Of Warren Martin Westminster Choir College's Professor of Music

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A BIOGRAPHY OF WARREN MARTIN:
WESTMINSTER CHOIR COLLEGE'S PROFESSOR OF MUSIC
by
Christopher Bagby Samuel
A Dissertation Presented in Partial Fulfillment

of the Requirements for the Degree
Doctor of Musical Arts
ARIZONA STATE UNIVERSITY
December 1998
UMI Number: 9918293
Copyright 1998 by
Samuel, Christopher Bagby
All rights reserved.
UMI Microform 9918293

Copyright 1999, by UMI Company. All rights reserved.
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©1998 Christopher Bagby Samuel
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A BIOGRAPHY OF WARREN MARTIN:
WESTMINSTER CHOIR COLLEGE’S PROFESSOR OF MUSIC
by
Christopher Bagby Samuel
has been approved
December 1998
APPROVED:
Supervisdiy Committee
ACCEPTED:
Director of the School
Dean, Graduate College

ABSTRACT
W arren Brownell Martin (1916-1982) served on the faculty of
Westminster Choir College in Princeton, New Jersey from 1950 until
1982. During that thirty-two year period, he distinguished himself
as a teacher of conducting, theory, and composition; as a trainer of
choirs for concerts, tours, and recordings; as head of the graduate
departm ent and head of the theory department; and as music
director of the College. This study provides an account of Martin’s
life and distinguished career, and documents his important
contributions to the art of choral music.
The Prologue offers a brief overview of Martin’s life, and
includes descriptors of related dissertations. Chapter II documents
Martin’s childhood years as a Pennsylvania farmboy who developed
into a child prodigy, and Chapter III details his six years as a student
at the newly founded Westminster Choir School, where he was a
student of John Finley Williamson, David Hugh Jones, Carl Weinrich,
and Roy Harris. Martin’s career as a church musician at the First
Congregational Church of Los Angeles, his five years as a sergeant in

World War n, and his im portant role in the Annual Bach Festivals
and the Modem Music Festivals of Los Angeles are discussed in
Chapter IV. Chapter V offers a brief overview of his year as director
of music and organist at Rockefeller Chapel at the University of
Chicago. Chapters VI, VII, and Vin document Martin’s varied roles
as a faculty member and administrator at Westminster Choir College,
and the Epilogue offers summations about his life and work as a
scholar, musician, and teacher.
Appendices list interview subjects who assisted in the research
for this study, questions that formed the basis for the interviews,
and references to recorded interviews conducted by others and used
in this study. Martin’s published and unpublished compositions,
various concert programs, and several of his significant writings and
reports about Westminster and about music are included in the
Appendices. Several hundred of the letters written by Martin and
by others between 1920 and 1997 that form the prim ary source
material for this study are documented therein also.
iv
TABLE OF CONTENTS
CHAPTER Page
I PROLOGUE..................... 1
II THE EARLY YEARS.............................................................23
III WESTMINSTER CHOIR SCHOOL ................................40
IV CALIFORNIA.................. 121
The W ar.................. 154
The Return to Los Angeles___________________ 204
V CHICAGO_____________________________________244
VI WESTMINSTER CHOIR COLLEGE__________________ 250
VII MUSICAL DIRECTOR OF

WESTMINSTER CHOIR COLLEGE-------------- 302
VIII THE FINAL YEARS.................... 371
IX EPILOGUE____________________________________ 455
SOURCES CONSULTED____________________________________ 470
APPENDIX
A SELECTED COMPOSITIONS
BY WARREN MARTIN...................... 524
B *ON BEING A MINISTER OF MUSIC” _______________ 532

APPENDIX Page
C REPORT OF THE MUSICAL DIRECTOR

by Warren M artin .....................—............----- 537
D 1963-1964 TOUR MUSIC PROGRAM_______________ 543
E DUTIES OF THE MUSICAL DIRECTOR_______________ 546
F “VOCAL MUSIC OF WARREN MARTIN”

CONCERT PROGRAM ...........................................551
G MUSIC BY WARREN MARTIN

In honor of his Sixtieth Birthday ----------- 554
H In memorian WARREN MARTIN ................................... 55 7
I INTERVIEW QUESTIONS.................................................. 560

CHAPTER I
PROLOGUE
W arren Brownell Martin joined the faculty of Westminster
Choir College in Princeton, New Jersey in 1950.1 During the next
thirty-two years, he distinguished himself as a teacher of conducting,
theory, and composition; as a trainer of choirs for concerts, tours, and
recordings; as the head of the graduate department and head of the
theory department; and as music director of the College. The
purpose of this study is to provide an account of Martin's life and
career, with emphasis on his thirty-two-year tenure at Westminster.
Martin was born on a farm in Galeton (Potter County),
Pennsylvania on 4 December 1916, the eldest child of James Kent
1 In 1926, John Finley Williamson founded the Westminster Choir School

in Dayton, Ohio. In 1929, the school became part of Ithaca College in Ithaca,
New York. In 1932, the school moved to its permanent home in Princeton, New
Jersey. The name was changed to Westminster Choir College in 1938.
Westminster merged with Rider College in 1992. After Rider was awarded
university status in 1994, the official name became Westminster Choir College:
The School of Music of Rider University. In this document, the school will be
referred to both as Westminster Choir School and as Westminster Choir College,
depending on the time period under discussion.
2
Martin (1886-1963) and Gertrude Wetmore Martin (1894-1985).2
He had three siblings: Esther (b. 1918), David (1919-1952), and Paul
(b. 1921). There was an appreciation for music in the Martin family,
and as the children grew old enough, they sang together with their
parents in the Methodist Church choir.3
Martin was a precocious youngster, both academically and
musically. He skipped three grades to finish all eight grades by age
eleven, and graduated in 1932 at the age of fifteen as the
valedictorian of his high school class.4 Martin began to play the reed
organ when he was approximately seven years old, and also learned
to play the piano and violin.5 At school, Warren accompanied the
assembly at chapel on a reed organ. A letter from a cousin of Kent
Martin, dated 10 September 1929, indicates that the not-quite-
thirteen-year-old Martin was already a competent performer. The
letter also gives an indication of Martin's inherent musical ability and
2 Esther Martin, Interview by Christopher Samuel, 13 March 1995,

transcript in possession of author, Phoenix, AZ.
3 Esther Martin, Blacksburg, VA, Handwritten childhood sketch, ca. 10

March 1995, in possession of author, Phoenix, AZ.
4 Galeton High School, Commencement program, Coudersport, PA, 9 June

1932, in possession of author, Phoenix, AZ.
5 Esther Martin, childhood sketch.

3
the advanced level of proficiency that he had attained after only two
lessons:
We sat down and asked him to play. Then followed piece after
piece of high class music, some he played by note and some by
ear. His father asked him to play the "Blue Danube Waltz," which
he did without hesitation or error. After playing a number of
pieces he played one by ear that we like very much and that was
in the same class as its predecessors. At its conclusion, he quietly
informed us that that piece was one of his own composition! We
asked if he had another of his own and he immediately played us
another and we learned that he had composed nine pieces! I then
laughingly remarked that Brownell and I seemed to be the only
ones in the Martin family to compose any music. He wished to
know what I had composed and quite in jest I hummed for him
the melody of my "Mountain Longings." 'Why,' he said, 'That could
be played this way,' and in a few minutes he was playing my
tune. Then he became critical of certain parts and improved on
them. Under his skilled touch my humble tune became a
masterful production and little shivers ran up and down my back
to hear my melody sound so beautifully.6
Martin entered the Westminster Choir School in the fall of
1932.7 There he studied organ with Carl Weinrich, composition with
Roy Harris, musicology with Paul Boepple, organ and composition
with David Hugh Jones, and conducting with John Finley Williamson.
6 Charles Boynton Martin, [no location], to J. Kent Martin, Galeton, PA,

10 September 1929, in possession of author, Phoenix, AZ.
7 Warren Martin, Interview by Charles Schisler, 26 February 1975,

transcript, in possession of author, Phoenix, AZ.
He graduated with a Bachelor of Music degree in 1936, and went on
to complete a Master of Music degree in 1938, distinguishing himself
as the highest ranking student in both classes.8
After graduation, Martin served as the organist of the First
Congregational Church in Los Angeles, California from 1938-1941.
He presented many recitals and was quickly acclaimed the "best
organist on the Pacific Coast."9 On 14 July 1941, he was inducted into
the United States Army, where he served in non-combat roles.10
After being honorably discharged as a staff sergeant on 15 January
1946,11 Martin returned to work at the First Congregational Church
in Los Angeles from 1946-1948, during which time he became
director of music. In the fall of 1948, Martin accepted a position at
the University of Chicago, where he served for the 1948-1949
8 Warren Martin, document attached to "Biographical and Professional

Information form," 1 November 1958, in possession of author, Phoenix, AZ.
9 Westminster Choir College, "Minutes of the Trustees' Meeting," 23 May

1950, Archives of Westminster Choir College.
10 Martin, "Biographical," 1 November 1958.
11 U.S. Army discharge document, 15 January 1946, in possession of

author, Phoenix, AZ.
5
academic year as director of music for the Rockefeller Memorial
Chapel.12
In January 1950, Martin joined the faculty of Westminster
Choir College. Shortly thereafter, John Finley Williamson described
him as:
the best organist that we have ever graduated but he is such a

good composer and his interest in composition is so strong that we
are happy to have him as Head of the Department of Composition.
He loves the school, knows its ideals, and will be of great help to
us. His salary will be $4,000.13
In the fall of 1952, at the age of thirty-five, Warren Martin
became the head of the Graduate Department at Westminster Choir
College. He participated in other musical activities as well, which he
described as "many, incessant, and various; no one activity has been
pursued intensively enough to gain notable recognition."14
Upon the retirem ent in 1958 of the college's co-founders, John
Finley Williamson and Rhea Williamson, Martin was appointed music
director of the College, a position he held from 1958-1964. These six
13 "Minutes of the Trustees' Meeting," 23 May 1950.

years encompassed an immensely turbulent period in Westminster's
history, and were fraught with challenge for Martin as well as for the
other administrators who were chosen to fill the positions vacated by
the Williamsons.
In addition to his work as music director, Martin took over the
conducting of the Westminster Choir during I960.15 During the next
two years, he sometimes co-conducted the Choir with his former
classmate, Elaine Brown, the founder and director of Singing City in
Philadelphia.16 Martin also continued to conduct the Westminster
Symphonic Choir, including preparing the group for performances
with Dmitri Mitropoulos, Leopold Stokowski, Sir John Barbirolli,
Leonard Bernstein, Herbert von Karajan, and others. The choir's
1962 recording of "Prokofiev: Alexander Nevsky, Opus 78,"
performed with Thomas Schippers and the New York Philharmonic
15 Warren Martin, Interview by Charles Schisler, 8 January 1974,

16 Elaine Brown, Interview by Christopher Samuel, 11 May 1994,

Orchestra, was nominated by the National Academy of Recording
Arts and Sciences for "best classical performance."17
After a one-year sabbatical, Martin returned to the faculty in
1965 as "Professor of Theory and Head of the Department."18 He
taught composition, music history, music theory, and conducting at
the undergraduate and graduate levels. At the beginning of his
sabbatical leave during the 1975-1976 academic year, he stepped
down as head of the theory department. He indicated in a letter to
Associate Dean Peter Wright that he planned to do more composing,
and that these "efforts might be directed toward writing music useful
to Westminster if such is desired," and to "assist in a Westminster
musical anthology project, in consultation with President Robinson
and others who might be interested."19
At the Convocation of the 1980-1981 academic year, Martin
was promoted to "Professor of Music,"20 a distinction that differed
17 Warren Martin, New York City, award plaque, 1962, The National
Academy of Recording Arts and Sciences, in possession of author, Phoenix, AZ.
18 Faculty folder (1950-1982), Associate Dean's Office, Westminster Choir

College.
19 Warren Martin, Princeton, to Peter Wright, Princeton, 15 November

20 Faculty folder.
from that of "Professor of Music Theory," "Professor of Conducting,"
and the like. This honor was bestowed for the breadth of his
knowledge and the diversity of his contribution to the college,
faculty, and students.
During the fall of 1981, Martin gradually became frail and
appeared ill.21 During the final week of the semester, he was
hospitalized and subsequently diagnosed with lymphoma. He
resigned officially from the faculty on 6 January 198 2 22 and died on
10 April 1982.23
Warren Brownell Martin distinguished himself as a church
musician, organist, pianist, choral conductor, coach, accompanist,
recorder player, writer, administrator, and teacher. He also
composed a number of highly popular church music anthems that
were published by Broude, Fischer, Golden, Mercury, Presser,
Hinshaw, and others.24 A graduate of Westminster Choir College, his
21 Sue Ellen Page, Interview by Christopher Samuel, 13 May 1993,

22 Faculty folder.
23 Princeton Packet (Princeton, NJ), 11 April 1982.
24 Warren Martin, Princeton, Handwritten biographical sketch, ca.

early 1970s, in possession of author, Phoenix, AZ. See Appendix A for a selected
list of Martin's compositions.
9
life represented the very essence of the ideal that was taught at that
institution: a life of service to others through music. As a teacher,
his influence on hundreds of Westminster students was immense.
His penchant for clarity in purpose through his musical and
administrative leadership during some difficult transition years not
only helped prevent Westminster from collapsing—it raised the
quality of the institution.
Although Warren Martin held important church positions and
was an influential leader at Westminster Choir College for thirty-two
years, there are no entries about him in standard music
encyclopedias and dictionaries that do justice to his contributions to
the music field. The fact that there is no published biography of
Martin's life is justification for this study. This biography provides
insights into the fields of church music and music education by
identifying important trends and features of these disciplines as they
developed during the post-World War n decades.
A number of extant scholarly studies relate directly or
indirectly to the life of Warren Martin. Charles Harvey Schisler, who
later served for a number of years as Dean of Westminster Choir

10
College, traced the history of this unique school of music in his 1976
doctoral dissertation.25 Schisler used various Westminster sources,
including minutes of trustee and faculty meetings, faculty and
student files, letters, diaries, concert programs, and other archival
material; interviews with three of the college's living presidents, two
former deans, faculty members, trustees, and former students from
various periods; and newspaper clippings from the New York Times
and the New York Herald Tribune. Schisler's scholarly overview of
the institution is documented thoroughly, and it possesses the charm
of many personal insights and opinions. Important biographical
information about the school’s co-founders, John Finley and Rhea
Williamson, is woven into the study of the school. Schisler outlines
John Finley Williamson's "Westminster Plan," a scheme for a graded
choir program for training singers from childhood through the adult
stages of singing—a plan that provided the basis for the school's first
curriculum. He traces the development of Westminster from its
origins as a non-diploma-awarding choir school to its status as a fully
accredited college with authority to award undergraduate and
25 Charles Harvey Schisler, "A History of Westminster Choir College,

1926-1973” (Ph.D. diss., Indiana University, 1976).
11
master's degrees. The study includes numerous appendices,
including an event chronology, lists of officers of the board of
trustees, administrative staff (1926-1973), faculty (1926-1973),
graduates (1930-1973), recipients of honorary degrees and
fellowships, earned fellowship recipients, performances with
orchestras, discography, published choral works, a transcription of
the school's dedication program, the "Westminster Plan" (original and
revised), Westminster Choir tour programs, and contents of the
College's cornerstone.
A dissertation by David Wehr focuses on the life and
contributions of John Finley Williamson to choral music.26 It
describes how Williamson became active in church choir music at a
time when the quality of church music had deteriorated seriously
and the very purpose to which church music was being applied was
being called into question. Wehr describes how Williamson's efforts
were instrumental in the restoration of the choir to its "rightful”
position, the upgrading of the general repertoire, and a re-definition
of the relationship between music and other church functions. The
26 David A. Wehr, "John Finley Williamson (1887-1964): His Life and

Contribution to Choral Music" (Ph.D. diss., University of Miami, 1971).
study describes Williamson's work with the First Evangelical United
Brethren Choir in Dayton, Ohio, and his subsequent appointment at
Dayton's Westminster Presbyterian Church, where his formation of a
"chorus-choir" served as the nucleus from which Westminster Choir
College grew. Wehr details Williamson's career as a master teacher
and collaborative conductor for many choral performances with the
New York Philharmonic and Philadelphia Orchestra, as well as more
than thirty national tours and four federally endorsed world tours.
He describes Williamson's influence on the choral repertoire and on
his students, with particular attention given to Williamson's influence
on innumerable listeners of symphonic performances, broadcasts,
recordings, and tours from the 1920s through the 1950s—for whom
the model of choral sound was the Westminster Choir.
Westminster Choir College has attracted a number of other
faculty members who either had or gained national prominence,
some of whose contributions have been documented through
scholarship. George Lynn was a teacher and conductor at
Westminster Choir College during the late 1940s and again in the
1960s. A dissertation by John Buehler documents the musically

precocious life of this conductor, composer, professor, and organist
from his childhood years in Pennsylvania through the obtaining of
his degree in 1938 from Westminster Choir School (where he was a
classmate of Warren Martin), his Princeton University degree in
1947, and his honorary Doctor of Laws degree from Harding College
in 1959. From 1947-1950, Lynn taught voice, theory, and
conducting at Westminster Choir College. Prior to leaving
Westminster, he served as Assistant to the President and Associate
Director of the Westminster Choir. In 1963, he rejoined the faculty
at the Choir College, and from 1964-1969 he was music director and
conductor of the Westminster Choir. During several periods of his
life, he lived in Colorado, where he taught, composed, and published
music. Over his lifetime, he conducted workshops or taught courses
at twelve colleges and universities throughout the United States.
Buehler provides information that gives insight into Lynn's manner
of thinking about music and musical ideas, traces influences on his
life by his teachers (most notably Roy Harris, Carl Weinrich, Randall
Thompson, and, especially, John Finley Williamson), and catalogs
Lynn's extensive body of published and unpublished choral music.

14
From interviews with the composer, Buehler discovered that Lynn
was committed to an approach founded in the voice, and was
motivated by that precept in his teaching, conducting, and composing
efforts. The appendices include catalogs of Lynn's extensive output,
listed by composition date, and a questionnaire that served as a
guide for the interview process between the composer and the
author of the study.27
James Ewing traces the life of Martin's Westminster classmate
Elaine Brown and Philadelphia's Singing City Choir, which Brown
founded. Ewing deals with the history, basic concepts, and unique
outreach elements of Singing City from its inception in 1939 through
its Mid-East Concert Tour in January 1975. Resource material for
this study consisted of uncopyrighted Singing City publications; taped
interviews, letters, and notes from Elaine Brown's lectures, addresses,
and workshops; and comments from colleagues, interns, and
members of the choir. Brochures, programs, newsletters,
organizational bulletins, and calendars from the group's archives
27 John M. Buehler, "George Lynn—The Westminster Connection. Choral

Sound and Choral Composition: A Vocal Approach" (D.M.A. diss., University of
Missouri-Kansas City, 1989).
15
were examined also. Ewing found that Singing City accomplishes the
group's stated purpose: to build—through music—understanding
among people regardless of social, political, geographic, racial, or
religious backgrounds. Choral music is the means by which Singing
City endeavors to accomplish this purpose. Its programs, through
which the choir goes about fulfilling its goals, take many forms of
expression. The general term applied to all of these programs is
outreach.28
The author of a dissertation on Julius Herford, one of the most
influential educators on the choral art in the United States during the
past fifty years, found that Herford gained fame and respect as a
teacher of some of the nation's eminent conductors, including Robert
Shaw, Margaret Hillis, Roger Wagner, and Elaine Brown. Eugene
Edward Pierce documents the importance of Herford's teaching at
various institutions, notably Westminster Choir College and the
Indiana University School of Music, and the many workshops that he
gave throughout the country. The chapters of the study divide his
life and work into several categories: biography; Herford's teaching
28 James Dewar Ewing, "Elaine Brown and Singing City: The Choral Art
as a Communicative Social Force" (Ph.D. diss., University of Miami, 1976).
16
philosophy and attitude toward and method of analysis; his influence
on choral performance and repertoire, and an attempt to place
Herford in historical context with those conductors and teachers who
preceded him; and conclusions about his importance to the choral art
in general. Appendices include an example of Herford's structural
memorization graphs and selected comments about the conductor
from his former colleagues and students.29
Helen Kemp was the focus of a 1993 dissertation by Christine
Bordeaux Farrior. A graduate of Westminster Choir College, Kemp
taught at the school in the late 1940s, then went to Oklahoma City to
serve as children's choir director at the First Presbyterian Church,
where her husband, John Kemp, was minister of music. She was
highly successful in her work at the church, and it was there that she
established many of her children's choir philosophies and techniques.
Leaders of national music organizations became aware of her
successful program, and frequently she was asked to share her ideas
with other musicians. It was in this manner that she received
29 Edward Eugene Pierce, "Julius Herford: His Life, Teaching, and

Influence on the Choral Art in the United States" (D.A. diss., University of
Northern Colorado, 1988).
17
opportunities to lead children's choir workshops and festivals, as well
as publish articles and books on the subject. Kemp's role as the
Choristers Guild's Director of Workshops and Festivals further
expanded her influence nationally, an influence that was enhanced
by her return to Westminster Choir College as a faculty member in

1972.30
Kemp's influence on the children's choir movement includes
ideas in the following areas: (1) developing the child's voice, (2) the
"whole child" concept of singing, (3) the belief that singing is for
every child, (4) rehearsal techniques, (5) the positive attitude of the
choir director, (6) the importance of the individual child, (7) the use
of quality children's repertoire, (8) the concept of children as young
artists, and (9) the use of music in Christian education. The Farrior
dissertation documents Kemp's influence in each of the above areas,
and focuses on specific rehearsal techniques—-such as her pioneering
use of visual and mental imagery—which were developed by this
energetic children’s choir director. Finally, a brief overview of the
30 Christine Bordeaux Farrior, "Body, Mind, Spirit, Voice: Helen Kemp

and the Development of the Children's Choir Movement" (Ed.D. diss., University
of North Carolina at Greensboro, 1993).
18
children's choir movement in the United States provides a context
from which Helen Kemp's role in the choir movement can be
understood.31
John Yarrington completed a performance analysis of three
operas—Martyr's Mirror, Family Reunion, and Singer's Glen—by Alice
Parker, a former faculty member at Westminster Choir College, who
remains a frequent guest lecturer and clinician during summer
sessions as of this writing. She is also the composer or arranger of
numerous choral works. She is well known for her collaborative
work with Robert Shaw.32
The present writer found five studies relating to the composer
Roy Harris, who was a Westminster professor. Harris was one of
three composers whose work was profiled in a 1960 dissertation by
Charles Brookhart. The choral music of Aaron Copland, Roy Harris,
and Randall Thompson was analyzed to determine the style
characteristics of each, and to discover which of their choral
31 Ibid.
32 John Yarrington, "A Performance Analysis of Martyr's Mirror,

Family Reunion, and Singer's Glen, Three Operas by Alice Parker" (D.M.A. diss.,
University of Oklahoma, 1985).
19
compositions are most significant. A 1991 study by Mitchell James
Fennell evaluated the influence of Harris on the development of the
American concert band movement. The fifteen symphonies of Roy
Harris were the topic of a 1973 dissertation by Dan Stehman.
Stehman found that these works are the most promising area of
Harris's work for studying his treatment of musical form and stylistic
development. Theodore John Bargmann studied Roy Harris's solo and
instrumental chamber works for piano in his 1986 dissertation.
Finally, John Wayne Clark included works by Roy Harris in an
analytical dissertation on the symphonic contributions of significant
composers who have shown a consistent interest in that particular
medium, especially the one-movement form.33
There are four dissertations on the work of Westminster
composition professor Normand Lockwood. Tony Max Davis focuses
33 Charles Edward Brookhart, "The Choral Music of Aaron Copland, Roy

Harris, and Randall Thompson" (Ph.D. diss., George Peabody College for
Teachers, 1960); James Mitchell Fennell, "A Study of Selected Band Music of Roy
Harris" (D.A. diss., University' of Northern Colorado, 1991); Dan Stehman, "The
Symphonies of Roy Harris: An Analytical Study of the Linear Materials and of
Related Works" (Ph.D. diss., University of Southern California, 1973); Theodore
John Bargmann, "The Solo and Instrumental Chamber Works for Piano by Roy
Harris" (D.M.A. diss., American Conservatory of Music, 1986); and John Wayne
Clark, "The One-Movement Symphony in America, 1937-1976: with Analyses of
Works by Roy Harris, William Schuman, Vincent Persichetti, and Peter
Fricker" (Ph.D. diss., University of California, Santa Barbara, 1982).
20
on Lockwood’s stylistic characteristics in certain choral works. S. Kay
Norton discusses Lockwood's large compositional output. She also
includes much biographical information about the composer, and
suggests that many of his early experiences and influences had a
life-long influence on his compositional style. Stephen Lange
examined the organ concerti of Robert Elmore, Seth Bingham, and
Normand Lockwood. He analyzed the musical elements of melody,
harmony, rhythm, counterpoint, and form in these works from the
1950s and 1960s. Curtis Donald Sprenger compared text-music
relationships in works by Jean Berger, Cecil Effinger, and Lockwood.
The purpose of the study was to discover, describe, and place into
categories the text-music relationships in the published choral
music—both in a cappella works and in pieces accompanied by a solo
instrument or small ensemble—of the three composers.34
34 Tony Max Davis, "A Study of Stylistic Characteristics in Selected Major

Choral Works of Normand Lockwood" (D.M.A. diss., University of Missouri-
Kansas City, 1980); S. Kay Norton, "The Music of Normand Lockwood from 1930
to 1980: Fifty Years in American Composition" (Ph.D. diss., University of
Colorado at Boulder, 1990); Stephen Reynolds Lange, "An Analysis of Concerto
for Brass, Organ, and Percussion by Robert Elmore, Concerto for Brass and
Organ by Seth Bingham, and Concerto for Organ and Brasses by Normand
Lockwood" (Ph.D. diss., Michigan State University, 1978); and Curtis Donald
Sprenger, "A Study of the Text-music Relationships in the Choral Works of
Jean Berger, Cecil Effinger, and Normand Lockwood" (Ed.D. diss., Colorado State
College, 1969).
21
In summary, several research studies have been completed on
Westminster Choir College and people related to the institution. The
studies are descriptive in nature, largely narrative in form, and the
authors attempted to place people and events in context. The
methods of gathering information varied, but most included
interviews with individuals, family members, and colleagues, as well
as scrutiny of epistolary renderings or other published or
unpublished documents, or compositions by the subjects.
Clearly, Westminster Choir College and individuals associated
with it have attracted considerable attention from scholars. The
studies cited above show that this institution—through efforts
engendered by the vision of its founder, John Finley Williamson—has
had a positive influence on choral singing in America, and has
contributed significantly to the organization and development of
quality church music programs throughout the country. In addition
to boasting a faculty that included some individuals of national
prominence, Westminster produced alumni who contributed
significantly to the field of music while serving other academic
institutions or leading community organizations of importance. It

22
was this environment that helped shape the life and career of
Warren Martin, Westminster's Professor of Music.

CHAPTER n
THE EARLY YEARS
The family into which Warren Brownell Martin was born was
not the typical farm family that one might have expected to find in
rural, north-central Pennsylvania. Warren and his three younger
siblings—Esther, David, and Paul—were encouraged to place a high
value on the pursuit of learning. Consequently, reading the likes of
Shakespeare and Dickens, developing a keen mathematical sense,
being able to express ideas clearly, and knowing something about
music were emphasized in the J. Kent and Gertrude Wetmore Martin
household. Both Kent and Gertrude Martin were educated as
teachers. The former was young Miss Gertrude Wetmore's ninth
grade teacher at the one-room school next door to the Martin
farmhouse.1 Lois Laverty, a professional colleague and close personal
friend of Warren's for many years, indicated that the Martin family
"read a lot, and they were always looking up words in the dictionary
1 Esther Martin, Interview by Christopher Samuel, 5 August 1998,

. . . [Warren] very early gained an appreciation for intellectual things
and for learning and real cogitation and doing things just right,
having proper grammar, and knowing the meaning of a word."2
Esther Martin, Warren’s sister, recalled that when her parents were
milking in the barn on the family's registered Holstein farm, she and
her siblings "would stand out there and talk to them as they were
milking, and we learned mental arithmetic—different things like
that."3 In later years, Warren Martin told Harriet Chase, another
colleague and friend, that "my mother is one of the few people I
know who would go out to milk the cows while she quoted
Shakespeare."4 Martin exhibited a lifelong desire for learning and
high intellectual pursuits in his professional and personal endeavors.
Although he was named Warren Brownell Martin, the
youngster went by his middle name—officially, W. Brownell Martin—
to eliminate confusion with his maternal grandfather, Warren
2 Lois Laverty, Interview by Christopher Samuel, 14 May 1991,

transcript, in possession of author, Phoenix, AZ. See Appendix I for a list of
questions used in the personal interviews conducted for this study.
3 Esther Martin, interview, 13 March 1995.
4 Harriet Chase, Interview by Christopher Samuel, 14 May 1991,

25
Wetmore, who lived with the family on a semi-regular basis. The
name "Brownell" was not a family name; rather, it was the surname
of Kent Martin's best friend, a Washington, DC lawyer with whom the
elder Martin had attended normal school.5 After World War II, the
younger Martin asked to be called "Warren," because the United
States Army had identified him in that manner on its printed
documents, and because he became convinced that "Warren Martin"
made a better professional name for a musician.6
In his pre-school years—the exact year is unclear—young
Warren suffered a mild case of polio. Laverty explained:
Evidently in those days when someone got polio, they just stayed
in bed for a long time and very slowly got better if they were
going to get better, and this evidently did happen to Warren. It
made him weak . . . [H]e was very weak as a little boy.7
In keeping with their emphasis on education, Kent and
Gertrude Martin pursued a forum for cultivating the spiritual well
being of their four children. Even though Warren's paternal
grandparents, Stephen Henry and Mary Alice Martin, had helped to
6 Lois Laverty, interview, 14 May 1991.
7 Ibid.
found a Baptist Church in West Pike, Pennsylvania, and his great
grandfather had been a member of the Church of the Brethren,
Warren, his parents, and his siblings attended the First Methodist
ChurchinGaleton.8 Elinor Martin, Kent Martin's sister, lived with the
family on weekends and in the summer months; she "went to the
different churches in Galeton to find the one with the most active
Sunday School—and it was Methodist."9 Sometime thereafter,
Warren's mother began teaching in the Sunday School, and
eventually, both of his parents sang in the choir. Reflecting the
appreciation of music that the Martin family emphasized, the
children joined their parents in the choir as they grew old enough.
The Martin children viewed their parents as good role models,
and knew that they, in return, were regarded highly. The parents
were not, however, tactile in their affection for their offspring.
Esther Martin recalled:
My m other read the Better Baby Letters that she got from a
magazine before we were bom, and they were having such a thing

27
then about communicating disease through kissing. And so we

were never kissed.10
Kent and Gertrude Martin were less than ostensible in their own
displays of affection. Esther remembers: "They were not kissy. Oh,
we were shocked one time. Only once did I ever see my father kiss
my mother."11 A certain reticence to show affection outwardly
seemingly was not the family's only reserve. Martin himself once
wrote, "It seems to be a prevalent habit of our family to hide rather
than express feelings such as gratitude, etc."12 It was in this setting
that Martin developed the reserve in his interactions with others
that he retained throughout his life.
A tragic incident occurred in the home when the children were
still young. Gertrude Martin's clothes caught fire while she stood
dressing in front of a gas fire, and her buttocks were burned
severely. Because Warren was the oldest child, it was he who ran to
tell his father that there was a fire in the house. Esther Martin
recalled that her mother was in a hospital for quite a while, and
10 Ibid.
11 Ibid.
12 Warren Martin, Princeton, to Elinor Martin, Galeton, PA, 24 October

28
that—because of the long drive—her father could visit her only once.
She also remembered "not liking to have the students, when we went
to school the next day, wanting to ask us questions; we didn't want to
answer them."13 Mrs. Martin was hospitalized for six months. When
she returned home, she was confined to a cot, and remained on her
stomach for five more months. The healing process ultimately
required several skin grafts and visits from nurses who arrived
periodically to change the dressings. During the daytime, their
eighty-year-old grandmother took care of Warren and his siblings,
and their Aunt Elinor continued to join the family on weekends.
Martin attended grade school in a one-room country school
located next door to the family home. Laverty reported that "Martin
immediately turned out to be really, really brilliant. He was a genius
child, very frighteningly so."14 His sister agreed: "We always
marvelled because we knew that his mind could do some things ours
wouldn't." Martin was encouraged in his progress by the teacher,
Miss Katie Littlefield, who lived upstairs over the schoolhouse. She
14 Lois Laverty, interview, 14 May 1991. The school building still stands
today, occupied by an arts and crafts shop.
29
recognized his unusually clever mind, and realized that it needed
careful cultivation. Taking him under her wing, she "exerted a
tremendous influence" upon him.15 He took his schoolwork seriously;
extant documents indicate that Martin was "neither tardy nor
absent" for several of the years that he attended Miss Littlefield's
school.16 Because of his precociousness, he skipped three grades to
finish all eight grades by 1928, at age eleven.17
The Martin family enjoyed being together. They were
particularly fond of playing games of all types. Esther Martin
remembered one occasion:
The whole family was playing "Clues." And the first clue was: "by
the old bridge that arched the flood." And so we went down
under the bridge and there was a note there: "By the old oak
tree," and so forth. At the end there would be a picnic or
something.18
Other outdoor games included croquet, and younger brother Paul
eventually built a tennis court.
16 West Pike School, Certificate of Award, Potter County, 23 April 1925, 21

May 1926, in possession of author, Phoenix, AZ.
17 Diploma, Potter County, PA, 28 April 1928, in possession of author,

Phoenix, AZ.

30
Indoor games during the evenings were a big part of the
Martin family way of life also. Memory games, card games that
required skill and intricate thinking, and creative board games were
standard fare. Years later, when his siblings were grown, Martin
occasionally invited talented students and close colleagues to visit
the farm during the summer months. Game nights were still a
regular p art of life there. Dennis Shrock, who visited as a student
during the mid-1960s, remembered:
[Warren's] mother played word games and they were mostly

anagrams, I think, where you would be given a phrase or a word
and you had to try to make up other words by re-scrambling
those letters from that one word . . . They were really quite
serious about this and they were very good at i t . . . I watched
them do their twelfth or fourteenth word, and I was on my second
• • •
19
The Martin farm was five miles from town and Galeton High
School. Consequently, Martin lived in Galeton during the week with
his aunt, Elinor Martin, and made the journey between home and
school only on weekends with his aunt. She was on the faculty of the
high school, where she taught history, physics, and a course entitled
19 Dennis Shrock, Interview by Christopher Samuel, 15 April 1993,

31
"Problems of Democracy." Eventually, she became the assistant
principal.20 All of the parenting adults in the Martin children’s lives
fostered a certain independence and self-reliance on the part of the
youngsters. From them, Esther Martin sensed that "there was always
a feeling that we were to be ourselves; it was believed that each of
us could go ahead and do what we felt we wanted to do."21 Elinor
Martin clearly exerted a positive academic influence on the Martin
children, and expected them to act responsibly. Esther Martin
remembered that her aunt held high expectations—both academically
and behaviorally—and that those expectations were simply a way of
life in their family. She was like another mother to the children,
because she was always with them at school and at home. She did
not, however, show the Martin children any special favoritism:
I remember one time David [Martin] was sick. [He asked,] "Aunt
Elinor, what did you give us for an assignment in history?" And
she said, "How do the other students know?" So he had to
telephone one of the other ones to find o u t And they didn't think
that she was biased in that, but they thought that she helped us
with our homework, you see. But she didn't. And so we didn’t
have as much help with homework as some people might. But I
20 Esther Martin, Telephone interview by Christopher Samuel, 4 June

1997, transcript, in possession of author, Phoenix, AZ.

32
think she probably was a good person to have Warren, and for
Warren to be with while he was in high school.22
Martin excelled as a high school student. In addition to
masterfully meeting the challenges of schoolwork, he was on the
staff of the school paper and a member of the orchestra. Socially,
things were not easy for him, however. Laverty explained:
Warren described himself as a shy, little, weak, pale twelve-year-

old who was sent to high school where all these farm bullies were
built completely differently from his poor little skinny, weak self.
He was never athletic and he had the kind of skin that didn't
permit him to go into the sun. His pale skin was his normal,
natural skin and it never would tan—it would just turn red. And,
partly because of the polio and partly because of his natural bent
in life (in that he had early, early in life discovered music and had
a real passion for it), he would just spend hours and hours at the
piano or whatever. He was evidently scared to death by these big,
stupid, farmboy bullies, a?.id I think he had a very hard time down
there and it was quite traumatic for him.23
In spite of being consistently two to three years younger than his
classmates, he was valedictorian of his graduation class of 1932—at
the age of fifteen.24
22 Ibid.
24 Galeton High School commencem ant program, 9 June 1932, in

possession of author, Phoenix, AZ.
When he was approximately seven years old, Martin began to
play the family's reed organ.25 He was supervised in two
rudim entary music lessons by his mother while she was bed bound
from her b u m injuries. Self-taught after that, he moved quickly
from a beginner's book to a grade one primer. Almost immediately
thereafter, he moved on to much more advanced music. The family
subscribed to the Etude magazine, which proved to be a valuable
source for keyboard selections. Esther Martin recalls that Warren
"increased his ability so rapidly. . . [that] he played the reed organ
over at the school next door" for assemblies and for chapel. After
her recovery, Gertrude Martin went to the school each day and
directed the singing at chapel while Warren accompanied the group.
The family also acquired a second-hand piano for the household in
the late l°2 0 s.26
Kent Martin played the violin and Warren was encouraged to
do so also. During his later grade school years, he was driven five
miles in a Model "T" Ford to Galeton, where he boarded a train to
Esther Martin, interview, 13 March 1995.

34
Westfield, Pennsylvania. There, he took violin lessons from a Mrs.
Marsh.27 Years later, he spoke of the experience to Lois Laverty:
He said he appreciated how that [experience] sharpened his ear,

because you have to really get used to the pitch on the violin. He
appreciated that his violin teacher would make sure he played in
time. He remembered that the violin teacher would only accept
an in-tune pitch, and he was grateful for that.28
Music became the most important thing in Warren Martin's life.
He played the keyboard for hours at a time, and Esther remembers
that "he was always writing music." Although he was serious about
absorbing everything possible about music for his own benefit, he
also foreshadowed his future professional activities as a vocal
coach/collaborator by sharing his discoveries. Martin drew great
pleasure from teaching others, and often projected a sense of humor
through some of his musical activities:
I can remember once he was composing an opera. I don’t know

how old I was—whether I was in high school yet or n o t He got me
to singing a high note, "Oh, joy! She’s dead! Oh joy! She’s dead!"
And oh, he thought that was marvelous! He really respected
soprano voices.29
29 Esther Martin, interview, 13 March 1995. The piece to which she

makes reference is probably from an opera that Martin wrote around 1930, a
duet from which is extant in a small collection of ju ven ilia. The work is
entitled Cedric and Edith.
35
A letter from a cousin of Kent Martin, dated 10 September
1929, contains a description of the young Martin, whom the cousin
found possessed:
a m anner that is quiet and dignified and his fingers are long and
delicately fashioned. He has completed his second year in the
Galeton High School and his favorite study is Latin. His standing is
near the head of his class.30
During a visit to the Martin farm, the cousin and his daughter
observed the humorous side of young Warren's personality, which he
demonstrated with the help of his family. First, he played several
pieces brilliantly, and then announced that he would do some stunt
playing. He crossed his hands at the piano and played "America"
without an error. Next, he took his violin and applied resin to the
stick at the back and played "Turkey in the Straw." Turning his bow
end-for-end to throw it out of balance, he played yet another tune.
The uncle reported that the young Martin then made six or eight
"queer vocal sounds," which he then imitated on the violin. The
antics continued with the removal of the piano stool, and Martin's
playing of the chords from "America" by leaping into the air between
30 Charles Boynton Martin to J. Kent Martin, 10 September 1929.

36
each chord and landing with his fingers on the right keys, every
time. Then, his sister Esther appeared in costume and sang and acted
a song entitled, "Creeping, Sleeping, Peeping, Sweeping"—all of their
own composition. Finally, Kent and Gertrude Martin joined in singing
with the younger Martin's accompaniment, prompting the cousin to
note that "Kent has a good voice and his wife an equally good alto,"
and to observe that Martin's music "is well used. He has played '11
Trovatore' until the music is in tatters. They have an organ which he
also played, and he longs to try a pipe organ . . . My daughter says he
has a folio of parts of operas he has composed. And he is not yet
thirteen years old!"31
Two years later, the cousin again visited the Martin home.
During the visit, the family attended a town hall concert presented
by the "Boys Band," a recently organized group of fifty youngsters.
At the event, they observed the younger Martin playing piano
accompaniments for the guest comedian's songs, and violin in a jazz
band that later assembled to supply music for a dance. At one point,
an opaque cloth was held over the keyboard, and Warren played a
31 Ibid.
37
lively piece through it as though it were not there. Later, at the
farmhouse, Martin was asked to play familiar selections for the
enjoyment of the visiting relatives, whereupon he performed
selections from Carmen. He then played some of his own
compositions, including selections from an opera that he had written,
as well as a duet from a Psalm of David text that he sang with his
father. The latter piece provided an opportunity for the youngster to
demonstrate his new development—a "sweet, low voice." The visiting
cousin later recorded other interesting information about the young
Martin:
. . . It seems the graduating class at Galeton High School sent for

music for a graduation Class Song. But it proved too high and
disappointing, whereupon Brownell wrote them a song—music and
words—that was acceptable and will be used.
In regard to his school work, I have just received a letter from
him saying: "I feel very elated at this moment because I have
learned that I have received a higher mark in a certain standard
Geometry test than anyone in Galeton High School has ever
received since we have been using these tests." Values are
determined by comparison.32
32 The Musician o f Pine Creek, unpublished document by Charles

Boynton Martin, Scarsdale, NY, 9 June 1931, facsimile, in possession of author,
Phoenix, AZ.
38
Although Martin sometimes appeared outwardly to be an
extroverted, life-of-the-party type of individual—and often acted so
through demonstrations of musical prowess and game-playing feats
that would have been exceptional for a person many years older—he
was an immensely shy and private person. Laverty remembered
conversations with Martin wherein he revealed that his shyness was
so painful that it caused him physical discomfort that "really, really
hurt." He described situations in which he was supposed to put out
his hand and say "hello" to someone, and yet was unable to do so.33
Apparently, Martin developed an ability to appear extroverted
and even somewhat light-hearted in many public settings, yet he
maintained an intensely introverted, passionate seriousness about
music. Laverty explains:
I heard him say once, late in his life, that he found out very early,
when he was seven or eight—he knew that early—that music was
the thing that was his life and that he was really, really serious
about it. And his grandmother—I don't mean she did it
continually—made terrible fun of him, and of these weird,
scrawling little childlike compositions that he would write down,
and made fun of Cedric and Edith or whomever and whatever. So
he evidently, very early, got a strong inner life, and he knew
secretly that he would just let his grandmother or whomever just
tease him because he knew better than they did that he was
39
musical, and that he had something special musically—and that

music was something special for him, and that it was his calling in
life . . . [S]o, he would just turn off all the other silly conversation
that would go on about his musicmaking and let people say what
they would wish. But, secretly—inside himself—he knew how deep
down it went.34
34 Ibid.
CHAPTER III
WESTMINSTER CHOIR SCHOOL
Graduation from high school at age fifteen had its drawbacks
for Warren Martin. Because he lived in Galeton with his aunt for the
duration of his high school course work and was so young when he
left the farm, he had failed to develop an ongoing working
relationship with the farm as had his two younger brothers.1
Furthermore, his interests were in music rather than farming. There
was some concern in the family that he was not old enough to attend
college, even if funds could be found to support such an endeavor
during the midst of the Great Depression. Esther Martin described a
rather bleak financial situation at the farm; when she herself began
attending college, the official family income was one thousand dollars
per year. There were still many reasons for optimism, however. The
farm produced many staples: "We had milk, we had chickens, we
had pigs, we had a lovely garden. We'd go out blackberrying,

strawberrying, and raspberrying . . . [I]n some ways we were much
richer than people are nowadays."2 She recalled a series of events
that, despite the family's shortage of funds, enabled the young
Martin to enter the Westminster Choir School in the fall of 1932. A
friend of the family who heard him play recommended that the
youth consider Westminster. Another individual was driving in the
direction of Princeton, so they "took him and he had an audition.
And there wasn't enough money for him to come back. That was the
late summer, so he just stayed on."3
There was some question as to whether Martin would be able
to remain at the Choir School. In a letter to his mother, he asked, "Do
you suppose there will be money enough for me to stay here? What
do people at home think of my going away to college?"4 To his
father, Martin wrote:
Possibly you did not get the last letter I wrote in which I hoped
you would send $5. As it is, I cannot pay for some things I need
and have to borrow paper and everything else. I would send my
laundry home if I had any money to do it with. I have made the
2 Ibid.
3 Ibid.
4 Warren Martin, Princeton, to "Mother," Galeton, PA, 5 October 1932, in

42
$10 you gave me and also that $5 last until now, but I shall have
to come home if I cannot have more. I had my old suit pressed
once, but I have been out in the rain in both suits. . . I have no
money to get them pressed. Kelly, in our dormitory, presses suits
for twenty-five cents.5
To his mother, he posed:
Is it not possible to send actual money in an insured letter, or

whatever you call it? I think $5 a week would be enough (I
should have at least that much as soon as possible) until I am
through buying books, etc. Here is a list of bills that can be made
to the school:
Dormitory fee $ 37.50
Use of piano 5.00
Tuition 150.00
Organ 75.00
Matriculation 10.00
To tell the truth I do not know whether this list includes my
scholarship or not, but you can tell. It is for the 1st semester.6
Apparently, Kent Martin had concerns other than financial ones
about his son attending the Choir School. It is unfortunate that a
certain letter from the elder Martin was lost. Regardless, in a
response letter the youngster sought to address a concern that the
passage of time has rendered cryptic:
I cannot promise to write two full letters every week, but I will
try to send a card or something to conform to your wishes. As to
5 Warren Martin, Princeton, to J. Kent Martin, Galeton, PA, 18 October

43
your doubt about whether I am worthy to stay in the school, all I

can say is that everyone in the school, especially Mr. [David Hugh]
Jones and Mr. and Mrs. Williamson, would be surprised to know
that I did not keep on. Just what the psychology of your hints are
I cannot guess.7
In writing to his mother about his wardrobe, he mentions, "I do
not know what you have bought in the line of suits, but according to
what the others are wearing blue serge is about the best."8 In
another letter, he described his first social event at the school: "Dr. [J.
F.] Williamson held a reception and we went, but none of us three
had dress suits (we are all Freshmen). Dr. Williamson is wonderful,
but too strict for comfort."9
The Westminster Choir School had just moved to Princeton,
New Jersey from Ithaca, New York, and the buildings on its new
campus were not yet finished.10 Along with twenty-eight other male
students from the Choir School, Martin lived in a house at 34 Bayard
7 Ibid.

9 Warren Martin to "Mother," 5 October 1932. The other two to whom

Martin made reference were his roommates, Earl Gordon and Robert See.

44
Lane. In a letter typical of his writing style throughout his lifetime,
he offered a detailed description of his new room:
Our room is a rather small one on the third floor with plenty of
light from windows on two sides. On the walls are a sketch by
Rockwell Kent, a painting by one of my roommate's friends, a very
good photograph of Greta Garbo, a della robbia discovered (I
believe) in the cellar, a mirror and a rug of my roommate's which
is used to cover up a bare spot about where the mirror is. We
have two cots and a bed, a bureau, a magazine table and another
little table, and three chairs. There is a little closet between our
room and the bathroom where we can put some of our clothes.
We have two bouquets of wild snapdragons on the bureau and
table and two vases of ivy, a fern, a Christmas plant, another little
plant, and a bowl of big purple thistles from the country. I think
that our room, with one possible exception, is the nicest one in the
house.11
It is clear that Martin took his studies seriously. Hour-by-hour
descriptions of his long days were common in correspondence to his
family. He often expressed frustration at not being able to practice
the organ sufficiently. Still, his epistolary wit was evident on one
occasion when, after finding an organ-blower circuit out of order and
subsequently trekking around town to different churches only to
find all of them in use, he ended up practicing at a location "with the
obbligato of a negro lady and her carpet-sweeper."12 He reported
11 Warren Martin to "Mother," 15 October 1932.
12 Ibid.
45
"getting started very nicely" as far as his studies were concerned, in
spite of his "bad luck" in securing practice time. He referenced the
upcoming freshman recital, a concert in which all new students were
required to either sing or play according to the area in which they
were considered most proficient before coming to the Choir School.
Martin indicated that he would "play the 'Rondo Capriccioso' and the
accompaniments to about three songs."13
Martin was placed in the Chapel Choir, which was comprised
mostly of freshmen. He found that "the singing that we do is hard in
more than one way and it leaves a person tired physically. We are
allowed to place ourselves. I am a first bass."14 In his opinion, the
chapel choir sang some pieces almost as well as the Westminster
Choir. However, he noted wryly that "there cannot help being some
very bad but very zealous voices, which of course are left to the
chapel choir, and it almost seems, to the 1st bass section."15
13 Ibid.

46
Students at the Choir School were expected to participate
alongside townspeople in the school's "outreach" activities, which
were led by John Finley Williamson. Martin cited one such occasion:
We went to a rehearsal of the choral union, which is one of the

projects of Dr. Williamson. It is made up of all citizens of
Princeton who wish to be in it, and it is surprising what he can do
with untrained voices. Old, old ladies and lame men, people of all
kinds—they just sit and sing as if they never had any more fun in
their lives.16
As the semester went along, Martin struggled to make his
monetary resources meet the demands of his organ literature
requirements. He reported that almost all of his money had gone for
music, and that he had just purchased the French edition of a set of
pieces that cost $3.20. The money was disappearing rather quickly;
thus far, he had been required to produce something new at every
lesson. He noted happily, however, that his organ teacher, David
Hugh Jones, said that Martin was "advancing faster than any other of
his beginners, and that he intends that I should continue to do so."17
Because of the expectation to perform a half-hour recital shortly
16 Warren Martin, Princeton, to "Mother," Galeton, PA, 17 November

17 Ibid.
47
after Christmas, Martin was anxious to find a practice location near
the family's Galeton home that would allow him to maintain his
technique over the Christmas holidays. His anxiety was even
beginning to extend beyond the end of the school year, and he
expressed concern over keeping up with his teacher’s long-term
expectations:
I am worrying about my practice in the summer. Mr. Jones

intends that I should work even harder in the summer than
during school, and I don't know what organ I could practice on,
unless in Coudersport,18
Martin's well-developed ear was an asset at the Choir School.
He reported:
I unquestionably stand at the head of my Sightsinging and Ear

Training classes. Several people (by name Mr. Stebbins, Miss
Goodrich, Miss Willingham, and my roommate [Robert See, whom
he particularly described as "very unlucky in having a poor ear"])
are meeting with me for drill in theory. It gives me good practice
using my ingenuity to help them learn the things they want to.19
Helping students was something that Martin would continue to do
throughout his life. As he described above, the procedure not only
brought benefit to the other party, but gave him the opportunity to
18 Ibid. Coudersport, PA, the site of Coudersport Consistory, was

seventeen miles from the Martin farm.
19 Ibid.
48
develop some aspect of his teaching. As time went on, however, he
limited this activity to those whom he considered to possess
exceptional musical promise.20
In addition to the academic expectations of the Choir School,
the schedule permitted time for socializing with students, faculty,
and benefactors. Martin described one such event:
Last night I went to the second of a couple of parties Mrs. Talbot

[sic] gave for the choir school. There was bowling and dancing,
and refreshments, a stunts. Mrs. Talbot gave a reading in Irish
brogue, her favorite stunt for years and years. Purcell, a
Freshman who has crooned over the radio, sang a few blues songs.
I improvised on a theme someone gave me. I do that quite a lot
for people's amusement.21
His ability to improvise and embellish any given theme was
described by an upperclasswoman to Martin, Ella Robinson Crane:
Brownell would play a melody in any musical period. He could

make it sound like something from die Baroque period, or the
Romantic period, or whatever you asked of him. He might even go
along, changing styles with each new measure.22
20 Peter Wright, Interview by Christopher Samuel, 9 May 1991,

21 Warren Martin, Princeton, to "Mother," Galeton, PA, [no day]

November 1932, in possession of author, Phoenix, AZ.
22 Ella Robinson Crane, Telephone interview by Christopher Samuel, 13

June 1997, transcript, in possession of author, Phoenix, AZ.
49
John Burke remembered him occasionally being even more precise
with his improvisations. Martin would sometimes "ask for the names
of ten or twelve different composers, and then improvise the same
melody to sound like each one of them."23
The innate ear with which Martin had been endowed, coupled
with his penchant for high achievement, began to produce results.
He was one of three students who were told that they would not
need to continue in the freshman eartraining class, but would,
instead, be tutored in the elements of harmony for two hours each
week—at thirty-three and one-half cents per hour—in preparation for
joining the sophomore class the next semester. Martin's excitement
over his achievement was tempered by the reality of his financial
situation, and he noted, "Of course, there is a book to get and lessons
to pay for."24
In the midst of his academic successes, Martin also displayed
elements of frustration:
23 John Burke, Telephone interview by Christopher Samuel, 14 June

24 Warren Martin, Princeton, to Esther Martin, Galeton, PA, 2 December

50
Sometimes I get very discouraged and want to come home but

then again I have a good lesson in organ and wouldn't think of
anything but continuing.25
In the same letter, he related his vocal progress to his mother, and
reported the homework requirement for knowing five songs for
vocal methods class, with the further expectation of being able to
sing from memory a phrase or two from any one of the songs, if
asked by the teacher. Martin wrote, "He says that my voice is better
than that day when I tried out. Do you think I should start voice the
second semester?"26
Opportunities to refine his accompanying skills abounded at the
Choir School. He accompanied both Jamesena McCahan, a "freshman
with a thrilling mezzo soprano voice," and senior student and
Westminster Choir soloist Charles Higgins in a "concert in a Methodist
coloured church." Martin's share of the profits was $5.86, a surprise
to him because he "had expected nothing at all."27
25 Warren Martin, Princeton, to "Mother," Galeton, PA, 6 December 1932,

in possession of author, Phoenix, AZ.
26 Ibid.
27 Ibid.
51
Evidence of Martin's developing penchant for placing musical
sophistication ahead of social considerations could be seen during
this initial semester at the Choir School. One example occurred at the
recital mentioned above:
There is a terrible little organ in the church there, and some of the
people wanted me to play a solo on it, but I wouldn't. However,
the Baptist church (coloured) will have a Skinner organ (a very
good make) in by next Spring, and I have promised to play on it!28
Another example appears in a letter to his mother, wherein he
warns, "When I come home I shall probably feel awfully critical of all
music, but I'll try not to be."29
Bus travel during the 1930s was not always reliable, and
Martin's return trip to Princeton following his Christmas break can
serve as an explicit example. The exaggerated detail with which
Martin recounted his adventure reflected his impatience with
procedures that he considered inefficient and needlessly wasteful of
time. His description of the event also allowed a hint of insight into
his ability to caricature the idiosyncrasies of individuals whom he
encountered:
28 Ibid.
29 Warren Martin to "Mother," 17 November 1932.

52
We were scheduled to get to Princeton about 8:30 P.M.—we got

here 3:30 A.M. the next day. First the bus was a half an hour late
at Muncy. Another bus was even a little later at Sunbury, and the
bus was filled to capacity with all the aisle seats taken. At
Harrisburg we reloaded, causing more trouble and waste of time.
At York we—all the passengers—missed our bus and had to wait
for one at 4:30. At 4:30 it went by—full! At 6:00 a special bus
came to take us. The driver, not knowing the country got lost and
took a hill that was too steep to make or to back down. We were
20 miles from Philadelphia. Another bus was sent for, while we
waited at least 2 hours. After about an hour was gone a lady got
up and made a harangue about the company and how we must all
be char-itable to the bus-driver, etc. Later another lady said "You
may talk about your char-itv but I’m going to see that this is
reported," etc. etc. Finally the other bus got us to Philadelphia at
12:00 and we had to wait till 1:30 for a Princeton bus. And so we
arrived at 3:30, slept till 7:30 and went to classes.30
Throughout his life, he often used this ability in his compositions—
sometimes producing hilarious results for those who knew the
individuals being caricatured.
Although clearly he was progressing well academically, Martin
continued to recognize areas in which he perceived him self lacking.
During the week of examination preparation near the end of his first
semester, he wrote to his family:
Is everyone well and are Paul and David doing satisfactorily in

school? Tell David to make his English and his oral topics
30 Warren Martin, Princeton, to "Mother," Galeton, PA, 5 January 1933,

53
important. I find myself lacking now when it comes to things that

I did not learn or practice thoroughly. Have Esther write me a
letter partly in Latin.31
Earlier in the term, Williamson had encouraged Martin in the
area of composition, and had urged the student to show his work to
David Hugh Jones, the composition teacher (and Martin's organ
teacher). However, Martin found it difficult to work in the Bayard
Lane setting. He revealed his unfortunate discovery that producing
high-quality work was a particular challenge, because "there is so
little quiet in the dormitory that [working] is almost impossible.'"32
At the semester's end, he recorded his disappointment that stemmed
from a poor performance of his duet in the composition recital.
Martin admitted that he was not surprised at the outcome, and
attributed the poor rendering to a lack of practice time with the
singer. He was optimistic, however, about a second performance,
noting, "I think that Earl [Gordon] is going to have it sung again in his
chapel service."33
31 Warren Martin, Princeton, to "Mother," Galeton, PA, 1 February 1933,


54
As a student of music, Martin placed great emphasis on skills;
he believed strongly in the value of developing a good musical ear,
and in the act of listening as an integral part of the learning process.
Early in the semester, he wrote, "Mr. [David Hugh] Jones is playing a
piece I am studying for the chapel service this afternoon. It will be a
great help to me to hear it played well."34 In letters to his mother,
Martin often included—in very legible notes on hand-drawn staves—
themes or fragments of phrases to aid in the descriptions of his
listening endeavors. Usually, he included comments about the
performances he had heard:
In the last radio program there was a piece called "Montezuma"—

an arrangement of an Indian tribal melody. In the end of this Mr.
Phillips, a short, very stocky person sang the following obbligato
[which Martin included] and could be heard above all the rest of
the choir singing fortissimo . . . I am sure that it was the loudest
sung sound that I have ever heard anyone make.35
Martin's organ teacher, David Hugh Jones, exerted considerable
influence on the young student during this period. Martin clearly
held him in high regard; years later, he reportedly spoke of that
35 Warren Martin to "Mother," 1 February 1933.

55
influence, and paid great deference to Jones. Lois Laverty believes
that Jones "became like a father to him—sort of a professional father—
and took him by the hand and showed him what [a church musician]
should do in the church—what you could do and what you couldn't do
and how you had to meet the people on their level. [Martin] got very
valuable help from this very kind man, David Hugh Jones—always."56
The high regard in which Martin held Jones was reciprocal. Fifty
years later, Jones wrote to "the young Pennsylvania farmer boy,"
recalling him "so vividly as one of the half dozen very bright
students I ever had. You were one who made your teacher feel very
humble."37
David Hugh Jones' organ playing was an integral part of the
success of the Westminster Choir School's weekly vesper services,
which were held in the cathedral-like space of the Princeton
University Chapel. Being present for the services was immensely
important to Martin. On one occasion, after being ill and in his bed
for five days with "some little grippey thing," he "got up and went to
37 David Hugh Jones, North Myrtle Beach, SC, to Warren Martin,

Princeton, 1 February 1982, in possession of author, Phoenix, AZ.
56
the chapel service at 4:30, battling against a rough cold wind . . . I
would not miss a chance to hear the service once."38 The general
aesthetic of those services appealed greatly to Martin, whose
subsequent ideas about music and worship were, in turn, influenced
by them:
The organ playing, with the old, orchestral-type organ there, was
very pretty and David Hugh Jones was very good at improvising—
particularly fillers and things in between—and of keeping the
atmosphere. This made a great impression on me and I
immediately learned i t . . . I did it in my church job . . . [,] having
the improvisation blend what had happened with what was going
to happen. Now, there was exaggerated emphasis on rehearsing
the procession and rehearsing the deportment. Nobody should
move. Everybody should take the same kind of steps, and we
spent hours rehearsing. One rather important thing for the
impressive pageantry of it was that it was slow, at least as slow as
[m.m.] 60 and perhaps slower. like "Pomp and Circumstance."
Very slow. Made it a long procession. Everybody concentrated.
Everybody had music. Everybody faced forward. And it was
quite rigid and quite moving . . . [T]he slowness and the solemnity
of the service gave a chance for people to stare at the stained
glass windows. Slower tempo and more dignified and less talk
goes better with the stained glass windows, and with a man like
Dr. Erdman or other people Williamson would have [as speakers].
The solemnity—it was intoned more like Shakespearean acting. It
was blending the music and what we did with the chapel rather
than putting a brisker, livelier thing which sort of fights the
chapel. And that was the magic. Very simple. And the emphasis
was not on the music but on the musical tone—letting those chords
38 Warren Martin, Princeton, to "Everyone," Galeton, PA, [no day] March

57
roll through that cathedral. . . [T]he chapel was filled, people came
from far and wide for the total atmosphere, which was one
atmosphere . . . And the heyday of those services were the ones
where it was entirely music, entirely conducted by Williamson
and entirely accompanied by Jones. That's what made it. It was
all one thing.39
True to his detailed writing style, Martin documented on the back of
a bulletin a chapel service procedure that he found effective. He
described the procession, in which the students marched in groups of
four up the center aisle of the University Chapel, and in groups of
two out a side door during the retiring procession. A "Sanctus"
setting was sung very softly from the balcony at the rear of the
chapel, and the doors were closed as the choir finally exited in order
to add to the effect of the voices dying away.40
Many Westminster Choir School students availed themselves of
opportunities to play for area churches. The availability of Choir
School students who possessed excellent keyboard and conducting
skills to the myriad of churches in nearby New Jersey, Pennsylvania,
and New York communities that needed musical leaders benefited
39 Warren Martin, interview, 26 February 1975.
40 "Musical Vesper Service" bulletin, Princeton University Chapel,

Sunday, 27 November [ca. early 1930s], in possession of author, Phoenix, AZ.
both parties, and also helped facilitate the rapid spread of John
Finley Williamson's choral and leadership ideals. The church
positions not only brought professional experience, but provided
crucial income as well. For students from meager backgrounds,
having such a job sometimes made the difference between staying in
school and giving up on their education—particularly during the
Depression days of the early 1930s. Because of the problematic
economic situation, churches that were struggling to meet operating
budgets could hire Choir School students at a reduced salary, yet
receive highly professional work in return.
The school's treasurer, Harry Krimmel, served as the liaison
between the churches and the Choir College. In the spring of his
freshman year, Martin was presented with the possibility of a
position. He recorded being pleasantly surprised by David Hugh
Jones's approach with the prospect of an organ position at the
beginning of the next school year, and rejoiced at the subsequent
boost in confidence that came from the possible opportunity.
Martin's letter reported that "there would be enough salary a week
to be worth while," and outlined the typical scenario followed by

59
Choir School students in their church jobs: they were required to
leave Princeton on Fridays for their evening choir rehearsals, remain
overnight, teach private voice and keyboard lessons all day on
Saturday, and stay a second night to fulfill the Sunday worship
service obligations and other afternoon responsibilities before
returning to the campus on Sunday evening. Because of the
impending possibility of a church position, Martin noted, "Mr. Jones is
crowding my repertoire (heavens!) and I must as soon as possible get
more music. I now have 50 cents in my pocket, and the music that
he has listed will probably cost over $10. I think that I would rather
secure as much organ music as I might need than scrimp on that and
take voice the rest of this semester."41
Although he was optimistic about the improvement in his
financial situation that the upcoming church job would offer, Martin's
concern over his current situation at the Choir School was ever
present in most of his correspondence during his freshman year:
41 Warren Martin to "Everyone," [no day] March 1933. Harry C. Krimmel

was the Treasurer of Westminster Choir College from 1932 until his death in
1949. His wife, Mary Krimmel, taught on the organ faculty from 1937 until her
death in 1978.
60
I do not know what has been paid on my bills, but if they are not
paid, they must be as soon as possible. We are required to hand
in to Mrs. Williamson before next Thursday a statement of how
our bills can be paid, or we must leave school in the holidays and
not come back. The closing of the banks has, according to her,
made it almost impossible to keep the school running. I will tell
Mrs. Williamson that if you are sent a notice of my bills that you
will pay as much as you can just as soon as possible.42
The same letter included academic information:
Here are my marks for the semester:

Conducting 99*
Eng. comp. 85
Sight singing 96*
Vocal Methods 80
Harmony 90
Bible 90
Organ 95
In the subjects marked I am exempt for the rest of the year . . .

