I distinctly remember my college friend, David DeSeguirant, and I wondering, "What's a Menotti?" At the time, David and I were freshmen Music Theory and Composition majors at Oklahoma Baptist University (along with our friend, Leslie Allison, whom David and I agreed was the best composer of the three of us, but who later decided to major in Nursing).

The professors in OBU’s Music Theory and Composition Department had invited the composition majors to travel to nearby Oklahoma University for the opportunity to “hear Menotti.” At first, David wondered if “Menotti” was an Italian opera. I thought perhaps it could be—we were close! But upon further investigation, we discovered that Gian Carlo Menotti was the world-renowned composer of Amahl and the Night Visitors, the famous opera commissioned by NBC and composed for American television.

Though apparently I had not yet focused on the composer, the previous December I had the privilege of hearing Mary Kay Parrish sing the part of the boy character, “Amahl,” in an OBU production of Amahl and the Night Visitors, a role she had famously played about twenty times! Mary Kay's stature, dramatic talent, and pure soprano voice combined to bring the character to life, masterfully. 

The title of Menotti’s opera also rang a bell with me because as a fourth grader at Tulsa’s Eugene Field Elementary School, I had been selected to narrate a play version of Amahl and the Night Visitors. At the first rehearsal, speaking in my best Oklahoma accent, I remember sounding out the printed name “Amahl” as “am-hahl!” My music teacher, who was directing the play, quickly corrected my pronunciation, sparing me any further embarrassment! Who would have known years later that I would meet the opera's librettist and composer?

On the day of our college field trip to hear Menotti, the composition students traveled by university van with our four distinguished professors: Kathryne Timberlake, Michael Cox, Nancy Hill Cobb, and Mary Kay Parrish. We arrived just in time to enter an OU arena as Menotti was beginning his lecture. I wish I could recall the lecture in detail, but I’m sure he spoke about his life and career as a composer. When the lecture concluded and the large crowd dispersed, we remained behind for an opportunity to speak with him. After a short wait, those of us who had come from OBU stood in a circle with the great composer. We had him all to ourselves!

Setting the stage for the rest of this story, to the left of me in the circle was Mary Kay Parrish, with Menotti directly across from us. Right off the bat, our beloved professor and matriarch, Kathryne Timberlake, introduced our group to the composer and told him we were from Oklahoma Baptist University. After cordial introductions, Mrs. Timberlake, who was the cousin of internationally acclaimed pianist Van Cliburn, reminded Menotti of his presence at one of her cousin’s events—perhaps the famous Cliburn Competition in Fort Worth, Texas. Menotti replied that he had not attended. Mrs. Timberlake offered other specific memories of the occasion, but Menotti adamantly denied having been there. As we witnessed the increasingly frustrating conversation, we all knew without a doubt that Mrs. Timberlake’s account was accurate.

Our jovial circle suddenly became an uneasy one. No one knew quite what to say as we stood in awkward silence.

Because of my extroverted, social nature, and finding the silence uncomfortable, I decided to "break the ice."
​
As if making a grand introduction, I boldly placed my arms in a half-hug around Professor Mary Kay Parrish and, in a proclamatory voice, announced to Gian Carlo Menotti:
"And this is Amahl!"

I thought this would relieve the tension in our circle, but instead, the blood drained from Mary Kay's face as she looked at me and said aloud: 
"I am in trouble now."

I had no idea what she was talking about.

Then, right in front of Menotti, she informed me:
“He specifically indicates in his score that he desires only boy sopranos for the part of Amahl!”*

I was speechless.

Mary Kay then humbly told Menotti:
"I've performed the role about twenty times."

Then...​

​without a word...

and to our astonishment...

Gian Carlo Menotti walked across the circle toward Mary Kay...

placed both of his hands on her shoulders...

leaned forward, and...

KISSED HER FOREHEAD!

Our entire group breathed a collective sigh of relief as the tension dissolved into grateful laughter. Menotti’s ceremonial kiss seemed to offer both absolution and blessing.
​
On the way back to OBU, we all relived our experience with Menotti including Mrs. Timberlake's disbelief that he did not remember the Cliburn event. And, instead of a disastrous conclusion to the day, word quickly spread around the university about Mary Kay’s well-deserved kiss from Menotti—and my role in bringing it about (whew!).

