Tag Archives: Neal Campbell

National Baptist Memorial Church, Washington, D. C., Dr. R. Stuart Grizzard, Pastor

Copyright 2020 © Neal Campbell

 

Grizzard, R. Stuart, D.D.

 

Stuart Grizzard was the sort minister that has almost disappeared from the religious landscape of the early 21st century, and really has entirely disappeared from the Southern Baptist Convention. The blurb on the dust jacket of his memoirs (published privately in about 1991, and written by his daughter) describes him as

“active in the Southern Baptist Convention and in the American Baptist Churches in the U.S.A. He was an evangelical, with a world view and an ecumenical perspective. The social dimensions of faith were deeply significant to him, and he took a stand for racial justice at a time when many pastors were silent. Years ago he became a champion of the right of women to be in ministry.”

Since I was a teenager when I served as the organist of his church, the subtleties of that description weren’t obvious at the time, but this describes him well as I remember him 50-plus years later. On a personal level I remember his friendship and his love of music and dignity in worship.

Dr. Grizzard was well-educated, even learnèd, but not scholarly or overtly erudite. He was from Orange, Virginia, and graduated from the University of Richmond and Crozer Seminary in Pennsylvania. Prior to National Baptist, from which he retired in 1978, he held pastorates in Orange, Norfolk and Richmond. He was friendly and easily approachable, but never glad handing or cheesy. He was a truly gifted orator, but had no idea of what it might mean to be media savvy. He spoke with the conviction and authority inherent in the subject of his discourse, not because of his own self-importance. He was a part of an era of free-thinking Baptists that also produced more famous southern preachers such as Carlyle Marney, Edward Hughes Pruden, Clarence Cranford, and Vernon Richardson, each of whom Stuart knew and counted as friends and colleagues. And, like them, his leading of public worship was of a style that evoked classical dignity in its ordering. There were no gimmicks; it was church. It was to be approached with awe—with “fear and trembling.”

My most vivid memory of Dr. Grizzard is of him in the pulpit. During services when it was time for the sermon, the house lights were dimmed slightly and he read the appointed scripture from a large Bible on the pulpit, which was front and center on the rostrum—central, but not overwhelming or imposing. When he finished the reading, he closed the large volume with an audible thump, turned off the reading light, and preached without notes for fifteen or twenty riveting minutes—not especially long by Baptist standards.

Many years later I found out from reading his memoirs that in fact he prepared his sermons carefully with painstaking study and thought. He wrote them out either in longhand or, when he had the services of a secretary, they were typed. He then memorized them and delivered them without manuscript in such a way that if you didn’t know it (as indeed I did not at the time) you might think he was speaking extemporaneously.

Stuart Grizzard was the pastor of Washington’s National Baptist Memorial Church from 1964-1978, of which church I was the organist for slightly over a year from 1969-1970 when I was in high school. I didn’t exactly report to him in my work; my boss was the choir director, John Bigbee, who was also the baritone soloist of the church. John had a pleasant voice in a slightly over-the-hill sort of way. I’ve never known if he was trained to be a professional singer. But he did sing for various organizations around town and was entirely suited to his position at the church. Some years previous he had been the bass-baritone soloist among the quartet at the church, and somewhere along the way became choir director as well. I still remember when the choir sang the trio and chorus The Heavens Are Telling from Haydn’s Creation, John would direct the choir, then when it came time for the trio to sing “the day that is coming” he would simply turn around, face the congregation to sing the trio, then turn back to the choir and more or less cue them when it was time for their entrance, which overlapped with the conclusion of the trio.

That episode epitomizes the casual, amateur approach to music making at the time, which was a slight contrast to the otherwise formal and dignified conduct of worship, which was typical of the prosperous era to which this congregation now found themselves in the twilight . . . which probably also explains why they were willing to entrust the position of church organist to a 16-year-old high school student. There were regular services on Wednesday evening, Sunday morning, and Sunday afternoon or evening. During my first weeks there was a 5:00 Sunday afternoon service.  It consisted of some hymns, a solo, and a brief, less weighty form of sermon titled simply “Message.” At some point in the service—probably after the pastoral prayer—I was required to play one stanza of “Dear Lord and Father of Mankind,” (the Maker tune) on the chimes, which for some electro-technical reason would only play if the cross over the choir loft was turned on, and the only way to turn it on was from a switch in the stairwell I took to get to the organ console. It was therefore solely by my action that this important task could be accomplished.

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The afternoon services weren’t well attended and at some point soon into my tenure the church experimented with other sorts of early afternoon happenings following lunch in the church hall, including a series of “Focus Groups.” I even led one of them on “Contemporary Trends in Church Music,” about which I knew absolutely nothing. What I did know was that Washington Cathedral had recently completed the building of the central Gloria in Excelsis tower, which event was covered widely in the local press, and there was much music commissioned expressly for the dedicatory celebrations by living composers such as Leo Sowerby, Samuel Barber, Ned Rorem, John LaMontaine, Stanley Hollingsworth, and Roy Hamlin Johnson —contemporary music in its definitive textbook definition by my reckoning. An impressive album of LP recordings and an authoritative book containing the orders of service and copies of all the music commissioned for the occasion was available from the local Takoma Park library, which I seem to have checked out in perpetuity.

So this “focus group” gathered around some sort of record player in the choir room and I took them through some of the newly commissioned compositions such as Lift up your heads great gates and sing by Ned Rorem, and a setting of the Prayer Book canticle Benedicite omnia opera by Richard Dirksen. Each of these new compositions was written with the intent of being performed outdoors along the area of the south transept of the cathedral with the new tower illuminated behind and above the “stage” set up at the top of those steps leading down to the statue of George Washington. In particular, I remember the class was impressed with Dirksen’s Benedicite omnia opera, as it employed lots of woodwinds instead of the usual brass for outdoor accompaniment. That, plus the concept of every living thing, and even inanimate objects such as hail and snow, praising the Lord, as enumerated in the text of the prayer book canticle . . . all this made a favorable impression on my appreciative audience as they were being presented with my version of new trends in church music.

Dr. Grizzard attended my class, as he did everything offered in the name of the church. I’m totally unaware of what he might have been like around the office on a daily basis as a manager or “head of staff” as some places now style their spiritual leaders. I suspect he was of the same type as Marney and his other colleagues I previously mentioned, who were known to let others on their staff do their respective administrative and secretarial ministries. His concentrations, from all I could gather, were on study, sermon preparation, writing, and visiting. I know that while I was there the church hired a third full-time clergyman whose title was Minister of Administration; John Bigbee selected the hymns and seemed to have total control of the music of the church. But, Dr. Grizzard was as big presence, though I doubt anyone would call him a micro-manager. For the few social things I attended, like church luncheons or suppers, he was always there. His was not a secluded ivory tower existence.

John Bigbee had a secular job as manager, maybe even owner, of a printing company in Washington. The only reason I know this was that his outfit printed the weekly church bulletins and orders of service. So, I saw John only on Sundays, because he was there only on Sundays! I was in high school, and had a fair amount of control over my schedule by that point, and had already established myself as a young church musician with a clear and advancing path ahead of me, and I actually spent quite a bit of time around the church practicing after school hours on weekdays, and almost all afternoon each Saturday preparing for the service on Sunday. At my request, I even had an office at the church which had recently been vacated by the director of some ancillary counseling service that had vacated the premises. It was on the second floor, Columbia Road side of the church near the entrance to the gallery. It had a couple of nice slender windows, one of which looked down Columbia Road toward Sixteenth Street with a view of the impressive Mormon chapel across the street. Dr. Grizzard’s office was directly next to mine and in the typical goings and comings, we actually saw a lot of each other—usually just brief hallway chats about things, my studies and musical activity.

I do remember once being in his office, which was spacious and comfortable. On his desk was a large cigar still unopened in its wrapper. It may have been the first time it occurred to me that a man of the cloth might indulge in such worldly pleasures. Stuart confesses in his memoirs, which he wrote as he approached retirement, that he did indeed enjoy an occasional cigar or cigarette, but said he was thankful not to be a slave to tobacco. I don’t think it was uncommon in that era, especially among clergy from the south. A friend who went to Baylor University remembers that when Carlyle Marney came for a campus series of lectures he always smoked a cigar openly. An unusually devout and precocious young man came up to him and questioned its appropriateness and Marney retorted contemptuously “grow up kid! Haven’t you got anything else to worry about.”