My schedule is light now so I spend more time on organ. When I
come home I shall be tempted to give you all lessons in diction
and voice and what not, probably the whole choir also.43
Martin's second semester at the Choir School found him playing
organ for Princeton Seminary chapel services, and for other special
services elsewhere by invitation. He described several of the organs
as being "not very entrancing," but acknowledged that "all these
42 Ibid.
43 Ibid.
61
things that I do are chances to prepare myself for actual work in a
church."44
In addition to pursuing excellence in musical matters, Martin
placed emphasis on public speaking. He recognized in others and
sought in himself an ability to bring out the meanings inherent in
high-quality texts through thoughtful study and careful practice. He
especially admired Charles Erdman's beautiful text renderings and
homiletic orations.45 When taking his turn at planning the daily
chapel service, Martin placed equal value on the non-musical aspects
of the event:
I am having an organ prelude and a trio—violin, harp and organ,

for special music, and I think I shall read a portion of the 19th
psalm and Tennyson's "The High Pantheism." It is a very difficult
44 Warren Martin, Princeton, to "Everybody," Galeton, PA, 29 April 1933,

45 Warren Martin, Princeton, to "Mother," Galeton, PA, 21 April 1933, in

possession of author, Phoenix, AZ. Charles Erdman was the author of some
thirty-six books; served as the moderator of the Presbyterian General
Assembly and president of the Board of Foreign Missions; was a friend to
Presidents Wilson, Cleveland, Theodore Roosevelt, and Coolidge; and was well-
acquainted with evangelists Billy Sunday and Billy Graham. Erdman was
appointed professor of practical theology at the Princeton Theological
Seminary in 1906, and taught at the Choir College from 1932-1960. It was
largely through the zeal of his effort and his personal connections w'ith
others of prominence that Westminster was able to move to its permanent
location in Princeton.
62
poem to read and understand, and I hope I can understand it well

enough to read it with some meaning.46
Although Martin's level of appreciation for the arts was already
decidedly more sophisticated than the farm-country incunabula that
had nurtured him, he began to be more precise in identifying high-
quality performance venues in which he cared to participate. As
stated earlier, he often entertained his friends at social gatherings,
just as he had done in various settings during his youth in Galeton.
By this point in his life, however, clearly Martin had concluded that
artistic demonstration—in whatever medium it manifested itself—
should be indicative of real creativity and high intellectual content.
His lack of appreciation for musical maunder is evident in the
following:
Tonight (Thurs.) the Seminary is giving the choir school a serious

musical program, which will be repaid next Thursday by a girl's
circus and a men's minstrel show from the choir school. Luckily I
am not in it, as I dislike that sort of thing.47
46 Warren Martin, Princeton, to Elinor Martin, Galeton, PA, [no day]

47 Warren Martin to "Mother," 21 April 1933.

63
A week later, he reiterated his stance on the minstrel show and its
genre. To his family, he remarked, "The minstrel show dragged, I
thought. I do not like that type of entertainment anyway."48
Another incident demonstrated the growing gap in Martin's
tolerance level as he distinguished between the erudite and the
mundane. The Charles Boynton Martin family paid him a visit in
Princeton, and accompanied him to a Princeton University Chapel
service:
They liked it, of course, but I was much dissapointed [sic] in their
attitude toward it. Mrs. Charles Martin was the only one who said
she liked it because it put her in a worshipful frame of mind . . . I
was really dissapointed [sic] in their attitude toward common
things. I thought that they (or at least Cousin Charles) were more
cosmopolitan—if that is the right word. In the light of their visit
and their interest in me, it seemed that Cousin Charles' statement
and wish that every true Martin makes a name for himself
expressed more nearly a selfish family pride than one which
would take others into consideration.49
Martin's quest to identify and emulate sincere good taste in
artistic things was mirrored in his appreciation for attractive and
48 Warren Martin to "Everybody," 29 April 1933.
49 Warren Martin, Princeton, to "Everybody," Galeton, PA, 16 May 1933,

64
well-prepared food. Throughout his life, he frequently included
descriptions and commentaries about enjoyable meals:
Here is a menu at the Tavern which I saved out as being

especially good.
Dinner 85c
Pineapple Juice Cocktail
or
Vegetable Soup
Fricassee Chicken
Boiled Rice-Currant Jelly
Fresh Green Peas
Cherry Jelly Salad
Hot Tea Biscuits
Holland Supreme
or
Fresh Strawberry Sundae
Coffee, Tea, Milk™
Regarding Martin's attitude about food, his classmate and long-time
friend John Burke remembered th a t" .. . he loved to eat. You know,
he always fought weight."51 Knowing Martin's enjoyment of food
makes clear the sacrifice that he was willing to make in order to buy
music and other scholastic materials that he considered important:
If there is any need to save money, I would just as soon change

from the Tavern. The food is still of the same quality and
51 John Burke, Interview by Christopher Samuel, 24 January 1997,

65
profuseness, but it has ceased to have variety, and I am not

getting $9 worth of enjoyment and nourishment from it.52
As the end of his second semester drew near, Martin's letters
indicated a flurry of concerts and recitals. However, the
performances in which he participated did not leave him elated:
This Sunday night we repeated the program in the Methodist

Church. I was dissapointed [sic] in my playing because I made so
many more mistakes than I did the Sunday before, which should
not have been the case.53
Other experiences allowed Martin the opportunity to work hard at
coaching those whom he accompanied:
Marie Leidal is singing "Regnava nel silenzio" from "Lucia." I am

working hard to teach her the correct notes and time values and
coloratura passages, because we both want her to make an
impression. Heretofore people have enjoyed her singing
immensely but it has been a wee bit too careless.54
He sought the "perfect" performance—a quest that sometimes brought
much frustration to those with whom he worked. Lois Laverty
explained:
. . . you could get very, very angry at Warren Martin when he

would coach you [as a conductor, as a member of a choir, or as a
52 Warren Martin to Elinor Martin, [no day] March 1933.
33 Warren Martin, Princeton, to Elinor Martin, Galeton, PA, 8 May 1933,

54 Ibid.
66
solo singer] because he would keep stopping and making you

correct something that you didn't know was wrong. You were
sure you'd sung an eighth note and he would tell you you hadn't
sung an eighth note. Well, in your mind you would have sung an
eighth note . . . [ , ] but it was just a little too long or a little too
short or it had a stress on it when it should have been very, very
unstressed. Declamation, referring to the proper rise and fall of
words as they fit with the music, was one of his main things and
he was very, very strict about that; and when he himself
composed, he took great pride in having good declamation . . . You
don't sing THE book, you sing the BOOK. He would just work and
work with you and you would get so mad so it could get terribly
cut and dried; consequently, when you sang under him, you
sometimes lost all feeling of spontaneity because he made you
think so very, very hard the whole time and you didn't leave
anything to feeling. It was all thought out, but in a very, very
careful way . . . But boy! After you coached a piece with him and
then sang it in a recital, you would hear the comments of the
listeners and you were confident that you really knew that piece.
You could sing or present it anywhere or discuss it with any
musician and hold your head up high because you really, really
knew about it. And Warren could always tell if a person had
thought through a piece, or if that person was just sort of going on
instinct.55
The desire to hear music performed as he believed the
composer intended was paramount to Martin. He claimed this
prerogative for renditions of his own compositions, and believed that
not following a composer's instructions resulted in a pernicious
performance:

67
Tomorrow afternoon is the date set for one of the two composition
recitals. My anthem is to be sung, but I am afraid it will not be a
success because of the meager time given to practicing it. I can
now realize a composer's sense of hopelessness when his
compositions fail because they are not well-performed.56
Martin's belief about the "correctness" of a performance with respect
to the composer's intentions was lifelong. According to Peter Wright,
it was mainly this musical ideology that prevented Martin from
publishing most of his compositions:
He wouldn't do so because he wasn't interested in the fame that

publication and success might bring . . . He wrote music and he
made music for the sake of music and the one thing that he cared
about most was in the excellence of what he made, and of the
performance of what he made. And I think that he consciously or
subconsciously feared that others would perform it less well than
he was able to have it performed around here [at Westminster
Choir College] by picking his own performers and having complete
control over his own music.
I think he wanted personal control of how something was
performed and the thought of it being performed at a level
distinctly below his expectations was greatly unpalatable to him.
That distinguishes him from most of the rest of us mere mortals
who would like to see our names in print and our music
performed—if we're composers—no matter how badly it might be
performed.57
56 Warren Martin to "Everybody," 16 May 1933.
57 Peter Wright, interview, 9 May 1991.

68
John Finley Williamson was complimentary of Warren Martin
in a letter to J. Kent Martin at the conclusion of the younger Martin's
freshman year:
We have been very much delighted with Brownell's work this

year. Mr. Jones tells me that he has made exceptional progress in
organ. He has also done very well in his other class work. He has
developed well in every way . . . We shall give him the same
scholarship for next year as he has had this year as we feel his
talent justifies this.58
Other faculty, staff, and students remembered the tremendous
impression that Martin made during that first year in Princeton. In
1982, Ruth Baumgartner wrote:
This may surprise you, but, I remember so clearly when you first
came to Westminster—all the oh-ing and ah-ing—about this
exceptional young man (and young you were) with this unusual
talent in music. Many of us were in awe—and well, we could be,
for you have proved many times over the worth of that "talent."59
Elaine Brown, founder and conductor of Philadelphia's "Singing City"
Choir, a sometime faculty member and conductor at Westminster,
58 John Finley Williamson, Princeton, to J. Kent Martin, Galeton, PA, 31

59 Ruth Baumgartner, [no location], to Warren Martin, Princeton, 2

March 1982, in possession of author, Phoenix, AZ. Baumgartner, a member of
the first graduating clasc: (Class of 1929) of Westminster Choir School, was
married to John Gaius Baumgartner, a Westminster professor who joined the
faculty during the school's Dayton period, and who taught from 1927-1947.
Mrs. Baumgartner herself served Westminster as Librarian from 1943-1962.
69
and Martin's classmate during the 1930s, remembered affectionately
that "he was so bright. It was disgusting to the rest of us. So
bright."60
The impression that Martin made on many of the people with
whom he was associated during that first year at the Choir School
was both positive and long lived. The plethora of surviving letters
from that period of his life present a picture of his fertile mind in
sponge-like transition from unusually bright country boy to eventual
cosmopolitan thinker. That he chose, in his abundant letter-writing
during his freshman year at Westminster, to document many of his
thoughts, ideas, and impressions gives the reader a great deal of
certainty as to when and why Martin formed his beliefs and
attitudes—about himself, about others, about his surroundings, and
especially about music—as well as his idiosyncrasies. The seeds of
thought that motivated his actions during the next fifty years clearly
saw their germination during his first year in Princeton.
60 Elaine Brown, interview, 11 May 1994.

70
During the summer of 1933, Martin was appropriately
concerned about advancing his organ performance skills.61 The
closest pipe organ to his home was in Coudersport, seventeen miles
away. In exchange for the use of the instrument, he performed on
two recitals that summer as a solo organist and pianist, instrumental
and vocal accompanist, and composer.62 The exchanges continued
through the summer of 1939.63
Soon after the beginning of Martin’s sophomore year at the
Choir School, John Finley Williamson wrote Kent Martin that
"Brownell is doing splendid work. I am sure that all of us will be
very proud of him."64 To his aunt, Martin wrote:
Classwork began today. My schedule is a straight Sophomore

course except for History of Music and Religious Education, Junior
courses. Unfortunately I cannot take any Junior theory because of
conflicts. I have Mr. Kelly for voice, as all beginners this year do
62 Coudersport Consistory, Concert programs, Coudersport, PA, 13 August

1933, 10 September 1933, in possession of author, Phoenix, AZ.
63 Coudersport Consistory, Miscellaneous concert programs, Coudersport,

PA, 1933-1939, in possession of author, Phoenix, AZ.
64 John Finley Williamson, Princeton, to J. K. Martin, Galeton, PA, 25

October 1933, in possession of author, Phoenix, AZ.
71
. . . I am taking a special advanced Seminar course in Bach which I

think will be very interesting.65
He noted that his roommates were "more ’congenial* as Mother puts
it than last year, but [have] no incentive to hard work [sic]."66 He also
wrote that he had been appointed Princeton Seminary organist,
which gives some indication of the esteem in which he was held by
the organ faculty. Although the position did not include
remuneration, Martin was certain that it would provide him with
much pleasure and practical experience.67
Martin made a new musical acquaintance that fall:
There is a new colored lady in school, Miss [Dorothy] Mainer

[Maynor]. She has a voice better in its way than Marie's (high
soprano), and where she gets all her resonance I'm sure I don't
know, for she is about 5 feet tall by a generous estimate.68
One of Martin's life-long abilities was to be able to quickly see
the point in an issue, decide whether it was worthy of attention, and
then take whatever action was appropriate. He appreciated
65 Warren Martin, Princeton, to Elinor Martin, Galeton, PA, 3 October

66 Ibid.
67 Warren Martin, Princeton, to "Omnes," Galeton, PA, 13 October 1933, in

possession o f author, Phoenix, AZ.
68 Ibid.
conciseness and was impatient with maunder. Regarding one of his
professors, Martin wrote, "Dr. Donelly in Religious Education is
straightforward and easy to understand, though the text-book seems
to beat about the bush to quite an extent."69 John Burke
remembered that Martin "had that kind of a mind, that just went
straight to the thing and analyzed it."70 Elaine Brown confirmed that
ability in Martin as well, and placed emphasis on the speed with
which he was able to make analytical decisions while performing
other intricate activities. She recalled having a conversation with
him that required great concentration and involved numerous,
intricate details—all of which he retained cogently for the duration of
the encounter. All the while, however, he maintained eye contact
with various individual pieces of music, and appeared to be
analyzing them and sorting them into two stacks:
He kept looking at pieces of music and either putting them in that

pile or this pile while he was talking with me. And I thought,
"What's he doing?" And he said, "Well, some of this stuff is not
worth the time to spend looking at it. So, I just wanted to know
69 Ibid.
70 John Burke, interview, 24 January 1997.

73
that I looked at it." But he kept his conversation going. He had a

mind that could do a number of things well at the same time.71
Martin's peers respected his penchant for clarity. Years later,
he frequently demonstrated that same quality in faculty and
committee meetings. Lois Laverty explained:
He had such a clear mind . . . I've been in so many faculty

meetings where the members present will get into a real confused
argument and brouhaha, you know, just trying to work out a
problem and everyone's talking at all loose ends and—after a
while—your head's swimming and you don't even know what you
believe anymore because one person said this and another person
said that and another person said, "No, it's not like that." And
then you can't even remember what the issue was and a great
confusion—an intellectual confusion—begins. And then, there'd
come a lull and Warren Martin would raise his hand. And he
would stand up and say something and it was so well thought out
and so clear that we all just sat there and everyone said, "AH!
That's IT!". . . and Warren Martin had finally clarified the issue.72
Eugene Roan, who knew Martin first as a teacher and for many
years thereafter as a faculty colleague, recognized early on in their
acquaintance that "Warren could always express things in a very
concise, truly articulate way, getting right to the point. And once he
had expressed his opinion, there was not much else to say."73
73 Eugene Roan, Interview by Christopher Samuel, 10 May 1991,

74
Martin's zeal for the concise was accompanied by a lack of
patience with pretension, and he could be quite matter-of-fact in
expressing his disdain for all that he considered frivolous or false.
He could be acid-tongued, as reflected in a letter to his younger
brother and sister:
I haven't seen any animals in a long time, except ugly dogs that
fashionable people lead around [Princeton]. I imagine that they
are supposed to be pretty, but they aren’t.74
Martin began his sophomore year in a positive frame of mind,
and—for whatever internal reason—he felt better about his situation
than the previous year. Still, he complained repeatedly about having
inadequate organ practice time. He found his Italian class quite easy,
history of music very interesting, but vocal methods little more than
a systematic, persistent grind at diction. Religious education made
him see why he "remember[ed] almost nothing from past education
except music."75
74 Warren Martin, Princeton, to Esther and David Martin, Galeton, PA, 25

75 Warren Martin, Princeton, to J. K. Martin, Galeton, PA, 27 October

75
By November, he reported doing well in organ, voice, and most
other subjects. However, he described his progress in both
conducting and public speaking as "questionable."76 Indeed, at the
end of that semester, Martin's report card showed a grade of "C" in
the public speaking course taught by Rhea Williamson—probably his
lowest grade ever.77 Considering his intrinsic shyness, it is clear that
this type of activity was always a struggle.
A December letter from Martin to his family described a
Philadelphia Orchestra concert. As was his custom, he listed the
works performed and included some of the musical themes in his
impeccable notation. He also provided some random descriptions, a
life-long habit that he maintained in his correspondence with close
friends and family. Of the third and then fourth movements of
Tchaikovsky's "Pathetique" Symphony, he wrote:
It is spicy and exhilarating to the very limit, having none of the

"pathetic" char: cter of the other movements. The last movement,
Adagio lamentos j , is extreme suffering and sorrow carried over
into music. At the end it fades away into nothing, starting with
the first violins and going down to almost inaudible notes on the
76 Warren Martin, Princeton, to J. K. Martin, Galeton, PA, 20 November
77 Warren Martin, Westminster Choir School, First semester report card,

January 1934, in possession of author, Phoenix, AZ.
16
double bass. The rest of the program was more or less twaddle
glossed over with brilliant orchestration and striking rhythmic
effects. There were some wonderful effects, but no real musical
form came over to me.78
John Burke remembered Martin's critiques:
He did have tremendous critical facilities. I mean, he wouldn't do

it nastily or anything, but he was very honest, and it was very
interesting. I would go to a lot of concerts and the like with him;
he would give me a running commentary of his criticism of
everything afterwards. He would have been an excellent music
critic . . . He probably could have ended up in one of the large
newspapers as a critic, because he had that facility and ability to
do it.79
The first mention of an exciting prospect for the young Martin
appeared in a December letter to his family, wherein he announced
that the Westminster Choir would tour southern and eastern Europe
in August of 1934. Although he auditioned along with many others,
Martin believed that he had "very little chance" for acceptance,
except for his stellar sight-reading ability. His expanding cognizance
of human nature was evident as he noted, "Of course, there will be
78 Warren Martin, Princeton, to "Omnes," Galeton, PA, 9 December 1933,


77
dissapointment [sic] and hard feelings along with the excitement and
happiness of the affair."80
Martin demonstrated a certain youthful charm and naivete
regarding current world events, a phenomenon probably not
uncommon for a college-focused individual in any era:
Last Wednesday night the [Westminster] choir broadcast at 6:30

in Washington and again at 10:00 on a program with the President
[F. D. Roosevelt]. The President has agreed to give written
approval and recommendation of the choir for their tour, and that
shows that the character of the tour is such that it may even be a
tool to avert war. They will sing one-fourth classical music and
3/4 American music on the programs so that America may be
well represented.81
In the same letter, he expressed concern about his living situation in
Princeton. He was contemplating joining Bob See in moving out of
the dorm and reducing the number of roommates—as well as the
noise and other commotion that was causing him to slight his studies
and sleep and preventing him from doing his best work. He closed
his letter with a bit of humor. For Christmas break, he requested
"that impossible thing, some hard physical work which will let me
80 Warren Martin, to "Omnes," 9 December 1933.
81 Ibid.
78
sleep intensely and which I will take to as a duck does to cream or a
cat does to water!"82
At the conclusion of the first semester, Martin reported his
grades in a letter. His ability to apply critical evaluation toward his
own musical progress is evident in the following commentary:
Conducting—B: a pleasant surprise. I am trying to control sound

rather than just wave at i t .. .
[Vocal] Methods—B: also a pleasant surprise. We have finished
phonetics and are taking up ornaments, diminuendo & crescendo,
etc. The recitations are more or less individual voice lessons with
class criticism and criticism of the class criticism by Dr. [J. F.]
W[illiamson]. . .
Voice—B+: I am not making marked improvement, but am
working to cement the things I have already learned . . .
Organ—A: I am studying for the most part difficult and long
works by Bach and others. I do not get a chance to practice as
much as last year, which is an inconvenience.83
He then mentioned a newly discovered pastime. By pooling the
money that he received as a Christmas present with an additional
five dollars earned by accompanying some people at a "stag" party at
the Sherley Morgans, Martin began to allow himself the pleasure of
attending the best movies shown in Princeton. He reported, "I saw
82Ibid.
83 Warren Martin, Princeton, to "Omnes," Galeton, PA, 4 March 1934, in

79
Garbo in Queen Christina and admired her very much both for her
beauty and her acting."84 Insomuch as the visual, aural, and cerebral
stimulation provided by the local cinema gave temporary respite
from the usual grind of events at the Choir School, it also provided
another venue through which Martin could exercise his inquisitive
intellect. He loved to discuss every aspect of the films that he saw,
and he was quite selective in his choice of individuals to accompany
him. However, going with Martin to the movies committed a person
to being alert and primed for serious dialogue afterward.85
As mentioned in Chapter II, Martin had outscored all other
students who had ever taken a certain standardized high school
geometry test. According to his sister, this score went unsurpassed
for m any years.86 A 1934 letter to her indicated that "I hope
somebody does beat my geometry record because I've already had
my enjoyment of it."87 This statement appears to be sincere;
84 Ibid. Sherley Morgan, the designer of the original campus buildings

at Westminster Choir College, was a well-known professor of architecture at
Princeton University.
87 Warren Martin, Princeton, to Esther Martin, Galeton, PA, 10 March

80
throughout his life, Martin displayed a similarly gracious attitude
whenever circumstances dictated that he should relinquish positions
of prominence to others.
During the second semester, Martin began to write portions of
his letters in Italian, which he found an effective way to
simultaneously keep in touch with his family and to exercise his
intellect. At mid-semester, Martin wrote that he was enjoying his
work much more, making good progress in voice, doing fair work in
conducting and vocal methods, and maintaining everything else
satisfactorily. He also noted, "I am learning to be constantly busy
without wearing myself to a fizzle."88 He also referenced his public
speaking class, and foreshadowed his own high teaching expectations
by assuring his Aunt Elinor that she would enjoy teaching that class
because of the "large majority of conscientious hard workers and the
sprinkling of talented people."89
In June of 1934, the Westminster Choir School held its annual
Talbott Festival in honor of Katherine Houk Talbott, the school's
88 Warren Martin, Princeton, to "Family," Galeton, PA, 14 April 1934, in

89 Ibid.
81
largest benefactor and the individual most responsible for making
the Westminster Choir known internationally. Through her
indomitable spirit, financial resources, and wide circle of influential
friends, Talbott had worked tirelessly to support the Williamsons'
vision for elevating choral music in the church. She believed that, "If
America is to become a singing nation, it must be accomplished
through advancement of choral music."90
It was to this large-scale festival that the Choir School students
were exposed during the pre-World War II years in Princeton.
Martin, aware of the estimated 3,000 singers who would gather for
the Festival, happily reported to his family that, in the final
performance at Princeton University's Palmer Stadium, "we are
having a band from Trenton to play the processional, and one of the
hymns they are using will be my arrangement."91
90 Westminster Choir School, Talbott Festival concert program,

Princeton, NJ, 7-9 June 1934, in possession of author, Phoenix, AZ. The
Westminster Choir's extensive tours were made possible through the
generosity of Katherine Houk Talbott, a resident of Dayton, OH. It was she who
planned and carried to a successful conclusion the 1929 and the 1934 European
tours by the Choir. According to the 21 October 1952 Board of Trustees report
by J. F. Williamson, Talbott's contributions to the Westminster Choir's touring
program eventually totaled more than S400.000.
91 Warren Martin, Princeton, to "Omnes," Galeton, PA, 31 May 1934, in

82
Martin reported some details about his upcoming junior year.
In addition to studying organ with Carl Weinrich, who joined the
organ faculty in 1934, he hoped to have the opportunity to do
advanced composition work with Roy Harris, a composer of some
notoriety.92 Martin was beginning to look a few years ahead also. He
noted that "it may be possible for me to get a Master of music degree
if I stay one year longer."93
Martin was clear in setting his present priorities, however. He
wrote about being offered a church organist position in Trenton
during the coming summer, a job that would cover his expenses and
possibly help pay his school bills as well. The feature of the plan
that appealed to Martin most was that he would have unlimited
organ practice time. The worst feature was that—for the first time in
his life—he would be home only during June, and "would not get the
92 Internationally known organist Carl Weinrich taught at Westminster

from 1934-1940. David Hugh Jones, who taught at the school from 1926-1951,
began a gradual reduction of his Choir School responsibilities about this time
in order to assume a heavier teaching load on the Princeton Seminary faculty.
Acclaimed American composer Roy Harris served Westminster Choir School as
head of the composition department in the graduate program from 1934-1938.
He organized and directed the Contemporary American Music Festivals of 1936,
1937, and 1938.
93 Warren Martin to "Omnes," 31 May 1934.

83
healthful activity to which [he] was looking forward."94 Unless he
was "severely needed" at the farm, however, he believed that
accepting the position would be the better of the choices.
Martin's letter also included an interesting postscript. In it, he
mentioned having heard, recently, one of the state's gubernatorial
candidates give a speech. His terse commentary offered an insight
into his attitude regarding character and leadership. He wrote that
he "heard candidate for gov. of N.J. speak- rotten—teller of vulgar
jokes, veneer of education."95 Martin had little regard for this type of
display, either in public or in private. Lois Laverty explained:
[Martin] always disapproved of using bad language . . . He was

brought up to disapprove of it, but he also always disrespected
people that would use bad language because he thought it showed
an intellectual laziness—that they couldn't think of a really good
way to say something bad, and that it was just a lazy intellectual
thing to only say "damn" or something. You know, you can say
something very bad with a very good vocabulary.96
The summer of 1934 was an exciting one for Martin, in large
part because the long-awaited church position became a reality. In
94 Ibid.
95 Ibid.

84
July, he accepted the job as organist and associate choir director at
the First Presbyterian Church in Trenton, New Jersey.97 He also
learned that he would be joining the Westminster Choir on its up
coming European tour. Although initially he had not been chosen for
the group, he was included as a last-minute replacement for another
individual. However, procuring the one hundred dollars required for
the trip was a daunting task, particularly in light of the persistent
challenge of tuition, room, and board at Westminster. Esther Martin
recalled that coming up with the money "was just almost impossible,
but Aunt [Elinor Martin] helped. She had a small savings account and
she helped him get the hundred dollars that was necessary."98 In
addition to a tennis racket borrowed from his sister, Martin's "what-
to-bring" list included $32 for the necessary Westminster Choir robe,
a new tuxedo, and at least $15 "for spending and for minor expenses
in Europe." He also requested that his mother "send written
permission [for me] to go to Europe by special delivery. It is
97 Warren Martin, Princeton, to "Omnes," Galeton, PA, 27 June 1934, in


85
necessary because I am under 21."" One wonders if the misplaced
prepositional phrase, "by special delivery," was a humorous play on
words—because he was clearly the youngest of the group—or merely
a hasty oversight.
Before leaving the country, J. F. Williamson—an advocate of
robust physical activity and its relationship to strong singing-
arranged for the choir to meet him for two weeks at Silver Bay, New
York. Martin detailed the various activities, then summed them up
by writing that "we get a great deal of exercise here."100 He closed
his letter with a remark that reflected the "duty over desire"
sentiment that often colored his life, indicating that "I still do not
experience a thrill at the prospect of going abroad, but the work with
the choir is very stimulating and satisfying."101
The forty-voice Westminster Choir sailed from New York on
Saturday, 25 August 1934 aboard the French vessel MS Lafayette.102
" Warren Martin, Trenton, to "Omnes," Galeton, PA, 1 July 1934, in

too Warren Martin, Silver Bay, NY, to "Omnes," Galeton, PA, 18 August
101 Ibid.
102 Steamship MS Lafayette, I e Havre, France, Passenger list, 25 August

86
The Choir's near-daily concert schedule began on 4 September and
continued through 26 October.103 They sang in Austria, Denmark,
Finland, France, Hungary, Italy, Netherlands, Norway, Russia, Sweden,
and Switzerland.104 An Austrian concert program from 16 October
indicates the selections performed at most of the venues:
Wake up, sweet melody Noble Cain

Crucifixus Antonio Lotti
All breathing life Johann Sebastian Bach
Water Boy (Negro Melody) Avery Robinson
St. Louis Blues (Negro Dance) arr. by Hall Johnson
Old black Joe Stephen C. Forster (sic)
arr. by David H. Jones
Ice is gone from all the rivers Andre Kopolyoff
Old man river Jerome Kern
(from "Show Boat") arr. by Geoffrey O'Hara
Wordless Song Gilbert Alcock
Echo Song Orlando di Lasso
Going Home Anton Dvorak
(Largo Movement from "New World Symphony")
arr. by W. A Fisher
Whoopee-Ti-Yi-Yo (Cowboy Song) arr. by Geoffrey O'Hara
Slumber Song Carl August Fischer
Mister Banjo (Satirical Negro Song) Harry Burleigh
103 Westminster Choir tour itinerary, [no day] [no month], 1934, in the
hand of Warren Martin, in possession of author, Phoenix, AZ. The itinerary
included concerts on all but seven days.
104 Westminster Choir School, Talbott Festival concert program,

Princeton, NJ, 6-8 June 1935, in possession of author, Phoenix, AZ.
87
Victory Song (Pawnee Indian Song) Recorded by Natalie Curtis105
Martin recalled that the Russian concerts also included a selection by
Roy Harris:
The words are by Walt Whitman. They fit in rather nicely with
the proletariat and all t h a t. . . It's a piece of about ten or twelve
minutes in length—all a cappella. And really quite driving, quite
homophonic and, strangely enough—I don't think it was
intentional—some relation to the simplicity of Mussorgsky or
something like that. So, there was something the Russian people
might accep t. . . [T]his was at the time when he [Harris] was at the
top of his career, so it lent some luster to Westminster. This was
when he was having the most performances, and the most
publications and recordings.106
The choir also learned the "Internationale" in Russian. The piece was
taught to the choir by their tour manager Haldine Marie. Martin
recalled that Marie, the brother of the famous violinist Eric Marie,
"was pretty much of a polyglot. He knew all sorts of languages . . . It
was taught to us phonetically."107 Winifred Cushing, another member
of the touring choir, recalled that the Moscow concert was broadcast
105 Westminster Choir, Tour program, Innsbruck, Austria, 16 October

106 Warren Martin, interview, 26 February 1975. The piece to which

Martin referred is entitled "A Song for Occupation." It was commissioned by
the League of Composers, New York, and includes the inscription, "Dedicated to
the Workers of the World."
107 Ibid.
88
live to the United States. The program concluded with a rendition of
"The Star-Spangled Banner," and most of the choir members were in
tears by the end of the piece. Cushing remembered that most
audience members at the Russian concerts earned free tickets to the
performances by working a certain number of extra hours.108
Martin visited the opera house in Stockholm, Sweden. On his
playbill from a performance of Mozart's Figaro, he wrote: "Ballet
mediocre. Delightful as to music, acting, singing, and humor all the
way through. Costumes characteristic, fantastic and beautiful."109
While on this tour, Martin continued to convey to others
detailed descriptions of meals that he particularly enjoyed. His
memorabilia from the 1934 tour included a number of menus; on one
of them, he noted that the dessert listed thereon was the "best
chocolate of any kind I have ever tasted."110
108 invaded Moscow with a song in her heart," Roanoke Times, 16

October 1997, Bl.
109 Warren Martin, Stockholm, Sweden, Kungl Teatem play bill, 19

September 1934, in possession of author, Phoenix, AZ.
110 Warren Martin, Oslo, Norway, Frognersaeterens Hovedrestaurant, 16

September 1934, Dinner menu, in possession of author, Phoenix, AZ.
89
One postcard, which typifies Martin's detailed correspondence
from die tour, offers a glimpse at the choir's activities:
Left Amsterdam on the 9th, went to Hamburg, Germany. Saw part

of "Lohengrin" there. Next morning went on to Copenhagen,
Denmark. Arr. evening. Slept a little. Next morning we went on a
m otor tour to Kronberg castle at Elsinore (Hamlet's) and
Fredericksborg castle. Mr. Petersen, Chrysler rep. in Dei_mark,
gave us the tour in new Chryslers, and invited us to an immense
lunch at Hillerod. This picture is of a statue at the entrance of the
dungeons at Hamlet's castle. Our visit there will be one of the
very highest points in the tour. The other castle is more modem,
and much more gorgeous . . . In the evening we gave a concert in
the radiobroadcasting hall, which was broadcast as well as being
sung to an audience. It was one of our im portant concerts, and
was quite successful. Today we got up at 6 and came to Coleborg,
Sweden, where I am now.111
On 26 October, the Westminster Choir sailed for the United
States on the SS Manhattan.112 The group r eached New York on 1
November 1934.113 Although initially he had dem onstrated some
skepticism about going on the choir tour, the 1934 European trip
clearly affected Martin a great deal. John Burke remembered that
Martin loved the experience and talked about it often. He also
111 Warren Martin, Coleborg, Sweden, to J. K. Martin, Galeton, PA, 17

112 Steamship SS M anhattan, Passenger list, 26 October 1934, in

113 Warren Martin, U.S. passport, Date of issue 13 July 1934, in possession
of author, Phoenix, AZ.
90
recalled that Martin returned with a special sliirt that he had
purchased in Russia—and that he adored it and wore it endlessly.
Burke said, "I hardly ever saw him without that shirt on . . . [I]t
meant a great deal to him. And I remember Dr. Williamson saying
he would try to get him to go out and buy another s h irt...[ ,] and
Warren just wasn't interested."114
The Westminster Choir performed the tour program at Carnegie
Hall on 27 November 1934. It was billed as the "HOME WELCOMING
CONCERT: After Triumphant European Tour." In addition to the full
tour program and the Roy Harris piece, the concert included an
American premiere by W. Angelli entitled "The Shower."115
From Princeton, Martin wrote to his family that he would
officially leave the choir following the homecoming concert at
Carnegie Hall. During December, however, he did plan to "sing the
114 John Burke, interview, 24 January 1997. Extant photographs in

possession of the author show Martin wearing his Russian shirt.
115 The Westminster Choir, Carnegie Hall play bill, 27 November 1934, in
possession o f author, ?hoenix, AZ.
91
[Bach B-minor] mass once at Princeton, once at New York, and twice
at Philadelphia, with Stokowski and the orchestra."116
As the semester got under way, Martin wrote, "I have the same
church at Trenton. There are some unpleasant features, but on the
whole I get along very well."117 He also revealed an interesting
perspective pertaining to his current academic focus—a perspective
he eventually applied to his overall career that undoubtably
prevented him from achieving prestigious international status:
My work is not too taxing if I conserve my time, and obviously I

will do the best I can so there is no need to worry. The only bad
result so far is the du llin g of any one central purpose and working
at everything with equal doggedness.118
Martin was clearly a person who possessed an amazing facility in
many areas related to music, and he was often perceived by others
to excel in all of them. However, the "dulling of any one central
purpose" in order to do well in everything eventually resulted in a
116 Warren Martin, Princeton, to "La mia cara famiglia, specialmente

papa e mama," Galeton, PA, 2[?] November 1934, in possession of author,
Phoenix, AZ.
117 Ibid.
118 Ibid.
92
career th at Martin himself described as mediocre. In a 1975
interview with Charles Schisler, Martin spoke of his career.
I think of myself as an authentic jack-of-all trades in music. I

think that I have never done anything truly distinguished in any
way . . . I have so many interests and am reasonably competent in
different ones.119
Associates who knew him well over the years had interesting
insights into Martin's analysis of himself. John Burke, who knew him
as a fellow student at Westminster and later worked with him in Los
Angeles during the 1940s, said of Martin:
He could do everything well and easily and that's the reason I

never felt that he ever came anywhere near his true potential,
even as a performer. He was too varied in his interests to stick to
one kind of thing.120
James Waters, another close friend, was a student and eventual
colleague of Martin's during the 1950s and 1960s:
I think part of it was that he was discouraged that he hadn't done

all that he had planned. Westminster made a big thing out of him
and so forth; but he simply didn't accomplish what he had hoped
he might. One of the reasons that he may have been disappointed
in his own accomplishments was specifically that he didn't push
them—that he didn't go out of his way to get his compositions
performed or published. He didn't do anything. If people wanted
119 Warren Martin, interview by Charles Schisler, 26 February 1975,

120 John Burke, interview, 24 January' 1997.

93
to do it, they could do it. And so, of course, he didn't get very far
in the profession of composition outside of Westminster because
very few people knew his music.121
Charles Schisler knew Martin in the professor's later years. He
believed that Martin had the inherent musical ability to do anything,
and that Martin's failure to establish an international career was not
attributable to any lack of musical ability:
I'm not sure he thought he had musical limitations because I don't

really think he did. I think he had his own personal limitations
that he knew. I think he knew that's why he didn't succeed at
[conducting the] Westminster Choir. He said, "I wasn't a go-getter.
I believed in music—it was my thing but I didn't know how to do
politics, and I didn't know how to deal with the outer world and
all the go-getting stuff that you have to do to be successful." So I
think there were no limitations musically. I think he could have
done anything. But, I think it was on the personal level where he
knew the limitations were there and he chose not to do anything
about them. And I think they changed as life went along.122
Apparently, Martin never revealed what prom pted him to work with
equal doggedness in all areas; consequently, the reason or reasons
must be left to conjecture. By the time of his third semester at the
121 James Waters, Interview by Christopher Samuel, 27 February 1997,

122 Charles Schisler, Interview by Christopher Samuel, 15 January 1996,

94
Choir School, however, Martin was clearly allowing that trait to gain a
recognizable foothold.
Martin justified his and his roommate's joint purchase of a
second-hand typewriter "for the not too large sum of five dollars
apiece" on the grounds that he had "gotten along without buying any
new music so far [this year]."123 During the next eighteen months,
Martin's letters were typewritten, and were generally longer and
even more detailed than previous ones. Then—perhaps owing to the
lifespan of the typewriter—Martin returned to the earlier,
handwritten format.
Martin considered the orchestral performances with Leopold
Stokowski of the Bach Mass in B m inor in Princeton, Philadelphia,
and New York to be most successful. He compared them in "thrills
and enjoyment" to the recent European tour, but noted that the
concerts were very taxing to the health and spirits of everyone
involved. For the duration of his impending Christmas break at the
farm, he forbade all Christmas presents save necessities. He
requested that the family plan to have many fruity or custardy
123 Warren Martin, Princeton, to "Omnes," Galeton, PA, 20 December

95
desserts, and asked everyone to assure his grandmother that he had
not become a rack of skin and bones. Martin also added, "Be sure to
take pains that the weather be crisp and snowy, for we have
alternate drizzles and windstorms here."124
A January letter from Martin bemoaned the dearth of talent
within the Choir School student body to support an upcoming campus
drama, and compared the situation to many high school productions
that he deemed destined to fail due to the limited talent pools from
which to choose participants. He predicted that the play, his organ
work, and his composition study with Roy Harris would be his three
main areas of focus during the weeks to come. Even though he
foresaw nothing particularly exciting on the horizon, he expressed
little fear that he would "find ennui a frequent problem." He also
discouraged hesitation in sending "any eatables of any kind as the
occasion may arise."125
124 Ibid.
125 Warren Martin, Princeton, to "Omnes," Galeton, PA, 18 January 1935,

96
Martin's dramatics class, taught by Rhea Williamson, was a
curriculum requirem ent126 The dramatics courses in the
Westminster degree program, an important feature of the school's
curriculum, were intended to prepare students for well-rounded
service to the church:
Year by year the movement toward drama in the Church becomes

of greater import, The present day decrease in working hours and
the proportionate increase in leisure hours present a challenge to
the Church to enlarge its scope of activity by providing
opportunity for self-expression, especially for the youth of the
Church.127
Martin appeared in two of the three plays presented as part of
the Talbott Festival in June of 1935. He played Simon Beamer in the
comedy dram a Goblin Gold by Isabel Ecclestone Mackay, and the soul
of Tony Sims in the fantasy Three Pills in a Bottle by Rachel Field.128
A letter to Elinor Martin early in Martin's senior year revealed
that he was less relaxed about his general situation than he had been
a year before. Although he assured her that everything was
126 Westminster Choir School, Princeton, Curriculum bulletin, 1933-

U7 Westminster Choir School, Talbott Festival concert program, 6-8 June

1935.
128 Ibid.
97
operating satisfactorily, the "general conflagration of activities" and
other things about which Martin found it necessary to think were all-
consuming, and rendered time for little else except school and its
problems. In the letter, Martin broke his usual character of reserve,
and did not encrust his relational feelings with a humorous layer, as
he often did. He noted the "prevalent habit" of his entire family to
hide, rather than express, feelings of gratitude and those of similar
ilk. In that respect, Martin found the contrast at the Choir School to
be so great that he was compelled to convey with certainty the depth
of his appreciation for all that his aunt had done and was doing for
him—just in case his gratitude had not been evident from his words
or actions. He reiterated, "The sum and substance of conditions here
is so inclusive and exacting that it just doesn't leave much space for
[writing home] more often."129
During the spring semester of 1936, Martin, while outlining to
his aunt yet another impending monetary crisis, wrote that "though
of course I would like clothes, it would be much more important to
pay off my existing debts and if possible get music and so forth
129 Warren Martin to Elinor Martin, 24 October 1935.

98
which I have been doing without."130 He indicated that Roy Harris
had taken him and another pupil to Philadelphia to hear a rehearsal
of the Philadelphia Orchestra, which he found "quite fascinating." He
also noted having recently performed "a feat afoot" by walking, with
his roommate, the eleven miles from Princeton to Trenton. He
requested, "Be sure to tell Grandma that I walked to Trenton and
was not tired out."131
Martin presented his senior organ recital on 23 April 1936.
The program follows:
I
Louis Vieme Finale from the First Symphony
Cesar Franck Cantabile
R. Vaughan Williams Two Preludes
(founded on Welsh hymn tunes)
Hyfrydol
Rhosymedre
II
G. F. Handel Allegro from the Tenth Concerto
(cadenzas by Alex. Guilmant)
130 Warren Martin, Princeton, to Elinor Martin, Galeton, PA, 4 April

131 Ibid.
99
G. Frescobaldi Three service pieces

Toccata Avanti la Messa Delli Apostoli
Kyrie ultimo
Toccata Avanti la Messa Della Madonna
J. S. Bach Prelude and Fugue in G minor132
Martin later reported to his father that his organ recital went
very well, and that everyone seemed quite pleased with the
outcome. He went on to outline performance plans for the coming
fall, his first year as a graduate student. The list included an organ
recital, played from memory, and a voice recital. He also planned to
"give a rather pretentious composition recital."133
Within that eight-page letter—uncommonly long, even for the
lengthy, description-oriented writing style of the young Martin—he
included an unusually revealing insight into his attitudes toward
some of the women for whom he experienced rhapsodic feelings. (In
the extant letters available to this author composed by Warren
Martin over a period of more than fifty years, only four contain
132 Warren Martin, Senior organ recital program, Westminster Choir

School, 23 April 1936, in possession of author, Phoenix, AZ. This recital
program lists composers' names first and selection titles second. Other
programs of the period in this writer's possession list the title first, followed
by the composer's name. It is unknown whether Martin specified this
arrangem ent.
133 Warren Martin, Princeton, to "Mein Vater" [Kent Martin], Galeton,

PA, 8 May 1936, in possession of author, Phoenix, AZ.
100
references to this subject.) It is interesting to note that this letter—
with the personal, relational details that undoubtably were awkward
for the shy student to express—was addressed to his father, rather
than to the female members of his family or to the family in general:
Iva [Stewart] and I really broke up a few weeks ago, but decided
that it would be silly to go around avoiding each other. The
breaking part was on my side; and I have come to realize to my
sorrow that I am young and changeable and am not ready yet to
care for anyone lastingly. As it is now there is Grace, who still
seems to care for me very deeply and constantly, even though she
is trying to be just friendly; and there is Iva, who, though I have
tried not to believe it for fear of conceit on my part, really loves
me and is most unhappy because I don’t return it. I think Grace is
getting along all right, but Iva, partly on account of this and partly
on account of her general not-too-good resistance and her
overwork and another case of poison ivy which affects her health,
is really in quite a bad way, and even in the greatest kindness I
can do nothing about it without pretending something which is not
so. So that is that.134
Martin introduced other personalities into the picture. He described
Frances Jillson:
She is 19, birthday 3 days ago, medium height for a girl, dark hair
and brown eyes, attractive both in personality and looks, a 2nd
soprano in Westminster Choir, a Sophomore this year, comes from
Connecticut, and is in reality younger than she looks. A fine girl
from most standpoints, as everyone who knows her will agree. I
am not in love with her, but could easily come to be. She likes me,
but does not seem particularly thrilled about seeing me or
134 Ibid.
101
particularly put out about not seeing me at all. This situation

would be very natural for a person my age except that Iva is here
and Grace writes to me. I like them both, and I don't understand
the whole thing, but I don't think I am in love with anybody at
present. And that again is th a t. . . 135
There were still others:
Two other girls. Martha Enck, a Freshman, and Millie Morris, a

Freshman. Martha abounds in that sort of good will and
pleasantness that makes everybody like one. I like her in about
the same way as Jillson but not as much. With Millie it was a case
of infatuation, pure and simple. I spent one wakeful night, and
ate almost nothing for three meals. I did no work, but just went
around in a trance. Please don't think I am exaggerating to
impress you, because I'm not. One element that settled that very
quickly is that she wouldn't look twice at me or at anyone so
simple and unsophisticated as I . . . And so much for these.136
There is no further mention of the above women, or of Martin's
relationships with any of them.
On Thursday, 4 June 1936, Warren Martin and twenty-four
other individuals received undergraduate degrees from the
Westminster Choir School. The commencement address was given by
Dr. John Erskine, and anthems included were "Salvation Is Created"
133 Ibid.
136 Ibid.
102
(Tschesnokoff), "Lost in the Night" (F. Christiansen), and "Benediction”
(Lutkin).137
After graduation, Martin's church job kept him in the Princeton
area longer than usual, and he expressed sincere regret at missing,
for the first time ever, the 4 July holiday with his family. He
promised to visit home at a later date:
I hope my brothers will be in the mood for some sort of goings on,
whether it be hiking, camping, hunting wild boars, or what. I am
also seriously contemplating writing a not too serious comedy (as
before connived) with a special view to suit the talents of my
respected and versatile family, and also with a view to possible
production at some admiring and festive occasion.138
Martin's critique of a film, The Passing o f the Third Floor Back,
suggested a growing chasm between his cinematic taste and that of
the Galeton community at large. He confessed to not having read the
play from which the film was made, but admitted to having been
impressed greatly by the movie. He suggested that the movie would
"mean a lot" to his family—not as entertainment, but for the good that
he believed they would derive from seeing it. He wrote, "If it comes
137 Westminster Choir School, Princeton, Commencement program, 4

June 1936, in possession of author, Phoenix, AZ.
138 Warren Martin, Princeton, to "Omnes," Galeton, PA, 25 June 1934, in

103
to Galeton you certainly must see it, though I am rather afraid it
won't come to Galeton because it is too high class and it is a British
production."139
Although it was clear that Martin's immediate future revolved
around returning to Westminster as a graduate student at the end of
the summer at the still young age of nineteen, neither his letters nor
other docum ented conversations yet revealed any specific plans for
life beyond th at time. However, perhaps only in jest, he proffered a
whim that foreshadowed his eventual appointment to Westminster's
faculty:
Remind me to remember to show you a farm that I saw on my

peregrinations and which I liked so much that I would like to
have David or Paul own it in the future and have me live on it and
drive in to town when I teach in the choir school.140
Warren Martin's first semester as a graduate student at
Westminster Choir School brought a pleasant surprise: he found
himself singing once again in the Westminster Choir. While
describing the situation as "quite unexpected," and predicting that
participation in the group would be one of the chief joys of his year—
139 Ibid.
140 Ibid.
i
104
as well as one of the time-consuming portions of his schedule—he
reported preparations for a short tour of New England before
Christmas. His schedule included lessons in voice, organ, piano, and
composition, as well as intensive courses in history of music, history
of the organ, improvisation, and advanced German. He noted that
"graduate students have few courses, but they are not easy ones . . .
[T]he main bugaboo, however—Composition—has not yet
commenced."141
As revealed in prior situations, Martin at times found it
difficult to sustain his excitement, even about activities from which
he derived clear benefits. For example, he wrote of the Westminster
Choir tour:
The hotels were all good, and we were given money enough so
that we could get a variety of good food. The thrill of being in the
choir again has worn off, but I get a great deal of benefit and solid
satisfaction from it.142
In addition to his graduate course work, Martin taught two
piano students. He was delighted that they both were advancing—
141 Warren Martin, Princeton, to "Family," Galeton, PA, 11 October 1936,

142 Warren Martin to "Omnes," 21 November 1936.

105
especially the thirteen-year-old girl, whom he found to be very
intelligent. He was happy to convey that "she comes to her lesson
with her exercises, etc., memorized, and even appears to like to play
scales."143
During Thanksgiving break, the majority of students remaining
at school decided to go into New York for the day. Martin, however,
reported that "four of us are going to spend the afternoon playing
piano in Mrs. [Johana] Harris' studio. She has two fine grand
pianos."144 He thoroughly enjoyed getting together with a small
group of colleagues to learn new literature. John Burke was one of
Martin's close friends, and one who frequently enjoyed Martin's
coaching and musical guidance:
He heard me play at that Freshman Recital and—all of a sudden—

he wanted to teach me this, wanted to teach me that—wanted me
to broaden my horizon. . . I, like him, had come from the sticks,
without any of these sorts of things and I guess he saw a lot of me
in him, with my [similar] background. So he would get these
scores and sit me down and make me go through them and we
would play. He would say, "You play the trum pet and something
else and I'll play the other part." Those first two years, he was
going to bring me up to snuff so that I was not going to be
143 Ibid.
144 Warren Martin, Princeton, to Paul Martin, Galeton, PA, 25 Nov ember
1936, in possession of author, Phoenix, AZ. Johana Harris, wife of Roy Hanis,
taught piano at the Choir School during the late 1930s.
106
em barrassed in front of anybody else in that school. And when I

look back, I think, "Why did he do this?" But he just did.145
Martin was just as interested in books. In one of his very first
letters to his family written while he was a fifteen-year-old college
freshman, he described going to the Princeton Seminary library and
"skimming through, with the help of a Latin dictionary, a criticism of
Cicero's orations against Catiline."146 Burke described Martin's love of
studying books and scores:
He was voracious. We had the advantage of having anything that

we wanted out of the Princeton University Library. And he was
interested in lots more than music. He was very interested in
theater and he loved plays and movies and so forth. And he loved
literature, so we used to go together once a week and come back
with arms full of books and music manuscripts and things to read.
And I think he spent an awful lot of time pouring over scores—just
learning—because he was so fascinated, so interested in
everything musical and here was a great library where you could
take out as many books as you could carry with you . . . He was
just always involved in music. I mean, he lived it, breathed it, ate
it up—half the night. I don't think he ever went to sleep but a
couple of hours. He was at this all the time.147
In order to have a venue for hearing his compositions
performed, Martin set out to write a Christmas cantata for the choir
146 Warren Martin to J. Kent Martin, 18 October 1932.

107
at his church in Trenton.148 The work was scored for SATB soli,
chorus, and organ, and was entitled The Wondrous Gift; it premiered
at the First Presbyterian Church in Trenton on 13 December 1936.149
Martin's taste in music and in the dignity of worship continued
to mature. His professional indignation was evident in his recounting
of an incident involving the Westminster Choir. The ensemble was
engaged to sing at the opening of the National Preaching mission in
nearby Philadelphia, and those who had the responsibility for
planning the worship event dispensed with the services of the well-
trained organist in favor of a squad of trumpets and harps and two
jazz pianists who were to accompany the congregational hymn
singing. In his derision, Martin wrote, "The idea is that if the people
can be stimulated and pepped up they'll be all ready to get religion.
Phooey!"150
148 Warren Martin, Princeton, to "Omnes," Galeton, PA, 21 November

149 First Presbyterian Church, Service bulletin, Trenton, NJ, 13

December 1936, in possession of author, Phoenix, AZ.
iso Warren Martin to Paul Martin, 25 November 1936.

108
The fall of 1936 brought another job possibility for Martin.
His description of the situation serves as a window into the financial
climate in which church musicians operated at that time:
I may get a job at New Haven, Conn. as organist director. If the

thing goes thru then I will leave Trenton at Christmas and start in
up there the 1st of January. The pay would be $75 a month.
Expenses, however, would be almost $10 a week, which doesn't
leave so much. The idea would be that I would go there
weekends until June and then take it on full time, with a few
weeks vacation in the summer, and be there at $1500 a year in
1937-38, with a promise of $2000 the next year if I make good.
When the minister and head of the music committee were down
here I played for them and talked to them, and didn't make too
good an impression (I was frightened). They went up to hear the
[Westminster Choir], and Dr. W[illiamson] had me conduct one
number, which was agony and fun at the same time. I will have
to go up to New Haven (that's where Yale is, in case you don't
know) sometime next week, to meet the music committee,
perhaps to conduct a sample rehearsal, and even perhaps to sing.
It's a big order, and I'm not too positive that I can make good at it,
but I can if I have enough "guts."151
Martin must have made the right impression on the committee. His
first Sunday as Minister of Music at Plymouth Congregational Church
at New Haven was 3 January 1937, A bulletin announcement
welcoming Martin onto the staff at Plymouth Church also noted the
following:
151 Warren Martin to "Omnes," 21 November 1936.

109
Next Sunday morning John Finley Williamson, President of the

Westminster Choir School and noted church leader, will preach on
"Youth and the Worship of the Church," and will set forth the
ideals and plans of the Westminster Choir School for the local
church.152
Williamson must have been quite pleased to support Martin in his
new position. Having a Westminster student in charge of the music
program at a prestigious church in the Yale University-dominated
community of New Haven gave the Choir School the kind of
"recognition boost" that Williamson was seeking.
The music that Martin selected for use in his new position was
varied. Composers of organ works were J. S. Bach, Beethoven, Boely,
Brahms, Franck, Gounod, Guilmant, Handel, W. M. Martin, Mascagni,
Mendelssohn, Purcell, Schubert, Schumann, Sowerby, Vaughan
Williams, Vieme, and Widor. Anthem and vocal solo selections
included works by Andrews, Atkinson, Attwood, J. S. Bach,
Beethoven, DeKoven, Dickinson, Faure, Franck, Gounod, Handel,
Himmel, Kremser, Lotti, Lvoff, Neidlinger, Noble, Purcell, Roberts,
Rouen, Sankey, Martin Shaw, Vaughan Williams, Voris, and S. S.
152 Plymouth Congregational Church, Service bulletin, New Haven, CT, 3

110
Wesley. Bulletins also reveal an occasional use of "Ancient
Plainsong."153
There is evidence that Martin found the demands of the
Plymouth Church position somewhat overwhelming, and his tenure
there was short-lived. A bulletin announcement on 30 May follows:
We are very sorry to announce that due to the fact that Mr.
Martin, our Minister of Music, plans to take another year of study
at the Westminster Choir School, he finds it necessary to terminate
his services with us. Therefore, next Sunday [6 June 1937] marks
the closing service for him at Plymouth Church . . . Our best wishes
go with Mr. Martin as he continues his musical career.154
The decision to terminate must have been Martin's. In a non-related
descriptor of the success of two of his friends, he described them as
both youthful and lacking in experience, but possessing "as many
brains and more confidence than I had, and I didn't get kicked out of
New Haven."155 To his aunt, Martin later confessed that his New
Haven experience, valuable as it had been, also made him realize that
he could accomplish nothing while wedged in a position that caused
153 Plymouth Congregational Church, Miscellaneous bulletins, January

1937-May 1937, New Haven, CT, in possession of author, Phoenix, AZ.
154 Plymouth Congregational Church, Service bulletin, New Haven, CT,

30 May 1937, in possession of author, Phoenix, AZ.
155 Warren Martin, Morrisville, NJ, to "Omnes," Galeton, PA, 10 October

I ll
him to worry day and night. He reported that "this year has been
pleasant and I have recaptured enthusiasm that was more or less
shattered last year."156
As high as Martin's musical expectations were for himself and
for those around him, he had a deep sense of responsibility to
family—and to those with some family connection to his—that
overrode his usual inclination to disregard any consideration but that
of supreme musical and intellectual achievement. James Waters
rem em bered that Martin gave particular attention to a cousin who
attended Westminster, and to the younger sibling of another
student.157 On one occasion, Martin expressed utter disbelief about
the family values of a m arried couple whom J. F. Williamson had
asked to accompany the Westminster Choir on an extended tour:
Well, she had just had a baby. The baby was davs old and she left
the baby and went on the tour. All I could say was, that in my
family upbringing, you don't leave an infant to go on a t o u r .158
156 Warren Martin, Morrisville, NJ, to "Old Hag" Elinor [Martin], Galeton,
PA, 2 March 1938, in possession of author, Phoenix, AZ.
157 James Waters, interview, 27 February 1997.

112
Martin also had a difficult time understanding what appeared to him
to be a lack of interest by other f: jnily members in his work. He
personalized an incident involving his father's cousin, Charles Martin,
who visited the younger Martin occasionally in Princeton:
They make me angreee! Here's how—they had already planned to

start for New York at 5:00, and they couldn't stay over one hour to
hear the vesper service with Westminster Choir, the President of
Princeton University, and their own relative at the organ. It
seems they have bought a Pekingese [sic] puppy and Mabel said
they must get it back to New York and Cousin Charles didn't want
to get back late. It was nice to see them . . . [ , ] but I certainly
don't understand their sense of values.159
For Martin, the notion of missing an opportunity to attend a good
performance or a beautifully crafted service was inconceivable.
Martin was passionate about writing music as well. John Burke
recalled that Martin composed incessantly; he envied Martin's ability
to write quickly and yet to produce manuscripts that were
impeccably neat. He said, "Roy Harris, who considered [Martin] his
top p u p il...[ ,] thought that he had the most possibility of any of the
students."160
159 Warren Martin to "Omnes," 10 October 1937.

113
Martin also relayed various details about his school life. He
described his two-hour organ history class with Carl Weinrich, and
his private composition study with Roy Harris in which he was
challenged to "try big things" such as an a cappella mass and a
concerto for piano and organ—both of which possibly would be
perform ed near the end of the school year. Martin then expressed
disappointment in a recent venture, w riting," ... a busload from
W estminster] C[hoir] S[chool] went in to New York to hear an
orchestral concert of some of Roy Harris' music, by the W.P.A.
orchestra. I enjoyed it, but the orchestra was not all that could be
desired."161
One month later, Martin reiterated his ardor for concentrating
specifically on his composition studies, noting excitedly that his two
main works—a mass for voices and a piano and organ concerto—might
be performed "at a W. P. A. concert in New York in the spring." He
also mentioned that he was no longer taking the history of organ
class with Weinrich. That deletion from his course work had a
dramatic effect. Martin wrote: "This means that I will not get my

114
Master's degree."162 Some months later, Martin explained his
decision to forfeit the degree:
It might have been possible to take [the history of organ] class

again if I had agreed to write out in full all the past assignments
and at the same time continue with the rest of the class in their
work. To do this would have meant that there absolutely would
not have been time to do my composition and have any sort of
recreation. So, I will not get my degree unless something turns
up. The fact remains, however, that I stayed in school this year
primarily for composition, and that I probably would not have
done so had it not been for composition. I hope that you will
believe that I have done what I am sure is best, and that I have
carefully compared the two courses of getting the degree without
the stuff I want, and getting the stuff without the degree. I have
also told you, I think, that the Choir School Master's degree does
not really mean a great deal, not nearly so much as yours, for
instance, both because it is in music and because the Choir School
is young and not generally recognized as a superlative
institution.1^
Martin's comment notwithstanding, the faculty members whom
J. F. Williamson had assembled to teach in his graduate program
clearly had high standing within the larger musical community. Roy
Harris, Paul Boepple, and Carl Weinrich all had achieved international
reputations, and their association with the Choir School certainly
added to the new institution's credibility. On the other hand,
162 Warren Martin, Trenton, to "Omnes," Galeton, PA, 15 November 1937,

163 Warren Martin to "Old Hag Elinor'1 [Martin], 2 March 1938.

115
Westminster had been offering its Master of Music degree for less
than three years at that point, and some of the academic elements
inherent in its course work were still evolving.164 Whether Martin
held a clear and accurate picture of the school and its place alongside
other, more established institutions is an issue rife for debate by
others; however, he was deliberate in determining those elements
within the program that were most important to him. Martin and his
classmate, John Burke, had many conversations about the superior
and inadequate qualities of the Choir School. Burke always found
Martin somewhat critical of the Choir School, and he attributed the
criticisms to Martin's superb musicianship as contrasted with John
Finley Williamson's lack thereof. Martin believed that the core idea
of quality church music and of service to others was admirable and
appropriate, but respectable musicianship was required to
substantiate the first two. Burke and Martin agreed that, at the time,
other musicians "looked down on Westminster graduates as not
164 Westminster's Master o f Music degree was a two-year program that

included majors in organ, musicology, and composition. It was instituted in
1934.
116
having the kind of academic background that they’d need to have in
order to get through a music university."165
Martin clearly recognized the superior qualities of some of the
faculty and their teaching styles, but he did not hold all of the
professors in the same high regard. Although he had witnessed the
charismatic genius of John Finley Williamson and his intrinsic ability
for creating a certain choral tone, Martin did not hold the same
adm iration for Williamson's musical skills:
When I first came here as a student, he had various faculty

members play over things for him, or they would teach notes, and
he'd hear them teaching notes and absorb i t . . . And you could
find plenty of Westminster Choir members who will tell you he
might conduct a four/four piece in three all the way through . . .
His pattern meant nothing. He would j u s t . . . follow the organ,
wait for a climax or something, and would start them [the
choir].166
Elaine Brown agreed that Williamson "wasn't very sharp musically."
She adm ired many of his other traits, however. She recognized him
as a colorful individual and constant dreamer. In her opinion,
166 Warren Martin, interview, 8 January 1974.

117
Williamson's most outstanding trait—and the one most useful in his
profession—was that "he was a bom salesman."167
Clearly, Martin would have preferred receiving the graduate
degree. Nevertheless, he was more interested in acquiring
knowledge than obtaining a degree.
In March of 1938, Martin revealed his plan to serve as organist
for "The Lost Colony," the well-known play-pageant at Manteo,
Roanoke Island, North Carolina, an event in which many Westminster
Choir members participated during the summer months. At J. F.
Williamson's behest, he had also accepted responsibility for drilling
the notes from the following year's choir tour music. The summer
activity appealed to Martin, who predicted, "That will be fun . . . I
will get $40 a week plus (I think) expenses."168
Two months later, there was a sudden change of plans. Martin
apprised his family that he would leave for Los Angeles, California
immediately after school closed and his Trenton church position
responsibilities were completed. On 1 June 1938, he would assume
168 Warren Martin, Morrisville, NJ, to "Paterfamilias" [J. K. Martin],

Galeton, PA, 2 March 1938, in possession of author, Phoenix, AZ.
118
the position as head organist at Los Angeles' First Congregational
Church, which he described as one of the largest in the country:
I am to be first organist—the understanding is that I come for

June, July and August and perhaps stay on permanently if they
think I'm good enough. I'm not building up any false hopes
because the position is such a big one and the organist before me
has more or less of a national reputation. I will get $125 a month,
with $75 paid toward the expense of my trip out if I stay on
during the winter (a strange provision, but not an unusual one, I
find) . . .
Well, this year has, for the most part, been a very pleasant one,
though not as momentous as some. I’m a bit appalled by the
prospect of this summer, but I look at it this way: If I stay, that
proves I'm good, and I don't m ind staying then—If I d on't stay, I
can come back east where I know people, and start over again.169
Martin also referred to the issue of the master's degree,
indicating that there was a slight possibility that the school would be
generous and give him the degree anyway. He noted that "Mr.
Krimmel hinted about it, but I'm not raising my hopes too high."170
John Burke offered an insight into the apparent discussions by J. F.
Williamson and other school officials about the matter. Martin
embodied the genius whom Williamson hoped would bring great
169 Warren Martin, Princeton, to "Omnes," Galeton, PA, 14 May 1938, in

170 Ibid.
119
glory to Westminster; consequently, Williamson "tooted his horn all
the time in school to everybody about Warren. He was always
saying, T his is the greatest genius we have here .. ."'171 Williamson
was still cultivating the Choir School's reputation, and Martin's
prestigious position at Los Angeles' Congregational Church would add
to that credibility. Martin's advanced degree would also provide
additional West Coast publicity for the Choir School's graduate
program. So, despite his not having completed all required master's
courses as listed in the catalog, Martin was awarded his diploma on
26 May 1938.*72
Warren Martin's six student years (1932-1938) at Westminster
Choir School were immensely important ones for the institution as
well as for its students. The 1934 European tour, radio broadcasts,
Princeton University Chapel Vesper Services, increased opportunities
to collaborate with New York and Philadelphia symphonic ensembles,
and the faculty additions such as internationally known organist Carl
Weinrich, musicologist Paul Boepple, and composer Roy Harris were
172 Warren Martin, Westminster Choir School "Master of Music" diploma,

Princeton, 26 May 1938, in possession of author, Phoenix, AZ.
120
all events that brought positive attention to the new school. For a
gifted student like Martin, exposure to all that the Choir School had
to offer—coupled with his strong self-discipline and voracious
tendencies toward learning on his own—should have equipped him
amply to leave the familiarity of the New York/Philadelphia area
with confidence and artistic conviction as he aspired to great musical
heights on the evolving West Coast.

CHAPTER IV
CALIFORNIA
The church at which Warren Martin became the organist in
1938 was indeed a large one. Bulletins from the period document a
varied program teeming with religious, educational, enrichment,
civic, an d purely social offerings that drew individuals and families
from all parts of the city.1 This pattern of growth continued during
Martin's early tenure as organist, and by 1943, the Los Angeles
Times described the First Congregational Church of Los Angeles as
follows:
The church has a membership of 4000. Eight church services are

held each Sunday, plus 16 weekly services, daily communion
matins, the weekly Sunday Evening Club Open Forum and a
College of Life educational program . . . The program includes
three churches for young persons, a church school with a
registration of over a thousand, five vested choirs, week-day and
Sunday nursery schools, a drama workshop, clubs for boys and
girls, a women's association of 700 members and a men's club.2
1 First Congregational Church, Assorted service bulletins, Los Angeles,

CA, 1938-1948, in possession of author, Phoenix, AZ.
2 Los Angeles Times, 13 July 1943.

122
In becoming the largest Congregational Church in the United States,
Martin's new church had mirrored the immense growth of the city of
Los Angeles:
The First Congregational Church has been closely identified with

the history of Los Angeles and its growth has matched the growth
of the city from a pueblo town to a m odem metropolis.3
The immense music program at First Congregational had been
organized by John Smallman, who had created "the most
unbelievable program on the West Coast."4 John Burke, one of the
organists there from 1941-1946, described Smallman as an English
choirboy who had immigrated to Boston. As he matured, he became
a talented baritone singer, and sang in the choir at Trinity Church.
After World War I, he migrated to California in hopes of finding
singing possibilities in the motion picture industry. When that
attem pt failed, Smallman became choirmaster at the First
Congregational Church of Los Angeles. From that influential post, he
founded the Los Angeles Oratorio Society and the Smallman
3 Ibid.
123
A Cappella Choir, while concurrently developing an outstanding
choral program at the church. Burke continued:
The Smallman A Cappella Choir was so good that it rivaled the

Westminster Choir and the St. Olaf Choir. And he toured with it
around the United States . . . He was a marvelous musician and he
founded the first Bach Festival west of the Mississippi River at the
First Congregational Church in Los Angeles . . . He brought it to
immense heights because he was a person who was absolutely
and completely devoted to choral music, and he did the first
performance in Los Angeles of numerous big works that no one in
the west coast had ever even heard before. The first
performances of the Bach B-minor Mass and the St. Matthew
Passion ever done in Los Angeles were done by John Smallman
and the choir of the First Congregational Church. . . So, he started
all this and he had the church job, he had the Oratorio Society, he
later founded the Smallman A Cappella Choir—but he also was the
most famous voice teacher in southern California. Everybody
wanted to study voice with him. He had an enormous studio in
what was called the Beaux Arts Building, in Los Angeles, and he
taught morning, noon, and night. In those early days, his voice
students, who became his choir members . . . became the
outstanding choral conductors in California—Howard Swann,
Charles, Hirt—you go down the list. . . He lived for his music. He
lived for it to the extent that he spent his own money to hire the
Los Angeles Philharmonic Orchestra to do all of these big works.
So, this Bach Festival started out with all of the major choral
works being accompanied by the Los Angeles Philharmonic
Orchestra.5
In December of 1937, John Smallman suffered a heart attack
and died on the podium in the midst of a performance of Handel's
5 Ibid.
124
Messiah. The senior minister of First Congregational Church, Dr.
James W. Fifield, Jr., appointed Arthur Leslie Jacobs to the post.
However, the hiring procedure angered the choir because Fifield
conducted the search and made the hiring decision alone, without
appointing a music committee. Had a music committee made the
selection, a local individual—perhaps a Smallman student like Charles
Hirt or Howard Swann—would have been the choice.6
Arthur Leslie Jacobs had been the director of music at Wesley
Methodist Church in Worcester, Massachusetts for twelve years at
the time of his hiring at First Congregational Church.7 He had been a
summer student of John Finley Williamson, and held an earned
Fellowship (1937) from Westminster Choir School.8 Although it
would have been difficult for any conductor to follow the well-loved
and facile Smallman, Jacobs faced an enormous challenge because
some of the church choir's best musicians considered him musically
6 Ibid.
7 "Alumni Notes," Processional 9, no. 2 (January 1947): 7.
8 Schisler, "A History," 464. The "Fellow of Westminster" program was
begun in 1937. It was devised by John Finley Williamson to give recognition to
choral and church musicians who had adopted the ideals and goals of
Westminster Choir School through attendance at summer school classes and
private study with Williamson and other Westminster faculty members.
125
inferior. Burke explained that, shortly after Jacobs's arrival, "They
just all left. They said, 'This man just doesn't know what he is doing.
He reads 4 /4 time in 3 /4 time."'9 To his credit, Jacobs realized that
to be successful he would need an accompanist of stellar ability to
assist him, and to provide the musical qualities that he himself
lacked. Burke recalled:
He had told Warren, when he interviewed Warren for the job,

"Now you've got to realize that I am not really a great musician
and I have to depend on whomever my organist is to be willing to
carry me through. I've got to have somebody who really will be
my musical undergirding."10
Despite his deficiencies as a conductor, Burke described Jacobs
as a "marvelous administrator . . . He was wonderful at knowing how
to promote anything."11 Thus, Warren Martin, a twenty-one-year-old
with a master's degree from Westminster Choir School, was thrust
into this interesting and potentially volatile environment.
Martin's first Sunday in the new position was 5 June 1938.12
9 John Burke, interview, 24 January' 1997.

10 Ibid.
11 Ibid.
12 First Congregational Church, Service bulletin, Los Angeles, CA, 5 June
126
He was quickly accepted into the musical circle of First
Congregational, and his abilities were appreciated. Shortly after
Martin's arrival, Jacobs wrote the following:
In the short time that Mr. Martin has been with First Church, he
has won a host of friends and admirers in and out of the choirs by
the brilliance of his playing, the musical interest of his
improvisations, and the cleverness of his modulations. He has the
"feel" for the music in worship services which makes the organ
speak a beautiful language of its own. In addition to his musical
abilities Mr. Martin is liked for his winning personality. The choir
people during the short month of June already learned to consider
him one of the group, ready to do more than his share to make
our music continually and growingly effective.13
Martin enjoyed his new environment. He wrote to his brother
about the novelty of plucking and eating an orange from a tree in his
backyard, of becoming acquainted with rheostats on the church lights
for altering the mood in the worship space, and of eating at a "'drive-
in'—a place where you just drive your car up and the waitress comes
and serves you there."14
Because his permanence in the church position was contingent
on making a favorable impression during the summer months,
13 First Congregational Church, Service bulletin, Los Angeles, CA, 31

July 1938, in possession of author, Phoenix, AZ.
14 Warren Martin, Los Angeles, to Paul Martin, Galeton, PA, [no day]
127
Martin was pleased and encouraged when Fifield called him into the
pastor's study to tell him that "he decided to pay $75 toward my trip
out (only a little over $80) right now, without waiting to see whether
I stay during the winter."15 His optimism was warranted, because
shortly thereafter, Martin gleefully wrote his parents "just a word to
tell you that I am to be here this winter. I miss having people I
know here to gloat over it with me."16
A church bulletin published in June included an official
"greeting" from Martin. His philosophies about music and its purpose
in worship are evident in it:
When the possibility of coming to California and to this church

first presented itself to me, I knew of the church as a large one, an
active one, as one with an extensive and highly organized program
of activities. I was totally unprepared, however, for the wide
awake, sincere, vital organization that I found when I came—the
spirit of enthusiasm of friendliness, of cooperation, that seems to
be everywhere—and I became immediately enthusiastic myself
over the opportunities here at hand for work toward a common
Christian goal, and desirous of doing my part in whatever way I
could.
The idea that music fulfills its highest office in serving the
church has always been particularly acceptable to me. And this
idea naturally brings with it the conviction that those who carry
15 Warren Martin, Los Angeles, to "Omnes," Galeton, PA, [no day] June
16 Warren Martin, Los Angeles, to "Omnes," Galeton, PA, 2 July 1938, in
128
out the musical program of the church should think not of music
for itself only, but of the ways in which it may be made valuable
to those who listen to it and participate in it—that music should
become an integral part of the service of worship, instead of an
adjunct for the purpose of entertainment.
It seems to me that there are many ways in which the organist
can do his p art toward the attainm ent of this goal. He can strive
to play music that contributes to an atmosphere of worship as
well as conforms to high standards of musical content and quality.
He can help to make the hymns vital and meaningful songs of
praise and contemplation instead of routine repetitions. He can
try to bind the service together with his interludes and
modulations and accompaniments, and play them in such a way
that the listener is not distracted or jolted, but drawn to the
im portant thing which is to come. In these and in other ways he
can do everything in his power to make the service one of real
worship, of real sincerity, and of real value.
In the hope that I may in some degree accomplish this aim, and
so serve this church and its people insofar as I am able, I look
forward to my work here in the weeks and months to come.17
One of Martin's immediate responsibilities involved the
performance of a weekly organ recital for radio broadcast from the
church. One incident demonstrated his facility during a performance
crisis:
Five minutes before my radio recital this morning, the mike (sic)
they were going to use wasn't working and we didn't know if we
would even be on the air. But they used the little stationary mike
on the pulpit and I played everything twice as loud as I had
intended, and Mr. Jacobs, who was listening out in his car to the
17 Service bulletin, 31 July 1938.