* In the published score of Amahl and the Night Visitors, Menotti indicates: “It is the express wish of the composer that the role of Amahl should always be performed by a boy. Neither the musical nor the dramatic concept of the opera permits the substitution of a woman costumed as a child.” If it were possible, perhaps Menotti would now add: "...except for Mary Kay Parrish!" ​

"Have you considered becoming a composition major?" This question, posed by Mary June Tabor (of blessed memory), clarified and guided the course of my career.

Though I had briefly met Mary June at a children’s choir festival several years earlier, I became reacquainted with her when she called my home to inform me that I had won the high school division of a choral composition contest! The contest had been sponsored by the Church Music Department of the Baptist General Convention of Oklahoma where Mary June was a longtime and beloved employee.

I was overjoyed at this success with my very first attempt at composing. Along with a $50 prize, the win included a performance of my piece at the 1982 Youth Music Leadership Event, a statewide conference for youth choirs and their leaders held at Oklahoma Baptist University on February 26-27, 1982. I was preparing to attend OBU’s Warren M. Angell College of Fine Arts in the fall of that year, so the trip to hear my composition performed would also provide the opportunity for me to officially enroll.

On the Saturday morning of the event, my parents drove me from our hometown of Tulsa to the university’s town of Shawnee, Oklahoma. When we arrived at OBU’s Yarborough[i] Auditorium the conference youth choir was already rehearsing under the direction of Jim Davis,[ii] Minister of Music for Tulsa's First Baptist Church.  Not long after my parents and I seated ourselves in the middle of the auditorium, the choir began to rehearse my piece. It was deeply moving to hear a composition of mine sung for the first time – somewhat of an out-of-body experience as the music I notated in isolation came to life through the combined voices of the singers. 

My winning choral piece, Draw Near to God, was a setting of James 4:8  from the Christian Scriptures: “Draw near to God, and he will draw near to you. Cleanse your hands, you sinners, and purify your hearts, you double-minded.” The contest provided entrants a list of scriptures from which to select, and I chose this passage because its natural speech rhythms seemed especially suited to choral writing. If I were selecting today, I would not be drawn to the exclusively masculine pronoun for God nor the calling out of “sinners” or the “double-minded.” Having had no prior experience composing, I attribute this compositional success to the variety of music-making experiences I had in church, school, and piano lessons. All of these combined to help me instinctually expand the text into a choral anthem for SAB voices and piano.

Between the choir's rehearsal and its closing performance, I went to OBU’s Fine Arts Office to enroll in coursework. I had been focused on a career as a  Minister of Music since the age of thirteen and was looking forward to beginning work on my bachelor’s degree.[iii] As I filled out forms in a private room near the auditorium, I reached the section that required me to select a major. I knew that Ministers of Music were typically voice or keyboard majors, and I was interested in both, but I couldn't decide. As I pondered this difficult choice Mary June came into the room. Expressing to her my inability to decide on a major, she asked: “Have you considered becoming a composition major?” Though I do not usually approach life in mystical ways, I instantly knew Mary June’s timely presence and thoughtful question provided divine wisdom.

Even after the exciting experience of hearing the conference choir rehearse my composition that morning, the idea of becoming a composition major had not yet entered my mind! I suspect this was because I was so focused on becoming a Minister of Music. Most students preparing for this role would receive a degree in Church Music, but the contest and Mary June’s question opened my mind to consider a degree in Music Theory and Composition. After confidently making that choice, it was a grand celebration to hear the choir’s concluding performance of Draw Near to God. On the ride home, my mind raced forward in time, envisioning ways the craft of music composition would express and enhance my ministry.

Epilogue
The education I received in the Warren M. Angell College of Fine Arts at OBU from 1982-1986 was incomparable. I was fortunate to study composition in the studio of Nancy Hill Cobb and also with Michael Cox. Both are renowned composers and gifted teachers, unparalleled in their fields. Although my bachelor's degree was not in Church Music, the skills and knowledge I gained through my studies in Music Theory and Composition have proven invaluable in my ministry through music.