Picture1National Baptist is located at a prominent site on Sixteenth Street, just north of Meridian Hill Park at the confluence of the neighborhoods of Columbia Heights, Adams-Morgan, and Mount Pleasant. Its architect, Edgerton Swartwout, formerly of the McKim, Mead & White atelier, designed an imposing tower taking advantage of the triangular site at the top of Meridian Hill created by the gradual incline of Sixteenth Street as it works its way north. As a result of this site location and the architecture of the surrounding area, it is every bit the equal of the more prosperous neighborhoods of Embassy Row or Dupont Circle. At one time I believe it was even planned for Sixteenth Street to be named something more descriptive than its generic numeric appellation. It is a long wide avenue stretching directly north of the White House all the way to the Maryland state line in Silver Spring, and there are many churches of varying denominations, and one or two synagogues along the complete length of the thoroughfare. At Columbia Road, the center of Columbia Heights, there are three churches of significant, prominent architectural interest with spires or towers to match: All Souls Unitarian Church, the former Washington Mormon Chapel (now the Unification Church), and National Baptist.  At Meridian Hill Park, just south of Columbia Road, Sixteenth Street takes a dramatic downward incline all the way to the White House. In fact, Meridian Hill Park itself it characterized by an upper park at level grade, and a lower park featuring a fountain feeding into a series of pools descending down the hillside.

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Sixteenth Street stretching north from Lafayette Square in front of the White House. National Baptist Memorial Church is visible on the right after 16th Street passes Meridian Hill Park.

Likewise, the drive from the Maryland state line to Columbia Road is also slightly downhill. Driving south from our home in Takoma Park, as I did regularly, one can see the three towers at Columbia Road rather prominently on the horizon. In the neighborhood of National Baptist there are apartment houses of significant architectural proportions and several embassies, including those of Spain, Mexico, Italy, and some of the smaller African nations.

National Baptist was founded in 1906 as Immanuel Baptist Church and assumed the present name when it was decided to build a new national church in Washington sponsored by both American and Southern Baptists as a memorial to Roger Williams and religious liberty. President Warren G. Harding broke ground in 1921, and the cornerstone was laid by Secretary of State Charles Evans Hughes the following year.

Swartwout’s design placed seating for the main portion of the congregation under a large circular rotunda. When combined with additional space from the original church, it provided a combined seating for some 1,100 persons. There was a large partition which could be drawn to separate the seating under the dome from that of the original church, which created a smaller seating area when desired. This was the standard configuration for services by the time I arrived, but on the few occasions when the entire area was open it was an impressive space.

Picture3The organ was Austin’s Opus 1403 containing 42 ranks spread over three manual and pedal divisions, and was built in 1923 for the new church. It was installed in the lower portion of the tower directly above the choir loft. There was nothing especially distinguishing about the sound, but it provided a good variety of stops and was fairly complete. It was my main practice instrument and I learned lots of repertoire on it as I continued my studies with William Watkins and prepared for various student recitals and competitions. Also, preparing the accompaniments for the various anthems, oratorios, and solos required lots of practice time. In a holdover from the past tradition the church employed a quartet of soloists, some of whom were quite good and were generally on the choral scene in Washington. The typical drill on Sunday morning was for there to be a solo and a choral anthem at each service, in addition to hymns and some choral responses. The choir also presented an oratorio once or twice a year and it was here that I first learned Handel’s Messiah, Haydn’s The Creation, and portions of Elijah by Mendelssohn. The organ suited these accompaniments well. Once or twice I had my lessons at the church if I were preparing something special, but by this time figuring out the layout and use of a moderately large organ was not a foreign task for me, and I played as much repertoire as I could for services.

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National Baptist Memorial Church on the left at 16th Street and Columbia Road, N.W., All Souls Unitarian Church on the same side of 16th Street at Harvard Street, and the Washington Mormon Chapel, the white marble structure in the foreground.

At 18th Street and Columbia Road, two longish blocks from the church was a bustling neighborhood center that later became known as Adams-Morgan. I would occasionally walk down there from the church to get coffee or lunch, or go to the People’s Drug Store. In the same neighborhood was Gartenhaus Firs, Avignone Frères Catering and Dining establishment, a local branch of Riggs National Bank, and the rather imposing First Church of Christ, Scientist. To a high schooler such as myself, it really did feel big time. I’d just gotten my driver’s license and drove to the church on Sundays, but during the week when traffic was heavier and parking space rare, I would frequently take the bus from Takoma, transferring somewhere around Petworth to get over to the church and would explore the neighborhood during practice breaks.

The reasons for these neighborhoods’ slow decline are many, and are far beyond this the scope of this remembrance, but a cursory understanding of the scene helps describe something of the remarkable ministry of Dr. Grizzard at that critical juncture in the history the church and the city. For a 16-year-old it was all quite heady and was my first serious foray into church life, and I felt that I was a central participant in it all. The congregation may have already seen its glory days, but there is no doubt that the riots of 1968 following the death of Martin Luther King cemented its fate for many years to come. On Good Friday 1969 when I played for the three-hour service many people recalled the vivid memory of the previous year when the service was cut short as the riots were fully underway a block away on 14th Street.

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Fourteenth Street and Park Road, N.W., one of the centers of the 1968 riots. The spires of the three churches at 16th Street and Columbia Road are on the upper right.

One Sunday morning in October 1969 National Baptist was visited by representatives of the Black United Front of Washington demanding reparations from the church. I was generally unaware of the political ramifications of race relations at the time, although I vividly remember the rioting following the assassination of Dr. King and the resulting general unrest throughout the nation. National Baptist was well represented by both Afro-Americans and Africans and other foreign nationals attached to the nearby embassies and everyone seemed to get along just fine.   Of course the memory of the previous years’ riots and the Poor People’s Campaign of 1968 were still very fresh, as were the physical manifestations of the riots in our immediate neighborhood.

Quoted in John Wann’s history of the church Dr. Grizzard said “One of our most growing experiences was the confrontation with the Black United Front and their demand for $250,000 in reparations in October of 1969.” The previous May an incident at The Riverside Church in New York made the news. James Foreman invaded the morning service making demands which not only interrupted the service, but actually ended it in chaos immediately after the opening hymn. I’ve never known if the incident in New York inspired the local representatives of the Black United Front, but it was very much on Dr. Grizzard’s mind.

Before the service he came up to the organ loft and told me that he was not going to let the service end in chaos as it had at Riverside. He instructed me to, if things got out of hand, play a hymn as loudly as I could until either he gained control of the service or everyone left while I played. He specified which hymn I was to play, and I wish I could recall what it was—something familiar and strong like “The church’s one foundation” I suspect. In the end it was not necessary, and I remember being both disappointed and relieved! The representatives of the BUF said they came in peace, and their actions bore that out. They had their say, remained for the rest of the service, and visited at lunch afterward. But I’ve never forgotten the tension the incident induced in me. That it mirrored a prominent recent incident at the famous New York church made me feel like a very central participant in weighty matters, which in a way I was, and so was the church.

In closing, it’s worth recounting in full Dr. Grizzard’s reply to the representatives of the Black United Front. The full text appears in John Wann’s history of National Baptist Memorial Church, and was also entered into the Congressional Record of the House of Representatives by the Hon. Joel T. Broyhill on Thursday, October 30, 1969. Dr. Grizzard resided in Broyhill’s congressional district.

Reparations, Restitution and Repentance—October 19, 1969                                                 (read by Dr. R. Stuart Grizzard)

II Corinthians 5:17—If any man be in Christ he is a new creature . . . all things are become new. Revelation 21:5—Behold, I make all things new.

Introduction

Since the Black United Front has come to us and presented these demands for what they call reparations, it seems fitting that I, as Pastor, should make some reply to them.

We do appreciate the fact that they told us they were coming and that last Sunday, when they wanted to come, they were considerate enough to postpone their coming because we had a service of ordination for Mark Tracy, which involved six ministers, and it would have lengthened that already long service unnecessarily.

In time of revolutions, as in war, the first casualty is truth. Revolution has a logic of its own but common sense, objectivity, reasonableness, is turned aside for passionate emotion, confrontation and chance, whether it is purposeful or not. The voice of moderate progressiveness, which tries to keep the fabric of life from being torn apart during change is not heard. Yet, I will be heard on this for I know that ultimately it is the voice of reason that will prevail.

I quite understand the emergency of black nationalism. It is a needed corrective for the intransigence of a stubborn racism that is inflexible in granting simple human rights to people. But that kind of separation will only result in a polarization of society, which will continue animosity that will perpetuate hostility forever. We are going to have to learn to accept one another and live with one another with mutual respect.

Evidently we have been selected because we are designated as the National Baptist Church and, therefore, representative of all Baptists. Perhaps through us you hope to reach other Baptists. We are not the oldest, richest, largest or most Caucasian of all Baptist churches as I shall show in the course of these remarks.

A Baptist church, in structure, is a democracy. I cannot speak for the church. I can only speak to it. This obtains not only for this occasion but for all. What I am to say does not officially represent a reply by this church or by Baptists. It does represent the deep feeling of my own heart, given after prayer and study. The demands, as presented, will be received and acted upon by the church itself at a later meeting.

Evidently, those who composed these demands know little of this particular church. I would not, for anything, defend the past history of prejudice or inequities on the part of the white  majority in this country in its relationship with ethnic minorities. It is writ in a record of shame that brings blushes to the cheek, and in this record the Church of Christ has not acquitted itself too well in trying to right these wrongs. Let it be said, however, that always there were those, laymen and ministers, who did speak out against the evils of racism and slavery. But these voices and examples were not heeded.