129
radio there, said it came over quite well. Nerve wracking, but
fun.18
In addition to his own radio performances, Martin had the
general responsibility for arranging music for all the church music
departm ent's broadcasts. Jacobs wrote that "Mr. Martin, chief
organist, plays for the major services, and arranges music for all the
radio broadcasts, of which there are eight fifteen-minute programs
each week."19
Bulletins and concert programs show that Martin embarked on
a monthly "Vesper Service" recital series. During the 1938-1939
season, he included works by an eclectic cadre of composers, whose
names appeared as follows: Cesar Franck, Richard Wagner (Martin's
transcription), Louis Vieme, Samuel Scheidt, Henry Purcell, Johann
Krebs, Thomas Adams, Johannes Brahms, Georges Bizet, J. G. Topfer, J.
S. Bach, W. A Mozart, Edward Shippen Barnes, James T. Rogers,
Roland Diggle, Frank Colby, Joseph Clokey, Philip James, Cochrane
Penick, Leo Sowerby, G. F. Handel, Sigffied Karg-Elert, and Franz
18 Warren Martin to "Omnes," [no day] June 1938.

19 A. L. Jacobs, "Background Church Program," Processional 3, no. 2 (1
January 1941): 6.
130
Lizst. The 11 December 1938 recital included Martin's five-
movement Sonata for Organ, and the Palm Sunday program on 2
April 1939 was comprised of Marcel Dupre's fourteen-section work,
The Stations o f the Cross.20
Martin was now clearly in a position to promote his own
artistic abilities, and he recognized that potential. He wrote:
I may have a chance to play for one of the monthly meetings of

the American Guild of Organists, and if I do, and play well, I will
be well started toward a local reputation, and may make contacts
which will lead to future things.21
Performances outside of his vesper recital responsibilities during the
1938-1939 season included a solo appearance at the University of
Redlands and inclusion on an American Guild of Organists program at
Saint Paul's Cathedral in Los Angeles.22
Soon after his arrival, Martin found himself in a quandary:
The Jacobs are considering taking another larger house, closer to

the church, about July. If they do, they would like me to come
and live with them, paying of course. Frankly, I don't want to at
20 First Congregational Church, Service bulletins, Los Angeles, CA, 9

October 1938,13 November 1938,11 December 1938, 8 January 1939, 12
February 1939, 2 April 1939, 14 May 1939, in possession of author, Phoenix, AZ.
21 Warren Martin to "Omnes," [no day] June 1938.
22 Warren Martin, Assorted concert programs, in possession of author,
Phoenix, AZ.
131
all, because it will just mean that much more time that I’ll have to
be on my dignity, but of course I can't afford to refuse.23
There is no record indicating that Martin ultimately moved in
with the Jacobs family. He did, however, begin to develop a close
circle of friends with whom he spent considerable portions of his
time. He asked his family to "imprint upon [their] minds" the name
of Barbara Caler, describing her as a soprano in the Cathedral Choir,
and one of "that group of people who were closest to the center" of
whatever activity involved them. Martin noted that Caler owned a
car, and that the two of them had gone out a number of times since
his arrival. He reported that he and others often played bridge in
the evenings, and that—with the systematic help of his new friends—
he was beginning to become quite fluent in the game. There were
many get-togethers:
Several times Barbara has invited various groups to her house to

eat and play games—sometimes young people from the choir,
sometimes the Jacobs and Miss Haynes and Miss Brockett, etc.
Mrs. Caler [Barbara's mother, Stella Caler] and Barbara are both
excellent cooks, so you can see we enjoy ourselves. Sometimes we
have been invited to some other young people's houses to do
about the same things. The game we have played most is a
combination of poker and michigan, and I wish I could teach it to
i ’ Warren Martin to "Omnes," [no day] June 1938.

132
you because it is fun for almost any num ber of people and can be
played for a few minutes or for an hour or so.24
Martin also found vocal opportunities for himself. He told of
singing through a large part of several Gilbert and Sullivan operas
with "Papa Brockett," the father of his music secretary. He noted that
"Miss [Olive] Brockett made an enormous salad, and her juicy running
commentary on it as she made it was better than the salad."25
In later years, Martin indicated that, during his tenure in
California, he had toured the state briefly as a singer in an
Elizabethan-clothed vocal quartet.26 There are no extant programs,
tour itineraries, or contract letters to substantiate the details of that
claim. Although it probably is not known beyond the circle cf those
who were closest to him, Martin enjoyed singing—but believed any
natural endowment that would allow him success in that medium
was lacking. Dining the mid-1940s, he wrote: "Singing will always
be what I enjoy doing more than anything else in music. But my
24 Warren Martin, Los Angeles, to "Omnes," Galeton, PA, [no day] August
1938, in possession of author, Phoenix, AZ. Stella Caler was an accomplished
singer as well. Correspondence to this writer from Barbara Caler Bird,
Mendocino, CA, dated 9 May 1997, included copies of songs written by Warren
Martin especially for the elder Mrs. Caler.
25 Ibid.
133
limitations along that line are not ones that can be overcome by hard
work or anything else, so singing will be a hobby."27
There were opportunities for Martin to mingle with larger
groups within the church as well. He mentioned "being well taken
care of' by some acquaintances "who attend dancing class at the
church with Barbara and me."28 The classes to which he made
reference were continuing education classes offered by First
Congregational Church as part of an outreach program called the
"College of life." The enrichment opportunity was described as
follows:
The College of life . . . conducts three or four terms of six weeks

each year of classes for adults. As many as thirty-five or forty
courses are offered in any one term in many phases of activity,
from ballroom dancing to Greek. Many of the courses carry
Teachers' Institute credits. The cost is reasonable. Most classes
meet at night. Enrollment last season reached the amazing total
of over 9,000.29
Alongside the plethora of fun activities, Martin's many
professional responsibilities burgeoned. The immense number of
27 Warren Martin, Lanark, IL, to "Omnes," Galeton, PA, 16 July 1944, in

28 Warren Martin, Los Angeles, to "Omnes," Galeton, PA, 2 December

29 "Alumni Notes," Processional 3, no. 2 (1 January' 1941): 6.
134
performance opportunities at hand led him to search for more organ
literature. He reported an expenditure of twenty dollars to purchase
some of the late John Smallman's music "at one-quarter price," and
declared it a true bargain—particularly since nearly all of it was
literature that he eventually would need to include in his personal
library. He wrote, "I will need to buy a lot of organ music because
the exactions here are much greater than at Trenton as regards
repertoire."30
Although inherently gifted, Martin placed great value on
advance preparation for his professional endeavors. His belief is
evident in a letter to Galeton, which concludes with "one important
word" to his younger sister, Esther. He admonished her to "be sure
you yourself are sure of whatever piece you are going to teach, and
then have the utmost patience in starting out with it."31
The Fifth Annual Los Angeles Bach Festival was held in
November of 1938. Martin was "enormously busy" throughout the
event, playing accompaniments on organ and piano, an organ solo,
30 Warren Martin to "Omnes," [no day] August 1938.

31 Ibid.
135
and even a chime obbligato. He noted that the festival was
"essentially a bigger thing than Mr. Jacobs is, but he did his absolute
best and no one was dissappointed [sic]."32 Martin expressed minor
anxiety over the next big event of the season:
The next thing on the list is the "Messiah," which is a rather

ticklish proposition because it was during it that Mr. Smallman
dropped dead. We are trying to arrange it so that the precise
moment when it happened will be over and done with as quickly
as possible. Crowds come to the "Messiah," as well as to the "B
minor Mass," so large that they overflow to the social hall and to
Shatto chapel, where the public address system (an unusually
good one, by the way) relays the music to them.33
Martin had opportunities to be musically and dramatically
creative outside of the worship setting. A "Music Ministry Dinner"
included a work by Martin entitled Little Red Riding Hood, an Opera
in 3 Acts.34 His report on the event indicated that the opera was a
"great success," and that the cast received six separate invitations to
repeat the work, but chose only the one extended by the Drama
Workshop class. Martin's impression was that the juxtaposition and
32 Warren Martin to "Omnes," 2 December 1938.

33 Ibid.
34 First Congregational Church, Los Angeles, Music Ministry Dinner
program and assorted photographs, 17 February 1939, in possession of author,
Phoenix, AZ.
136
arrangem ent of the familiar tunes was popular with the more
musical first crowd, while the clever, non-sensical nature of the lines
was m ore popular with the second crowd. He enjoyed the
opportunity to combine his musical, dramatic, and comedic flares in
his new job. He wrote, "'Red Riding Hood' is, I hope, the first of a
series of extravaganzas which will make me a good hobby in contrast
to my more serious endeavours."35 Martin's creative efforts in this
genre foreshadowed his comic oratorio Cinderella, which many
consider his best work.36
Early March of 1939 found Martin making an important
decision concerning his place of residence. For the third time since
his arrival nine months earlier, he was relocating:
I am moving in with "Olive and Frances" at their studio on 1143 S.

Western Ave. I think I have made some attem pt to describe
them. Olive Brockett is secretary to the music department. She
acts in the capacity of personal secretary to Mr. J[acobs], librarian
to all the choirs, and general handler of all the petty and not so
petty affairs of a large music dept. She is in her late 40s or early
50s, little, somewhat deaf, and fixlly as im portant to the success of
the dept, as Mr. Jacobs or me. Frances [Frances Warren Haynes] is
in h er late 30s or early 40s; her business is teaching voice, which
she does at the studio. She is large, not very attractive until you
35 Warren Martin, Los Angeles, to "Omnes," Galeton, PA, [no day] March
36 For a discussion of Cinderella, see Chapter VI.
137
know her, and has a lovely rich mezzo-soprano voice. She is the
kind of person young people like to go to for advice and at the
same time for fun and frolic. . . Olive is a superb cook—it's not
often that she gets the chance to really cook a meal, but there are
no limits to what she can do when she has the time . . . Frances
has a 1928 (well, maybe not as old as that) Reo, which is quite
unsightly but runs very well with her careful driving (Olive
doesn't drive). Both of them were very close to Mr. Smallman,
Olive being his secretary and Frances his assistant voice teacher,
but both of them have done everything in their power to make
the new regime a good one. I will pay only $25 a month (!) for
my room and breakfasts, which, added to the facilities of a not-at-
all bad grand piano and all the good times with people I know,
make the change a pleasant one, though I am leaving a place
where I got the best of treatment and knew some interesting
people.37
It is clear that Martin thought a great deal of Olive Brockett
and Frances Haynes. At one point, he told John Burke that the
women were "two of the most fabulous people in the world," and that
they had done more than anyone to steer his early career and assist
him in learning what to do in matters related to his public image.
Burke knew that one reason Martin loved living with the two ladies
was "because Olive was such an absolutely marvelous gourmet and
he would write letters to me describing all the food."38 Lois Laverty
also recounted Martin's recollection that the women "sort of became
37 Warren Martin to "Omnes," [no day] March 1939.

138
two m others to him," and that he had a most wonderful time living in
their house. They were fun-loving people, and helped Martin learn
how to have fun as well. Because the Cathedral Choir at the First
Congregation Church was a highly social group, there were many
parties to attend, and the influence of Brockett and Haynes on
Martin's social maturation became an important one. Laverty
believed that the ladies also "taught him how to drink—but not in the
wrong way . . . They taught him something about dealing responsibly
with alcohol. He would have been brought up a teetotaler."39
The adm iration that Martin felt for the two women was
reciprocated. Burke remembered that they had great respect for his
musical gifts and his immense potential—as well as his clever wit.
When Martin went to First Congregational Church, "they just logged
onto him because they saw his brilliance."40 Martin lived with the
two women for the duration of his tenure in Los Angeles.
In May of 1939, the music departm ent at First Congregational
Church inaugurated the Festival of Modem Music. The premier

139
program included works by composers Ralph Vaughan Williams,
Marcel Dupre, John Colman, Castel-Nuevo Tedesco, Arnold
Schoenberg, Philip James, Leo Sowerby, and Warren Martin. The
program descriptor reads as follows:
The Modem Music Festival is sponsored and presented by the

Cathedral Choir of the First Congregational Church. This choir,
known far and wide for its courageous leadership in the field of
church music, now takes another step forward. The choir pays
glad tribute and respect to the past through its now-famous Two-
Day Bach Festival held each November, now in its sixth year. The
choir, however, feels deeply its obligation to the present.
Contemporary musical thought must be given a hearing. This
event is daringly planned so that the musical public of Los
Angeles may know what composers of today are doing.41
John Burke explained how and why the Festival came into being:
Jacobs felt that he needed to show that he could do something as

well as a Bach Festival. The Bach Festival scared the pants off of
him because the music was far beyond him . . . And he was very
smart, because who was in Los Angeles? Who had fled Europe
and the Nazis? All of the great Jewish composers. There was
Stravinsky, there was Arnold Schoenberg teaching at UCLA, there
was Miklos Rocza, the Hungarian composer who was the only one
who successfully got into writing for the films. All the rest had
come hoping they could write for the films but they wouldn't
bend their principles enough to write for what the movies wanted.
And there was Castel-Nuevo Tedesco, who was at that time
considered the greatest contemporary composer—he had lots of
music. I mean, no one even plays them today or knows them but
they were the leading lights. That was just a sampling of what
41 First Congregational Church, concert program, Los Angeles, CA, 20

140
was in Los Angeles, and so Mr. Jacobs thought, "My goodness, why
d o n 't I start a m odern music festival and use all of these people
who are here?" . . . So Warren [Martin] was in on the first one of
those that ever happened.42
Jacobs himself wrote that it was "quite natural" that the First
Congregational Church of Los Angeles should be associated with a
Festival of Modem Music. He reasoned that several of the world's
leading composers lived in the city, and—outside of the cinematic
venue for which many of them wrote—their serious works were
seldom heard except in small groups of fellow musicians. He wrote,
"Many of those men I met regularly at the Crescendo Club—my choir
boiled with excess energy—and so the Festival of Modem Music came
to be an annual event attracting interest far beyond the parish
fence."43
After settling into his new work environment, finding a
perm anent residence, and developing a circle of friends, Martin also
found respite from the incessant financial concerns that had plagued
him as a student:
42 John Burke, interview 24 January 1997.

43 "Alumni Notes," Processional 7, no. 5 (May 1945): 3.
141
I have been paying, off and on, on my choir school bill; I have
bought some new clothes, not enough; organ lessons provide a bit
of odd money; in short, I have no present financial worries.44
The Vesper Organ Recital series for the 1939-1940 season
commenced on 8 October 1939 with a program that included
selections by J. S. Bach, Percy Whitlock, Sigfried Karg-Elert, and
Edward Elgar. Martin arranged the Bach Concerto in C Major for
three pianos and organ; the concert program indicated that piano
parts were played by Hillen Burton Klages, Frederick M. Barnes, and
F. Rayner Brown; that Arthur Leslie Jacobs was organist; and that
Martin himself was the conductor.45 Martin continued to
dem onstrate immense variety through the selection of works
performed. That season's programs included works by a long list of
composers: Alexandre Jacob, Joseph Bonnet, Charles Marie Widor,
Louis Vieme, Eugene Reuchsel, Maurice Durufle, Richard Trunk,
Marcel Dupre, Hugo Wolf, Peter Cornelius, Johannes Brahms, Garth
Edmundson, Felix Mendelssohn, Leo Sowerby, Karl Holler, Theodore
Dubois, Enrico Bossi, G. F. Handel, Antonio Vivaldi, Francois Couperin,
44 Warren Martin to "Omnes," [no day] March 1939.

142
Claude Debussy, Howard Hanson, Vladimir Rebikoff, Richard Wagner,
Joseph Jongen, Wolfgang Mozart, and Edwin Grasse.46
Martin also continued to concertize in the area. The
Westminster Choir College newsletter reported that "Brownell Martin
continues to astound Californians with his virtuosity on the organ.
His recitals are listed in many of the organ magazines."47 Eventually,
Martin's desire to become better known through a performance for
the American Guild of Organists (AGO) was realized. In June of 1940,
he presented a solo organ program at the AGO's Pacific Coast Regional
Convention.48
The Sixth Annual Bach Festival in November of 1939 opened
with a Saturday afternoon concert by French organist Marcel Dupre.
Saturday evening was billed "Cantata Night," and the Sunday
afternoon program was called "Chamber Music Recital." The Bach
Festival closed with a Sunday evening concert of the Mass in B minor,
46 First Congregational Church, Vesper Organ Recital booklet, Los

Angeles, CA, 1939-1940 season, in possession of author, Phoenix, AZ.
47 "Alumni Notes," Processional 2, no. 4 (May 1940): 26.
48 Pacific Coast Regional Convention of the American Guild of Organists,
Concert program, Pasadena, CA, 24-26 June 1940, in possession of author,
Phoenix, AZ.
143
performed by the 100-voice Cathedral Choir and members of the Los
Angeles Philharmonic Orchestra.49 Martin's name is listed in the
program as organist, pianist, and author of selected program notes.
In addition to the Bach Festival and the Festival of Modem
Music, the Cathedral Choir performed other significant choral works.
Throughout the season, Martin also served as organist for the
Cathedral Choir's performances of Handel's Messiah, Haydn's Passion,
and Cherubini's Requiem Mass in C.
In May of 1940, Martin reported that he would be unable to
return home to Galeton during the summer because he needed dental
work that would cost "in the neighborhood of $500." Although he
could easily obtain the sum by borrowing it, he was reluctant to do
so. After describing an immensely complicated procedure that was
to be completed during a series of office visits to a dentist who had
been highly recommended to him, he added:
When all this is done, it will mean that with proper care I won't
have any major dental trouble the rest of my life—that, barring
accidents, I can keep my entire set of teeth. That is the very real
consolation for all the expense and the many unenjoyable hours in
49 First Congregational Church, Sixth Annual Bach Festival concert

program, Los Angeles, CA, 18-19 November 1939, in possession of author,
Phoenix, AZ.
144
the dentist's chair . . . All this is to show you that I am in the

hands of a really fine dentist and that my money will not be
wasted. So—I will not be home this summer.50
That letter also included some interesting but unrelated bits of
information. Martin's special "dental diet" had helped reduce his
weight from 197 pounds [he recalled weighing less than 140 as a
freshman at Westminster] to 185 pounds. Also, during the past
season, he had been feeling considerable pressure related to the
church's organ recitals, and was planning to reduce their number
during the next concert season. He believed that, "with the lessened
quantity, the quality will be better and we won't feel quite so
harassed and worried about getting the recitals ready in time."51
Martin further revealed that he and his associate organist, Fred
Barnes, with whom he shared organ playing responsibilities for the
huge num ber of services held at the church, were getting along
better with the passing months. Martin found himself "learning to be
more diplomatic and more patient," and was pleased that Barnes was
"learning to keep from letting praise go to his head and criticism
50 Warren Martin, Los Angeles, to "Omnes," Galeton, PA, 7 May 1940, in

51 Ibid.
145
make him stubborn."52 His sense of hum or showed again as he
assured his grandm other that "Los Angeles is no more of a ’big city'
. . . than any other, and that at least half of Hollywood is not paved
with brimstone."53
The summer of 1940 brought some interesting experiences. Of
his American Guild of Organists Regional Convention appearance,
Martin wrote:
It was an honor to be chosen to play, but, sadly enough, not as

much of an honor as it would be if there were many good
organists out here. Do you get it, or is it too subtly put? There
were 4 other organ recitals and a lousy hymn festival. Again
sadly enough, our work at the F.C.C. of L.A. is not only the best in
church music out here, but so far above everything else that it’s
hard to hear something at some other church without being
disappointed.54
He reported that the Cathedral Choir sang in the open air theatre of
the Santa Barbara Bowl, and that they were joined by Metropolitan
Opera singer John Charles Thomas. Following that event, Martin,
Frances Haynes, and another choir member, Stebbins Griffith, spent a
52 Ibid.
53 Ibid.
54 Warren Martin, Los Angeles, to "Omnes," Galeton, PA, 30 June 1940, in
146
week motoring through Nevada and California, after which they
attended the Carmel Bach Festival.
During his reflections on the completed season, Martin recalled
that Leslie Jacobs' apparent round of ill health had improved over
the past year, and that Jacobs' work was increasingly successful.
Although Martin continued to admire his boss's steadfastness,
sincerity, and courage, he "failed completely to warm to him
personally."55 In evalua *his own situation, he mused:
My work as a whole has been more than satisfactory but not

phenomenal. When I first came my youth made me something of
a novelty and my good playing started along my reputation; this
year I have been solidifying that reputation; next year, by more
carefully regimenting my activities, I hope to continue to solidify
as before and also build. I only wish that Mr. [Carl] Weinrich were
out here.56
The pre-war years in the Los Angeles area were a time of
innovation and excitement. Martin delighted in the many
performance opportunities available to him during his tenure there,
and he absorbed many ideas from those varied experiences. In
August of 1940, he observed a recording session for a Rosalind
55 Ibid.
56 Ibid.
147
Russell film at Universal Studios. He was fascinated with the
technical aspects of the motion picture-music industry, and amazed
at the intricacies involved in putting together a high-quality
production that combined musical, visual, and dramatic elements.57
He attended an opening performance of Noel Coward's Tonight at
8:30 series of plays, and he relished the opportunity to absorb the
high-level performance. He reported:
The casts are made up of the brightest stars of the films, an

astounding array of people to perform all on the same stage. Most
of them were excellent; they got a chance to do something
different than their usual movie roles and evidently relished it;
enthusiasm made up for some other faults . . . and you'd never
guess who sat beside us in the audience—Boris Karloff!58
In the same letter, Martin described the great importance that
he placed on giving contemporary composers and their music a
forum in which to be heard. Martin gave details regarding the
commissioning process on which he and the church music
departm ent were embarking with Roy Harris:
Harris is America's foremost composer, as attested by the

recognition he gets from magazines, critics, symphony conductors,
and musical circles in general. He has never written for the organ;
57 Warren Martin, Los Angeles, to "Omnes," Galeton, PA, [no day] August
58 Ibid.
148
he likely never will unless this goes through. The work, if he

writes it, will be one of very few major modern American organ
works, and the only one by a composer of his reputation. Modern
music means a great deal to me, and I mean to be a champion of it
in every way that I can. This would be the Great Chance—the
chance to perform a fine modern work, the fun, the honor, the
experience of doing it. I'm afraid, even after all of my
explanation, that it's the kind of thing whose importance can't be
rightly conveyed—at least I can't convey it.59
Martin's excitement and endorsement of the project notwithstanding,
the work does not appear to have materialized.
During the fall of 1940, Martin began to consider his response
to the possibility of the United States becoming involved in a war. To
his father, he revealed that Jacobs had offered to "try to get [him] out
of it" if Martin were drafted, because of the latter's work in the large
and im portant church. Martin was positive that he would be called
to military duty in spite of his job, and had no wish to avoid serving
his country—although he did hope to be able to finish out the church
year. He wrote, "I rather think that if and when I am called, the
training will do me quite a bit of good even if I hate it, taking for
granted that I have enough stamina not to let it get me down." He
concluded that he was "trying not to get too perturbed over the
59 Ibid.
149
situation, though my inherited Martin capacity for worry has a
tendency to function more than I would like."60
Shortly after the choir season began, Martin grumbled about a
problem with his organist colleague, Fred Barnes:
My biggest problem is that Fred, who reacts very badly to praise,

and whose work with the High School choir has elicited
considerable of that article, has become hard to get along with,
overstepping his authority and trespassing on that of Mr. Jacobs
and Olive and especially me, his direct superior. I'm afraid it's
going to eventually necessitate a bawling out and some strict
orders.61
The Seventh Annual Bach Festival on 16 and 17 November
1940 opened with an organ concert by the renowned E. Power Biggs.
The Brodetsky Chamber Music Ensemble also performed, as well as
the 100-voice Cathedral Choir and an array of soloists.62 Choral
works included Singet den Herren, excerpts from the St. M atthew
Passion, and the Mass in B minor. The event was considered "more
60 Warren Martin, Los Angeles, to J. K. Martin, Galeton, PA, 18 September

61 Warren Martin, Los Angeles, to Elinor Martin, Galeton, PA, 24
62 First Congregational Church, Seventh Annual Bach Festival program,
Los Angeles, 16-17 November 1940, in possession of author, Phoenix, AZ.
150
successful than ever this year, there being an overflow audience at
every session."63
In spite of his shortcomings as a conductor and musician,
Arthur Leslie Jacobs clearly exerted influence outside the
Congregational Church. In March of 1941, Martin wrote to his
brother that "through Mr. Jacobs my military service has been
deferred until July 1 of this year. That is, I will be open to being
called any time after that date."64
Martin's letter also described some of his organ concert
appearances. In addition to the regular Vespers series at First
Congregational Church, he mentioned venues with the Pasadena Bach
Society, the Los Angeles Women’s Symphony, and the Blessed
Sacrament Church in Hollywood—which he called the "best organ I've
found out here and I'm glad to get the chance [to play it]."65 He also
suggested that there was a remote possibility of his playing in June
at the AGO's National Convention in Washington, DC, but there is no

64 Warren Martin, Los Angeles, to Paul Martin, Galeton, PA, 10 March
65 Ibid.
151
record that the opportunity ever materialized. Extant concert
programs do indicate, however, that Martin performed on a
prestigious concert series at the University of California at Los
Angeles in April of 1941.66
The organ recital at the Blessed Sacrament Church to which
Martin was so looking forward produced an interesting situation.
The concert recital committee was unable to get an announcement
for the event on the music page of the Los Angeles Times, so they
entered it instead as a news item. At least six points about Martin
were incorrect, and he was immensely irritated because a simple
telephone call to him would have prevented the errors. He was most
annoyed over a statement announcing his conscription to military
duty and the inference of an almost immediate departure. To
Galeton, he wrote:
Perhaps I should change my recital program and play a well-

chosen selection of military marches. Or perhaps (the organ and
choir loft is in a very high rear balcony) I should climax the recital
by leaping from the balcony in a parachute, waving a flag in
either hand. Or perhaps I should pass out dodgers with the recital
programs denouncing the [Los Angeles] Times as a filthy
Communist rag, and advertising the wedding chapel of the First
66 University of California, Concert program, Los Angeles, CA, 18 April

152
Congregation Church, offering to play a free wedding for every

50th couple.
I feel it—I know it!—I am destined to be the P. T. Bamum of the
organ!67
With all of the publicity, the recital was well attended, and Martin
ultimately considered it highly successful.
A brochure for the Modern Music Festival of 24 May 1941
outlined the purpose of the event:
This festival provides opportunity for you to hear new, novel,

m odem music of today, performed by artists who are keenly
interested in this music. Some of it may puzzle and even shock
you. As you listen, remember that the waltz, one considered not
only bad taste but positively immoral, has now become a beautiful
musical art-form . . . The controversies of the present are the
classics of tomorrow.68
The program included works by Bela Bartok, Charles Ives, Paul
Hindemith, Normand Lockwood, Healey Willan, Lawrence Morton,
George Lynn, Roy Harris, Dmitri Shostakovich, Gustav Holst, Leo
Sowerby, Claude Sweeten, and William Schuman. Martin's
Processional fo r Piano and Organ and Francis Poulenc's Concerto for
Organ, Strings, and Timpani were on the program. Also, Martin was
67 Warren Martin, Los Angeles, to "Mother," Galeton, PA, 17 May 1941, in

68 First Congregational Church, Festival of Modem Music concert
program, Los Angeles, CA, 24 May 1941, in possession of author, Phoenix, AZ.
153
the featured organist for both works. After the event, he expressed
the opinion that the festival was not as great a success as it had been
the previous year. He confessed, "We bit off a little more than we
could chew, and people aren't patronizing such things so well these
days anyway. Most of the numbers went well, however, and were
favorably received."69
In early June of 1941, Martin wrote to his mother:
Mr. Jacobs and Dr. Fifield have both made attempts to get me a re
classification, but to no avail. And I have conscientiously objected
to being a conscientious objector.70
With Martin's conscription imminent, Fifield urged him to visit
his family in Galeton before his induction into military duty—
something Martin was reluctant to do. Instead, he invited his mother
to visit him in California:
If I come home it will upset the ending of my year here and tire
me out with the travelling and not leave me time to wind up all
my affairs to the best advantage, just when I should like to be in
the best possible condition before such a new venture. I could
only stay a very few days if I did come, and would have to get
substitutes for several weddings, Sunday services, e tc .. . . any
69 Warren Martin, Los Angeles, to "Mother," Galeton, PA, 4 June 1941, in

70 Ibid.
154
rate, I have decided definitely not to come home at this time. So I

would like very much for several reasons to have you come out.71
Gertrude Martin did indeed make a visit to her son in California.
The War
A United States Army document dated 28 July 1941 records
Martin's dutiful arrival at Camp Grant, Illinois on 21 July 1941.72 It
described the base's location, its hours of visitation, the barracks and
other buildings, food service, medical care, and options for religious
services. In addition, it outlined the focus of Martin's duties:
Pvt Warren B. Martin will be stationed at Camp Grant for

approximately three months. During this time he will be given
basic training as a medical soldier. Such subjects as elementary
anatomy, physiology, first aid, nursing, and other medico-military
subjects which will prepare him for his life as a soldier, will
occupy the greater p art of his time while here. At the end of
approximately thirteen weeks he will be transferred to some
medical unit elsewhere, where he will continue his training as a
member of the Medical Department.73
71 Warren Martin, Los Angeles, to "Mother," Galeton, PA, 6 June 1941, in

72 U.S. Army registration document, Camp Grant, IL, 28 July 1941, in
73 Ibid.
155
In his first letter to the family following his arrival at Camp
Grant, Private Martin carefully detailed many aspects of his new life:
The assembling of my pack is the thing that comes hardest to me.

So many different items, all with their correct place to be put—and
if you don't do it right exactly, the whole pack collapses or at least
is a sorry-looking sight, and sorry-feeling too, if you have to carry
it. But I'm catching on slowly . . . It takes a different kind of
quickness than it does to play a Mendelssohn scherzo.74
Martin, who from childhood had been known as "Brownell," indicated
to his family that he had "changed to Warren B. in preference to W.
Brownell."75 There is evidence, however, to suggest that Martin had
considered the change sometime before entering the army. Olive
Brockett wrote that she "had heard him mention it off-handedly
several times but had not taken it seriously," but noted that "both of
his front names I think are just fine."76 Several years later, Martin
elaborated that army friends, post-induction civilian friends and
acquaintances in Illinois, Michigan, France and Switzerland, as well as
those in other places in the United States with whom he was
74 Warren Martin, Camp Grant, IL, to "Omnes," Galeton, PA, 6 August

1941, in possession of author, Phoenix AZ.
75 Ibid.
76 Olive Brockett, Los Angeles, CA, to Gertrude Martin, Galeton, PA, 23
156
acquainted by correspondence knew him as "Warren." He believed
that the name would sound well when he was introduced to new
people either socially or professionally, and when his name was
announced over the radio or on other public occasions. He suggested
that "Warren Martin" was easier to say than "W. Brownell Martin,"
and therefore more likely to be remembered. He wrote, "It is very
im portant (in the things I want to do) for people to remember and
use my name." Although he intended to use "Warren" for the rest of
his life, he did allow that "the ones who named me Brownell and
brought me up in the way I should go, under that name, have the
right to use it if they wish."77 For the duration of his life, he
continued to be known as "Warren."
Within a short time, Martin was involved in music-making at
Camp Grant. He wrote to his brother, David:
The string trio, or rather violin trio, that you heard [over the
radio] is a group which plays informally every Sunday night at the
Service Club. We were on the broadcast as one of the acts
competing for the $21 prize, which I think we should get. I also
accompanied the singer and the two saxophonists. The piano was
out of tune and placed wrong, so probably did not sound too well.
Would have let you all know about the broadcast if I'd had any
77 Warren Martin, Lison, France, to "Fa m ily," Galeton, PA, 16 October
157
idea it was on the network. Did you notice the name of the
station?—WBM broadcasted over WBBM.78
Martin also reported that he had made "clerk school," a program that
would take him out of most of the activities in which he had been
engaged since his arrival in the army and "substitute a business
course in typing, record-keeping, and other related things much
more suited to my limited talents."79 The army issued Martin a
certificate in October of that year that confirmed his successful
completion of the typing course "with a net speed of 51 words a
minute."80 Martin was pleased by the change in his duties. He
expected to stay on in the "permanent cadre" as a clerk to one of the
chaplains at the camp—for whose newly organized male choir he was
already serving as accompanist. He was happy that he would be in
an office near the Hammond organ, where he could "at least keep up
some of my technic."81 Martin reported that he had found other
78 Warren Martin, [Camp Grant, IL], to David Martin, Galeton, PA, [no
day] August 1941, in possession of author, Phoenix, AZ.
79 Ibid.
80 U.S. Army, The Clerical School, Certificate of Proficiency, Camp Grant,
IL, 24 October 1941, in possession of author, Phoenix, AZ.
81 Warren Martin to David Martin, [no day] August 1941.
158
musicians in the camp, and that he was performing on various
programs and broadcasts:
I've gotten acquainted with some really good musicians who are
naturally more kindred spirits than the average of my fellow
S.S.T.'s. In that way I've made up for the inevitable tediousness of
hacking out dozens of accompaniments for lousy stragglers at
crooning and sawing. In short, I've been "discovered"—more to
others' advantage than my own, but still with compensating
factors such as a very fine violinist who does Brahms and Bach,
and a young baritone who has sung radio, opera, concert, oratorio,
etc. in Chicago and is really good.82
Martin also took an opportunity to make friends in nearby
Rockford, Illinois. He reported recent visits to two different homes
for evenings of informal supper and music—both of which he
considered a welcome change in his normal routine. Martin was
pleased that one of the homes "had a good grand piano, which was
quite a change from the execrable instruments of torture that have
been bestowed by well-meaning people as gifts to the camp."83
Martin was excited to receive his first paycheck, which totalled
$21. He expected to either save part of it or to spend it on "such
things as music." All-in-all, he seemed happy at the camp, but
82 Ibid.
83 Ibid.
159
expressed frustration that the roof leaked "all over our beds and
everything" when it rained. He was puzzled that the army never
seemed to repair the leaks, even though his outfit required "dozens
upon dozens of men to spend days upon days moving the gravel
walks a few inches."84
Martin described his activities as an army clerk. Days in the
company office were long and included many idle hours. He gained
some respite from the boredom by retrieving the mail, delivering
messages, and readdressing mail to soldiers who had left camp.
Martin did not suffer from a dearth of invitations from Rockford
homes for good meals and musical evenings. However, he mused to
his family that "gloss it over as much as you can, it still boils down to
playing for my supper, and that gets to be rather wearing."85
Martin mentioned making a new acquaintance, a violinist
nam ed Lyman Bodman. Martin wrote that he and Bodman had "good
(and constructive) times playing together."86 Eventually, Bodman
84 Ibid.
85 Warren Martin, Camp Grant, IL, to "Omnes," Galeton, PA, 21 October
86 Ibid.
160
and his wife, Virginia, joined the music faculty at Michigan State
University; they and Martin remained life-long friends.
By November of 1941, Martin had begun to wcrk under the
supervision of Glen A. Blackburn, the Episcopalian chaplain at Camp
Grant. He provided keyboard music regularly for the Sunday
services led by the same chaplain. Martin described one of his own
renditions of the "Lost Chord," in which he used an available group of
vocal soloists and violinists accompanied by the piano. He went on to
categorize his music program there as consisting of "light classics,'
with a sprinkling of old familiar melodies and semi-popular ditties
thrown in."87 Some of the services were aired as part of the
"Chicagoland Church Hour," and at least one broadcast included a Te
Deum setting "written especially for these broadcasts by Cpl. Warren
Brownell Martin."88 For the new soldier, Sundays in the army were
nearly as busy as those during his former civilian days in Los
Angeles. Martin wrote, "Don't accuse me of not being churchly
87 Warren Martin, Camp Grant, IL, to David Martin, Galeton, PA, 5

88 Army placard, Camp Grant, IL, 6 July 1942, in possession of author,
Phoenix, AZ.
161
enough, either. I played for four services this morning and
yesterday I read the Epistle to the Hebrews and the Epistle of
Jude."
Martin enjoyed his working relationship with the camp
chaplain, and eventually taught two of Blackburn's sons. He noted
that the chaplain was eager for the youngsters to become good
musicians, and that the strong level of interest and dedication to
piano lessons by the family was "a great compensation for the fact
that they haven't overly much musical talent. As a musical
evangelist, I am much sorrier for one who has talent and wastes it
than for one who has little but makes the most of it.”90
Because he had grown accustomed to a certain style dinner
party that he and his circle of friends had enjoyed in California,
Martin began to find aspects of the musicales in Rockford somewhat
tedious. He explained:

9° Warren Martin, Camp Grant, IL, to "Omnes," Galeton, PA, 25 August

162
We had a big turkey and everything with it just like

Thanksgiving. You may be astonished to learn that I didn't much
enjoy it—Olive [Brockett] has so taught me to really enjoy food by
serving a few grand things simply with no fuss that I hate the
bother and formality of sitting and making desultory conversation
while the master of the house carves and the plates are taken
around by the butler and your food gets cold and you take an
olive and gradually lose your appetite from boredom—as I say, I
hate it more than I ever did.
After we had finally managed to finish the meal and had sat at
the table a proper length of time, not to allow our food to digest
but to allow any sparkle of animation anyone in the company
might possess to die out, we adjourned to the living room, and
everyone sat and said nothing, having said all it was in their
hearts and minds to say long since, and stared at me and at
Lyman, who was there with his violin, till we began by force of
the polite and awful silence to play something.91
In spite of Martin’s complaint that he and the others had to
"play for their supper," it is obvious that he drew great enjoyment
from the frequent opportunities to concertize with other
accomplished musicians. He described a "semi-outdoor musicale" at
the home of the Sigfred Sandeens in Rockford in which the audience
sat outside on the lawn and the musicians played on the porch and
from just inside a set of large doors. In addition to Lyman Bodman,
instrumentalists included members of the Indianapolis symphony
and the Chicago Civic Orchestra, and "several local Rockfordites." The
91 Warren Martin to David Martin, 5 November 1941.

163
musical potpourri featured works by Gluck, Brahms, Mozart,
Schumann, Debussy, and Tschaikovsky. Martin n o ted ," ... [T]hey
played as an encore my "Dream Music," arranged for that
combination from an a cappella thing of mine on words from
Tennyson's Ulysses."92 He found that the gatherings afforded him an
opportunity to become better acquainted with a large num ber of
chamber selections that were unknown to him previously—and that
he enjoyed "more than any other kind."93
In January of 1942, perhaps motivated by the bombing of
Pearl Harbor in December of 1941, Martin vowed in a New Year's
resolution to make more of his job so his conscience would not annoy
him for being a "lazy bum." He would no longer wait to be asked to
do things; instead, he would look for things to do to create a job of an
exacting nature that equalled his "powerful and masterfully
ingenious abilities." He predicted that, "with coddling, the resolution
may last a few weeks."94 Regardless of his attitudes and rather
92 Warren Martin to "Omnes," 25 August 1942.
93 Ibid.
94 Warren Martin, Camp Grant, IL, to "Omnes," Galeton, PA, 1 January

164
jocular tone, Martin's apparent lack of interest in or concern for his
nation's sudden entry into the World War may have reflected his
single-minded focus on music, food, and friends.
Early summer brought a round of measles to Camp Grant, and
also found Martin in a penurious situation two weeks before payday:
Reassure Grandma that measles and all spotted things have left
me, with the exception of the slight spot I am oh so gently in as
far as dough is concerned. In other words, I am still in Camp
Grant, ILL but not still ill in Camp Grant. Enclosed program, order
of service, rather, went off exceptionally well, especially as
concerns the music. Mrs. Xanten is the nicest of the musical
people we have met in Rockford: you notice Lyman's name in the
string group: you would have enjoyed it all: Mrs. Lindsey is the
camp hostess, and a most charming woman. I am a most
charming young man, worth at least the loan of ten or fifteen
dollars.95
Martin's correspondence included frequent expressions of
clever humor. After receiving a box of cookies from his Aunt Elinor,
he sent a thank-you note that imitated an official military document:
Subject: Receipt and Disposal of Cookies.
1. Acknowledgment is hereby made of receipt of one (1) box of

cookies, and according to AR 792-364, Par 2, Sec n, thanks are
tendered to the donor of same.
2. The articles in question were reviewed by a board of not
less than 3 and not more than 200 officers, whose unanimous
95 Warren Martin, Camp Grant, IL, to "Omnes," Galeton, PA, 18 June 1942,
in possession o f author, Phoenix, AZ.
165
opinion is that they were delicious, of a quality conforming to

strict government regulations, and without prejudice eminently
edible.
3. For further data pertaining to this same subject, attention is
called to WD AGO Cir 525.4 (846.4) #A-A, Par 6, Sec II, Cookies
and their Distribution and Consumption.96
The regular transfer of Army chaplains into and out of Camp
Grant caused Martin a certain amount of frustration. He recorded his
admiration for camp chaplain Blackburn as a "fine clergyman and
intelligent man," but described Blackburn’s successor quite
differently, writing, "in Chaplain Meima I have a dumb, lazy, sloppy
man who is ineffective as a clergyman and capable of commanding
few people's respect in any field—my next boss by the law of
averages should lie somewhere between these two extremes."97
In January of 1943, Martin reported that he was working as a
personnel clerk. The job change was evidently instigated by Martin,
who wrote, "I am very pleased to have negotiated the change."98 By
96 Warren Martin, Camp Grant, IL, to Elinor Martin, Galeton, PA, 2

October 1941, in possession of author.
97 Warren Martin, Camp Grant, IL, to "Omnes," Galeton, PA, 30 December

98 Warren Martin, Camp Grant, IL, to "Omnes," Galeton, PA, 5 January

166
mid-summer, he reported a transfer to another battalion. Although
he was still doing the same work, he was accountable to a different
company. Other changes associated with the transfer included
sleeping in tents. Martin rationalized, "Not the luxury of a private
room which I had before, but it's cool at night and sleep is refreshing.
Besides, the longish walk every day from 'tent city' to Personnel is
mighty good for the figger [sic]."99
In August of 1943, Martin received a promotion to the rank of
sergeant. He forwarded the promotion document to his family, and
in his matter-of-fact manner, typed at the bottom of the paper, "For
the family album or the waste basket, whichever you prefer."100
October of 1943 brought another in-camp transfer for Martin.
He reported starting a new job, which he found interesting and
taxing. He suggested that his eventual return to civilian life would
seem easy by contrast once he had returned to the tasks for which
99 Warren Martin, Camp Grant, IL, to "Mother," Galeton, PA, 21 July 1943,
in possession of author, phoenix, AZ.
100 U.S. Army promotion document, Camp Grant, IL, 31 August 1943, in
167
he was fitted—particularly since he already had "done so many which
strain[ed] my capacities!"101
Martin relayed that Leslie Jacobs asked him to participate in
the Bach Festival at First Congregational Church. Although he was
honored by the request to return to Los Angeles at the church's
expense, Martin's new job precluded the possibility. He found it
"gratifying that so many people remember me out there and would
like to have me come back."102 Clearly, Martin had been an integral
figure in the success of the festivals at First Congregational. Indeed,
following the first Bach Festival that Martin missed after his
conscription in 1941, a review stated that "Brownell Martin's organ
work, which figured so importantly in the festivals of the past, was
greatly missed."103
In November of 1943, Martin wrote that "men may come and
men may go, but Martin goes on forever, it seems."104 He was
102 Ibid.
104 Warren Martin, Camp Grant, IL, to "Omnes," Galeton, PA, 16
168
referring to the large num ber of men who had come and gone during
the time that he had been at Camp G rant-including Lyman Bodman.
Of Bodman, Martin wrote that "he has been by far my best friend,
and will surely rank as one of my very best friends in or out of the
army."10s He then m entioned the possibility of spending an
upcoming furlough in Los Angeles to visit his many friends there,
adding:
One Barbara Caler forms part of my motive in desiring to revisit

California; and surely you would not begrudge me the implications
of that statement.106
Barbara Caler, however, must have had a different view of their
relationship. A month later, Martin wrote that Caler "was married
Dec. 10th. Somewhat of a surprise, but a pleasant one," he claimed.107
December also found Martin filling in at the last minute for a
rendition of Handel's Messiah at Zion Lutheran Church in Rockford.
Martin surprised himself at how well he did "without having touched
105 Ibid.
106 Ibid.
107 Warren Martin, Camp Grant, IL, to "Mutter," Galeton, PA, 14
169
an organ for months and months."108 He also requested as a
Christmas present a "little volume of poems, or I should say verse,
about Potter County [PA] subjects—one by EAM, one by GM, one by
JKM [Martin's sister, mother, and fath er]. . . I mean it—something like
that is what I would appreciate most."109
In January of 1944, Martin was still waiting for his furlough.
Meanwhile, he had met several other interesting musicians, some of
whom he described as German refugees. He was greatly interested
in discussing music and poetry with people who possessed
backgrounds different from his own. Martin exchanged compositions
with Richard Neumann, a European composer and conductor. After
playing each others' pieces, they reveled in the opportunity to
"cheerfully and unmercifully criticize" the works— and found the
procedure immensely stimulating.110
108 Ibid. Martin's organ technique must have been deeply ingrained.
Laverty and others reported that, in the latter decades of his life, Martin would
occasionally sit at the console and flawlessly perform a major organ work—
without having touched the instrument literally for years at a time.
109 Ibid.
110 Warren Martin, Camp Grant, IL, to "Omnes," Galeton, PA, [no day]
170
Martin revealed an interesting perspective regarding his future
plans:
I can sum up my musical experience since the war began by

saying that I've met many different types of musicians and
assimilated many ideas which will help me in the future, even if I
have not progressed very far in the actual making of music. I am
still as uncertain as ever as to what branch of music I want to
eventually specialize in (one can't be a Jack-of-all-trades all one's
life), but I am sure that I shall do more with the piano than I have
in the past, and probably more with composition. Ideally I'd like
to teach in a small university, leaving summers for "improving
myself."111
With his grandmother, Martin shared an interesting insight into
his work ethic as it related to his army responsibilities. He found
that, far from taxing his strength, his present situation went a great
deal further toward giving him a sense of well-being than any that
he had encountered previously. Martin was beginning to discover
that it was worry—not work—that pulled his spirits down, and he
happily reported, "Here, I have considerably more work than worry.
I am doing w hat I can do in a place that needs me."112
111 Ibid.
112 Warren Martin, Camp Grant, IL, to "Grandma" [Mary Alice Martin],
Galeton, PA, [no day] [no month] [1943], in possession of author, Phoenix, AZ.
171
The frequent possibility of hearing good music in nearby
Rockford continued to be one of Martin's ongoing joys during his stay
at Camp Grant. He reported plans to attend a concert by former
Westminster Choir School classmate Dorothy Maynor at the Rockford
Girl's College. He complimented her "meteoric rise to success as a
singer," and intended to "chip in" for the purchase of a bouquet to be
delivered in person following the concert. In wondering whether
Maynor would recognize him, he mused, "She remembered me easily
when I saw her in Los Angeles, and she should do the same now if
the uniform and ruthless haircut I have lately affected do not
confuse her."113 Martin also reported visits to the library at Rockford
College, where he had an opportunity to "play their fine collection of
records on a rather good machine," and where the college bursar
served Martin and his companions "divine cakes and weak coffee . . .
after we [had] already feasted on Mozart, Verdi and others."114
Following a concert by world-renowned violist William Primrose,
Martin determined that, "for warmth and beauty of tone the viola
114 Warren Martin to "Omnes," 21 July 1943.

172
has it all over the violin, even if i t . . . is more limited in
expression."115
In March of 1944, Martin finally received clearance for his
long-awaited furlough to California. In addition to visits with
Frances Haynes, Olive Brockett, John Burke, and others, he made a
short trip to visit his younger brother, Paul, at Camp Haan, California.
During his stay in Los Angeles, Martin "played for the big 11 o'clock
service" at First Congregational Church, although he noted that doing
so was "rather foolhardy" since he had not played the organ recently.
He also accompanied Cathedral Choir rehearsals on consecutive
Thursdays during his furlough; however, because Leslie Jacobs was
partially indisposed at the second one, John Burke conducted most of
the rehearsal. Martin wrote, "I played for him, which was a lot of
fun, because it gave him a chance to show what he could do in that
line and the choir enjoyed it because he really has more talent for
conducting than Mr. J[acobs].1,116 Martin paid a "visit of state" to
115 Warren Martin, Camp Grant, IL, to "Meine Lieben," Galeton, PA, 4
116 Warren Martin, Camp Grant, IL, to Mary [Alice], Elinor, Kent and
Gertrude Martin, Galeton, PA, 18 April 1944, in possession of author, Phoenix,
AZ.
173
James Fifield and recalled, "He preached a kindly sermon to me and
peered into my soul from his height of 6'4" and took me around to
meet all the new staff members."117
The furlough included several parties at "Haybrock," the
Frances Warren Haynes/Olive Brockett home. Many former friends
from the church and community attended the gatherings, prompting
Martin to write, "Wonderful guests, wonderful food, and wonderful
i .usic . . . Olive had open house and invited dozens of people that I
wanted to see but whom it would have been impossible to visit one
by one."118 Martin also attended a concert by the Los Angeles
Philharmonic, and renewed acquaintances with some members of the
orchestra. Finally, he mentioned that there were quiet times when
he, Haynes, Brockett, and Burke "would all gather in the kitchen like
old times and have nonsense and a snack before [they] went to
117 Ibid.
118 Ibid.
74
bed."119 During a Camp Grant reminiscence of his visit to California,
Martin described the furlough as "perfect in every detail."120
Shortly after completing his furlough, Martin broached the
subject of creating a will:
I shall probably make a will, which is a sensible thing to do even

if I laugh at it later and it becomes unnecessary through a happy
turn of war events. I shall for convenience say that all my music
and books are to be left to John Burke. Then I shall informally tell
him which I would want him to keep and which I would want him
to send home to you, to give to Lyman and Frances and others . . .
My music represents a value of quite a few hundred dollars, and I
should not like to have it sold or fall into the hands of people who
wouldn't use or appreciate i t It's merely a formality, and doesn't
reflect a gloomy attitude on my part, because I don't possess such
a thing as a gloomy attitude.121
Martin still found time for literary pursuits. He conveyed to
his Aunt Elinor that he had spent a pleasant evening in the town
library reading "poems of T. S. Eliot, Robert Frost, Emerson and John
Donne."122 He also noted reading several books by Charles Dickens.123
119 Ibid.
120 Warren Martin, Camp Grant, IL, to "Mother," Galeton, PA, 20 March
121 Warren Martin, Camp Grant, IL, to "Omnes," Galeton, PA, 24 April
122 Ibid.
123 Warren Martin, Camp Evelyn, MI, to "Omnes," Galeton, PA, 31 May
175
In late April of 1944, Martin was sent to northern Michigan for
detached service at Camp Evelyn in the town of Wetmore.124 Before
leaving Rockford, he attended a farewell dinner in his honor. It is
clear from his description that Martin was still able to entertain a
group with musical antics:
There were quite a few of the people who have been our Rockford
friends. We had bridge and music and of course food. Also "of
course," before the evening was over I had to do some of my
nonsense, so I hauled 3 of my trustiest stunts out of the bag: "My
dolly has broken her head," Jerry Colonna singing "Comfort ye"
from the Messiah, and a typical church contralto singing "O roost
in the Lard"—also an improvisation on "Lay that pistol down,"
including boogie-woogie, a funeral march, and a tinkling music
box. Still up to the same old tricks, you see.125
In early June, Martin returned to Camp Grant. Almost
immediately, however, he received a new assignment—acting First
Sergeant for a small branch prisoner of war camp at Lanark,
Illinois.126 Prisoners at Lanark were required to can peas and com.
Martin explained that the actual harvesting detail was done by "real
live Jamaicans," whose speech patterns he equated to that of Blacks
124 Warren Martin, Camp Evelyn, MI, to "Omnes," Galeton, PA, 27 April
125 Ibid.
126 Warren Martin, Lanark, IL, to "Omnes," Galeton, PA, 10 June 1944, in
176
in the deep South—but with a more precise and somewhat English
accent. He noted that the Jamaicans had their own camp that was
not under the supervision of the army. The actual canning process
involved several different groups: Jamaicans worked the fields,
civilians from Lanark and the vicinity worked the machinery,
prisoners performed various jobs within the factory, and Martin and
other soldiers guarded the prisoners.127
During his tenure at Lanark, Martin had an opportunity to
observe the German prisoners of war on a day-to-day basis. Some
of his impressions follow:
The biggest problem in using PWs is the unavoidable contact with

American civilians, who invariably exert to the full what they
consider their American prerogative of satisfying their curiosity
and of doing and saying whatever they please around the PWs. If
handled tactfully, the Germans work excellently and cause no
trouble. When they do cause trouble it is because they have been
bullied or unduly gaped at as if they were a side show or
otherwise not treated as intelligent and capable human beings,
which they are.
In our dealings with them we allow a great deal of latitude but
we never talk about controversial matters or allow either our own
soldiers or outsiders to "fraternize" with them except on business.
This is necessary not only for safety but for ease of getting along
with them.
Most of the PWs are very young—between 19 and 25. A few
are in their 40s. For the most part they are healthy and fine
127 Ibid.
177
looking specimens—congenial, active, full of fun. It is easier to

characterize them as a whole than it would be a corresponding
cross section of American service men because there are far fewer
racial elements in evidence.
Of this particular group, there are many th a t I would like to
know, if there were not such a thing as a war. I could not say the
same of "my own boys," the American guard detachment. I think,
but I am not at all sure, that they (the PWs) are young enough to
be receptive to new influences and may make good citizens of a
reconstructed Europe if they are given a chance, which is
problematical.
My reactions to them are not based on my ideas as to race or
nationalism or war or anything else. I’ve just given a bystander’s
impressions.128
The "Charge of Qjiarter" duties to which Martin was assigned at
Lanark also afforded him periods of respite from direct dealings with
the prisoners. He wrote of spending one pleasant Sunday afternoon
in his office mapping out projected organ recitals, piano recitals, and
duo piano recitals for use at some future date because there was
"next to no actual work to be done."129
Of his daily culinary regimen and its effects, Martin wrote, "I
weigh about the same. Army food good and bad seems to be
128 Warren Martin, Lanark, IL, to Elinor Martin, Galeton, PA, 24 July

178
accepted by my metabolism with equal eagerness.”130 His spirits
appeared to remain high throughout the new assignment, as his
ever-present wit suggested. He asked if he had sent his recent,
"great" poem, "If I were a pigeon, cooing in the grass, Would you
administer the coup de grace?"131
Martin's next letter soberly reminded his family of the realities
of war as represented by censorship:
It will not be necessary, I trust, to remind you of censorship, and

you will understand if my letters run to discussions of things
philosophical and intangible and if sundry facts and information
are conspicuous by their absence. Kindly refrain from mentioning
my present organization in the body of your letter(s)—also omit
conjectures as to places, times and details past, present or future.
But you have already had experience in these matters so there is
little or no danger of losing precious pen paintings through
inadvertent clumsiness in choice and treatm ent of banned
topics.132
It is ironic that a portion of this particular letter appears to have
been removed by a censor.
Martin had hinted for some time that he might be sent abroad
to the war in Europe. Although there was yet no mention of a
130 Warren Martin to "Omnes," 10 June 1944.

131 Ibid.
132 Warren Martin, [no location], to "Omnes," Galeton, PA, 28 August
179
specific date of departure, he journeyed to New York to await further
orders. On the trip, Martin apparently managed a brief stopover at
Westminster Choir College in Princeton. A campus paper reported
the event:
Sergeant Brownell Martin stopped here for ten minutes to say

good-bye before taking a bit of a boat ride. He used part of the
ten minutes to improvise on a given theme on the organ—and in
G.I. brogans at that. Brogans or not, the improvisation was a
masterpiece!133
During Martin's brief visit to Westminster, J. F. Williamson invited
him to join the faculty after the war. The soldier "reacted properly,"
but inwardly affirmed that he would not consider the offer unless he
experienced a hearty change of views regarding the school's politics,
the domination of the faculty by the Williamsons, and the
unsatisfactory faculty salaries. Sometime later, he noted wryly in a
letter to his family, "I hope this belated revelation of the seamy side
of Westminster does not horrify you."134
133 "Alumni Notes," Processional 7, no. 1 (November 1944): 11.

134 Warren Martin, Uson France, to "Family," Galeton, PA, 12 May 1945,
180
In late September of 1944, Martin informed his family that he
had been in England, but had moved to "somewhere in France."135 He
later described the boat trip across the Atlantic as "ridiculously
crowded," and was annoyed because "it was not the hardship that
galled us so much as the fact that it was unnecessary."136 He was
happy to report that he was not seasick, and that there were some
very pleasant aspects to an otherwise unpleasant experience—such as
making new friends, looking at the phosphorescent wake at night,
and observing the constantly changing ocean. The ship docked at
Liverpool, and Martin's company immediately entrained for
Southampton; they then took a boat to the beach near Cherbourg,
France. At first they lived in pup tents, but soon "moved to the
comparative luxury of cots in large tents—and took up [their] regular
hospital duties."137
Martin described his pleasure in making several new
acquaintances—and reported especially on those with whom he could
135 Warren Martin, "Somewhere in France," to "Family," Galeton, PA, 27

136 Warren Martin to "Family," 12 May 1945.
137 Ibid.
181
have endless discussions about literature and music. His good
fortune in discovering individuals who possessed keen minds and
similar tastes apparently continued; in mid-October, he wrote that he
"had some contacts of a musical nature which will interest you when
I am able to tell you about them."138 Martin also noted that he and
several of his new acquaintances regularly spent evenings doing
quizzes from a quiz book, and occasionally invented some of their
own.139
Christmas Day of 1944 found Martin and his fellow troops
entertaining several dozen French orphans at an afternoon party
complete with presents, tree, candy, Santa Claus, music, and games.
He and Howard Silberer took turns playing Christmas carols on the
piano for the children to sing, and were pleased that the youngsters
knew so many of the same pieces as the Americans. When playing
the "Cantique de Noel," Martin noted that he and Silberer had
138 Warren Martin, "Somewhere in France," to "Family," Galeton, PA, 14

139 Warren Martin, [no city], France, to "Family," Galeton, PA, 28
182
difficulty because the youngsters "knew it in a rhythm which taxed
Howard's and my abilities to keep up with them."140
In late January of 1945, Martin and Silberer, joined by singer
Robert DeVos and violinist Raphael Faraco, performed for hospital
patients in a program under the auspices of the Red Cross. In
addition to works by Beethoven, Schubert, Handel, and Tchaikovsky,
the concert included "light classical" songs, improvisations by Martin
on "Night and Day" and a Tchaikovsky piano concerto theme as
suggested by the audience, and ended with "group singing out of the
army 'Hit Kit' with Howard and [Martin] accompanying with great
gusto at the piano and organ together, taking turns at each."141
Martin's letters during this latter period of the war were often
filled with lengthy discussions about music and literature, and about
the im portant place that the fine arts occupied within society. He
often compared his specific ideas and general concepts with those of
the "contacts of a musical nature" mentioned above, and relished the


183
opportunity to share his philosophies with the group of four or five
other men whose high intellect and thoughtful expressionism he
clearly respected. It was not unusual for Martin to fill eight to
twelve pages of writing paper at one time with his deepest thoughts
regarding music and the other arts. One example offers comparisons
of his and others’ ideas about the nature of art, the purpose of an
artist-creator, the need of the common man for art, and the capacity
of the common man to appreciate art. A lengthy extraction follows:
I go way out on a limb and claim that in art, as in any field of

expression or thought which is not made up of facts alone, there
are vast fields, possibilities, potentialities, outside the average
comprehension of the common man, and further, outside the
skilled comprehension of the "chosen few" who are highly gifted
and sensitive and learned, and further still, outside the
comprehension of mortal man—a fourth dimension, if you will. I
believe that for all the arts there exist perfect ideals which are
quite unattainable, just as infinity in time or space is unattainable,
to us. And I believe that the aim of any man in the artistic world
(taking that by itself—it is only part of life) is to try to find and
approach these ideals to the extent that intelligence and
inspiration and intuition and experience allow. I see the need of
the average m an for art as a very real need, and also as a great
problem, which must not deter those farther along the artistic
road from improving themselves, even though they benefit said
average man, themselves, and art itself, by stopping to help him
to start on the same journey. I see the "chosen few" as separated
from the "masses" not because they have something unique, but
because they have more of it. I see no reason why they must
yield their position just because it is not that of the majority. It
will not be possible under the most propitious circumstances for
184
every man and woman to equally share in the wonders of a r t -

some have not the inherent qualities and some will be held back
by their own inertia or by outside influences. But some (to take
the field of music) will become music lovers; some will become
musicians; some will become uniquely great musicians; and there
will be from time to time a Beethoven, a Bach or a Mozart who so
nearly approaches the limits of m an’s appreciation of the infinite
and incomprehensible artistic ideal that these individuals take on
almost the aspect of divinity, of other-worldliness, themselves.
Yes, I say that art is above man—that there must necessarily be an
artistic aristocracy of those who have worked so intensely to
pursue art that they breathe a different air from the common
man, and seem to be separated from him—that there are degrees,
from the least to the highest, and that the highest is still not as
high as art. The reason that I usually take the position of
belittling the "masses," etc., etc., is that I am dead certain that
there will always be throngs of supporters for [one of his other
friend's] and your beliefs in the importance of art as functional
and in the value of "doing," and even a round number who will
adopt [yet another friend's] concept of the progressively artistic
life as the most desirable philosophy, but that there are too few
who will champion the all-out consecration of mind, emotion and
spirit to the pilgrimage toward an illimitable, extra-terrestrial
artistic ideal.142
Martin then added, "if I have been too, too foggy, which could
easily happen when I am talking about something which means so
much to me, then tell me . . . " He encouraged his friend to "tear
down or make hash" of his thoughts in any way he chose.143 Letters
142 Warren Martin, Lison, France, to Lyman Bodman, [no location], 16

May 1945 in possession of author, Phoenix, AZ.
143 Ibid.
185
that followed continued the dialogue about art, and added new and
thoughtful discussion with each writing. Clearly, the philosophical
ideas he articulated continue to be expressed and debated today.
Regardless, Martin wrote an impressive number of letters during the
war. Between 1 May and 14 June 1945 alone, he reported writing a
total of forty-six letters.144
In May of 1945, Martin happily reported his promotion to the
rank of Staff Sergeant. He added, "The increase in pay will be most
welcome."145
Soon after his arrival in France, Martin and several other men
formed a quartet that was ostensibly "just for fun," but nevertheless
allowed the singers to concentrate on quality literature. Martin
noted that "the choice of music is limited by the music available, of
course."146 While in France, Martin was afforded some credible
performance opportunities. He accompanied and played solo piano
144 Warren Martin, lison, France, to Lyman Bodman, [no location], 14

145 Warren Martin, Lison, France, to "Family," Galeton, PA, 24 May 1945,

186
selections on a violin recital at the Delam Club in Cherbourg that
included works by Frederic Chopin, Warren Martin, Wolfgang Mozart,
Maurice Ravel, and Francesco Veracini.147 Problems with the
overhead lighting in the hall during the concert were overcome by a
"corps of flashlight wielders," soldiers from the audience, who came
forward when needed. Martin wrote "We kept going in true
professional style, and played the best we have played for a long
time."148 He reported giving a number of concerts both in the
Municipal Theatre and the Grand Salon of the Mayor’s Office at
Cherbourg.149 He also mentioned the possibility of being sent to
London to accompany a Richard Neumann piano quintet on an
American chamber music program, and he looked forward to making
"a valuable connection." Unfortunately for Martin, the event does not
appear to have taken place.150

April 1945, in possession of author, Phoenix, AZ.
148 Warren Martin, [no city], France, to "Family," Galeton, PA, 26 April
149 W anen Martin to "Family," 12 May 1945.

187
The friendships that Martin formed were not limited to
personnel of the army. In January of 1945, he described a birthday
party for two of his army friends at the humble home of the
Dessoliers, "a French family consisting of elderly M. Dessolier, who is
one of the leading singers at the church, his plump wife, his plump,
exuberant 24-year-old daughter Therese, and his thin, small, 16-
year-old undernourished son Rene."151 In addition to the cakes
baked by the army cook for soldiers having birthdays and brought
by the men to the party, Martin described the food as consisting of a
can of pineapple, some cheese, crackers, candy, nuts, French bread,
cider, a rice molded pudding with burnt srgar sauce, and barley
coffee "served in china cups."152
Two months later, he wrote of a recent acquaintance with the
Rosette family. The father was an optician, the eighteen-year-old
son a violinist, and the mother a former singer. One afternoon, he
spent several hours practicing on their "fine baby grand piano,"
working on Debussy selections and a sonatina that he was writing.
151 Warren Martin to "Family," 28 January 1945.
152 Ibid.
188
He described their living room as having immense pictures and
mirrors on the walls, and "little pictures and doodads filling every
available nook and cra n n y . . . In the glass bookcase, along with many
tomes large and small, and quite a few curios, is a big bound set of
'L'Hlustration.'"153 He seemed somewhat taken by the Rossette's
home and later sent pictures of its interior to his family. He wrote,
"Notice the wood-carving—every bit of the house is pleasantly over
decorated." 154
By February of 1945, members of Martin's organization were
beginning to receive passes to visit Paris. He expressed optimism
that "one will come my way before very long," and excitedly looked
forward to the trip. Because he had been there with the
Westminster Choir in 1934, Martin was already familiar with the
city's best-known tourist sights. Because he now "knew so much
153 Warren Martin, [no city], France, to Esther Martin, Galeton, PA, 2
154 Warren Martin, [no city], France, to "Mother," Galeton, PA, 27 March
1945, in possession o f author, Phoenix, AZ.
189
more about Europe and things European," he was confident that he
would derive much more out of the excursion than previously.155
Martin's long-awaited pass for his visit to Paris finally arrived
in July of 1945. He was able to experience the grandeur of music in
the city's great cathedrals, and to become acquainted with organists
in the churches there. Martin mentioned attending masses at Saint
Sulpice, Saint Germain des Pres, Saint Clothilde, and Notre Dame, and
offered descriptions of the music, musicians, and famous organs.156
He and an army buddy "rode many miles on the Metro" and walked
innumerable miles in an effort to visit important sites. Although
they did see a Bette Davis film and paid a visit to the aquarium at
the Trocadero, Martin disappointedly reported that "there were no
musical events while we were there," and expressed frustration that,
while browsing in the music shops, he was "unable to speak enough
French to ask for all the things [he] wanted to see."157

February 1945, in possession of author, Phoenix, AZ.
156 Warren Martin, Lison, France, to Lyman Bodman [no location], 24

157 Warren Martin, Lison, France, to "Family," Galeton, PA, 2 August 1945,
190
A second trip to Paris offered more musical excitement for
Martin. He fortuitously happened by the Paris Conservatory as an
orchestral concert was being broadcast over the radio and managed
to talk his way inside the auditorium. Martin wrote, "I sat
enthralled—the sound of a real live orchestra was a thrill after I have
been starved for music for so long. They played an overture, a
symphony and some sort of a theme and variations, all unfamiliar to
me."158 On this trip, he was able to get a ticket for a performance of
Boris Godounov at the Paris Opera. He critiqued, "The performance
was as good as those at the [New York] Metropolitan, better in some
respects (diction of the singers, quality of singers chosen for minor
roles, co-operation of all concerned.)"159 After seeing the
Moussorgsky work, Martin decided that he would place it in his
group of favorite operas, "along with Wagner's Die Meistersinger,
Verdi’s Othello, and Mozart’s Don Giovanni."160
158 Warren Martin, lison, France, to "Family," Galeton, PA, 19 August

159 Ibid.
160 Ibid.
191
During an excursion to Switzerland, Martin wrote excitedly
about an impending meeting with Robert Denzler, whom he
described as "one of the leading Swiss musicians, conductor of the
Zurich Stadt-Theatre and guest conductor at Salzburg."161 Denzler
was apparently the father-in-law of one of Martin's prisoners of war.
Although he was looking forward to the visit, Martin was convinced
that ultimately it would be merely hurried and awkward. He wrote,
T il have no time to really get acquainted and my introduction to
them (through the PW whose status is virtually one of slavery) is
under such curious circumstances."162
Martin was anxious to take advantage of his proximity to the
plethora of music shops in Paris. After the Axis powers surrendered
in May 1945, the economy in former Allies countries began to surge.
Martin noted that "the prices are rocketing, so I guess I won't get as
much music over here as I had planned."163 Nevertheless, he
described visits to Durand and Max Esch, where—for twenty dollars—
161 Warren Martin, Lucerne, Switzerland, to Lyman Bodman, [no

location], 23 September 1945, in possession of author, Phoenix, AZ.
162 Ibid.
192
he purchased music written by J. S. Bach, Maurice Ravel, Paul Dukas,
Arthur Honnegar, Paul Hindemith, Darius Milhaud, Francis Poulenc,
Erik Satie, Igor Stravinsky, and Alexandre Tansman.164
Notwithstanding his army duties, Martin found sufficient time
for composing. In December of 1944, he mentioned work on a piano
piece for his friend Howard Silberer, and plans for a nocturne for
voices and organ.165 He soon completed a piece for male quartet,
using the text from Ogden Nash's "Coffee with the Meal."166 He also
reported making progress on a collection of "twenty-four sonatinas in
the major and minor keys." Martin had been working on one of the
sonatinas while stationed at Lanark, Illinois. Although originally
conceived as a work for piano and chorus, it had evolved into a piece
in three sections for mezzo soprano and Hammond organ: "Mary,
Mary, quite contrary," Star light, star bright," and "One two, Button
my shoe."167 He described the finale:
164 Warren Martin to Lyman Bodman, 24 July 1945.

