History of Music at Orangewood

The Bob and Joyce Page Era (About the Page Family *)
by Bob Page

December 1953 through May 1965

 The following is all the information the Pages have regarding the Orangewood music program prior to June 1965:

 Jim Hendricks was the director of the adult choir.  It is believed that Jim taught at Mesa High School, although he took over the choral music program at Mesa Community College about 1965.

 Nadine Driscoll had been the organist until the Pages came.  Apparently both she and her husband were associated with Arizona State University.  Mr. Hendricks and Mrs. Driscoll were part time staff people at Orangewood Church.

 Doris Erdle had directed a children's choir which is believed to have included children from first through eighth grades.  Mrs. Erdle was a public school music teacher.  Apparently she was a volunteer.

September 1965 through August 1990

 In June of 1965 Bob and Joyce Page moved to Phoenix with their five children.  They had come from ten years of full time service in the church music ministry at Montgomery, Alabama and Santa Monica, California.  Bob agreed to plan the music for the summer which was mostly organ and vocal solo music.  They joined the staff at Orangewood Church September first, however.

Organizing Orangewood's Full Time Music Ministry

 The Pages organized Orangewood's music program into five choirs: Adult, Senior High, Junior High, Junior (4th to 6th grades), and Primary (2d and 3d grades).  At that time Orangewood was a church of about 750 members, comprised predominantly of families living rather close to the church.  Many of these families included several children each; thus there were many children and youth in the congregation.

 The sanctuary building was new, having been occupied for less than a year.  Except for the summer months two services were held weekly, at 9:30 and 11:00 AM on Sunday mornings.

 One of the problems facing the young congregation was a lack of classroom space. Therefore it was decided to schedule the 4th, 5th, and 6th grades' Christian education classes after school each Wednesday.  In this way there was enough classroom space for all other ages on Sunday mornings; the junior ages (4-6 grades) went to church services.  This is how the very successful "Wednesday School" was born, in which the entire church facility was available to the children.

 The Pages also scheduled Junior Choir rehearsals on Wednesday afternoons, meeting them at 5:30 after their education classes were over.  This was a very popular program for several years.  In fact, one year there were ninety eight fourth through sixth graders in the choir and it was necessary to divide the group:  The girls met with Joyce Page in the chapel (now the Banner Room) while Bob Page took the boys on the old stage in Fellowship Hall (now the Music Center).  It seems that these children had many friends from outside the church that came along with them.  Since only 45 robes were available it was fortunate that all the choristers did not appear for Sunday morning services.

 The new Primary Choir (second and third graders) rehearsed on Wednesdays afternoons at 4:15 while the older children were in education classes.  Thus the schedule was: 4:00 pm for Junior Program (Christian Education) 4:15 pm for Primary Choir rehearsal, 5:00 pm for supper Juniors only) and 5:30 pm for Junior Choirs.

 The Senior High Choir and Junior High Choir rehearsed on Sunday evenings scheduled conjunctively with the youth groups' meetings.  There was also a good response in numbers of singers among the youth.  

In September, for their first rehearsal, some of the senior high students "kidnapped" several prospects for a hamburger fry and organizational meeting.  There were 42 persons in attendance.  On the following Sunday morning these students combined with the Adult Choir to provide music for the service.  On November 14th, while the adults led the 9:30 service, the High School Choir sang for the 11:00 service, a responsibility which they kept until the 11:00 service was discontinued, many years later.

 Bob Page administered the program and led the Adult and High School Choirs and the Junior Boys Choir.  Joyce Page directed the Junior High, Junior Girls, and Primary Choirs, was the church organist and later was to direct the Hand Bell Choirs.

Sustaining the Program

 Over the years the children and youth have made a large contribution to the church in leading worship.  While the 11:00 o’clock services continued, the Senior Highs took a major role in leadership for that service.  The younger choirs usually sang in services about once a month, except for the primary choir which appeared in worship about five times during each school year.