​My college education culminated with a senior composition recital in Yarborough Auditorium. Family, friends, and educators from my childhood to that present day filled the auditorium to capacity to help me celebrate this milestone event. The recital included works for brass choir, clarinet and piano, two of the university’s choirs accompanied by piano and harp, a comical trumpet solo with electronically-prepared tape accompaniment, and a piano sonata. Additionally, the children's choir of my college church, First Baptist Church of Shawnee, directed by OBU professor, Betty Woodward, performed my first published choral anthem, Sing to the Lord of Harvest (Broadman Press, 1986). I composed this piece in a class taught by Professor Nancy Cobb when I was eighteen, and it was accepted for publication during my college years.

It was meaningful to me that my college composition recital was held in Yarborough auditorium where four years earlier I heard my first composition performed. The cake at the recital reception commemorated that treasured memory with a decoration featuring the opening melody of Draw Near to God.

All had come full circle. ​

In 2015 I was honored to be the first Composer-in-Residence for the historic Washington Elementary School in Raleigh, North Carolina. Washington was founded in 1923 as the first public African American Graded and High School in Raleigh. The school is now a diverse "gifted and talented" elementary magnet school in the Wake County Public School System. In 2023 and 2025, Washington was named top magnet elementary school in the country by the Magnet Schools of America. My friend, Bo Reece, was the school's long-time and beloved music teacher. ​

​I was commissioned to compose a flexibly-voiced school song with piano accompaniment and accessible parts for student orchestra and band. I began by getting to know the school through conversation with the students and faculty, asking them what makes their school special. I received hundreds of index cards on which they provided their responses. After reading them all, three things were clear: Washington Elementary, (and "school" in general) could be thought of as a place to be honored, a people who make a difference, and a time that's meaningful. These ideas gave form to the lyrics and inspired the music for the resulting piece: Sing of Our School. 

Because the song offers alternative lyrics and a creative opportunity to include any school's name in the piece, it may be effectively expressed by any school. ​​

Following our first publication, Paul sent me other texts to set musically. One day I received a call from him asking me to write music for a piece to be included in the Houston Children's Choir Series published by Fred Bock Music. Paul was writing all of the texts for this series, asking a variety of composers to collaborate. I was thrilled to be a part, and I understood completely why Paul thought of me when he sent his text: ​​Santa Claus Is Busy! With the success of "Busy Bethlehem," Paul decided to replicate the experience with his new lyrics about Santa Claus. We decided the new piece could also contain a choral chant/rap in the middle of the vocal sections. I included various percussion instruments to mimic the sounds of Santa's workshop as the children simultaneously chant two ostinato lines: 

​"Busy, busy, Santa Claus is
busy, busy, Santa Claus..."
​
"Santa Claus is busy!
Tell me, just how busy is he?"

Above the ostinati, soloists exclaim: 
"He's got to feed the reindeer
and hitch them to his sleigh.
He's got to get the map out
so he will know the way. 
He's got to file a flight plan
with the F.A.A.! 
Santa Claus is busy!
Busy night and day!"
​
 -Words by J. Paul Williams
© 1997 Fred Bock Music Company

Inspired by Paul's humor, my comical contribution to the piece was the suggestion that an audience member interrupts the seemingly endless cacophony by standing, raising their hand, clearing their throat, and asking: "Excuse me, just how busy is he?" -- to which the entire puzzled choir shouts back loudly: "He's BUSY!" 

Paul's fun lyrics and my music for two-part (or unison) voices with sleigh bells, misc. percussion, choral chant/rap, and audience member part, is published by Fred Bock Music. Santa Claus Is Busy! was recorded by the Houston Children's Chorus on it's live album: ​Christmas Is Here. I treasure a letter from Fred Bock himself who wrote: "I really like the piece!" ​

School or community children's choirs who wish to sing Santa Claus is Busy! this Christmas may find it through the Fred Bock Music Company or other music distributor. 