165 Warren Martin to "Family," 23 December 1944.
166 Warren Martin to "Family," 29 December 1944.
167 Warren Martin to Lyman Bodman, 26 May 1945.

193
At the end I put my last two tunes together in the organ part and
the singer sings "Hickory dickory, buckle my shoe, Mouse ran up
and shut the door, The clock struck one, the mouse ran down, One,
two, three, four, five, six, seven, eight, nine, ten, a good fat hen—a
good fat hen—a g-o-o-d f-a-a-a-t h-e-e-e-n!" Sometime I hope
Frances [Warren Haynes] will sing this to the austere members of
the Dominant Club of Los Angeles.168
Another sonatina, for violin and piano, began as a work for
piano, but Martin toyed with the merits of writing it instead for two
pianos, piano and string quartet, violin and viola and piano, and viola
and piano—all before he crystalized it into its final form for violin
and piano.169 Still another sonatina was written for cello. Martin
wrote, "The cello sonatina is taking shape—too slowly to crow about.
It's so hard to get away from radios and other distractions. I have
put enough notes on paper to make half a dozen cello sonatinas."170
Two weeks later—in spite of interferences—he reported, "My cello
sonatina is finished. I've already sent it back to the States."171
168 Warren Martin, Lison, France, to "Family," Galeton, PA, 9 July 1945,
169 Warren Martin to Lyman Bodman, 22 April 1945.

170 Warren Martin to Lyman Bodman, 14 June 1945.
194
He outlined plans to continue the set of twenty-four pieces
with a sonatina in the key of g minor for violin and viola. It was
subtitled, "Satire in Four Dialogues." The sections personified Lyman
Bodman, Warren Martin, and two of Martin's other friends; the violin
represented Art, and the viola represented the Common Man.172
Another work still forming in Martin’s imagination was inspired by
the literary works of Donne, Rubaiyat, Whitman, Shelley, Tennyson,
Dante, and the Book of Ecclesiastes. It was intended to contrast the
various concepts of death. Martin surmised that it would be either "a
big cantata, or a song cycle."173 He described the compositional style
toward which he was aiming as "most closely allied to that of Bartok,
Hindemith and, with reservations, Piston."174
Martin worked hard to keep his musicianship skills intact.
After selecting a group of organ pieces that he thought would
comprise a good recital program, he set about memorizing the scores.

195
He wrote, "I memorize away from an instrument and with the radio
going, which requires real concentration."175 He later wrote that he
was "doing little things to keep in touch with music, such as listening
to good radio broadcasts when I have the radio to myself."176
In August of 1945, Martin applied for a two-month course at
Trinity College of Music in England. The course was one of many
offered by the Army Information and Education Program in
cooperation with universities and schools in England and on the
Continent. He wrote, "If it should be approved, I'll have a chance to
see something of England, to refresh myself musically, and so forth,
which will be, as one of our PWs said, ’Wunderbar O.K.'"177 There is
no further mention of the course in Martin's correspondence.
Following the cessation of combat in Europe, Martin had more
free time. He relished visits throughout the French countryside, and
wrote comparatively about the farms, animals, and people there and
175 Warren Martin,[no city], France, to "Family," Galeton, PA, 16

176 Warren Martin, Lison, France, to "Family," Galeton, PA, 16 October

177 Warren Martin, [no city], France, to "Family," Galeton, PA, 30 August
196
back at his home in Galeton. He also observed the preponderance of
mosquitoes, writing, "These French mosquitoes are truly the largest
I have seen—so far I have not been bitten by one that I know of, but
their general resemblance to pterodactyls is so striking that they
seem unworthy to live in this civilized age."178
The end of the war in Europe generated serious thoughts in
Martin's mind about his post-war plans. In the summer of 1945,
Leslie Jacobs wrote to Martin inquiring about the timing of the
latter's discharge from the army and the level of his interest in
returning to the First Congregational Church. Martin’s response was
that, even though he expected to be in the army for many more
months, he was "interested in coming back to the church if
circumstances are favorable."179 One month earlier, he had indicated
that his immediate, post-discharge plan would entail going home to
Pennsylvania for a very short visit before heading straight to
California. Once there, he intended to "take a job at the First
Congregational Church if one is open, or the first musical job that I
178 Warren Martin, Lison, France, to "Family," Galeton, PA, 31 August


197
can get that doesn't bind me to it for too long a period by written or
verbal contract."180 Because his interests were so broad, Martin was
reluctant to commit himself for too long a period to any one job or to
any specific facet of music. Although it was clear that he would need
employment as quickly as possible, he was anxious to keep his
options open for possibilities other than church music. He wrote, "I
am not sure of getting a job immediately on my return, although I
have complete confidence in my musical ability and am sure I will do
better than before, once I am in the swim [sic] again."181
He was pleased to learn from Olive Brockett that Howard
Swann, head of the music department at Occidental College, was
inquiring about him, including when Martin would be discharged
from the army.182 Martin expressed strong interest in the faculty
organ position a t Occidental College. However, still another aspect of

181 Warren Martin, Lison, France, to "Family, and in particular JK,"
Galeton, PA, 16 June 1945, in possession of author, Phoenix, AZ.

August 1945, in possession of author, Phoenix, AZ. Barbara Caler Bird was
Howard Swann’s secretary at Occidental College.
198
music was tugging at Martin: the desire to pursue piano study. He
explained his goal to make piano his main instrument:
I fully intend to start in being a real pianist after the war is over.
Up to the present time I have achieved what success at the piano
has been possible by a variety of means, none of them quite
legitimate. A strong statement? Well, here's how it is. For many
years I stunned and astounded my doting admirers by being a
semi-prodigy and by having learned to play the piano more or
less by myself. But after a while, when a prodigy is growed [sic]
up, that gag doesn't go over any more, and besides the cruel cold
world is only mildly interested in how one has learned to play the
piano—they are interested in the results. So, my next step was to
take advantage of various natural and cultivated talents such as
extra special sightreading, consummate bluffing, clever showing
off, and others. That too is good as far as it goes. But sooner or
later, unless a pianist confines his activities to a rather narrow
field, he comes up against many fine pianists who are possessed of
(1) sound, thorough, adequate technic; (2) large and varied
memorized repertoire; and (3) authoritative style and
interpretation. All of these things come in one way o n ly -
continued hard study, intelligently directed. And that is what I
intend to find a place for after the war is over.183
Since a comparatively small num ber of musicians pursued
piano careers as members of duo-piano teams or chamber music
groups, or as coach-accompanists, Martin also gave serious thought to
capitalizing on one of these aspects of piano performance. He
believed that public interest was growing in two-piano playing, and

199
that Los Angeles and the West Coast had more opportunities along
this line than the East.184
Martin wrote to his family about the possibility of pursuing a
doctoral program following his return to the United States—although
he expressed reservations about people's acceptance of his master's
degree from Westminster. Presuming its credibility, he outlined his
thoughts: Harvard offered organ study with E. Power Biggs, whom
Martin believed was one of the country's two best (the other being
Carl Weinrich), composition with "another excellent man," and a
chance to hear Boston Symphony concerts; Columbia University
provided a wide range of subjects and teachers from which to choose,
as well as close proximity to New York City's music and theatre
activities; and the Eastman School of Music boasted an exceptional
music library, outstanding equipment, ample practice rooms, and an
emphasis on modern music and the playing of student compositions.
Martin's musings also included the option of going to school in
California or elsewhere to "just [study] what I want to study, not for

200
a degree, and to have a job on the side."185 Following further
investigation into the doctoral matter, Martin wrote, "To date, my
information about going to school reveals that Westminster credits
would not be accepted by any of the places where I would want to go
full time . . . [therefore], it seems best to me to consider the education
as secondary for the time being."186
In late fall of 1945, Martin wrote, "little by little I'm gathering
myself together for a frontal attack on civilian life .. .187 He
predicted that he would leave Europe for the United States by late
January or early February, although others around him were hopeful
for an earlier return. He remarked, "Time moves slowly here, but
not unpleasantly."188 In mid-November, he indicated that he and two
others in his unit would join the 89th Infantry Division in a matter of
days, and nam ed 28 November 1945 as the "readiness date" for
185 Warren Martin, France, to "Family," Galeton, PA, 29 November 1944,

187 Warren Martin, Lison, France, to "Family," Galeton, PA, 10 November
188 Ibid.
201
departure from Europe with that group.189 In early December,
Martin wrote of the stresses brought on by the endless rumors and
incessant waiting surrounding their imminent departure. He passed
the time by memorizing music.190
By January 1946, Martin had arrived back in the United States.
In a letter written during a lengthy waiting period at New Jersey's
Camp Kilmer, he described his return trip from France on the United
States aircraft carrier Wasp—a journey that took ten days instead of
five because of storms.191 One incident involved Martin’s
volunteering to play the Hammond organ aboard the ship in
exchange for removal from extra duty in other areas. His lengthy
description of the occurrence reveals a deep passion for music and an
honest frustration with those who did not understand the music
profession:
I played now and then, more to get some notes under my eyes
and some keys under my fingers than for any other reason. Some
189 Warren Martin, lison, France, to "Family," Galeton, PA, 16 November
190 Warren Martin, Camp Twenty Grand, France, to "Haybrock" [Olive

Brockett, Frances Warren Haynes, John Burke], Los Angeles, CA, 3 December
191 Warren Martin, Camp Kilmer, NJ, to "Family," 6 January 1946, in

202
were enthusiastic—some were apathetic—some yelled to me to

stop. Definitely a different atmosphere from the Consistory at
Coudersport. I played anything and everything—as well as I could
considering that much of the time the ship was rocking so that I
could scarcely keep my seat, much less hit a majority of the right
notes with precision. Well, the chaplain sent a note to my first
sergeant, and the first sergeant put me on guard—not once but
thrice. The chaplain would ask me why I didn't play the organ
and I would say I was on guard and he would hum and hah and
say that he had sent a note and I would say my 1st sergeant
ignored it and he would hum and hah some more. It wasn't that
the guard duty was arduous . . . it was the PRINCIPLE OF THE
THING. I am willing to work hard when there is need for my
particular talents and when the work to be done is distributed
fairly among the available workers. There was a double issu e -
first the fairness of the thing, which was violated by the 1st
sergeant playing me for a sucker and the chaplain accepting my
continued services without lifting more than half a finger to fulfill
his p art of the bargain—second the delicate, but to me more
important, m atter of the tacit assumption on both the chaplain's
and 1st sergeant's parts that playing the organ was after all fun
and that it was silly to think of it as work, whereas it is one
necessary aim of a musician to dignify his profession by insisting
that credit be given, not necessarily to his present efforts, which
may be small, but to the hard work which has raised him to his
present degree of efficiency—just as doctors, lawyers, etc., charge
fees often out of keeping with the particular amount of mental or
physical work done but well in keeping with the years of work
which have made their words and actions trustworthy. A small
incident, this one of the organ playing and the guard duty, but it is
a small indication of the large state of affairs presently existing
which causes many musicians and other artists in various fields,
and most teachers, to be grossly underpaid and undervalued.192
192 Ibid.
203
Clearly, Martin believed that his chosen profession as a
performing musician was of great value to society. In the same way,
he held strong beliefs about the intrinsic value of trustworthy,
efficient, and experienced musicians to the teaching industry. Years
later, he cited his interest in contributing to an overall learning
venue so that others might have opportunities for high-quality
training as the "one main reason for my selecting teaching rather
than a more lucrative musical field."193
After nearly five years of military duty, Martin was discharged
from the United States Army on 15 January 1946.194 During the
earlier stateside period of his enlistment, Martin's activities were
regularly and descriptively documented in his voluminous
correspondence. Following his arrival in Europe, however, his actual
military responsibilities are rarely mentioned in the surviving
correspondence. Likewise, epistolary discussions between Martin
and his writing partners that might reveal his thoughts and opinions
about the war and its global devastation are absent. Although
193 Warren Martin, "Biographical and Professional Information form," 1

November 1958, Westminster Choir College.
194 Discharge document, 15 January 1946.
204
correspondence from his early years in Los Angeles indicated that
Martin approached his military obligations somewhat dutifully, his
close friend, Lyman Bodman, does not recall ever hearing Martin
discuss the tremendous ramifications of World War II on the global
community with a fervor equal in intensity to that with which he
thought, wrote, or spoke about music. Bodman also stated that
Martin disliked politics, did not read newspapers, and never once
voted in an election.195 Clearly, despite the productive years that
Martin surrendered to wartime pursuits, the man remained a single-
minded musician through everything—including a world war.
The Return to Los Angeles
Upon his arrival in Los Angeles, Martin wrote that "I put on
civilian clothes for the first time, and it was a wonderful sensation—
especially the white shirt."196 He expected to have his old job back
195 Lyman Bodman, Telephone interview by Christopher Samuel, 18 July

196 Warren Martin, Los Angeles, to "Family," Galeton, PA, 16 January

205
soon, and thought that he also might do some part-time school work
at the University of Southern California:
My general plan is to get enough credits to eventually make my

Master's Degree legitimate so that I could teach in a university if
the occasion arises. As it is I doubt if Westminster's credits would
be accepted. In the immediate future I will work on getting back
in shape musically (piano and organ), renewing old contacts,
getting clothes, and so forth.197
During Martin's tour of duty, his good friend from Westminster,
John Burke, had been hired as organist at First Congregational Church
in Martin's absence. In addition, at Martin's encouragement, Burke
had taken up residence at "Haybrock," the home of Frances Warren
Haynes and Edith Brockett. Because the two women exercised so
much influence on Martin's life, Burke believed that his former
classmate wanted him to experience the benefit of their guidance as
well.198
Understandably, Martin had some concerns about what he
would find upon his return to Los Angeles. He was pleased to report
the following:
197 Ibid.
206
Olive and Frances seem absolutely the same as ever. John is more
m ature and sure of himself. The eager, sensitive boy that I knew
at Westminster has become an assured, energetic adult. It's too
early to say whether there will be any conflict between John and
me for the spot of chief favorite of Haybrock—I think Olive and
Frances have enough endurance and good will to get along with
both of us high-powered personalities at one and the same
time.199
Martin did feel some anxiety about his return to professional
life. He found it a "wee bit harder to get going again," and was
surprised that the transition was more difficult than he had
anticipated. The "supreme confidence" that he had in himself during
his latter months in the army—confidence in what he could do, and
the speed and accuracy with which he could "do" music and
everything related to it—had lessened. Martin wrote that his
confidence "seemed to want to ooze away when I come face to face
with John and others who are doing big things right now. But that is
only temporary."200 Olive Brockett observed that Martin appeared
"quite nervous" during initial performances after his return from the

200 Ibid.
207
war, but within a short time wrote that "his technic is much better
than when he went away."201
Even though Martin's job at First Congregational Church was
assured because of the prerogative given to veterans for their pre
war positions, he did not return to the same pleasant situation that
he had left five years earlier:
John came out originally partly on my recommendation. At first

he was conspicuously unsuccessful, and Mr. Jacobs was very mean
to him. Then he girded his loins together and, with Olive's and
Frances' urging, planted himself on his own two feet and
proceeded to make good. Mr. Jacobs was still antagonistic, having
once decided the boy was no good and not wishing to retract.
John made a hit with the church and Dr. Fifield, at the same time
as Mr. Jacobs began a pronounced decline.202
As discussed earlier, Arthur Leslie Jacobs was endowed with
outstanding administrative skills, but he was not as strong in basic
musicianship. The great musical events that he had managed to
initiate at the church were effective in bringing positive attention to
the church's musical outreach, but his musical abilities could not
keep pace. Burke recalled:
201 Olive Brockett, Los Angeles, CA, to Gertrude Martin, Galeton, PA, 11
202 Warren Martin, Los Angeles, to ’'Family," Galeton, PA, 23 January

208
Here we were with the Los Angeles Philharmonic, and with me at

the piano. We didn't have harpsichords in those days and weren't
yet doing the continuo part on the organ. And here was this fine
orchestra and they all knew—they'd gotten his num ber—that I was
the one who kept the thing together. They just followed the
continuo beat and so forth because here was Mr. Jacobs in 12/8
conducting it in 3/4 and then he would get back into 4 /4 and then
he would get lost. He didn’t know anything. He could give no cues
to anybody. They all knew it and so they just kept it going—and
we would carry it through . . . It was a horrible stress. I got to the
point where I would dread doing it.203
Because of Martin's imminent return to First Congregational
Church, John Burke accepted a job four blocks away as Director of
Music for the First Baptist Church of Los Angeles. When Burke
tendered his resignation to Dr. Fifield, the senior minister was
immensely distraught. He told Burke, "you are the person that I
have in mind for this job when I can find Mr. Jacobs another job!"204
Martin confirmed the complicated situation to his family:
John then g o t . . . this excellent organist-director job at the First

Baptist at $325 a month, and Olive and Frances were accused of
having lured him away—Dr. Fifield was by that time very anxious
to keep him, and even hinted that the time might come when Mr.
Jacobs would no longer be around and John would have the
opportunity to step into his shoes. So now Olive, still working at
the church as head of the office force but not working for Mr.
Jacobs at all, is not at all friendly with Mr. Jacobs, due 99% to Mr.

204 Ibid.
20 9
Jacobs' mistreatment of John—and choir members have left the

Congregational to go to the Baptist Church and sing under John—
and certain friends of Mr. Jacobs have continued to try to poison
Dr. Fifield1s mind against Olive and Frances and John—and now I
come back plumb into the middle of things.205
The situation was further complicated by the presence of yet
another organist on the staff. Marian Reiff [Craighead], also a
graduate of Westminster Choir College, had been hired during the
war to assist with the m any demands of the church's large music
program. Martin explained:
Mr. Jacobs engaged this new girl organist for the past year with
the vague understanding that she could count on at least two
years tenure, and my return puts her out in the street, so to
speak. She, being good, has naturally acquired a following, and
there is confusion in people's minds as to the fairness of keeping
her since she had that understanding and the fairness of taking
me on as a returned veteran .. .206
Most frustrating of all to Martin were the personal attacks and
unprofessional intrigues that permeated the situation. He was
pressured by the senior minister—probably at Jacobs' instigation—not
to live at Haybrock, no doubt to avoid the "contaminating influence"
of those suspected of doing harm to Jacobs. Martin remained

206 Ibid.
210
adam ant that he would live where he chose, and believed that he
was able to prove professional loyalty to Jacobs and to his job just as
soon as he was able to return. At the same time, his sympathies did
not lie with his superior's deteriorating professional situation.
Martin believed that Jacobs had caused his own gradual downfall,
and then had accelerated it by fomenting and encouraging intrigues
against the residents of Haybrock. Martin acknowledged that it must
have been a "bitter pill for [Jacobs] to swallow" for him to observe
Burke flourishing in contrast to his own decline. Martin predicted:
My next few months at the church will not be nearly as pleasant

as my time spent there before I left—but I am not worried about
being able to hold my own. I shall support Mr. Jacobs in the letter
if not the spirit of the law, until he turns against me (if he does),
in which case I shall look out for Warren Martin. What a pity that
such political intriguing should go on in a church!207
By mid-March, Martin was still having to share the organist
position with Marian Reiff. He outlined their respective situations:
Reiff remained as chief organist until her departure, and Martin
continued on the staff, at the partial salary of $150 per month. He
would continue to work in a part-time capacity until Reiff resigned,
207 Ibid.
211
at which time he would take over at $200 per month—with the
promise of an additional increase. Martin indicated to his family, "If
it becomes certain that she will not leave until summer, I'll probably
come home before that time, while she is still around to handle
everything. She is an excellent organist, by the way."208
Even without the obligations inherent in full-time work at the
church, Martin's schedule was full. He found himself in the midst of
preparing for two organ recitals, studying piano privately with "an
elderly woman who has taught some of the best local pianists,"
taking voice lessons with Frances Haynes, coaching and teaching
theory to his own private students to "bring in some money on the
side," composing "a few choral things" for Jacobs and the Cathedral
Choir, performing in a recorder group once every two weeks,
collaborating with another pianist on a two-piano sonata for the
Modem Music Festival, and attending various concerts. Even though
Martin found it "almost impossible to work everything in," he was
absolutely determ ined to focus on his piano studies. He predicted, "If
208 Warren Martin, Los Angeles, to "Family," Galeton, PA, 14 March 1946,
212
I am ever to become a real pianist, now is the time." 209 Martin's
piano teacher was Elma Schonbach, who was also the choir
accompanist at the posh Marlboro School, a private girl’s academy
that catered to the educational and social needs of ultra-affluent
families in the area.210
Martin relayed an interesting offer from Westminster Choir
College president John Finley Williamson:
Dr. Williamson continues to keep after me about teaching at

Westminster. When I talked to him over the phone I told him
that I was already sewed up for the job here for next y e a r .. . [ , ]
that I am still interested in coming back to Westminster, but that
I would not consider it until the fall of 1948, and would not care
to commit myself definitely concerning it until the winter of
1947-48. Then, if they really want me, they will wait for me—and
I can continue to improve myself musically and begin building a
nam e for myself out here. Also, I’m waiting to hear them mention
cold, hard cash. Dr. Williamson is one to talk in rosy
generalities.211
Martin also shared the "deep, dark secret" that Leslie Jacobs
expected to give up his job at the end of choir season. Martin
209 Ibid.
210 John Burke, telephone interview, 14 June 1997. Elma Schonbach, a
native of Bluefield, West Virginia, was married to Sanford Schonbach, the first
chair violist in the Los Angeles Philharmonic. At the Marlboro School, she
worked with Ruth Kriebiel Jacobs, the eventual founder of the Choristers Guild
organization. Ruth Jacobs was married to Arthur Leslie Jacobs, Martin's
immediate supervisor at the First Congregational Church.
211 Warren Martin to "Family," 14 March 1946.
213
believed that his odds for stepping into the position were "about one
chance in a hundred."212
In March of 1946, Martin gave his first organ recital since his
return from the war. The program included works by J. S. Bach,
Rayner Brown, Giuseppe Verdi, Olivier Messiaen, and his own
arrangem ent of Modest Moussorgsky's Pictures from an Exhibition,213
The audience numbered 291, which pleased Martin, because the
group included many people whom Martin "very much wanted to be
there." Although he had sent out 2,000 printed postcards
announcing the recital, he believed that the response demonstrated
the "percentage of attendance one can expect for one’s advertising in
Los Angeles."214 For the Verdi selection, Martin engaged two singers,
Fern Sayre and Clemence Gifford:
I paid each of the singers $25—1could have gotten Fern for le: s or
for nothing, since she is one of the church soloists, but that
wouldn’t have been fair. I wanted this first plunge of mine (after
my return) to be "right," and I spared no effort to make it so. I
am out to make a name for myself, not just for the sake of the
212 Ibid.
213 First Congregational Church, Concert program, Los Angeles, 24
214
name bu t in order that I may eventually reach the things I most

want to do and have some money to "turn around with," as Olive
says. I hope that my bringing the practical note into an artistic
project will not make you think I've lost my idealism or anything
like that. In farming you must wade through endless drudgery in
order to enjoy the fruits of a sylvan existence—in music, in a big
city, you must wade through publicity, politics and assorted
m undane matters in order to get anywhere artistically. In these
days you can build a better mouse trap and sit back and wait—and
it will just rust.215
Easter Sunday was predictably busy for Martin. He confessed
that by the time he sang in one service, conducted part of another
one, and played for three more at the First Congregational C hurch-
then attended two services at the First Baptist Church (where his
friend, John Burke was employed)—Easter Day became "something to
be recovered from."216
The paschal services apparently attracted capacity crowds. In
a description of the Easter Eve midnight service, Martin's satisfaction
at the success of the well-crafted worship event is clear:
I came to the eleven o'clock service and sat in the back balcony to
hear the choir sing excerpts from the Bach Passion according to St.
Matthew, and then went up into the chancel afterwards to conduct
my own Easter Alleluia. This piece was an "occasional piece"
written especially for the given spot. After the choir finished the
215 Ibid.
216 Warren Martin, Los Angeles, to "Family," Galeton, PA, 23 April 1946,
215
Bach, Dr. Fifield arose to give a prayer. During the prayer Marian
began playing the organ, slowly and solemnly. After the prayer
the organ gradually built up and the tempo increased. Then the
trum pets played a fanfare, and the flame (controlled from a gas
jet behind the altar screen) burst forth. Then the choir came in
with joyful Alleluias, later reinforced by the trumpets and full
organ. The thing went off very smoothly and effectively, and I
was pleased with the way the choir and the young trumpeters and
Marian responded to what I wanted to do. I lingered behind the
chancel screen while Mr. Jacobs conducted the closing anthem, and
then I conducted the organ and trumpets in the closing
processional (to keep a steady pulse going) while the choir and
Mr. Jacobs recessed.217
Martin also noted that the baptismal service, which he found most
enjoyable—and which demonstrated evidence of the beginning of the
post-war "Baby Boom"—involved "fifty or so infants being brought up
to the altar by their proud parents to be baptized."218
On Easter night, Martin, Olive Brockett, and Frances Warren
Haynes attended John Burke's "Festival of Light" service at nearby
First Baptist Church. Martin's description of the service, along with
that of his own service as recorded above, gives the reader a glimpse
of the style of worship that was developing in the large and
im portant California churches following the war:
217 Ibid.
218 Ibid.
216
On Easter night we went to hear his Festival of Light, which was a

musical service using all sorts of effective arrangements of
candlelight and tableaux. The first number, which sounds
Hollywoodish but was most effective and not a bit cheap, was a
Russian anthem with solo baritone chanting against a choir
background. John had the whole church darkened and placed the
choir on the side balconies and conducted with a lighted wand
from the back balcony, with the soloist placed high up in the back
balcony—it was very exciting. Later the choir went downstairs
and processed in to their usual place. The tableaux which
illustrated the musical numbers were put on in what I believe is
called the baptistry, the place where the ceremony of baptism is
regularly performed, and which is located back of the choir loft
between the two sections of organ chambers and is framed by a
Gothic arch.219
Martin was pleased by the creativity and efficient organization
that went into producing this service, and he clearly admired the
ingenuity of his friend John Burke. Considering the myriad of
details—including narrators and their coaching, instrumentalists,
vocal soloists, antiphonal choruses, competent acolytes, special
electrical lighting, tableaux rehearsals—that were required to produce
such a festive service, Martin determined: "John did a marvelous job
of putting it all together and giving the thing 'pace/ [and] at the same
219 Ibid.
217
time keeping it worshipful and producing some excellent music. He
has what it takes."220
Martin adm ired a service that blended the elements of drama,
oratory, atmosphere, and relevant music. He had been moved by the
creativity and cohesion of such services since his early
undergraduate years at Westminster, when he had observed and
participated in the Vesper services produced by John Finley
Williamson in the Princeton University Chapel.
Shortly after Easter, Martin was called into senior minister
James Fifield's office for "a little chat," whereupon he was given
sketchy information about the jobs within the music department. It
had been determined with certainty that Jacobs would vacate the
director's position at the end of June, and Fifield was already
formulating plans to interview a number of candidates from the
"east" in hopes of finding a successor. Martin wrote that Fifield "told
me very frankly that while there was a possibility of giving me the
220 Ibid.
218
job, particularly on a temporary basis, it would not be a
probability."221
Martin conveyed his perception about the fate of Leslie Jacobs:
Mr. Jacobs is to be the director of music for the Los Angeles

Federation of Churches, a newly created job and, to say the least,
an ambiguous one. We here at Haybrock think that Dr. Fifield has
exerted his influence to create this job in order that Mr. Jacobs
may be eased out without loss of face. There will be troubles
ahead, whatever the musical set-up is next year, but it is in many
ways a great relief to know that Mr. Jacobs will not be there. One
of these ways, which affects me particularly, is that Mr. Jacobs has
been claiming that Olive has maliciously worked against him and
that specifically she turned John against him and lured him away
to another church. Very silly, and a definite indication that Mr.
Jacobs is not in full possession of his faculties. His failure at the
church is due only to himself. He has had every help, and he has
not been able to make a go of it.222
John Burke later explained how Jacobs was transitioned out of
the director of music position at First Congregational Church. Because
Dr. Fifield's influence extended far beyond his own congregation, he
was able to exert pressure on some of the other ecclesiastical leaders
in the community:
And how to get rid of Mr. Jacobs? He did what he did many times.
He created a job—witii the ministerial association, the Los Angeles
Ministerial Association. He told them, "I want to set up a position
221 Ibid.
222 Ibid.
219
as music departm ent director for the ministerial association and I

will pay—the first year—Arthur Leslie Jacobs' salary if you will
hire him. And from then on, if he can prove himself and it's
worth it, then I will put my full impact on what we give to the
ministerial association and you will have to help with your other
churches to continue the job" . . . It was a great job for Leslie,
because he wasn't conducting. He was administrating. And he did
an excellent job. He got all kinds of area festivals going .. .223
Some months later, an article appeared in a Westminster Choir
College publication announcing that Jacobs had been appointed to the
Church Federation of Los Angeles' director of music post. The job
was described as the "first position of its kind in the country. It will
be Mr. Jacobs' purpose to coordinate the music of some 250 churches
and by helpful education to raise the standard of church music."224
The process to replace Jacobs at First Congregational proceeded
slowly, and for unknown reasons, a new director of music was still
not in place by mid-July of 1946. Consequently, while in San
Anselmo, California—where he spent a week at a Westminster-
related summer school giving a recital and lecturing on hymn playing
and service playing—Martin admitted that "little had been definitely
decided" about the church position. Rather than confusing his family

220
with all the sordid details pertaining to the situation, he conveyed
that it was "probable, but not certain, that [he would] conduct the
choir awhile."225
A fall announcement in the church’s bulletin confirmed
Martin's statement:
Mr. Warren Martin has been appointed Minister of Music under a

plan which reaches to June, 1948. Miss Marian Reiff has been
appointed Organist for the same period. It is a great satisfaction
to have this departm ent stabilized at the high level these two are
maintaining. This announcement will please the Parish generally
and especially the members of the choirs. Plans are under way to
start Boy and Girl Choirs which will have irregular Sunday singing
appointments.226
The music program under Martin was an ambitious one. In
September of 1946, he reported having "81 at choir rehearsal last
Thursday, and 71 singing this morning."227 He continued the Sunday
afternoon concert series that had been well received by the
community in past years. A bulletin announcement read:
225 Warren Martin, San Anselmo, CA, to "Family," Galeton, PA, 16 July
i n Warren Martin, Los Angeles, to "Family," Galeton, PA, [no day]
i
I
221
The Cathedral Choir will sponsor this year a Sunday Afternoon

Concert Series, commencing in October and ending in May—with
four o'clock concerts on the third Sunday of each month.
First event of the series: A joint recital of organ music played
by Marian Reiff and Warren Martin (October 20). Second event:
The final program of the 13th Annual Bach Festival (November
17). Third event: Handel's "Messiah" (December 15).228
The spring semester of the concert series ultimately included
Mendelssohn's Elijah, DuBois's Seven Last Words, Beethoven's Choral
Fantasy, and a Los Angeles premiere of Kodaly's Missa Brevis.229
In addition to the concert series, Martin continued the regular
"Musical Vesper" programs, which varied in content. Smaller
ensembles from the Cathedral Choir, groups of soloists, guest artists,
and the regular accompanying staff provided the music for these
programs. Programming examples included the following: sacred
solos, duets, trios, and quartets; gospel songs, Negro spirituals, and
related poetic readings; Old English madrigals, carols, and airs sung
by Elizabethan-costumed singers (called the "Tudor Singers");

229 First Congregational Church, Miscellaneous service bulletins, Los
Angeles, CA, October 1946-May 1947, in possession of author, Phoenix, AZ.
222
keyboard music originally written for piano, four-hands; and
dramatized excerpts from Mendelssohn's Elijah.2*0
Finding proper attire for the concerts and special programs at
First Congregational Church posed a problem for Martin. Post-war
Los Angeles was temporarily doing without many commodities
because of shortages. Martin conveyed:
At long last I'm getting some suits. After I had almost given up
hope for evening clothes, so necessary for the Bach Festival, etc.
(can't buy any, renting places don't have any to rent, tailors can't
get the right material to make them), Frances dug out of one of
her many trunks an old, old suit of evening clothes in fair
condition—and the tailor who is finishing my dark suit is going to
rem odel it as best he can. The material is excellent—a few tiny
moth holes—I'll have something to tide me over for a while,
anyway.231
The Thirteenth Annual Bach Festival took place on 15-17
November 1946. Martin departed from the established tradition in
which only the Cathedral Choir sang the choral works. This newer
concept not only allowed him more time to rehearse fewer works
with the Cathedral Choir; it brought people from outside the First
Congregational Church community to support the visiting choirs.
230 Ibid.
231 Warren Martin, to "Family," [no day] September 1946.
223
Martin invited two other large churches to participate: the First
Baptist Church of Los Angeles (John Burke, conductor), and the
Cathedral Choir of Immanuel Presbyterian Church, Los Angeles
(Frans Hoffman, conductor). The Saturday afternoon concert
featured a chorus comprised of students from ten junior and four
senior high schools, accompanied by the Los Angeles All-City Junior
and Senior High School Orchestras. These ensembles were under the
auspices of the Music Department of the Los Angeles City Schools.
The Whittier College Chamber Music Orchestra performed on the
Saturday evening concert, and—to accompany the traditional Mass in
B minor—Martin engaged the Women's Symphony of Los Angeles.232
December of 1946 brought with it the usual array of services
and other seasonal performances at First Congregational Church.
Martin reported that the annual rendition of Handel's Messiah had
gone well, and that plans had been solidified for the festive
232 First Congregational Church, Concert program, Los Angeles, CA, 15-
17 November 1946, in possession of author, Phoenix, AZ.
224
Christmas Eve service; violin, cello, and harp would add to the choral
effects with interludes, obbligati, and other special numbers.233
In January of 1947, Martin wrote a meandering letter to his
family in which he discussed a number of different topics. He
expressed a growing fondness for the terrain of the American
Southwest, although not so much that he renounced the streams and
green hills of the East, but enough so that "cactus, Joshua trees, sage
brush and so on is a feast for the eyes instead of an annoyance."234
Martin also revealed that he was growing accustomed to his
new position at the First Congregational Church. He was finding that
the routine of Thursday choir rehearsals and Sunday morning
services had by now become "so much a part" of him that he was
truly enjoying the situation. Apparently, James Fifield was pleased
also. He raised Martin's salary to $400 per month—the amount that
Jacobs had been making at the time of his departure. Martin noted
233 Warren Martin, Los Angeles, to "Fambly" [sic], Galeton, PA, 20

December [1946], in possession of author, Phoenix, AZ.
234 Warren Martin, Los Angeles, to "Family," Galeton, PA, 31 January

225
confidently, "That is as sure a sign as any that [Fifield] is pleased
with what I am doing."235
In his service planning, Martin used many of the basic formats
for worship that had been used during previous years. He also
delighted in making subtle changes that he believed gave a newer,
fuller meaning to the worship atmosphere, or that—at some le v e l-
expressed his philosophies and attitudes about worship or dramatic
presentation. Martin's description of the Easter Eve service provides
an example:
The first portion will be strictly a cappella, including both choral

as well as solo num bers. . . [T]hen the organ, which has until now
been absolutely silent, will burst forth with the agonizing,
dissonant "Jesus is nailed to the cross," from the m odem French
composer Marcel Dupre's "Stations of the Cross;" after that the
program proper will commence . . . I have often thought that the
organ is used so constantly in services and church programs that
it becomes little more than the ever-present and characterless
background music that we have in most radio programs and all
movies—and I have wanted to find just the right spot (other than
in an organ recital) to highlight the organ appropriately—and I
think this is i t .. ,236
235 Ibid.
236 Ibid.
226
The choir schedule was a busy one; the group did not confine
its work solely to the leading of worship services at the church.
Martin detailed:
Last week the choir went to the radio station to record a 15-
m inute transcription which was broadcast last Sunday morning.
We are now at work on the Elijah (Mendelssohn), which we will
present on February 21. On the 2d of March we will join a large
Los Angeles combined choral group which is putting on a program,
with orchestra and with Robert Shaw from New York, as
conductor, which will include the Requiem of Faure and excerpts
from Elijah. Then on Good Friday at the Tre Ore service the
Cathedral Choir Quartet (with string quartet) will give the Haydn
"Seven Last Words." On Easter Eve we put on our annual 11-to-
midnight service. On Easter morning the choir sings both services.
In the evening we are having a combined service of the youth
churches, and Marian and I are cooking up a cantata (Clokey's "For
He is risen") with some of the youngest members of the Cathedral
Choir as guest soloists.237
Some of Martin's thoughts as outlined in this letter revealed
im portant insights into his evolving philosophies regarding music:
what it took to produce quality programming, what sacrifices had to
be m ade to achieve an acceptable level for presentation, and what
value h e ultimately placed on the results in relation to the amount of
work involved. For example, Martin expressed frustration at the
attendance figures for his weekly vespers services. He found that
237 Ibid,
227
planning the vespers series was intrinsically a "big headache,"
because so few people attended—unless a great deal of extra time
and money were spent to advertise the programs—and that it was
embarrassing to engage competent performers and have them
perform for a small num ber of people. He believed that it was
impossible to "find enough good attractions and find the time and get
the permission to advertise them sufficiently to get audiences
worthy of their performances—a vicious circle, no matter how you
slice it."238
Martin's deep appreciation for the work of a volunteer choir
was evident, but the frustration he experienced in balancing the
ability of untrained musicians with his own high musical
expectations was clear:
For all the headaches that working with people involves there are
many pleasant and humorous happenings for counterbalances. I
continually bemoan the fact that a 2-hour rehearsal isn't enough
to accomplish all the things necessary to carry on the ambitious
program that this situation calls for. From the musical standpoint
this means that I m ust bear the brunt of conducting almost every
anthem as if I were doing it all, instead of relying on the singers
to take care of the fundamentals of notes and rhythms and correct
entrances and devoting my efforts (in performance) to the fine
points of interpretation. To explain further: with a symphony
238 ib id .
228
orchestra of paid, trained, experienced musicians, the conductor

assumes that the players will, without special attention to each
part, play the correct notes and rhythms and observe the
indications for loud and soft and so forth—he can then concentrate
on the over-all effect. With a choir of volunteer people, only a
few of whom are really good musicians, the conductor must
actually bring in every part and, without the sureness gained by
many rehearsals, must never allow himself to assume that any
singer or section will carry out any orders of the composer that he
does not goad them to do at the moment and often with almost
drastic methods . . . This is not a complaint against the idea of a
volunteer choir—I think a volunteer choir is a very wonderful
thing because the total result is so much greater than the
individual voices—but the kernel of my situation is that we aim at
high professional standards with amateur people, and very often
we must cut corners and hit the high spots and think of the
general effect rather than really work out things as they should
be worked out.239
Martin's admiration for high musical achievement was
reflected in his remarks following a "very pleasant" luncheon with
his former organ teacher from Westminster Choir College, Carl
Weinrich, who had just completed a concert at nearby Pomona
College. Although Martin believed that Weinrich1s public and
popular success was limited because the organist "erred on the side
of being too austere and too highbrow and 'perfectionist' for most
people's taste," he counted it a rare privilege and a special treat to
239 Ibid.
229
come into contact with a musician whose standards were
uncompromising, and who believed that music as an art was more
im portant than money, popularity, or the plaudits of the multitudes.
As enviable as he found Weinrich's perspective on music-making,
Martin also found that the position was, for most musicians, an
unapproachable one.240
At the time of Weinrich’s trip to Los Angeles, the Westminster
Choir was passing through the area on its own five-week, twenty-
seven state, 8,000-mile concert tour.241 Martin attended a concert by
the choir, and found the program musically disappointing:
While [Martin's musically erudite friends] lean too far (I think)

toward denouncing the [Westminster Choir] completely, still I
m ust adm it that judged by m aturer standard than those I had in
school, they're really not so wonderful—which is too bad, very
much too bad. They don't sing in tune, and you can't understand
their words, and Dr. Williamson's ideas of choral tone are often so
far-fet:hed as to be almost ridiculous.242
The 1946-1947 year had been a busy one for Martin in his
new position as Director of Music at First Congregational Church.
Early summer found him prim ed and ready for a vacation. He
24^ Ibid.
241 "Alumni Notes," Processional 9, no. 3 (March 1947): 5.
242 Warren Martin to 'Family," 31 January 1947.
230
reported that the church choir's spring concert "went off famously,"
but that there was yet one more hurdle—Choir Sunday—to cross
before his first year in the position would be over safely. As he
prepared for a summer visit to his family in Galeton, Martin
promised to bring along a wealth of information about the past year's
events from his "cluttered storehouse of anecdotal reminiscence."
During his August vacation in the East, Martin planned to not only
visit family and friends, but also to check on the possibility of
pursuing a doctorate at Yale, Harvard, or Columbia. On the other
hand, he wrote that "I have almost settled on Eastman to do some
graduate work (beginning in the fall of 1948)—if I can get in
there."243 Unfortunately, there is no clear record to indicate that
Martin visited any of those institutions.
In September of 1947, Martin reported that the choir season
was "getting off to a good start in most respects."244 He was pleased
with the direction in which he perceived the program to be headed,
243 Warren Martin, Los Angeles, to "Family," Galeton, PA, 4 June 1947, in
244 Warren Martin, Los Angeles, to "Family," Galeton, PA, [no day]
231
and appreciated the cadre of skills possessed by the team of people
with whom he worked in the music department:
Barbara [Caler Maywald] is my secretary—and she's a whiz. I

couldn't ask for a better trio of helpers than Marian, Doris
[Stanton] and Barbara. They keep me hopping, because they're all
wide awake and full of initiative. The confusion of acclimating
several new staff members to our set-up will delay reorganizing
the boys' choir, etc., but Doris is doing wonders with the girls'
choir—over 30 members already. The goal is 50, and she should
have that many by the time of the Bach Festival, on which
occasion I've asked her (she's thrilled) to have the girls sing a
group of Bach arias with reed organ accom panim ent. . . Most of
my other-than-routine efforts are being spent on the Bach
Festival. Countless interviews, phone calls, letters, etc., etc., seem
to be necessary to line up the things I w a n t . . . I "love it," even
though it almost drives me crazy at times.245
The four o'clock Vesper service, which in past seasons had
figured so prominently in the weekly music departm ent
responsibilities, was dropped from the 1947-1948 slate of services.
However, an October bulletin announcement indicated its
reinstatement:
The Board of Deacons announces the resumption of the late

afternoon service at four o'clock in the Sanctuary, beginning
Sunday, October 12.
It is doubtless true that there are many people who are unable
to attend other regularly scheduled services of the Church and
will welcome this late afternoon hour for worship . . . [I]n the
service will be Mr. Warren Martin at the organ console, and Mrs.
245 Ibid.
232
Elizabeth Hall, contralto, as soloist. These superb musicians are

the guarantee of having the best in music.246
Extant bulletins do not list the specific organ o r vocal literature that
was presented at those services.
Early in the fall, an announcement regarding the upcoming
Bach Festival appeared in the church bulletin, along with an open
invitation to potential choir members. The article indicated that
work already had begun on the "uncut version" of the Mass in B
minor, and announced that the festival would include a total of five
programs. Martin also noted that the Cathedral Choir was accepting
new members, and directed interested parties to either call or write
him.247
The 1947 Fourteenth Annual Bach Festival was larger than
ever, and, as indicated above, included five concerts. The Friday, 21


September 1947, in possession of author, Phoenix, AZ. The invitation raises an
interesting question. Prior to Martin's incumbency as director of music, no
general invitations to singers were issued, although there may have been
other, undocumented methods by which that process was executed. One
wonders whether Martin sought to build the group numerically—with
optimism for an influx of strong, musical singers—or if he simply wanted to
replace members who had fallen away during the recent turmoil surrounding
Jacobs's departure.
233
November concert featured chamber works performed by the Los
Angeles Women's Sinfo iietta; cantata selections sung by area singer
Fern Sayre; arias sung by the Girls' Choir of the First Congregational
Church; and organ works played by Marian Reiff. In addition, the
Pasadena Presbyterian Church Choir, conducted by Howard Swan,
performed the Magnificat. The afternoon program on Saturday, 22
November was a full concert of choral and orchestral music
presented by 600 junior and senior high school students. The
Saturday evening program featured the Santa Monica Little
Symphony and organist David Craighead. The Sunday, 23 November
afternoon and evening concerts comprised Part I and Part II,
respectively, of the Mass in B minor, with Martin conducting the
Cathedral Choir and the Los Angeles Women's Symphony.248
The 1948 Lenten season found Martin performing additional
duties not usually associated with the director of music position:
248 "Alumni Notes," Processional 10, no. 2 (January 1948): 14. David
Craighead and Marian Reiff, Martin's assisting organist, eventually married.
Several sources indicate that Martin served as "best man" at the ceremony.
David Craighead eventually had a long and highly significant career as a
concert organist and as professor of organ at the Eastman School of Music.
Marian Craighead directed a successful church music program in the city' of
Rochester, New York.
234
Easter is approaching rapidly on horseback. In the absence of the

indefatigable Rev. Paul Yinger, who last year was my best pal on
the church staff (and who now is doing superlatively well at his
new church in Riverside), many of the extra duties of the Easter
season at the church fall on me. For a musician to be in charge of
assigning duties and arranging services for six ministers is
something of an anomaly, and it requires a great deal of ingenuity,
patience and diplomacy.249
Martin’s congenial attitude and diplomatic abilities did not go
unnoticed by the other ministers. The friendship expressed above
by Martin for Paul Yinger was clearly reciprocated by the clergyman.
From his new church position in Riverside, Yinger related his
enjoyment "beyond measure" for the "quality of give and take" that
had perm eated their former professional relationship. The minister
wrote, "Your 'flexibility' is a quality very rare in one with so great a
talent. This is not the opposite of conviction, but a willingness to find
common ground where conscience does not interfere."250
Martin's love of designing creative and moving worship
services was again evident in the Easter Eve service of 1948. He
alternately used the piano and organ—each for whatever specific
250 Paul W. Yinger, Riverside, CA, to Warren Martin, Los Angeles, CA, 12
235
effect was required through his interpretation of the music. He
alternated bass soloists in the Stainer Crucifixion, coupling the
dramatic or lyrical voice colors with correspondingly intense or
bucolic passages in the score. During the Sowerby work, The Death o f
Jesus, narration was provided by Ella Robinson Crane, one of Martin's
former Westminster Choir School classmates who was a member of
the First Congregational Choir.251 The service ended in First
Congregational's ' traditional" fashion with the ceremony of the Holy
Flame leaping from the altar, an effect instituted years earlier by
Jacobs in imitation of a Greek Orthodox Church custom—and one that
Martin found overly sensational and would have been happy to omit.
On Easter Day, music from Cavalleria Rusticana was sung at multiple
morning services, and—at the evening services—a cantata was
presented by the three combined youth choirs. Although the 1948
Lenten and Easter season was no busier than those of the past,
251 Ella Robinson Crane, Roswell, NM, to Thomas Purviance, Princeton,

NJ, 22 September 1990, in possession of author, Phoenix, AZ. Martin often
asked Crane, who had moved to the Los Angeles area with her husband after
the war, to provide dramatic readings during services at First Congregational
Church.
236
Martin discovered that each successive year required more of a
"superhuman task to make everything come out all right."252
Martin was concerned that there was still no news regarding
his successor in the director of music position, although he noted that
Senior minister James Fifield planned to travel east in April to hire
someone. Martin believed that the process of changing directors had
already created inherent difficulties for the church membership as
well as for the individual who would be named, and that major
delays in the hiring process would only lessen the chance for a
smooth transition. He was also in a quandary about his role in the
transition process. Martin debated with himself whether to acquaint
the new person—if and when he got the chance—with all of the
pleasant as well as unsavory "ins and outs" of the position, or
whether to simply stay in the background. He admitted, "It means
nothing to me either way, but my sense of honesty compels me to
consider trying to give my successor some words of sound advice and
warning whether or not they fall on receptive ears."253
252 Warren Martin to "Family," 12 March 1948.

253 Ibid.
237
Martin's "unsavory" sentiments resulted from several
reprehensible experiences that he had with Fifield during the 1947-
1948 season that caused him to become thoroughly opposed to the
senior minister. Martin expressed doubt as to the future of music at
First Congregational Church under Fifield's leadership, and indicated
that he was "very glad to be leaving and rather sorry for my friends
who will still be here."254 The following episode illustrates the
deteriorating situation: When one of the chapel organs at First
Congregational Church needed an overhaul, Fifield logically sought
bids for the work through Martin's professional connections within
the organ community. When bids of $10,000 were received, which
Fifield believed were too high, he attempted to bypass Martin and
the other staff organists by pledging the church's business manager
to secrecy in a $4,500 negotiation with a repair person of
questionable character and work ethic. Martin was understandably
angered over the situation. Fifield's attempt to work behind the
musicians' backs, his lack of long-term vision and low musical
priorities, his lack of professional regard for Martin and Marian
254 Ibid.
238
(Reiff) Craighead—both respected organists with high community
standing—was inexcusable. In a letter to his family, Martin wrote
that he could tell them many similar stories, but that they "would not
find them enjoyable."255
John Burke believed that, in spite of Fifield's tremendous
success in leading and developing First Congregational Church, the
minister was "a very difficult person." Burke also found Fifield
uninformed about music, a person who tended to be pleased by
large, exciting, loud works. During the war years, while Burke was
filling in for Martin as the church's organist, Fifield often
complimented Burke for being far more accommodating than Martin
to the senior minister's musical taste. Although Burke had very high
standards for his own music-making, he was more inclined to
attem pt an honorable blending of his philosophies and ideals with
some of the things that the senior minister asked of him, whereas
Martin was more apt to simply refuse a request if he believed that
some aspect of musical quality was being compromised.256 Given this
255 Ibid.
239
scenario, it is easy to understand why Fifield never considered
Martin seriously as the perm anent replacement for A. Leslie Jacobs.
After his return from the war, Martin appeared generally
restless and in a quandary about what he should do with his life.
John Burke noticed this restlessness, but attributed it to the
interruption of the war and to certain inevitable societal changes that
ensued in the afterm ath of the global conflict. Burke reported that,
during their student days at Westminster, he and Martin enjoyed
working as a piano duo team. During the war, they had
corresponded seriously about the possibility of developing this
performance medium to a high professional standard after the
war.257 From his military location overseas, however, Martin
eventually expressed doubts about the feasibility of the piano
venture to his army friend, Lyman Bodman:
I'm afraid that if I don't watch out I may put too many of my
musical eggs in one basket, namely the two piano deal. Much as I
would rather have John's and my musical plans interdependent,
the wiser course seems to be that I plan for myself alone, so that
the actions of others will not throw me off the track. This may
m ean professional rivalry in Los Angeles—I agree with you that I
257 Because of a medical deferment, John Burke did not serve on active
military duty during the war.
240
should not attach myself to anyone's apron strings when I go back

and I realize that that is not the easiest course to pursue.258
The anxiety Martin exhibited while overseas was probably no
different than that felt by thousands of other soldiers who knew
that—if they were fortunate enough to return from active duty—it
would be to a society that might be forever changed, and might not
necessarily respect pre-war commitments. When combining war
time anxiety with some of the other anxieties and self-doubts that
had haunted Martin for much of his life, one can easily understand
his need to ponder carefully any plans that he was considering
beyond the immediate transition to civilian life. Meanwhile, Burke—
who was still under the impression that the two men would pursue
the professional collaboration—continued to collect as many duo
piano compositions as possible. He recalled going to numerous music
sales, estate sales, and retail store liquidations in an effort to
assemble a cadre of pieces that would run the gamut of that

241
medium.259 Even so, the returning soldier appeared to have lost
interest completely in pursuing the duo piano dream .260
Others in Martin's circle of friends noticed his restlessness. Ella
Robinson Crane, Martin's Choir School classmate and First
Congregational Church choir member, perceived that—even in the
midst of his successful administration of the church's music
program—Martin was struggling to decide what he really wanted to
do with the rest of his life.261
In May of 1948, Martin wrote to his family with a request to
stay at the Galeton farm for some months when his work in Los
Angeles was finished. He indicated that his application to Eastman
School of Music had "arrived too late for acceptance" for the fall term,
and he did not want to tie himself down with another job until he
discovered a definite date for commencing the Eastman doctoral
program. He proposed the following:
I would like to come home and relax for a very short while—days
or even weeks, but not months—and then become one of the farm
hands, along with working on French, German, harmony,
259 John Burke, telephone interview, 14 June 1997.

261 Hla Robinson Crane to Tom Purviance, 22 September 1990.
242
counterpoint, composition and such other things as will make my

future studies for a doctorate move along more smoothly. I
honestly think that I could be of enough service to earn my bed
and board, and I'm really a very nice person to have around when
you get to know me.262
Martin's final concert at First Congregational Church was on 13
June 1948. It included Copland's In the Beginning, performed by the
chamber choir and accompanied by Doris Stanton, piano, and five
dancers; and Mozart's "Grand'' Mass in Cminor, sung by the Cathedral
Choir and accompanied by organists Marian (Reiff) Craighead and
David Craighead.263
Martin did not care to linger in Los Angeles once his
professional duties were over, and he hoped to avoid attending too
many social engagements "of a farewell nature." A glimpse into his
matter-of-fact attitude toward the inevitable transitions of life was
evident in his correspondence:
I shall like the dinners and what not, but I shall find them
wearing because of the "sad goodbye" atmosphere that will be
present to some extent. It is partly for that reason that I want to
262 Warren Martin, Los Angeles, to "Family," Galeton, PA, 24 May 1948, in
263 First Congregational Church, Concert program, Los Angeles, 13 June
243
come east directly after I have finished in June, and not draw out
my departure in a lingering fashion.264
Martin wrote that he would be heading east with acquaintances

who planned to take fourteen days for the journey, "stopping at
Yosemite, Grand Canyon, etc."265 Indeed, in early July of 1948—
shortly after his final working day at First Congregational Church—
Martin bid Los Angeles and his friends farewell, and closed that
chapter of his life. A postcard from Oakland, California indicated that
he had spent the day in and around San Francisco, where he "ate a
marvelous mixture of lobster, crab, shrimp, and sea bass," and that
he would arrive in Yosemite later that evening.266 Without knowing
exactly when or if he would begin a doctoral program in music—and
not really knowing with certainty what he wanted to do with the rest
of his life—Martin returned quietly to the family farm in Galeton,
Pennsylvania.
264 Warren Martin to "Family," 24 May 1948.

265 Warren Martin, Los Angeles, to "Family," Galeton, PA, 21 June 1948,
266 Warren Martin, Oakland, CA, to J. K. Martin, Galeton, PA, 4 July 1948,
CHAPTER V
CHICAGO
Martin had made it clear that he intended to rest for a short
period once he returned to Galeton, and then planned to make
rigorous preparation for entering Eastman's doctoral program. It is
interesting, therefore, .t November of 1948 found him in the
director of music position at the University of Chicago's Rockefeller
Memorial Chapel. He succeeded Gerhard Schroth, who resigned in
October of that year to become the conductor of the St. Louis
Philharmonic.1
Martin took a room at the Royalton Hotel, which was on
University Avenue. He believed that he "couldn't do much better in
the way of privacy and comfort and nearness to the chapel—it's only
three blocks away." He described his new working environment:
Things are gradually settling down to what I assume to be normal.

I still have much to learn about the complicated workings of the
University of Chicago, which is like no other place on earth—but I
1 "Alumni Notes," Processional 16, no. 4 (March and May 1949): [no
page].
245
already have enough information and know enough people to do

what I need to do.2
In addition to playing the organ for all services in the chapel, Martin
conducted the "big choir" for two rehearsals per week in preparation
for their leadership in a Sunday morning worship service. He also
had the responsibility for training a smaller group—which was
"comprised of the best people" from the larger choir—for
participation in the chapel services as well as for occasional
appearances outside the university setting. Martin had two part-
time student helpers for clerical work, although he found the
arrangement less than satisfactory because he could not always
count on the students when he needed them the most. However, he
found the choir people fun to work with, and wrote that "I must be
on my toes all the time."3
The organ in Rockefeller Chapel was a large, four-manual
Aeolian Skinner. John Burke remembered that Martin "was
absolutely thrilled, because it was such a marvelous organ . . . [H]e
2 Warren Martin, Chicago, to "Family," Galeton, PA, 12 November 1948, in

3 Ibid.
seemed very excited, because this was a big, im portant position."4
Extant service bulletins and concert programs from Rockefeller
Chapel indicate that Martin continued to play challenging organ
works that represented many style periods. The choral literature
was of a higher calibre than that which Martin had programmed at
First Congregational Church in Los Angeles; it was clear that the
worship setting in Chicago lent itself to a more sophisticated genre of
anthem, and that Martin had a choir that could produce, by
comparison, performances of a consistently higher level.5 Martin's
"Summer Concert" with the University Choir included the following:
Messe des Pauvres, Erik Satie; Motet "Surrexitpastor bonus/' Felix
Mendelssohn; Et resurrexit {Missa Tertii Toni), Giovanni Croce;
Benedictus (Missa Pro Defunctis), Orlando di Lasso; Confitemini
Domino, Alessandro Constantini; Magnificat, Ralph Vaughan Williams;

5 Rockefeller Memorial Chapel, Miscellaneous bulletins and concert
programs, November 1948-August 1949, Chicago, in possession of author,
Phoenix, AZ.
247
The Lark Ascending, Vaughan Williams; and "In deepest grief'
(Passion according to St. Matthew), J. S. Bachfi
It is obvious that Martin found time during his tenure in
Chicago for pleasant socializing, although the names of close friends
and casual acquaintances have not been located. He continued to
expand his repertoire of challenging games, and indicated, "The game
that all of us have been playing recently is Liverpool rummy, and I
dare say I shall be the means of carrying it to Honey Brook farm, if it
hasn't arrived there already."7
Sadly enough, after only eight months in the position, Martin
wrote the following to his family:
Will it be possible for me to take up farm life where I left off last
summer? I shall leave here either at the end of August or
sometime before the first of September, and since I left future
plans until the Dean [John Beauchamp Thompson] made up his
mind about my continuing here, I have not yet made
arrangements to go on to school. I am happy to leave and sorry to
leave .. .8
6 Rockefeller Memorial Chapel, Concert program, Chicago, 21 August

7 Warren Martin, Chicago, to "Family," Galeton, PA, 12 July 1949, in
8 Ibid.
248
Whatever the problems were, Martin maintained his sense of
humor. He invited his sister to pay him a visit in Chicago before he
left the position, and promised, "I would even allow her to sing in my
choir, which is of course the most wonderful thing that could ever
happen to anybody."9
Although the specific details remain unclear, it is evident that
Martin was experiencing some sort of difficulty as early as Christmas
break of 1948—barely more than six weeks after his arrival in
Chicago. John Burke remembered:
There were all kinds of problems that [Martin] didn't realize he

was getting into in the job . . . [H]e thought it would lead to a
position on the music faculty, and he realized—after he got there—
that this was not going to happen.10
Whether Martin took the position without a clear understanding of it
or where it might lead simply because he had missed the Eastman
doctoral deadline and was vulnerable, or whether he was misled in
the hiring process by an administrator or search committee, remains
a mystery. In any case, it is clear that the situation did not represent
a good match between Martin's social or professional abilities and the
9 Ibid.
chapel dean's expectations, and the excitement that Martin expressed
upon his arrival at Rockefeller Chapel was short lived. So, following
what appears to have been his final responsibility—that of conducting
the choir at the University of Chicago Convocation Service on 28
August 1949—Martin closed this brief chapter of his life.11 As he had
done a year earlier, he returned to the haven of the family farm in
Galeton. There is no indication that Martin had concrete plans for his
future at that point, and there is no surviving information about his
activities during the fall of 1949.
11 Rockefeller Memorial Chapel, Service bulletin, Chicago, 28 August

CHAPTER VI
WESTMINSTER CHOIR COLLEGE
In a letter written while he was still serving in World War II,
Warren Martin discussed future career options. One possibility was
to return to Westminster Choir College as a member of the faculty:
I definitely do not want to go to Westminster until I have enough

status in the musical world so that I will not be one of Dr.
Williamson's puppets on a string. To go there right away might be
fatal to my progress—I would work long hours at small pay and
the recognition (except in the small inner circle of the school)
would come, if it came at all, to the school and Dr. Williamson and
not to me. I would have no freedom, except within restricted
boundaries, to teach or play as I wished—I would be at Dr. W's
beck and call. Only if I had enough standing to be able to talk
back to him, and connections elsewhere that would make him
realize that he didn't have a throttle hold on me, would I dare to
commit myself to a job there. I'm not anxious to go there in the
first place, but the experience and the opportunity there would be
valuable if I joined the faculty as their equal and not as a former
pet student.1
Despite whatever reservations about working at Westminster,
Warren Brownell Martin accepted a faculty position at the Choir
College in January of 1950. In keeping with John Finley Williamson's

251
long-standing hope for Martin's eventual return, a position was
created in mid-year that tapped into Martin's many abilities.
Williamson's report to the Board of Trustees described the
appointment:
At the beginning of the second semester we were able to obtain

the services of Mr. Warren Martin. He graduated from our College
in 1936 and received his Masters in 1938. When he graduated he
went to the Second [sic] Congregational Church of Los Angeles and
was immediately, at 20 [sic] years of age, acclaimed the best
organist on the Pacific Coast. He served there until the war, then
served in the Army for four years. He then accepted the post of
Choir Master at the Chicago University Chapel. He is now teaching
with us and will next year be head of the Composition
Department, teaching courses in hymnology and assisting in the
Conducting Department. He is the best organist we have ever
graduated but he is such a good composer and his interest in
composition is so strong that we are happy to have him as Head of
the Department of Composition. He loves the school, knows its
ideals, and will be of great help to us. His salary will be $4000.2
To his family, Martin described life at Westminster as "so very
complicated th at I'm sure I can do little more than hit the high spots
. . . UJust think of me as having a very pleasant time and grading
millions of Hymnology papers."3
2 "Minutes of the Trustees' Meeting," 23 May 1950.

3 Warren Martin, Princeton, to "Family," Galeton, PA, [no day] May 1950,
252
The same letter mentions his multiple responsibilities related
to the newly revived Talbott Festival of 1950. The timing of Martin's
return to Westminster and the revival of the choral festival is
interesting. The event was first announced in November of 1949, a
period that corresponded to Martin's jobless hiatus following his
return from Chicago's Rockefeller Chapel.4 No record exists to
indicate a specific date on which Williamson and Martin agreed to
the latter's joining the faculty, but it seems probable that they
negotiated sometime during the early fall of 1949, while Martin's
career was in limbo. Given the prominent role that he had in
subsequent Talbott Festivals—and the manner in which Williamson
relied on his musical leadership—it is likely that Martin's return to
Westminster helped pave the way for reinstating the Talbott
Festival.
In the fall of 1950, Martin participated in the making of a film
by the Audiovisual Section of the Presbyterian Board of Education.
Entitled "Fire Upon the Earth," it was presented over television on
4 "1950 Talbott Festival Announcement," Processional 12, no. 1

(November 1949): 3.
253
Reformation Sunday, 29 October 1950. Martin arranged the musical
background, which was recorded by the Westminster Choir
accompanied by Martin himself on the organ. It was described as
"the first 'training film' to be produced by any major denomination.
It represents a significant step forward in the use of Audio-Visual
teaching techniques."5 Martin wrote that "the movie recording is
finished, and it went very well. Said movie will be available to
Presbyterian Churches before Christmas, and to others la ter.'6
In the same letter, Martin reported that "everything is going
well and I have never been anywhere near so busy in all my life."7
He conducted performances of the Graduate Chorus in Seabrook and
in Hackensack, New Jersey.8 In addition to his teaching
responsibilities, he accompanied his faculty colleague Nicholas
Harsanyi in a December campus performance of a Vivaldi violin
concerto and a Brahms sonata.9 In January of 1951—in special
5 "Campus Chatter," Processional 13, no. 2 (January 1951): 13.

6 Warren Martin, Princeton, to "Family," Galeton, PA, 2 October 1950, in
7 Ibid.
8 "Campus Chatter," (January 1951).
9 Ibid., 14.
254
festivities celebrating the Choir College's twenty-fifth anniversary—
he conducted the Westminster Symphonic Choir in a campus
performance of Mozart's "Grand" Mass in Cminor. Soloists featured
in this rendition were Lois Laverty, soprano; Alice Wieland, soprano;
Boyd Sellers, tenor; and Paul Snyder, bass. Helen Collins and Franz
Engle accompanied on the piano, and Joseph Kovacs played selected
violin passages. For certain solos and solo ensembles, Martin "left the
conductor's podium to take over as accompanist."10
In February, the New Jersey Manufacturers' Association invited
the Choir College to participate in a recording for FM radio broadcast
that highlighted outstanding cultural and economic institutions in the
state of New Jersey. The script was written by Delight Williamson
Holt, daughter of John Finley Williamson; Martin arranged the
musical score.11
The May 1951 Choir College Commencement service provided
another compositional venue for Martin. Years later, he explained
the opportunity to Charles Schisler:
10 "Campus News," Processional 13, no. 3 (March 1951): 16.

11 Ibid.
255
[The music] was written at the Williamsons' request to be used

for commencement—the processional and two anthems. And I also
wrote Sun o f M y Soul. I also wrote a benediction, but they didn't
use it because of the length. The benediction fitted beautifully
because it had the same themes.12
The Processional for Organ and the Anthem o f Dedication have since
become standard selections at Westminster's commencements.
During a lengthy visit to Galeton in the summer of 1951, Martin
devoted substantial time to composing. He wrote to his former army
comrade, Lyman Bodman, that his composition efforts had "gone
especially well" that summer. He had produced a short cantata; a
substantial psalm setting for solo piano and chorus; a solo cantata for
soprano, trum pet and organ; and a suite of songs on poems by the
Japanese poet Kagawa. As time went on, Martin discovered that he
worked more slowly, but with more assurance. He wrote, "Many
nights this summer I have stayed up all night, and have gone to bed
only when bleary eyes and a slight fuzziness due to endless
cigarettes and iced coffee have called a halt—lots of fun if a shade
unorthodox."13

13 Warren Martin, Galeton, PA, to Lyman Bodman, East Lansing, Ml, 28
August 1951, in possession of author, Phoenix, AZ.
256
In the fall of 1951, Martin described a change in his
Westminster job description:
All is going well here at school as far as I am concerned. My most

important function is as Acting Director of Graduate Studies, which
means I am more or less in charge of those who are working for
their Master's degrees. My teaching schedule is heavier than last
year, but I do not have a choir to direct, which erases one source
of worry. The graduate students all seem pleased with the way
things are going—more so than last year. They tell this to Dr.
Williamson, which gives me a boost, he being susceptible to
students' comments perhaps more than he should be.14
Earlier in the summer, Martin had accepted a position as
"choral editor" for Repertoire magazine. The negotiated term was for
the period covering preparation of the first three issues—for a
remuneration of $300. He revealed a desire to be told by the
publication's general editor "to be both interesting, accurate, and
honest," and quipped, "I chafe under [the editor's] fears that that old
ogre Musicology will creep in, because to my mind no consideration
of a piece of music can be valid unless it is based soundly on
musicology."15 By October, Martin was expressing some concern
about the magazine:
14 Warren Martin, Princeton, to "Family," Oaleton, PA, 21 October 1951,

15 Warren Martin to Lyman Bodman, 28 August 1951.
257
So far I haven't seen the first issue of Repertoire, which should

have been out long ere this. I am dubious about this magazine,
but I d on't see how its failure (if it does fail) can harm me. The
experience is excellent for me—I shall always rem em ber the one
night I worked all night by candle light.16
Shortly thereafter, Martin wrote that the publication "takes
more of my time than I really should give it, and even with the time
I do spend on it the results are not as thorough and competent as I
would wish them to be."17 He hated giving up on the project,
however, because he found it stimulating and believed that it
provided some valuable experience. He remarked that "no one
would be m ore surprised than Warren Martin if the magazine
actually takes hold and becomes a success."18 By the following May,
however, Martin's aoubts appeared to be confirmed. He wrote that
"Repertoire has died as far as I am able to make out, though I
haven't taken any acti/e steps to see whether it is still alive or not. I
16 Warren Martin to "Family," 21 October 1951.