 There were other professionals on the music staff over the years:  Marilyn Crooker did some excellent work with the children's choirs in the mid 1970’s.  Later Nancy Holloran was church organist for a year.  Zoe Beaff was organist for a few months in the early 1980’s; Carol Shafer succeeded her and served as organist until the early 1990’s.  Jennifer Hayes directed the children's choirs in the late 80’s into the mid 90’s, when the Hayes family moved to Nebraska.

 Two high points occurred in the early 1970’s when musical leadership was given for the ordination of Curtis Page and John Wall in December 1971 and in June 1972 respectively.  Both had been members of Orangewood in their younger years.

At some point in the early 1970’s, Lucie Keadle made a gift of a two octave set of hand bells to the church.  Several years later Jim and Susie Hamblin added another two octaves and several persons have made it possible to complete the five octave set.  Today they continue to serve the congregation with their lovely sounds.

Of course the Adult Choir has been singing in our chancel almost every week except for the summer months, when the members take turns providing music in small groups.  These dedicated people provide leadership not only in worship with their music, but in other areas of the church life, as deacons or elders, and as chairs of committees.  Many of these good folks have retired to join the "congregational choir", and that surely is one reason that Orangewood is a great hymn singing church.

Major Sacred Works

These choirs have not only served by leading in Sunday worship services, but have produced cantatas, oratorios, and sacred musicals.  A partial list of these larger efforts follows:

Contemporary Music

 Orangewood's Ministers of Music, having spent years in the church with a background of classical experience, found it difficult when Pastor Sam Lindamood began early on talking about use of contemporary music written for guitar, banjo, drums, etc.  Although it was obvious that growing numbers of worshipers were expressing interest in the new hymns and other music being written, by contrast the songs did not appeal to serious church musicians and others, steeped in the traditional forms.  Orangewood's ministers of music were caught in this trap, while the clergy really wanted to move in that direction.  Sam Lindamood proposed this form of worship to Bob Page about 1967 but Bob did nothing about it.  Finally Sam said to Bob, "Either get your daughter or someone else to lead the people if you don't think you can, because we are going to have contemporary services with contemporary music and very soon".

 The Page's daughter, Sue Ellen, brought from Westminster Choir College, where she was a student, a copy of the "Rejoice Mass" which was a setting of the mass with guitar, banjo, drums, and bass.  It was used on February 23, 1969 at both morning services with much excitement to perhaps three fourths of the congregation.  There appeared to be no middle ground; the remainder of the people didn't seem to like it at all.

 It was decided that in the future it would be announced in advance that on the second Sunday of each month there would be contemporary worship at both services, using both the Adult Choir and the Youth Choir so as not to polarize the program by using only the high school students.

 As this program continued the number of excited worshipers grew each month. After a few months Bob Page had to admit to Sam "You made a believer out of me". Many of the people were obviously deep into the creative new ways of worship.  Contemporary worship was here to stay.

Orangewood Church continued using this format for at least a decade.  The contemporary service became an important part of the life of the church and a blessing in many ways.  In time it seemed to have been absorbed into the more classical forms of worship.

Wasn't It fun

 Music was also done just for entertainment.  Most of these efforts were secular, but some carried a message:

More Fun, the Dessert Theater Opens at Orangewood

 In the fall of 1981 Bob started the Senior Highs on a secular work called "Twentiana", a medley of seven songs from the 1920’s.  The students loved it, sang it well, and needed an outlet for it.  Thus the series of Dessert Theaters was born in 1982, and they continued as very popular events.  Nine of these productions, involving the Music Ministry, and the (then) Parish Life Committee, were to delight Orangewood people and visitors who found out about the idea.

 Each year a different church group volunteered to help the Parish Life Committee by serving the desserts. For a small fee, devotees of these shows got a dessert and a fun show.  Of course the desserts have always been donated and any extra desserts are auctioned.

 The Dessert Theater continued under Christopher Samuel's direction for eleven more years, ending in 2001 with a gala twentieth anniversary review, directed by both Bob and Christopher.

(Web Master's note: See a more complete list of Desert Theatre shows on the attached page. *)

Additional Information

 A recap of the Page's "one year contract": Service began September 1, 1965 and ended August 31, 1990.