Though Paul passed in 2010, his inspirational and joyful life continues through  school, community, and church choirs that sing his words.​

A choral piece for churches 
​by J. Paul Williams & Larry E. Schultz:
The Sea of Galilee
(available on this site)

This church choir anthem for SATB voices and piano is a choral narrative of Mark 4:35-41. The introductory “soundscape” heard in the piano and voices aurally sets the scene for the dramatic story of Jesus and his disciples on the sea. ​

As a Music Theory and Composition major in the Warren M. Angell College of Fine Arts at Oklahoma Baptist University I was privileged to study composition with gifted  composers, Nancy Hill Cobb and Michael Cox. They significantly expanded my musical horizons along with professors: Kathryne Timberlake, Bill Horton, Andre Lash, Wiff Rudd, Dan Hodges, and Bob Wood, who taught courses in Music Theory, Music History, Counterpoint, Orchestration, 20th Century and Electronic Music. Piano professor, Charlotte Martin, also focused my private instruction on my interest in composition and composers. Once, when I asked her to tell me about composer, Camille Saint-Saëns, she replied: "Well...he was my Godfather!" (Martin lived a fascinating life, and at one time was the youngest student of famous French pedagogue, Nadia Boulanger.) I received a magnificent education in Music Theory and Composition from these exceptional educators. Though my undergraduate degree was unusual for my career goal of church music ministry, its coursework has been invaluable to my creative and ministerial work. 

In a 20th Century Music course I was introduced to "aleatoric" or "indeterminate" music. This music results from compositions structured to utilize chance, randomness, improvisation, choices made by the performers, and other interactive factors. The outcome is that every performance of an indeterminate composition is unique. Often the musical score uses non-traditional notation to communicate the composer's creative desires. An assignment in this class was the composing of a simple piece incorporating aleatoric techniques. For this composition I borrowed an idea from my young niece, Carrie, after witnessing her do an interesting thing at the piano. She would locate the manufacturer's name on the inside of a piano's keyboard cover and trace her finger from each letter of the name downward toward the keyboard, playing a consistent rhythmic pattern on whatever black or white key was directly below each letter or symbol. I envisioned how playing in this way on pianos of different manufacturers would create a different result each time. For example, "Yamaha" would produce a different set of pitches than "Steinway." I was grateful to Carrie whose imagination provided this idea that helped me meet the indeterminate requirements of my assignment. I called the resulting piece: "Nomenclature." 

Fascinated by indeterminate music, I wondered how I might one day make use of it in my work as a Minister of Music. When the 2020 pandemic silenced worshipers from singing and playing wind instruments in person, it was necessary to provide new and safe modes of music-making for congregational worship. During the pandemic, I led my gathered congregation to drum on the wood of pews, play body and rhythm instruments, hum in masks, and express worship through sign language. Remembering the indeterminate and electronic music I was exposed to in college, I created a congregational “Digital Gathering Song” with parts played by worshipers through their mobile phones. Offering the song in worship during the pandemic provided a safe way for worshipers to make music together. It also offers a means of congregational music-making for individuals reluctant to sing or who do not play an instrument.
 
Five different music files form the Digital Gathering Song and tonally complement each other. Fragments of the pentatonic tune, “HOLY MANNA,” associated with the text: “Brethren We Have Met to Worship,” are heard in a few of the files. As individual worshipers select specific files and play them simultaneously (pressing “play” at close yet random intervals), a unique indeterminate musical composition is heard resulting from various choices and chance as well as the particular acoustic environment. The digital music files can be placed on a page of the church or other website and accessed via Wi-Fi in the worship space. The webpage's URL and/or a QR code printed in a worship guide will provide worshipers easy connection to the files. A time of preparation is helpful to assist each congregant in pre-selecting a file with a title and mood that most closely represents how they are entering worship: with "joy," "concern," or a "mixture of feelings." 
 
Preceding the playing of the Digital Gathering Song, a Call to Worship exclaims that many different individuals from a variety of life-experiences gather to form one congregation. The Digital Gathering Song responds and musically expresses this reality as it combines the diverse sounds into one unique musical offering. As the digital song is played, individual worshipers hear how the music of others around them is either the same or different from their music, raising an important awareness that can provide an empathic and meaningful worship experience.   ​

Who Has Gathered? includes the Call to Worship and the five music files that create the Digital Gathering Song. It is available from LarryESchultz.com ​and may be effectively experienced in worship spaces, retreat settings, concert halls, and anywhere Wi-Fi is accessible.