17 Warren Martin, Princeton, to Lyman Bodman, East Lansing, MI, 2
18 Ibid.
258
enjoyed the brief flurry of activity in connection with it, and I shall
be disappointed but not surprised if it fails to continue."19
Martin's penchant for detail is evident in a leder that
documented his workload during the 1951 fall semester. The
descriptor also provides an insight into the curriculum at
Westminster:
Brief resume of my work here this year: Graduate Conducting

course, 21 students who form the graduate choir and meet 9
hours a week to conduct each other and prepare a series of
programs for performance here at school—programs which range
the field of choral music quite widely (first program, on which
each student conducts a piece, movement or section: a Purcell
Motet, part of a Bach Motet, 9 Mendelssohn a cappella part songs,
8 Hindemith Canons); Senior Choral Arranging course—
approximately 90 students, divided into four sections; Graduate
Score Reading, which is for all graduate students and includes
actual score reading, piano sight reading, rhythmic training and
whatever odds and ends I see fit to add; four composition
students, whom I take privately for as many hours as they find
material to fill, and with whom I work on formal analysis and
other bolstering and beneficial things in addition to going over
actual compositions; most nebulous but the hardest work, running
the graduate departm ent—in all, about 30 students and 7 faculty
members are directly concerned in graduate work but the
administrative (and psychiatric) problems could scarcely be
greater if the personnel were doubled or trebeled. This is the
most of it, but there are always extras: running the Wednesday
morning series of Bach cantatas sight read by the whole school
and conducted by Seniors; one musicology student who is working

259
with me on a thesis, Declamation in the Songs of Hugo Wolf;

coaching groups and individuals, etc.20
Heavy workload and crystallizing career goals notwithstanding,
Martin was able to turn some of his attention to domestic pursuits.
To the Bodmans, he wrote:
Now that I own a car and a typewriter the next obvious thing for
me to acquire (or be acquired by) is a wife. But the pursuit of this
worthy ambition is delayed by the fact that I'm interested in no
one but Alice, and Alice is not sufficiently interested in me.21
The woman to whom he made reference was Alice Wieland, a
student at the Choir College. He had revealed to his family his
interest in Alice more than a year earlier:
The main thing I'm doing right now is becoming interested in one
Alice Wieland, a Senior here next year, soprano section leader in
Westminster Choir, 22, and (horribile dictu!) daughter of a high
official in Ford International. Now don't be alarmed—I have asked
her to visit the farm this summer .. ,22
Lois Laverty, a classmate of Wieland, described her as "quite
cosmopolitan and very sophisticated," and noted that she would have
a new Ford at least every year because of varying "automotive
20 Warren Martin to Lyman Bodman, 2 November 1951.

21 Ibid.
22 Warren Martin to "Family," [no day] May 1950.
260
mishaps" that would happen with equivalent regularity.23 Although
Martin was clearly smitten by his glamorous student, he revealed an
ability to distinguish relationships of the heart from musical matters.
He reported that Wieland's schoolwork had exceeded his expectation
for it, but that she had been held back recently by a combination of
laryngitis and neuritis. He fumed, "She hasn't learned yet, and
probably will never learn, to give up social commitments in order to
rest up for h er work—this makes it difficult for me to be
wholeheartedly friendly with her .. .24
Sixteen months later, in spite of his evaluation of her social
versus musical shortcomings, Martin was still interested in Wieland.
Although she clearly had moved on in other relational directions, he
confessed, "Alice still appeals to me, although she has long since
made it clear that I don't appeal to her, and we see each other only
casually and occasionally."23 His description exemplified the stark
contrast between their lifestyles:
23 Lois Laverty, Interview by Christopher Samuel, 12 May 1997,

24 Warren Martin to "Family,’' 21 October 1951.
25 Warren Martin, Princeton, to "Bodmans," East Lansing, MI, 22
261
The other night we went out for a couple of drinks and I found I
had no money so she gave the bartender a choice of a bunch of
pennies, nickels, dimes and quarters which came to within 27
cents of our bill, or a hundred dollar bill—the bartender took the
change, and he and the waitress looked at each other with
longsuffering tolerance.26
Wieland eventually m arried one of Martin's colleagues,
Westminster conductor Ralph Burrier. The wedding was held on 22
February 1955 at Saint George's Church in London, England.27 Martin
evidently maintained a cordial and professional relationship with the
couple. He visited them in their new house, which they were
"gradually painting and fixing up," and noticed their apparent success
in making a reasonable compromise between the standard of living
to which each was accustomed. Martin was impressed at their
efforts, and observed, "No servant, and the only sign of
disproportionate affluence is the sight of the two cars in the
driveway. They both look w ell. . . I meant the people, though the
cars are unexceptionable.28
26 Ibid.
27 "News," P rocession alXVII, no. 3 (March 1955): 14.
28 Warren Martin, Princeton, to Lyman Bodman, East Lansing, MI, [no
day] [March] [1955], in possession of author, Phoenix, AZ.
262
Composition in diverse media continued to interest Martin.
There is some indication that his reputation as a composer extended
beyond the immediate Westminster community. He recorded an
incident that many composers would relish:
Through a series of events and intents, [Dimitri] Mitropoulos has

chatted with me and assured me that he will certainly perform a
work of mine with the New York Philharmonic, "if he likes it."
This means nothing definite, but it does mean that I have already
established a contact that many struggling composers would give
their eye teeth for. So I must write a piece and give the chance a
chance.29
For whatever reason, Mitropoulos and the orchestra never performed
Martin's piece.
To his parents, Martin described another large composition
project. He wrote of plans to "work on a hymn book for the Army
and Navy, if the project goes through. This is sheer drudgery, but I
will be paid for it if the thing ever gets under way."30 A year later,
he made indirect reference to some of his hymn arrangements for
29 Warren Martin to Lyman Bodman, 24 May 1952. Dimitri Mitropoulos

was the conductor of the New York Philharmonic Orchestra at the time.
30 Warren Martin, Princeton, to Gertrude and J. K. Martin, Galeton, PA, 4
263
"the forthcoming Navy hymn book."31 Five years later, however, he
described the status of the hymnbook project as "completed and
accepted but later abandoned."32
Early in his tenure at the Choir College, Martin assumed the
additional responsibility of preparing the Westminster Symphonic
Choir for its live orchestral appearances as well as for its recording
projects with the New York Philharmonic. In February of 1953, he
wrote of training a group of 150 voices for a Carnegie Hall concert
and subsequent recording project of the Beethoven Ninth Sym phony
and the Bruckner TeDeum. In addition to training the choir, he
supplied the piano accompaniments "as per custom" for dress
rehearsals when maestro Bruno Walter and other symphonic
conductors visited the campus.33
In addition to his responsibilities at Westminster, Martin was
involved in selected musical activities in the greater Princeton
community. In the spring of 1953, he joined with the Princeton
31 Warren Martin, Princeton, to "Bodmans all," East Lansing, MI, [no

day] [May] [1953], in possession of author, Phoenix, AZ.
32 Warren Martin, "Biographical," 1 November 1958.
264
Community Players in a production of The Beggar's Opera, for which
he arranged some sixty tunes. In spite of his busy schedule at the
Choir College, he indicated that this extra-curricular involvement was
"a welcome counter-irritant to Westminster, though not by any
means relaxing."34 His remarks contrasted the community amateurs
and the professionals at Westminster:
The petty squabbles and cattinesses of small town (but

sophisticated small town) amateurs are a relief from the
sanctimonious underhandedness of a school with a religious
emphasis. I am, by the way, considering whether I should look
around for some place else to work—not because I'm failing here,
for I'm as near the fair-haired boy as anyone can be, but because
I'm rapidly approaching the limits of what can be accomplished
by me in these particular circumstances. I would not make a
move abruptly, in any case—perhaps not for several years—and
there's always the possibility that some factor (such as Dr.
Williamson's retirem ent or death) will break the deadlock
between present constructive and destructive (or at least
obstructive) forces at work.35
Martin shared with the Bodmans a "little boy ambition." After
not being accepted for graduate study at Eastman—on his terms, at
least—he wanted "some day, somehow, to demonstrate unequivocally
to the very people who refused [him] that they missed a good bet."36
34 Warren Martin to "Bodmans," 22 February 1953.

35 Ibid.
36 Ibid.
265
He conjectured, however, that—by the time he actually got the chance
to do the above—he probably would no longer really want to do so.
The annual Talbott Festival continued to require a great deal of
Martin's energy. Following the 1953 festival, he wrote that the event
was a "real rip-roaring circus," and that the amount of actual hard
work required—plus the veritable "firework display of jangled
nerves"—wore everyone to a frazzle. Martin, who had avoided a
serious cold all through the school year, had to remain in bed for two
days once the festival ended. His specific duties were: conducting
the Bach Magnificat; playing organ for the Kodaly Missa Brevis,
conducted by Ralph Burrier; playing the Bach double concerto with
Julius Herford, conducted by Nicholas Harsanyi; conducting the
commencement service; and playing the University Chapel organ all
afternoon for the massed choirs that convened indoors because of
pluvial conditions. Martin wrote, "On the whole, the music went
quite well. Oh yes! The Westminster Choir program with Dr.
Williamson included [the] first local performance of my four-

266
movement 'American Suite' for solo piano and chorus (Reitmeyer at
the piano)."37
Martin critiqued his collaboration with Herford on the Bach
double concerto mentioned above:
Wish you could have heard me and Herford—he is a splendid

pianist of the German Romantic variety, but out of condition—I
have never been in condition, but I try hard, so we were pretty'
much on a par and we made more or less beautiful music
together, with the hearty co-operation . . . of Harsanyi. I'm sure I
don't know where you would find three people as far apart in
basic approach to Bach as the three of us—it was a triumph of
something-or-other over something-or-other.38
It is clear that Herford had a high regard for Martin and his
overall attitude toward music, and for the latter's high musical and
academic aspirations for the Choir College and its reputation. Martin
coached with Herford on specific works, and then attempted to
inculcate ideas and concepts synthesized from those private sessions
into his own teaching of his various choral groups. Martin gleefully
described a Bach Magnificat rehearsal that involved a valiant
struggle that resulted in little accomplishment. Herford, who was
observing the rehearsal, requested permission to address the choir,
37 Warren Martin to "Bodmans all," [no day] May 1953.

38 Ibid.
267
then asked if they realized "what a rare privilege they had in
enjoying such an intelligent, penetrating rehearsal of this great work,
etc [,] that only a composer could be so discerning in revealing
the structure and conveying the meaning."39 In his own classes over
the next two days, Herford repeatedly mentioned Martin's teaching
excellence. He even took the opportunity to share his impressions
with Williamson, saying that "he’d heard only one perfect rehearsal
in his life, and that was Stravinsky's rehearsal of his own Mass, but
that [Martin's] rehearsal came very close to it."40 Soon thereafter,
Martin wrote that "Herford (this is super-secret) is considering giving
up, at least in large measure, his association with [Robert] Shaw and
with William Schuman of Julliard, in order to devote himself mainly
to Westminster—chiefly because he's sold on me. Dangerous!—for him
and for me both."41 The high praise proffered by a nationally
respected musicologist such as Herford apparently inspired
Williamson to revive an earlier idea to place Martin in the position of
39 Julius Herford, quoted in Warren Martin, Princeton, to "Bodmans,"

East Lansing, MI, 12 October 1952, m possession of author, Phoenix, AZ.
40 Ibid.
41 Ibid.
268
musical director of Westminster; however, this did not occur
officially until the Williamsons stepped down from their leadership
positions some years later.
The perceived success of Westminster's graduate program
engendered a predictable increase in students. From Martin's
viewpoint, however, the increase from the 1951-1952 enrollment of
twenty students to the following year's enrollment of thirty did not
result from his leadership of a progressive and successful program;
instead, he saw it as a disheartening trend toward mass production
that made it difficult to raise standards. Martin indicated frustration
at the procedure for admitting new graduate students. He
complained that one of the major flaws in the system was the limited
authority given to him by the Williamsons to reject certain graduate
student applicants. He muttered, "They pay lip service to quality but
really believe in quantity, and faculty members and department
heads are faced with an endless procession of decisions as to whether
conformity or polite defiance will do the most good."42
42 Ibid.
269
Many years later, Martin retrospectively expressed the same
frustration about Williamson's method of accepting graduate
students:
Used to be that anybody [Williamson] wanted to keep—wanted to

keep for Westminster Choir another year—would do graduate
work, whether he was qualified or not. I was not, as head of the
graduate departm ent, given any say into who took graduate work.
I was told who would. As soon as Dr. Williamson left, then we
instituted requirements so the numbers fell off because we didn't
take everybody, only the people we sought.43
Frustration notwithstanding, Martin felt more confident than
ever about his teaching and his strong influence on the graduate
program. His rated himself high for the 1952-1953 academic year;
additionally, he believed that the graduate choir performance during
the final week of the spring semester was as good as any in recent
memory. Concurrently, he expressed dismay at the graduate
enrollment for the coming fall semester, which was projected to
increase to forty students:
I think it's wrong from several standpoints, but I can't be blind to

the fact that it is a crude measure of my own success. I've
learned a few things (as I go along) about getting other people to
learn things, and I've succeeded in being a little more tough with
people . . . Lest you think I pat myself on the back too much and
success is going to my head, let me hasten to say that what
270
appreciation I get (that matters to me) is mainly from a handful of

students, not from the school at large or the administration in
particular, though relations are at present cordial.44
The "cordial relations" had to do with the rapport between
Martin and John Finley Williamson. Although Martin worked hard to
maintain an effective relationship with the college president, it is
clear that the two men held immensely contrasting philosophies
regarding methods for achieving musical success. That contrast was
evident in Martin's reaction to an encounter with Williamson,
wherein the latter complimented several of Martin's arrangements
intended for the Navy hymnbook project mentioned earlier:
I said that any value they might have was doubtless due to my
twenty years of experience in the field. He said, "No, you were
born with it. It's something special that God gave you. And I
w ant to protect you in your work here so that you can do many
such things"—or words to that effect. Hell and damnation! My
common sense, brains, and mule-like hard work in the graduate
departm ent and elsewhere aren’t noticed, and I'm patted on the
head for being a bloody genius!45
Although the Williamsons probably never fully comprehended
either the incessant fervor with which Martin thought about music or
the intensity and regularity with which he studied it, he was able to
44 Warren Martin to "Bodmans all," [no day] May 1953.

45 Ibid.
271
share his passion for the art with certain other people. One of those
was his old army buddy Lyman Bodman. A 1953 sabbatical from
dieir faculty positions at Michigan State University found Bodman,
his wife Virginia, and their two children spending the hiatus in
Princeton. Laverty explained the closeness of their relationship and
the mutual respect for each other's musical intellect that seemed to
bind their friendship together for nearly forty years:
I'll tell you how close this relationship was . . . [T]he Bodmans had
a sabbatical leave from Michigan State—and guess what they did
with it? They moved to Princeton, New Jersey, and actually
rented a home there because they decided that Princeton would
be a good place to live in order to be close to their friend, Warren.
And Warren would often take me out to their home and I would
do some babysitting and we would make music all the time . . .
7’ve been with them for many, many, many hundreds of hours
and the conversations were always about music .. .[ , ] always
W arren challenging you with a twinkle in his eye, trying to get the
best of you—and he got great pleasure out of that. He took great
pride in his musical intellect and he would brag about it, and was
sometimes insufferable about it.46
To his parents, Martin wrote that the "year began well—
Bodmans in fine shape, doing lots of practicing and cooking (fresh
bread, among other things)."47 In addition to the plethora of music-

47 Warren Martin, Princeton, to J. K. Martin, Galeton, PA, 21 September
272
making activities, there appeared to be plenty of time for games
throughout that semester.48
The summer of 1954 found Martin back at the family farm in
Gale ton. He wrote of returning to his "former after-midnight
working hours" to prepare work for the start of the new school year.
His condensed schedule of repertoire for the graduate class included:
October—Weber, Brahms, Loomis; November—Bartok (Cantata
Profana), Brahms yRinaldo); December—Dunstable, Vaughan Williams;
January—J. S. Bach, J. C. Bach, C. P. E. Bach; February—Machaut,
Binchois, Willaert, Jannequin, Buxtehude, Debussy (Trois Chansons),
Ravel (Trois Chansons), Foss; March—Cherubini, Meyerowitz; April—
Stravinsky (Oedipus Rex); and May—Offenbach, Sullivan, Schiitz,
Delius (Songs o f Farewell.) About the selections, he wrote:
With fingers crossed, I am bravely scheduling a fairly large quota

of by no means easy modern works. The Bartok is by far the most
difficult. The Strawinsky [sic] (men's voices) is not at all taxing
technically for the chorus, but the austerity of the style
("austerity" is not accurate—"highly stylized expressiveness" might
be better) will make it hard for the kiddies to get hold of. I've
spent many happy hours exploring the Bartok and the Strawinsky
[sic]. The Bartok is not as mild as the late works, and is almost as
48 Warren Martin, Princeton, to 'J. K. and G." Martin, Galeton, PA, 12

273
dissonant in places as the middle quartets (though not as complex

or experimental).49
The 1954-1955 school year produced a num ber of exciting
professional activities for Martin. In October, he and Lois laverty,
his graduate assistant, recorded her voice recital in its entirety—the
contents of which were the focus of many preceding months' work.
He mused, "Listening to the tape was not a let down, though we both
wish we were nearer perfection. This tape, just as it is, however,
represents a tour de force that couldn't be approached by [several
other students and faculty members]—a tour de force of style if not
of glowing vocal perfection."50 A week after the recital, Martin wrote
of the collaboration:
Lois Anne's recital was a great success in almost every way. The
things she and I aimed for were at least partly achieved. Dr.
Williamson said to me "This that you have done for Lois is the
finest thing you have done since you have been at Westminster"
. . . The most frequently used word about Lois' singing was
"artistry." One faculty member went so far as to say that the head
of the voice departm ent wouldn't feel like putting on any voice
recitals after this.51
49 Warren Martin, Galeton, PA to "Bodmans," East Lansing, MI, 26 August
50 Warren Martin, Princeton, to "L. and V." [Bodman], East Lansing, MI, 2
51 Warren Martin, Princeton, to "Bodmans," East Lansing, MI, 9 October
274
Martin believed that his accompanying "was m arred by (a) a
few technical difficulties unsurmounted, (b) the tendency of a coach-
accompanist to be too 'sympathetic,’ and (c) an obstinate piano—but I
think I delivered some effective passages."52 Although Martin
collaborated with many others in various musical settings over the
years, his coaching and accompanying efforts with Laverty appeared
to be especially im portant to him; he wrote that he believed she was
one of the few who really "had it," and—in spite of some concerns
about her diligence—he was confident that eventually she could
m aster the transition between the "expedient way and the ideal way"
of approaching music.53 She, in turn, attributed much of her eventual
success, both as a singer in Europe and as a teacher of voice for many
years, to Martin's tremendous influence on her as teacher, coach, and
accompanist54
52 Ibid.
53 Ibid.
275
Later that school year, Martin accompanied an im portant
faculty voice recital. His private evaluation of the collaboration was
interesting:
People say I played beautifully (this is largely due to our new gift
9-ft. Steinway, in perfect condition). Mr. Herford liked my
accompanying, but found it "cautious" (reasons: the extreme
difficulty of many of the accompaniments; my flu; my wondering
what [the singer] would "feel" next). . . I'm rapidly reaching the
point of being very particular about my musical associations,
aren’t I?—and I'd sure as hell better whip up my own performing
abilities to the point where my choosiness can be substantiated.55
Martin's evaluation of the graduate class during that year
determ ined that the group averaged the best yet in basic conducting
ability, but found them the weakest to date in serious enthusiasm for
music. He also believed that they were, by far, the laziest. He was
certain that, over the preceding summer, he had not become "so drab
or repellent in doing things" that the decline in student attitude over
the past two years was attributable to him. Martin adm itted to
becoming "livid with fury (inside, of course)" when students
dem onstrated time after time that they had the capacity to do

276
something well and then "calmly refused to be bothered" to improve
themselves. He and they shared a good rapport, and there was no
hint of animosity or lack of respect for his role as the teacher; he
found, instead, "a predominance of firmly ingrained, complacent
apathy."56
By December, however, Martin reported that the graduate class
was taking a slight turn for the better. "They obviously are not cool
toward their teachers—only toward their work—they quite
unnecessarily gave me a nice scarf for my birthday, and the shower
of Christmas cards is unprecedented."57
Accolades for Martin were forthcoming for more than his work
with the graduate class. The December collaboration at Carnegie Hall
by the Westminster Symphonic Choir and the New York Philharmonic
on the Brahms Requiem, conducted by Bruno Walter, was met with
great acclaim. Martin, who did much to prepare the choral group,
wrote that the performance was one of the "best the school has done

277
with the big orchestras. Dr. W[illiamson] praises me effusively in
public and private for my part in it, but he never praises me for any
but superficial things. I'm still the talented 15-year-old, and always
will be, it seems."58
Christmas break at the Galeton farm engendered many
delicious meals with the family. Martin stated that the contents of a
well-loaded freezer, a "mess of stuff’ brought by him from
Princeton—combined with his sister's fine culinary arts—resulted in
sensational meals. His life-long love of dining was again evident, and
his descriptions revealed menus of "turkey, duck, all sorts of beef
cuts fixed all sorts of ways— strawberries from Germany, cookies
from Denmark, mushroom soup from France, marzipan from
Austria—and pizza, with lots of real Italian cheese, good oregano,
anchovies and mushrooms."59
An opportunity for Martin to work with another major
American composer arose early in 1955. Roger Sessions brought a
production of his opera, The Thai o f Lucullus, to Princeton's McCarter

59 Ibid.
278
Theatre, where the work received its East Coast premiere. Herbert
Graf, from the Metropolitan Opera, supervised the staging; Nicholas
Harsanyi, Martin's colleague from the Choir College and conductor of
the Princeton Symphony Orchestra, prepared and conducted the
opera orchestra. Martin found Sessions to be a "likable, professor-
type person, with his head pretty much in the clouds where practical
things are concerned."60 After inheriting a cast of singers that he
deemed ill-suited for their respective roles, Martin described some of
the production's challenges:
[Sessions and Harsanyi] auditioned singers with no consideration

of two pertinent facts—that the music is extremely difficult, and
that the solo parts almost never make use of cantabile writing
which would display beauty of voice as such. As a result they
picked beautiful voices (and some of the worst musicians of all
time) in strategic roles, large and small. When I entered the
picture (at my own impulse) they were glad to have me, and
quickly accepted my judgments of the capabilities of various
people, but had already made commitments to numbers of
impossible people . . . [T]here are still scads of people with parts in
their hands who will never in a million years be able to learn
t h e m . . . My original purpose of getting to know Sessions—and the
piece—has already been satisfied, and I wish I could sneak out
now and run away.61
60 Warren Martin, to "Bodmans," [no day] [March] [1955].

61 Ibid.
279
It is clear that Martin ultimately regretted becoming involved in the
production.
In the midst of his many other activities, Martin still found
time for composition. He announced to the Bodmans, "Broude Bros,
are publishing a short choral work of mine."62 The piece, an a
cappella arrangem ent of Psalm XIII for S. A. T. B. voices, would join
Martin's five other published compositions.
On 1 February 1955, the Princeton S'/mphony Orchestra,
conducted by Nicholas Harsanyi, premiered Martin's Concerto Grosso
in a performance at the McCarter Theatre. The four-movement work
was received favorably by the Princeton community and critics:
W arren Martin's new composition, thoroughly interesting if a

trifle bombastic, is not unlike a musical score for a motion picture.
Perhaps for that reason it seemed somewhat familiar even on first
performance. Indeed, with its sharp climaxes contrasting with
soft violin passages, it had a definite Cinemascope quality—with a
broad sweep that gave it high "impact value." The playing of
W arren Martin's concerto Tuesday evening may in future years be
rem em bered as the high spot of this 1954-55 concert season.63
Another reviewer, music critic Nathaniel Burt, described the piece as
a "brilliant patchwork." Martin happily reported that the work made
62 Warren Martin to "L and V." [Bodman], 2 October 1954.

63 Princeton Packet, 3 February 1955, [no page].
280
"quite an impression” on many people, including Williamson, Herford,
Martin's students, and the orchestra members. He found the entire
event to be both exciting and entertaining, and a valuable and
encouraging experience as well. A tape recording of the performance
reinforced Martin's convictions about orchestration: "I know how to
orchestrate the way I want to—the point being that whether or not
my orchestration satisfies others, it does correspond to my own
intentions and imaginings."64
Following the successful premiere of the Concerto Grosso, Julius
Herford encouraged Martin to send the score and recording of the
Princeton performance to Robert Shaw. Herford—who knew that
Martin already was scheduled to play continuo on a Bach St. Matthew
Passion performance with Shaw at the Potsdam, New York summer
music festival—wanted the latter to become acquainted with Martin
as a composer. Martin was pleased at Herford's efforts to help him
develop a strong professional rapport with Shaw. He mused that
"Herford may have an exaggerated opinion of Shaw's musical stature
64 Warren Martin to Lyman Bodman, 10 February 1955. Nathaniel Burt

taught theory at Westminster Choir College from 1950-1951, and also served on
the music faculty of Princeton University in 1940-1941 and again in 1947-1948.
The source containing Burt's review of the concert is unclear.
281
(and of mine), but he is very likely to be the deux exm achina who
keeps me from having my wings permanently clipped at
Westminster."65
Westminster and non-Westminster activities notwithstanding,
the 1954-1955 school year saw one of Martin's most unusual and
endearing compositions come to fruition. In a letter to the Bodmans
earlier that year, he had mentioned his progress on The True Story o f
Cinderella, which he described as "a sort of a c a n ta ta . . . [I]t runs to
over 60 pages—the music is finished now, and I'm writing the
narration.1,66 Martin cleverly created the individual voice parts for
specific students in the graduate class that year. David York
explained that "Cinderella was tailored to each of the soloists . . .
They were perfectly cast and the music was perfectly written for
them . . . [W]hen those students and faculty members moved on, then
[Martin] very carefully picked the other people who would fit [the
65 Ibid. The Potsdam festival was held during the first week of May,
1955.
66 Warren Martin to "Bodmans," 28 December 1954.
282
roles]."67 Descriptors in the campus publicity called it a "grandiose
and rollicking spoof of musical pretentiousness."68
At its premiere during the Westminster May Day festivities on
2 May 1955, the work was deemed an overwhelming success, so
much so that it became an immediate Westminster tradition.
Subsequent performances of the work throughout the years have
garnered pyramidal appreciation, and frequently have been
regarded as highpoint events by Choir College students and faculty
alike.
In the summer of 1955, Martin returned to the farm in Galeton,
where he assisted with the haying. Even though he did not mind the
muscular effort or the dustiness and even found the exercise
beneficial, he complained that the "assorted blisters are
uncomfortable, and I have the dubious choice of sweltering in clothes
or undressing and getting severely sunburned."69 In addition to
67 David Stanley York, Interview by Christopher Samuel, 9 May 1991,

68 "News," Processionai XVII, no. 3 (March 1955): 12.
69 Warren Martin, Galeton, PA, to "Bodmans," East Lansing, MI, 27 June
[1955], in possession of author, Phoenix, AZ.
283
performing the farm tasks, Martin continued studying and
memorizing piano literature:
Italian Concerto, Mozart sonata, Brahms group (Opus 119, three

Intermezzi and a Rhapsody), and Martin sonatina—I average about
two hours a day of practice, and may make it more when the
haying is over. The wasted time so far has been spent on deciding
which Brahms to work on, but I'm settled now and have the first
Brahms memorized and the other three partly memorized . . . Oh
for three summers, each six months long! I haven't done a bit of
composing or copying—in fact, I haven't even unpacked my
manuscripts yet.70
By mid-July, Martin confessed that he was "not yet bored," and
that the piano was "beginning to feel good" to his fingers. He
believed that he was making progress, although he admitted that he
had not yet memorized two movements of the Mozart sonata. He
desperately wanted someone to listen to him play: first, to see if he
was doing what he thought he was doing; and second, to find out by
"friendly argument" if—especially in the Brahms—any of his musical
intentions were 'unduly bizarre.'"71 Although he was clearly
involved in a number of concurrent farm activities, the pace at which
Martin described memorizing piano literature during that particular
70 Ibid.
71 Warren Martin, Galeton, PA, to "Bodmans," East Lansing, MI, 8 July

[1955], in possession of author, Phoenix, AZ.
284
summer break seemed slow by comparison to certain other times in
his life. Lyman Bodman recalled Martin memorizing and publicly
performing the Gershwin "Rhapsody in Blue" at Camp Grant after
studying the work—completely away from a keyboard—for a mere
ten days.72
The graduate program at Westminster continued to be a source
of frustration to Martin. At one point, he again addressed his
concerns related to the growing graduate enrollment with the college
president:
Dr. W[illiamson] has accepted, in principle, my suggestion that we

limit the num ber accepted for graduate study next year—which
would be a boon. I told him that I wasn't at all sure Mrs.
W[illiamson, Dean of the Choir College] would feel the same way
about it, and he said Mrs. W. had come to value me so highly that
he knew she’d say "Yes!" to anything I suggested. Ha ha ha (dry
laugh).. ,73
The resulting situation pleased Martin. In his opinion, the onset of
the 1955-1956 school year brought a graduate group that—from a
vocal standpoint—was better balanced than those of previous classes.
72 Lyman Bodman, Telephone interview by Christopher Samuel, 9

August 1997, transcript, in possession of author, Phoenix, AZ. Howard Silberer
performed the piano orchestral reduction at the Camp Grant performance.
73 Warren Martin, Princeton, to "Bodmans," East Lansing, MI, 22 January
285
He rem arked that "the proportion of steady, serious minded students
is comparatively high this y e a r. . . [T] he graduate group is enough
smaller [than preceding years] to encourage me that we may do some
work this year."74
Martin's composition projects that year included a Mass in F,
scored for chorus, soloists, and orchestra. He expressed his need for
patience in securing a performance venue for the work, because the
students' heavy schedule of New York choral commitments allowed
no extra time for a premiere performance. He also mentioned plans
for a "really formidable" repeat of Cinderella, but "no date yet to
perform it—and, what is more to the point, no real reason to perform
it."75 This statement reflected Martin's lifelong proclivity for
deriving compositional inspiration from specific occasions or events
that offered him motivation for performing his works. Once the
initial event passed, however, Martin often lost interest in repeating
whatever piece(s) he had composed for that specific occasion—unless
74 Warren Martin, Princeton, to "Bodmans," East Lansing, MI, [no day]

[September] [1955], in possession of author, Phoenix, AZ.
75 Ibid.
286
he became motivated to rescore or revise the work.76 Following the
eventual repeat of Cinderella, Martin's prediction of a 'formidable''
rendering as noted above was reflected in his comment that, "This
year's performance, with all the cast changed and many faculty
members participating, and with me narrating, was even livelier
than last year's—and in some ways better."77
All things considered, Martin appeared content in his work at
Westminster. He expressed his personal outlook to the Bodmans:
The year you were here [1953-1954] I was somewhat discouraged

by things in general; last year I became quite discouraged; but I
begin this year in a state of cautious but confident enthusiasm.78
By mid-November, his ebullience was still evident; he wrote that "all
is going well here—a very good year, in fact."79
Faculty meeting minutes indicated the appointment of a
graduate student, Ann Moyer, as Martin’s assistant.80 Moyer

77 Warren Martin, Princeton, to "Parents," Galeton, PA, 5 February 1956,
78 Warren Martin to "Bodmans," [no day] September 1955.
79 Warren Martin, Princeton, to "j. K and G. W." Martin, Galeton, PA, 12
80 Westminster Choir College, "Minutes of the Faculty Meeting," 17
September 1955. Archives of Westminster Choir College.
287
replaced Lois Laverty, who served in a similar capacity from 1953
until her graduation in May of 1955.81
Martin's role as a respected leader within the complicated
fabric of the Choir College clearly continued to flourish. While the
president and dean were touring with the Westminster Choir during
February of 1956, Martin—along with Vice President in Charge of
Administration Harold Hedgpeth and College Treasurer James T.
Richmond—was appointed to the committee of three to "be in
charge."82
In the midst of his multiple successes at Westminster, Martin
continued to receive encouragement from Julius Herford to "keep an
eye out" for other promising opportunities. Martin reflected that
Herford:
. . . thinks I m ust begin to get about in the U.S.; that to limit my

sphere of activities to a more or less comfortable and homey
atmosphere is selfish and lazy—which it is, of course, providing
said activities are as worthwhile as he finds them. Lyman, ITm
being prodded!—and along with my gratefulness for it is a
sneaking little unpleasant thought that if I don't measure up to
81 Lois Laverty, interview, 14 May 1991. Martin had encouraged

Laverty, a member of the undergraduate class of 1951, to return to Westminster
in 1953 as the institution's first graduate assistant.
82 Westminster Choir College, "Minutes of the Faculty Meeting," 10
January 1956. Archives of Westminster Choir College.
288
the hopes of my friends and mentors, they may eventually find

my modesty and backwardness distasteful, and reverse their
enthusiasm, even though I continue to improve and flourish in my
own peculiar way.83
One of the opportunities that Martin chose for "getting about in
the U.S." took him back to California. In the fall of 1955, he
mentioned to his parents that he "had two possibilities of summer
work in California (just possibilities)."84 Ultimately, he spent June
and July of 1956 at the University of California at Berkeley, teaching
music theory in the summer session at the behest of friend and
former Westminster faculty member Joseph Kerman.85 Concert
programs indicate that he also taught a chamber music performance
course with a particularly strong emphasis on early music—a rarity
for the mid-1950s.86
Other extra-curricular musical activities included arranging and
revising folksong material for a piano repertoire book that was to be

84 Warren Martin to "J. K. and G. W." Martin, 12 November 1955.
85 Lois Laverty, Interview by Christopher Samuel, 29 September 1997,
86 University of California, Concert program, Berkeley, CA, 18 July 1956,
289
published by Westminster piano faculty member Frances Clark. She
hired Martin to simplify versions of existing pieces that she wished
to include in the publication, but that through earlier scrutiny she
found too difficult or too elaborate for practical use. He noted in
retrospect that he "enjoyed the task, strange as it might seem . . . I
asked in advance that my name not be used in connection with the
arrangements, and they turned out so well that I'm sorry now."87
In the fall of 1956, Martin reported that his graduate choir was
further along than any previous group so early in the school year,
and th at it was a joy to have a group made up of willing workers.
After their first performance, he wrote:
Grad performance was astonishingly and heartwarmingly g o o d -

some thing to live up to in the rest of the year's work. Conducting
and singing on a high musical level, even if conducting and singing
technic was not by any means flawless. Diction was the best I've
heard from any choir at Westminster.88
Soon afterward, he maintained that school was "going well—in
some ways smoother than usual with the Williamsons and
Westminster Choir away . . . The write-ups of their concert in Los
87 Warren Martin, Princeton, to "Lyman and Virginia [Bodman]," East

Lansing, MI, [no day] October 1956, in possession of author, Phoenix, AZ.
88 Ibid.
290
Angeles were astonishingly good, since they really made a fiasco the
last time they were there."89 Martin was referring to the tour
concert that he had attended with his close circle of Los Angeles
musician-friends in the late 1940s.
Martin indicated to his parents that he would make a special
effort to spend Thanksgiving break in Galeton with the family,
because "Christmas vacation will be considerably curtailed by taking
care of the choir that sings The Messiah with the New York
Philharmonic on December 27,28, and 30."90 Williamson's absence
from the campus for the lengthy choir tour to the Orient necessitated
that the Messiah concert be prepared by one of the other conductors
on the campus, a responsibility that fell to Martin. The performance
was considered a great success, as reflected in a resolution adopted
by the Westminster Board of Trustees:
Be it resolved that, in view of the widespread critical acclaim

greeting the outstanding achievement of the Symphonic Choir in
its recent MESSIAH performance with the New York Philharmonic
Orchestra, a special word of commendation and thanks be
89 Warren Martin, Princeton, to "Family," Galeton, PA, 30 October 1956,

in possession of author, Phoenix, AZ. The Westminster Choir concertized on
the West Coast while en route to the Orient.
99 Ibid.
291
tendered Warren Martin, who solely prepared the Choir for these
performances.
The Faculty rejoices and takes pride in his notable success in so
well preparing the singers for their professional appearances, and
knows it expresses the feelings, not only of itself but also of the
entire student body, when it takes this means of expressing its
high satisfaction in, and gratitude for his brilliant accomplishment.
It is further ordered that this Resolution be inscribed in the
Minutes of the meeting, and a copy delivered to Mr. Martin.91
It is clear that Martin was growing in prominence at Westminster,
and that he was considered successful by his superiors in carrying
out the musical responsibilities entrusted to him.
The summer of 1957 found Martin again relaxing in Galeton
and reflecting on the past school year. He reported that the end of
the year at Westminster was "riotously musical" on various levels of
taste, and that he "conducted in two chapels and a stadium, played
the Shostakovitch inaccurately but with tremendous elan, spoke
briefly, seriously and rather effectively to the Seniors in chapel, and
accompanied a wildly successful repeat performance of Cinderella."92
91 Westminster Choir College, "Minutes of the Board of Trustees

Meeting," 8 January 1957. Archives of Westminster Choir College.
92 Warren Martin, Galeton, PA, to "Bodmans," East Lansing, MI, 6 June
292
Martin's summer composition plans included a Mass in English
for chorus, soli, organ, and obbligato instruments. The piece was
written with the Symphonic Choir in mind, and was apparently the
tangible result of an agreement between Williamson and Martin that
would permit the latter to perform a sizable work of his own—in the
surrounding where most of his composition efforts and products
were "to order" and novel, and where his conducting largely was
reduced to teaching notes. He wrote, "If I'm in choral music, and if
I'm a composer, the time is over-ripe for me to engineer a
satisfactory performance of a choral work of mine."93 By August, he
was working on a four-movement string quartet. As a composer
whose results were intentional, he wrote:
I realize that I've kept the viola quite low—this is intentional,

however culpable, because I wanted the sounds where they are. I
think I've maintained a fairly consistent style. The texture may
be a leetle thin, which is at least better than being too thick, as in
the case of the Franck quartet and much other Romantic chamber
music.94
93 Ibid.
94 Warren Martin, Galeton, PA, to "Bodmans," East Lansing, MI, 25 August

293
Although it is d e a r that Martin spent copious amounts of time with
his composition projects, his summer break was rife with "many
vicious games" of Scrabble, pinochle, and bridge that involved his
family and friends.
In addition to his multiple musical responsibilities at
Westminster, Martin eventually earned the reputation of being
capable, efficient, and able in carrying out the administrative work of
im portant faculty committees. A report by Williamson to the Board
of Trustees listed Martin as the chair of a committee on "faculty self-
evaluation and self-examination."95 This evaluation process was one
of the initial steps taken by Westminster during the late 1950s in its
quest for accreditation through the Middle States Association of
Colleges and Secondary Schools. Martin, with his broad musical view,
his penchant for clarity, and his bias toward elevating academic
standards, was a sensible choice for chairing a committee of this
type.
95 John Finley Williamson, Princeton, to the Board of Trustees, 16

October 1957, facsimile, in possession of author, Phoenix, AZ.
294
In addition to the immense pressure that the accreditation
process brought to the overall Westminster community, the
Williamsons’ announcement that they planned to retire from the
College heightened anxiety levels for everyone connected with the
institution. Halfway through the academic year, Martin wrote:
My status at Westminster has never been more problematical,

and, though it seems like heaping exaggeration upon exaggeration,
no months spent at Princeton have been harder to endure than
these recent ones. Dr. and Mrs. Williamson have intensified all
their administrative and personal idiosyncrasies, and Dr. W. in
particular is waging a no-holds-barred battle to force the faculty
into line. What line? Westminster as it used to be in Dayton.96
Martin particularly was annoyed about one of John Finley
Williamson's many divisive moves: a semi-public attack on the
graduate departm ent whereby he urged graduate students in the
Westminster Choir to "help their fellow students and their teachers
by setting them right" about conducting and vocal techniques.
Although Martin found student morale surprisingly good, he noted
that the faculty was "restive and confused . . . It is as if a powerful
machine were held together by chewing gum, adhesive tape and
bobby pins. Now that the school approaches a real turning point, no
96 Warren Martin, Princeton, to "Bodmans and Lois [Laverty]," East

Lansing, MI, 22 January 1958, in possession of author, Phoenix, AZ.
295
one is ready to step forward and show confidence and strength .. .”97
Despite a wrenched back and an abrupt announcement from Leonard
Bernstein that the maestro wished to do the impending performance
of Honegger's Jeanne d ’A rc in English—instead of in French, as the
choir had prepared the work—Martin still felt a strange freedom
from the desire to "mope or despond."98
Martin recognized that the departure of the Williamsons would
necessitate a restructuring of Westminster Choir College's
administrative positions. A myriad of rumors abounded about how
the positions might be re-designed upon the retirement of the co
founders, but definite, public plans were still unclear by the middle
of the Williamsons' final semester at the institution. As suggested
earlier, discussion already had been given to the possibility of
creating a musical director position for Martin, and he was clearly
willing—under certain conditions—to accept such a role:
There is as yet no indication that I or anybody else will be

appointed as musical director of Westminster. If nothing is
clarified by September [1958], I shall be forced to o u tlin e. . . a set
97 Warren Martin, Princeton, to "Peaceful friends at Michigan" [Lyman

and Virginia Bodman and Lois Laverty], East Lansing, MI, 12 February 1958, in
98 Ibid.
2 96
of flexible but realistic conditions under which I would care to

remain at Westminster past June 1959. Among the conditions
would not be a salary increase o r a fancy title; among the
conditions would be a definition of my responsibilities and my
actual, not supposed, authority. My greatest immediate problem
is to finish out this year without antagonizing [J. F. Williamson] to
the point that he would do any more damage to my burgeoning
career that he has already done accidentally. Without going into
any detail, it is probably still possible for you to see that almost
any move I make is sure to be wrong in some way (from now
until June), and that the best that can happen is for Dr. W. to be so
tied up with other considerations that he forgets to continue with
his already very annoying effort to get me to confess my sins and
become a good son to h im . . . Leaving all sentiment and self-
seeking as far out of the picture as I can manage, I still find
myself believing that Westminster is in danger of losing, through
fantastically confused mismanagement, their greatest single asset
for the years to come—namely m e!"
In spite of the tremendous turmoil that dominated the campus,
Martin experienced what he considered "one of the most pleasant
hours in years" in his graduate conducting class. While working on a
Monteverdi madrigal cycle, he noted that the group "sang softly and
in tune, with good taste and concentration—and with good esprit. All
the things we should be having all the time in such a course."100
99 Warren Martin, Princeton, to "Bodmans," East Lansing, MI, 21 March

too Warren Martin to "Peaceful friends at Michigan," 12 February [1958].
297
In the midst of his increased responsibilities at Westminster,
Martin accepted musical opportunities that drew him away from the
campus and its stifling pressures. In March of 1958, he traveled to
Charlotte, North Carolina to collaborate with Alice Berman—with
whom he had worked at Trenton's First Presbyterian Church while
still an undergraduate student. She was by then the conductor of the
Charlotte Choral Society, and—on one of the group's concerts—Martin
played works by Johannes Brahms, Edward MacDowell, and Felix
Mendelssohn, several improvisations, and accompaniments for the
final two choral selections:
i accepted the curiously formal-informal engagement for an

equally curious set of reasons: I felt like getting away from
Westminster for a couple of days; I like Alice and knew I would
enjoy seeing her again; I wanted to place myself in a situation
where I would be forced to exercise whatever talent I have for
dressing up and meeting new people; and I wanted to force
myself to play the piano in public. Mission accomplished . . . [I]t
was rather fun to be lionized and to eat good food and to have
every slightest wish taken care of; and I discovered that I'm no
longer afraid to play the piano all by myself in public, and that I
can perform almost up to the level that I have practised, which
doesn't mean much to you old-timers but does erase yet another
of my fears and give me incentive to keep on with piano.101
101 Warren Martin to "Bodmans," 21 March 1958.

298
Immediately after the Charlotte engagement, Martin met the
Symphonic Choir, the Baltimore Symphony, and conductor Messimo
Freccia at Baltimore's Lyric Theatre for a performance of Carl Orffs
Carmina Burana. Martin wrote that "the crowd yelled and stamped
on the floor—Freccia took me on for several bows, fuming because Dr.
W[illiamson]'s name, not mine, was on the program."102 Later, Martin
received a call from Freccia's wife—on behalf of the maestro—who
reiterated that the choir was wonderful and the reviews were
excellent, and that Freccia thought the Westminster Choir was better
than the group he had used the previous year with the London
Symphony.
Martin represented the Choir College outside the Princeton area
in another event, called the "Westminster Festival." An evolution of
the earlier Talbott Festival, this alumni-related event was one of a
series of concurrent choral festivals held in select communities
throughout the country. Although the festivals were traditionally' an
im portant part of the Westminster experience for graduates and
their choirs, they also were frequently the source of many end-of-
102 Ibid.
299
the-year campus problems for Martin. A program descriptor
clarified the development:
For many years graduates of the Westminster Choir College of

Princeton, New Jersey, have been bringing their choirs back to the
school to join forces with each other in a great choral Festival.
Three years ago, when the number of people involved became too
large, and the distances traveled made it well-nigh impossible for
all to get together in Princeton, the idea of many Festivals spread
out over all the country and directed by outstanding Alumni of
the College came into being.103
Even with the new format, the regional festivals created additional
campus work for Martin. He explained:
The local committee asked me to participate as advisor and as one

of the conductors on the local regional festival. I hemmed and
hawed, because Dr. Wfilliamson] is also to conduct, and I don't
fancy one more lackey assignment. Then the Oklahoma regional
committee wrote and asked me to conduct their festival, and I
accepted immediately. Oklahoma and the surrounding area
includes, strangely enough, the greatest concentration of
Westminster grads who are "doing things" and who are outspoken
enough to have something to do with affecting the school's policies
through the Alumni Association. I think they may have a little
m ore on their minds than just having me conduct a massed choir
program, but I'm not sure.104
In May of 1958, Martin served as guest conductor for the Oklahoma
City area festival that involved nine church choirs directed by
103 St. Luke's Methodist Church, Oklahoma City, OK, Westminster Choral
Festival program, 4 May 1958, in possession of author, Phoenix, AZ.
104 Warren Martin to "Peaceful Friends at Michigan," 12 February 1958.
300
Westminster alumni. The concert program described him as "one of
America's foremost young musicians . . . It has been said that there
are three kinds of musicians—creators, performers and listeners.
Warren Martin combines all three in a unique way."105
In addition to the musical traits nam ed above, Martin could
devise and deliver a well-conceived speech. He presented a speech
to the 1958 graduating class at Westminster entitled "On Being A
Minister of Music." He defined and described the work of a minister
of music, and addressed the key qualities of adaptability,
communication, and idealism and common sense. Martin stated, "It
almost goes without saying that a great deal of personal gratification
is to be gotten from listening to music and knowing music and
performing music. But discerning and ambitious people. . . find a
higher quality of gratification in leading other people in
understanding, performing and enjoying music."106
105 Westminster Choral Festival program, 4 May 1958.

106 Warren Martin, "On Being A Minister of Music," W estminster Choir
College N ew sletter II, no. 9 (26 June 1958): 4. Because the speech revealed
important insights into Martin's philosophies regarding music as a high art
and a worthy academic pursuit, it is included in its entirety in Appendix B of
this document.
301
Indeed, through his work at Westminster, as well as in venues
elsewhere, Martin earned the esteem of numerous students, alumni,
faculty, administrators, and members of the community at large.
Despite complexities in the relationship between Martin and John
Finley Williamson, the latter came to rely heavily upon Martin as the
choral trainer for the institution's collaborations with major
symphony orchestras. Additionally, Martin exerted a strong
influence on Westminster's graduate program by working diligently
to raise academic standards and increase the College's expectations
for its advanced students. Since his return to the Choir College in
1950 as a member of the faculty, Martin had done justice to nearly
all of his many assigned responsibilities. However, his largest
challenge was yet to come; it appeared soon after the co-founders,
John Finley Williamson and Rhea Williamson, retired from active
leadership of Westminster Choir College in June of 1958.

CHAPTER VII
MUSICAL DIRECTOR OF WESTMINSTER CHOIR COLLEGE
The 1958 retirem ent of Westminster Choir College co-founders
John Finley Williamson and Rhea Williamson was a major event in
the life of the institution that they had brought into being from a
mere dream in the 1920s. For some, their retirem ent signaled doom
and disaster—a devastating end to a glorious, golden age of choral
development that intertwined intense doses of Christian character
building with an amazing, yet intangible, phenomenon known as "the
Westminster sound." For others, the transition meant "business as
usual," although the challenge of maintaining and interpreting the
status quo loomed large in the absence of the institution's two main
characters who had created the institution. For still others, the
retirem ent heralded wonderful opportunities for change and
improvement, and provided the chrysalis for a period of optimism
and continued growth for Westminster Choir College.

303
Since its official beginning in 1926, the top administrative roles
of the Choir College had been held by J. F. and Rhea Williamson. He
served as president of the College as well as conductor of the
Westminster Choir; she functioned as dean of the institution. As the
Williamsons retired, the Board of Trustees created three separate
positions of administrative leadership: president, dean, and musical
director.
The president's position was filled by William F. MacCalmont, a
graduate of Maryville College and Princeton Theological Seminary
who held an honorary Doctor of Divinity degree from the College of
Wooster. Dr. C. Howard Hopkins became dean of the College. His
undergraduate education was taken at the University of Redlands,
and he had earned Bachelor of Divinity and Doctor of Philosophy
degrees at Yale University.1 The newly created position of musical
director, whose function was "to assist the new President and Dean
and to supervise the musical program of the college," was given to
Warren Martin.2 Clearly, Martin's appointment to this position was
1 Schisler, "A History of Westminster Choir College," 240ff.
2 Westminster Choir College N ew sletter 3, no. 2 (26 November 1958): 1.

304
not a surprise; three years earlier, he had expressed mixed but
detailed sentiments about the idea:
There is no doubt that Q. F. Williamson] is seriously considering it

. . . Now that makes me sit up and take notice, for two main
reasons. The first is that I never have wanted, and probably
never will really want, any position of real administrative
responsibility. It always and inevitably involves so much extra
curricular activity—politics, promotion, face-saving, glad-handing,
etc.—that an administrator must fight to keep any independence of
thought or action. And not only am I "skeered" of being up on an
exposed level where people can attack me, but also I really do
value my independence of thought and action more than I do
power and glory, or even security. The other reason (involved
with the first) is that the more Dr. W[illiamson] talks in terms of
an actual plan concerning me, the more he puts pressure on me to
conform to his ideas—conducting and smoking, to name two—and
this isn’t as facetious as it might sound to an outsider. He does
appreciate my abilities, or most of them. And he does recognize
and value my loyalty and conscientiousness. But this is not quite
the same thing as really putting trust in my all-over integrity and
wisdom. He thinks I am the right man for the spot, if I only
conform to certain things and uphold certain things, for the good
of the cause . . . Is the game worth the candle? Have I the
strength to use my best qualities and undergo a period of
apprenticeship where I will be in truth a puppet of Dr.
Williamson's, and yet open to all the criticism which will certainly
come flooding in my direction? These are, so far, unanswerable
questions, for although I've proven to myself that I can do lots of
things I never thought I could, still I've never had any
opportunity here at Westminster to find out if the admiration and
respect of students, townspeople, etc., could be parlayed into
sufficient backing to support the successful pursuance of a job
such as the one we're talking about.3
3 Warren Martin to Lyman Bodman, 17 October 1955.

305
Events in 1958 suggested that Martin came to terms with whatever
reservations he had held about accepting the position of musical
director. A report by the Faculty Relations Committee to the Board of
Trustees recommended that Martin's salary—befitting his new status
as musical director of the College—be raised to $8,000.4
Under the best of circumstances, transition between
administrations inevitably carries its share of predictable problems.
However, the situation at Westminster was made more awkward
because the three administrators had no previous knowledge of each
other. Years later, Martin recalled that "before the three of us
started, we had never met. We were never consulted about each
other. No one of the three of us was consulted about either of the
other two."5 Nevertheless, relations appeared cordial during the first
semester following the change. In addition to enjoying two separate
surprise parties given by students on his forty-second birthday in
December of 1958, Martin received yet another honor at a party held
"in the evening at the Peacock Inn (where a faculty member invited
4 Westminster Choir College, "Minutes of the Board of Trustees Meeting,"

21 January 1959. Archives of Westminster Choir College.
306
me to dinner, and lured me to a private room where the President
and Dean and their wives received me and treated me to roast beef
and everything!)."6 Regarding the special attention directed toward
him, he mused:
I'm being recognized and appreciated all over the place, and since
I fancy I'm immune to getting a swelled head I dare be grateful
because it means I can probably accomplish things in my new
job.7
Indeed, Martin appeared to hold high hopes for the work of the new
administration. His evaluation of the Choir College was reflected in
the following:
Of the most important problems facing the college, a few are on

the way to solutions of sound permanence and the others don't
appear to be insurmountable. The curriculum, and the general
organization and administration of the college, are headed toward
respectability and security. Money must be raised, and we don't
know yet whether to worry or not. Good faculty additions are
hard to find, because (a) some of the most im portant needs are in
areas (voice and conducting) where we really should have
Westminster-trained people who are also decent musicians, and
because (b) too many present faculty members have jobs a notch
or two higher than their capabilities justify, and good new faculty
members would be inferior in rank and superior in quality—an old
story to many institutions, I'm sure .. .8
6 Warren Martin, Princeton, to "Bodmans," East Lansing, MI, 6 December

7 Ibid.
8 Ibid.
307
Although Martin had borne almost sole responsibility for
training the Westminster Symphonic Choir during the years
preceding the College's administrative transition, J. F. Williamson's
name had continued to be listed as the conductor of the group.9 With
the latter's retirem ent and departure from the campus, there was no
longer any question as to the identity of the person responsible for
the musical preparation of the choir. Because there was a great deal
of concern among older graduates as to the direction that the choral
tone would take under the new administration, Martin was especially
pleased with the Symphonic Choir's November 1958 performance of
Beethoven's Sym phony No. 9 with the New York Philharmonic,
conducted by Herbert von Karajan. Martin basked in von Karajan's
positive reaction to the choir:
Through a series of mishaps we had had no preliminary chorus

rehearsal with von K[arajan]. At the beginning of orchestra
rehearsal he was dubious, and said the chorus should sit till the
orchestra took a break, and then he would hear them. I said,
"Why don't you try them and see how it goes?" He did, and after
a few minutes he called me up to him and said ,V ery good—but
now I want to do the Missa Solemnis with you." When, after
opening night, our new President and Dean and their wives went
9 Allen Crowell, Interview by Christopher Samuel, 9 May 1991,

308
up to von K's dressing room, he embraced the President and said,

"That is for your wonderful Mr. Martin!"10
The following week, Martin took a smaller group to perform excerpts
from the same work with Leonard Bernstein in a television broadcast
from the CBS studios in New York. He wrote that "the chorus . . . was
far from the conductor, and Bernstein jabbed at them where von
Karajan had invited them, but they did right well and the program
came over with quite a bit of color and life. (My name was flashed
on the TV screen briefly, with a whole frame to itself!)."11
In the midst of his newly acquired responsibilities, Martin still
found time for composition. The Princeton Community Band
commissioned a work; other projects included a setting of the St.
Matthew Passion for a performance at Westminster. His tentative
plan for the work follows: narrator and individual soloists for
different characters, in the style of Bach; brief contemplative sections
for non-story text, consisting Gf separate numbers for soprano solo
10 Warren Martin to "Bodmans," 6 December 1958. Years later, Martin

expressed disappointment to Charles Schisler (8 January 1974) that he and von
Karajan did not have the opportunity to work together on the Missa Solemnis.
The Symphonic Choir was already scheduled to do a performance of the work
with Leonard Bernstein and the New York Philharmonic during the 1959-1960
concert season.
11 Ibid.
309
with organ or strings, or perhaps organ alone; and a string quartet
serving as "connecting tissue" between episodes of the story. He
projected that the Jesus and Narrator parts would be scored for bass
soloists, and those of Peter and Judas for tenors. Plans also called for
harpsichord accompaniment in the recitatives, and piano in the arias
within the storyline. Martin believed that it would be one of his
most significant compositions, but described working at it as though
it were a fun piece like Cinderella. In mid-December, he indicated
that the "Passion Music progresses amain."12
Martin's earlier desire for clarification of all duties associated
with his musical director position was sated through approval of the
1959 Bylaws of Westminster Choir College. Specific duties were set
forth as follows:
The Musical Director shall be responsible to the Dean of the

College for supervision of instruction in musical subjects and
applied music; for assistance in the organization of musical
curricula; for assistance in recruitment and supervision of musical
faculty.
He shall act as adviser to the President and Dean in musical
matters, following consultation with heads of departments
involved.

310
The Musical Director shall be responsible for the planning and

supervision of all extra-curricular musical activities and events
involving the choirs and other musical organizations of the College,
subject to the approval of the President and Dean.
In the absence of both the President and Dean, the Musical
Director shall act in a temporary capacity as administrative head
of the College, but without certain powers outlined in Article V,
41, 42, 44 and Article VI, 46.13
As an officer of the College, Martin was in a position to offer
input to the Board of Trustees. At the beginning of his second year
in his new post, Martin submitted a perspective on the College's
musical and academic status, excerpts of which follow:
Great demands are made of our students in order that they

may graduate as respectable musicians, fitted for their future
work in church music. Any substantial reduction in the quantity
of musical courses would involve omitting studies which are vital
to a well-rounded preparation for leadership in music. Therefore,
the organization of musical courses and of teaching plans to
achieve efficient coverage of what is considered to be inescapably
necessary, is a param ount and continuing ta sk . . .
Many of the outcomes of present procedures in our musical
work—and many of the results of spending money at the present
time—will be apparent only in a matter of years. Our best
contribution to the future of this college and to the purpose it
serves will be a good graduate, who takes his place in the musical
life of church and community and, over a period of years, builds
up a record of achievement which contributes to the justification
of the college's existence, to the prestige of the college in the eyes
of the world, and to the power of the college to attract fine
students and adequate financial support. I respectfully submit
13 Westminster Choir College, "Bylaws," 1959. Archives of Westminster

Choir College.
311
my opinion that the practical and idealistic success of Westminster

Choir College depends on a policy of emphasizing quality, in music
as in other areas, even if it means subordinating present concrete
problems to future hoped-for eventualities.14
Building on Westminster's past successes by raising the
academic standards at the institution was clearly one of Martin's
main goals as musical director. While reflecting on Martin's quest,
Charles Schisler helped to place the school's development in a
broader, national context:
You have to put education in America—in general—after World

War II in an historical context. After 1945, they had a boom era
when all the service men came back with the GI Bill. And you
have to think of education standards nationally in the small
liberal arts colleges that were getting away with murder. I mean,
Mrs. Williamson had her daughter there teaching a course, "What
You Say When You Meet a Senator." That was English. And things
like that were going on, but everybody was just looking the other
way. So those were the academic standards. But [Martin] really
was the guiding light to turn that around . . . Warren—during his
whole time at Westminster—was someone who was looking out fc r
that side of it.ls
Martin's high ideals and clear vision for achievement were
acknowledged and appreciated by the new dean, Howard Hopkins.
After working with Martin for only a short time, Hopkins expressed
14 Warren Martin, Princeton, to the Board of Trustees, 21 October 1959,

facsimile, in possession of author, Phoenix, AZ.
15 Charles Schisler, interview, 15 January 1996.
312
his personal appreciation to the Board for their foresight in
appointing Martin as musical director of the College. He also wrote,
"I believe his musicianship to be extraordinary and his judgment
sound and well-balanced. We could hardly expect to make the
progress that lies before us as an imperative without his h e lp .'16
The "progress that lies before us" that Hopkins referenced
certainly had at its crux the accreditation process to which the
College had committed itself in the effort to join the Middle States
Association of Colleges and Secondary Schools. In an article for the
benefit of Westminster's formidable alumni association, Hopkins
outlined conceptual goals of the process, beneficial reasons for
pursuing it, and requirements necessary for the school to receive this
accreditation:
Accreditation is the process of establishing the excellence of a

college in terms of standards set up by a national or regional
group representing a profession or the recognized institutions of
higher learning of the region. Its purpose is to demonstrate that
the college is actually doing the good job of education it says it is,
in terms of quality of faculty and instruction, content of degrees,
etc.
16 C. Howard Hopkins, Princeton, to the Board of Trustees, 22 October

1958, facsimile, in possession of author, Phoenix, AZ.
313
Westminster is recognized as an accredited college by the

National Association of Schools of Music, the relevant professional
organization. It is similarly accredited by the State Department of
Education of New Jersey.
The regional accreditation of the Middle States Association of
Colleges and Secondary Schools is our next major educational
objective. This is necessary because regional accreditation is the
most important, in terms of general recognition, which a college
such as ours may obtain.
A tentative date for Middle States visitation has been set in
about two years. The inspecting team will be interested in the
salary scale, ranks, and other terms of employment of our faculty;
the Library, both the collection of books and the building; student
personnel policies and staff; financial support of the College; the
selection of students, the quality of teaching.
It will not be interested in our purpose as such, nor will it
attem pt to change or influence this. The Association is simply
concerned that we are really doing what we say we are doing. If
it were to attempt to influence the purposes or policies of the
College we would neither want nor accept, accreditation.17
The faculty evaluation process to which Martin was assigned
during the Williamsons's final year at the College became
increasingly more important as scrutiny for the looming accreditation
intensified. Martin indicated that "the Dean and I have spent quite a
num ber of hours considering salaries, and the best future use of the
present faculty we are blessed with (or stuck with, as the case may
17 "Accreditation," N ew sletter III, no. 5 (26 February 1959): 5.

314
be), and the hiring of new faculty."18 Martin wanted Westminster to
move toward a predominantly full-time faculty; to that end, he
argued that—given the limited budget—it was more sensible to hire
sufficient teaching staff to keep faculty members from being
desperately overloaded with work than to give more than token
salary increases to present faculty and continue to overload them.
He acknowledged being swamped with applications by potential
faculty members in areas in which the school was either well fixed or
had prior commitments, and bemoaned the inability to "find anybody
really good in the areas which are hardest for us to take care of
p ro p erly . . . [, such as] voice teachers and a conducting staff who are
at least congenial to Westminster] Cfhoir] Cfollege] methods
(however tempered and revised.)"19
Martin also stressed the need to "get about the country" in his
professional capacity to observe the work of potential "faculty
acquisitions," and he bewailed the lack of time built into his musical
director position to do so. Meanwhile, he expressed delight that he

19 Ibid.
315
had asked for and been granted a full-time "roving assistant" in the
person of Rosemary Russell, who would begin her duties in the fall of
1960. He predicted, "Her great value to me will be that she
thoroughly understands and supports my ways of doing things, and—
wonder of wonders—can be enthusiastic and impersonal at the same
time."20 The arrangement allowed Russell to conduct sectional and
occasional full rehearsals of the Symphonic Choir, and to function as
Martin's confidential secretary as well.
In general, Martin found that the faculty was not inclined to
move ahead on its own in any creative or adventurous manner. He
complained that "our older faculty members have long since gotten
out of the habit of standing on their own feet, and one of my long
range aims is to encourage present faculty to be independent, and
acquire new faculty who will be the same."21 He believed that the
Westminster faculty was more cooperative and mutually interested
in common goals than were faculties at other schools. However, he
was painfully aware that, because the group was used to being told
20 Ibid.
21 Ibid.
316
what to do, it needed prodding to move forward. Many years later,
faculty member Eugene Roan corroborated Martin's assessment:
At that point, the faculty had no strong sense of initiative because

we had been so browbeaten in the Williamson years. In the
Williamson years, faculty meetings were very irregular and were
only called when the Williamsons wanted to tell the faculty what
they expected them to do or to berate the faculty for what they
had not done. Howard Hopkins had great difficulty getting the
faculty to express any opinions whatsoever because in the
Williamson days you did not express opinions, except those of the
founders. Warren said to me at some point, "Don't you have any
opinions on anything? Why don't you express them in faculty
meetings?"22
It is clear that Martin attempted to foster the same
independence of thought in his colleagues that he sought for himself
throughout his life, and it is obvious that he showed little reticence in
expressing his well-conceived ideas. He acknowledged having little
fear of what he termed "downright opposition" to his goals and
objectives for Westminster; rather, he expressed fear of weakness
and wavering on the part of those around him. Martin recognized
that to be truly effective in the role of musical director, he would
have to expend time and energy on the many tangible
responsibilities inherent in the job. Consequently, he would be
22 Eugene Roan, interview, 10 May 1991.