The indictments brought here today are not always correct as far as this church is concerned. A candor and sense of fairness makes it necessary to set the record straight.

I do not want to be misunderstood in this. Our church is by no means perfect in its adjustments to these revolutionary days. We have done a great deal but what we have done and are endeavoring to do should be set forth.

I fully realize that we are just beginning to get ready, to commence, to start. Most respectfully, I ask that you know of what we have done and are doing.

1. We are an open, inner city church. 

We have, for more than 7 years, gladly received all who will come into our fellowship and qualify for membership in our church, without concern for racial, cultural or national background. Our only concern is that they accept Jesus Christ as Saviour and pledge to serve Him as Lord of Life. Not only are there scores of black children in our Sunday School, there are about 100 people who are internationals from all over the world who have affiliated with our church. At least half of the people who now join our church are black. Many of thee are now assuming places of leadership and responsibility. If you look around you today you will see that approximately one-third of this congregation is black. Here are some of the community involvements of our church.

a. The Columbia Heights Church Community Project.

This is a structure of community churches to do community work in which we have put about $15,000 in the past four years. For three years the director of it was a black woman of great charm, accomplishment, education and compassion. This project has concerned itself with clothing distribution, push-cart Bible program, teenage clubs, tiny tot clubs, and a day care center which meets in our church. During the riots in 1968, along with other churches of this area in the project, we attempted to alleviate suffering through the providing of food, clothing and housing.

During the Poor People’s Campaign we made available a part of our property as a registration center and groups within the church ministered to the needs of the poor people.

b. The five houses in the next block were purchased for the purpose of doing community work and the hope that we could upgrade the community.

c. Recently, part of our reserve money was placed in the Change Credit Union, a black-owned and operated institution to provide blacks with business opportunities and capital.

d. The church will consider soon our participation with responsible groups in the rebuilding of our burned out area.

e. Last summer, two members of the staff of this church, one part-time and one full-time, were black ministerial students.

Of course we have not done enough to minister in these difficult days. But we are open and we are earnestly trying to be relevant to our situation in the name and spirit of Christ.

2. Reparations is not a Christian concept.

It is a legalism which is antithetical to the teaching of Christ. It seems to say that the payment of money can make right the past. I must repudiate this concept because it becomes ridiculous in application.

If all the injustices of past centuries are to be dealt with in this way, we will never settle the score. Should the descendants of the Indians, who reputedly sold the island of Manhattan to the Dutch for a measly $24.00, be properly compensated now? Shall the descendants of all the Union soldiers who were killed in the Civil War, fighting to free the slaves, be remunerated now? Shall women, white and black, until recently the most discriminated against group in society, be paid for their generations of servitude as the minions of man?  I do not think this can be done.

If you are going to play this game, I have what seems to me to be a just complaint. My saintly father, the latches of whose shoes I am not worthy to unlace, preached for 40 years for Baptists in Virginia, North Carolina, West Virginia, Kentucky and Indiana. Early in his sixties he had a stroke and was never able to function very well after that. There was no provision for his retirement, disability or support. I was forced to leave this city, interrupt my education, go home, work in the cotton mills in Danville, Virginia, and on an ice truck to support the family. This I was glad to do, but it shouldn’t have been necessary. Baptists should have provided for that contingency. They could have and should have.

Reparations never catch up with injury. It cannot by its nature do so, and it heals nothing.

3. Restitution is a Christion concept.

In this, by requesting and granting of forgiveness, relationships are healed and one tries to make up to the injured for wrongs done him. This is accomplished by love, sympathy, and perhaps by material things, too. It is done to the person wronged and not to his descendants.

4. Repentance is a Christian concept.

In fact, this is the beginning of forgiveness. One is genuinely sorry for his sins, for his acts that were wrong, for his hateful attitudes. In genuine contrition he turns from them, asks forgiveness of God and the people he has wronged. It is God’s grace that makes it possible for there to be healing and a new beginning. His grace makes it possible to forgive each other.

5. Renewal

Renewal comes from repentance and forgiveness. “If any man be in Christ he is a new creature, all things are become new” (II Corinthians 5:17). Then we are told in Revelation 21:5 as God speaks, “Behold I make all things new.”

The greatest injustice of all time, the cruelest also, was the rejection of Jesus Christ, God’s Son, who, as a result of rejection by those he came to save, was crucified. In this foul act, God, through Christ, became completely identified with sinful man and, through the suffering of Christ on the cross, made possible man’s redemption from his sinful nature. God vindicated Christ by raising him from the dead. Each of us by an act of faith may appropriate the salvation of our souls and lives through trust and acceptance of Christ.

There is a positive lesson that we in this church must not miss. Demands like these should forever disabuse this and every church of the illusion that we can shut ourselves up behind our cloistered walls and lose ourselves in obscurantism while social change whirls around us. We are going to have to become more and more supportive of these forces that are trying to bring meaningful chance into our world.

Racism is a rejection of persons as persons and is a grave sin against people of God. I am resolved, so help me God, to continue to stand out against racism of any kind, as I have endeavored to do for 30 years.

Here in this church we are dedicated to what is regarded by many militants as passé, but we believe in it. We are committed to a belief that in the local, parish church people of differing ethnic, social and national backgrounds can come together under the Lordship of Christ, accepting Him and each other on the basis of our hopes, to serve Christ and our day as the community of the concerned. In this fellowship we will, ever, strive to change as led by the Holy Spirit of God to be God’s instrument in this place for the betterment of all His people.

(Signed)  R. Stuart Grizzard

John Wann’s history of the church indicates that the members of the Black United Front remained after the service for “Christian fellowship” and then left peacefully, and that the church accepted Dr. Grizzard’s reply as “fitting and proper.”

As of this writing it has been 51 years since Dr. Grizzard wrote these words, and the topic of reparations has been renewed in several progressive places. Many institutions have taken definite steps to make restitution. For example, the Virginia Theological Seminary, an Episcopal seminary in Alexandria, Virginia, has taken a very public stand in admitting its racist past and has established an endowment fund, the proceeds of which benefit  descendants of the slaves who built the seminary.

In his written remarks Dr. Grizzard admits that his approach may appear passé to the militant progressives, and I imagine it might seem so today. I’m not enough of a theologian or anthropologist to effectively argue the point one way or the other, and I certainly wasn’t in 1969. But my remembrance of this great man was that he was acting on his convictions, and he was eloquent in his presentation, which was based on scripture and his understanding of Christian principles.

In the fall of 1970 I accepted another job of increased responsibility, professional standing and scope . . . and salary. In reflecting on my relatively short tenure at National Baptist, I’m put in mind of some of those contemporary pieces of art consisting of several overlapping geometric designs, where each resultant space is filled in with a different color. Usually it is in these smallest spaces that the colors stand out most brilliantly. At any rate, it is with that brilliance and vividness that I recall my brief tenure at National Baptist Memorial Church and my friendship with Dr. R. Stuart Grizzard.

 

Bibliography and Sources

Bigbee, John Chapman. Obituary in The Washington Post, January 17, 1991.

Carey, John J. Carlyle Marney: A Pilgrim’s Progress. Mercer University Press, Press, 1980.

Grizzard, R. Stuart. Obituary in The Washington Post, February 23, 1989.

Grizzard, R. Stuart. Sweeter As The Years Go By. Private Memoir, publ. 1991.

Walker, J. Samuel. Most of 14th Street Is Gone: The Washington, D. C. Riots of 1968. Oxford University Press, 2018.

Wann, John L. A History of the National Baptist Memorial Church, Washington, D. C.  Private Publication, 1976.

 

Additional Photographs

1970

 

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Map of the principal sites of the riots of 1968. National Baptist Memorial Church at 16th Street and Columbia Road is marked with a circled cross.

 

Meridian Hill Park 16th St

The lower section of Meridian Hill Park which follows the downward slope of 16th Street to Florida Avenue.

 

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Dr. R. Stuart Grizzard, Pastor, 1964-1978

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Church Christmas card 1969

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Panoramic photo of 16th Street showing NBMC’s tower and circular auditorium, and the triangular site at Columbia Road. All Soul’s Unitarian Church is to the right at Harvard Street.

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Columbia Road looking east toward 16th Street

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Sixteenth Street looking north, with some of the embassies in the neighborhood.

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The church from the Columbia Road side looking toward 16th Street. Dr. Grizzard’s office was on the second floor directly above the entrance, featuring the large circular window. The slender window to its left was my office.

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Holy Comforter Lutheran Church, Washington, D. C., The Rev. Franklin G. Senger III, Pastor

Copyright 2020 © Neal Campbell

 

Senger, Rev Franklin G 1968 directory

The Rev. Franklin G. Senger, III

The Lutheran Church of the Holy Comforter at Alabama and Branch Avenues in Southeast Washington, D. C. was an unusually devout and unusually modest community. The congregation met in a fairly dreary adapted space that was built in the 1950s to be the parish hall once the church was built, which it never was. It was typical sturdy-but-cheap cinder block construction with institutional tile floors. As you entered the front hall it had the smell of a well-used, but well-maintained multipurpose building redolent of daily cleaning and a slight tinge of candle wax and incense.