​​Though retired by the time I arrived at his namesake, “Warren M. Angell College of Fine Arts" at OBU, I was overjoyed during those years to develop a relationship with "Dean" Angell (as he was called even past retirement). In college I sang in the university's Bison Glee Club he founded, and was selected by him to sing in the Club's "Fallen Angells" Quartet which rehearsed in his home. I gleaned from his work by attending local choral workshops he led, and reveled in his storytelling during several dinner opportunities together. During a Bison Glee Club alumni tour to Hawaii, I was fortunate to be his roommate, providing an extended opportunity to pick his brain on all things church music. He attended my senior composition recital, and while in seminary, I was delighted to attend the university's celebration of his 50th year since arriving at OBU. When serving as a Minister of Music in South Carolina, I was thrilled to host him in concert and worship at two churches and visit him in his Black Mountain, North Carolina, home. Through the years we corresponded through postal mail where he continued to offer his advice and encouragement.

As a music theory and composition major I was keenly interested in Dean Angell's compositions, and we had discussions on the compositional process. He was a prolific composer and arranger of choral, congregational and keyboard music, and was known to dedicate some of his works to friends and students. In 1999, preparing to depart Greenwood, South Carolina, after visiting my family for what would be the last time, he said to me: "If there's anything I can ever do for you...." and, leaving his statement open-ended, I responded: "Just 16 bars!” Though the conversation went no further, he knew exactly what I meant, and several days later I received in the mail a composition for piano! The title was also the dedication:"16 Bars for Larry, Cindy, Kelly & Ryan." In addition to all I had learned and received from him since I was eleven, I was filled with gratitude that the 92-year-old composer had granted my wish!

​The piano piece (exactly 16 bars) is "classic Angell" in its melodic and harmonic expression. Knowing a bit about his creative process, it seems he conceived the rhythmic motion of the melody by mimicking the two-syllable names of each person in my family. Ever the educator, the final chord of the composition is indicated on the score by him as a "chime,” calling attention to the keyboard properties and harmonic structure he used to produce that particular effect. At the end of the hand-written manuscript dated 9-11-99, is a personal message, revealing the Dean’s characteristic sense of humor. The composition’s tempo marking includes the added instruction: “with feeling” - indicative of how Warren Angell approached music and life.

​Many individuals, including myself, consider Warren Angell a mentor. His legacy continues in ministers of music, church musicians, educators, choral conductors, composers, and in persons in professions other than music. I'm thankful for his long and productive life (1907-2006) that brought instruction and inspiration to many!
​
In 2012, a text by my collaborator, Jann Aldredge-Clanton, seemed especially appropriate for me to compose as a choral anthem in memory of Dean Angell.​ Gathered Here to Share Our Music celebrates diverse humanity and the power of music that Warren Angell knew could transform the world.

In response to the news that my influential high school music teacher. Jerry Burdick, passed on May 8, 2023, I offer these memories in tribute.

First Meeting...
I first met Mr. Burdick in seventh grade when he came to Tulsa’s Clinton Junior High School and sat down beside me at the electric piano I was to play as a new member of the school’s jazz band. Never having played in a rhythm section before, I listened as Mr. Burdick patiently explained to me what it was to “comp” at the piano keyboard. The seeds of creativity he planted in that initial lesson would provide me with a love of playing in jazz bands through college and would later blossom to influence my work as a composer.

Learning from a Skilled Educator...
I entered Mr. Burdick’s marching band at Daniel Webster High School with several of my friends in ninth grade. Though our freshmen class was still housed at Clinton Junior High, we’d walk over to Webster on beautiful fall or cold winter mornings to learn from this master teacher. Throughout my high school experience in his marching, concert and jazz bands, Mr. Burdick exemplified the best in education and musicianship. It was his clear conducting technique I mimicked in my teenage church music jobs and upon entering Oklahoma Baptist University as a music major.