About 1980 Joyce Page left the organ console to other organists and began working with music in the children's department of the Sunday School.  After retirement in 1990, other teachers continued working with the younger children in the same manner.  Today Adele Hensley is their teacher.

 Philosophy of the music ministry was from little children to grandparents, all are welcomed into the choral program.

 Of course musical pitch discrimination varies from child to child but perhaps half of first grade children have little sense of pitch.  Children who show early abilities probably have more of an aptitude than others, or they may have had a better opportunity for learning, or both of these conditions may have been present in the child's life.  However, pitch discrimination must be learned at some point, regardless of the child's natural gift or experience.  It may be "caught" by the child as a result of a good teacher who knows how to monitor the child and how to expose her or him through guidance, exercises, or even "tricks".

One of the most evident members of the choir today is Cindy Baker.  She is obviously a very talented musician.  Cindy joined the children's choir in sixth grade, when the Baker family arrived in Arizona.  Today she is a professional violinist, a harpist, and an excellent singer.  Cindy's absences from Orangewood were times when she was in college and graduate school and on the faculties of two Midwestern colleges.

Throughout the years this professional lady has generously given her significant talents to Orangewood Church.  She is the number one example of "home grown" talent.  Year after year she contributes to the church with her many musical talents.

The Christopher Samuel Era (1990-2003)
by Christopher Samuel

 In the summer of 1990, as the Page's retirement approached, a search committee was formed for the purpose of hiring a new music director.  Elder Geoffrey Gates chaired the committee.  Christopher Samuel, a doctoral student in choral conducting at Arizona State University, was hired as Director of Music Ministries.  A native of Virginia, Christopher had been a student at the Royal School of Church Music in Croydon, England, and held undergraduate and graduate degrees in church music and in choral conducting from Westminster Choir College in Princeton, New Jersey.  Before moving to Phoenix, he had served for five years as Director of Music and Organist at Wesley Monumental United Methodist Church in Savannah, Georgia, and as the Conductor of the Savannah Counterpoint Madrigal Singers.  Since 1988, he had been the conductor of the Phoenix-based Valley Chamber Chorale.  When Christopher joined the Orangewood staff in August of 1990, Carol Shafer remained as organist, and Jennifer Hayes, who was the Director of Children's Choirs, also became director for the Orangepealers (the handbell choir).  Christopher's responsibilities included conducting the Adult Choir and the Youth Choir, attending regular staff and committee meetings, and maintaining a general oversight of the entire music program.

In June of 1992, Jennifer Hayes left her position in order to move with her family to Lincoln, Nebraska, and Carol Shafer resigned from Orangewood in order to accept a job as organist at Westminster Presbyterian Church in Phoenix.  Jeffrey Anthony, an instrumental teacher in the Paradise Valley School District and a member of the Joseph Wytko Saxophone Quartet, became the Music Associate at Orangewood.  His position included responsibilities for conducting the children's choirs and the Orangepealers.  Christopher, whose undergraduate degree included an emphasis in organ, became the organist for worship services, weddings, and funerals.  To accommodate this new organist/conductor situation, slight alterations were made in the Sanctuary choir loft.  Because Jeffrey also possessed fine keyboard skills, he often served as choir accompanist during special occasions.  The collaboration was a highly successful one.

In the summer of 1996, because of an increased public school teaching load and additional responsibilities related to his professional saxophone quartet, Jeffrey Anthony asked to be relieved of the children's choir portion of his Orangewood duties.  Consequently, the Session approved a plan that allowed him to continue as Music Associate for Handbells and Instruments, and Brenda Mulkey, a teacher in the Kyrene District, was engaged as Music Associate for Children's Choirs.  Brenda continued in that capacity through the summer of 1998.  At that time, Adele Pfrimmer Hensley took over the position.  Adele recently had moved to Phoenix with her husband, Dr. Frank Hensley, who just had accepted a position on the faculty of Grand Canyon University.  Although Adele's academic degrees were in areas related to biology, she had a life-long passion for children's choir music, excellent teaching methods, and years of experience in similar music leadership positions.  At this writing, Adele continues in her position at Orangewood.

