Suddenly there was a big crash, and something big and hard hit my head and bounced down both manuals, making a tremendous noise! I was startled and turned around to see what had happened.

Dora was sitting to my left and slightly behind me. She had thrown a hymn book, and it had hit me, hard! As I looked at her in utter surprise she set the stage for all my future lessons. She yelled in absolute stern fury - you missed that note last week. Don't you ever, Ever, EVER dare return to a lesson without having absolutely fixed everything I have pointed out to you in a previous lesson!

I just about "dropped my teeth", and I never forgot it! And I guarantee you that from that moment on I paid very strict attention to everything she ever said, even if only in passing. I never forgot her admonition, and I never repeated a mistake in a lesson. I lay my speedy progress on the instrument directly to that moment! (Nowadays I could have sued her and the school!) But it didn't harm our relationship a bit, and it really set the stage for my serious good progress in organ study from the very beginning. Discipline!!!! Today, I never hear the expression about having the book thrown at someone, without recalling that incident vividly!

Another thing about Dora that made me play well was how "cute" she looked at the console when she played. She would stick her chin up with her nose in the air, arch her back, and jiggle her bottom a bit. I always wanted to laugh but didn't dare. She played like a super-whiz, and I was always impressed. So when I sat on the bench a gremlin would get hold of me, and I would try to copy her mannerisms exactly. And then I would go on and play like her. It started out as an inner joke, but I think that "attitude" of aping her made me play with a fire and assurance like she did. I never started a recital without doing the same thing she did-- head in the air, arched back, and a sense of mastery, fire, and leadership. I thought inwardly it was a joke and I was almost ashamed of myself, but it really worked!

Her ability to register a piece quickly and in a very complicated manner really impressed me too. I always thought no one else could have done as well. Looking back, over 40 years later, I still think so. I had many other fine teachers, but, to me, no one could ever hold a candle to Dora!

Peggy Bie

From Peggy C. Bie peggyb@gate.net
5/21/98 18:27

Subject: Dupre's registrations
To: wdavis@electrotex.com

I sure would like the information about the Dupre registrations. I was Dora
Barclay's only organ major and played on the Hillgreen-Lane for several
years, which we affectionately called "the old tub". Charlie Webb was the other
good organist. He and I both graduated in 1955 wearing two tassels on our
mortarboards - pink for Music and white for Arts and Sciences. Charles was a wonderful accompanist for the Fred Waring Choral Workshops, one of which I attended at SMU. He was organist-director at Oak Lawn Methodist Church. Everyone told me that he played all the anthems by memory (or improvisation). He later became dean of the music school in Indiana, which I heard was the largest in the United States. Dora was teaching most of her lessons on the Aeolian Skinner in Perkins Chapel at that time. Thanks!

Rev. Peggy C. Bie

From:
wdavis@electrotex.com
5/21/98 21:40

Subject:
Dupre's registrations
To:
peggyb@gate.net

DUPRE'S REGISTRATIONS
McFarlin Auditorium, 1948

GEN 1: Couplers: Sw and Ch 8 to Ped; Sw, Ch and Solo to Great 8

GEN 2: SW: Bourdon 16, Dolce Cornet, Fl Harmonic 4; GT: Gemshorn, Fl
4, CH:
Harp; SOLO French Horn

GEN 3: SW: Bnourdon 16, Dolce Cornet, Cornopean; CH: Clarinet

GEN 4: Sw-Ped. 8; SW: Bourdon, Dolce Cornet, Hohl Fl 8; GT: Gemshorn,
Melodia;
CH: Concert Fl. 8; SOLO: Tibia; Sw and Ch to Gt 8

GEN 5: SW: Bourdon, Dolce Cornet, Viol d'Orch., Vox Celeste, Salicional,
Hohl Fl
8; GT: Melodia; CH: Unda Maris, Dulciana, SOLO: Gamba Celeste. Solo to
Ch 8