Many Valuable Lessons...
Not only did I learn to comp at the piano, effectively play my trumpet, and conduct from Mr. Burdick, but by example he taught unparalleled organizational skills, and what it meant to be an upstanding and caring citizen in the community. As an active and long-time church musician, his life of faith and concern for all people was evident. I also learned to value “quality over quantity” from Mr. Burdick. Though our high school marching band was the smallest in the city of Tulsa, it didn’t keep us from winning a city-wide marching band competition in spite of the twelve other bands that were two and three times our size. We won because Mr. Burdick inspired us individually and collectively to give our best, and we also won because of his forward-thinking creativity. Our show wowed the judges with rotating square formations and other new marching techniques of drum and bugle corps that had not yet spread throughout high school bands. This win was especially meaningful that year as, due to low enrollment, the possible closing of our high school was threatened. After the win a billboard proudly proclaimed our success to the entire city and in my estimation helped to keep our school open. Quality over quantity had prevailed and provided a valuable lesson for my work in church ministry.

Expanding Musical Horizons...
Mr. Burdick expanded my musical horizons in many ways, contributing to my work as a Minister of Music, composer, hymn writer and teacher. In the churches of my childhood, I mostly experienced the music of American gospel hymns, but in high school concert band, Mr. Burdick exposed my mind and ears to gifted composers from around the world including England’s Ralph Vaughan Williams and Gustav Holst. In high school I was so enthused by playing the band transcription of Holst’s The Planets, that I engaged in an individual study on Holst in college. This study was important to my theory and composition degree at Oklahoma Baptist University, and I was deeply honored when Mr. and Mrs. Burdick drove miles to attend my senior composition recital at OBU.

A Grateful Opportunity...
One often loses touch with high school teachers after graduation, but after graduating seminary and entering full-time music ministry, I was commissioned by my friends, the Burdick children, to write a composition for their father as a surprise to celebrate his 60th birthday and 30 years as Director of Music for Epworth United Methodist Church, Tulsa. I tried to “pull out all of the stops” for Mr. Burdick, demonstrating in the composition both the joy and skills of music-making he had instilled in me. I think of him each time I conduct a choir in singing the resulting psalm setting, Play Skillfully and Shout with Joy!

An Amazing Story...
Though I would hear about Mr. and Mrs. Burdick through the years from their children or other West Tulsans, I did eventually lose touch with their whereabouts. And my life’s work had taken me and my family to Raleigh, North Carolina. But eventually, I experienced an unbelievable reconnection…

My mother and father-in-law were exploring assisted living communities in the Charlotte, NC, area. One weekend my wife and I traveled to Charlotte to help with their search. While taking a tour of a facility, I noticed a piano, and commented that my mother-in-law was a fine pianist and would enjoy playing. The employee giving us the tour then said to me: “We also have a wonderful gentleman who comes once-a-week to play for the residents…His name is Jerry Burdick.” At that instant I let out the loudest “WHAT!!!” one can imagine! I then said: “Jerry Burdick is my beloved high school music teacher from Oklahoma!” The employee did not have to give his name, but I’m glad she did (along with his phone number)! The Burdicks were now in North Carolina! Immediately upon arriving back home I called the Burdicks to catch up and tell them this amazing story.

And there’s more… In 2018 I had the opportunity to compose We Are a People on a Journey for the 75th Anniversary of Myers Park Baptist Church in Charlotte. In January of that year, I would get to attend worship there for the premiere of the hymn. This provided the wonderful opportunity to see my influential high school teacher and his wife, as I spent time that weekend with Jerry and Phyllis in their beautiful home. But the best part was that the Burdicks accepted my invitation to join me at Myers Park for the premiere! This was truly a full-circle moment. As the church’s pianist improvised on my tune for the prelude that morning, I was transported back to seventh grade when Mr. Burdick taught me to improvise. As the brass quintet, timpani and pipe organ played the introduction to my hymn, I remembered how my musical horizons were expanded in Mr. Burdick’s band to be able to envision and compose such sounds. And as the choir and congregation sang, I gave gratitude for the influence and presence of the Burdicks on this special day.

Deep Gratitude...
I am not the only student shaped and inspired by Jerry Burdick. I join countless others in giving thanks for his life and meaningful work that continues to thrive in us all.