The worship space itself was outfitted modestly but traditionally with as many beautiful things as the congregation could manage. I don’t recall any stained glass windows. In fact, the most beautiful effect in that regard was that through the frosted glass of the (liturgically) west facing window where one saw a handsome row of slender evergreen trees outside which occasionally swayed gently in the wind. The chancel was arranged in a traditional divided manner with the altar against the wall facing eastward. The organ was a Möller Artiste of four ranks.

But this is where any acquiescence to modesty ended. The services were conducted with great solemnity and color, with all the resources the small parish could muster, but were entirely devoid of pomposity. A significant portion of the service was sung which caused more than one congregant to quip that the pastor’s name was apt, as he did indeed sing as much of the service as possible.

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A recent picture of the altar in its reconfigured location, with shades installed over the window so you can’t see the row of evergreens outside.

I had substituted at the church around Thanksgiving and Advent of 1968 so I was known around the place when the permanent job became vacant the first of the next year and I was appointed. I was a high school student and had yet to obtain my drivers’ license. I was nothing approaching a prodigy in the textbook sense, but the fact that I was good, competent, and reliable at that age was cause for comment and a certain amount of adulation. The all-volunteer choir was small and of moderate ability, but I recall we sang anthems of enough gravitas that I still know and use some of them—things of the caliber that are in the Oxford Easy Anthem Book, which more than one wag has dubbed the Oxford Not Quite Easy Enough Anthem Book!

Holy Comforter Luth Choir 1968

The choir from a church directory. I remember each of these singers and what their voices sounded like, but recall only the name of Jeanne Shuey, an alto, second from the right on the front row.

I only served the church for about four or five months, but this was my first regular position—the first instance where I was the organist (and in this case, also choirmaster) of the church. The services were elaborate by any measure, especially so in my experience, even though I had been to a few services at Washington Cathedral by this time. They consisted of various combinations of what we would now call Morning Prayer and/or Eucharist. They may even have used the terms MATINS and MASS. The full complement of Holy Week services beginning on Palm Sunday, the Maundatum ceremonies on Maundy Thursday, the Good Friday liturgy, and the Easter Vigil were all done in their entirety. So, before I was old enough to drive a car, and continuing throughout my career, the intricacies of any service I’ve been presented with has not been an impediment, and I always felt at home in the services of varying denominations, and in varying forms and styles.

Pastor Senger was thorough and precise, but in no way was he what we would today call a Type A personality. He was genuinely devout and conducted the services in a way that left no doubt that it was the most important thing in the world for him to be doing at that moment. Typically, we had a few moments of socializing between the two morning services each Sunday and that pretty much is the sum of my recollection of our interaction. He would inquire about my school and organ studies; by this time I was studying regularly with William Watkins and playing in competitions and student recitals around town.

The job required me to be present for choir rehearsals on Thursday evenings and two services on Sunday morning at 8:00 and 11:00. Since I did not drive, the arrangements were somewhat intricate, but it worked and the side benefit was that I got used to relying on the D. C. Transit bus system—this being in the years just prior to the Metro. On Thursdays after school, I would take the bus from the Takoma terminus down to Federal Triangle, and then change to a bus that went down the length of Pennsylvania Avenue SE, across the Anacostia River, get off at Branch Avenue and walk several blocks to Alabama Avenue where the church was located. Then, after choir rehearsals on Thursday nights, my father would meet me in the car from his second job which was somewhere on East Capitol Street. Then, on Sunday mornings, we would reverse the plan: he would drop me off at about 7:30 a.m. and then continue on to his job.

The real fun came when I would take the bus home after Sunday services around noon. I would explore the city sometimes not arriving back home in Takoma Park until dark. I would have lunch at any number of places I discovered on Pennsylvania Avenue in the neighborhood of the church or in downtown Washington, such as Reeves or the Hot Shoppes on 14th Street not too far from where Metro Center is today. I would check out any church along the way that looked interesting. Sunday afternoons usually included taking the bus from downtown, through Georgetown and up Wisconsin Avenue to the Cathedral for Evensong, and from thence up to Friendship Heights and change to a bus that went along Western Avenue to Silver Spring and ultimately Takoma. It boggles my mind to think of doing this as a young teenager today—no cell phones or text messaging to check in. I do remember always planning to have enough change for the bus and a pay phone, which were then plentiful.

The only conversation I actually recall with Pastor Senger had to do with the parish finances in general. One Sunday there had been a typical stewardship address which included plans for the eventual building of a proper church. At our visit over coffee between services I recall him saying he wasn’t worried in the least about the outcome. He said if it was God’s will it would happen and it was out of his hands. There was nothing about him that indicated he had the sort of ambition to be anything other than the shepherd of this congregation, or that he had any sort of planned career path in mind. In fact, he never left Holy Comforter, finally retiring from there in 2009. I remember on my last day as their regular organist after Easter when he saw me he just said “it’s a sad day.” In retrospect, I’m sorry I didn’t experience a couple of complete liturgical seasons with him. I learned a lot.

In 1987 this church did a modest renovation of their worship space which included reorienting the layout. The altar was now under the frosted windows at the opposite end of the church with the evergreens, now larger, still gently waving in the breeze behind the altar. The choir and a new Karl Wilhelm organ was at the opposite end of the room where the altar had been previous. I was highly honored to be asked to come back and play one of the dedicatory recitals. It was in October 1987 that I went up on a Sunday after church in Richmond to practice and play a late afternoon recital following Evening Prayer. Upon walking into the front hall, that familiar distinct aroma greeted me, as did a few familiar faces from some twenty years previous, including Jeanne Shuey from the choir. Pastor Senger was still there presiding, greeting, infusing the place with warmth, dignity, and lots of pride in the new organ.

In the cursory research for this remembrance I found out that Pastor Senger died on July 20, 2018 at a facility in Gaithersburg, Maryland, and his funeral was from Good Shepherd Lutheran Church also in Gaithersburg. He was 90 years old, and retired from Holy Comforter in 2009 after serving as its pastor for 50 years. Apparently, he attended Good Shepherd regularly, and I found a YouTube clip of the celebratory observance of his 65th anniversary of ordination held there in 2016.

The bishop presiding over the extended presentation, which took place before the Prayers of the People at the regular morning service, and he related some of Pastor Senger’s accomplishments which were many. He had been a leader in both the religious and the political community in Southeast Washington. He also was commended for his leadership in growing liturgical awareness within the Lutheran Church in America. Apparently, the observance of the Easter Vigil at Holy Comforter was among the first to take place in that denomination in the country. Perhaps it was even the one for which I played my one Easter with them!

In this YouTube footage Pastor Senger was in a wheelchair and spoke only a very brief word of thanks toward the end, but his voice was unmistakably resonant and clear, though considerably weaker than what I remember from the vigorous 40-year-old from whom I learned so much during the first few months of 1969.

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From the website of Holy Comforter Lutheran Church in 2020 which I found as I was preparing this article:

The Lutheran Church of the Holy Comforter was founded in 1945, and for most, if not all of its existence, we have been strongly committed to worship in the liturgical tradition. During the fifty year pastorate of The Reverend Franklin Gwynn Senger III, who retired in 2009, Holy Comforter was active in the Society of the Augsburg Confession, which worked to promote a greater appreciation of the western liturgical tradition, and it was one of the first Lutheran congregations in the Washington area, to offer the Eucharist every Sunday.

Holy Comforter has always had a strong involvement in the community, and, in the early 1960’s, was active in the successful movement to integrate the Hillcrest area and eliminate the system of real estate covenants that excluded persons of color. Holy Comforter helped in the formation of the Hillcrest Civic Association, and has been and still is the meeting place for several community organizations.

Holy Comforter was never a large congregation. Although attendance averages twenty to forty people a Sunday, we have a core of active and committed members. The congregation was integrated by the 1960’s and roughly half the membership are white and half are people of color. Our members are scattered all over the area. Some live in the neighborhood, but others come from as far away as Columbia, Maryland and Reston, Virginia.

 

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AAM@50: The 2016 Fair-Chester Conference

These sketches were published in the February 2016 issue of The Journal of the Association of Anglican Musicians. 

For almost three years prior to June 2016 my local colleagues and I worked regularly as we prepared to host the 50th anniversary conference of the AAM held in Westchester County, New York, and Fairfield County, Connecticut. For this reason the conference became known as the Fair-Chester Conference.

One of my tasks was to prepare brief sketches on the conference venues and organs for the Journal, a very enjoyable job as there are many significant examples of each in the area, and part of the conference intent was to showcase the differing styles of architecture in which we worship and make music. Terry Byrd Eason was a featured conference personality as he took us through significant details at each venue. 

As preparations and schedules emerged it was with regret that the committee had to cancel plans to visit the churches in New Canaan and Mt. Kisco but I’ve included details here of these architecturally significant churches.