 In the spring of 1991, while Curtis Page was the Interim Senior Minister, changing worship trends prompted the removal of the large, Palladian-shaped wooden screen that had stood between the choir and the congregation since the construction of the Orangewood Sanctuary in the mid-1960s.  Although that alteration opened up the space between the chancel and the apse, shoulder-height wooden panels still remained as a barrier between the singers and the rest of the congregation.  Access to the massive pulpit was awkward and often posed a logistical hazard, and the area between the front pew, the communion table, and the pulpit front was unnecessarily cramped.  In addition, because of the downward rake of the sanctuary floor, the entire area was low, and in instances in which children or others of shorter stature were involved in worship leadership, sight lines either were poor or non-existent.  During the mid-1990s, Brian Paulson encouraged the formation of committees to evaluate the room's overall aesthetic and its relationship to the manner in which the Orangewood congregation conducted its worship services, and a decision ultimately was made to make changes in the entire presentation area at the front of the sanctuary.  At the same time, the Rodgers electronic organ—which contained limited tonal resources even when it was new—began to fail.  An Organ Task Force was appointed to examine the feasibility of repairing the existing instrument.  Within a short time, it was determined that repair was not a responsible option, and the group focused its attention on recommendations for replacement.  The task force included John Hayes (chair), Bill Baker, Cindy Baker, Mary Alice Bivens, Don and Jane Buffmire, Fred Lewis, Lou Morrison, Sue Thomas, Christopher Samuel (ex-officio), and Brian Paulson (ex-officio).  A momentum began to build as the Orangewood congregation pondered its overall ministry plan and then codified a process for achieving the leadership role that it believed it should take in the wider Phoenix community.  Identifying the need for a sanctuary that served the varied worship service demands of the church—as well as arts functions and other large-scale gatherings—was one of the tangible outcomes of the self-examination process; consequently, a sanctuary-renovation-and-new-organ project was successfully undertaken during the 1997-98 season.  The transformation included opening up and raising the presentation area at the front of the church, creating ramps and designated seating areas to accommodate wheelchair users, upgrading the lighting and the sound systems, and installing a 45-rank pipe organ.  Christopher worked closely with the Rieger-Kloss company, located in the Czech Republic, to design a custom instrument.  It was built in Krnov, disassembled, shipped to America, and installed at Orangewood during the spring of 1998.  A purchase incentive, offered by the Czech Republic, resulted in the simultaneous acquisition of a Weinbach grand piano.  International concert artist Joan Lippincott dedicated the organ in May of 1998, playing to a full house of appreciative congregation members and community friends.

 A belief that the arts play an important role in enticing visitors and potential new members to Orangewood prompted the initiation of the "Outreach Arts at Orangewood" series.  As of this writing, nearly three thousand people have attended the monthly, September-through-June programs of music and other dramatic arts that have been held in Orangewood's sanctuary each year since the series' inception in 1998.  The "Festival of Lessons and Carols" that Orangewood had celebrated annually during each Advent season since 1991 was transferred in 1999 from the morning worship service to the arts series, and now is celebrated on a Sunday afternoon in early December.  It was thought that the move would allow Orangewood a high-profile venue for sharing its mission, and would attract a segment of the area population who would be less inclined to attend a regular morning worship service.  Since the time change, hundreds of visitors have come onto the church campus to share in the event.  In the fall of 2003, the series underwent a name change; it now is called "Arts Alive! at Orangewood."

In 1998, when the Session devised a Sunday morning schedule that included two worship services, a small ensemble was created to serve the music leadership needs of the additional service.  Electronic in nature, the music group has variously included guitars, basses, drums, piano, flute, and men and women singers.  Jeffrey Anthony was asked to organize and give music leadership to this ensemble, and he and Keith Kerber, Orangewood's Associate Pastor from 1996 until 2002, worked together in designing those services.  The group became known as the Worship Band Ensemble.

 In 2001, Jeffrey Anthony tendered his resignation as Music Associate for Handbells and Instruments in order to pursue a Master of Divinity degree at Fuller Seminary in Pasadena, California.  In a logical transition process, Christopher Samuel assumed leadership for both the Orangepealers and the Worship Band Ensemble.

