service will be held at the Episcopal Church of the Transfiguration on August 8 at Bois Blanc Island.

Richard Frederick Horn, church musician and composer, died on June 5 in De Forest, Wisconsin, at the age of 66. He was born on March 7, 1938, in Mt. Kisko, New York, and grew up in Rochester, New York. At the age of 12 he was appointed assistant organist at his uncle's church in Philadelphia, beginning a 54-year career of church service in Pennsylvania, California, and Wisconsin. He studied organ with Catherine Baxter and Galen Weixel, but was largely self-taught. After attending Haverford College and Susquehanna University, he moved to California where he taught high school choral arts. In 1969 he moved to Madison and became resident musician at the St. Benedict Center. He married Paula Klink in 1974, settled in De Forest, and established the De Forest Piano Service. He served a number of local churches, and for the last 16 years was music director at St. Patrick's Church in downtown Madison. A long-time member of the American Guild of Organists, he achieved Colleague status in 1988. For 16 years he was a member of the Association of Church Musicians in Madison, serving eight years on their executive board and three years as dean. His choral and organ compositions, which have been performed throughout the world, are published by MorningStar Music Publishers of St. Louis. He is survived by his wife, Paula; their son, Paul William, Johannesburg, South Africa; and numerous relatives. A Mass of Christian Burial was held at St. Patrick's Church in Madison on June 9.

M. Searle Wright, 86, of Binghamton, New York, died on June 3 after a period of declining health. Mr. Wright is survived by cousins and numerous friends and colleagues worldwide. He was born in Susquehanna, Pennsylvania, in 1918. After his family moved to Binghamton, he took an interest in theatre organs, and as a teenager played the Wurlitzer organ at the Capitol Theatre. He later studied classical organ and church music with T. Tertius Noble at St. Thomas Church in New York City, and with the French organist and composer Joseph Bonnet. He attended Columbia University and the School of Sacred Music at Union Theological Seminary, where he joined the faculty in 1947. Searle Wright was a Fellow of the AGO, of Trinity College, London, and of the Royal Canadian College of Organists. He was the first American to perform a solo recital at Westminster Abbey in London. For many years, he attended and participated in the Three Choirs Festival in England. He was a published composer, with works for orchestra, chamber ensemble, chorus and organ. Many of these works have been recorded, and his last written work was published about three years ago.

From 1952 to 1971, Searle Wright was director of chapel music at St. Paul's Chapel at Columbia University in New York City, and from 1969 to 1971 was president of the AGO. In 1977 he returned to Binghamton to become the first Link Professor of Organ at Binghamton University and organist for the B.C. Pops Orchestra. In addition, he was organist and choir director at the First Congregational Church for 20 years. A memorial service was held on June 13 at Trinity Memorial Church in Binghamton.

Fayola Foltz Ash died March 15 in Ann Arbor, Michigan, at age 85. Born in Lansing, Michigan, February 24, 1926, she received her bachelor’s degree from Michigan State University in 1948. She taught piano for over 50 years, mostly in Ann Arbor, was organist at First Methodist Church, Chelsea, for over 15 years, and directed the children’s choir at Westminster Presbyterian Church, Ann Arbor, for many years. She was a member of the American Guild of Organistsand the Ann Arbor Area Piano Teacher’s Guild. Ash accompanied many soloists and substituted at various churches as choir director, organist, and pianist.

George Evans Boyer died March 16 in Pennsylvania. He was 64. A graduate of St. Clair High School, West Chester University (1969), and Temple University (1974), Boyer was director of choral activities at William Allen High School in the Allentown School District from 1970–2000, and local sales representative of the Allen Organ Company following his retirement from teaching. Boyer served as a music director and organist for 49 years, at Temple Beth El Synagogue, St. John’s UCC, St. Thomas More Roman Catholic Church, and Christ Lutheran Church (all in Allentown), and Christ the King Roman Catholic Church in Yonkers, New York. He also led European summer tours, and was a member of many musical organizations, including the New York City AGO chapter. George Evans Boyer is survived by his wife of 40 years, Susan Carol Boyer, and a cousin.

Jeanne Norman Briggs died March 30 in Hartwick, New York, at the age of 61. She received a bachelor’s degree from the University of Idaho in 1972, and studied with Claire Coci at the American Music Academy in New Jersey. Briggs had played recitals in Europe and New York City, and served as organist for the First United Presbyterian Church in Oneonta, and for St. Andrew’s Episcopal Church in New Berlin. She was a member of the Oneonta AGO chapter. Jeanne Norman Briggs is survived by her husband John, whom she married in 1980, two stepchildren, two brothers, a sister, and her caregiver.