Copyright 2016 © Neal Campbell

 

St. Barnabas Episcopal Church, Greenwich, CT

Established in the early 1950s St. Barnabas was admitted to the Diocese of Connecticut as a parish church in 1967, and was designed by Greenwich architect Philip Ives. Richards, Fowkes & Co. installed its Opus 1, there in 1991.

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Richards, Fowkes & Co., Opus 1

 

St. John’s Lutheran Church, Stamford, CT

The original St. John’s Lutheran Church was formed in the mid-19th century by Swedish immigrants who moved into the area from Bridgeport. The present building, inspired by the New England meeting house style, was built in 1954.

The organ was built by Richards, Fowkes & Co. in 1995

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St. John’s Lutheran Church, Stamford. Richards, Fowkes & Co. organ

 

First Presbyterian Church, Stamford, CT

Known colloquially as the “Fish Church” because of its appearance in profile and floor plan, the First Presbyterian Church is generally considered to be one of the most significant ecclesiastical structures of the 20th Century. Designed by Wallace K. Harrison it was dedicated in 1958 and is unique in its combined use of precast concrete slabs together with thick faceted glass designed by Gabriel Loire of Chartres, France.

The organ is Visser-Rowland’s Opus 87. The carillon in the tower was built by Gillett & Johnston in 1947 and amended by Paccard in 1968.

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The “Fish” Church, Stamford

 

St. John’s Episcopal Church, Stamford, CT

The parish traces its history to the pre-Revolutionary War era and originally included what is now Greenwich, Stamford, Darien, and New Canaan, and is the mother church of Anglicans in Fairfield County.

The present building, the third for the parish, was designed by noted Victorian Gothic architect William Potter who designed many churches in New York and academic buildings on the campus of Princeton University in the latter half of the 19th century.

The new church was opened for worship in 1891 and originally contained a Roosevelt organ. In 1917 Skinner installed its Opus 277 and it served the church until the 1960s when a new McManus organ was installed in the gallery.  In 1990 the church installed the present organ, essentially a new instrument incorporating selected pipework from the previous organs. In an unusual arrangement, the church functioned as general contractor for the new organ and farmed out work according to its specifications, all under the direction of Craig Ferguson, chairman of the organ committee and vestryman of the parish. Tonal work was facilitated by Bruce Schultz and mechanical, engineering, and structural design was completed by the Foley-Baker.

In the late 1980s the church began plans to develop its property into an innovative design which came to be known as Canterbury Green, a mixed use complex consisting of apartments, retail stores, parking, pedestrian arcades, and a park-like garth surrounding the church, all of which was given the New York State Association of Architects Award in 1995.

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Canterbury Green rising around St. John’s Church.

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Chancel of St. John’s Church, Stamford

 

Christ Church, Greenwich, CT

Established as a parish in 1749, the present church building was built in 1910 to a design by local architect William F. Dominick. The noted parish Choir of Men and Boys was established in 1934 and has since been joined by the Choir of Girls, a mixed adult choir, a training choir, and a Compline Choir.

The church has recently undergone an extensive restoration. The large Austin organ was installed in 1976.

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Christ Church, Greenwich

 

Christ Church, New Haven, CT

From 1895-98 Henry Vaughan directed the work of building the present Christ Church specifically for the purposes and needs of Anglo-Catholic worship, and it is considered to be a masterpiece of his style of parish church architecture.

With close ties to Yale University and the Institute of Sacred Music, the music of Christ Church attracted considerable attention under the leadership of our colleague Rob Lehman, and was among the first churches on college campuses to introduce Compline into its rota as an offering targeted to the student population. In addition to his position as Professor of Organ at Yale, Thomas Murray is the organist of the church.

Lively-Fulcher installed a new organ in 2005.

 

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Antique print of Christ Church, New Haven

 

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Console of the new Lively-Fulcher organ, Christ Church, New Haven

 

Trinity Church-on-the-Green, New Haven, CT

Trinity Church, one of three churches on the largest town green in New England, was designed in 1813 by Ithiel Town, who developed his version of “Gothick Style” some twenty or thirty years before what has come to be the accepted beginning of the Gothic Revival in America.

Trinity maintains one of the oldest choirs of men and boys in America, having begun in 1885. The church has since established a parallel program for men and girls, and adults. Walden Moore recently observed his 30th anniversary as Organist and Choirmaster of the church, following in the lineage of Stephen Loher and G. Huntington Byles.

The organ was built by Aeolian-Skinner in 1935 and is maintained by Joseph Dzeda of the Thompson-Allen Co., also curators of the organs at Yale University.

 

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Aeolian-Skinner Opus 927, Trinity on the Green, New Haven

 

Woolsey Hall, Yale University, New Haven, CT

Woolsey Hall is the principal auditorium on the campus of Yale University and is used for a variety of academic and community performances and events. It is part of the Bicentennial Building Complex built in 1901 which also includes the Memorial Rotunda and the University Commons. It was designed in the Beaux Arts style by the noted New York firm Carrière & Hastings and seats some 2,600 persons. In it is contained what is generally considered to be one of the great organs of America, if not the world: the Newberry Memorial Organ, the work of the Skinner Organ Company in 1928, incorporating pipework from two previous organs. Unique as the organ is, even more rare is the fact that so large an organ, now almost 90 years old, is maintained in perfect working condition under the care of the Thompson-Allen firm.

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Console of the Newberry Organ, Woolsey Hall, Yale University

 

Christ Church, Bronxville, NY

Christ Church Bronxville is a parish in the Diocese of New York which has long expressed its worship life through music and liturgy in a “high church” tradition. Known for its local adaptation of Sarum traditions, the parish was the host for the first AAM American Sarum regional conference in 2010.

Christ Church is the last parish church with which Bertram Grosvenor Goodhue was associated. It was Goodhue, together with his partner Ralph Adams Cram, who revolutionized the Gothic landscape of America in the first quarter of the 20th century. Goodhue supervised the siting and general plans but died before the church was completed.

The organs in Christ Church have been represented by some significant American builders. During the extraordinary 45-year tenue of Robert Owen the Aeolian-Skinner and Gress-Miles organs became well known through his concerts and recordings. As the vicissitudes of wear and tear took its toll, the organ was ultimately replaced after a long series of modifications and repairs by a new organ built by Casavant in 2010.

 

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A service in the mid-1950s . . .

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. . . and a recent celebration, Christ Church, Bronxville.

 

Glen Island Harbour Club, New Rochelle, NY

One of Westchester’s unique jewels, Glen Island was originally created in 1879 as a summer resort for a business representative named John H. Starin. In 1923, Glen Island Park and Casino was acquired by Westchester County.

The Glen Island Casino was a springboard to success for several noted bands during the 1930’s Big Band Era, including those of Ozzie Nelson, Charlie Barnet, Claude Thornhill, Les Brown and the Dorsey Brothers.

In March of 1939, Glenn Miller and his orchestra got their big break when they were chosen to play a summer season at the prestigious Glen Island Casino.

The casino was closed in 1978, but reopened in December 1983. The original shell of the building and the dance floor in the second-floor ballroom, where the bands played, were retained.

The club is now a premier event facility with stunning water views and award-winning cuisine and hospitality.

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Glen Island Harbour Club, New Rochelle, New York

 

St. Mark’s Church, New Canaan, CT

Anglicans have worshiped in New Canaan since pre-Revolutionary War times; the original St. Mark’s is now St. Michael’s Lutheran Church in the center of town on God’s Acre, the original portion of the village set apart for its houses of worship. The present church, opened for worship in 1961, was designed by Stamford architect Willis N. Mills and draws its inspiration from Medieval principles applied to mid-twentieth century styles and techniques. The rood screen iconography is the work of Clark B. Fitz-Gerald and features sculptures of wood and metal.

St Mark’s takes its place among the other ecclesiastical and domestic designs in New Canaan that make the town a showplace for the American modern architectural movement of the 1950s, inspired by the European Bauhaus developed by Walter Gropius and Marcel Breuer and their students, among whom Philip Johnson was the best known.

Austin installed a new organ when the present church was built and has recently made some additions and modifications. The carillon in the tower is by Paccard.

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Altar Screen designed by Clark B. Fitz-Gerald, organ and choir behind. St. Mark’s Church, New Canaan

 

St. Mark’s Church, Mt. Kisco, NY

Dating from 1909 St. Mark’s was one of the earliest churches designed by Bertram Grosvenor Goodhue. Goodhue was proud of this church, writing about it in 1910 to Montgomery Schuyler

At Mount Kisco, we have almost completed the best . . . church I have so far done; and though the tower isn’t on, the various details have been so carefully carried out and the atmosphere is so much that of an English church of the “right” period, that it would give you a better idea of my dreams and my gods (architecturally speaking) than anything else.

Among the details Goodhue oversaw was commissioning Hildreth Meiere to paint the altar triptych, her first professional work.

The present organ was built by Aeolian-Skinner as its Opus 1201 in 1951, and was designed by G. Donald Harrison, who placed his signature plate on the console. The organ became widely known via a recording by long-time organist Edgar Hilliar on the Aeolian-Skinner “King of Instruments” series of recordings.

