“God of love, hear our prayer. We are trusting in your mercy. God of love, hear our prayer. Grant us your peace.” Each week our church members have been nurtured by the music of the organist, Covenant Choir and/or Bell Choir, all led by our music director, David Sateren. What we don’t think about is that he is the twelfth music director for twenty-six years out of the past seventy-three years here at what is often referred to as Haggarty’s villa. Yes, that’s over one third of the music ministry here building on the legacy from Barbara Mabin, Dan Kammeyer, Bill McIntire, Ralph Prime, Chuck Friesen, Mark Siegers, Don Whitsitt, Vince Cole, Randy McChesney, Craig Fenter and Buddy James. His creativity and dedication to achieving excellence helped him stay focused during the construction of the Glatter-Gotz pipe organ during his first year, several music productions like Fiddler on the Roof and Music Man, extra rehearsals and performances for All Saints’ Vesper Service, Yule Parlor Parade, Christmas Pageant, and an additional Saturday evening worship service to manage the overflow to make room during two Sunday morning services. David planned services with four ministers: Dr. Karl Johnson, Rev. Alex Dreese, Dr. David Young and Dr. Richard Nelson (Pastor Rick). Locations changed for several weeks from the sanctuary to the Fellowship Hall when the sanctuary hardwood floors were resurfaced and to YouTube when the church was temporarily closed because of COVID. Choir continued with Zoom meetings and electronic recordings. His calmness gave us comfort, camaraderie and continuity. As a member of Covenant Choir since joining while Don Whitsitt was director, I have appreciated his sense of humor and meaningful selections that coordinated with the weekly scriptures and church calendar. Each week I enjoyed his colorful weekly choir handout with its clever comic. Now as David approaches retirement, we have to ask, “What were you thinking? How did you accomplish all of this with patience and compassion?”
1. What was it like for you starting in October, 1998, when construction would soon begin to remove the Steinko pipe organ and replace it with the Glatter-Gotz pipe organ donated by Sandy Barnett?
By the time I officially joined the staff of Neighborhood Church, I had already met with a large search committee led by Robert Wright, been interviewed by Dr. Karl Johnson, conducted a rehearsal with the Covenant Choir, and led the choir—accompanied by Rebecca Ogle on the organ—before the congregation on a Sunday morning in September. Apparently, it all went well, as I was soon offered the position of Director of Music for Neighborhood Church.
It was an exciting time to begin my music ministry here. The church already had many talented individuals involved in its music program, and the congregation as a whole was incredibly supportive. Neighborhood Church had a strong musical legacy in the community and was about to undertake the enormous project of installing a new organ. The prospect was thrilling—but also intimidating and, at times, overwhelming. I quickly learned that the old organ was being removed and the entire front of the Sanctuary was being remodeled and rebuilt to accommodate the new one.
That first year presented many challenges for the choir and me. We were never quite sure what music we could perform, what instruments would be available to accompany us, or even where the choir would sit—or sing—from. There were significant questions all year long. What can we do for All-Saints Vespers, how do you do Christmas without an organ and is it possible to have Easter without organ, brass and timpani? It has been 26 years since that time and I now do not remember how we addressed all of the issues. I do remember how exciting it was to hear the new Glatter-Gotz, Rosales instrument in the fall of 1999.
2. How did your childhood experiences with your parents in church prepare you for the rigorous music ministry already in place when you arrived in October, 1998?
My young life was filled with church and church music. I wasn’t a PK—preacher’s kid—but both of my parents were. My father was the sixth of seven children—two boys and five girls—and they all sang and played instruments. It’s rumored that my father played the violin. I never saw him play or even heard him talk much about it, but I do remember him singing in the church choirs that my mother directed.
My mother came from an equally musical family. She had significant musical training and could play the piano and trombone, in addition to singing regularly in choirs—both as a section singer and a soloist. She directed the choirs at the church I grew up in, and it was through her that my formal music journey began. I started singing with her as a boy soprano, often covering the alto parts simply because I could.
I believe it was during my freshman year of high school that I moved into the adult choir, singing tenor. My father sang bass, and my mother continued to direct. As my voice changed through high school, I gradually moved down the staff to become a bass, eventually standing next to my father. That sense of togetherness—singing with my father, led by my mother—is a memory etched deep in my heart.
My mother once tried to give me piano lessons, but it didn’t take. She wisely handed me off to a professional teacher. I got good enough to play for our Sunday School openings, which felt like a big responsibility at the time. I eventually quit lessons in high school, but my interest in music never waned. In fact, I became fascinated by the organ. Fortunately, the church’s organist took me under her wing and gave me some informal coaching. I was even trusted to substitute for her occasionally and play for Sunday services.
Those early years were more than just a foundation—they were a life lived, surrounded by music, family, and faith. Each note, each rehearsal, each service was a thread in the fabric of my upbringing.
3. I remember Karl Snider joining you during the extra Saturday morning rehearsals when he worked with the casts of Fiddler on the Roof and Music Man. How did you manage all the extra rehearsals and performances beyond your traditional responsibilities for Sunday services and holidays?
When I began my responsibilities at the church, Karl Snider and I had been together for ten years. It's exhausting to think about now, but at the time, between the two of us, we were juggling six part-time jobs. We both had church positions, both taught at universities, and we were both singing professionally with the Pacific Chorale. At least on Monday nights, we knew where we'd be—at rehearsal, together! We even got to sit next to each other, it felt like a small but cherished luxury in our whirlwind schedule.
Frankly, I don’t know how we managed it. Somehow, we kept it all going. But in the midst of the chaos, one of the greatest blessings was how easily we were able to share in the life of the church together—whenever our schedules allowed—without discomfort or hesitation.
As a couple, we always felt genuinely accepted as part of the church family. That sense of belonging wasn’t just implied—it was demonstrated time and again, most profoundly at our wedding in November of 2015. The love and support we felt from our community on that day were overwhelming, in the best and most humbling way. It affirmed that we were not just welcome—we were home.