317
vulnerable to attack from those who disagreed with the less tangible
yet far more im portant element to his job—his vision for the school.
Possible disagreement stemming from this intangible area was one
aspect of the job that Martin found highly unappealing.
Martin was concerned about funding sources as well. He knew
that the availability of some of the likely avenues depended on the
new administration achieving certain standards—or at least a clear
intention to achieve them.23 In his effort to augment the faculty with
people of high musical standing, he found himself in a quandary
typical of that period in his career. In choosing between two
prospective piano faculty members, for example, he noted that one
had brilliance, youth, and colorfuiness, whereas the other had
maturity, experience, and all-around usefulness. He ultimately took
the all-around candidate, but only after exclaiming, "Oh, for a big
budget to strengthen the faculty with useful people and decorate it

318
also with extravagant talent!"24 With the same pragmaticism, he
predicted the future as follows:
Within a couple of years Westminster Choir College will either

succeed under the new management, or it will not. If it does not,
only those presently connected with it will suffer. If it does, there
will be money enough to pay competitive salaries and bring to our
fold some of the people we need—and to assure them of jobs
which have security and honor beyond any reasonable doubt.
Right now, we have neither enough money nor enough good
faculty. But the climate of opinion is such that we can do some
strengthening of the faculty immediately, and trust to that and to
clear thinking to put the college on a basis which will make it
possible for us to obtain accreditation, financial support and the
kind of prestige which is not dependent on the personality of one
erratic half-genius. As I said, this will either happen or it will
not—and I think two years will be about enough to tell the tale.25
Martin's characteristic ability to hold intently to his beliefs, yet to
remain emotionally detached from them, was evident during those
pressure-laden years. He professed happiness in "a constant mental
state of caring very much about the future but at the same time
being ready to wash my hands of Westminster if it develops that
things just 'won't go.'"26
24 Warren Martin, Princeton, to "Bodmans," East Lansing, MI, 7 February

26 warren Martin to "Bodmans," 23 January 1960.
319
Amazingly—in the midst of such a plethora of activity—Martin
found time to compose. In the fall of 1959, he accepted a
commission for a cantata from the Church of the Latter Day Saints.
Entitled The Song o f the Restoration and based on a scriptural text by
Alice M. Edwards, the new work was to be performed in
commemoration of the Amboy Centennial Conference in April of
I960.27 After completing the work, he wrote to the Bodmans, "It is a
high-class, juicy hack work—for choir, soloists, speaking chorus,
orchestra, harp, and big new organ . . . If I get halfway presentable
recordings of this and the symphony I shall, of course, force you to
hear them."28 The "symphony" to which he referred was his
Sym phony in F. As mentioned earlier, the work was premiered by
the Princeton Symphony Orchestra in 1955; it was played again by
that ensemble in February of 1960 in a performance that included
minor revisions to the score. He noted, "the performance of my
symphony was a pleasant success . . . Generally speaking, I know
how to write for orchestra . . . [M]y dynamic markings are usually
27 "Warren Martin to Write New Cantata," N e w sle tte rIV, no. I (26
October 1959): 2.
28 Warren Martin to "Bodmans," 23 January 1960.
320
correct, but require an explicitly faithful rendering on the part of the
performers."29
Martin's administrative demands did not diminish his
successful work with the graduate conducting class either. Following
a rendering of the Heinrich Schiitz motet cycle, Quid commisisti, O
dulcissime puer, he noted, "I was able to say quite honestly if a bit
mawkishly, 'I have waited nine years to hear singing as beautiful as
this from a graduate choir.'"30 In the subsequent semester, Martin
made it clear that the graduate class brought him both professional
and personal fulfillment:
My graduate conducting course continues to be my most

interesting activity. Of all my activities, this course best satisfies
my urge to do something I know is worthwhile. The real title of
the course should be INTRODUCTION TO BEING A MUSICIAN, for
th at is what it boils down to.31
His extra-curricular literary activities included reading a book
that he approached with great relish: the memoirs of Field Marshal
Montgomery. Martin described him as "one of the clearest, strongest

321
minds of our time."32 He noted also, with the wisdom of hindsight,
that the World War II campaigns, as outlined in the book, made
much more sense to him now than they did at the time. The irony of
reading and deciphering World War II battle campaigns while
creating and effecting new goals for Westminster Choir College
during that late 1950s transition period is an interesting one.
Indeed, one of the great battles of Martin's life developed while
he served as musical director of Westminster Choir College. It grew
out of basic philosophical differences between Martin's view of the
work necessary to keep the College moving forward and that of the
new president, William MacCalmont. As noted earlier, Martin
reported a cordial relationship with the senior officer during the
early stages of their joint administration, and demonstrated an open
mind in recounting some of the contrasting views about MacCalmont
that were passing through the rumor-mill before the new
administration even began:
Various unauthenticated reports make [MacCalmont] out to be a

whiz with money matters, a dunce with money matters, a man
who will set up very strict behavior patterns for Westminster, a
m an who will legalize smoking and drinking at Westminster, a
32 Ibid.
322
man who is dedicated to the cause of fine education, a m an who is

out only for himself and a comfortable roost—and so o n .. .33
Soon after commencing their working relationship, Martin
determined that MacCalmont would be a figurehead president only;
nonetheless, he did not recall having any particularly negative
feelings about the man. As the months went on, however, his
attitude changed. Martin, who detested pretension and overt self-
indulgence, eventually described MacCalmont as follows:
He was far too narrow and limited in his outlook and far too
interested in himself personally. . . [for instance], to n m a
household and have air conditioning only in his study and to have
a sunlamp and to have a voice so obviously modeled on actor
Ralph Bellamy's that it's fantastic when you listen to a tape of
either of th e m ...[ ,] to hear endless anecdotes [borrowed] from
other people—this is, I'm afraid, a shallow person. The only reason
he would take a job as president of anything is because it seemed
like a nice role to play . . . [H]e was remarkably insulated against
reality.34
During the second year of their working relationship, Martin,
who carried an immense administrative as well as academic load,
complained that MacCalmont "wants somebody to hold his hand—he
has an expensive new house and a good salary and he is not raising
33 Warren Martin to "Bodmans," 21 March 1958.

323
money and he puts his foot in his mouth when he speaks in public—I
am doing at least two and one-half jobs and doing them well. . . I
want m y hand held!"35 At the beginning of their third year together,
Martin recorded a marked deterioration in the administrative
situation; he, the dean, and William Scheide, the chairman of the
Board of Trustees, met "in solemn conclave and reviewed the
president’s inefficiencies and tried to decide how best to work
through and in spite of them."36 He also noted that the president did
not really do his own job, but used the "time and abilities of the Dean
and myself for purposes which keep us from our own work."37
Martin still believed, however, that it was im portant to
maintain friendly working relationships among the various
administrative factions as well as to present a united front to the
public. Because of grumblings from others about the need to replace
the president, Martin acknowledged the realistic difficulties inherent

March 1960, in possession of author, Phoenix, AZ. Shortly after the
Williamsons' retirement, the College built a large and attractively furnished
house on the edge o f campus for the use of its presidents. The Williamsons had
owned consecutive houses—purchased at their own expense—in and around the
Princeton area since the College’s relocation there in 1932.
36 Warren Martin to "Bodmans," 25 September 1960.
37 Ibid.
324
in planning some projects twice: once with goals that included the
president and once with objectives that anticipated his departure.
By November of 1960, however, Martin indicated that the College
was very nearly at the end of its rope financially, and that the crisis
finally awakened the trustees into taking a much more serious look
at the work, or lack thereof, of President MacCalmont:
They are ready to get rid of him; the past chairman of the Board
of Trustees wrote [MacCalmont] a letter asking him to "accept a
call" elsewhere; he wrote back that he wouldn't, and accused the
trustees of being subversive; the chairman wrote him again, more
stiffly, saying that only one of their whole group defended him;
his response, not in writing, was that he would consider resigning
but had nowhere to turn to . . . Allowing for the fact that trustees
cannot be expected to have a truly vital interest in what is after
all only one activity in their busy lives, it becomes obvious that
our President has failed to keep alive in their minds the true state
of affairs, through ineptness or cowardice or misguided self-
interest, and has placed them in the position of admitting
irresponsibility (as a board) or of attacking him.38
Martin readily adm itted that there had been no particular
mismanagement of funds, and only a few unwise expenditures—-such
as paving the president's patio when the school's pianos were out of
tune. Rather, the financial problems simply evolved out of the
president's insouciance toward his job. The situation was serious

325
enough, however, to drive some faculty members to resign. Augusta
Barrois, one of a very few Westminster faculty members at that time
with a Ph.D. degree, described h er disbelief, frustration, and anger at
MacCalmont's self-absorbed use of the school's limited resources.
The situation prompted her resignation and subsequent acceptance
of a faculty position at nearby Rider College in Lawrenceville, New
Jersey.39
To resolve the financial crisis, Martin projected four
possibilities: closing the doors of the College when the money ran
out; letting the College revert to the Princeton Theological Seminary,
as provided by its charter (which would mean abandoning the
undergraduate curriculum); cutting salaries, releasing teachers, and
modifying the curriculum drastically (which would mean changing
the nature and quality of the College); or obtaining money from
somewhere. Because the school's resources were depleted and its
ability to borrow funds had been stretched almost to the limit,
prospects for attracting new sources of fiscal support were slim—a
situation that only added to the trauma. Martin did express
39 Augusta Barrois, Interview by Christopher Samuel, 13 May 1991,

326
gratitude that "news of the desperate state of the College has not yet
trickled down to the students or to most of the faculty and alumni."40
In spite of the pensile financial situation, Martin believed that
the school was making the kind of steady progress in the area of
musical accomplishment that he and the dean had anticipated
initially. He observed that, for the most part, the teachers were
teaching productively, students were learning with serious
enthusiasm, and the College's musical standards were rising
perceptibly:
One point is clear, at least to the Dean, Scheide and me: we have a
college which "produces," and which now has standards which can
bring it accreditation, future respect and even glory, and income.41
In his report to the Board of Trustees, Martin wrote:
I submit, then, as the most important part of my report, that the

college is on a sound musical footing—that future changes of
musical personnel or curriculum will be made not to supplant
something bad with something good but to make better something
which is already good or on the way to being good . . . The
revisions of the musical curriculum which have been made during
the past year have been numerous but small; they are in the
direction of objectives which have been discussed and approved
by the appropriate trustee committee—and they represent no
significant change of policy.
40 Warren Martin to "Bodmans," 7 November 1960.

41 Ibid.
327
May I restate in conclusion my belief that the college's musical

affairs are, allowing for planned and forseeable [sic]
improvements, sound and secure.42
Unfortunately, the relationship between MacCalmont and the
other administrators—Martin, Hopkins, and the majority of the Board
of Trustees—was anything but sound and secure. Because of their
loss of confidence in MacCalmont, the trustees invited his resignation;
at their meeting in December of 1960, Scheide remembered that he
and the others " .. . voted to oust MacCalmont. There was only one
person who voted for him, but it was a minority of one . . . We'd had
two years of it and I think that was fair enough."43 Scheide, one of
the only musicians on the Board of Trustees at that time, had
supported Martin's musical and administrative endeavors from the
beginning. He believed in the policies that Martin and Hopkins had
devised fry the College. While reminiscing about the events at
Westminster during that grim period, Scheide indicated that, had he

facsimile in possession of author, Phoenix, AZ. The report included concise
justifications for many of the academic and musical decisions made by Martin
and Hopkins in the first two years of their administration. It is included in its
entirety in Appendix C.
43 William Scheide, Interview by Christopher Samuel, 2 October 1996,
transcri **t, in possession of author, Phoenix, AZ.
328
to do it all again, he would still support Martin's decisions "a
thousand times over" because of their integrity, and because of his
belief that Martin "was the best musician there at the time."44 Many
of the faculty also appreciated the direction Martin was leading the
school, both musically and academically. Robert Rockabrand, a
graduate student of Martin's during the late 1950s and a faculty
member from 1960*1965, remembered:
W arren was, in my judgment, a successful administrator. He had

a grasp of long-range thinking and planning, could put a year-long
schedule together quite effectively, took charge of Westminster
Choir while continuing to conduct Symphonic Choir and teach the
graduate students, and worked well, as I remember, with the
administration. However . . . [ , ] with a weak president, and with
many alumni who were antagonistic to Warren as a person and to
his ideas as an administrator, he had an uphill battle those five
years.45
Rockabrand also remembered that Martin's work was not
appreciated by everyone on the Board of Trustees, some of whom
"were persuaded that, after the Williamson years, few [including
Martin] had the 'vision' necessary to continue the school's progress"
44 Ibid.
45 Robert Rockabrand, Telephone interview by Christopher Samuel, 27
June 1997, transcript, in possession of author, Phoenix, AZ.
329
as they had perceived it prior to the Williamsons's departure.46 The
lack of appreciation for Martin's work and the erosion of confidence
in his ability to offer strong leadership, as expressed by some of the
trustees, was immensely frustrating to Martin. The reasons for this
situation appear to have been twofold. First, many of the trustees
were caught off guard when the College's financial situation became
desperate enough to require MacCalmont's resignation; arguably, the
subsequent "finger-pointing" was inevitable. Martin explained, "I
know that a lot of the people didn't try very hard; they'd just go
from board to board and sit and sip tea and maybe vote, and some of
them didn't come to meetings. So that was the reason why they
didn't know too clearly what was going on."47 Second, Martin's
loyalty to the goals of the new administration and his desire to be a
team player further engendered the incrimination that he received:
Some trustees do not now differentiate between the President

(and his doings) and the Dean and me (and our doings), since we
have up to the present presented a united front publicly. As
Scheide said to me in our most recent conference, the Dean and I
must pay the price for behaving properly, while an irresponsible
President and irresponsible trustees do not get their fair share of
46 Ibid.
330
the blame . . . One possible temporary solution (if the President

resigns) is to make Dean Hopkins acting president—not such an
unlikely step, since he has done most of the running of the college
anyway, and has spent all too much of his time pulling the
President's chestnuts out of the fire.48
In addition to C. Howard Hopkins, another individual whose
name was circulating as a possible candidate for Westminster's
presidency was Trustee Mark Thompson, a Presbyterian clergyman
in Scranton, Pennsylvania who happened to be the Williamsons' son-
in-law.49 Because Martin was familiar with Thompson's philosophy
of education, he was strongly opposed to the Thompson candidacy:
I've never been against Mark as a person . . . [ , ] but I'll give one
example why I was so strongly opposed to Mark as president of
this or any similar college. He made a rather spellbinding speech
to alumni, talking about one of our graduates. "[The student] was
poor, he scarcely had any vision, but he had a great love of Christ
and had a great love of people and he did good," and so forth.
"Now he wasn't the world's greatest intellect. He wasn't the
world's greatest musician. Sometimes I think we have too many
doctorates in the ministry. We are not here to improve our
intellects or our musicianship. We are here to learn how to serve
people," and so on. He was deliberately anti-music and anti
intellectual. And he meant it. I respected that, but if he meant
that and was president of this institution, it would go downhill in
a way that I cared about, very simply. He meant that—that we
w eren't to try to get to be good musicians or to use our brains, but
48 Warren Martin to "Bodmans," 7 November 1960.

49 Mark Thompson was married to the Williamsons' youngest child, Jean.
331
to serve people in the church. That's wonderful, but not according

to me for an educational institution.50
Because Martin believed so strongly in the wisdom of Hopkins’s
appointment over that of Thompson, he took the unusual step of
writing to a select group of approximately sixty Choir College
graduates to express his view of the situation and to encourage their
support for Hopkins' candidacy. Excerpts from the letter follow:
It appears advisable to me to state that if Mr. Thompson is

appointed President, I shall resign from my position as Musical
Director and from the faculty. This action would be taken not for
personal reasons but because of the strong convictions I hold as to
the importance of broad musical and academic training for our
students who, because they are dedicated to the service of the
Church, deserve and must have the best. On the other hand, I
believe that Mr. Thompson holds that musical and academic
excellence should be subordinate to vocational training, or so he
has stated in public utterances in my hearing. These views are so
much at variance that I could not work effectively under his
leadership. . .
Dr. C. Howard Hopkins represents, in effect, the internal
leadership of the college for the past three years. It seems to me
that any sensible person with first hand knowledge of his
accomplishments here would estimate that his record is one of
fulfilling the avowed purposes of the college better than they
have ever been fulfilled—by strengthening the musical, religious
and other segments of the curriculum, by increasing the
effectiveness of the faculty, and by exercising wise and just
supervision to the general benefit of students and teachers. I
strongly support the appointment of Dr. Hopkins; it is my earnest
hope that the trustees will recognize the validity of his policies
332
and the quality of the program in which I have been honored to

cooperate with him, and will see fit to appoint him President or
Acting President at this critical time.51
Martin respectfully encouraged the letter's recipients to give
the above issues thoughtful consideration and to make their honest
opinions known, whatever they might be, either to board chairman
Scheide or to himself. Another paragraph of Martin's letter included
a single, passing reference to Westminster's "weak if well-meaning
President." MacCalmont seized upon that one phrase and accused
Martin of libel. Martin remembered:
MacCalmont called me and said, "I want a retraction on my desk

by Monday or I will sue you." And he said, "You may think that
because I’m a minister that you're safe. I want you to know that
I'm a m an first and a minister second."52
Through his attorney, MacCalmont contended that Martin’s
letter caused him great injury and damage to his reputation
personally and professionally, as well as great mental suffering and
aggravation; additionally, he claimed that it "induced the Board of
Trustees of the College to take action terminating his relationship
51 Warren Martin, Princeton, to "Alumnus," 16 May 1961, facsimile, in

333
with the College, and has affected and will affect his obtaining
another position or call."53 In retrospect, the latter accusation by
MacCalmont appears particularly ridiculous, given the reality that he
had been asked to resign from the president's position at least six
months prior to the writing of the letter. Martin reported, "Our
lawyers said, 'They don't have a leg to stand on. They won't push
this.' And they didn't. They merely dragged in [Scheide and
Hopkins] because they were associated with me. The only possible
reason they dragged them in was to make weight because Scheide
had money."54
Scheide believed that the letter gave MacCalmont a reason to
dig in his heels and stay around because he "thought he had a legal
case against the school, and was going to go away with something in
his pocket"55 For the next meeting of the Board of Trustees, Martin
prepared a statement that enumerated his reasons for sending the
53 Harry Green, Deal, NJ, to Warren Martin, William H. Scheide, and C.

Howard Hopkins, Pr.nceton, NJ, 10 July 1961, facsimile, in possession of author,
Phoenix, AZ.
54 Warren Martin, interview, 26 February 1975. William Scheide. chair
of the Board of Trustees, was a man of substantial financial means.
55 William Scheide, interview, 2 October 1996.
334
letter that caused so much turmoil. In an effort to avoid any possible
misrepresentation of either his thought processes or intentions,
Martin's letter is included below in its entirety:
When I began my work as Musical Director of this College, it

appeared obvious that I was responsible for helping to provide a
link between the past and the future—that I represented
continuity in a period of change, and should do whatever I could
to preserve the musical heritage of the College—that I should
inform the new administrative officers of past musical policies
and procedures, so that administration and faculty could
cooperate with the Board of Trustees in maintaining and
strengthening these policies and procedures. It has been my
constant intent to support the College's professed purpose of
preparing young people for Christian service through music, and
to welcome only such changes as would strengthen the fulfillment
of that purpose. My actions, statements and contributions to
administrative decisions during the past three years have all been
based on this conservative intent.
On of my actions which has been questioned is the sending of a
letter, dated May 16,1961 to approximately 60 of the College's
alumni. This letter was meant to bring to the notice of a cross-
section of alumni certain views concerning the College's direction
and future which I held so strongly that expressing them in this
m anner seemed to me a matter of duty. Since the sending of such
a letter was not a conventional procedure—inspired as it was by
circumstances which were far from conventional—I conferred with
my immediate superior, Dean Hopkins, and through him sought
permission from the Chairman of the Board of Trustees, Mr.
Scheide, to send the letter. Dr. Hopkins and Mr. Scheide reviewed
the contents of the letter and consented to its being sent. I do not
suggest that they are responsible for the actual wording of the
letter, or for agreeing with all of the statements contained therein.
The letter reflects my professional view of matters closely
related to my position as Musical Director. I believed that my
professional qualifications and my intimate connection with
335
Westminster over a number of years made my professional

opinions relevant. With the greatest regret I included certain
statements concerning individuals, because it seemed to me that
the existing situation could not be made clear without doing so.
No statem ent was made with the intent of damaging any
individual, and every statement was intended solely to contribute
to the eventual good of the College.
The letter referred to, and statements I have made in the
presence of this Board and elsewhere, convey my confidence in
the essential soundness of the musical and academic policies
which are now in operation in this College. I believe that
Westminster is headed in the right direction, and that everyone
who is devoted to its interests can legitimately be proud of it. I
confess to a sense of deep satisfaction in being part of an
undertaking as important as the ongoing work of this College, and
I hope to continue making a valid contribution to it.56
As noted earlier, two of Martin's strongest initial reservations
related to becoming musical director of Westminster were his fear of
being on an exposed administrative level where he was subject to
attack for his strongly held beliefs, and his fear of losing his
independence of thought or action—a privilege that he valued more
highly than power, glory, or security.57 One can only imagine his
dismay when the Board of Trustees approved the following:
While recognizing the right of faculty to express their opinions, we

nevertheless deplore the action of Mr. Warren Martin in writing
his letter of May 16th, particularly those sentiments [regarding
56 Warren Martin, Princeton, to the Board of Trustees, 27 July 1961,
57 Warren Martin to Lyman Bodman, 17 October 1955.
336
MacCalmont] expressed in the next to the last paragraph, and be

so advised. Moved and seconded. Carried.58
At the same meeting, the board also passed the following: "Dr.
William F. MacCalmont is hereby removed from the office of
President of the College, in accordance with action taken at the May
25, 1961 meeting of the Board; the said removal to be effective as of
September 5 , 1 9 6 1 ."59 a motion was then made and approved
unanimously to appoint Noel Sargent, a member of the Board of
Trustees, interim president beginning 6 September 1961.60 Thus, a
series of official board actions ended a very unpleasant and equally
unfortunate chain of events that occurred during Martin's tenure as
musical director.
Another source of controversy that ran through Martin's
administrative tenure related to the leadership of the forty-voice
Westminster Choir. Under John Finley Williamson's direction, this
group of select singers contracted with professional management
agencies; concertized regularly throughout the United States; toured
58 Westminster Choir College, "Minutes of the Trustees Meeting," 27 July

59 Ibid.
60 Ibid.
337
Europe in 1929, during an age when such ventures were rare;
traveled to Russia in 1934 in a musical-ambassadorial capacity
(taking, as the reader will recall, a young undergraduate student by
the nam e of W arren Brownell Martin); appeared several times at the
White House; and eventually took a six-month "world tour" to some
of the farthest, populated reaches of the globe—activities that made
the choir something of a household name. Finding a replacement
conductor for "Dr. Williamson's choir" would have been somewhat
easier if Williamson, who was past the age of seventy at the time of
his retirem ent, had been ready and willing to step down. Scheide
recalled the Williamsons' attitude:
They hated to retire. They were forced out in a way by the

chairman of the board—then he resigned also. That was at one of
the first meetings I attended. I remember that there were sparks
in the air all over the place. [They] didn't want to retire, but the
board voted in favor of it.61
Because the Williamsons were so stunned by the board's action,
Martin believed that the couple allowed their h urt feelings to
dominate their actions. Consequently—during the final months of
their tenure and the ensuing transition period—they appeared not to

338
engage in rational thinking patterns about the best long-term
interests of the institution. Although he could only speculate, Martin
was convinced that "whether they were aware of it or not, they
wanted the new regime to fail. That was one of the reasons for
picking people who didn't know each other and who knew nothing
about each other."62
When Martin was appointed musical director, conducting the
Westminster Choir was conspicuously missing from his list of duties.
That responsibility went instead to Harold Hedgpeth, a long-time
College faculty member. Martin recalled, "I believe everybody knew
that [Hedgpeth's appointment] would happen. But at any rate, I
wasn't consulted."63 Although details of the selection process and
reasons for the final appointment are absent from trustee meeting
minutes, Martin maintained that Hedgpeth's loyalty to J. F.
Williamson and to the founding president's beliefs regarding choral
tone were factors in the decision. He stated:
[Hedgpeth] was a very good voice teacher and choir conductor. . .

[H]e was loyal, and in his way, able. In desperation, Dr.

63 Ibid.
339
Williamson gave him Westminster Choir, partly so somebody else

wouldn't get it—not only me, but anybody who would change it
and not try to keep the same tone. Dr. Williamson was very afraid
of this.64
Allen Crowell, an undergraduate at the time of the transition,
believed that Williamson highly respected Martin as a musician, but
not as the "tonal sculptor" he believed that the Westminster Choir
required. Hedgpeth, on the other hand, was capable of imitating
Williamson's choral tone—but he had serious musical limitations:
Hedgpeth, who was terribly inferior musically, did nothing but

[Williamson's] type of sound. The first year Westminster Choir
went out with Hedgpeth, it was a freshman choir program. It was
all anthems—nothing but three-minute anthems. That's all he was
capable of doing. He was a wonderful man, and a great tenor in
the Williamson tradition . . . He was just not capable of carrying
[the choral tradition] on.65
Martin and Hopkins agreed that Hedgpeth was not a good enough
musician and leader to function effectively as conductor of the
Westminster Choir as they envisioned it:
A genius with the charisma of Dr. Williamson could get away with
not being a good musician. He was a great personality. But
Hedgpeth did not have any particular glamour, although he was
quite good with high school groups. We were strongly committed
to the idea—and I still am—that Westminster can be the choral
64 Ibid.
65 Allen Crowell, interview, 9 May 1991.
340
Mecca of the entire world. If so, the director of Westminster Choir

has got to be a superb musician.66
Citing friction between Hedgpeth and the College officers and a
dem onstrated inability to work together, the Committee on
Curriculum and Faculty Relations sought and received Hedgpeth's
resignation from Westminster on behalf of the Board of Trustees.67
For reasons that were left purposefully cryptic, Hedgpeth's
termination coincided with the Westminster Choir's spring tour, and
Martin stepped in to relieve Hedgpeth of his conducting
responsibilities during the middle of the tour. After his arrival,
Martin discovered the residue of efforts to invalidate his own
abilities as a conductor—yet another manifestation of the "friction
between College officers" noted above. He explained:
It's an interesting sidelight on the naivete of students and others

at that time . . . [S]tudents in the choir were surprised that I got
through the program when I took the choir over. They seemed
flabbergasted that I got through it, and then it made me wonder
just what they had been told. There I was, with all sorts of choral
conducting behind me—a lot more than [Hedgpeth] ever had. And
they thought I was going to fall flat on my face and were

67 William H. Scheide, Princeton, to Harold Hedgpeth, Princeton, 30 April
34 1
surprised when I didn't. So that gives some idea of the climate of

deceit and talking and gossip.68
Many students and faculty still remained loyal to the
Williamsons, and they transferred this loyalty to Hedgpeth. Martin's
attention to detail and his quest for precision in music-making stood
in striking contrast to the goals of his two predecessors. Former
faculty member Herbert Pate explained:
Mr. Martin kept talking about the right note at the right time,
which Dr. Williamson was not too terribly concerned with.
[Williamson] wanted the right mood at the right time. He wasn't
against this correctness but his productions—his musical
performances—went beyond that into what would bring an
audience to its fe e t. . . this did not happen in a concert that was
given under Mr. Martin's direction . . . Mr. Martin's Westminster
Choir was called by the kids "forty glorious voices directed by
Seth Thomas."69
Others, while maintaining a high degree of loyalty to John
Finley Williamson's ideals, recognized Martin's great musical skill
with the Westminster Choir and recalled that "[The choirs] were just
much better . . . Warren's choirs were much more precise and very

69 Herbert Pate, Interview by Charles Schisler, 12 November 1973,
342
musical."70 Robert Rockabrand, Martin's assistant with Westminster
Choir from 1960-1964, described the latter's abilities as a choral
leader:
Warren's strength as a conductor lay in his total grasp of the

music, his ability to explain the music to the singers, his deep,
innate musicianship, his love for music as one of the world's great
arts, his efficiency as a rehearsed conductor, his ability to plan
programs that were musical and logical. . . He studied scores the
way dedicated musicians practice their instrument—daily, deeply,
persistently, passionately, profoundly, lovingly. He loved doing
this and the riches he drew from such study bubbled up in his
rehearsals, his convei ions about music, and his performance
conducting.71
Allen Crowell remembered Martin as "manic as far as being
efficient. . . [Y]ou moved at lightening speed in his rehearsals. Boom,
boom, boom, right down to the point."72 Marianne Van Campen
Decker, who sang under Martin's direction in Westminster Choir,
shared a similar memory:
There wasn't a detail that that man missed, not one. He was just
an amazing detail person, but saw the big picture at the same time
. . . He was a very, very, very intense person. Everything he did
70 Robert Simpson, Interview by Christopher Samuel, 16 January 1996,

71 Robert Rockabrand, telephone interview, 27 June 1997.
343
was done at levels of intensity that most people never would

experience.. .73
Martin wisely believed that an essential part of his plan for
future success as musical director dictated that Westminster's
performing groups—particularly the Westminster Choir itself—must
be respected in comparison with groups such as those conducted by
Robert Shaw. Accordingly, he wrote that the need for this respect
existed both "in the cities as well as the hinterlands." He warned, "If
we cannot achieve this, my efforts are ultimately pointless and
Westminster cannot pretend to have musical standing in the
country."74 Furthermore, Martin was deeply aware of divisions
among alumni, faculty, and students regarding the m atter of choral
tone at Westminster, and of the influence of a new conductor on that
phenomenon. He struggled valiantly with the incubus required to
find an appropriate solution:
We will attem pt to secure the impossible: a fine choral conductor

who is good enough to make Westminster Choir a reputable
musical organization, who can competently supervise the others
on the conducting staff, and the teaching of conducting—and who
will come for what we can presently pay. This will be extremely
73 Marianne Van Campen Decker, interview by Christopher Samuel, 11
December 1996, transcript, in possession of author, Phoenix, AZ.
74 Warren Martin to "Bodmans," 23 January 1960.
34 4
difficult, and may very easily involve either getting the trustees
to OK a salary quite out of proportion to other Westminster
salaries, including mine, or convincing many vociferous die-hards
that we can afford to break sharply with tradition and have a
non-Westminster-trained man in such an im portant post—or
both.75
Because Martin was perceived as a Jack-of-all-trades, the
trustees were not unanimous in supporting him as the permanent
conductor of the Westminster Choir. Martin was fully aware of this,
so he devised an alternate plan that would, under his supervision as
musical director, utilize the entire conducting staff for training the
Westminster Choir, then would turn the group over to prestigious
guest conductors for its concert tour performances. Through his plan,
Martin envisioned the choir performing under the direction of four
distinguished Westminster alumni in four different areas of the
country; his list included George Lynn ('38), David Fetler ('50), Elaine
Brown ('34), and himself ('36, MM '38). That plan did not
materialize, so in April of 1960, an announcement was made to the
Westminster community that "next year's Westminster Choir will be
directed by guest conductor Elaine Brown, under the supervision of
75 Ibid.
345
the Musical Director."76 To acknowledge the concerns of many
alumni, the article also gave assurance that the concept of
"Westminster tone" would be perpetuated by the new leadership—as
they interpreted it. A decade later, Martin explained his idea:
My suggestion . . . avoid[ed] the issue of having somebody be in

charge of Westminster Choir. Partly because people were
sensitive about anybody being in charge of "Dr. Williamson’s
Westminster Choir." Partly because the trustees weren't sure
about me. After all, who was going to build me up? Not Dr.
Williamson.77
One month into the new conducting arrangement, Martin
reported that any judgment about the Choir's potential would be
"premature at this date, but its present directors are confident that it
will be a source of legitimate pride to the college in continuing
Westminster Choir’s function and outreach, and will augment that
function and outreach by achieving a musical excellence which has
not previously been possible."78 Privately, he wrote:
The fat is in the fire! In Oklahoma City we sing the Bach motet
Singet dem Herm one week, and the Shaw Chorale sings it the
next week. This is exactly the kind of juxtaposition I have been
76 "Forum and Question Period," N ew sletter IV, no. 7 (26 April 1960): 4.
346
hoping for, but scarcely so soon! There is a long, long road to

travel before our singers can be meticulous enough in pitch,
rhythm and diction and in handling their usually over-opulent
voices, to do real justice to our repertoire. Our tour doesn't
happen until February, and we just may be ready by then. If
we're not, we still will have effected a revolution—it is evident to
the naked ear, after only a few weeks of rehearsals, that this is
not the Westminster Choir of yore. It would be sheer magic if
Westminster Choir could take immediately the place it can and
m ust take in the musical world, and I will be content if we can
show, this year, that it has every intention of doing so. No one is
sure whether I should be the "permanent" conductor of the choir
or not. I shall conduct enough of the concerts this year to make
up my m ind whether it is a good idea or not—I can be self-critical
when I m u s t. . . Strange, how nobody is good enough to conduct
Westminster Choir, when it has been such a mess!—just as nobody
is good enough to be Musical Director of Westminster.79
In October of 1960, Martin conducted the Westminster Choir's
first public concert of the season. They appeared on a program at
the Academy of Music in Philadelphia, joining Alexander McCurdy in
a dedicatory recital for that hall's newly installed organ.80 Although
he was immensely nervous about the program during the weeks
preceding it, Martin happily reported that the Choir sang better than
it had a right to given the brevity of rehearsal time available for

80 Alexander McCurdy, a student of Lynwood Famam, headed the organ
faculty of Westminster Choir College from 1940-1965. He taught
simultaneously at the Curtis Institute of Music in Philadelphia, a position that
he held from 1933.
347
preparing a program so early in the semester. He found the singing
spirited and cheerful, with a satisfying rhythmic flavor that lasted
from the first note to the last. For all its good points, however, he
instantly looked forward to tearing the program apart and starting
over again. He wrote that one of the selections "sounded lovelier
with our voices than you will ever hear it with others—and in this
piece I experienced something I have seldom experienced before but
frankly hope to experience often: the opportunity to conduct instead
of just holding the thing together."81 Fortunately, Martin's meticulous
training of the group (as noted in the following review) was also
evident during the spring tour with Brown:
Under the direction of Elaine Brown, the forty-voice choir sang

with a consistent warmth and richness of tone. It is an
impeccably trained choir, attractive in appearance and in stage
deportment. With exquisite blending of sustained sound, the full
choir successfully created the noble mood of tender grief required
in Monteverdi's madrigal from "Tears of a Lover at the Tomb of
the Beloved."82
During the 1960-1961 academic year, Martin evidently earned
trustee support that he had lacked earlier to become the
81 Warren Martin, Princeton, to "Bodmans," East Lansing, MI, 8 October

82 S t Louis Globe-Democrat, [no page], 17 February 1961.
348
Westminster Choir's tour conductor. A policy statement for the
group indicated that, during the 1961-1962 season, the group would
continue under Friedberg Management of New York City, with Martin
as tour conductor; booking fees would be set at $1,250, the group
would have a versatile program suited to both concert hall and
church sanctuary venues, and membership in the ensemble would be
by appointm ent of the musical director with the "advice of the voice
faculty and with the approval of the Dean of the College."83 The
Board of Trustees' written choir policy probably diffused alumni
criticism of Martin's standards and procedures. The additional
approval by the dean in the selection process kept the high academic
expectation and its close relationship to student eligibility in the
forefront. In reflecting on his policies, Martin mused:
Hopkins and I felt strongly that we shouldn't have Westminster

Choir eat into the time of the students in school and we did try to
take only the best students . . . At no time has Westminster had
enough good singers who were good students that you could just
pick and choose. So I deliberately sabotaged the vocal quality of
the choirs during my brief time by sticking more closely to the
question of good scholarship. And I still don't know whether it
was right or wrong, but if I had it to do over, I'd forget the
83 Westminster Choir College, "Minutes of the Trustees' Meeting," 15

March 1961. Archives of Westminster Choir College.
349
scholarship because I think that Westminster Choir College has got

to have a choir.84
During the choir tour, Martin expected the students to pursue
their academic activities at a level of intensity that maintained each
one's status quo. Carry-along resource materials included practice
keyboards for use during the long bus rides. Marianne Decker
remembered that Martin insisted on regularity in reading and
executing class assignments, and in practicing the keyboards, and
that he "watched over people just to make sure that the tenor of life
was what he thought it ought to be on the bus."85 Diversions from
academic and musical endeavors included card playing; Martin's love
of games was as intense on the choir tours as it was at the Galeton
farm or anywhere else:
My overriding impression of Warren Martin was that he was an

exceedingly brilliant person. And he did not like to be beaten at
his own jokes. He would play games and one of his favorite games
was bridge—and he was a shark if I ever knew one. The man
never lost. Never. He would revel in winning and winning
handily and just absolutely killing anybody with whom he played.
I mean, he was just incredible—and smiling gleefully.86

85 Marianne Van Campen Decker, interview, 11 December 1996.
86 Ibid.
350
Another student who sang in Westminster Choir under Martin
concurred with the above sentiments in a letter that he wrote some
years after the tour:
. . . you decided that I should learn to play Bridge. So, we sat

down to play on the bus with you explaining the rudim ents of the
play to me. After 30 minutes of instruction you smiled at me and
said: "You are quite remarkable, Mr. Coad. You have, in only 30
minutes, m astered the basic playing of Bridge. I, however, did the
same thing, but I did it in 15 minutes. But then I am a genius and
you are not!" With that, you returned to the front of the bus and
began again to read.87
Because he spent many years preparing choirs for
performances under other conductors, Martin expressed particular
pleasure at having the opportunity to concertize with the group that
he had selected and trained. His good fortune, whether by intuitive
design or sheer luck, in developing a socially responsible group was
evident in his remark that "things are going well—everybody
cheerful and co-operative, audiences are responsive, and there are
no troubles in the choir worse that a couple of mild colds."88
87 Jeffrey Coad, Stratford, NJ, to Warren Martin, Princeton, 1 March

88 Warren Martin, South Bend, IN, to "Mother," Galeton, PA, 10 April
351
Martin's penchant for savoring new experiences was whetted
through the extensive travel required by the tours, and he wrote of
his pleasure at being on the road and seeing the nation's regional
diversity. In his highly descriptive letters to Galeton, he shared his
ventures vicariously by comparing his observations with
surroundings familiar to his family members. For example, after a
concert in a Mennonite and Amish community at Kidron, Ohio, Martin
noted with particular interest the spotless farms and pleasant
countryside that made him think of the family farm in Galeton.
During Martin's tenure as conductor, the choir tours included
trips to Connecticut, Pennsylvania, Illinois, Indiana, Maine, Maryland,
Michigan, Minnesota, New England, New York, New Jersey, Ohio,
Rhode Island, West Virginia, Wisconsin, and the Canadian Maritime
Provinces of New Brunswick, Nova Scotia, and Prince Edward
Island.89 After functioning under the auspices of Friedberg
Management during Martin's first three years as conductor, the 1964
tour came under the exclusive management of Columbia Artists, Inc.
89 Westminster Choir College, Miscellaneous newsletters, in possession

352
of New York City.90 The choral literature performed by the choirs
under Martin's direction was considered quite well rounded, at least
in the context of that era.91
Although Martin was happy in his capacity as conductor of the
Westminster Choir, his repertoire selection and his less-than-
satum alian conducting style as a "podium personality" was not
always readily accepted by audiences. Robert Rockabrand, assistant
conductor of Westminster Choir under Martin, remembered that he
was "not always respected as a conductor by colleagues because they
saw his 'awkwardness' on the podium rather than the totality of his
musicianship and his unrelenting drive to perfect himself and his
craft, and the passionate desire he had to share the riches of music
with the world."92 Decker viewed the situation similarly. She
believed that Martin lacked a certain public charisma that has been
an im portant element in the success of other Westminster Choir
conductors, but instead approached his work more from the
9 0 "Westminster Choir to Tour New England and Canada," W estm inster

Choir College News I, no. 2 (Spring 1963): 16.
91 See Appendix D for the 1963-1964 concert tour program.
353
standpoint of one who had been called to duty. She mused, "Warren
Martin wasn't the star that Joe Flummerfelt is. Flummerfelt is a star
and I don't think Warren Martin ever thought of himself as a sort of
star person. He simply had a very, very im portant job to do. I felt
that he took his work with the choir with deadly seriousness."93
James Waters, Martin's choir accompanist, recalled that Martin:
. . . was happy as conductor of Westminster Choir. He did very

m uch enjoy that and spent a lot of time on it but he was not the
most successful conductor. . . [T]hey would report that some of
the audiences felt that the programs were too serious or too
heavy, and yet he wanted to do music that he thought was
worthwhile. But he did do some light music but probably not
enough. But it was just too heavy, too academic for the
audiences.94
In addition to working with the Westminster Choir, Martin
continued conducting the Westminster Symphonic Choir as well.
From 1958-1963, he prepared the large choir for orchestral
performances with Dimitri Mitropoulos, Leopold Stokowski, Sir John
Barbirolli, Leonard Bernstein, and Herbert von Karajan. Three
recordings from that period bear Martin's name as the conductor of
93 Marianne Van Campen Decker, interview, 11 December 1996. Joseph

Flummerfelt, Westminster's artistic director and principal conductor, has been
the conductor of the Westminster Choir since 1971.
354
the Symphonic Choir: Beethoven's Fantasy for Ifiano, Chorus and
Orchestra, Opus 80, with Leonard Bernstein, the New York
Philharmonic, and Rudolf Serkin, pianist; Beethoven's Mass in D
Major, Opus 123 (Missa Solemnis), with Leonard Bernstein, the New
York Philharmonic, and soloists Eileen Farrell, Carol Smith, Richard
Lewis, and Kim Borg; and Prokofiev's Alexander Nevsky, Opus 78,
with Thomas Schippers, the New York Philharmonic, and soloist Lili
Chookasian.95 Along with Schippers and the New York Philharmonic,
the choir's 1962 recording of the Prokofiev was nominated by New
York's National Academy of Recording Arts and Sciences for "best
classical performance."96 In reviewing his performance of certain
administrative endeavors required by the musical director's position,
Martin noted:
It should be said that during this interim my view of the choral

situation was that it in no sense went to pot and in some ways got
better. But neither MacCalmont nor Hopkins nor I were go-
getters. We didn't have the contacts nor the drive nor the
initiative to go out and do the kind of planning that a Ray
Robinson would do . . . So, we just merely waited for something to
happen. So, in that respect, the choral program marked time. Of
95 "Symphonic Choir Will Sing Four Performances of Fantasia,"

W estm inster Choir College N ew sletter II, no. 7 (10 April 1962): 1.
96 Warren Martin, award plaque, 1962.
355
course, there was still plenty of dem and for us. We didn't go
without singing.97
The educational value of the symphonic engagements to the
individual student as well as to the institution did not go
unappreciated by Martin. He saw these opportunities as a truly
unique feature of the Choir College, something he underscored in a
repoi v. to the Board of Trustees:
For many years [the Symphonic Choir] has had a happy and
productive relationship with the New York Philharmonic and with
various of the world's most distinguished conductors who have
appeared with that orchestra. The opportunities open to our
students to broaden their musical horizons through these
rehearsals and performances can scarcely be measured,
qualitatively or financially. Musicians of such stature as Bruno
Walter become in effect temporary additions to our faculty. Also,
the performances in which we take part reveal the musical
accomplishments of the college to the most discriminating public
on the highest possible musical level, and are therefore a valuable
p art of the college's off-campus program.98
Martin was not alone in recognizing the unique educational
opportunities available to Westminster Choir College students. The
Honorable Prescott Bush, who served on the Board of Trustees during
97 Warren Martin, interview, 8 January 1974. Ray Robinson, president

of Westminster Choir College from 1969-1987, cultivated numerous
performance opportunities for the College during his incumbency that did not
occur during earlier years.
98 Board of Trustees, 21 October 1959.
35 6
the 1960s, found Westminster to be "the most unusual place of its
kind." He adm itted knowing of no place "even among our great
universities where the spirit of young men and women can be so
enriched. Perhaps this is because Westminster Choir College offers a
variety of spiritual enrichments: music . . . religion . . . education . . .
friendships . . . a beautiful campus."99
Martin did not always relinquish the podium to other
conductors for off-campus performances. On 1 April 1962, he
appeared with the Westminster Choir in a memorial concert at
Carnegie Hall for Dimitri Mitropoulos and Bruno Walter, each of
whom had conducted the Westminster Symphonic Choir on numerous
previous occasions. The group sang the Haydn TeDeum and the
Schiitz Selig sing die Toten. In addition to paying tribute to the lives
of the two symphonic conductors, the concert served as a benefit for
the Musicians Aid Society. Under the baton of David Rosenstock, the
"Senior Musicians Symphony," a new orchestra made up of recently
99 "Enrichment at WCC," W estminster Choir College News, March 1966:

11. Prescott Bush, a United States senator from Connecticut, was the father of
George Bush, former United States president (1989-1993).
357
or soon-to-be retired instrumentalists, appeared on the program
also.100
During Martin's years as musical director at Westminster, there
were numerous successes for which he had direct or ancillary
responsibility. As noted earlier, he quandaried over new faculty
appointments in an effort to elevate the level of teaching at the
College, and he balanced issues of inherent teaching ability,
flexibility, and projected productivity with a sagacious use of fiscal
allocations in an effort to achieve combinations that best benefited
the institution. His goal to elevate the quality of the faculty and raise
academic standards was acknowledged in a report to the Board of
Trustees, which noted that "Mr. Martin has done great work for the
College not only in his teaching but also in the many ways he has
helped our Administration build a stronger faculty and staff."101
Martin also supported the addition of a bachelor of music
education degree to the Westminster curriculum. He believed that
100 The Westminster Choir, Carnegie Hall play bill, 1 April 1962,
101 Lee H. Bristol, Princeton, to the Board of Trustees, 15 January 1964,
facsimile, in possession o f author, Phoenix, AZ.
358
the move, although crucial to the survival of the College, was more
than a m atter of basic, short-term financial importance; wisely, he
saw the addition as one that would allow the unique focus of the
Choir College to filter into the public school system and its related
music education circles—a formidable arena comprised of national
organizations that Martin believed had larger numbers and clearer
objectives than that of church musicians.102 Many alumni feared that
the original purpose of the Choir College, which was to train young
Christian men and women for lives of service in the church, would be
irrevocably altered by the addition of the new degree. An article
announcing and describing the new program addressed this concern:
The all-important factor is that these young people will be

selected and admitted according to the same standards, and will
live in the warmth and fellowship of the Westminster campus
quite the same as all our other students. Imbued with the
Westminster spirit, they will be splendidly prepared musically,
educationally, and in Christian character, to minister to children in
the grades or high schools. And if they follow the lead of several
hundred alumni preceding them they will devote their week-ends
to the specific ministry of music in countless fine churches that
could not otherwise have this ministry.103
102 Warren Martin, interview, 8 January' 1974.

103 "Westminster Authorized by State of New Jersey' to Grant Bachelor of
Music Education Degree," W estm inster Choir College N ew sletter V, no. 4 (20
January 1961): 1.
359
In reflecting on the addition of the music education program
and its relevance to the original purpose of the College, Martin found
it "astonishing how little the central idea has changed . . . I've always
felt that the people who squabbled about it don't want to understand
it. Seems clear enough to me."104 Initially, the strong criticism from
those alumni who were reluctant to see the new program added to
the curriculum resulted in somewhat of a boycott in the referral
process for new students. However, overall enrollment, which had
predictably fallen off at the time of the Williamsons' retirements and
the onset of the new administration, saw an immediate increase with
the addition of the music education degree. Enrollment statistics for
1961-1962, the year the new degree program was initiated, showed
an increase of forty students over the previous year, and enrollment
jumped again from 254 to 278 in the 1962-1963 academic year.105
Although general recruitm ent and curriculum reform were not
areas over which Martin had specific responsibility as musical
director, the positive phenom ena associated with the excitement of a
104 Warren Martin, interview, 8 January' 1974.

105 "Enrollment," W estm inster Choir College News I, no. 1 (Fall 1962): 1.
360
new degree program and the increase in numbers contributed
significantly to the strength of the Choir College during his
administrative tenure. Martin saw his contribution to the overall
transition process as an important one, but he did not believe that
his work was particularly innovative or representative of new and
remarkable trends. Instead, he viewed his actions as merely dutiful
and necessary. Some years later, he reflected on his many
contributions during that transition period:
They are not at all spectacular because I think that Hopkins and I
saved the college by helping it to keep going. And you know, I'm
old-fashioned; I'm not the kind of person that thinks that new and
exciting and different things are the heart of the m atter for any
educational institution. I've already mentioned that Hopkins and
I tried to have content in the already-listed courses—both musical
and otherwise. We tried to do an honest job of everything that
was listed, which was all right as it stood. But to keep the school
going with a weak and unable president and with tremendous
attack from Dr. Williamson and his supporters going on all the
time was in itself an achievement.106
Certainly, one of the unpleasant elements throughout Martin's
incumbency as musical director was the deterioration of his
relationship with John Finley Williamson, including open criticism
that he and others received from the aging co-founder. John Burke,

361
who was on the Westminster campus during Alumni Week of 1958,
remembered that Williamson gave a departing speech at the annual
alumni banquet in which he "just sort of accused everybody of
pushing him out of the school that he had founded . . . And Warren
told me that [Williamson] had just balked at leaving, and Warren
said, 'I just can't believe that he isn't graciously accepting this and
leaving.'"107 Burke reported that Martin was extremely upset at the
conclusion of a meeting called by Williamson in the president's office,
during which the retiring leader sobbed inconsolably and asked
repeatedly, "What are you doing? And why are you siding with the
trustees over this?"108 Donna Plasket remembered being told by an
alumni trustee present at the above meeting that Williamson,
overcome with emotion, said, "You are our children, and you are
killing us."109
Another difficulty from the onset of their retirem ent was an
unfortunate rum or (which persists to this day) that the Williamsons

108 Ibid.
109 Donna Plasket, Interview by Christopher Samuel, 13 May 1994,
362
were forbidden to visit the campus without a specific invitation from
the Board of Trustees. Martin disputed this rumor, although he
conceded that such an arrangem ent might have existed between
MacCalmont and the Williamsons in accordance with a private
agreem ent designed to strengthen the new president’s
administration. Martin explained:
Hopkins and I thought we had an understanding with the Trustees

that the Williamsons were not to take part in running the school
or in teaching and, of course, the Williamsons would interpret that
as not being allowed on campus if they chose to . . . I think that
they were never forbidden by the Trustees or by anybody to
come back to campus physically in a social way—but not to teach
or to run things. That’s open to misinterpretation.110
During the summer and fall of their retirem ent year (1958) the
Williamsons conducted professional workshops and vacationed in
California, Japan, the Philippines, Hong Kong, Thailand, India, Egypt,
and Europe. They did not return to the United States until January of
1959.111 Consequently, their presence on the campus was not an
issue at the onset of their retirement. After their return to the
United States, however, both of them became members of the Board

111 "The Williamsons' Itinerary," W estminster Choir College N ewsletter
II, no. 9 (26 June 1958): 1.
363
of Trustees. Later, after reporting that from fifteen to sixty
disgruntled students gathered each evening in their home to
complain about the new administration, the Williamsons sold their
Princeton home "at a loss" and moved to Pennsylvania.112
They became decidedly cantankerous and difficult in
demeanor, and went so far as to steer prospective students away
from Westminster; through these behaviors, Scheide believed that,
whether deliberately or subconsciously, they did their best to
damage the institution.113 Martin described an incident in which J. F.
Williamson, who was preparing an alumni choir for an African tour,
complained bitterly about the administration because he was not
allowed to use the campus for rehearsals. The unpleasantness
created by this situation fostered still more ill feeling on the part of
those who retained their unwavering loyalty to the Williamsons.
Martin responded to the harsh criticism:
That's grossly unfair, as if Westminster had loads of idle facilities.

What facilities would there have been while school was in
session? Would the school stop? You know how crowded we are
and always have been. [The rooms] were in u s e . . . [Williamson]
112 J. F. Williamson, Waverly, PA, to the Board of Trustees, 19 August
1961. Archives of Westminster Choir College.
364
would consider that canceling our classes and rehearsals and

having people sit around and watch him was more important than
what we did. He would have believed that sincerely.114
From that point on, Williamson either turned his back on
Martin when they were in close proximity, or—if forced by
circumstance to have a face-to-face encounter— acted politely
distant, as to a stranger. Martin recalled their last encounter:
The last time I exchanged words with him was when he had
driven to school and I went up to shake his hand. He was in the
car with Mrs. Williamson. And he opened the window and he
shook my hand limply and said, "I want you to know that you're
tearing down everything I built up." And he closed the window
and he drove aw ay. . . [The situation] couldn’t have been worse.
Fortunately, I didn't think of him ever as being very levelheaded,
so this didn't crush me.115
Nonetheless, after a thirty-year association during which John Finley
Williamson’s successes were enhanced significantly by Martin's
loyalty, both to the founder's ideals and to the building up of the
Choir College itself, the occurrence must have been a painful one.
In his capacity as musical director, Martin carried many
responsibilities. Toward the end of his second year in the position,
he wrote that the "triple use of Warren Martin as administrator,

115 Ibid.
365
teacher and musician is not efficient. Either he will have to have
assistants to do this or that, or else the present job of Musical
D irector. . . should be split into at least two jobs."116 He drew up a
description of his extensive duties for the Board of Trustees.117
Martin included logical suggestions for dividing the position
between two people to create a more efficient and reasonable
situation. He also included an evaluation of his own job performance
in which he expressed his belief that he had fulfilled the stated
obligations "somewhat as follows: a) those having to do with actual
teaching and conducting—well; b) those having to do with conferring,
scheduling and planning—fairly well; c) all others, including
especially those having to do with 'contacts with the outside world'—
passably or poorly."118 He bemoaned that he had neither time nor an
expense account to support leaving the campus to observe
prospective faculty members in action, and he expressed concern
that there was no one reasonably qualified for this im portant duty

117 Warren Martin, Princeton, to the Board of Trustees, 12 March 1962,
facsimile, in possession of author, Phoenix, AZ. See Appendix E for the
complete list.
118 Ibid.
366
except the musical director. He again stressed the need for
Westminster to employ a thoroughly competent and outstanding
choral conductor who would join the staff as head conductor and
music faculty member. Martin noted that the "work load outlined in
the preceding paragraphs [of the description] is far too heavy for one
person to c a n y successfully. It should be redistributed, for reasons
of efficiency as well as for humane reasons."119
By the onset of his third year in the administrative position,
Martin's fatigue was ostensible. He wrote:
I have signified to the Dean that I shall ask for a year off starting
with the fall of 1962, and will take it anyway if the trustees do
not undergird it financially. I shall ask for it because I will need
it, but it will also be a way of putting to the test what has been
accomplished in these current years. If I am really necessary to
the life and health of Westminster, our plans will have failed.120
For undocum ented reasons, Martin continued in the position for
three more years. In the spring semester of his sixth year as musical
director, he m ade it clear that he did not wish to continue in that
position. To Westminster’s president Lee Hastings Bristol, Jr., who
had joined the College in 1962, Martin wrote:
119 Ibid.
367
When you came to Westminster as President, I suggested to you

th at my best abilities do not lie in the area of administrative
work, and that it might be in everybody’s best interest for the
college to seek a more appropriately qualified person as Musical
Director. I was more than happy to serve the college as Musical
Director as well as I was capable, but reluctant to continue in this
capacity permanently.121
Shortly thereafter, he indicated to his mother that a public
announcement had been made regarding both his impending year off
and his arrangem ent to return to faculty status. He perceived that
"most people seem to take it quite calmly, which I think is all to the
good."122 Martin also noted having recently spent a pleasant evening
in the home of George Lynn, who soon followed Martin as musical
director.123 He described a visit that included dinner and, for dessert,
121 Warren Martin, Princeton, to Lee Hastings Bristol, Jr., Princeton, 15

January 1964, facsimile in possession of author, Phoenix, AZ. Bristol served as
president of Westminster Choir College from 1962-1969.
123 George Lynn was a 1938 graduate of Westminster Choir College who
had served on the faculty from 1945-1950. By the time of his appointment as
musical director in 1963, he had earned a Master of Fine Arts degree from
Princeton University and had been awarded an honorary Doctor of Laws
degree from Harding College in Searcy, Arkansas. Active as a composer, he
eventually had more than 100 anthems in print; through the years, he
received several awards for his compositions, including recognition from the
American Society of Composers, Authors, and Publishers; Huntington Hartford;
and the Martha Baird Rockefeller Fund for Music. His setting of Lincoln's
"Gettysburg Address," an eight-minute work for chorus, orchestra, and soloist,
was performed three times by the Philadelphia Orchestra—once with the
composer as conductor.
368
a "very rich pie: raspberry chiffon with a crust of pure chocolate
melted and hardened into the proper shape ...[ ,] and a good three-
hour talk with George to go over everything."124
One year earlier, Martin had suggested to President Bristol that
Lynn would make a good addition to the Westminster faculty. Bristol
described the series of events:
In May 1963 Dr. George Lynn came east to conduct the

Westminster Choral Festival at Ocean Grove [New Jersey]. He
indicated to Mr. Martin his interest in moving east, and Mr. Martin
in turn wrote me suggesting that we consider him for the faculty
of Westminster in view of the fact that we would need—among
others—a new director for Symphonic Choir. Accordingly, I flew to
Colorado in July to discuss this possibility with Dr. Lynn who was
assisting the Williamsons with their Professional Camp in Denver
a t that time.125
Following Bristol's invitation, Lynn joined the Choir College faculty as
director of Westminster Symphonic Choir and teacher of conducting
for the 1963-1964 academic year. Later, a campus announcement
described Lynn's upcoming appointment as musical director:
We are indeed fortunate to have been able to secure George Lynn

for this p o s t . . . Dr. Lynn is an exceedingly versatile musician. He
is a composer and conductor of national reputation, a
distinguished teacher and church musician, and a man of
124 Warren Martin to "Mother," 22 January 1964.
125 Lee H. Bristol, Jr., Princeton, to the Board o f Trustees, 15 January
369
considerable administrative ability. He is an alumnus of

Westminster and has taught in all but one of our music
departm ents in the p a s t . . . [He] brings to his new position the
benefit of exposure to the new programs of several other colleges
with which he has been associated as guest lecturer and
conductor.126
It is clear th at Martin valued Lynn's experiences with other
institutions and musical organizations, and he supported the Lynn
appointm ent—although Martin knew that the two of them
approached choral music in very different ways. Nevertheless, he
noted, "I wouldn't have continued [as musical director] anyway
because I was anxious to be relieved of the position."127
So, after serving as Westminster's musical director for six of
some of the most turbulent years in the College's history, Martin's
request for a year's leave of absence at half salary for the 1964-
1965 academic year was granted "with the understanding that he
would return to duty in the fall of 1965."128 Martin, then forty-eight
years old, made it cl^ar that he was as happy to step down from his
administrative role as he would be to return to the faculty a year
126 "Lynn Becomes Music Director," W estminster Choir College News II,
no. 2 (Spring 1964): 7.
128 Lee H. Bristol, Jr. to the Board of Trustees, 15 January 1964.
o70
later. He was also just as happy to become an advocate for the new
musical director, and pledged this intent to Bristol, writing, "I shall
give [Lynn] every possible assistance, and I shall continue to support
with enthusiasm your plans for the future of the College."129
129 Warren Martin to Lee H. Bristol, Jr., 15 January 1964.

CHAPTER VIII
THE FINAL YEARS
The period encompassing Warren Martin's 1964-1965
sabbatical through the end of his life reveals considerably less in the
way of prim ary source material than do the earlier segments. Either
Martin curtailed the vast standard of epistolary output to which he
had held himself since his student days at the Westminster Choir
School, or the correspondence from this later period of his life was
not retained. In either case, only a few letters rem ain from the
1964-1982 period. Indeed, Martin left no indication whatsoever that
documented his activities during his 1964-1965 sabbatical from
Westminster Choir College, and only one indirect mention of the
probable, bucolic bliss with which he presumably reacquainted
himself—as evidenced at the completion of his sabbatical by the
remark, "How I miss the woods and fields already!"1 In addition,

372
former student and colleague Robert Rockabrand remembered that
Martin "studied the entire works of Josquin, and returned to
Westminster Choir College convinced of the genius of that wonderful
composer."2
Although Martin time and again exhibited his desire and ability
to be a "team player," there is evidence that he experienced some
level of frustration upon his return to faculty status. He wrote, "Daily
I have mixed feelings about being back at W estminster] Cfhoir]
Cjpllege]."3 In his new capacity as head of the theory department, he
was invigorated by the hard work involved in organizing the theory
curriculum and teaching various classes, yet he was annoyed by
what he saw as his superiors' bungling of organizational details—
some of which he used to handle "with less fuss, more efficiency, and
little credit."4 He cited examples, fuming that class schedules were
submitted to the faculty two hours before they were to go to the
printer instead of during the preceding May; the organ tuner was

4 Ibid.
373
scheduled to tune the chapel organ at the same time as the piano
tuner was to tune the chapel piano; and the faculty was bidden to
weekly faculty meetings until further notice, and seven of them
arrived for a meeting that had been canceled without notice.
Although tending to details of this nature had not been one of his
administrative responsibilities while he served as musical director,
Martin apparently had been helpful in contributing toward their
smooth and orderly manifestation. He wrote, "How many of these
things, many of which were not really my business, I helped
anticipate and cope with in the past!—But it's relaxing to fume and
blame other people."5
Martin's new job description allowed him more time for
composition. He continued his established custom of writing for
specific occasions, as in the case of a faculty recital by his friend and
piano departm ent head Mathilde McKinney. He described the work
as "a real pieced'occasion. a hurriedly (but meticulously!) written
short toccata using loosely a 12-tone row, hammered chords a la
Bartok-Stravinsky, a C-major scale, a chromatic scale, and the
5 Ibid.
374
Westminster chimes . . . It's sour enough to fit with the Schoenberg
and other short pieces in her last group."6 This piece is one of
several from Martin's compositional cadre that he described at the
time of its creation, yet later omitted from his list of his own works.
Whether he forgot that he had written it, or whether he intentionally
omitted that piece from the list along with certain others for reasons
known only to him, remains a m atter for conjecture.
In the fall of 1965, Martin referenced the impending visit to
Westminster by the Middle States accreditation team. He expressed
concern that things would be up in the air if the school failed to meet
the expectations of the visiting commission, and predicted that both
Bristol and Lynn might become "even more tyrannous" if indeed
Westminster was approved for membership.7 After the visit, the
commission submitted a report that indirectly paid homage to
Martin's efforts toward raising standards and defining academic
goals while he served as musical director:
The visitors are unanimous in their conviction that the

Westminster Choir College has achieved a commendable degree of
375
stability since its new administration took office several years ago.
This is evident in the maintenance and enlargement of a well
qualified faculty which is working together harmoniously toward
the achievement of well understood objectives. It is evident in
the evolution of a well-conceived curriculum in which a genuine
effort has been made to blend the liberal and the professional. It
is evident in the improvement of student quality and the planning
of a potentially effective extra-curricular learning experience.
Serious fiscal problems still remain, as do deficiencies in the
physical resources; but we share the faith of trustees,
administration, and faculty that the present and potential quality
of the institution is such as to enable it to attract the necessary
support. We would congratulate the college on the tremendous
strides it has made in such a short time and express our
unanimous faith in its future.8
Finally, in May 1966, the visiting committee recommended
Westminster Choir College for full accreditation and membership in
the Middle States Association of Colleges and Secondary Schools.
Subsequently, the Commission on Institutions of Higher Education
voted its unanimous approval.9
With his former student and teaching assistant, Lois Laverty—
who had returned to Westminster as a member of the voice faculty
in 1964—Martin resumed a collaborative artistic relationship similar
8 "Middle States Accreditation Still Pending," Alumni News 40th year, no.
3 (January 1966): 4.
9 "Westminster Accepted for Membership in 'Middle States,'" Alum ni

News 40th year, no. 4 (June 1966): 1.
376
to the one that they had shared a decade earlier. In one instance,
they performed an inaugural concert recital for a new Steinway
concert grand piano that had been donated by an alumna of the
College.10 Although Laverty found herself experiencing the residual
discomfort of a bad throat, Martin believed that the program went
well and that it was highly appreciated by the audience, although it
was not up to their usual standard. He wrote:
I think Lois and I both sort of wanted to "show 'em," and I can't
say we did . . . We are starting right out to work on another one,
not on the principle of climbing on a horse after you've fallen off,
bu t because active music making is good for both of us when we
spend so much of our time in the routine of teaching.11
Later that spring, Martin was one of a group named in an
interesting action taken by the Westminster Board of Trustees.
Although he had been on the faculty for sixteen years and had been
recognized for some time as a tenured member, he was included in a
group of fourteen long-time faculty members who received a second
official vote of tenure. The acdon is explained in the minutes:
10 "New Steinway at College," Alumni News 40th year, no. 3 (January

1966): 4.
377
. . . although tenure for the following members of the faculty

probably has been voted, no mention can be found in any of the
Minutes of the actual vote. Therefore, for the record, it is
recommended that tenure once again be officially voted these
people.12
Westminster Choir College's Fortieth Anniversary Convocation
in 1966 was a grand occasion. The Most Reverend and Right
Honourable Frederick Donald Coggan, Archbishop of York, spoke at
the ceremony, and presented the College community with a stone
fragment from Westminster Abbey as a token gift. Martin
remembered that faculty member Robert Simpson "held the
hallowed fragment aloft on a velvet cushion, as if it were at least the
Holy Grail, while the Archbishop presented it with well chosen
words. Later, the janitor of Princeton University Chapel found the
stone and almost threw it in the trash bin, thinking some students
had left it there for a joke."13 Howard Hanson, head of the Eastman
School of Music, was the Commencement speaker, and Leonard
Bernstein—who received an honorary doctorate at the event—
12 Westminster Choir College, "Minutes of the Trustees' Meeting," 16

March 1966. Archives of Westminster Choir College.
13 Warren Martin, Princeton, to "Mother," Galeton, PA, 8 June 1966, in
378
presented the Charge to the Seniors. Martin, who had earned the
respect of the famous conductor over the years, was pleased that
Bernstein mentioned him by name during the speech.14
In the fall of 1967, Martin wrote, "For some strange reason,
unexplainable by any tangible factors, this year has started very
nicely indeed for me and my department. All my classes are
responsive—which makes so much difference to the teacher—and
there are fewer 'problem children’ to cope with."15 Martin also
m entioned a composition project on which he was working for Alice
Berman, the former choir director from Trenton's First Presbyterian
Church for whom Martin played during his student years at the Choir
School. Berman was serving as conductor of the Charlotte Choral
Society in Charlotte, North Carolina She commissioned Martin to
compose a special piece for her choir to perform at their "Singing
Christmas Tree" program, a large-scale regional affair that involved
her 100-member choir standing and singing from a thirty-two-foot-
14 Ibid.
15 Warren Martin, Princeton, to "Mother," Galeton, PA, 27 October 1967,
379
high pyramidal steel platform shaped like a Christmas tree.16 He
wrote, "She wanted me to use some carols in combination, and that
held me up. Once I got started I really went to town. In a piece that
lasts seven minutes I managed to combine portions of fifteen
different carols!"17
For many people, transitioning from the im portant and
powerful administrative position of musical director to the
substantially more modest faculty position as head of the theory
departm ent would not have been an easy process. Indeed, many
people at a similar career juncture would have taken the opportunity
to move to another institution. Martin, however, dem onstrated that—
with a fluency exhibited at other points during his lifetime—he could
easily lay aside the administrator's task of raising overall standards
and meeting new academic challenges and refocus equal amounts of
energy into refining the theory curriculum and giving placement
tests to transfer students. Whether it was the same, easy-going
aspect of his personality that he had displayed back in 1934, when
16 "The Singing Christmas Tree," Ford Times, December 1967: 45.

380
he expressed hope th at someone would surpass his record geometry
score on a standardized, state-wide test;18 whether he was anxious to
linger at Westminster and witness the denouement of his six years of
intense work; or whether he was simply too drained physically and
emotionally to conjure the energy necessary to pursue a position
elsewhere has never been documented by Martin. In any case, his
duty toward a new set of tasks was evident to those with whom he
worked—and he expected the same sense of dedication and
commitment from his theory departm ent colleagues. Peter Wright
recalled that, although Martin was in many ways the elder statesman
musically and pedagogically, he was just as willing to teach one
course as another. When something needed to be done, Martin
assembled the best combination of people to do it; consequently, if
the situation required him to teach freshman theory, he taught it
with as much passion and enthusiasm as he did a graduate course.
Wright explained:
When it came to anything that affected his musical life or the

teaching of his students, [Martin] was eminently practical. I can
recall discussions with him in the spring of 1971 in which he was
explaining carefully to me that the needs of the theory
18 Warren Martin to Esther Martin, 10 March 1934.
381
departm ent were such that I needed to teach sightsinging the

following fall semester. And I was resisting that as strongly as
possible because—never having taught it, and with absolute pitch—
I'd never gone through some of the difficulties that most students
have gone through to learn to sightsing and I didn't feel that I
would be able to empathize with them in a way that would allow
me to be even moderately successful at it. He simply insisted,
"We need it, you can do it, that's the end of i t You will do it and
stop worrying about it and stop complaining about it." Well, I
became Acting Dean, so I never had to do it and I still feel the
same way now as then, but I'll never forget his practicality in
saying, "These are the needs of the department. We just do it."19
In his working relationship with musical director George Lynn,
Martin gave the dutiful support that he had promised. He noted
wryly that Lynn worked to "finagle and finagle . . . [H]e redefined
[the musical director's job description] so ic had no paperwork."20
Martin described Lynn's "finagling" as follows: "George Lynn is in
charge of all choral and vocal and conducting teaching and activities,
but by trustee action is relieved of any actual supervision of other
musical affairs, though he retains the title and status of Music
Director."21 The relationship between Martin and Lynn went all the
way back to their student days at the Choir College during the 1930s.

21 Warren Martin to "Bodmans,” 21 September 1965.
382
Even then, John Burke remembered that the two had a strong mutual
respect for each other.22 Martin's regard for his colleague's work
remained high over the years, and it was on the basis of earlier
knowledge of Lynn's work that Martin recommended his friend for
the musical director position. Once Lynn had taken the position,
however, Martin expressed some frr-tration with his colleague's
work. Martin readily admitted, "I did not know how George had
developed through the years. Unfortunately, he had developed some
things which I'd rather that he didn't."23 He also noted that
personality clashes between the new musical director and others
ultimately negated some of Martin's high-quality faculty additions.
Peter Wright recalled something of a rivalry between Martin and
Lynn, although it never became overt. He explained:
[Lynn] seemed to espouse choral tone in exclusion to any other

musical virtues. If the tone was there, nothing else mattered.
Style d idn't matter, intonation didn't matter, diction didn't matter,
musical insights d idn't matter. There was nothing but tone and a
certain am ount of charisma and inspiration, I'll grant him that.
But, not much thinking about the finer things of music. And while
W arren and the rest of us loved to hear a fine choral tone, we
loved to hear some other things, too, that we w eren't hearing.