SW 1: Bourdon 16, Dolce Fl., Sw. Rohr Fl 8

SW 2: Same as #1 + Gedeckt 8, Fl Harmonic 4

SW 3: Bourdon 16, Dolce Cornet, Salicional, Vox Celeste

SW 4: Bourdon 16, Dolce Cornet, Fl Harmonic 4, Oboe

SW 5: Diapason 8, Dolce Cornet, deckt, Rohr Fl 8, Fl Harmonic 4, Violina 4;
PED:
Minor Diap 16, Bourdon 16, Violone 16, Liebl. Gedeckt 16, Cello 8

SW 6: Same as #5 + PED Bour. 16, Sw. Piccolo2, Cornopean, Oboe, Vox
Humana

GT 1: Ped. Bourdon 16, Dolce Fl., Gt Gemshorn 8

GT 2: Ped Bour., Dolce Fl., Gt Melodia, Dopp. Fl 8

GT 3: Ped. Bour., Dolce Fl.,Gt 1st, 2nd, 3d Open Diapasons 8, Gemshorn,
Melodia

GT 4: Ped. Major and Minor Diapasons 16, Bourdon, Violone, Lieb. Ged., Fl
8,
Cello 8, Gt. Op. Diaps 1,2,3, Gamba, Gemshorn, Melodia, Dopp. Flute
8,Flute
d'Amor 4, Octave 2

GT 5: Same as #4 + Gt. Diapason 16, Mixture III, Tuba 8, Clarion 4
Ped. Trombone 16, Ophicleide 16, Tuba 8, Tuba Clarion 4

CH 1: Ped. Bourdon 16, Dolce Fl 8; Ch Fl 8

CH 2: Same as #1 + Ch Forest Flute 4

CH 3: Same Ped as #1; Ch Clarinet

CH 4: Same Ped., Ch. Unda Maris, Dulciana

CH 5: Same Ped., Ch Violin Diapason, Dulciana, Quintadena, Conct Fl 8,
Forest Fl
4

SOLO 1: Tibia Clausa 8

SOLO 2: Tibia, Flute 4

SOLO 3: French Horn 8

SOLO 4: Echo Flute 8, Echo Vox Humana 8

SOLO 5: Stentorphone 8, Tibia, Gamba Celeste, Flute 4, Ophicleide 16,
French
Horn 8, Tuba Mirabilis 8, Tuba Clarion 4

GENERAL TOE STUDS

1: Cancel

2: Ped. Resultant 32, Maj and Minor Diapasons 16, Cello8, Fl Dolce 8,,
Sw-Ch-Gt-Solo to Ped 8, Sw. Viol d'Orch. 8, Vox Celeste, Salicional,
Gedeckt, Sw
16 & 4; Gt. Open Diap 16, Gamba, Gemshorn, all (!) Couplers to Great; Ch.
Violin
Diapason 8, Unda Maris, Dulciana, Forest Fl 4;l Solo coups 16-4, Gamba
Celeste

3: Ped. Maj and Min Diaps. 16, Bourdon, Violone, Fl 8, Cello, Fl Dolce, all 8'
coups to Ped exc. Echo; Sw. Diap. 8, Viole Cel., Sal., Gedeckt, Hohl Fl 4;
Sw-Ch-Solo 8 to Gt., 1-2-3 Diaps 8, Gemshorn, Melodia; Sw & Solo 8 to
Choir., Ch
Dulciana, Quintadena, Concert Fl 8; Solo: Stentorphone

4: All 8' coups to Ped exc. Echo; Ped Minor Diap 16., Bour., Violone, Lieb
Ged.,
Cello, Fl Dolce, Violinm 4; Sw. Diapason, Viol d'Orch., Sal., Gedeckt, Fl Har.
4., Violina 4, Piccolo 2, Dolce Cornet III., Sw-Sw 4; Gt. Sw 8-4, Ch 8 to Gt.,
Gt: 3d Open Diap., Gemsh., Melodia, Fl d'Amour 4, Octave 4, All Mixtures?
(See
note); Sw 8-4 to Ch., Ch Violin Diap., Dulciana, Quintadena, Conct. Fl 8,
Forest
Fl. 4