Otis Herbert Colvin Jr. died January 21 in Waco, Texas, at the age of 87. He earned a BA from Baylor University in 1944, and then served in the Navy during World War II, until 1946, when he returned to Baylor and earned his music degree in 1948, followed by an MMus degree from the University of Colorado in 1950. Colvin earned his PhD from the Eastman School of Music in 1958. He taught music for five years at Texas Tech University; at Baylor University he taught music theory, piano, and carillon for more than 40 years, and was university carillonneur. As a pianist and organist, Colvin served in Waco at Central Christian, Columbus Avenue Baptist, and Seventh and James Baptist churches. He was a member of the AGO, and was a 32nd degree Baptist Mason. A composer and editor of music, his compositions include organ voluntaries based on early American hymn tunes, and other organ works. Otis Herbert Colvin Jr. is survived by his wife Mary Ila Colvin, three daughters, a sister, a brother, six grandchildren, and three great-granddaughters.

Virginia Herrmann died at age 96, on March 17 in Storrs, Connecticut. She graduated from Indiana University, and earned master’s degrees from the Eastman School of Music and Yale University, where she studied with Paul Hindemith. While at Yale, she met and married Heinz Herrmann, her husband of 65 years; they moved to Storrs in 1955, where she was appointed adjunct organ professor at the University of Connecticut, and music director-organist at St. Mark’s Chapel. Herrmann had studied the Chinese language and Asian music, and had edited several collections of Asian music. In 2005, the Herrmanns established the Heinz and Virginia
Herrmann Distinguished Lecture Series on Human Rights and the Life Sciences at the University of Connecticut. Virginia Herrmann is survived by a daughter, a niece, and many friends.
Sebron Yates Hood Jr., 79 years old, died December 17, 2010, in Myrtle Beach, South Carolina. He began playing piano for the Matthews Baptist Church in Matthews, North Carolina, while in high school; he received his bachelor’s degree in music from Erskine College in 1953, and an MSM in 1955 from Union Theological Seminary in New York City, where he studied with Vernon deTar. From 1955–65 Hood served as organist and choirmaster at Sardis Presbyterian Church in Charlotte, North Carolina, and at Trinity Episcopal Church from 1967 until his retirement in 1992. He was a past dean of the Charlotte AGO chapter, a founding member of the Strand AGO chapter, and of the Oratorio Singers of Charlotte. Sebron Yates Hood Jr. is survived by his wife of 54 years, Belle Miller Spivey Hood, a daughter, two sons, a brother, seven grandchildren, and nieces and nephews.

Sarah Fant Jones died March 26 in Union, South Carolina. She studied at Converse College and Union Theological Seminary School of Sacred Music in New York City. She had served as organist for area churches that included Cane Creek Presbyterian Church, the Episcopal Church of the Nativity, Grace United Methodist Church, and First Presbyterian Church. A member of the Spartanburg AGO chapter, Jones and her family helped to secure the 1954 III/30 Schantz organ at the First Baptist Church of Union; in 1995 the instrument was restored and expanded by Schantz. Sarah Fant Jones is survived by four nephews.

David A. Pizarro, 79 years old, died February 23 in Nyack, New York. He studied at Yale University School of Music, where he earned a BMus in 1952 and an MMus in 1953; he was the recipient of a Fulbright grant from 1953–55 at the State Academy of Detmold, Germany. Pizarro had studied organ with Norman Coke-Jephcott, Michael Schneider, and Marcel Dupré. A visiting faculty member at the University of North Carolina in 1960–61, Pizarro held positions at North Carolina State College, Durham, in 1962–65, and was on the faculty of the Longy School in Cambridge, Massachusetts, 1965–71. He served as organist-choirmaster at St. Stephen’s Episcopal Church on the campus of Brown University, Providence, Rhode Island, from 1972–74, as master of the choristers at the Cathedral of St. John the Divine in 1974–77, and as organist at Emanuel Lutheran Church in Pleasantville, New York, 1983–96, and Sinai Temple in Mount Vernon from 1985–89. Pizarro was a member of the Royal College of Organists, a fellow of Trinity College of Music, London, and the Westminster AGO chapter; he had served the Durham AGO chapter as dean from 1962–65.

John Albert Stokes died May 15 in Princeton, New Jersey. Born December 21, 1937, he lived in New Brunswick and Princeton. He served in the U.S. Coast Guard from 1961–1964. A self-taught musician, organist, and composer, Stokes worked as a pipe organ builder and piano tuner. For many years he served as organist for the Sayreville United Methodist Church. He was a member of the Middlesex, Monmouth, and Central Jersey AGO chapters. His compositions were played at many AGO members’ recitals, including a favorite Ode to St. Lucy’s Day. In addition, his skills as an organ builder were used for education, giving demonstrations and presentations to colleagues, providing old pipes for educational purposes. John Albert Stokes is survived by a brother and a sister.