383
And I think that was a large part of whatever differences existed

between the administration and Warren Martin—or more
particularly, between George Lynn and Warren Martin. I think
they were both extremely strong-minded individuals whose ideals
were entirely different and yet, overtly, I never saw any
fireworks between them . . . So, it seemed as though there was a
certain degree of respect that went both directions between the
two of them; there was obviously a certain distance b w een them
and a recognition of the musical differences which they had. I
think they both more or less agreed to live with that and to get
along on, well, a decent basis.24
Martin wrote that Lynn "has chosen to be as affable as ever
with me—I presume he knows the things I say about him as well as I
know the things he says about me—and we can have casual coffee
and cigarette chats without discomfort. (Is this hypocrisy or is it
maturity?)"25 Dennis Shrock, a student during the mid-1960s,
apparently maintained a close relationship with both Martin and
Lynn; he often accompanied Lynn around town in the latter's Cadillac
when the musical director went out for a cigarette.26 Shrock recalled
that they would "shoot the breeze about this, that, or another thing.
And nothing was sacred. I heard about everything going on on

26 Smoking cigarettes and drinking alcoholic beverages were
prohibited on the Westminster Choir College campus at that time.
384
campus . . . I know how he felt about Warren and I know how
Warren felt about him. I know exactly, because they both told me.
And I told them. There was nothing that was secret."27
Shrock indicated that both men knew and recognized the
limitations of the other. He said, "Just as Warren recognized his
limitations, George recognized those of Warren, too. And Warren
recognized that George had limitations. George did not recognize his
own, however. He never did that. He always thought he could do
what he couldn't do . . . But Warren knew his own limitations."28
Even so, both men maintained high levels of mutual respect.
In 1969, Lee Bristol resigned as president of Westminster Choir
College. The position was filled by Ray Robinson, who left the
associate director position at the Peabody Conservatory of Music in
Baltimore, Maryland.29 In the same year, Geor ge Lynn resigned as
musical director. Dennis Shrock explained the actions:
Lynn left with some disagreement. He didn't particularly want to

leave, but the Board wanted him gone. He tried to consume too
27 Dennis Shrock, interview, 15 April 1993.

28 Ibid.
29 "The President Reports," W estminster Choir College Newsletter (May
1969): 2.
385
much of the power and he was Music Director of the entire school,
not just of choral sorts of things. And he got into a disagreement
with [Philadelphia Orchestra conductor Eugene] Ormandy, and
Ormandy d id n 't want to have Westminster Choir come back. I
think the Board perceived that situation as not particularly
appropriate, and didn't want more things like that to go on. You
don't express your musical preferences to Ormandy. You just
simply do what Ormandy wants. And that's not the way George
wanted to be.™
Following Lynn's resignation, the 1969-1970 Westminster
Choir was conducted by Art Sjogren, a doctoral student at the
Peabody Conservatory who had earned a master's degree from
Westminster in 1964.31 Ray Robinson, who made the Sjogren
appointment, ultimately did not find the situation satisfactory, and
pursued other avenues for the 1970-1971 season. He recalled:
What were we going to do with Westminster Choir? I called

[Martin] and I talked to him about it. I asked him if he wanted to
do it and he said he didn't want to do it, because he didn't feel he
was a good podium personality. He suggested that I bring Elaine
Brown in to take the choir on tour and then he would train it for
Elaine Brown—which he d i d . . . So, Warren Martin did have a
reprieve, one more time, like the good old days.32

31 Ray Robinson, Interview by Christopher Samuel, 19 January 1996,
32 Ibid.
386
Logistically, Robinson believed that the Martin-Brown
combination worked well because of the high level of respect that
the two conductors had for one another. For other reasons, however,
Robinson found the 1970 tour less than successful—but stressed that
those reasons had nothing to do with Martin. Robinson believed that
the problems stemmed largely from the sudden death of Brown's
husband, Hugh Wilson Brown.33 This unfortunate event
understandably caused an upheaval in Elaine Brown's life, and
clearly influenced her general outlook at the time. Robinson
remembered that Brown was "very fickle to work with, extremely
difficult. . . [S]he picked this heavy, heavy program that dwelt on
death and dying—and it was a bomb."34 The March 1970 tour
covered a ten-state area in the southeastern region of the United
States. Several weeks prior to the tour, Martin himself took the
33 Hugh Wilson Brown was a 1935 graduate of the Westminster Choir

School. There is sad irony that the husband of the founder and conductor of
Philadelphia's "Singing City"—whose stated purpose is to bring peace and
harmony to the "City of Brotherly Love"—should have met his demise as the
victim of a mugging just outside the door of his Philadelphia home.
34 Ray Robinson, interview, 19 January 1996.
387
group on a three-day "mini-tour" to Pennsylvania, Ohio, and
Indiana.35
In the fall of 1971, Joseph Flummerfelt became Westminster's
director of choral activities and conductor of the Westminster Choir,
In that same year, the choir came under the New York management
agency of Sol Hurok. Ray Robinson described Hurok as the "leading
impresario in New York City . . . It was THE management in the
country. More im portant than Columbia Artists, more im portant
than A rthur Judson, more im portant than all the others."36 Because
the deal with Hurok management already included a contract naming
Roger Wagner as conductor for the ensemble's 1972 spring tour,
Flummerfelt took responsibility only for training the group. In any
case, Martin was happy to relinquish responsibility for the Choir, and
he seemed pleased that Flummerfelt had taken the position.
Flummerfelt spoke of his relationship with Martin:
I always felt enormous respect for Warren and an enormous

respect coming from Warren. And I felt like he, from the very
beginning, supported me when others didn't and he seemed to be
very pleased at the kind of musicianship which we tried to bring
35 "Westminster Choir Begins 1971 Tour," Newsletter, Winter 1971: 2.

388
to things here. I always felt—from the day that I actually

auditioned and onward—that Warren was very much for me.37
Martin again resumed the relatively low-profile position of
head of the theory department. A letter of contract to Martin
inviting him to continue serving as professor of theory advised th a t -
given the instability of the nation's economy and the utter necessity
of trimming the College's budget—the faculty could expect a possible
increase in full-time teaching loads to a maximum of fifteen hours
during the 1971-1972 academic year. It is interesting to observe
that—from the tone of the letter—the financial situation at the Choir
College during the early 1970s appeared not unlike the precarious
one with which Martin and Hopkins had dealt more than a decade
earlier. The letter also concluded with an expression of gratitude for
Martin's assistance and cooperation as interim conductor during the
previous year, and noted that his "efforts to raise the quality of the
education that is offered at Westminster have been sincerely
appreciated."38 Martin’s contract for the 1972-1973 academic year
37 Joseph Flummerfelt, Interview by Christopher Samuel, 11 May 1993,

38 Ray Robinson, Princeton, to Warren Martin, Princeton, 15 February
389
and those immediately following named him as "Professor of Theory
and Music History."39
During this period, Martin continued his life-long pursuit of
studying music on his own. His appetite for learning was insatiable,
and he reveled in learning new musical literature and in re-studying
familiar material. Lois Laverty described him as "very much a self-
taught person who was insatiably curious . . . [H]e only had two
degrees from Westminster back when it was certainly—intellectually,
you know—who knows how? But then he just went on and kept
learning and learning . . . by buying scores and studying them."40
The following, lengthy excerpt is included to provide a glimpse into
the process of critical thinking and evaluation that was intrinsic to
Martin:
My present circumstances are most comfortable for listening to

records and continuing my study of already well-loved pieces.
I’ve just listened to all of the recordings our [Westminster] library
has of the im portant ten Mozart quartets—two to four recordings
of each—and I feel as if I know all the players personally, because
their idiosyncrasies become increasingly obvious as I listen. I
have not found anv quartet group that thoroughly satisfies me for
Mozart—how compulsive the urge evidently is to do something to
39 Warren Martin, Assorted contracts, Westminster Choir College,
Princeton, in possession of author, Phoenix, AZ.
390
the music! (And yet the Amadeus quartet errs by playing too
literally and metronomically.) The Weller quartet (a German
outfit) has a pleasing blend of warmth and strictness—never heard
of them before. The Budapest have a kind of fervent, noble
sincerity that stands up quite well in comparison with the suave-
toned, brilliant-techniqued but shallowly-thought-out work of
some of the newer quartets. My pets are still the Juilliard—but
only for modems or for late Beethoven—they're pretty nervous
and even melodramatic for some of the m ilder Classical literature.
But certainly the Guameri quartet not only plays splendidly but is
either lucky or canny in being superlatively well recorded . . . I
find the Guameri's playing of Op. 59, 75, and 95 of Beethoven to
be magnificent throughout. Op. 95 is a favorite of mine, as a piece
of music and for teaching (the latter because it's concise and vivid
and foreshadows the difficult-to-teach late-Beethoven style so
clearly and understandably). I thought it would be a long time
before any other quartet would supplant (in my estimation) the
Juilliard's playing of this work—fiery, tense, virtuose, sensitive.
But now I like the Guameri version just as well—more emphasis
on the lyric, on charm where there is charm, fewer fireworks. I
find both versions convincing.41
One can understand why John Burke, as mentioned earlier, believed
that Martin easily could have become a well-known music critic for a
major newspaper.42
Martin's love of learning manifested itself in other ways as
well. Laverty described a frequent Saturday activity in which she
and Martin would agree in advance on a musical work—an opera, an
41 Warren Martin, Princeton, to Lyman and Virginia Bodman, East

Lansing, MI, 6 February 1973, in possession of author, Phoenix, AZ.
391
oratorio, or a song cycle—that would constitute that day's study.
With scores in hand, they would listen to the appointed work in its
entirety. For Martin, music was never a background event for
conversation or for reading; rather, it existed solely for the purpose
of concentrated listening. One was under a great deal of pressure
while sharing such an occasion with Martin. Laverty described the
requirem ent of sitting still with absolutely no conversation until the
pieces were completed.43 She said, "For him, it was just the natural
way of living. For a more ordinary person like me, it was marvelous
and stimulating and I learned a l o t . . . I was really exercising my
brain and concentrating in a way that I didn't always concentrate.
But he always concentrated like that."44
John Burke recalled similar activities during their student
years at the Choir College. After securing numerous scores from the
library, Martin guided Burke through the material, and expected him
to be able to play and sing any of the parts m varying combinations.
Burke remembered:

392
He was my opera coach, and took me to my first opera, which was

Tristan and Isolde. But I couldn't go until I'd learned the whole
score. He sat and he played it and he sang all the parts and made
me play parts of it and so forth and showed me all the leitmotifs
and explained what the leitmotif was—I had no idea. We could
only afford standing room [at the old Metropolitan Opera House]
on the orchestra floor. So, my first opera was standing through
Tristan and Iso ld e. . . I was getting my music history lessons all
the time from Warren.45
Even as a freshman at the Choir School, Martin displayed his
life-long passion for listening and studying. He wrote of following a
radio broadcast of La Traviata with score in hand, and of expressing
disappointment in the choir's performance and in the "lack of feeling
in the other singers besides the lead (Lucretzia Bori) and Lawrence
Tibbet, who I like better after having absorbed some Choir School
standards."46
By all accounts, Martin possessed a phenomenal ability for
sight-reading musical scores. His fluency clearly was a compatible
asset to his voracious curiosity, and contributed positively to the
sheer num ber of scores that he was able to study within a given
length of time. Former student and eventual faculty colleague Janice

393
Morris Harsanyi recalled her amazement at seeing Martin sit down
and sight-read "Act One" of Wagner's Die Walkiire from the full, open
score.47 Allen Crowell concurred that "by anyone's standards, he was
masterful. He was an exceptional score-reader. There was nothing
that he couldn't whip off from score—anything you put in front of
him. He could read very quickly and it would be recognizable and
valid."48 Metropolitan Opera conductor Daniel Beckwith, a
Westminster student during the 1970s, remembered Martin asking
him to turn the latter's pages in a recital. Beckwith was amazed at
how far ahead in the score his teacher read; he was awed that Martin
consistently gave the page-tum signal at least two pages ahead of
time.49 Dennis Shrock confirmed that Martin "had a photographic
memory. [He could] just look at the page, and could recall the whole
thing at once."50
47 Janice Morris Harsanyi, Telephone interview by Christopher Samuel,

28 December 1996, transcript, in possession of author, Phoenix, AZ.

49 Daniel Beckwith, Telephone interview by Christopher Samuel, 23
August 1997, transcript, in possession of author, Phoenix, AZ.
394
Martin's knowledge of music literature ran the gamut of opera,
oratorio, vocal and instrumental solo, and keyboard works. Barbara
Caler Bird, a member of Martin's choir at the First Congregational
Church of Los Angeles in the 1930s, remembered that he could sit
down a t the piano and "play anything that was asked of him," and
enjoyed demonstrating his vast knowledge of the literature through
keyboard antics that were rife with humor and virtuosity. She
recalled a gathering during which Martin spontaneously "set 'Mary
Had a Little Lamb' to the sextet from Lucia."51 New York City Opera
conductor Joseph Colaneri, a student of Martin's in the 1970s, likened
his form er teacher to a walking music encyclopedia, and spoke of the
professor's great skill at reproducing themes or entire sections of
pieces from memory to support some momentary aspect of his
teaching. Colaneri also recalled Martin's immense and decidedly
humorous proficiency at altering a familiar melody, such as a fugue
subject, and maintaining the altered phrase throughout the piece:
He m ust have been a riot at a party because he could do all of

these fantastic things. I remember that [Martin] took the subject
of the Bach G Major Fugue, and he added an extra beat to it, which
51 Barbara Caler Bird, Telephone interview by Christopher Samuel, 5

May 1997, transcript, in possession of author, Phoenix, AZ.
395
was just very funny. And he kept going. He had the whole fugue
worked out with that extra beat. He was very, very clever. You
could see he was a musician of great wit and also, I think, of
technical prowess.52
Dennis Shrock spoke of Martin's great keyboard skill and his
phenomenal mind that was capable of doing complex things
simultaneously. Shrock recounted:
He could play anything . . . He would play "The Flight of the

Bumblebee" and skip every other measure or he would play "My
Country 'Tis of Thee" in two keys at the same time. He would play
"The Star-Spangled Banner" in regular time and in augmentation
at the same time.53
M artha Bradway Fletcher, whose older brother Matthew
Bradway was an undergraduate student with Martin during the
1930s, told of making childhood visits with her family to the Bayard
Lane house that served as a dormitory for the young men. She
recalled that frequently Martin could be found at the piano in the
main room of the building, asking for the names of different types of
animals from various people who came and went from the house.
Bradway was amazed that Martin could make improvisatory sounds
52 Joseph Colaneri, Interview by Christopher Samuel, 11 December 1996,

J
396
on the keyboard that realistically mimicked the sounds of creatures
suggested by the passersby.54
Martin continued to broaden his ability to create musical
caricatures at the piano. Students in the 1970s and 1980s often
were greeted upon their entry into Martin’s classroom by several
phrases of a song—classical, operatic, symphonic, or popular—which
Martin believed imitated some element of their personalities. His
ability to match the tune with the particular student and his or her
specific idiosyncrasies usually evoked hysterical laughter from the
class members.55 Martin's cleverness in connecting tunes to
personalities was in itself creative as well as amusing. Additionally,
his broad knowledge of musical literature—as well as the manifest
displays of technical prowess required by the playful venture—were
impressive feats. Finally, his apparent ability to pull melodies "out of
thin air" was an amazing phenomenon in itself. Whether, as it
always appeared, Martin actually was improvising extemporaneously
54 Martha Bradway Fletcher, Interview by Christopher Samuel, 6 May

1998, transcript, in possession of author, Phoenix, AZ. Fletcher received
degrees from Westminster Choir College in 1943 and 1944.
55 Donna Plasket, interview, 13 May 1994.
397
or was merely executing a project to which he had given a great deal
of forethought, the act of performing twenty to thirty musical
segments non-stop, back-to-back, in complimentary keys, in random
order according to the roulette of student arrival time, created a
memorable event indeed.56
In November of 1974, Martin formally requested a sabbatical
leave of absence from Westminster for the 1975-1976 academic
year. However, the idea to take the sabbatical was not really his. It
was the byproduct of an official sabbatical program for the
Westminster faculty implemented by President Ray Robinson—who,
when he assumed the Choir College presidency in 1969, was
surprised to find that no such program existed at Westminster. In an
effort to be fair and to honor those with the longest association with
the College, Robinson recognized Martin and voice faculty member
Robert Simpson as the two who were "first in line" for leaves.57
College dean Charles Schisler approached Martin about the sabbatical
56 Sue Ellen Page, Interview by Christopher Samuel, 13 May 1991,

57 Ray Robinson, Telephone interview by Christopher Samuel, 15 March
398
in an effort to work out necessary details in accordance with the
newly instituted policy. Schisler was perplexed a t Martin’s reaction:
When Ray Robinson got [to Westminster], we offered Martin a

leave to go anywhere to study. Everybody needs to go back and
find out how they're doing in their teaching. With all of the
technology, the teaching of theory, for instance, had changed.
There were many new methods that were starting to happen.
And Martin said, "I don't want to go anywhere. Where would I
go? What would I study?" He basically said, "Where would I go
to learn anything? I know everything." We offered it to him and
we discussed it but he was so obstinate about it, he didn't want to
hear about it. We were horrified.58
Ultimately, Martin agreed to take the leave, and devised a plan
for using his time effectively during the absence from regular
teaching responsibilities. He named two purposes for the sabbatical:
one would be to compose, directing his creative efforts toward
writing music useful to Westminster; the second would be to assist in
a Westminster musical anthology project, working in consultation
with President Robinson.59 A letter on behalf of the President's
Council heartily endorsed Martin's two project proposals, and
conveyed official approval for his 1975-1976 sabbatical at one-half

59 Warren Martin, Princeton, to Peter Wright, Princeton, 15 November
399
salary.60 A notice in Westminster's alumni newsletter announced
that Martin was "using p art of his sabbatical year to organize
materials for a book on choral writing and arranging," and welcomed
ideas from alumni.61 There is no evidence to suggest that Martin's
book project was ever completed. However, his composition efforts
toward "writing music useful to Westminster" resulted in five choral
settings of texts from the Book o f Psalms. Those pieces will be
discussed later.
Martin's letter of request for a sabbatical also alluded to an
apparent discussion relating to his stepping down as departm ent
head. He noted that, "according to present plans," the music theory
and history departm ent would function with a new departm ent head
during his sabbatical year, and that his proposed leave of absence
"would be timely, and could even be an asset in encouraging the new
head of the departm ent to stand on his own feet."62 Dutiful as
always, he indicated a readiness to lend his counsel if requested.
60 Peter Wright, Princeton, to Warren Martin, Princeton, 14 February

61 "Class Notes," W estm inster Choir College N ewsletter [no vol.] (Winter
1976): 13.
62 Warren Martin to Peter Wright, 15 November 1974.
400
The head of the theory departm ent position was assumed by
Harriet Chase, who had joined the Westminster faculty in the fall of
1970. During her initial interview for the faculty position, Chase
found Martin difficult to understand, and realized from the start that
their philosophies of teaching differed considerably. She recalled:
[Martin] had the idea that the music history courses and the
theory courses should be integrated in a chronological manner. I
was willing to try it but I didn't see how it could possibly work.
Of course, that was my young and know-it-all attitude. Naturally,
I say this humorously—because we all learn a lot as we go along.
So, at the beginning I thought, "Hmm, I wonder if it's going to be
easy to work with this man." Later, we got our differences settled
and became excellent colleagues and very good friends—close
friends—and were able to work together well.63
Despite Martin's penchant for clarity and adherence to
instructional guidelines, Charles Schisler found a certain discipline
missing from the theory departm ent that he attributed to Martin's
increasing reticence in dealing with individuals on a personal level.
From the very beginning of his association with Westminster in
1969, Schisler was unhappy with what he perceived as a severe lack
of standardization in the instruction offered by members of the
theory departm ent Historically, such a state of affairs was
63 Harriet Chase, interview, 14 May 1991.

401
uncharacteristic of Martin's leadership style. When Schisler first
brought Chase onto the faculty, he recalled that Martin "was furious
because he said we inflicted [Chase] on the department. She was the
first Ph.D. Nobody had a Ph.D. [in the theory department]. Nobody.
He was not a happy camper."64
Early on in their working relationship, Chase recalled that she
and Martin "agreed to disagree." As time went on, however, Chase
found their teaching philosophies growing closer. She later stated
that she "learned a lot from [Martin] in the long run. Certainly he
had definite ideas and you couldn't fault him. His ideas were good
ones, based on solid thought."65 Their eventual close friendship was
evidenced through numerous gestures. For example, Martin—while
writing of "savoring the simplicity" of fresh-picked wild strawberries
combined with ice cream—reported, "I got neighborly and gave some
to Harriet Chase (technically my new boss, as I used to be hers, since

402
I gave up the departm ent headship), because she had given me some
asparagus straight out of a local farmer's garden."66
Interestingly, extant correspondence written by Martin during
the 1970s shows his increasing tendency to refer to and describe
foods that he prepared for himself and the meals he was served by
others. Dennis Shrock remembered that Martin "really enjoyed
eating," and often talked about the foods that he had eaten or that he
had prepared himself.67
In the spring of 1974, with the fiftieth anniversary of
Westminster Choir College still two years away, President Ray
Robinson suggested that Martin compose a work for the upcoming
anniversary event. Robinson was concerned that Martin had become
too reclusive; he believed that the composition project would bring
special recognition to Martin for his long association with the College,
and might draw him out of his seclusion.68 Martin clearly found the
idea appealing, and systematically devised a plan for the project.
66 Warren Martin, Princeton, to "Mother and whoever [sic] is handy,"

Galeton, PA, 2 July 1976, in possession of author, Phoenix, AZ.
68 Ray Robinson, interview, 15 March 1998.
403
Because of the insight into Martin's formulation of compositional
ideas that his response to Robinson provides, the letter is included in
its entirety:
Dear Ray:
Suggestion. That I write a CANTATA OF PSALMS for 1976.
Performance time. At least 20 minutes, and preferably 30 or

m ore—to give my particular style a chance to make its impact.
Text. Selections from the Psalms—King James version because

of its beauty of language and its aptness for musical setting.
Instrumental forces. Alternate performing versions (with

eventual publication and wider usefulness in mind) to be made
available—for instance: (a) strings and piano; (b) two pianos.
Choral forces. The choral parts (again, with publication and

wider usefulness in mind) might well be w ritten so as to lend
themselves, without substantial note changes, to alternate
performing possibilities—for instance: (a) geographically
separated large chorus, semi-chorus and children's chorus; (b)
small SATB chorus.
Musical texture. The choral texture would be predominantly

linear, often in unison or in two independent parts, with the
instrum ents providing whatever fullness of sonority is needed.
The singing lines would avoid thick choral effects in favor of
concentrating on CLEAR, EXPRESSIVE, VIVID DELINEATION OF THE
PSALM TEXTS.
Difficulty. The voice parts would be decidedly practical, in that

they would not require voices of phenomenal size, beauty or
range—but NOT NECESSARILY EASY, in that hard work might be
needed to achieve the needed accuracy and dexterity. (It seems
404
to me that it would be refreshing and exciting for Westminster

voices to "praise the Lord" in brilliantly difficult unison
coloratura!).
Overall effect. A direct, dramatic, emotional, even showy, but

honestly straightforward setting of well known Psalms.
May I have your comment on these early ideas?69
Robinson liked Martin's suggestion for the cantata, and
indicated that the College intended to publish the work through Carl
Fischer, Inc.70 A letter of intent from Robinson to Martin nam ed a
commission fee of $1,000, and promised a performance of the piece
sometime during the fiftieth anniversary year of the College (1976).
In keeping with his initial goal of honoring Martin, Robinson
concluded, "I am pleased that you will be able to participate in the
anniversary of the College in such a meaningful way."71
Unfortunately, the work—which ultimately developed into five
69 Warren Martin, Princeton, to Ray Robinson, Princeton, 12 February

70 Ray Robinson, Princeton, to Warren Martin, Princeton, 12 February
1974, in possession of author, Phoenix, AZ. At the time of the commission,
Robinson was negotiating publication details with Donald Hinshaw, the choral
liaison for Carl Fischer, Inc. Hinshaw, who later formed his own company
(Hinshaw Music, Inc. o f Chapel Hill, North Carolina), especially liked Martin's
composition—which finally became manifest as Five Psalms. Hinshaw Music
eventually published the pieces in 1981.
71 Ray Robinson, Princeton, to Warren Martin, Princeton, 11 April 1974,
405
individual Psalm settings—did not receive a performance during the
alumni week anniversary festivities in May of 1976. Instead, the
Westminster Choir premiered it in a December 1976 concert that
shall be discussed later.
In the spring of 1975, an alumni anthem competition was
announced as p art of Westminster's fiftieth anniversary celebration.
Five of the Choir College's most distinguished alumni-composers
served as judges for the competition; each of those five individuals
were commissioned to write an anthem for the event also. Martin's
composition was the Samuel J. Stone text, "The Church's One
Foundation," set to an arrangem ent of Samuel Sebastian Wesley's
"Aurelia" tune. It was scored for S. A. T. B. chorus, soprano solo, and
organ, and included a part for congregation, marked ad libitum . The
anthems by the other four judges were as follows: "Sing Unto the
Lord," David Fetler ('50); "O Be Joyful In The Lord," Gilbert Martin [no
relation] ('68); "The Law Of The Lord Is Perfect," George Lynn ('38);
and "Where Cross The Crowded Ways Of Life," David York ('46). The
two anthems chosen in the Alumni Anthem Competition were: "Anne
Bradstreet's Hymn" by James Waters and "The Night Before Jesus" by

406
Richard Frey. Six of the seven pieces listed above were published by
Carl Fischer of New York, and the Frey piece was published by
Golden Music Publishers of Golden, Colorado.72 Martin expressed
delight that his good friend and former Westminster colleague, James
Waters, had been one of the winners in the contest, and noted that
the performance of Waters' piece at the alumni gathering "went
smoothly and was much appreciated, which pleases me greatly since
Jim doesn't always get the proper recognition for his worthy, though
not-for-the-masses, music."73
The fall of 1976 brought a series of festivities to Westminster
Choir College that focused on Martin's sixtieth birthday on 4
December. Charles Schisler, who—along with Ray Robinson and
others—had observed Martin's growing tendency to withdraw almost
to the point of being a recluse, initiated the campus-wide celebration.
Because much of Martin's work went unappreciated by students and
older alumni during his tenure as musical director and conductor of
72 "Anthem Competition," W estminster Choir College N ew sletter [no vol.]

(Winter 1975): 11; and "Anniversary Programs," W estm inster Choir College
N ew sletter [no vol.] (Winter 1976): 7.
73 Warren Martin to "Mother and whoever is handy" [Gertrude Martin],
2 July 1976. James Waters left Westminster in 1968 to join the music theory
faculty at Kent State University.
407
the Westminster Choir, Schisler wanted to restore some of the
prominence that Martin had enjoyed during the late 1950s and early
1960s.
Schisler, who had received much of his education in Europe
where tradition dictates that a sixtieth birthday is a big event,
stressed that the festivities were an honor for age as well as
longevity of service to the Choir College. He said, "I was trying to
restore some of the presence that had been [Martin's] right, because I
felt he had been beaten down for all of those years. I always tried to
support two hundred percent the people that really were doing their
jobs. He deserved that, and hadn't been recognized for a long time."74
By the mid-1970s, many students and newer faculty members had
no knowledge of the positions of prominence that Martin had once
held. A memorandum to a select group of faculty indicated that
Schisler had "asked Dennis Shrock to chair a committee to organize a
concert in Warren's honor for [4 December 1976]."75 The first of the

75 Charles Schisler, Dean's Office, to Dennis Shrock, Lois Laverty, and
Harriet Chase, Interdepartmental memorandum, Westminster Choir College, 28
September 1976, facsimile, in possession of author, Phoenix, AZ.
408
events was a program of vocal music performed by sopranos Lois
Laverty, Judith Nicosia, and Susan Robinson, with Martin at the
piano; it took place on 31 October 1976.76
A faculty recital by piano duo William and Louise Cheadle one
week before the song recital highlighted Martin's Scherzo Suite, a
piece w ritten expressly for the Cheadles. Martin described the work
as unique, saying, "I don't know of any other suite of five scherzos,
but there is no reason why it can't be. Scherzo means 'playful' and
this suite is five different phases of playfulness."77
The largest of the programs occurred on 5 December 1976. It
was a progressive affair that began in Bristol Chapel and concluded
in the "Playhouse."78 The concert opened with remarks by Charles
76 Westminster Choir College, "Vocal Music of Warren Martin," Concert

program, Princeton, 31 October 1976, in possession of author, Phoenix, AZ. See
Appendix F for a copy of the program.
77 "More Faculty Performances," W estminster Choir College Newsletter
|no vol.] (December 1976): 4.
78 The Westminster "Playhouse" is a Quonset-type structure that was
built during World War II as a performance-rehearsal center. It was
originally intended as a temporary solution to a campus space crisis. However,
it remains today one of the important performance areas on the campus. It
has good acoustics and a large stage, and can accommodate nearly three
hundred people in varying configurations for symphonic choir or other
choral or instrumental rehearsals.
409
Schisler. Selections included music for organ, piano (the duo-piano
Scherzo Suite was repeated), instruments, and choirs.79
Schisler encouraged all faculty and staff to attend "this
auspicious event."80 A wine reception was held in Williamson Hall
following the program, and the concert play bill included an open
invitation to all guests to join in honoring Martin at the reception. A
"Birthday Ode" was prepared by A. Munroe Wade, a veteran actor of
stage and film who served on the Westminster faculty in the Arts
and Sciences Department:
We hail a man of many notes, a noted man is he,

Whose talents great he has employed In choicest minstrelsy.
He'll write you anthems or duets Sung softly or maestoso,

With Lieder on pianoforte, He is a virtuoso.
He deals with skill in circling fifths, His counterpoint is good,

And for an entertaining show—Don’t miss "Red Riding Hood."
These words from one who scarcely knows An octave from a third
Are just a chance to wish him well And add a birthday word.
Not only for the "music gang" Has Warren touched their hearts,
79 Westminster Choir College, Concert program, Princeton, 5 December

1976, in possession of author, Phoenix, AZ. See Appendix G for a copy of the
program.
80 Charles Schisler, Dean's Office, to "All Faculty and Staff,"
Interdepartmental memorandum, Westminster Choir College, 22 November
410
But those, as well, who toil and spin In Sciences and Arts.
This day, we're told by knowing Deans, He's lived a good

threescore.
May all of us who gather here Wish him a hundred more.
We'll lift a glass of "quelque chose" With unaccustomed levity.

His tunes will live on in our minds With even more longevity.81
Schisler, Shrock, and the others who planned the reception for
Martin were concerned that the guest of honor might commit the
fashion solecism of attending the gala event while dressed in a white
shirt, khaki trousers, Docksiders, and a tweed jacket—his standard
wardrobe.82 However apropos those items were for daily campus
activities, they were hardly the appropriate attire for such an
auspicious occasion that included the sophisticates of Princeton, New
Jersey. Schisler explained that Martin "hated anything false. He was
not anybody for pretense. Like putting on a tuxedo—that was not his
thing. He hated that kind of stuff. He was very much a 'call a spade
a spade' person."83 Shrock was assigned the task of taking Martin to
shop for a new suit for the birthday event. Being fitted for new
81 A. Munroe Wade, Princeton, to Warren Martin, Princeton, 5 December

82 Sue Ellen Page, interview, 13 May 1991.
411
clothes held absolutely no interest for Martin, and he clearly found
the shopping of little value. However, because he recognized its
importance to Shrock and others, he dutifully accompanied the latter
to a m en's store.84 Ultimately, he looked dapper, and some of the
guests rem arked that it was worth attending just to see Martin
dressed in a suit.
Acknowledgment of Martin's birthday and the accompanying
festivities was not confined to the Westminster Choir College campus.
The Princeton Packet, the local newspaper, included an article that—
along with an open invitation to members of the community at
large—also described Martin's long relationship and contribution to
Westminster. It noted particularly that he had served Westminster
in more different leadership capacities than had any other individual
in the institution's history. The article identified Martin as a
composer, and described his compositional style as "mildly 20th
century—m odem in a sense, but not avant-garde."85

85 Princeton Packet (Princeton, NJ), 2 December 1976, [no page].
412
In addition to glowing epistolary renderings from numerous
Westminster faculty and staff, accolades and birthday greetings
arrived from others who were far away and unable to attend the
event. From Indiana University, Julius Herford sent good wishes
from himself and his wife via Lois Laverty for "Warren's sixtieth
birthday—a child's age compared to ours."86 David Hugh Jones,
Martin's first organ teacher m the early 1930s, wrote that "it was
just yesterday that a brilliant boy came from a Pennsylvania dairy
farm and honored me by becoming a favorite organ student. Then I
was twice as old as he. Now he is catching up. Warren . . . and
several other luminaries made my teaching career a happy one."87
Former associates from Los Angeles as well as those from his
early student days joined in recognizing Martin's birthday. California
composer Rayner Brown reminisced about copying the manuscript
for one of Martin's compositions from the 1930s that appeared on the
86 Julius Herford, Bloomington, IN, to Lois Laverty, Princeton, 28

87 David Hugh Jones, Tamworth, NH, to Warren Martin, Princeton, 21
413
1976 birthday program.88 Alice Berman, with whom Martin worked
at the First Presbyterian Church of Trenton, New Jersey in the 1930s,
wrote:
There is no way of measuring the lasting joy and inspiration that

Warren Martin has brought to thousands with the genius of his
music. His creative talent and his objective ability make him
stand alone among his contemporaries . . . 1 am extremely grateful
for the tremendous impact he has had upon groups under my
direction through works we have commissioned him to compose
. . . [Tjhey love him for the great magnitude and magnetism of his
music.89
Martin was not prone to displays of ebullience in expressing his
appreciation or gratitude for the things that people did for him, but it
was clear that he enjoyed the sixtieth birthday festivity. However,
the attention to his music that was engendered from the celebration
was the aspect that ultimately brought him the most happiness.90
An article in the campus newspaper that reported Martin's
birthday festivities made particular reference to the world premiere
88 Rayner Brown, Los Angeles, CA, to Warren Martin, Princeton, 3

89 Alice Berman Winslade, Charlotte, NC, to Warren Martin, Princeton, 5
December 1976, in possession of author, PhoenLx, AZ.
414
of the Five Psalms rendered by the Westminster Choir.91 As
mentioned earlier, the group of psalm settings originally was to have
been included in the Choir College's fiftieth anniversary celebration
concert. However, for reasons that mostly had to do with a crowded
Westminster Choir schedule, an alumni week performance became
impossible. In retrospect, given the important role that the pieces
eventually played in the birthday concerts, the delay of their
premiere until December proved to be a palatable solution for all
concerned.92
General reaction to the compositions was favorable. In a
private conversation with Martin, however, Dennis Shrock recalled
criticizing—among other things—the parallel root position chords in
the pieces, suggesting that such a style was out of fashion. Martin's
response was simple. He said, "This is how I feel. This is the music
that I h ear in my head. This is what I want to do. I'm like Strauss in
91 "Alumni News," W estm inster Choir College N ewsletter [no vol.]

(December 1976): 14.
92 Ray Robinson, interview, 15 March 1998.
415
his old days. Who cares what the world is doing? This is how I feel
about it."93
Others were less critical of the anthems. Ray Robinson, who
had commissioned the pieces, sent them to Donald Hinshaw,
president of Hinshaw Music, Inc. Hinshaw was already in the process
of developing a Westminster Choir College anthem series, and his
response to Martin's pieces was highly favorable. He believed that
they were highly marketable, and was anxious to get them into print.
Hinshaw wrote to Robinson, "They are WONDERFUL! My Lord—they
would be glorious [in the series] and I can see why Joe [Flummerfelt]
likes them . . . By all means, they must go into the Series . . . As you
can tell from this enthusiastic response, I am excited!"94 To Martin,
Hinshaw wrote:
I am pleased to have your original score of the PSALMS . . . I think

you know already how very excited I am about this work and I
am pleased to publish this in our new Westminster Choir College
Series. It is a splendid example of craftsmanship, musicianship,
and practicality. I will look forward to promoting it and we'll
hope for a lot of performances . . . Again, let me express my

94 Donald G. Hinshaw, Chapel Hill, NC, to Ray Robinson, Princeton, 7
416
enthusiasm for this splendid piece and I am honored to add it to

our catalogue . . . Our contract is enclosed.. ,95
Hinshaw sent proofs for the Psalms to Martin in October of
1979, along with a request for their return within two weeks.96
Eleven months and several frantic letters later, with at least one
printing deadline missed, the Hinshaw group still had not received
the proofs from Martin, and were virtually begging him to return
them so the pieces could go to print "as the first in the Westminster
Series."97 Finally, in 1981, Hinshaw Music, Inc. published the Five
Psalms.
Hinshaw also asked Martin for permission to examine
additional compositions. He had heard of the Christmas piece written
for the Charlotte Choral Society's "Singing Christmas Tree"—the group
conducted by Martin's former boss, Alice Berman—in which multiple
carol melodies were juxtaposed skillfully.98 Finally, Hinshaw
95 Donald G. Hinshaw, Chapel Hill, NC, to Warren Martin, Princeton, 3

April 1979, in possession of author, Phoenix, AZ.
96 Van Williamson, Chapel Hill, NC, to Warren Martin, Princeton, 22
41 7
expressed interest in hearing a tape of Cinderella." Whether Martin
sent additional pieces to Hinshaw for his consideration is unclear. In
any case, there is no evidence of further interest in Martin's
compositions by Donald Hinshaw beyond the letters bearing 1979
dates.
Martin's tendency toward procrastination in returning the
proofs of his psalm settings to Hinshaw Music appeared to be
characteristic of his overall attitude toward the publication of his
music. However, even though he was not motivated to pursue this
activity on his own, he demonstrated an openness to the idea of
having someone else intervene on his behalf. Shrock recalled that
Martin "would not promote himself. That's part of his fragile
personality. He could not do that. He just couldn't. If someone came
to him and said, 'We just have to have this,' he would give it. But for
him to go out and initiate something like that was unthinkable . . 100
Former student, colleague, and close friend James Waters—whose
name appeared as the "witness" on Martin's contract with Hinshaw

41 8
for the Five Psalms—rem embered that Martin "never tried to push
himself as a composer. And a good deal of the reason was that he
wasn't interested enough to spend the energy. And almost more
than any other person I know, when Warren wasn't interested in
something, he simply didn't do it."101 Martin's longtime friend
Lyman Bodman reported actually taking Martin to Carl Fischer, Inc.
to help him have his music examined for possible publication, but
noted that Martin "just didn't have the drive to get himself
published."102
Another aspect related to Martin's reluctance in having his
music published involved an apparent fear of a less-than-pleasing
performance. Harriet Chase explained that Martin "liked to have
control over performances of his works, and if they were published
for everybody to have, he wouldn't have the control. He might have
feared a less-than-adequate performance."103
101 James Waters, interview, 27 February 1997. The contract mentioned

above is between Warren Martin and Hinshaw Music, Inc., dated 3 April 1979.
James Waters' name appears as "witness" to Martin's signature, and the
document was signed by Donald Hinshaw also. An original copy is in
102 Lyman Bodman, Telephone interview by Christopher Samuel, 14 July
1997, transcript, in possession o f author, Phoenix, AZ.
419
During his early years as a published composer, Martin
recorded a curious incident related to one of his publications. After
receiving a verbal agreement from an editor at Carl Fischer, Inc. to
accept a specific work, another individual in the company returned
the work with a letter indicating that the piece was "not the sort of
m aterial in which the firm was interested." Martin wrote, "1
certainly shall not pursue the matter, but it surprises me that [the
editor] would be so absentminded as to accept something verbally
and not follow it through."104 Given the inherent reluctance Martin
already had exhibited for promoting his compositions, this
unfortunate incident might well have reinforced his aversion to
pursuing publication.
During Alumni Week festivities in May of 1977, Martin was
selected as the recipient of a Westminster Choir College Alumni Merit
Award. Along with New York City Center Opera Company singer
Diane Curry ('60), who also received an award, Martin was
recognized for his achievements in the field of music. In part, the
citation read:
104 Warren Martin to "Bodmans," 27 June 1955.

420
W arren Martin's influence on the campus has been an

im portant factor in the developing academic strength and breadth
of the college curriculum. He is a prolific composer in many
forms. At various times he has taught voice, piano, organ,
conducting, theory and composition. From 1958-64 he served in
the key role of Music [al] Director, and in this capacity influenced
the lives of many students.
It is thus with deep gratitude and recognition of his many
contributions to the ideals of Westminster that we present the
1977 Alumni Merit Award to Warren Martin for distinguished
achievement as composer, conductor, and teacher.105
A 1977 article in the Westminster newsletter offered a five-
year perspective on the success of the Choir College graduate
program, which had been reinstated in the fall of 1972.106 Although
Martin dutifully taught all assigned classes and seminars, he
especially enjoyed teaching graduate classes. However, his delight in
teaching advanced students seems to have been stronger during the
1950s than after the re-opening of the graduate program in 1972.
Barbara Owen, a student in the 1950s, noted that Martin spent social
105 "Alumni Merit Awards," W estminster Choir College Newsletter [no

vol.] (June 1977): 13.
106 "The Graduate Program—A Five-Year Perspective," W estminster Choir
College N ew sletter [no vol.] (March 1977): 5. Westminster's graduate school,
which had operated 1934-1964, was closed to narrow and strengthen the Choir
College curriculum during the Middle States Association of Colleges and
Secondary’ Schools accreditation process.
42 1
time with a small group of graduate students and seniors, and
apparently enjoyed doing so. She recalled:
Most of the teaching Martin did was on the graduate level (which
may be one reason he liked to hang out with the grad students—
sometimes, I think in preference to the other faculty). We used to
all get together on Saturday nights and go off to someone's
student church and make spaghetti in the kitchen (and a little
wine to go with it—a Choir College "no-no" back then!) and just
schmooze. Sometimes somebody (including Martin) would sing
something funny or mess around on the piano, but lots of times
we just talked. Pretty innocent, but it was a great stress-
reliever.107
Lois Young Hunter, one of Martin's graduate students in the
1950s and later a long-time faculty member at Westminster,
perceived that Martin was at the height of his capacity as a teacher
during her student years. Hunter recalled, "He was a very thought-
provoking teacher and he was a fun person at that point. Not that he
wasn't always a fun person, but I think he was more involved
personally with his students [in the 1950s]. Although he was always
certainly a teacher, he could soil socialize with us."108 Edwin Stamer,
an undergraduate at Westminster in the late 1950s and a graduate
107 Barbara Owen, Newburyport, MA, to Christopher Samuel, Phoenix,

AZ, 4 April 1997, in possession of author, Phoenix, AZ.
108 Lois Young Hunter, Interview by Christopher Samuel, 11 May 1995,
422
student in the early 1990s, regarded Martin as the most 'high up"
faculty member on the campus. Although Stam er recalled that many
faculty members during his undergraduate period were competent in
their particular areas of expertise, he believed that Martin excelled
in all areas. However, because of the gradual acquisition of faculty
members with higher and more sophisticated levels of training that
Stam er perceived to have occurred at the Choir College prior to his
return as a graduate student, he believed that Martin no longer
would enjoy quite the same "towering giant" image that the professor
experienced during the 1950s and early 1960s.109 Similarly, it was
Ray Robinson’s impression that Martin was a veritable "light in the
wilderness" on the Choir College faculty during the 1950s and 1960s.
However, the chasm that existed between Martin's vast storehouse of
knowledge and that of the rest of the faculty narrowed somewhat in
the years after 1969, when Robinson and Charles Schisler began
assembling a stronger and more internationally known group of
teachers.110
109 Edwin Stamer, Interview by Christopher Samuel, 13 May 1993,

423
Certainly, American college students in the 1960s and 1970s
approached their studies quite differently than their parents had in
the 1940s and 1950s. Hunter believed that Martin typified his era in
that he lived in an academic ivory tower; with age, he found it
difficult to accept changes in students' attitudes toward their
learning experiences.111 Eugene Roan recalled that Martin was
greatly distressed by the new student attitude, because he found
that the basic respect for the teacher to which he had been
accustomed was less prevalent. Martin was particularly disturbed
when students questioned a teacher's statements or teaching
methods. Roan said, "I remember trying to say in a very subde sort
of way, 'Well, Warren, the world has changed.' He found great
difficulty in accepting that."112 Schisler remembered similar
discussions with Martin about the subject of teaching:
One time I told [Martin], "Students today don't want somebody up

on a throne dispensing pearls at their will. Students are not that
way. They might have been that way in the fifties, but they're
not that way today." He wanted to know, "How do you do it? You
are very successful with students." I said, "Warren, each
generation of students changes and you've got to change, also." In
111 Loib Young Hunter, interview, 11 May 1995.

112 Eugene Roan, interview, 10 May 1991.
424
the seventies, people did not want the man on the throne
dispensing pearls to students in that fashion—which he was prone
to do. That was very difficult for him, because he had the same
am ount to offer, but somehow it didn’t work the same. It worked
with a few people . . . He was really quite distressed because the
success he had had with grad students in the fifties did not repeat
itself in the seventies. He could never quite figure it out.113
Peter Wright believed that, until the early 1970s, Martin was
universally admired at Westminster as the best teacher that most of
the students had ever encountered. However, because of the rather
conservative nature of the Choir College, the social and political
revolution that had occurred on most of America's campuses during
the 1960s reached Westminster sometime later, and then in a milder
form. Wright observed that the reaction against conventional forms
of teaching that was an integral part of the national educational
revolution perplexed Martin, who found the tendency of students to
question what he was doing and how he was doing it
incomprehensible. Wright believed that, when the time came for a
change in Martin's teaching style, he was simply incapable of making
that change. Unfortunately, students reacted poorly to Martin's
perceived inflexibility; in turn, he placed an "invisible fence" around

425
himself, and the situation went from bad to worse. Wright described
the phenomenon:
Students were no longer willing to simply sit at [Martin's] feet and

grab at those pearls . . . It was a great loss for the students, it was
a great loss for Warren Martin, and—therefore—a great loss for
Westminster Choir College. He could not bend and the students
w eren’t willing to bend for him, as they couldn't comprehend
w hat they were missing. And it was really very sad—that a career
so illustrious ended in something approaching failure from the
standpoint of his ability to teach and teach successfully.114
At one point in the late 1970s, students in Martin's graduate
choral literature class registered a num ber of complaints about his
approach to teaching the course. Apparently, the percentage of
students issuing the complaints or the magnitude of their criticism
was sufficient to engender a conversation between Martin and
Charles Schisler, the dean of the College. The details and tenor of
that conversation remain obscure, but a letter from Martin to
Schisler several days after the exchange reveals some interesting
insights into what undoubtably was an uncomfortable situation for
all parties concerned. In the letter's preamble, Martin made it clear
that he had let a few days pass before writing to make certain that

426
his thinking was "guided by common sense rather than by emotion."
His logical approach to the subject m atter and his systematic method
for meeting the requirements of the course as he understood them
are evident from the letter, and—whether one would agree with the
totality of his perspective—Martin's thinking is clear and his rationale
easy to understand. He noted that his comments were "in no
particular order" of importance;
(a) It is my guess that part of the problem is that I took too

seriously or too literally the mandate I got from Joe Flummerfelt,
John Kemp and Dennis Shrock, when I planned the course. It is a
hair-raising proposition to survey all the choral music since
Gregorian plainchant in one semester. If you (or those involved in
the decision making—from now on I'll just say "you") think I may
be right in supposing that the course may be unnecessarily tough,
I suggest that it be revised to be a sort of "Highlights of Choral
Music through the Centuries"—this could be a good, honest course
but wouldn't pretend to cover all the nooks and crannies.
(b) Since I spent really an extraordinary amount of time
preparing the course and planning how to teach it (plus the fact
that my substantial knowledge and experience of choral literature
give me a head start), I find it difficult to change either the
content or the approach in any drastic way, other than as
suggested in (a) above. So, if it is your decision that my present
way of teaching it just won't do, it would be best not to assign me
to i t . . . [Ojf course, I am happy to try to make any minor
adjustments—such as, for instance, making sure to give the
students free reign to express their ideas without undue criticism
(even if I wish they were grown up enough to endure criticism,
and even if it would be very time consuming). Or such as trying
to have many private consultations, more to try to work for
mutual understanding than to discuss any specific project, but also
427
to say negative things in private (if I feel I must say them). Or

such as deferring to some extent to the students' wishes in
planning the way we work—even if I know less will be
accomplished because of the time consumed in reaching decisions
. . . These or similar modifications in my approach may be worth
attempting if they help establish a more responsive student
attitude—because of course anybody learns more if he feels like
learning.
(c) This next point I make out of conviction, even though I'm
fairly certain you won't be able to accept it—out of conviction on
your part, and I certainly don’t blame you! I honestly believe
that I plan and teach an excellent course, a better one than
anybody now at W[estminster] C[hoir] C[ollege] could teach, and
that it would be recognized as such and do lots of good for lots of
people if only the students could be influenced to give me and the
course, very simply, a fair trial. In my opinion, a fair trial would
involve the students' suspending judgment of me for months, not
days—trying wholeheartedly to do what was asked, and working
hard to do it, before questioning it—and trying very hard to
proceed, day by day, on the assumption that the subject was
im portant and the teacher was doing his best and was competent.
Such a student attitude, I realize, is not "in tune with the times,"
but (again out of real conviction) I think an im portant core course
merits being taken very seriously because of what the course
itself tried to do, no m atter what idiosyncrasies of teacher or
student get in the way.
(d) In any case, I'd very much like to teach the course though
only when and if it's satisfactory to all parties. It might be good
strategy to wait a year before I teach it again, to give word-of-
mouth adverse opinions of Warren Martin a chance to die down,
but I hate to give up teaching the course for good (though I'll do
so amiably if you decide it's for the best).115
115 Warren Martin, Princeton, to Charles Schisler, Princeton, 28 March

428
It is clear that Martin took his teaching responsibilities
seriously, giving individual attention generously when the situation
called for doing so. Eugene Wilson (’61) remembered receiving a
four page response to a brief note that he had given Martin, and
believed that the professor's detailed answer showed his great
interest in the students.116 There is also evidence to suggest that
Martin sought to improve his teaching skill. As early as the 1950s,
during his supposed heyday, he wrote of his "desire to become more
effective" in his work. In one incident, Martin confessed to being
puzzled by a situation that he "viewed as paradoxical." In his
students, he observed the prevalence of various fears that he
believed kept them from doing their best work, and he felt
overwhelmed by an inability to help them. He found that an
overdose of the "coddling, babying type of encouragement" that he
witnessed from other faculty members seemed to do many students
more harm than good. On the other hand, he noted that severity,
116 Eugene Wilson, Interview by Christopher Samuel, 12 April 1997,

429
untempered by some friendly encouragement, merely drove insecure
people further into their shells.117
He believed that his teaching challenge was to find a
prescription that would make his students "stir up a healthy level of
fighting spirit within themselves, so that their year of graduate study
would be worth the substantial fee that they paid to receive it."
Martin expressed the desire to ensconce himself with "a kind of
detached friendliness" that he had observed in many of his
colleagues, believing this demeanor would provide the best solution
for interacting with the students. Although he found the ability
particularly "hard to develop," he made it an im portant goal so as to
improve himself as a teacher.118
In the 1970s, when Martin's long-time friend and one-time
California colleague John Burke was visiting the Westminster campus,
Martin requested that Burke observe and critique his teaching.
Burke recalled being impressed with Martin's attempts to present
117 Warren Martin, Princeton, to "Bodmans," East Lansing, MI, 25 May

118 Ibid.
430
the classroom material "in unique ways so that the information
would have a better chance of staying with the students."119
Although certain students clearly had difficulty appreciating
Martin's teaching abilities during his later years, many continued to
find him highly motivating. One student attributed her success in
graduate school at another institution to him because of her "strict
upbringing" in his under graduate classes at Westminster, and praised
his "wit, intelligence, and teaching skill."120 Another wrote of the
"enormous positive influence" that Martin had exerted on him, citing
gratitude for Martin's faith in him and encouragement in developing
his inherent abilities, and for the professor's "guidance, example, and
instruction."121 Donna Plasket, who studied with Martin during her
undergraduate years from 1967-1971 and again while pursuing
graduate studies in the early 1980s, believed that Martin was most
appreciated in his later years of teaching by students who
approached their studies with great seriousness. She spoke of his

120 Karen Eaton, [no location], to Warren Martin, Princeton, [no day]
121 Philip Hayden, Gentry, AR, to Warren Martin, Princeton, 31 March
431
absolute, unyielding insistence upon "getting it right and respecting
the act of getting it right," whatever the challenge, and observed that
students who were able to glean the most from Martin's teaching
were those who chose to look past his personal idiosyncrasies.122
Composer Robert Convery, a student in the late 1970s,
remembered that Martin always began class promptly, and that all
events of the class were strictly directed and controlled according to
the professor's ironclad lesson plan. Students who were unprepared
for class were given no leniency; Martin considered lack of
preparation inexcusable and sub-standard in relation to his rigorous
expectations. He expected students to behave with nobility and to
demonstrate a commitment and love for any project that needed to
be accomplished. If he perceived openness and intelligence on the
part of a student who was seeking to understand a concept or solve a
problem, Martin would praise that student's mistakes as "correct
mistakes." Convery was left with an overall impression of Martin's
teaching:
Warren Martin taught with an inimitable personal style in his

choice of material and the m anner in which he presented this
432
material. He gave the impression, with his personal deportment,

of being abrupt and even angry. Yet out of him came an
intelligence and an enthusiasm which rendered him a human
being of enormous personal integrity. Martin dem onstrated an
unswerving, disciplined sureness in what he believed. Whether
his beliefs were right, wrong, informed or uninformed, the
strength with which he held to his beliefs served as a great
inspiration . . . Martin embodied Westminster Choir College and
the college defined itself in no small part by Martin's ideals,
steady as a rock, implacable, and a "hands-on" shaper of young
talent.123
To the discerning student, Martin's course objectives were clear
and concise, and relevant resource materials typically were chosen
for their high artistic value and practical qualities. One student
during the mid-1970s spoke so highly of Martin's graduate choral
literature course that he inspired Timothy Albrecht, then an
associate professor of sacred music at Pennsylvania's Lebanon Valley
College, to write to Martin to "request a copy of any syllabi from
courses you teach" for use in his own choral courses.124 Although it is
true that some students during the last decade of Martin's career did
not fully appreciate his teaching style, there is clear evidence that
123 Robert Convery, Charleston, SC, to Christopher Samuel, Phoenix, AZ,

26 August 1997, in possession of author, Phoenix, AZ.
124 Timothy Albrecht, Anville, PA, to Warren Martin, Princeton, 26
August 1981, in possession of author, Phoenix, AZ. Albrecht is currently
Professor of Organ at Emory University in Atlanta, GA. The student was Greg
Funfgeld.
433
others regarded him as a virtual paragon of knowledge and a master
of high-quality teaching.
It is worth noting that, in the late 1970s, Martin reported an
apparent respite from some of the friction that had developed
between him and some students, as described above. He wrote, "I'm
having the most pleasant rapport with students I've ever had, young
ones and older ones. The generation gap is wide enough by now that
we just ignore it. (Let's not go into the question of who acts like
whom.)"125
For whatever reason, the zeal with which Martin continued to
approach music during his later years was not matched in his
approach toward personal relationships. Although a propensity
toward intense shyness and a certain difficulty relating to his peer
groups was clear and well established early in his life, his keyboard
antics and other demonstrations of musical precociousness often
served as a substitute for connecting with others in an intimate
fashion; at times, this well-honed ability made Martin seem almost
125 Warren Martin, Princeton, to "Mother," Galeton, PA, 4 December 1916

[1979], in possession of author, Phoenix, AZ. The date, 1916, is interesting
because it was his birth year. He wrote the letter on his birthday, and opened
it by asking, "How do you like having a 63-year-old son?"
434
gregarious. Choir College classmate and eventual California choir
member Ella Crane described Martin's personality as one that "didn't
blossom out with people."126 On the other hand, Barbara Caler Bird
remembered that, in spite of his shyness, Martin "loved to have a
good time . . . [T]here wasn't anyone who didn't adore him."127
Martin's professional successes in the pre-war years at First
Congregational Church, as well as the nurturing that he received from
housemates Olive Brockett and Frances Warren Haynes, undoubtably
contributed to the period of contentment and great confidence in his
personal life that Martin described during the late 1930s and early
1940s. In the same way, the predictable frustrations, including the
specific barriers to professional opportunity brought on by his years
spent in the aim ed services, his subsequent return to an unstable
position in Los Angeles, and his lack of success at the Rockefeller
Chapel all served to erode some of the confidence that Martin had
acquired in his early years in Los Angeles. The question of self-
confidence, however, seems never to have stemmed from Martin's
126 Ella Robinson Crane, telephone interview, 13 June 1997.

127 Barbara Caler Bird, interview, 5 May 1997.
435
attitude toward either music-making or the acquiring of musical
knowledge, as confirmed by Laverty and others. Even while
experiencing an intense level of angst regarding the direction of his
career once he returned from the war, Martin wrote to Bodman of his
"extreme individuality" and of his "convictions as to [his] almost
unerring taste and judgment in m any musical matters, and other
related part-vices, part-virtues."128 His frustration over missed
professional opportunities was clear, but not daunting. He wrote:
Every new obstacle . . . only whets my appetite and increases my

fighting spirit. This seems to me a good sign. I would much
rather be angry than discouraged, and I’m definitely not
discouraged. Angry is not the word, either—militant or pugnacious
would be better."129
This "fighting spirit" appears to have been the motivating force
that pulled Martin from the substantial bouts of despondency from
which he suffered intermittently throughout his life.130 That spirit,
however, appears to have been applied more directly toward

130 Warren Martin, Lucerne, Switzerland, to Lyman Bodman, [no
location], 23 September 1945, in possession of author, Phoenix, AZ.
436
energizing his professional activities than toward developing close,
personal relationships. The all-consuming fervor with which Martin
pursued music as the motivational entity in his life was contrasted
with a commensurate lack of motivation toward cultivating intimate
friendships. During World War II, from his table in a corner of a
Swiss nightclub, he wrote of his desire to have a "free and easy social
life with . . . all the regular and irregular social pursuits of which this
Casino is a partial example.”131 At the same time, Martin freely
admitted to a certain "modesty and backwardness" in his character
that he knew thwarted some of his attempts at friendship.
Even as an undergraduate student, Martin had styled himself
as "simple and unsophisticated."132 Lois Hunter remembered a
situation during her years of graduate study with Martin in which
she proudly and excitedly introduced her parents to him as "the most
wonderful teacher and person." After the encounter, she was
startled when her parents remarked, "Well, Lois, he may be all of the
things that you described, but he's still just a country bumpkin."133
131 Ibid.
132 Warren Martin to "Mein Vater" [J. Kent Martin], 8 May 1936.
133 Lois Hunter Young, interview, 11 May 1995.
437
Allen Crowell believed that Martin was "a small-town boy that
stayed a small-town boy and, no m atter what, you were not going to
make him sophisticated—he resisted that." He also noted Martin's
discomfort in "people situations," and in "his tendency to hide behind
his tremendous talents."134 Hunter believed that because Martin was
a child prodigy, he never grew socially beyond a certain point. Even
though he loved people and loved to laugh, Hunter believed that
Martin "never really felt comfortable unless he knew you. And if he
knew you respected him and cared, then he could let the barriers
down a little. But, essentially, he was a very private person."133
Indeed, in a moment spent pondering the pursuit of either
intimate friendships or of an exciting social life amidst the bright
lights and cacophony of dance bands and whirlwind partying, Martin
wrote that both of those activities were "completely and frequently
nothing to me when I become wrapped in my first love, music, and
are at best (unfortunately) only side issues in my life . . . " 136 The
134 Allen Crowell, Interview by Christopher Samuel, 15 May 1991,

136 Warren Martin to Lyman Bodman, 23 September 1945.
438
confidence that resulted from his self-examination and subsequent
prioritizing was clear; however, the air of resignation to a solitary
personal life that resulted from his conclusion was evident as well.
In his earlier teaching years at Westminster, Martin often co
hosted dinner parties with friends. He shopped with the hosting
individual and paid for the food, but—because his private living
quarters were always small—they would hold the event at the home
of the other person.137 His descriptor of one event indicated an
elegant repast: highballs and hors d'oeuvres that included a tart
made with onions and Gruyere cheese, pot roast, rice with
mushrooms, avocado and grapefruit salad, orange-coconut and pecan
pie, and vin rose.138 As the years went by, however, this custom
gradually ceased—although he gladly continued to accept dinner
invitations from others. James Waters recalled:
In the 1950s, Warren could be delightful at parties. He liked

parties when he was younger and he made a point of being the
life of the party and doing things for people . . . Then, as he got
older, in the sixties and so forth, he just dropped that almost
completely. He would make a point of being an interesting

138 Warren Martin, Princeton, to Bodmans and Lois [Lavertv], East
Lansing, MI, 30 January 1958, in possession of author, Phoenix, AZ.
43 9
member of the party and getting along with people, but it

somehow didn't last. He got less and less [interested].139
From 1950-1965, Martin lived in a series of rooms and small
apartments; however, in 1965 he moved in to "an expensive
furnished apartment." He rationalized that the expense was offset by
certain factors. The establishment was run in conjunction with the
Holiday Inn chain of motels, and amenities included utilities, linens,
new furniture, ample parking, air conditioning, and maid service
twice per week. Martin was pleased that he was not required to sign
a lease.140
The reclusive behavior that Charles Schisler and others noticed
in Martin became more apparent during the final decade of his life.
Soon after moving to the apartments mentioned above, he stopped
driving his car and instead became dependent on the local taxi
service and on individuals for meeting his transportation needs.
James Waters remembered that Martin let his driver's license expire.
During a visit to Galeton by both men, Martin asked Waters for a ride
to the license renewal center. Finding it closed, Martin's reaction was

440
simply, "Oh, well, forget about it." From then on, Waters
remembered that Martin did nothing more about the license simply
because it was "too much trouble to get a new one."141 Dennis Shrock
recalled that Martin's Ford Mustang sat in the parking lot at the
apartm ent complex for months before finally being towed away.
Dispensing with the car was just another detail with which he "just
couldn't be bothered."142 Details of this nature were apparently an
on-going challenge for u*tin. It is interesting that thirty years
earlier Gertrude Martin included a gentle reminder in a letter to her
son to renew his license. She w rote," ... you should apply for a
driver's license as soon as you arrive in the U. S. or within 30 days at
least to avoid taking an e x a m. . . You should have your last license
and perhaps that will be to old if you do still have it."143
Peter Wright remembered that Martin did not care about some
of the more pedantic details involved in day-to-day living, such as
cashing his pay checks. Wright explained, "The business office was

143 Gertrude Martin, Galeton, PA, to Warren Martin, [Lison, Francej, 6
44 1
constantly complaining that they couldn’t close their books because
they had outstanding checks from Warren Martin going back
months—even years—that had not been cashed."144 Waters, one of the
few people ever to enter Martin's apartment, understood how the
checks might be misplaced. He remembered that Martin would put
something down on a counter or a table and completely forget about
it, and that "there were files on the floor all over. It was just
completely a mess."145
Martin's system for filing his music was equally disheveled;
m any of his music manuscripts were written on the reverse side of
other, previously composed yet unrelated pieces, or on smaller
scraps of dissimilar manuscript that contained revisions or
corrections to earlier works.146 Years later, when Laverty emptied
Martin's belongings from the apartm ent following his death, she
remembered finding many letters from him to others that had been

146 Warren Martin, Facsimile of music manuscripts, in possession of
442
written, sealed, and addressed—but never sent. They appeared to
have simply been covered up with other things and forgotten.147
When he was not composing or studying scores, Martin took
pleasure in reading a wide variety of literature. Although his
interests were varied, he particularly enjoyed science fiction works
and detective mysteries. Waters recalled that Martin went through a
period during which he focused on the Nero Wolfe series by author
Rex Stout, and on works by Edmund Wilson.148 In 1977, he
purchased a black and white television set from Laverty. Although
he found much of what was on the air to be "utterly stupid," he
noted, "I actually look at quite a few things—celebrity game shows,
some musical revues, some sports events, etc.—but a great deal of the
time I turn things on a while and then turn them off and sneer."149
Martin's final years were marred by interm ittent health
problems. In the summer of 1976, when he was fifty-nine years old,
147 Lois Laverty, Interview by Christopher Samuel, 22 July 1997,

149 Warren Martin, Princeton, to Bob and Sara Rockabrand, 2 March
1976 [1977], in possession of author, Phoenix, AZ. This letter is clearly mis
dated. All of the major events named as current phenomena within the letter
occurred in the spring of 1977.
443
he was treated at the Skin and Cancer Hospital in North Philadelphia
for a persistent dry, flaking, shedding skin condition. In addition to
medication, the protocol for healing required that he shower four
times daily. After undergoing a preliminary treatment, he wrote,
"My hands are better, my feet are better, and I don't shiver. But I
itch a lot, and I can't fool myself that my improvement is perm anent
or decisive." In spite of his condition, Martin was able to spend
several days with the Bodmans at their summer home on Lake
Michigan. He reported, "They have built an extension and had a
first-class bathroom for me to do my frequent showering in . . . [I] t
was good to hear some very fine violin playing, and to have some hot
arguments . . . about music and violin playing."150 When the surface
condition finally healed, the doctors were uncertain as to whether
the malignancy had left Martin's body completely or whether it had
retreated inward. If the latter was the case, the chances would be
great indeed that the disease would resurface unexpectedly at some
later period.151
150 Warren Martin to "Mother and whoever is handy" [Gertrude Martin],

Galeton, PA, 2 July 1976.
444
In the fall of 1978, Martin underwent a hernia operation. He
wrote of feeling silly in having to observe a restriction that forbade
him to lift more than five pounds during the weeks following the
surgery. He wisely observed the doctor's edict, however, and mused,
"I don't want to prejudice the results of such an expensive little
vacation as I just had."152
In 1979, Martin experienced problems with his teeth that
required a series of unpleasant visits to his dentist. After the fourth
session, he wrote that the work would be "un-horrible from [then]
on." He reported having "six extractions, a movable bridge on one
side, two permanent, one-tooth bridges on the other, and some filling
of cavities."153
In November 1980, during what was to be a brief visit to the
Bodman family in Michigan, Martin suffered a mild stroke. A
physician in Michigan gave him clearance to fly to Princeton
immediately to seek the care of his own physician. Martin
subsequently spent several days in a hospital, where he underwent

153 Warren Martin to "Mother," 4 December 1916 [1979].
445
more tests and received follow-up treatment. Following the stroke,
he noted a mild impairment of his right arm. Even though he
continued to type, write, play cards, and use the arm for lifting,
Martin found that the imperfection manifested itself more noticeably
when he played the piano. He wrote, "If I play with my right hand a
low chord and then a high chord, rapidly, I will tend to reach too
high for the high chord."154 Another unfortunate result of the stroke
was a stubborn onset of vertigo, a condition that created a mobility
challenge. His solution follows:
I've decided that the best aid is a regular metal folding chair,
which I can use as a prop or open up and sit on if I feel d iz zy -
more and more this seems like a "security blanket" instead of a
necessity. Generally I have felt good, and mentally I'm as keen as
ever (which is too keen for some of my students)—the balance is
the thing.155
In the afterm ath of the stroke and with the onset of vertigo,
Martin developed diabetic tendencies. When those intensified, he
was required to adhere to a rigid diet. Neither the shift to low fat
food nor the transition to salt substitutes troubled him—but he sorely

155 Ibid.
446
missed his usual sugar intake. He wrote, "Low sugar is the horrid
thing, but the same person who went from smoking three packs of
cigarettes a day to none, and stayed that way, can certainly deal
reasonably well with this harder problem!"156 Martin remained
faithful to his new diet, and acknowledged that his weight was
decreasing "slowly but steadily." After a meal with his brother and
sister-in-law, Paul and Margaret, Martin reported that he had not
been a "spoilsport" because they had eaten heartily while he had
nibbled; instead, he declared, "How fortunate that I can enjoy others1
enjoyment of food!"157
In early 1981, Martin experienced a minor heart attack. By
mid-March, however, he reported, "My blood pressure is excellent. . .
and my heartbeat is now Steady as a rock1—no arrhythmia." He was
pleased that his weight continued to drop, but he was concerned at
the frequency of unexplained fevers in excess of 100 degrees. Due to
his susceptibility to illness, the ram pant presence of springtime colds
156 Ibid. [Although Lyman Bodman and Lois Laverty each remembered
that Martin quit smoking abruptly, neither recalled the exact year. In a
telephone interview on 18 July 1998, Bodman guessed that it might have been
during the late 1960s, when Martin was in his early fifties.]
157 Warren Martin, Princeton, to Gertrude and Esther Martin,
Blacksburg, VA, 12 January 1981, in possession of author, Phoenix, AZ.
447
and flu on the Westminster campus caused him more consternation
than previously. With mixed sentiment, he noted, "One sometimes
unwelcome sign that the students like me OK is that quite a few
seem to want to come up close to me to tell me things or ask me
thin gs.. ."1SR
Martin continued diligently on his diet. He noted humorously
that his face sometimes h urt after smiling politely at the large
num ber of people who complimented him on his weight loss,
although he interpreted comments such as "How well you look!" to
really m ean "You're not so fat." Martin was amazed at his skin's lack
of resiliency and the m anner in which it sagged and wrinkled as he
shed weight. He suggested, "Some sadistic person should do a series
of sculptures of the Venus de Milo and other lovely people, fifteen
years later or something like that."159
Dining the fall semester of 1981, Martin became noticeably
less focused and began to dem and substantially less written work

Blacksburg, VA, 12 March 1981, in possession of author, Phoenix, AZ.
Blacksburg, VA, 25 April 1981, in possession of author, Phoenix, AZ.
448
from his students than in past semesters. Sue Ellen Page
remembered that Martin seemed oddly preoccupied, and that he was
slower to respond to questions than previously. He began to misstate
factual data, and sometimes inadvertently substituted one
composer’s name in the midst of a class discussion about another
composer—without seeming to notice. His weight loss was significant,
and he gradually became frail and appeared ill.160
On Martin's sixty-fifth birthday, Charles Schisler hosted a
birthday dinner that lasted well into the night. During a private
moment between the meal's courses, Martin confided to Lois Hunter
that he was very tired, and that even though he was enjo\ing the
affair, he was "having difficulty sustaining his energy for the whole
evening."161 A few days later, Martin was hospitalized and
subsequently diagnosed as having lymphoma.
160 Sue Ellen Page, interview, 13 May 1991.