5: All 8' coups to Ped. Exc. Echo; Diapason (Maj and Min) 16, Bourdon,
Violone,
Lieb. Ged., Flute 8, Cello, Flaut. Dolce; Sw Bourdon 16, Diap. 8, Viol
d'Orch.,
Salicional, Gedeckt, Hohl Fl 8, Fl Harmonic 4; Violina, Piccolo, Cornopean,
Oboe, Sw 4' coup.; Sw 8&4 to Gt., Solo & Ch to Gt. 8; Gt Diaps 1-2-3,
Gamba,
Gemshorn, Melodia, Dopp. Flute, Fl d'Amour 4, Octave 4; Sw 8&4 to Ch.,Ch Violin
Diap., Dulciana, Unda Maris, Quintadena, Concert Fl 8, Forest Fl 4; Solo:
Tibia
8, Flute 4

NOTES: These are the specs used by Marcel Dupre on his December 7,
1948
recital in McFarlin Memorial Auditorium, Southern Methodist University,
Dallas,
TX. We students hastily copied down his piston settings the following day
(before they would be changed again.)

The organ was a Hillgreen-Lane of 4 manuals and (?) ranks installed in
1925. With the removal of the School of Music to its new facilities in the 1960s, the
organ fell into disuse. Much of the pipework was removed and presumably
sold. I know little of its present condition.

These specs were scribbled down in haste, and I just now (May 1998) have
tried to "translate" them. A stop listed as "Dolce" appears in some Pedal specs,
but I do not see this in my original typewritte specs of the organ. I assume there
must have been a Flauto Dolce or some such that I missed there. Again, I
sometimes copied "Dolce Cornet III" in the Sw.as just Dolce. So this is a
mystery!

I also wrote down "ALL mixtures" a time or two. That organ had only the
Dolce Cornet III on the Sw. and a "Mixture III" on the Great. I think that in my
student days I was also including the Gt. Octave 2,12th and 15th stops as
"mixtures"! A compound mutation maybe; a mixture NO.

I also wrote down "all 3 reeds" for the Swell which had only a Cornopean,
an Oboe and a Vox Humana. Whether or not M. Dupre used the Vox in a full
organ combination I cannot recall!

The manual combination pistons also controlled Pedal stops, which as I
recall, was not an optional arrangement.

Walter W. Davis
Corpus Christi TX
May 21, 1998

From: wdavis@electrotex.com
5/21/98 22:04

Subject: The SMU organ
To: peggyb@gate.net

Dear Peggy,

Thanks for your note about the SMU organ. I read your rather frequent
posts and the responses they elicit (but wont go into that now, OK, haha!)

Neat that you are an SMU alum also. I graduated in 1950 and was the first
student organist to play a service in Perkins Chapel. I graduated from SMU
and had a year in Perkins before transferring to Union Seminary in NYC where I
got my Master's.

Charles Webb was 2 or 3 years behind me in high school. I remember him
as a sort of prodigy but did not know that he went on to get a degree in organ.
He somewhat played by his own devices for a long time before that.

Now that the McF organ is no longer intact I wish it were. My understanding
is that it was decimated by someone who acquired most of the Solo division
and I don't know what else. Sometime there in the 50s, the Perkins family
donated a new Moller console which sat center-stage in a pit. If you were there when
they had the old horse-shoe console, you will recall it was on the right, and
seeing any organist was almost impossible.

What I remember about the organ was that it was pretty much buried behind
velvet curtains around the proscenium of the stage and did not speak out well. I
think the curtains were removed later. As I look back now, the specs for those
days were really rather good; it must have been 60 or more ranks. I had a church
job in Dallas so did lots of practicing there rather than at the school, and Dr.
Ellsworth let me practice at E. Dallas Christian a lot where they had a big
puffing Pilcher!

I plan to be back in Dallas in July and want to see the McF organ again--
someone posted from the Univ. to me today and said he played a graduation
ceremony there this past weekend and the old organ still works (barely) - so
maybe I can get in to see it. I understand Perkins is closed for renovations
(hard to believe it is OLD enough to need renovating!)