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St. Mark’s Church, Mt. Kisco, New York

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St. Mark’s, Mt. Kisco. The Positiv organ is suspended from the ceiling at the entrance to the chapel across the chancel from the main organ.

 

On Friday following the conference proper an optional tour visited these four outstanding venues in New York City.

 

The Church of the Intercession, at Broadway and 155th Street, once a chapel of the Parish of Trinity Church, is located in the midst of Trinity Cemetery where several notable New Yorker’s are buried, including Clement Clarke Moore, long-assumed to be the author of A Visit from St. Nicholas (’Twas the night before Christmas). Each year in December there is a procession to his grave and a candlelight reading of the famous story. Former New York mayor Edward I. Koch, himself Jewish, requested to be buried there, and he is.

From an architectural standpoint the church and parish buildings are the most complete ecclesiastical work of architect Bertram Grosvenor Goodhue. It was Goodhue’s favorite of his church buildings and he is buried near the font in the north transept in a tomb given by his architectural colleagues, containing reliefs of some of his famous buildings as rendered by sculptor Lee Lawrie.

Pictures of the organ case designed by Goodhue found their way into several books in the 20th century. Its use of en chamade pipework is probably the first instance of that in America, although the pipes themselves are non-speaking. Goodhue traveled to Mexico and it is thought that he was inspired by organ cases there containing reed pipes en chamade. The first organ in the church was built by Austin. The present organ is comprised of the Aeolian-Skinner organ formerly in St Paul’s Chapel of Trinity Parish, installed by Schlicker with additional new pipework and console.

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Church of the Intercession, Broadway and 155th Street, NYC

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Case of the original organ designed by Goodhue.

 

The Cathedral Church of Saint John the Divine is the largest Gothic church in the world and is the seat of the Bishop of the Diocese of New York. Following a competition which saw submissions from several architects in a wide variety of styles, construction began in 1892 to a design by Heins & LaFarge, who submitted the winning entry in the Byzantine-Romanesque style. When Heins died in 1907 the first phase of construction ended with the apse and choir complete. A “temporary” dome, still in place, was built by the Guastavino firm and Ralph Adams Cram was called to complete the cathedral in the Gothic style. Although Cram’s entire design has never been completed, the length of the nave was opened in 1941, a length of 601 feet.

The original organ was built by a young Ernest Skinner in 1906 as his Opus 150. It was extensively renovated with much new pipework by Aeolian-Skinner in 1951 to a design of G. Donald Harrison, including the famous State Trumpet at the west end. The organ was restored by Quimby and Douglass Hunt in 2008 following heavy smoke damage from a fire in the gift shop in the unfinished north transept.

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A recent diocesan event.

 

St. James Church at Madison Avenue and 71st street on Manhattan’s Upper East Side is an unusual amalgamation of styles. Began in 1884 to a Romanesque design by R. H. Robertson, it placed the altar at the west end of the church, at the Madison Avenue side so that no new construction would block the sunlight on the apse windows surrounding the altar. The main entrance to the church was mid-block on Madison Avenue.
In the 1920s as the high Gothic style of ecclesiastical architecture was gaining favor throughout the country, and in New York in particular, the vestry of St. James engaged Ralph Adams Cram who essentially designed a new church using the existing structure as the footprint of the design to save money. A new chancel and elaborate altar reredos was created at the east end of the church, and a new entrance and tower was created opening on to Madison Avenue. This work was completed in time for services on Christmas Eve 1924.

There have been previous organs by Austin and Möller, and the present organ by Schoenstein contains complete chancel and gallery divisions.

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St. James Church, 1884

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The chancel of St. James Church, showing the organ facade and the reredos designed by Ralph Adams Cram.

 

Grace Church at Broadway and 10th Street was founded in 1805 in lower Manhattan just a few blocks from where several Episcopal churches were located, near where Trinity Church stands today. The present church was completed in 1846 and is the work of James Renwick, Jr., who was 24 years old at the time. Although his later design for St. Patrick’s Cathedral is better known, Grace Church is considered his masterpiece. The site on which the church stands was originally the farm of Henry Brevoort and legend has it that as the town fathers were extending Broadway north onto his farm, he stood guard with an ax threatening anyone attempting to build a road through his property. It is for this reason that Broadway takes an abrupt turn westward at this very point in its progress uptown. And as a result, Grace Church is the focal point of a commanding view appearing at the head of Broadway from over a mile downtown.

Grace Church has had a succession of fine organs and organists. The church for many years maintained a choir school, the first in the city (now a parish day school from which choristers are drawn), founded by James Morris Helfenstein. The choir and school flourished under the direction of Ernest Mitchell who was an “organist’s organist” in the early-mid 20th century. Both Tournemire and Vierne dedicated compositions to him, and many organists “of a certain age” will remember the picture of Mitchell at the imposing console of the 1928 Skinner organ which appeared in the World Book Encyclopedia in the 1950s and 60s. The console is now on display in the music office of the church.

The present organ by Taylor & Boody dates from 2013 and has been lauded as a tonal and engineering masterpiece.

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An antique card picturing Grace Church in the 1920s.

 

Ernest Mitchell at Grace

Ernest Mitchell at the console of Skinner Opus 707, a photo which appeared in several editions of the World Book Encyclopedia in the 1950s and 1960s.

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The Taylor & Boody organ.

Much of the information contained in these paragraphs is based on material found on the website of the New York City Chapter of the American Guild of Organists in the pages developed by Steve Lawson on the individual organs of the city: http://nycago.org/Organs/NYC/index.html

 

Several pictures from the conference:

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Nick Thompson-Allen, John Boody, and Joe Dzeda

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Jim Litton and Patrick Fennig

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Philip Moore at the garden party at Christ Church Greenwich.

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Conference committe chairman Geoff Smith, John Boody, Suzanne MacDonald, and Judith Hancock at the garden party on the grounds of Christ Church Greenwich.

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Gregory Eaton and David Hurd at the Glen Island Harbour Club

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Philip Stopford, Christopher Wells, Anne Timpane, and Geoff Smith, present and past organists of Christ Church, Bronxville.

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Fr. Carl Turner in the pulpit at St. John’s in Stamford.

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Bp. Keith Whitmore, with Rob Lehman and Sonya Sutton at the Glen Island Harbour Club.

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Nick Andrews, Terry Eason, and Doug Hunt on the steps of St. John the Divine.

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Barry Rose and Murray Sommerville at Grace Church, NYC.

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John Boody at the tomb of Bertram Grosvenor Goodhue, Church of the Intercession, NYC.

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A memorable week draws to a close.

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A Brief History of St. Stephen’s Church, Richmond, Va., and Its Aeolian-Skinner Organ

This article was commissioned by Emery Brothers and appeared in the December 2017 issue of  The Diapason.

Copyright 2017 © Neal Campbell

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Honoring Judith Hancock: 2004 and 2012

Copyright 2012 © Neal Campbell

In the spring of 2004 two of the happiest events of my professional career occurred within about six weeks of each other–the second a direct result of the first.

To celebrate the completion of a two-year restoration of the fine Aeolian-Skinner organ in St. Stephen’s Church in Richmond, Va., where I served from 1985-2006, we organized a weekend of events featuring Judith and Gerre Hancock, Charles Callahan, and Steve Emery.  On Friday evening Judith was presented in a full length recital  which was co-sponsored by the local chapter of the A.G.O.  Saturday was given over to masterclasses and workshops led by Judith and Gerre on pieces and improvisation topics relevent to the current A.G.O. examinations.  Charlie Callahan  talked about G. Donald Harrison and Aeolian-Skinner, and Steve spoke about the organ’s restoration and took workshop registrants through the organ.

Gerre Hancock, Richard Newman (who played in the masterclass), and Charles Callahan at St. Stephen’s, Richmond, Va., March 2004

On Sunday morning, Gerre directed the choir and played the organ, and Steve led interested parishioners on tours through the organ between services.  In the afternoon, an open rehearsal was followed by a big Evensong, for which Gerre directed and Charlie accompanied, which combined St. Stephen’s Choir, and  the choirs of St. Catherine’s and St. Christopher’s Schools–two diocesan schools whose campuses are adjacent to the church which were led by my colleagues Greg Vick and Nick Stephenson.  The repertoire included Gerre’s Responses, Charlie’s Harvard Service, and concluded with all of the choirs singing Parry’s cantata-length anthem Hear my words, ye people.  Folk in my choir were excited to be singing music by living composers in their presence! The afternoon concluded with one of Gerre’s signature symphony improvisations, the themes for each of the movements drawn from prominent themes  from the service.

A month or so before these events, at Charlie Callahan’s instigation, I had been added to the board of trustees of St. Dunstan’s College of Sacred Music in Providence, Rhode Island.  And so it was that late that Sunday evening after we had all been to dinner, Charlie said to me that he thought it would be fitting if the College awarded an honorary doctorate to Judith.  The Hancocks were soon to be leaving New York where they had served at St. Thomas Church since 1971, and Gerre already had several honorary degrees, and Charlie and I thought this was a fitting climax to our celebratory weekend.  But we kept these thoughts to ourselves for a few days.

