February 3, 1969
The N.C. Essay
TOmOfiROUU IS Cfi€€PinG
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ORGANIST mVlD CRAIGHEAD
(oon't from pg. I)
How can I describe it? I
search for words, and yet strangely
enough, I know that almost every
student will know what I am trying
During the break several of us
left "beautiful downtown Winston-
Salem" for a few days on the coast
of North Carolina. (I recommend
this trip to any one feeling the way
I did when I left.) Though, for the
most part, the public beaches were
deserted, it was possible- to find
very agreeable lodging and being
with good friends satisfied the need
for companionship. This left only
time for serious thinking—something
I can only do well when I am alone.
Standing below the Cape Hatter-
as lighthouse Sunday morning watch
ing a cold and iorboding sea, I
played with the idea of never re
turning. Sure, I've played with the
xdea before—but this time, it was
a serious attempt. It all seemed
so simple out there with the sand,
the clear sky, and the coean. For
imJORlE MITCHELL TO PERFORM
(oon't from pg. I)
She was awarded a Fulbright
grant to Scandinavia in 1952 and
gave recitals in Copenhagen, Stock
holm and Oslo. She has appeared as
soloist with the Berlin Philharmonic
the Vienna Symphoniker, the London
Philharmonic, the Brabant Orchestra
of Holland, Helsinki Symphony and
others. She is well-known as a rad
io artist and has been a regular
performer on BBC and in Hamburg,
Berlin, Munich, Vienna, Frankfurt,
Amsterdam and Zurcih with radio sym
Under the spnsorhip of the
Cultural Presentations program of
the U.§. State Department, Miss Mit
chell has toured in Poland, Yugo
slavia, Rumania, Greece, Turkey, the
Near East, Finland, Portugal, Spain
Italy, South America and Mexico.
Wherever she has played, she has re
ceived wide acclaim as an outstand
ing representative of American mus
ical culture 0
After her Carnegie Hall debut
on November 28, 1956, the New York
Times critic wrote:
"She is a gifted pianist, with
a clear-cut technique, a big note
that inclines toward a percussive
quality (though not dangerously so)
and plenty of musical spirit. No
thing seemed to bother her, and she
approached each work with the utmost
confidence...She brings a large de
gree of professionalism to her play
ing. This included musicianship,
honesty of purpose, clarity of line
and unfailingly steadfas rhythm.
a moment I would have been quite
content to become a fisherman; to
make my living on the sea, and to
then, grow old, spending my last
years on a front porch with my dog.
My thoughts returned to Winston
Salem, and to the School. I guess
You haven't robbed me of my
dream, N.C.S.A.! You never will!
But in your own way you have shaken
its very foundations. For waht you
could have been, I weep more often
now, and grow increasingly tired
with your attempts at what you call
life. Another year is almost over.
Another year! Look around you at
the people who are leaving; at those
who've already gone because they
couldn't take the crap anymore!
Don't anyone kid yourself—
dreams have to be strong. They must
endure places like Winston-Salem and
people like many of the people here.
Now the question. "So why did
you bother to come back?" Lack of
courage, maybe. I didn't have the
courage to stay there—to wash my
hand of THIS tremendous mess ■ and
join the throngs already in retreat.
1 don't have the desire, just yet,
to desert a dream that took me in,
gave me a place to learn and grow,
and cared whether I lived or died. I
gave that dream my life, you see—
and I can't go just yet.
But the anger builds daily.
There will come a day when dreams
just won't be enough! Eventually—
after another year here anyway—I'll
graduate. Then I know I will go.
But now I'm wondering if I'll even
turn to look back. Tomorrow is
creeping too slowly! It's late,
people! It's late.
by David Wood
David Craighead was born in
Strasburg, Pennsylvania, on January
24, 1924. He received his first
music leassons from his mother who
was herself an organist. At an
early age he showed great interest
in music and especially his favorite
instrument, the organ.
At the age of 18 he became a
pupil of Alexander McCurdy at the
Curtis Institute of Music in Phila
delphia, where he received the Bach
elor of Music degree in 1946. Dur
ing his four undergraduate year he
served as organist of the Bryn Mawr
Presbyterian Church. In his last
year at the Curtis Institute Mr.
Craighead was appointed to the fac
ulty of the Westminster Choir col
lege in Princeton, New Jersey, and
was also accepted as a touring re
citalist by Concert Management
Bernard R. Laberge, which is now
Concert Mangement Lilian Murtagh.
At this time he made his first trans
continental recital tour.
From the summer of 1948 through
1955 Mr. Craighead taught in the
music department of Occidental Col
lege in Los Angeles. Since 1955 he
has been Professor of Organ and
Chairman of the Organ Department of
the Eastman School of Music, Univer
sity of Rochester, in Rochester, New
York, and organist of St. Paul's Ep
iscopal Church in the same city.
The positions in Rochester have
enabled Mr. Craighead to maintain a
balanced career as performer and
teacher. Many of his students now
hold positions in colleges and
churches across the country.
In June 1968, Mr. Craighead
received an honorary Doctor of Music
Degree from Lebanon Valley College,
by Jim Bobbit
Shall I await your second coming,
as it slowly from the morning rises?
What moves me to stand and watch the
glories of your sunset, knowing the
darkness is close at hand.
How con I tell you that the darkness
will consume me, leaving me alone,
as you feel you must.
I cannot watch the sunset glory
in your eyes.
1 will not believe it.
How can I wait, alone in darkness
the unexpected sunrise of your