I could talk a long time about my studies with Dora (1946-51) - she was
really a card, but I learned more from her than anyone else.

Anyway, thanks for writing, and I hope the specs and other info prove
interesting.

Walter W. Davis
Corpus Christi TX

From: Peggy C. Bie peggyb@gate.net
5/22/98 4:19

Subject: Re: McFarlin Auditorium in Dallas
To: sroberts01@snet.net
CC: PIPORG-L@CNSIBM.ALBANY.EDU

Stephen Roberts replied to Earl McDonald re the "Grand Old Man of Organ at SMU"
- You probably mean Robert Anderson; his tenure at SMU was very long and distinguished....He was one of the greatest American organ teachers of his
generation, and was also a very fine recitalist...."

Robert Anderson may be the Grand Old Man of Organ at SMU, but he
certainly wasn't the best organist or organ teacher there. The best by far was Dora
Poteet Barclay, student of Dupre. Why am I qualified to say this? Because
I studied with both of them, and compared to Dora, Robert was dullsville.
That doesn't mean he was bad, but he just didn't have her personality, flair or fire.

Before Dora the organ prof was Viola Cassidy, who left memorial prizes to future
organ majors (As a senior and graduate organ major under Dora, I received it.)
Robert Anderson succeeded Dora, who died around 1961. I was living in
Germany at the time, following in the footsteps of Helen Hewitt, the first female Ph. D.
in musicology, organ prof at the Univ. of North Texas in Denton. I was studying
at the University of Heidelberg and going to Helmut Walcha masterclasses.

My studies with Robert Anderson were post-Masters. He really didn't impress me
much. I transferred to the University of North Texas, where I studied organ and
harpsichord with Dr. Charles Brown and Dale Peters, and piano with Jack
Roberts, all Assoc. Profs and Dale even became Dean of the School of Music.
(any relation to Stephen Roberts?). Joseph Banowitz, my former fellow student
at SMU, was on the piano faculty. All of these teachers were more inspiring to
me than Robert Anderson (no, we never had a falling out, just never much of a
falling in.)

One more comment on the Hillgreen-Lane organ. Steven Roberts wrote: "What
Anderson saw in the Hillgreen-Lane organ at McFarlin Auditorium I can't figure
out; every Hillgreen-Lane organ I ever played was abysmal."

Our dear "old tub" was fun to play; it was just rather "french" style oriented,
while the trend of the time was toward tracker and chiff style. I loved practicing the final movement of the Reubke Sonata on it because it was so loud and powerful. I'm sure this disturbed every class in the building (ha ha). I do remember the chambers were frequented by students. (We always wondered why we found big jars of vaseline and old condoms in there.)
Maybe this organ had more color and resources than most Hillgreen-Lanes. And probably the maintenance men had a lot to do with it. There was Bob and Gail Barney and Mr. Redmon, among others.

Peggy Bie

http://www.oocities.org/CapitolHill/Senate/1095

From: Peggy C. Bie, peggyb@gate.net
5/22/98 4:57

Subject: Re: McFarlin Auditorium in Dallas
To: mewzishn@spec.net
CC: PIPORG-L@CNSIBM.ALBANY.EDU

Ken (Mr. Mewzishn) wrote: "At least they tried to practice safe sex!"

In the 50's the term "safe sex" wasn't invented yet. The only point was to
NEVER get pregnant unmarried! But getting back on topic, those were the
roomiest organ chambers you ever saw, even before any pipes were removed!

Peggy Bie
http://www.oocities.org/CapitolHill/Senate/1095

From: Peggy C. Bie, peggyb@gate.net
5/22/98 4:38

Subject: Re: McFarlin Auditorium in Dallas
To: OleMac7456, OleMac7456@aol.com
CC: PIPORG-L@CNSIBM.ALBANY.EDU

Earl McDonald said, "I was in the engineering school at SMU in the 47 to 53
period....I do remember that that organ had a horseshoe console....The horseshoe
was later replaced with a "proper" drawknob desk".