Later that following week, I called Gerre and laid our plan out to him and he thought it was “just WON-derful!  Judith will be so pleased.”  I then suggested that I knew the ideal time to do this: the first Sunday in May.   The recital following Evensong that day was to be the Hancocks farewell recital at St. Thomas Church.   It was also the opening event of the church’s annual choirmasters’ conference and was to be followed by a gala reception sponsored by the American Guild of Organists honoring Gerre, and many from the A.G.O. national council and other visitors were to be present.  So it was agreed that at an appropriate interval during the recital I would make the presentation.  But Gerre insisted that it be kept a secret from Judy.  He wanted it to be a surprise for dramatic effect; I had practical reasons in mind!  Since this scheme was cooked up in haste, I couldn’t arrange to be away from Richmond for the Sunday morning service and Charlie was not available to be in New York that afternoon.  In short order Charlie had the diploma made up and I ordered a doctoral hood from Collegiate Cap and Gown.  Not knowing whether or not St. Dunstan’s College had a color scheme for academic regalia, I just ordered the colors of Manhattan School of Music, which they had on file.

Now, in order for me to make it up to New York following my own morning service in time for the Evensong recital-presentation, I had to make some intricate logistical arrangements at each end of the trip, and Gerre and I knew that the success of the endeavor was predicated on each piece of my travel puzzle flowing seamlessly without snags.  So we had the understanding that if I showed up in New York that afternoon, we would proceed with the plan; if not, we would do it another time.

Over the years I have made the trip between Richmond and New York many times, in all modes of transportation, land and air, and the time taken for the journey ranged from a low of a couple of hours to a 24-hour-overnight trek.  I gave this enterprise about a 50-50 chance.  But fate was on my side that day, and I knocked on the door of Gerre’s office after Evensong, collected the academic hood Collegiate Cap and Gown had drop shipped to the church, and took my place in the chancel with my other colleagues on the council.  Someone observed me toting this hood and  I simply said “don’t ask.”

There were other speeches and presentations made at the mid-point interval in the recital, of which mine was last.  As Judy told me the story later, she said she was at the console preparing for the next number and was only slightly aware of these speakers droning on, and she assumed that Gerre was receiving yet another honorary degree, and only when she began to be aware of feminine pronouns in my citation did she catch on to what was happening!  Following is the complete citation:

Photo by Tony Thurman, Development Director of the A.G.O. who organized the gala reception following the recital.

I am here this afternoon in my capacity as a trustee of Saint Dunstan’s College of Sacred Music in Providence, Rhode Island.

The college was founded in 1928 and chartered by the legislature of the State of Rhode Island in 1930 as a degree granting institution for the study of sacred music operating under the “rules of the Episcopal Church” to quote the first catalog.  Among its initial leadership was John Nicholas Brown whose idea it was for the college to function in connection with Brown University in providing courses of study leading to undergraduate and graduate degrees in sacred music studies.  It was housed in property on Benefit Street adjacent to the Cathedral Church of St. John, and its initial faculty and board was made up of leading musicians and clergy, some of whose names are still familiar today: Canon Winfred Douglas, David McK. Williams, Hugh Ross, Wallace Goodrich, Hollis Grant, and E. Power Biggs.

The vicissitudes of the Depression and World War II altered the scope of the college’s fortunes and function over the years and for many years it served as an east coast counterpart to the Evergreen conference in Colorado, with which Canon Douglas was also affiliated, and offered a certificate granting summer course of study in Providence and, later, Newport.  It also continued to publish books and music for the church, and served in an advisory capacity to churches and dioceses throughout the church.

Its activities over the years also included honoring outstanding musicians in the service of the church with the honorary degree, Doctor of Sacred Music.

This afternoon the trustees are proud to recognize a colleague who has served this parish church, the greater church, and the entire sacred music profession through her outstanding achievement as a complete church musician, especially in her role as a master accompanist to the comprehensive choral repertoire offered by the St. Thomas Choir, and through her untiring devotion to and love of the organ repertoire, and especially for her offerings of the great literature for the organ within the liturgies of the church.

Therefore, at the most recent meeting of the trustees of St. Dunstan’s College of Sacred Music, it was resolved to confer the degree Doctor of Sacred Music, honoris causa, to Judith Hancock, and we offer to her this diploma and hood as symbols of that degree, and as tokens of our affection and esteem.


Given the second day of May 2004, being the
Fourth Sunday of Easter, and the eve of
The Feast of Saints Philip and James
in Saint Thomas Church, Fifth Avenue, New York

Dr. Judith Hancock and her husband, Dr. Gerre Hancock, at the reception in Andrew Hall, St. Thomas Church, following their farewell recital, May 2, 2004.

Fast forward to 2012: Gerre Hancock, one of the founders of the Association of Anglican Musicians, died on January 21.  For the AAM annual conference in Philadelphia in June it was decided to honor his memory by including many of his compositions in the conference programs, and by asking Judith to play and to be present for the conference.  I was honored to be invited to introduce her at the opening banquet before she made her own remarks, and this is what I said:

The invitation to say a few words about the Hancocks this evening sent me to my files, where I found the printed order for the first service I attended at St. Thomas Church:

I was in college and it was over Christmas/semester break during the Hancocks’ first season at St. Thomas.  It was a weekday Evensong right after Epiphany, and the anthem was Sowerby’s Now there lightens upon us a holy daybreak.

Remembering from the distance of forty years, two things are still vivid:

1) The choir sounded very good—much the same in style and sound as it always has sounded and still does—obviously inspired by and molded in the English Cathedral tradition.

and . . .

2) . . . the choir was directed by Judith Hancock, the associate organist of St. Thomas Church, and wife of the new organist and master of choristers, Gerre Hancock.

Gerre was off concertizing someplace and Judith was left in command.  So my first fan letter to St. Thomas was to Mrs. Hancock, and I still cherish her written reply, which I also found in my file.

It is this pattern of family collaboration, yet individual artistry and professionalism established at the outset of their careers, that I want to recall and honor tonight.

St. Thomas being the obvious centerpiece of the Hancocks’ careers, it is easy to forget that they had a life before New York—but they did, and it was a good life!

Gerre was in charge of the music at Christ Church Cathedral in Cincinnati—the cathedral church of the Diocese of Southern Ohio—was on the artist faculty of the University of Cincinnati College-Conservatory of Music—and had already established himself as a successful concert organist, touring under the auspices of the Lilian Murtagh concert management since 1964.

In Cincinnati Judith directed the music and played the organ at her own church and they had two very young children—Deborah and Lisa.  They were not all that eager to move.  And, to be honest, St. Thomas at that time was not the obvious career move one would assume today.

But . . . once in New York it was a partnership of shared work right from the start, as evidenced by the weekday Evensong I attended that first visit.  And . . . while there was no doubt that Gerre was in charge, Judith was apt to often be at the helm in this, their highly visible position at the crossroads of the world, at Fifth Avenue and Fifth-third Street.

And . . . not just at the church.  I had just moved to Philadelphia and was present for Evensong and a concert by the St. Thomas Choir during the Third International Congress of Organists in the summer of 1977, right over at the Church of St. Francis de Sales in West Philadelphia (and at Girard College)—on that occasion Judith lead the choir and Wes McAfee played the organ.  It was immediately after Gerre’s first heart by-pass surgery, and he was in the congregation, but had not fully recovered to be able to conduct.  It was the first time I had ever heard of this medical procedure, and it seemed to me at the time that it was experimental surgery.  And Father John Andrew, in announcing Gerre’s presence, made it sound as if he’d been brought back from the dead, and we all clapped and cheered!  But it was Judith who led the music, as she would after his second similar operation many years later.

Judith’s own concert and teaching career also began to blossom: she also concertized under the banner of Karen McFarlane’s newly minted Murtagh-McFarlane management, and we all became accustomed to seeing both Gerre’s and Judith’s pictures on the back of The Diapason and The American Organist each month.

While she did all this with lots of grace and loving, wifely support, she was not incapable of sustaining her own pride of place while she was at it.  I’m sure I’m not the only one here to have heard her say in his presence:

“but Gerre, I have to practice; I play real music!”

As if to corroborate this, the Rector in his sermon at Gerre’s Requiem even said

you know, although Father Andrew and I certainly remember Judith at the console practicing, we can’t recall [ever] seeing Gerre there for that purpose!   

And I’ll never forget a scene at one of the early Choirmasters’ Conferences—back in the days when Judith was the sole associate organist and did all of the accompanying.

Other than emcee the event and visit with all of us, there really wasn’t a whole lot for Gerre to actually do, and during the rehearsal for some lengthy psalm or anthem, Judith was playing and Gerre was hovering.  The 32’ Bourdon was on and Gerre must have thought it was too much, so he reached over and took it off—while Judith continued to play!  Well—within the time span of a sixteenth rest Judy had that 32 back on, and it stayed on until she took it off!

