"We've lost a titan!"replied recently retired Professor of Organ at University of North Texas, Dr.
Jesse Eschbach, upon hearing the news of the passing of the Rev. Dr. Charles S. Brown, who died on July 14, 2024 at the age of 88. Tributes have poured in from colleagues and friends around the country for one of the most beloved, talented and creative professors on the organ and harpsichord scene at UNT and around the country. Dr. Lenora McCroskey, also retired from UNT, writes: "What an amazing man! ...he just was such a good listener, advisor, fun friend. I was so grateful for him!" From his many outstanding students, Joseph Golden offers this summary, typical of all his former students: "He was a great mentor and taught with gracious kindness and encouragement. His vision for making great music was fueled by his boundless curiosity, and always questioned every detail in the most humble and yet penetrating manner. Charles was so very kind and supportive during my years of study with him. He taught by example by seeking to inspire listeners instead of impressing them. His honesty and boundless curiosity combined in a lifelong search for a 'better way' to allow music to flourish and bloom. His example lives on in his many students." From Eastman Alumna, Jeanne Rizzo Conner, "I knew Charles when he was a doctoral candidate at ESM and later was delighted to study with him in the DMA program at North Texas. He was such a gentleman, a scholar, and a fine musician, but most of all, a genuinely good person." From another Eastman Alumn, Dean Billmeyer, "Charles was also an important mentor to me in the 1970's. I once heard (indirectly) that David Craighead considered him one of the finest musicians he ever taught at Eastman. Charles 'turned me on' to the AGO Certification program, which has remained an important facet of my career." Grady Coyle also mentions the AGO Certification program, as an important project of Charles Brown's legacy: "It was Charles' assistance and advice that helped me pass my AAGO and ChM exams. I couldn't have done it without his help---over 40 years ago." As a scholar and performer, Gregory Crowell, remembers him well "from the Old West Summer Courses back in the late 1970's, early 1980's. He was an early advocate for the music of Georg Muffat, and I played the Toccata Undecima for him in a masterclass. He also led an effective class on Baroque dance." Lew Williams writes: "I remember hearing him perform Messiaen's 'Meditations on the Mystery of the Holy Trinity' at a recital in Dallas once. The playing was limpid, supple, pure, and clear. All of Messiaen's complicated writing suddenly revealed itself with perfect clarity. It was the best interpretation of that work that I have ever heard." In addition to his organist professorial life, Charles created plays, incorporating the organ, and presented workshops on "The Organ as Mask." His foray into theatre is remembered by former UNT Librarian, Morris Martin, who recounts this story: "We were instant and long-term friends.... We worked on several joint projects beginning in 1972. Surprisingly, years later he showed up at auditions for a production of The Canterbury Tales musical for which I was serving as musical director at the UNT Drama Department. He magnificently delivered the Prologue at every performance in the required Middle English, an assignment he studiously prepared for with joy." Through these testimonials and many others, Charles is remembered for his imaginative teaching, his keen intuitive nature, his innovative ideas, his vast knowledge, and his creative, hopeful spirit. He was loved for his unassuming modesty and his willingness to give of himself, inspiring others. He contended that worship, performance, and teaching should come at significant personal cost. He gave richly, and will be deeply missed by many students, friends, and colleagues. Susan Ferré, DMA, MM [Eastman Alumna, '79] |