I am surprised to hear this. I enrolled in SMU in June 1953 as an organ major
(junior). The drawknob console was there, and no one ever mentioned that it was
new or recently replaced. At the time there were many organ students, but I was the ONLY organ performance major. Amazing that no one ever mentioned to me it had had a horseshoe console.

Rev. Peggy C. Bie
"We don't see things as they are, we see them as we are." -Anais Nin
http://www.oocities.org/CapitolHill/Senate/1095

from: Peggy C. Bie, peggyb@gate.net
5/22/98 7:29

Subject: Re: McFarlin Auditorium in Dallas
To: sroberts01@snet.net

Steve Roberts wrote:

Ms. Bie says she studied with Robert Anderson in the 50's; this
was rather early in Robert Anderson's tenure at SMU. Like
> most of us, Robert Anderson probably learned and improved as he
aged, since most of the students I mentioned studied with him in the 60's
>and 70's.

Dora died in 1961-2 as I recall. She was wonderful! I studied with Robert
Anderson in 1964-68, off and on, after returning from Germany a week
before Kennedy was shot (Nov.22, 1963. Yes, that was early in his career, but it wasn't in the '50's. Dora was there then.

Wasn't your teacher, Mildred Andrews, at TCU in Ft. Worth? That's why I
asked if you were related to Jack Roberts (head of the piano dept at the Univ. of No.
Texas when I studied with him).

Does anyone know what became of Dr. Charles Webb? I heard he was
Dean of the School of Music at Indiana. We graduated together at SMU, being the only
two graduates getting both A&S and Music degrees at the same time. We both
wore both pink and white tassels on our mortarboards, and had to stand and flip them
over at different times as the degrees were conferred.

Peggy C. Bie

http://www.oocities.org/CapitolHill/Senate/1095

From: Betty Jean Davis, betdav@falcon.tamucc.edu
Fri 18:41

Subject: Dora Poteet Barclay (fwd)
To: PIPORG-L@CNSIBM.ALBANY.EDU

I studied with Dora 1946-51 during my high school and college days. My
previous training had been with my former piano teacher, at one time the organist at
our church -- a dear lady indeed, but one from whom I learned no organ
technique at all. Realizing that I was not progressing, my father called and made
arrangements for me to take lessons with Dora -- without my knowledge!

She was seemingly very gruff and almost fierce to a new student, and she
frightened me at my first lesson that I needed to start over with the dreaded
Gleason book. For seemingly months I did nothing but the finger and pedal
exercises and learned the zillion rules about repeated notes, legato, thumb
glissando, etc. A time or two I tried to sneak in a piece of forbidden music to
"play" for fun; but the penalty of getting caught was a tongue-lashing and
usually a reminder: "If you aren't going to work, then get the hell out of my
class!" Dora had a way with words.

But as the months went on and I learned to control my wilfulness and really
take organ-playing seriously, I became a devoted fan of hers. She was
supportive and helpful in every way and moved me into the great literature as soon as I was
able to absorb it.

She was very moody at times. One day about 1950, as my lesson time began, she said, "Walter, improvise something for me." I meandered over the keys for about five minutes wondering what her comments would be. At last she broke the silence and said, "You know, my mother died a year ago next week. I'm supposed to play a recital, but I wonder if I should cancel it in her memory." The poor dear had that on her mind. I said, "No, go on and do the recital to her memory." And she did. This shows the kind of person she was -- tough exterior, but very tender in reality.

She was a perfectionist, and that perfectionism applied to her own playing. The
limelight disturbed her. She once told my mother, "I always wanted to just crawl down into the organ pit and play without being seen. And you know, Mrs. Davis, I am STILL that way!"

I could fill a book with anecdotal information and memories but will move on to
a few words about her as an organist.

She studied with Dupre in 1937-38 and was one of his star pupils. She always
admired him so much and was glad when he came to Dallas to play at SMU in 1948 --
that was when I got to meet Dupre personally. Dora played for various churches
at different times, notably at old First Methodist Church (later Trinity Methodist, 2-manual Hook & Hastings, later burned), Episcopal Church of the Incarnation, Highland Park Methodist Church, and recitals in many more churches.