(And, by the way, how many of us could have withstood the scrutiny of not only our musical programs, but our domestic lives played out to human view displayed the way the Hancocks did at these annual events!)

In 2004 as the Hancocks were leaving New York for the University of Texas, Judith was awarded the honorary degree Doctor of Sacred Music, the citation of which reads in part, that she is recognized as

a colleague who has served the entire sacred music profession through her outstanding achievement as a complete church musician:

. . . especially in her role as a master accompanist . . . her untiring devotion to and love of the organ repertoire . . . and . . . for her offerings of the great literature for the organ within the liturgies of the church.

          That’s as true now as then, and to it I can only add that I know there are students at the University of Texas who salute her for her continuing work as an inspiring teacher and mentor.

There is another female organ personality out there who is unofficially styled as “The First Lady of the Organ,” but—Judith, to me you will always be the First Lady of the Organ, and you are the undisputed First Lady of this Association, and it gladdens our hearts to have you here with us as we give thanks .  .  .  for your rich career as artist and teacher,  for your extraordinary role as wife and colleague of our beloved Uncle Gerre,  and especially as a cherished friend to all of us!

Judith Hancock address the AAM conference opening banquet, Philadelphia, June 18, 2012.

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Obituary: Granville Munson

I wrote the following obituary for my predecessor at St. Stephen’s Church, Richmond, Va., and it appeared in the February 2001 issue of The American Organist:

Copyright 2000 © Neal Campbell

Granville Munson, 80 years old, October 23, 2000, Richmond, Va., after a long illness.  He was organist and choirmaster of St. Stephen’s Church, Richmond, from 1947 to 1985, and was dean of the Virginia (now Richmond) AGO chapter from 1951 to 1953.  Upon his retirement from St. Stephen’s Church, he was named consultant in church music to the Diocese of Virginia.  Mr. Munson attended St. Alban’s School and was a choirboy at Washington National Cathedral under the cathedral’s first organist and choirmaster, Edgar Priest.  After his voice changed, he continued to serve as the cathedral’s head crucifer until graduation from St. Alban’s School.  He earend his B.Mus. degree from the University of Pennsylvania and was organist and choirmaster of St. Mary’s Church, Hamilton Village, Philadelphia.  Following service in World War II, Mr. Munson studied with T. Tertius Noble in New York.  Shortly after coming to Richmond, he joined the faculty of St. Catherine’s School and St. Christopher’s School, whose campuses are adjacent to St. Stephen’s Church.  He was also a founding member of the Richmond Symphony Orchestra in the mid-1950s and he served for many years as Virginia chairman of the National Cathedral Association.  More than 100 former choirmembers from the church and the schools participated in his funeral at St. Stephen’s Church.  AGO Region III Councillor Neal Campbell, Mr. Munson’s successor, was the organist.

With Granville Munson, left, and Edouard Nies-Berger, Richmond, Va., 1988.

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Reviews of “In the Spirit’s Tether: Choral and Instrumental Music of Harold Friedell”

The following review by Michael Barone appeared in the September 2000 issue of The American Organist:

IN THE SPIRIT’S TETHER: Choral and Instrumental Music by Harold Friedell (1905-1958).  The Choir of St. Stephen’s Church, Richmond; Neal Campbell, organist and choirmaster; Deborah Cuffee Davis, assistant organist (1951/66 Aeolian-Skinner), with Robert Murray, violin, and Melba Williams, Harp.  Pro Organo CD-7096 [DDD]; 67:47.  Produced by Frederick Hohman (available from Zarex Corporation: 800-336-2224; www.zarex.com.  [Anthems: Psalm 25; Draw us in the spirit’s tether; The Way to Jerusalem; Thou Son of God on Christmas Day; The shepherds had an angel; Sweet little Jesu; Modal Communion Service; Orisons; Magnificat and Nunc dimittis in F; Psalm 121; Organ solos: Lullaby; Prelude on St. Columba; Elegy (with violin and harp).]

Respected and appreciated for his dozen years of service to New York City’s St. Bartholomew’s Church and as an inspiring faculty member of the School of Sacred Music at Union Theological Seiminary, Friedell was one of the notable East Coast American church musicians of the mid-10th century.  Active in the AGO and maintainer of exemplary programs at the churches he served, Friedell left a small body of useful compositions that reveal a sure hand and a full understanding of the needs of the liturgical church.  Texts are set clearly and without complication, harmonies and melodies are chaste and effecient, yet also confident and reassuring, and everything is accessible to Sunday singers and worshipers.  Though many of the works have been published, two items, which were not, should be: a brief organ Lullaby, with its aura of Delius’s Walk in the Paradise Garden, and the moving soprano solo setting of Psalm 121.  The Mag/Nunc pair is as fine as any by an American, and the plaintive Elegy touches heartstrings, too.  Campbell’s forces are period perfect, and Hohman’s recording of them is spacious, transparent, and totally effective.  No anthem texts are provided in the otherwise informative booklet (and are not really necessary, so clear is the choir’s diction). No useful data is provided about the organ either, this omission being one of Pro Organo’s few recurring bad habits.

This second review, also by Michael Barone, appeared in the July 2001 issue of The American Organist in a column celebrating the 15th anniversary of Frederick Hohman’s Pro Organo label where Barone reviewed a dozen recent Pro Organ releases:

In church music circles, Friedell’s reputation still stands, based on his teachng at Union Theological Seiminar and his years at St. Bartholomew’s and Calvary Church in New York City.  Since his compositions are almost entirely for the church, awareness of his work beyond these precincts is virtually nil.  Thus, Neal Campbell’s dedicated performances (amplified by five booklet pages of his reflective annotations, drawn from his doctoral researches) are both welcome and necessary, at the very least as a document of an aspect of our culture (the serious church musician/composer) that is very much on the decline.  Friedell’s style is harmonically uncomplicated, mildly modal and lyric, easy to follow, and a bit proper as much utilitarian church music is (from any generation).  Little of his music is memorable in the way a Howells or Britten or Walton anthem might be, but that may come from an intent to create works that a totally amateur choir could manage.  These performances present the scores in a natural environment.  The marvelously clean enunciation of anthem texts seems to have been achieved, in part, by a microphone placement that emphasized individual voices (whose diction is flawless) rather than a more blended choral sound.  The chorus responds to Campbell’s sensitive direction, and if their ensemble is not as refined as some professional groups (vibrato in the female singers is rich), it still represents a quality level very high on the scale of American volunteer liturgical choirs.  All of the music is well within the scope of decent singers.  The solo Lullaby (which builds to a modest climax), and the haunting Elegy (in which guest violinist Robert Murray and harpist Melba Williams join Mr. Campbell) would all make satisfying recital interludes.  But in what has become an unfortunate Pro Organo tradition when the organ is not the sole focus of attention, little or no mention is made of it in booklet notes.  Here, even the organ tuning is credited (justifiably, since the instrument sounds superb), but we are told neither the date of completition, nor size, nor any historical background concerning the instrument.  I obtained the data elsewhere.

The following review by Bernard Durman appeared in the April 2000 issue of The Diapason:

This CD is likely to be viewed as the odd-lot recording from Pro Organo, because it features a choir that does NOT model itself after a typical English cathedral choir.  Instead, we have a mature, American mixed adult choir, with a rich, come-as-you-are vibrato.  The CD features the St. Stephen’s Choir, a choir not unlike that found in the majority of choir lofts in America, and one which approximates the choral blend and choral sound that one would have been likely to hear (and which this reviewer is old enough to remember) coming from the larger New York City area churches during the early 1960s.  Oddly enough, it is precisely this choral sound that does much to convey the warmth and quasi-operatic drama of the music of Harold Friedell.  Dr. Neal Campbell’s dissertation was centered upon the life and works of Friedell, and he draws upon his experience as he interprets and conducts these works.  Friedell was noted for his work in several New York City churches, his last and most memorable post being at St. Bartholomew’s Church on Park Avenue.

For the program of this disc, Dr. Campbell has included an engaging instrumental track–the lush Elegy for violin, harp, and organ–as well as a couple of organ solo tracks and one very impressive soprano solo from Lisa Edwards-burrs (a setting of Psalm 121).  To this he has added some fine choral singing of service music, and both well-known and little-known Friedell anthems.  As one continues to listen to this album, one can begin to identify many of the harmonic progressions, modal flavors, and rhythms that are Friedell’s musical thumbprints.  For those of us who only know Harold Friedell from his “hit” anthems, such as Draw us in the spirit’s tether and The Way to Jerusalem, this CD will give the listener a finer understanding of this mid-century church musician/composer.  While the choral ensemble and diction are in fine form, and the recorded sound excellent, we are still miles removed from the sound of the Anglican cathedral men and boys choirs.  The value of the CD for the church musician is primarily for the opportunity of gaining insight into the dramatics, even the theatrics, of Harold Friedell’s sacred music.  The dramatic element must be understood by all who would conduct this music in order that it be delivered with the spirit of dignity and serenity that no musical score alone can convey.

The Choir of St. Stephen’s Church, Richmond, Virginia.

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