 Because of the important role that the annual Orangewood Dessert Theatre played in the social life of the congregation and area community for so many years, a historical overview of the music program since 1990 would be incomplete without a descriptor of that on-going series of festive productions.  Shortly after Christopher's arrival at Orangewood, then-organist Carol Shafer offered to share a large portion of the organizational responsibilities for that year's Dessert Theatre.  Because of her long-standing acquaintance with the lengthy and involved preparation process, Carol believed that co-producing the production would be a sensible way of inculcating Christopher Samuel into the traditions of that annual event.  They divided the various tasks; in addition, Christopher enlisted the assistance of an ASU acquaintance, Jeffrey Anthony (who eventually joined the music staff), to arrange and score all the instrumental parts, and to help secure orchestra players.  The 1991 theme was "Life Is a Cabaret."  Christopher continued producing the annual show in the years thereafter, and he and the choirs offered shows with the following titles for the enjoyment and enrichment of the Orangewood community:  "Insects" (1992); "Water Music" (1993); "Places, Everyone (1994); "Lost in Time" (1995); "People:  Famous and Infamous" (1996); "Food, Glorious Food" (1997); "The Roaring Twenties" (1998); "Weather" (1999); and "Colours:  Under the Rainbow" )2000).  As the twentieth anniversary of the Dessert Theatre approached, the members of the music ministry, the worship committee, and the church staff reached the conclusion that, because of changing times and tastes, burgeoning opportunities for entertainment within the wider community, and increased music leadership responsibilities within the various worship settings, the 2001 production would serve as a grand finale to the long-running event.  Consequently, a piece was selected from each of the preceding 19 programs, a 12-piece orchestra was procured that managed to lure the likes of past performers Richard Page and Jeffrey Anthony from their respective responsibilities in California, and the choirs presented a "Twenty Year Review."  To emphasize the longevity of the Dessert Theatre productions, Bob Page conducted the selections representing 1981 to 1990, and Christopher conducted the selections representing 1991 to 2000.  The show was well received, and served as a fitting and dignified close to a fine Orangewood tradition.

Whether through worship services or social/community outreach programs, the manner in which Orangewood musicians have given of their time and talents through the course of the past fifty years has been as varied as the tastes of those in leadership positions.  The sweeping changes in music trends that have influenced national standards during recent years certainly have had an impact on Orangewood's music program, and the exponential evolution toward a more relaxed music and worship style has been, for many members, hard to understand and difficult to embrace.  Others have welcomed the changes, believing that the survival of the Protestant church was contingent upon "updating" the music language of worship.  In spite of the varying points of view in the matter, the Orangewood congregation has come to expect strong efforts at high quality music-making—whatever the style.  Such a commitment to honor God by presenting the "best of the best" in this congregation's worship life bodes well for a strong ministry of music program that will continue well into the next fifty years.

About Our Pipe Organ

Have you ever wondered how we came by our pipe organ?  In the mid 1990's it became obvious to those who were involved with the music program that our electronic organ was beginning to fail us.   Because of the age of the equipment it was difficult to find people to service it and the type of electronic parts used were no longer available.  It was apparent that the organ needed to be replaced.

Concurrently efforts were underway for a capital campaign to make needed improvements to the Sanctuary Building and other campus needs.  The Sanctuary needed a new roof, new air conditioning  system and there was a desire to expand and improve the chancel area for improved usability and acoustics.   Many thought that this would be a good time to replace our organ.  Thus the organ replacement effort was added to the "Reach Up, Reach Out and Build" campaign on an elective basis for those who wished to sponsor the organ.

A special task force of knowledgeable folks was assembled to look into a new instrument.  Interestingly, the original sanctuary was designed with provisions for a pipe organ behind our chancel facade so a pipe organ installation was possible.  The team set out to explore all possibilities.

The task force was comprised of the following members: John Hayes, Chairman: Bill Baker, Cindy Baker, Mary Alice Bivens, Don and Jane Buffmire, Fred Lewis, Lew Morrison, Sue Thomas; and Ex-officio: Christopher Samuel, and Brian Paulson.