Late in life she married William Barclay, a radio organist in Ft. Worth, and she commuted to Dallas from that time on for her teaching. They were devoted to each other. Dora always upheld Bill for his talents which were somewhat different than hers. Bill did a grand improvisation on gospel hymns at a recital in Dallas one time, and afterwards, Dora beamed at me and said, "Isn't it wonderful Bill can do that? Not many organists can!"

She developed spinal problems in the early 1960s, and as I understand it, following surgery she became partially paralyzed and never played again. This was very shortly after her remarkable dedicatory recital at Park Cities Baptist Church which has been mentioned here before. She passed away the following year, 1961. Her many gifted students included William Teague, Donald McDonald, Hugh Waddill and Mary Moore Grenier.

PS. I have just scanned a photo I took of Dora at the McFarlin organ in 1951, on
which she inscribed, "To Walter Davis, my friend and pupil." When I sent her the copy, she replied to the effect, "Bill says it is a good picture. He is a good photographer, so chalk up one for yourself!"

I'd be happy to forward a copy of this picture to anyone as an attachment to e-mail if they are interested.

From: Peggy C. Bie, peggyb@GATE.NET
Sat 0:15

Subject: Re: Dora Poteet Barclay (LONG)
To: PIPORG-L@CNSIBM.ALBANY.EDU

Dear Walter,

Thanks so much for sharing your memories of my much beloved teacher, Dora Barclay. You wrote:

> She developed spinal problems in the early 1960s, and as I understand it,
> following surgery she became partially paralyzed and never played again.
> This was very shortly after her remarkable dedicatory recital at Park Cities
> Baptist Church which has been mentioned here before. She passed away the
> following year, 1961. Her many gifted students included William Teague, Donald
> McDonald, Hugh Waddill and Mary Moore Grenier.

Walter, I studied with Dora three years and four summers, from June 1953 to
August 1956. I've had many wonderful teachers, but I just adored Dora. I was her only
organ performance major the first two years, although she had many "secondary"
and sacred music major students.The third year she had several "majors, but I was the only graduate organ performance major. I also later studied with and was good friends with
Hugh Waddill, who taught me theatre organ styles on his studio Hammond. He
gave me a lot of his wonderful drawbar combinations. Mary Elizabeth Moore
graduated the year before I came, I think, and went to Curtis Institute, then to get her
Masters at Michigan under Robert Noehren. I didn't know her married name
was Grenier. Her little sister, Joy Anne Moore, became an organ major a year or
so later, as did Barbara Marquart and Howard (Buddy) Ross, all good organists. Do
you have the addresses of any of them? Beal Thomas was a good friend of Buddy
Ross, both being from Longview, Texas. Beal has written me a few notes on the
Anglican list. He is playing in Houston now. We were all Dora's students. I guess I was the senior one, after you, Mary Elizabeth, and Russell Brydon.

Dora started to become quite ill while I was still her student (1956). She
would have spells of badly shaking hands; I guess it was the beginning of the
Lou Gehrig's disease I heard she had. My parents and I frequently visited her
and Bill at their home in Fort Worth, and we also visited her church there
(All Saints Episcopal?) The last time I saw her was in 1957 or 58. She was at home in Fort Worth. Her hands were shaking very badly, and I was stunned. I asked her what repertoire she would advise me to learn, and she answered, "learn ALL the Bach works". She said she had not, but wished she had!

You or somebody mentioned the older American Airlines pilot, John Beck. He was my good
friend. I'm sorry to hear he died. John had wonderful recording equipment, and
came to make recordings of several of my recitals. We dated for awhile. John was
from Lititz, Pennsylvania.

Did you know Norman Blake, Bobby Cobb,and Russell Brydon? I played at the Church of the Incarnation every summer for a couple of months. I have a lot of tapes of Doras playing, plus the one the Dallas AGO put out in her memory - the wonderful dedicatory recital at Park Cities Baptist. I think I played at nearly every large church in Dallas, including under Gene Ellsworth at East Dallas Christian, for Henry Sanderson at St. Matthews Cathedral, Arthur
Smith at Christ the King RC, Highland Park Presbyterian (Tom Merriman), and St. Lukes where I succeeded Norman Blake and Larry Palmer succeeded me (after I married and went to Germany). I have some wonderful pictures of Dora, her publicity flyers and booklet, and even one of me playing on the old Hillgreen-Lane in McFarlin Auditorium.

Please send me the picture you have of Dora, and if I ever learn to control my
new scanner I'll send you what I have. We must meet some day. I've tried to
send pictures via email, but never heard if they came out okay. (They are in bmp
format, and I haven't learned to convert them to gif or jpeg yet. I want to
make a web page about Dora. Maybe we can combine our information. More sharing
later.

Rev. Peggy C. Bie

http://www.oocities.org/CapitolHill/Senate/1095

Thomas Chase wrote:
>
> Thanks for your note. St-Sulpice is indeed an astounding instrument, entirely worthy of all of

> the great organists who have played it over the years, from Clerambault through Widor and

> Dupre to the present co-titulaires, Daniel Roth and Sophie-Veronique Choplin.
>
> I would be delighted in hearing any of your former teacher's reminiscences of Dupre, in whom > I have a longstanding interest.
>
> ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
> <> Web page: http://leroy.cc.uregina.ca/~chaset/
> <> e-mail : Thomas.Chase@uregina.ca

Brent Johnson
Fri 18:49

Subject: Re: Dora Poteet Barclay (fwd)
To: PIPORG-L@CNSIBM.ALBANY.EDU

I learn something new every time I read this list. While at SMU I received the Dora Poteet Barclay award from the organ department. It was pretty inevitable, there were only 2 undergrads at the time, and it was an undergrad award. I happily took the award after a rough year and went home. All I knew about Dora Poteet was that she was a professor of organ at SMU. Now I know much more. Thank you very much.
Brent Johnson
http://home.swbell.net/bmjohns

 Dear Walter,

I have a 12 page brochure written for the 75th anniversary of the above church which I hope to scan when I figure out how to do it. But right now I am busy writing some court papers.

This brochure is dated Jan. 1, 1965, so the church is now 108 years old. Probably the pastor at the time you were there was Rev. Martin Kniker (1942-1951). He was succeeded by Rev. Roy Winklemann (1952-1958) and then Rev. Russell Mueller (1958- ) under whom I served from 1964 - 1969 (I moved to Denton in Jan., 1970.) I have a picture of the old church and the new church where I was organist. The church merged with the Congregational Christion Churches in 1957. A son of the congregation, Dwayne Dollengner, was ordained in 1959. The old church was sold to the Fraternal Order of Eagles. The Memorial Fund was used to rebuild the "old faithful organ", and a beautiful recital marked its rededication in 1961. The new church and fellowship hall was dedicated in March 1962. I don't remember who preceeded me, as I never met him. But he received rave reviews.

I am very surprised as I type this to see that I am the organist listed as Minister of Music on this brochure. At that time I used the name "Carol Shauck." Carol was my middle name, and Shauck was my married name. Since my husband, Bill Shauck, died on Feb. 6, 1972, leaving me with three small children, I have resumed my maiden name, Peggy Carol Bie.

The music I used on the HERITAGE SUNDAY, on Jan. 10, 1965 was:

Prelude "Sheep May Safely Graze" - J. S. Bach
Anthem (Chancel Choir) - "The Twenty-third Psalm" by Herbert Fromm
Offertory Anthem (Junior Choir) - "David and Goliath" - Lloyd Pfautsch
Postlude - Gigout Toccata

DEDICATION SUNDAY - Jan. 17, 1965

Prelude - Fantasia in g minor (The Great) - J. S. Bach
Anthem - (Junior Choir) - "Let All Things Now Living" - Katherine K. Davis (Welsh)
Anthem - (Chancel Choir) - "O How Amiable are they Dwellings" - R. V. Williams
Postlude - Fugue in G minor (The Great) - J. S. Bach

There was also a 6:00 p.m. service with music in Lockwood Hall.