After extensive study and several trips to evaluate various organ installations the team decided on a pipe organ and more specifically a Rieger-Kloss instrument.  The team moved quickly to contract for the organ because of the long lead times required and a desire to integrate it into the capital campaign effort.  A short term loan was obtained, to be paid back by proceeds from the capital campaign, in order to immediately fund the effort.

Our new organ was delivered in a very large truck on March 24, 1998.  Installation by a Rieger-Kloss team began immediately.  A pictorial overview of the installation efforts is show in a slide show which is part of this web site.  A link is provided.

Our new instrument was dedicated on May 1, 1998 with a recital and reception.  Ms Joan Lippincott was the guest organist.  As for the organ task force, our thanks was expressed in the dedication bulletin with the following words.

"We are indebted to the members of the Organ Task Force for the countless hours they devoted to assessing the need for a new instrument, the dedication they showed in researching the options, and the patience and energy they displayed in learning complex musical and acoustical terms.  It is their vision-on behalf of the congregation-that has brought this fine instrument to Phoenix.  It is impossible to thank all of the church members who helped in so many ways, from renovating the sanctuary to unloading organ pipes.  And finally a special word of thanks goes to Christopher Samuel for his efforts.  Words cannot express our gratitude for the passion and persistence with which he pursued the search, design, and installation of the organ.  The love, talent, and skill which he put into this project has resulted in an instrument which will glorify God, inspire our worship, and enrich our community's cultural life for generations."

About Our Pipe Organ Builder - Rieger-KIoss

The establishment of the Rieger-Kloss firm at Krnov 1873, in what is now known as the Czech Republic, marked the culmination of the musical instrument industry in Silesia where many of the world's finest stringed instruments and pipe organs were actively produced during the 17th and i8th centuries.  The firm's founder, Franz Rieger, was know throughout the Silesian region as an organ builder of exceptional skill.  Almost immediately, his newly established firm, Rieger Brothers, was commissioned to build its OPUS I for the World Exhibition in Vienna.  The instrument drew great attention and in 1878 the firm was again commissioned to build another major instrument, this for the World Exhibition in Paris.  The Paris showing brought in many new orders and made possible the building of one of Europe's major pipe organ plants in Krnov.  In 1880, Emperor Franz Josef I awarded Otto Rieger the Knights' Cross and the Rieger Brothers firm was designated ‘Imperial and Royal Supplier of Pipe Organs.’ Pope Leo XIII appointed Rieger a knight of 'The Order of Holy Grave.'

 During these early years from 1873 to 1903, the Riegers built over one thousand organs.  As the firm's fame spread-many instruments were shipped to Norway, England, Spain, Russia, Turkey, Palestine, Portugal, Denmark, and Germany.  Orders also were accepted from such far away places as Argentina and Mexico.

 World War I and the disintegration of Austria-Hungary interrupted the firm’s steady growth.  Following these historic events, the firm was forced to seek new markets.  Ing. Josef Glatter-Gotz became owner of the firm in 1924 and was responsible for returning Rieger to its former prominence.  Under Ins guidance the firm built almost one thousand pipe organs; nearly half of these were installed in what was then called Czechoslovakia and the remainder of other European countries and in the distant continents of Africa, Asia, and South America.

 The Second World War again played havoc with the firm.  Both the securing of manpower and material became next to impossible in Krnov and organ-building efforts were forced to a minimum.

 In 1948 the Krnov firm came under state control and was nationalized.  It was at this time that the trademark RIEGER-KLOSS was registered.  Rieger-Kloss organs soon found their way into the world's major music markets and were, again, given enthusiastic critical acceptance.

 RIEGER-KLOSS is building pipe organs of all types and sizes in one of the world's largest and best-equipped facilities-from intimate sounding small portative to magnificent cathedral and concert hall instruments, custom designed to fit every musical and liturgical need and budget.

Together with our recent expansion into both the Canadian and United States markets-we proudly continue the organ building tradition which began with the Rieger Brothers in 1873: building the world's finest quality, most priced, and most beautiful sounding ‘King of Instruments’.