161 Lois Young Hunter, interview, 11 May 1995. Charles Schisler gave
Martin permission to invite six other guests to the birthday dinner. He chose
Harriet Chase, Allen Crowell, Marvin Keenze, Lois Laverty, Donna Plaskett, and
Lois Young Hunter. Despite his failing health, Martin must have worked hard
to conceal his physical distress, because each of the guests recalled that he was
energetic and entertaining. When the party ended at approximately 2 A.M.,
everyone appeared genuinely surprised that so many hours had passed.
Martin appears to have been optimistic that he might recover
from his cancer. To Marvin Keenze, he wrote, "My belated but great
thanks for your note! Without making any precise predictions, I
certainly expect to be in circulation one of these days, and I look
forward to seeing you."162 During the midst of a second round of
chemotherapy that Martin described as "milder than the one before,"
he wrote, "My greatest problems at the moment are weakness in the
legs which Dr. Rothberg insists are not from medication—that I should
walk, walk, walk. So at least I walk, walk." He also reported extreme
weight loss; from a previous high of 250 pounds, he now weighed
137 pounds. He noted wryly that, after laboring a full year to "go in
the opposite direction," he needed to be "stuffed like a goose" to gain
weight. He was pleased to report that his appetite had returned,
especially since he was being fed a six-meal-per-day regimen that
included "SLABS of meat and . . . artificially-sweetened protein-
packed food substitutes which [he found] quite palatable."163
162 Warren Martin, Princeton, to Marvin Keenze, Princeton, [no day]

Blacksburg, VA, [no day] January 1982, in possession of author, Phoenix, AZ.
450
Martin received many cards and letters of encouragement.
They poured in from former classmates and current students alike,
and included reminiscences about such long-ago events as the
Westminster Choir's Russian Tour in 1934 as well as accolades
acknowledging his superior level of teaching.164 He was anxious for
peace and quiet, and issued the following statement:
My heartfelt thanks to the many of my class members who

have conveyed good wishes to me during the past few weeks! I
will always be grateful.
Some of you have expressed a desire to see me. Regretfully, I
m ust veto this. While I seem to be progressing satisfactorily, I am
sure that peace and quiet will do me more good than socializing.
Forgive the selfishness.
Again, thanks for your interest, and I'm sure you know you
have my warm good wishes for the continued flourishing of your
work at Westminster.165
While he was undergoing treatment, Martin made plans to
write a book. His former classmate and colleague, George Lynn,
wrote, "I was happy to hear that you are stabilizing your thoughts
and I heard with great interest of your choral analysis project.
164 Assorted cards and letters, December 1981 through April 1982, in
165 Warren Martin, Princeton, to the Westminster student body,
Princeton, 22 January 1982, facsimile, in possession of author, Phoenix, AZ.
451
Certainly it is a needed volume."166 Similarly, James Waters
underscored the usefulness of such a publication to the choral field.
He proposed traveling to Princeton to help with the book, and offered
to "run errands, find scores and make reproductions, type, discuss,
and possibly even edit."167 In early March, Waters made the trip to
Princeton to work with Martin on the analysis project.
Unfortunately, Martin's condition had deteriorated considerably.
Waters remembered, "I spent some of the time getting scores for him
. . . He wasn't in any shape to write anything at the time. Even
though I was there for about a week, we didn't get anywhere."168
Because Martin was in a weakened condition and the difficulty
with his legs persisted, he was unable to go home at the conclusion of
the two rounds of chemotherapy. He eventually left the hospital and
spent time in two different nursing facilities. Esther Martin recalled
her real frustration at not being able to be with h er brother for
extended visits. Their eighty-eight-year-old m other, Gertrude
166 George Lynn, Golden, CO, to Warren Martin, Princeton, 25 January

167 James Waters, Kent, OH, to Warren Martin, Princeton, 12 January
452
Martin, was in and out of a hospital during the same period, and
Esther was forced to devote the bulk of her time to their m other's
care.169 Apart from Esther and their brother, Paul, the only four
people he allowed to visit him were James Waters, Harriet Chase,
Lois Laverty, and Charles Schisler. Laverty remembered that Martin,
who had always placed such high value on his keen mind, was
tortured by its slow deterioration. She believed that once he realized
that his mind was loosing its focus, he simply lost the will to continue
fighting for recovery.170 Martin died on 10 April 1982, at age sixty-
five.171
On Tuesday, 13 April 1982, a short tribute was presented in
Bristol Chapel on the Westminster Choir College campus; it was
attended by a capacity crowd. President Ray Robinson expressed the
sentiment held by many: "The Westminster community was deeply
saddened by W arren's passing last Saturday. His fifty year
association with the College left a profound impression on the lives of
169 Esther Martin, interview, 13 March 199'

171 Princeton Packet, 11 April 1982.
453
countless students. He invested his life in the lives of others . . ."172
Martin's funeral service was held in Galeton on 15 April 1982, and
he was buried in the family cemetery on a hill adjacent to the farm.
The gravestone that marks Martin's resting place is a simple one,
provided by the army for its veterans. It makes no mention of the
illustrious musical activities that were the intense focus of his life.
Esther Martin noted that it was "a pity that it records what he
probably would least like to be remembered for."173 Plans have been
made to replace the marker with one that better reflects Martin's life
as an im portant musician and teacher, but—as of this writing—the
original m arker remains.
Because Martin's death occurred so near to the end of the
semester, there was insufficient time to plan a fitting service to
honor his memory. Dining his final months in the hospital, he had
spoken candidly to Schisler about the music that he wanted at his
memorial service. He did not wish to have any of his own music
172 Ray Robinson, Princeton, to the Martin family, Galeton, PA, 15 April
173 Esther Martin, Blacksburg, VA, to Charles Schisler, Princeton, 31
August 1982, facsimile, in possession of author, Phoenix, AZ.
454
performed; furthermore, he wanted no choral music on the
program.174 Therefore, Schisler, Laverty, and Waters planned a
separate concert that consisted solely of Martin’s compositions, and
the two programs were held back-to-back in Westminster's Bristol
Chapel on the afternoon of 14 November 1982.175 These programs
provided a fitting closure to Martin's career as an aficionado of high-
quality music.
174 Charles Schisler, Princeton, to Esther Martin, Blacksburg, VA, 4

175 See Appendix H for the contents of the two programs.
CHAPTER IX
EPILOGUE
In a career that spanned nearly fifty years, Warren Brownell
Martin distinguished himself as a church musician, organist, pianist,
singer, recorder player, choral conductor, vocal coach, accompanist,
writer, administrator, composer, and teacher. Thirty-two of those
years were spent as a faculty member and sometime administrator
at Westminster Choir College.
During his long tenure at Westminster, Martin was an advocate
of high learning goals and quality scholarship. His motivation
stemmed from an unshakable confidence in his own knowledge. This
confidence was not a condition peculiar to Martin's later teaching
years; rather, it was a state of mind that he held throughout his life.1
He loved learning, and he encouraged others in that pursuit as well.
Martin believed that one acquired knowledge through one's own
learning experiences, and found that self-study proved infinitely
1 Warren Martin to Charles Schisler, 28 March 1978.

456
more valuable to students who enjoyed making their own discoveries
than taking another's word for the information.2 The following
passage from a letter to Lyman Bodman written during World War II
reveals Martin's early views on this issue:
Why don't you, instead of reading so much about what other

people think about the arts and what other people think about
w hat other people think about the arts—why don't you do more
first-hand reading? Venture out on your own—don't rely on
digests and rehashes of artistic appreciation—develop your own
appreciation by trial and error—do your own appreciating—make
mistakes, but make them your own mistakes, not the assimilated
mistakes of others or the mistaken understanding of what others
say—be creative in your study of creating—find out things for
yourself. If you bog down, don't turn to someone else's
explanation or rest content with remembered explanations from
your past study—seek new ones through plunging more into the
very things that bog you down. If Proust or any other of a
thousand thousand writers seems unapproachable, approach him
anyway—read to discover, not to confirm or satisfy. When
somebody suggests a book, forget the person who suggested it and
read the book as if the book itself came up to you and opened its
front cover and dem anded your attention. Read as if your very
health and sanity depended on your getting to the bottom of
whatever you read.3
2 The contrast represented between Martin's strong convictions toward
self-study and self-discovery and his concurrent attitude that students should
receive information from the professor without questioning it is an
interesting one. The apparent irony is easier to comprehend when the reader
bears in mind the high level o f respect that Martin had for others who either
disagreed with him or who made what he perceived to be "honest mistakes/' as
long as those individuals were respectful of his large knowledge base,
thoughtful and deliberate in their thinking, and honest in forming their
opinions and attitudes as a result of discoveries made after considering his
manner of looking at a given situation.
3 Warren Martin to Lyman Bodman, 5 July 1945.
457
Lois Laverty remembered that Martin took great pride in his
musical intellect, and that he would sometimes brag about it.4 On
more than one occasion, she recalled hearing Martin say, "I am not
infallible in anything—except music."5 Charles Schisler also
recognized the cerebral certitude evident in Martin's comment, "I get
along with Elaine Brown because she knows I am a better musician
than she is."6
Allen Crowell was astonished by Martin's ability to assimilate
and digest music-related details, and he expressed amazement at the
sheer am ount of information Martin possessed. Crowell observed
that, because Martin was so retentive, a person could go to him as a
resource on almost anything. He was able to discuss a range of music
that "ran the gamut from 'Gregorian chant to yesterday' without
looking it up, right off the top of his h e a d . . . [T]he man knew
everything there was to know about choral music or music in

general."7 Ray Robinson described the situation similarly. He and
Charles Schisler often tried to outsmart Martin in m atters pertaining
to musical knowledge, but they m et with scant success. Robinson
recalled, "[Martin] knew everything. There's hardly a trivia question
about music with which you could stump him."8 Laverty recounted
an incident that ensued from h er purchase of a totebag, on which
was printed several measures of music. Thinking the item to be
rather smart-looking from a fashion standpoint, she showed it to
Martin, who focused on the musical excerpt and instantly identified
it as the ninth of the Bach Goldberg Variations. Laverty was in
disbelief th at Martin could know such a minute detail, and
immediately went to the library to verify the excerpt. To her
amazement, she discovered that the passage was indeed the ninth
variation (of thirty).9
Martin was equally informed about matters pertaining to
stylistic accuracy in music, and clearly held in high regard the
conclusions that he had reached through his own study. Marianne

Van Campen Decker, a singer in the Westminster Choir tinder Martin,
perceived that Martin "thought that his ways were right. He had
figured out the best interpretation . . . I think that he believed
strongly that his interpretation had merit and integrity to it."10 His
confidence in his stylistic conclusions was typified in a classroom
discussion of Mozart Requiem recordings, wherein Martin imparted
the following to his students: if they really liked Bernstein, they
should get the Bernstein recording, and if they really liked choral
sound, they should listen to the George Lynn recording. However, he
noted, "If you like Mozart, listen to the Warren Martin recording."11
In addition to the many who held Martin in high regard as a
purveyor of musical knowledge, there were those who thought
highly of his ability as a composer. Peter Wright saw Martin as a
composer who was comfortable in an enormous variety of styles, but
believed him to be most comfortable writing in styles that were very
accessible and which even approached, upon occasion, the trivial.
Even in their trivialia, however, Wright believed that Martin's pieces
10 Marianne Van Campen Decker, interview, 11 December 1996.

460
of that ilk possessed a charm that surpassed similar attempts by
other composers. Wright found in Martin's compositions a musical
language that was substantive enough to bring performers and
audiences back time and time again to experience the pieces. Of
Martin's Cinderella, Wright noted, "If I were on a desert island and
had to live with only one composition, Cinderella would be an easy
choice for me to make. I consider that a piece of originality and one
which cannot be categorized, which has the potential to be a shining
light for generations to come."12
Composer James Waters, Martin's former student, faculty
colleague, and long-time friend, also stressed the wide variety of
styles in which Martin wrote with fluency. Waters stated that some
of Martin's best works were his songs for solo voice—especially the
Stabat Mater, composed specifically for soprano and piano (1966),
and the Four Songs on Poems by Kagawa for voice and piano
(1951).13

461
Allen Crowell found Martin's compositional work much
underrated and—for reasons already documented—not well known
outside the Westminster community. Crowell believed that Martin
"was at least the equal of a Randall Thompson, who is a very
successful composer—someone I probably wouldn't call great but
very recognized and very respected. And I think Martin deserves
that [level of] recognition and respect."14
Ray Robinson found Martin's work immensely functional—
especially his church music—and noted, "He wasn't cutting any new
ground as an avant garde composer, but he was a practical
composer."13 Erik Routley, the em inent hymnologist who served as
Westminster's director of chapel, had occasion to peruse a group of
Martin's hymn-time settings. Afterward, he indicated that he
"counted it a great privilege" to examine the compositions—and that
he found them irresistible and full of character. He further noted, "I
have searched in vain for work of yours in published hymnals, but it

462
is obvious th at we have all been missing something im portant."16
After a 1980 performance of Martin's St. M atthew Passion, Routley
wrote:
What one hopes for in a first hearing are moments of commanding

beauty. These were amply provided. I thought the organ
meditation in the middle absolutely exquisite. You were
handsomely served, of course, by your singers and players: but
good singers can't make a silk purse out of a sow's ear, and here
they d idn't have to.17
The confidence that Martin demonstrated in his musical
knowledge and overall intellect was evident in relation to his own
compositions also. Organ faculty member William Hays recalled an
incident that transpired while he was seated outside Westminster's
Bristol Chapel during a commencement rehearsal of Martin's
"Anthem of Dedication." As the choir sang the final portion of the
work, Martin wandered up and sat down on the bench next to Hays,
where he listened with neither greeting nor comment as the group
finished the fortissim o, four-three suspension that concludes the
16 Erik Routley, Princeton, to Warren Martin, Princeton, [n.d.],

facsimile, in possession of author, Phoenix, AZ. Routley, a professor of church
music and director of Chapel at Westminster Choir College from 1976 until his
death in 1982, authored more than thirty books and composed numerous choral
selections.
17 Erik Routley, Princeton, to Warren Martin, Princeton, 4 February

463
piece. He then stood up, turned to Hays, and said, "I certainly do
know how to write an exciting cadence," and—with no further
exchange—ambled away.18
As mentioned earlier, Martin was adam ant that performers
follow all musical instructions precisely as noted in the score. Daniel
Beckwith, who accompanied Martin's compositions on several
occasions, remembered that the composer "was demanding, and a
stickler for playing exactly what was on the page of his music."19
Martin stressed this same strict adherence to the composer's
intentions just as faithfully in the music of others. He also expected
composers of integrity to include definite instructions in their
musical scores to give performers clear ideas about the writer's
intentions; consequently, he demanded this specificity in all
compositions submitted by his students. This writer once had a
composition returned by Martin that—by some careless omission
wrought through the haste of a last-minute recopying—had neither
18 William Paul Hays, Interview by Christopher Samuel, 10 May 1991,

19 Daniel Beckwith, Chicago, IL, to Christopher Samuel, Phoenix, AZ, 16
464
tempo nor dynamic indications. Next to a low grade written in large,
red script was the question, "How can the performers know what you
want the piece to sound like if you don’t give them that basic
information—or don't you know how your own music sounds?"20
Clearly, Martin was puzzled by composers who either omitted
performance instructions from their scores, or who failed to be more
exact in their notation process—and then ultimately expected only an
approximation of what they had notated.21 He was particularly
mystified whenever a composer expressed delight that some other
musician understood the composer's music better than the composer
himself. Martin described an exchange, as related to him by Julius
Herford, between Herford and Paul Hindemith in which Hindemith
"agreed with [Herford's] revision of certain tempo markings, and
20 Warren Martin to Christopher Samuel, 12 March 1979, music

manuscript, in possession of author, Phoenix, AZ.
21 Warren Martin, Princeton, to Robert and Sara Rockabrand, 2 March
1976 [1977], This latter point was Martin’s reaction to his observation of a
rehearsal with composer Krzysztof Penderecki and the Westminster
Symphonic Choir during their collaboration in a 1976 performance of that
composer's Magnificat. Martin was incredulous when Penderecki confessed
that he expected only an approximation of the notated musical score.
a g reed th at H erford k n ew b etter than H indem ith how H indem ith's
m usic sh ou ld go.”22
W hether or not one agrees with Martin's ideas and conclusions
regarding music, it is clear nonetheless that he dedicated a lifetime to
learning about it, and to helping others learn more about it as well.
Because his interest in music remained so broad for so long, and
because he exhibited such an intensity in his quest for musical
knowledge and taught in so many areas of music for so many years,
Charles Schisler sought still another significant way to honor Martin
for his dedication to Westminster Choir College. At the fall
convocation ceremony of the 1980-1981 academic year, Martin
received a promotion that elevated him to the status of "Professor of
Music."23 This distinguished him from all other faculty members,
who carried titles such as "Professor of Theory," "Associate Professor
of Voice," and the like. In the opinion of the many who truly
regarded Martin as a shining pathblazer for high academic and
musical standards, the honor was well earned. Schisler, the guiding
22 Ibid.
23 Faculty folder.
466
force behind the new title, was delighted that his recommendation
was endorsed by the appropriate committees, because "Martin
deserved it."24
Following Martin's death, former Westminster dean Howard
Hopkins described the professor as a man of complete integrity with
an u tter devotion to music. He noted Martin's great efforts toward
elevating the Choir College's musical and academic standards:
In those difficult times of transition when the College actually

struggled for its life, and in the entire process of my orientation to
it, Warren was a tower of strength. More than anyone else, he
interpreted its unique purpose, its strengths and weaknesses, to
me, in statesmanlike terms. He was a loyal friend, an honest and
often forthright critic, and a powerful advocate of excellence in
everything we did. In his total dedication to music, he could be
impatient with administrative detail, but nevertheless cooperated
honestly when called upon. He was, without any doubt, the
outstanding personality in the College during that era. My life
was greatly enriched by him.25
Former student and faculty colleague James Waters was equally
forthright in expressing his admiration for Martin's dedication to the
school. He recalled that Martin "really believed in Westminster . . . He

25 C. Howard Hopkins, Claremont, CA, to Ray Robinson, Princeton, 1 June
467
wanted to make it as good as it could be and so he did what he could
under the circumstances."26
Ray Robinson believed that Martin had the vision necessary to
see beyond the great genius of John Finley Williamson and establish
and solidify a curriculum that would go beyond the Choir College's
successes of the 1930s, 1940s, and 1950s. Robinson said, "Martin
legitimized the process of the college. He was always interested in
ti-e integrity of the process, and that's the part about which the
Williamson's couldn't care less."27 Charles Schisler believed that
Martin's dream s for Westminster in the 1950s were finally realized
in the 1970s and 1980s.28 It was then that the Choir College began
to: attract a sophisticated faculty comprised of intemationally-
renowned musicians; increase both the number and quality of its
degree programs; and develop a nationally-recognized summer
session consisting of diverse one- and two-week courses for training
youngsters and adults alike, and for which academic credit could be
earned through Westminster's continuing education program.
26 James Waters, interview, 27 February' 1997.

'■ i
Martin also left an indelible mark on Westminster's
commencement ceremony that Robinson described as "one of the
great ceremonial events in the United States."29 Even now, Martin's
"Processional for Organ" and "Anthem of Dedication" are regular
features on the graduation program. Other anthems by Martin are
still in print; Esther Martin acknowledged the recent receipt of
residuals from "O No John," "Out of the Depths," and "The Pharisee
and the Publican."30 The Choir College also regularly receives
royalties for Martin's anthems for which they own the copyright.
For all of his contributions, it is as a teacher that Martin would
most likely choose to be remembered. Donna Plasket, a former
student and colleague, described him as follows:
Many perhaps look at Warren Martin as a man hard to

understand, hard to approach, not a conformer or outwardly
disciplined, but during his best teaching years he put his entire
self into the teaching of others. It makes one think of him as a
sleeping giant and wonder what could have been had he extended
himself beyond the classroom and beyond Westminster Choir
29 Ray Robinson, interview; 19 January 1996.

30 Esther Martin, Blacksburg, VA, to Lois Laverty, Lawrenceville, NJ, [no
day] December 1997, in possession of author, Phoenix, AZ.
469
C ollege, b u t h e d id w h at h e w an ted to do—w h at h e fe lt com m itted

to d o . For th at I co n sid er h im a m an o f th e h ig h e st in teg rity .31
It is clear that Warren Martin was a man of great genius and
many talents. In choosing to dedicate his life to Westminster Choir
College, he helped cultivate and sustain an institution at which his
passion for music and dedication to teaching would live on.
31 Donna Cable [Plasket], "Tribute to Warren Martin" (eulogy given

during Westminster Alumni Week), Princeton, NJ, 9 May 1982, facsimile, in
SOURCES CONSULTED
Interviews
Interviews conducted bv the author
Barrois, Augusta, Professor of Social Sciences, Emeritus, Westminster

Choir College. Interview by author, 13 May 1991, Princeton, NJ.
Tape recording. In possession of author, Phoenix, AZ. Colleague.
Beckwith, Daniel, Associate Conductor, Metropolitan Opera. Interview

by author, 23 August 1997. Telephone interview. Transcript. In
possession of author, Phoenix, AZ. Former student.
Bird, Barbara Caler, Church Musician, Retired. Interview by author, 5

May 1997. Telephone interview. Transcript. In possession of
author, Phoenix, AZ. Former choir member.
Bodman, Lyman, Professor of Viola, Emeritus, Michigan State

University. Interview by author, 14 July 1997. Telephone
interview. Transcript. In possession of author, Phoenix, AZ. Army
colleague, confidant.
_________ Interview by author, 9 August 1997. Telephone interview.

Transcript. In possession of author, Phoenix, AZ.
_________ Interview by author, 18 July 1998. Telephone interview.

Brown, Elaine, Conductor Emeritus, Singing City Chorus of

Philadelphia, Temple University. Interview by author, 11 May
1994, Philadelphia, PA. Tape recording. In possession of author,
Phoenix, AZ. Classmate, colleague.
471
Burke, John, Past Executive Director, Choristers Guild. Interview by

author, 24 and 25 January 1997, Sonoma, CA. Tape recording. In
possession of author, Phoenix, AZ. Classmate, colleague.
__________ Interview by author, 14 June 1997. Telephone interview.

Chase, Harriett, Professor of Theory, Westminster Choir College.

Interview by author, 14 May 1991, Princeton, NJ. Tape recording.
In possession of author, Phoenix, AZ. Colleague.
Colaneri, Joseph, Conductor and Chorus Master, New York City Opera.
Interview by author, 11 December 1996, New York, NY. Tape
recording. In possession of author, Phoenix, AZ. Former student.
Crane, Ella Robinson, Church Musician, Retired. Interview by author,

13 June 1997. Telephone interview. Transcript. In possession of
author, Phoenix, AZ. Classmate, former choir member.
Crowell, Alan, Head, Choral Conducting Department, Westminster

Tape recording. In possession of author, Phoenix, AZ. Former
student, colleague.
_________ Interview by author, 15 May 1991, Princeton, NJ.

Fletcher, Martha Bradway, Church Musician, Retired. Interview by

author, 6 May 1998, Princeton, NJ. Transcript. In possession of
author, Phoenix, AZ. Sister of former classmate.
Flummerfelt, Joseph, Artistic Director and Principal Conductor,

Westminster Choir College. Interview by author, 11 May 1993,
Princeton, NJ. Tape recording. In possession of author, Phoenix, AZ.
Colleague.
472
Harsanyi, Janice Morris, Professor of Voice, Florida State University.

Interview by author, 28 December 1996. Telephone interview.
Transcript. In possession of author, Phoenix, AZ. Former student,
faculty colleague.
Hunter, Lois Young, Professor of Piano, Emeritus, Westminster Choir

College. Interview by author, 11 May 1995, Princeton, NJ. Tape
recording. In possession of author, Phoenix, AZ. Former student,
colleague.
Laverty, Lois, Professor of Voice, Emeritus, Westminster Choir

colleague.
_________ Interview by author, 12 May 1997, Princeton, NJ.

_________ Interview by author, 22 July 1997, Princeton, NJ.

________ . Interview by author, 29 September 1997, Princeton, NJ.

_________ Interview by author, 24 May 1998. Telephone interview.

Martin, Esther, Professor of Home Management, Emeritus, Virginia

Polytechnic Institute. Interview by author, 13 March 1995,
Blacksburg, VA. Tape recording. In possession of author, Phoenix,
AZ. Sister.
_________ Interview by author, 4 June 1997. Telephone interview.

___________ In terview b y author, 5 A ugust 1998, G aleton, PA.

T ranscript. In p o ssessio n o f au th or, P hoenix, AZ.
473
Page, Sue Ellen, Adjunct Professor, Westminster Choir College.

In possession of author, Phoenix, AZ. Former student, colleague.
Plasket, Donna, Associate Director, University of Virginia Worr. sn's

Center. Interview by author, 13 May 1994, Princeton, NJ. Tape
colleague.
Roan, Eugene, Head, Organ Department, Westminster Choir College.

Robinson, Ray, Former President, Westminster Choir College.

Interview by author, 19 January 1996, West Palm Beach, FL. Tape
recording. In possession of author, Phoenix, AZ. Colleague.
_________ Interview by author, 15 March 1998. Telephone interview.

Rockabrand, Robert, Director of Choral Activities, Principia College.

Interview by author, 27 June 1997. Telephone Interview.
Transcript. In possession of author, Phoenix, AZ. Former student,
colleague.
Scheide, William, Bach scholar, philanthropist, Former Chair,

Westminster Board of Trustees. Interview by author, 2 October
1996, Princeton, NJ. Tape recording. In possession of author,
Phoenix, AZ. Trustee.
Schisler, Charles, Former Dean, Westminster Choir College. Interview

by author, 15 January 1996, Atlanta, GA. Tape recording. In
possession of author, Phoenix, AZ. Colleague.
Shrock, Dennis, Director of Choral Activities, University of Oklahoma.

Interview by author, 15 April 1993, Mesa, AZ. Tape recording. In
possession of author, Phoenix, AZ. Former student, colleague.
474
Simpson, Robert, Professor of Voice, Emeritus, Westminster Choir

College. Interview by author, 16 January 1996, Tucker, GA. Tape
colleague.
Starner, Ed, Director of Continuing Education, Westminster Choir

recording. In possession of author, Phoenix, AZ. Former student.
Waters, James, Professor of Theory, Emeritus, Kent State University.

Interview by author, 27 February 1997, Kent, OH. Tape recording.
Wilson, Eugene, Founder, Artistic Director, and Principal Conductor,

Des Moines Childrens Choirs, Inc. Interview by author, 12 April
1997, Princeton, NJ. Transcript. In possession of author, Phoenix,
AZ. Former student
Wright, Peter, Associate Dean, Westminster Choir College. Interview

by author, 9 May 1991, Princeton, NJ. Tape recording. In
possession of author, Phoenix, AZ. Colleague.
York, David Stanley, Professor of Theory, Emeritus, Westminster

Tape recording. In possession of author, Phoenix, AZ. Colleague.
Interviews conducted bv others
Martin, Warren, Interview by Charles Schisler, 8 January 1974,

________ , Interview by Charles Schisler, 26 February 1975,

Pate, H erbert, In terview b y C harles S chisler, 12 N ovem b er 1 97 3,

P rin ceton , NJ. T ape record in g. In p ossession o f au th or, P hoenix, AZ.
475
Robinson, Ray, Interview by Charles Schisler, 11 January 1974,

Correspondence
Letters from Warren Martin to others
(listed chronologically)
* denotes sources cited in this stud y
*Martin, Warren, Galeton, PA, to Ma Ma and daddy [Kent and

Gertrude Martin}, Galeton, PA, [1920]. In possession of author,
Phoenix, AZ.
*________ , Princeton, NJ, to Mother, Galeton, PA, 2 October 1932. In

*------------- Princeton, NJ, to Mother, Galeton, PA, 5 October 1932. In

*_________ Princeton, NJ, to Mother, Galeton, PA, 15 October 1932. In

*------------- - Princeton, NJ, to J. K. Martin, Galeton, PA, 18 October 1932.

In possession of author, Phoenix, AZ.
*________ _ Princeton, NJ, to Mother, Galeton, PA, 17 November 1932.

*__________ _ P rinceton, NJ, to M other, G aleton, PA, [no day] N ovem ber
1 9 3 2 . In p o ssessio n o f au th or, P hoenix, AZ.
476
_______ , Princeton, NJ, to Esther Martin, Galeton, PA, 2 December

1932. In possession of author, Phoenix, AZ.
_______ , Princeton, NJ, to Mother, Galeton, PA, 5 December 1932. In

_______ , Princeton, NJ, to Mother, Galeton, PA, 6 December 1932. In

_______ , Princeton, NJ, to Mother, Galeton, PA, 5 January 1933. In


_______ Princeton, to Mother, Galeton, PA, 1 February 1933. In

_______ , Princeton, NJ, to Everyone, Galeton, PA, [no day] March

Princeton, NJ, to Esther and David Martin, Galeton, PA, 25

March 1933. In possession of author, Phoenix, AZ.
--------- - Princeton, NJ, to Aunt Elinor, Galeton, PA, [no day] March
-----------, Princeton, NJ, to Mother, Galeton, PA, 21 April 1933. In

Princeton, NJ, to Everybody, Galeton, PA, 29 April 1933.

----------- Princeton, NJ, to Aunt Elinor, Galeton, PA, 8 May 1933. In

------------- P rinceton, NJ, to E verybody, G aleton, PA, 16 M ay 1933. In

p o ssessio n o f author, P hoenix, AZ.
477
_______ , P rinceton, NJ, to O m nes [Martin fam ily], G aleton, PA, 29

S ep tem b er 1 9 3 3 . In p o ssessio n o f author, P hoenix, AZ.
_______ , Princeton, NJ, to Aunt Elinor, Galeton, PA, 3 October 1933.

_______ , Princeton, NJ, to Omnes, Galeton, PA, 13 October 1933. In

_______ , Princeton, NJ, to Omnes, Galeton, PA, 27 October 1933. In

_______ , Princeton, NJ, to J. K. Martin, Galeton, PA, 20 November

_______ , Princeton, NJ, to Omnes, Galeton, PA, 9 December 1933. In

--------- , Princeton, NJ, to Omnes, Galeton, PA, 15 December 1933. In

------------ Princeton, NJ, to Omnes, Galeton, PA, 4 March 1934. In

-----------, Princeton, NJ, to Esther Martin, Galeton, PA, 10 March

-----------, Princeton, NJ, to Family, Galeton, PA, 14 April 1934. In

--------- - Princeton, NJ, to J. K. Martin, Galeton, PA, 27 April 1934. In

----------- , P rinceton, NJ, to M other, G aleton, PA, 14 M ay 1934. In

478
________ , P rinceton, NJ, to O m nes, G aleton, PA, 31 M ay 1934. In

p o ssessio n o f au thor, P hoenix, AZ.
_______ , Princeton, NJ, to Omnes, Galeton, PA, 27 June 1934.

Transcript in the hand of Esther Martin. In possession of author,
Phoenix, AZ.
_______ , Trenton, NJ, to Omnes, Galeton, PA, 1 July 1934. In

_______ , Silver Bay, NY, to Omnes, Galeton. PA, 18 August 1934. In

_______ Coleborg, Sweden, to J. K. Martin, Galeton, PA, 17

September 1934. In possession of author, Phoenix, AZ.
_______ , Princeton, to "La mia car a famiglia, specialmente papa e

mama," Galeton, PA, 2[?] November 1934. In possession of author,
Phoenix, AZ.
--------- , Princeton, NJ, to Family, Galeton, PA, [no day] November

------------ Princeton, NJ, to Omnes, Galeton, PA, 20 December 1934.

-----------, Princeton, NJ, to Omnes, Galeton, PA, 18 January 1935. In

-----------, Princeton, NJ, to Aunt Elinor, Galeton, PA, 24 October

------------ Princeton, NJ, to Aunt Elinor, Galeton, PA, 4 April 1936. In

------------ - P rinceton, NJ, to M ein V ater [Kent M artin], G aleton, PA, 8

M ay 1 9 3 6 . In p o ssessio n o f au th or, P hoenix, AZ.
479
_______ , P rinceton, NJ, to M other, G aleton, PA, 2 0 M ay 1 93 6. In

_______ , Princeton, NJ, to Omnes, Galeton, PA, 25 June 1936. In

_______ , Princeton, NJ, to Fambly [sic], Galeton, PA, 11 October

_______ , Princeton, NJ, to Omnes, Galeton, PA, 21 November 1936.

-----------, Princeton, NJ, to Paul Martin, Galeton, PA, 25 November

______ _ Princeton, NJ, to Fambly [sic], Galeton, PA, 10 June 1937. In

--------- , Princeton, NJ, to Omnes, Galeton, PA, 8 October 1937. In

------------ Morrisville, NJ, to Omnes, Galeton, PA, 10 October 1937. In

------------ Trenton, NJ, to Omnes, Galeton, PA, 15 November 1937. In

--------- , Trenton, NJ, to Omnes, Galeton, PA, 6 December 1937. In

---------- Morrisville, NJ, to Old Crone Gertrude [Martin], Galeton, PA,

2 March 1938. In possession of author, Phoenix, AZ.
--------- , Morrisville, NJ, to Little Davidkin [David Martin], Galeton,

PA, 2 March 1938. In possession of author, Phoenix, AZ.
________ M orrisville, NJ, to Old Quack Esther [M artin], G aleton, PA, 2

M arch 1 9 3 8 . In p o ssessio n o f au thor, P hoenix, AZ.
480
________ , M orrisville, NJ, to Paterfam ilias [Kent M artin], G aleton, PA,

2 M arch 1 9 3 8 . In p o ssessio n o f au th or, P hoenix, AZ.
, Morrisville, NJ, to Miss Mary [Mary Alice Martin], [no

location], 2 March 1938. In possession of author, Phoenix, AZ.
_______, Morrisville, NJ, to Old Hag Elinor [Martin], Galeton, PA, 2

_______ , Princeton, NJ, to Omnes, Galeton, PA, 14 May 1938. In

______ , Trenton, NJ, to Omnes, Galeton, PA, 24 May 1938. In

_______ , Los Angeles, CA, to Paul Martin, Galeton, PA, [no day] June
-----------, Los Angeles, CA, to Omnes, Galeton, PA, [no day] [June]
[1938]. In possession of author, Phoenix, AZ.
-----------, Los Angeles, CA, to Omnes, Galeton, PA, 2 July 1938. In

----------- , Los Angeles, CA, to Omnes, Galeton, PA, [late August

1938]. In possession of author, Phoenix, AZ.
-----------, Los Angeles, CA, to Omnes, Galeton, PA, [2 December

----------- , Los Angeles, CA, to Omnes, Galeton, PA, [no day] [March]
----------- , Los A ngeles, CA, to O m nes, G aleton, PA, [early Spring

1 9 4 0 ]. In p o ssessio n o f author, P hoenix, AZ.
481
________ , Los A ngeles, CA, to O m nes, G aleton, PA, 7 M ay 1940. In

_______ , Los Angeles, CA, to Omnes, Galeton, PA, 30 June 1940. In

_______ , Los Angeles, CA, to Omnes, Galeton, PA, [no day] [August
______ , Los Angeles, CA, to Omnes, Galeton, PA, 3 September 1940,

_______ , Los Angeles, CA, to J. K. Martin, Galeton, PA, 18 September

_______ _ Los Angeles, CA, to Elinor Martin, Galeton, PA, 24

--------- , Los Angeles, CA, to Omnes, Galeton, PA, [no day]

[December] 1940. In possession of author, Phoenix, AZ.
------------ Los Angeles, CA, to Paul Martin, Galeton, PA, 10 March

------------ Los Angeles, CA, to Mother, Galeton, PA, 17 May 1941. In

--------- - Los Angeles, CA, to Omnes, Galeton, PA, 18 May 1941. In

------------ Los Angeles, CA, to Mother, Galeton, PA, 4 June 1941. In

------------ Los Angeles, CA, to Mother, Galeton, PA, 6 June 1941. In

Los A ngeles, CA, to G ertrude M artin, G aleton, PA, 12 June

1 9 4 1 . In p o ssessio n o f au thor, P hoenix, AZ.
482
______ , Camp Grant, IL, to Grandma [Mary Alice Martin], Galeton,

PA, [no day] [July 1941]. In possession of author, Phoenix, AZ.
_______ , Camp Grant, IL, to Omnes, Galeton, PA, 6 August 1941. In

_______ , [Camp Grant], IL, to David Martin, Galeton, PA, [no day]
[August] 1941. In possession of author, Phoenix, AZ.
______ _ Camp Grant, IL, to [no name], Galeton, PA, [no day] [August]
______ _ Camp Grant, IL, to Mother, Galeton, PA, 7 September 1941.

In possession cf author, Phoenix, AZ.
______ , Camp Grant, IL, to Omnes, Galeton, PA, 8 September 1941.

_______ _ Camp Grant, IL, to Elinor Martin, Galeton, PA, 2 October

------------ Camp Grant, IL, to Omnes, Galeton, PA, 21 October 1941.

------------ Camp Grant, IL, to David Martin, Galeton, PA, 5 November

--------- - Camp Grant, IL, to To Whom It May Concern, Galeton, PA, 6

November 1941. In possession of author, Phoenix, AZ.
---------- Camp Grant, IL, to Omnes, Galeton, PA, 7 November 1941.

------------ - Camp Grant, EL, to O m nes, G aleton, PA, 1 January 1942. In

483
________ , Camp G rant, IL, to O m nes, G aleton, PA, 1 May 1 9 4 2 . In

p o ssessio n o f author, Phoenix, AZ.
_______ , Camp Grant, IL, to Omnes, Galeton, PA, 11 May [1942]. In

_______ _ Camp Grant, IL, to Omnes, Galeton, PA, 21 May [1942]. In

_______ , Camp Grant, IL, to Omnes, Galeton, PA, 18 June [1942 or

------------ Camp Grant, IL, to Omnes, Galeton, PA, 25 August 1942. In

_______ _ Camp Grant, IL, to Aunt Elinor, Galeton, PA, 3 September

------------ Camp Grant, IL, to Omnes, Galeton, PA, 28 September

------------ Camp Grant, IL, to Omnes, Galeton, PA, 29 September

------------ Camp Grant, IL, to Omnes, Galeton, PA, 18 October 1942.

------------ Camp Grant, IL, to Omnes, Galeton, PA, 13 November

------------ Camp Grant, IL, to J. K. Martin, Galeton, PA, 10 December

------------ Camp Grant, IL, to Omnes, Galeton, PA, 30 December 1942.

------------ - Camp G rant, IL, to Om nes, G aleton, PA, 5 January 1943. In

p o ssessio n o f au th or, Phoenix, AZ.
484
________ , Camp Grant, IL, to O m nes, G aleton, PA, 8 January 1943. In

p o ssessio n o f au th or, P hoenix, AZ.
_______ _ Camp Grant, IL, to Omnes, Galeton, PA, 5 June 1943. In

_______ , Camp Grant, IL, to Mother, Galeton, PA, 21 July 1943. In

_______ _ Camp Grant, IL, to Omnes, Galeton, PA, 27 August 1943. In

_______ _ Camp Grant, IL, to Omnes, Galeton, PA, 31 August 1943. In

_______ , Camp Grant, IL, to Elinor Martin, Galeton, PA, 20

_______ _ Camp Grant, IL, to Omnes, Galeton, PA, 27 October 1943.

_______ _ Rockford, IL, to Omnes, Galeton, PA, 31 October 1943. In

------------ Camp Grant, IL, to Omnes, Galeton, PA, 16 November

------------ Camp Grant, EL, to M utter [Gertrude Martin], Galeton, PA,

14 December 1943. In possession of author, Phoenix, AZ.
------------ Camp Grant, IL, to Grandma [Mary Alice Martin], Galeton,

PA, [no day] [no month] [1943]. In possession of author, Phoenix,
AZ.
------------ W innebego C ounty, EL, to Mrs. J. K. M artin, G aleton, PA, 17

January 1 9 4 4 . In p o ssessio n o f au thor, P hoenix, AZ.
485
________, Camp Grant, IL, to O m nes, G aleton, PA, [no day] January
19 44 . In p o ssessio n o f author, P hoenix, AZ.
, Camp Grant, IL, to Cari tutti [Martin family], Galeton, PA,

[no day] [February] 1944. In possession of author, Phoenix, AZ.
, Camp Grant, IL, to Mutter, Galeton, PA, 14 February 1944.

_______, Camp Grant, IL, to Meine Lieben [Martin family], Galeton,

PA, 4 March 1944. In possession of author, Phoenix, AZ.
_______ _ Camp Grant, EL, to Mother, Galeton, PA, 20 March 1944. In

________ Camp Grant, IL, to Mary, Elinor, Kent, and Gertrude

Martin, Galeton, PA, 18 April 1944. In possession of author,
Phoenix, AZ.
, Camp Grant, IL, to Omnes, Galeton, PA, [20 April 1944]. In

-----------, Camp Grant, IL, to Omnes, Galeton, PA, 24 April 1944. In

--------- , Milwaukee, WI, to Mr. J. K. Martin, Galeton, PA, 26 April

M arquette, MI, to Omnes, Galeton, PA, 27 April 1944. In

, Camp Grant, IL, to Omnes, Galeton, PA, [no day] [April

----- , Camp Evelyn, MI, to O m nes, G aleton, PA, 31 M ay 1944. In

p o ssessio n o f au thor, Phoenix, AZ.
486
_______ , Camp Grant, IL, to O m nes, G aleton, PA, 4 June 194 4. In

_______ , Lanark, IL, to Omnes, Galeton, PA, 10 June 1944. In

_______ , Lanark, IL, to Omnes, Galeton, PA, 16 July 1944. In

_______ , Lanark, EL, to Aunt Elinor, Galeton, PA, 24 July 1944. In

, Camp Grant, IL, to J. K. Martin, Galeton, PA, [no day] August

______ , Camp Grant, IL, to Omnes, Galeton, PA, 2 August 1944. In

_______ , [no location], to Omnes, Galeton, PA, 28 August 1944. In

_______ Somewhere in France, to Family, Galeton, PA, 27

-----------, Somewhere in France, to Family, Galeton, PA, 14 October

, Somewhere in France, to Family, Galeton, PA, 27 October

Somewhere in France, to Family, Galeton, PA, 5 November

----------, Somewhere in France, to Family, Galeton, PA, 10 November

, Som ew here in France, to M other, G aleton, PA, 10

N ovem ber 1 9 4 4 . In p ossessio n o f author, Phoenix, AZ.
487
_______ , [no city], France, to Fam ily, G aleton, PA, 26 N ovem ber
_______ _ [no city], France, to Family, Galeton, PA, 28 November

_______ , [no city], France, to Family, Galeton, PA, 29 November

______ , [no city], France, to Family, Galeton, PA, 9 December 1944.

______ , [no city], France, to Family, Galeton, PA, 22 December 1944.

_______ , [no city] [France], to Family, Galeton, PA, 23 December

-----------, [no city] France, to Family, Galeton, PA, 29 December

------------ [no city] [France], to Family, Galeton, PA, 28 January 1945.

------------ [no city], France, to Family, Galeton, PA, 14 February

------------ [no city], France, to Family, Galeton, PA, 16 February

--------- - [no city], France, to Family, Galeton, PA, 20 February 1945.

[no city], France, to Fam ily, G aleton, PA, 2 0 February 1945.

In p o ssessio n o f au th or, P hoenix, AZ.
488
________ [no city], France, to Esther M artin, G aleton, PA, 2 M arch

1945. In p o ssessio n o f author, P hoenix, AZ.
, [no city], France, to Family, Galeton, PA, 7 March 1945. In

______ , [no city] [France], to Family, Galeton, PA, 13 March 1945. In

______ , [no city], France, to Family, Galeton, PA, 16 March 1945. In

[no city], France, to Family, Galeton, PA, 18 March 1945. In

__ , [no city], France, to Mother, Galeton, PA, 27 March 1945.

______ , [no city], France, to Family, Galeton, PA, 30 March 1945. In

______ [no city], France, to Family, Galeton, PA, 12 April 1945. In

-----------, [no city] [France], to Lyman Bodman, [no location], 22

April 1945. In possession of author, Phoenix, AZ.
------------ [no city] [France], to Family, Galeton, PA, 26 April 1945. In

--------- , [no city], France, to Family, Galeton, PA, 3 May 1945. In

_______ _ Lison, France, to Family, Galeton, PA, 12 May 1945. In

________ _ Lison, France, to Lyman Bodm an, [no location ], 16 May

194 5. In p o ssessio n o f au thor, P hoenix, AZ.
489
__________, lis o n , France, to Fam ily, G aleton, PA, 22 M ay 1 9 4 5 . In

p o ssessio n o f au thor, Phoenix, AZ.
*________ , Lison, France, to Family, Galeton, PA, 24 May 1945. In

*________ _ Lison, France, to Lyman Bodman, [no location], 26 May

*________ _ Lison, France, to Lyman Bodman, [no location], 27 May

________ , lison, France, to Family, Galeton, PA, 7 June 1945. In

*------------ , Lison, France, to Lyman Bodman, [no location], 14 June

*------------ , Lison, France, to Family, and in particular JK, Galeton, PA,

16 June 1945. In possession of author, Phoenix, AZ.
*-------------- Lison, France, to Lyman Bodman, [no location], 22 June

*-------------- lison, France, to Lyman Bodman, [no location], 25 June

*-------------- lison, France, to Lyman Bodman, [no location], 5 July

*-------------- lison, France, to Family, Galeton, PA, 9 July 1945. In

*---------------- lis o n , France, to Lyman Bodm an, [no location ], 14 July

194 5. In p o ssessio n o f author, P hoenix, AZ.
Ii
490
_______ , lis o n , France, to Lym an Bodm an, [no location ], 17 July

1 9 4 5 . In p o ssessio n o f author, Phoenix, AZ.
_______, Lison, France, to Lyman Bodman, [no location], 24 July

_______ , lison, France, to Lyman Bodman, [no location], 30 July

_______ , Lison, France, to Family, Galeton, PA, 2 August 1945. In

______ _ Lison, France, to Family, Galeton, PA, 15 August 1945. In

------------ Lison, France, to Family, Galeton, PA, 19 August 1945. In

-----------, lison, France, to Lyman Bodman, [no location], 19 August

-----------, [no city], France, to Family, Galeton, PA, 30 August 1945.

------------ lison, France, to Family, Galeton, PA, 31 August 1945. In

Lison, France, to Lyman Bodman, [no location], 3 September

—------- , lison, France, to Lyman Bodman, [no location], 5 September

—------ - lison, France, to Family, Galeton, PA, 16 September 1945.

------------ , Lucerne, Sw itzerland, to Lyman Bodm an, [no location ], 23

S ep tem b er 1 9 4 5 . In p o ssessio n o f author, P hoenix, AZ.
491
, M ulhouse, France, to Fam ily, G aleton, PA, 2 6 Septem ber

1 9 4 5 . In p o ssessio n o f author, P hoenix, AZ.
, Iison, France, to Lyman Bodman, [no location], 29

--------- - [Germany], to Family, Galeton, PA, 30 September 1945. In

Iison, France, to Lyman Bodman, [no location], 10 October

______ , Lison, France, to Family, Galeton, PA, 11 October 1945. In

--------- , Iison, France, to Lyman Bodman, [no location], 15 October

--------- , Lison, France, to Family, Galeton, PA, 16 October 1945. In

--------- *Lison, France, to Lyman Bodman, [no location], 22 October

--------- - Iison, France, to Lyman Bodman, [no location], 29 October

--------- - Lison, France, to Family, Galeton, PA, 30 October 1945. In

Iison, France, to Lyman Bodman, [no location], 6 November

------------ - Lison, France, to Family, G aleton, PA, 10 N ovem ber 1945.

In p o ssessio n o f au th or, Phoenix, AZ.
49 2
________, Lison, France, to Fam ily, G aleton, PA, 16 N ovem ber 1945.
In p o ssessio n o f au thor, P hoenix, AZ.
______ , Iison, France, to Lyman Bodman, [no location], 17

______ , Camp Twenty Grand, France, to Lyman Bodman, [no

location], 22 November 1945. In possession of author, Phoenix, AZ.
______ , Camp Twenty Grand, France, to Family, Galeton, PA, 23

Camp Twenty Grand, France, to Family, Galeton, PA, 29

_______ Camp Twenty Grand, France, to Haybrock [Olive Brockett,

Frances W arren Haynes, John Burke], Los Angeles, CA, 3 December
_______ , Camp Kilmer, NJ, to Family, Galeton, PA, 6 January 1946.

Camp Kilmer, NJ, to Lyman Bodman, [no location], 8

January 1946. In possession of author, Phoenix, AZ.
_______ _ Los Angeles, CA, to Family, Galeton, PA, 16 January 1946.

_______ _ Los Angeles, CA, to Family, Galeton, PA, 23 January 1946.

_______ _ Los Angeles, CA, to Family, Galeton, PA, 14 March 1946.

—______ , Los A ngeles, CA, to Fam ily, G aleton, PA, 25 M arch 1946.
In p o ssessio n o f author, P hoenix, AZ.
49 3
________ , Los A ngeles, CA, to Fam ily, G aleton, PA, 23 A pril 1946. In
______ , Los Angeles, CA, to Family, Galeton, PA, 8 July 1946. In

_______ , San Anselmo, CA, to Family, Galeton, PA, 16 July 1946. In

_______ , Los Angeles, CA, to Fambly [sic], Galeton, PA, [no day]
[September] 1946. In possession of author, Phoenix, AZ.
_______ , Los Angeles, CA, to Family, Galeton, PA, 20 December

_______ , Los Angeles, CA, to Family, Galeton, PA, 31 January 1947.

_______ , Los Angeles, CA, to Family, Galeton, PA, 4 June 1947. In

______ , Los Angeles, CA, to Family, Galeton, PA, [no day] [no month]
_______ , Los Angeles, CA, to Family, Galeton, PA, [no day]

Septem ber 1947. In possession of author, Phoenix, AZ.
_______ _ Los Angeles, CA, to Family, Galeton, PA, 12 March 1948.

_______ , Los Angeles, CA, to Family, Galeton, PA, 24 May 1948. In

______ _ Los Angeles, CA, to Fambly [sic], Galeton, PA, 31 May 1948.
________ Los A ngeles, CA, to Fam ily, G aleton, PA, 21 June 1948. In
494
_______ , Oakland, CA, to J. K. M artin, G aleton, PA, 4 July 1948. In

p ossessio n o f author, Phoenix, AZ.
, San Francisco, CA, to J. K. Martin, Galeton, PA, 5 July 1948.

_______ , Chicago, IL, to Family, Galeton, PA, 12 November 1948. In

______ , Chicago, IL, to Fambly [sic], Galeton, PA, [no day] [no
month] [1948]. In possession of author, Phoenix, AZ.
_______ , Chicago, IL, to Family, Galeton, PA, 12 July 1949. In

_______ , Princeton, NJ, to Family, Galeton, PA, [no day] May 1950.
_______ , Princeton, NJ, to Family, Galeton, PA, 2 October 1950. In

-----------, Galeton, PA, to Lyman Bodman, East Lansing, MI, 28

August 1951. In possession of author, Phoenix, AZ.

_______ , Princeton, NJ, to Bodmans, East Lansing, MI, 2 November

[1951], In possession of author, Phoenix, AZ.
------------ Princeton, NJ, to Gertrude and J. K. Martin, Galeton, PA, 4

May 1952. In possession of author, Phoenix, AZ.
----------- Princeton, NJ, to Lyman Bodman, East Lansing, MI, 24 May

1952, In possession of author, Phoenix, AZ.
----------- , G aleton, PA, to Lyman and V irginia Bodm an, East Lansing,
MI, 18 July 1 95 2. In p o ssessio n o f author, P hoenix, AZ.
49 5
_______, Princeton, NJ, to Bodmans, East Lansing, MI, 12 October

________ Princeton, NJ, to Bodmans, East Lansing, MI, 22 February

_______, Princeton, NJ, to Bodmans, East Lansing, MI, 28 February

________ Princeton, NJ, to Bodmans all, East Lansing, MI, [no day]
[May] [1953]. In possession of author, Phoenix, AZ.
_______, Princeton, NJ, to J. K. Martin, Galeton, PA, 21 September

_______, Princeton, NJ, to J. K. and G. Martin, Galeton, PA, 12

December 1953. In possession of author, Phoenix, AZ.
_______ _ Princeton, NJ, to Bodmans, East Lansing, MI, 26 August

, Princeton, NJ, to Bodmans, East Lansing, MI, 25 September

---------- - Princeton, NJ, to Bodmans, East Lansing, MI, 2 October

_______ , Princeton, NJ, to Bodmans, East Lansing, MI, 9 October,

------------ Princeton, NJ, to Bodmans, East Lansing, MI, 5 November

, Princeton, NJ, to Lyman Bodman, East Lansing, MI, 10

------------ , Princeton, NJ, to Bodm ans, East Lansing, MI, 28 D ecem ber
496
________ , P rinceton, NJ, to Lyman Bodm an, East Lansing, MI, 8

January 1 9 5 5 . In p ossession o f au th or, Phoenix, AZ.
_______ , Princeton, NJ, to Bodmans, East Lansing, MI, 22 January

_______ , Princeton, NJ, to Bodmans, East Lansing, MI, 10 February

_______ , Princeton, NJ, to Bodmans, East Lansing, MI, [1955]. In

_______ , Galeton, PA, to Bodmans, East Lansing, MI, 27 June [1955].

_______ , Galeton, PA, to Bodmans, East Lansing, MI, 8 July [1955].

_______ , Princeton, NJ, to Bodmans, East Lansing, MI, [no day]

[September] [1955]. In possession of author, Phoenix, AZ.
_______ , Princeton, NJ, to Lyman Bodman, East Lansing, MI, 17

October 1955. In possession of author, Phoenix, AZ.
_______ , Princeton, NJ, to J. K. and G. W. Martin, Galeton, PA, 12

_______ , Princeton, NJ, to Parents, Galeton, PA, 5 February 1956. In


_______ , Princeton, NJ, to Bodmans, East Lansing, MI, [no day]

[October] [1956]. In possession of author, Phoenix, AZ.
________ _ P rinceton, NJ, to Bodm ans, East Lansing, MI, 25 May 1957.
In p o ssessio n o f author, Phoenix, AZ.
497
________ , G aleton, PA, to Bodm ans, East Lansing, MI, 6 June 1957. In
_______ , Galeton, PA, to Bodmans, East Lansing, MI, 25 August

_______ , Princeton, NJ, to Bodmans and Lois [Laverty], East Lansing,

MI, 22 January 1958. In possession of author, Phoenix, AZ.
_______ , Princeton, NJ, to Bodmans and Lois [Laverty], East Lansing,

MI, 30 January 1958. In possession of author, Phoenix, AZ.
_______ , Princeton, NJ, to Peaceful friends at Michigan [Lyman and

Virginia Bodman and Lois Laverty], East Lansing, MI, 12 February
_______ , Princeton, NJ, to Bodmans, East Lansing, MI, 21 March

_______ , Princeton, NJ, to Bodmans, East Lansing, MI, 6 December

_______ , Princeton, NJ, to Bodmans, East Lansing, MI, 13 December

_______ , Princeton, NJ, to Bodmans, East Lansing, MI, 11 January

----------- , Princeton Junction, NJ, to Bodmans, East Lansing, MI, 23

----------- , Princeton, NJ, to Bodmans, East Lansing, MI, 7 February

________ , Princeton, NJ, to Bodm ans, East Lansing, MI, 14 February

1 9 6 0 . In p o ssessio n o f au thor, P hoenix, AZ.
498
________ , Princeton, NJ, to Lyman Bodm an, East Lansing, MI, 8

M arch 1960. In p o ssessio n o f author, Phoenix, AZ.
_______ , Princeton, NJ, to Bodmans, East Lansing, MI, 25 September

_______ , Princeton, NJ, to Bodmans, East Lansing, MI, 8 October

_______ , Princeton, NJ, to Bodmans, East Lansing, MI, 7 November

, Princeton, NJ, to Lyman Bodman, East Lansing, MI, 16

_______ , Princeton, NJ, to Lee Hastings Bristol, Jr., Princeton, NJ, 15

January 1964. Facsimile. In possession of author, Phoenix, AZ.

_______ , South Bend, IN, to Mother, Galeton, PA, 10 April 1964. In



_______ _ Princeton, NJ, to Mother, Galeton, PA, 13 January 1966. In

_______ _ Princeton, NJ, to Mother, Galeton, PA, 8 June 1966. In

________ , Princeton, NJ, to M other, G aleton, PA, 27 O ctober 1967. In

49 9
________ , P rinceton, NJ, to L & V [Lyman an d V irginia B odm an], East

Lansing, MI, 6 F ebruary 1973. In p o ssessio n o f au th or, P hoenix,
AZ.
_______, Princeton, NJ, to Peter Wright, Princeton, NJ, 15 November

_______ _ Princeton, NJ, to Bob and Sara Rockabrand, Elsah, IL, 2

March 1976 [1977]. In possession of author, Phoenix, AZ.
---------- - Princeton, NJ, to Mother and whoever [sic] is handy,

Galeton, PA, 2 July 1976. In possession of author, Phoenix, AZ.
_______ , Princeton, NJ, to Charles Schisler, Princeton, NJ, 28 March

-----------, Princeton, NJ, to Mother, Galeton, PA, 12 November 1978.

-----------, Princeton, NJ, to Mother, Galeton, PA, 4 December 1916

_______ , Princeton, NJ, to Mother, Galeton, PA, 4 November 1980.

----------- Princeton, NJ, to Gertrude and Esther Martin, Blacksburg,

VA, 12 January 1981. In possession of author, Phoenix, AZ.
_______ , Princeton, NJ, to Gertrude and Esther Martin, Blacksburg,

VA, 12 March 1981. In possession of author, Phoenix, AZ.
-----------, Princeton, NJ, to Gertrude and Esther Martin, Blacksburg,

VA, 25 April 1981. In possession of author, Phoenix, AZ.
________ P rinceton, NJ, to G ertrude an d Esther M artin, Blacksburg,

VA, [n o day] January 19 82 . In p o ssessio n o f author, P hoenix, AZ.
50 0
________ P rinceton, NJ, to M arvin K eenze, P hiladelphia, PA, [no day]

January 1 9 8 2 . In p o ssessio n o f au th or, Phoenix, AZ.
_______ , Princeton, NJ, to the Westminster student body, Princeton,

NJ, 22 January 1982. In possession of author, Phoenix, AZ.
Letters to W arren M artin from others
* denotes sources cited in this study
Martin, J. Kent, Galeton, PA, to Brownell Martin, Princeton, NJ,

[summer] 1934. In possession of author, Phoenix, AZ.
Martin, G ertrude, Galeton, PA, to W arren Martin, [no location], 31

________ _ Galeton, PA, to W arren Martin, [no location], 14 November

-------------- Galeton,PA, to W arren Martin, [no location], 21 November

*Yinger, Paul W., Riverside, CA, to W arren Martin, Los Angeles, CA,
12 June 1948. In possession of author, Phoenix, AZ.
[Unknown], Chicago, IL, to W arren M artin, Chicago, IL, 16 August

Slater, V in cen t, Fort W ayne, IN, to W arren M artin, P rinceton, NJ, 2

O ctober 1 9 5 2 . In p o ssession o f author, Phoenix, AZ.
501
*Green, Harry, Deal, NJ, to W arren Martin, William H. Scheide, and C.

Howard Hopkins, Princeton, NJ, 10 July 1961. Facsimile. In
*Jones, David Hugh, Tamworth, NH, to W arren Martin, Princeton, NJ,

21 November 1976. In possession of author, Phoenix, AZ.
*Wade, A. Munroe, Princeton, NJ, to W arren Martin, Princeton, NJ, 5

Knowlton, Jean, [no city], to W arren Martin, [Princeton, NJ], Christmas

Olive Brockett, Los Angeles, CA, to W arren Martin, [no location], 12

September [no year]. In possession of author, Phoenix, AZ.
*Alice Berman W inslade, Charlotte, NC, to W arren Martin, Princeton,

*Rayner Brown, Los Angeles, CA, to W arren Martin, Princeton, 3

[Robinson], Ray, Princeton, NJ, to W arren Martin, Princeton, NJ, 8
Forsberg, Rich, Kathy, and Sarah, [no location], to W arren Martin,

Princeton, NJ, [Christmas 1977 or 1978]. In possession of author,
Phoenix, AZ.
Martin, Gertrude, Blacksburg, VA, to W arren Martin, Princeton, NJ, 18

Routley, Erik, Princeton, NJ, to W arren M artin, Princeton, NJ, 13

*-------------- »P rinceton, NJ, to W arren M artin, Princeton, NJ, [n.d.]. In

p o ssessio n o f au th or, Phoenix, AZ.
502
Brown, Barbara, [Los A ngeles, CA], to W arren M artin, P rinceton, NJ,

26 D ecem ber 1 9 7 8 . In p o ssessio n o f author, P hoenix, AZ.
Duryee, Kenny and Isabel Perrine, [no location], to W arren Martin,

Princeton, NJ, [no day] December 1978. In possession of author,
Phoenix, AZ.
*Roudey, Erik, Princeton, NJ, to W arren Martin, Princeton, NJ, 4

February 1980. In possession of author, Phoenix, AZ.
Waters, Jim, Kent, OH, to W arren Martin, Princeton, NJ, 27 August

Routley, Erik, Princeton, NJ, to W arren Martin, Princeton, NJ, [n.d.]. In

Hopkins, Howard, [no location], to W arren Martin, Princeton, NJ, [n.d.].

Martin, Gertrude, Galeton, PA, to W arren Martin, Princeton, NJ, 10

Rosenthal, Natalee, Jamesburg, NJ, to W arren Martin, Princeton, NJ,

[October 1980], In possession of author, Phoenix, AZ.
Martin, G ertrude, Galeton, PA, to W arren Martin, Princeton, NJ, 25

Nowakowski, Jane, Princeton, NJ, to W arren Martin, Princeton, NJ, 5

Nicosia, Judy, Princeton, NJ, to W arren Martin, Princeton, NJ,

[November 1980]. In possession of author, Phoenix, AZ.
M artin, G ertrude, G aleton, PA, to W arren M artin, P rinceton, NJ, 10

N ovem ber 1 9 8 0 . In p o ssessio n o f au th or, P hoenix, AZ.
503
__________, G aleton, PA, to W arren M artin, Princeton, NJ, 15 N ovem ber

Silberer, Howard and Travick, [no location], to W arren Martin,

Princeton, NJ, Thanksgiving Day 1980. In possession of author,
Phoenix, AZ.

Bartle, Bart, Ann, Mandy, and Freddie, [no location], to W arren

M artin, Princeton, NJ, [November] 1980. In possession of author,
Phoenix, AZ.
Bodman, Lyman, East Lansing, MI, to W arren Martin, Princeton, NJ,

[May 1981]. In possession of author, Phoenix, AZ.
Bodman, Lyman, East Lansing, MI, to W arren M artin, Princeton, NJ,

27 July 1981. In possession of author, Phoenix, AZ.
*Albrecht, Timothy, Annville, PA, to W arren Martin, Princeton, NJ, 26


M artin, Esther and Gertrude, High Point, FL, to W arren Martin,

Princeton, NJ, 27 November 1981. In possession of author,
Phoenix, AZ.
[No surnam e], Wendy, Ed, Amy, and Andy, Galeton, PA, to W arren
M artin, Princeton, NJ, 3 December 1981. In possession of author,
Phoenix, AZ.
M artin, G ertrude an d Esther, G aleton, PA, to W arren M artin,

P rin ceton , NJ, 4 D ecem ber 19 81 . In p o ssessio n o f author, Phoenix,
AZ.
504
R ockabrand, Bob an d Sara, Elsah, IL, to W arren M artin, P rinceton, NJ,

4 January 1 9 8 2 . In p o ssessio n o f author, P hoenix, AZ.
*Waters, Jim, Kent, OH, to W arren Martin, Princeton, NJ, 12 January

1982. hi possession of author, Phoenix, AZ.
*Lynn, George, Colorado Springs, CO, to W arren Martin, Princeton, NJ,

25 January 1982. In possession of author, Phoenix, AZ.
Brown, Elaine, Philadelphia, PA, to W arren Martin, Princeton, NJ, 28

Gross, Eleanor, Princeton, NJ, to W arren Martin, Princeton, NJ, 29

Jones, David Hugh, North Myrtle Beach, SC, to W arren Martin,

Princeton, NJ, 1 February 1982. In possession of author, Phoenix,
AZ.
Sholly, Ruth H., Spruce Creek, PA, to W arren Martin, Princeton, NJ, 1
Martin, G ertrude, Galeton, PA, to W arren Martin, Princeton, NJ, 4

Wilson, Steve, [Princeton, NJ], to W arren Martin, Princeton, NJ, 4

Swartzentruber, Lloyd and Laura, Kokomo, IN, to W arren Martin,

AZ.

W ilson, S teve, [Princeton, NJ], to W arren M artin, P rinceton, NJ, 9

February 1 9 8 2 . In p o ssessio n o f au th or, P hoenix, AZ.
505
Bartle, Barton, [P rinceton, NJ], to W arren M artin, P rinceton, NJ, 9

F ebruary 1 9 8 2 . In p o ssessio n o f au th or, P hoenix, AZ.
Hunter, Lois and Bill, Pipersville, PA, to W arren Martin, Princeton, NJ,
11 February 1982. In possession of author, Phoenix, AZ.
Martin, Esther and Gertrude, Blacksburg, VA, to W arren Martin,

AZ.
Brown, Rayner, Los Angeles, CA, to W arren Martin, Princeton, NJ, 12

Kolaric, Steve, [no location], to W arren Martin, Princeton, NJ, 12

Bodman, Lyman, East Lansing, MI, to W arren Martin, Princeton, NJ,

Rockabrand, Bob, Elsah, IL, to W arren Martin, Princeton, NJ, 13

Waters, Jim, Kent, OH, to W arren Martin, Princeton, NJ, 13 February

Mervine, Barbara Feldman, [no location], to W arren Martin, Princeton,

NJ, 16 February 1982. In possession of author, Phoenix, AZ.
Cushing, W inifred and Caleb, [no location], to W arren Martin,

Princeton, 17 February 1982. In possession of author, Phoenix, AZ.

M addaus, M arie Leidal, [no location ], to W arren M artin, P rinceton, NJ,

19 F ebruary 1 9 8 2 . In p o ssessio n o f au thor, P hoenix, AZ.
506
Mills, A ndrea and Tom, [no location], to W arren Martin, Princeton, NJ,
Swartzentruber, Laura and Lloyd, [no location], to W arren Martin,

AZ.
Kreitzer, Jean, Houston, TX, to W arren Martin, Princeton, NJ, 22

[No surnam e], "Aunt Louise," [no location], to W arren Martin,

AZ.
McKinney, Mathilde, [no location], to W arren Martin, Princeton, NJ, 22

Cable, Donna P., Princeton, NJ, to W arren Martin, Princeton, NJ, 22

Martin, G ertrude, Blacksburg, VA, to W arren Martin, Princeton, NJ, 25

McLaughlin, Beverly, [no location], to W arren Martin, Princeton, NJ,


*Eaton, Karen, [no location], to W arren Martin, Princeton, NJ, [no day]
*Coad, Jeffrey, Stratford, NJ, to W arren Martin, Princeton, NJ, 1 March

B aum gartner, Ruth, W est Liberty, OH, to W arren M artin, P rinceton,

NJ, 2 M arch 19 82 . In p o ssessio n o f author, P hoenix, AZ.
507
B arnes, Fred, Santa A na, CA, to W arren M artin, P rinceton, NJ, 2 M arch
Shepard, Tim C., Princeton, NJ, to W arren Martin, Princeton, NJ, 5

Cable, Donna, Princeton, NJ, to W arren Martin, Princeton, NJ, 5 March

*Hayden, Phil and Carol, Gentry, AR, to W arren Martin, Princeton, NJ,
M artin, W arren Charles, Kay, Laura, and David, Greenville, SC , to

W arren Martin, Princeton, NJ, [n.d.]. In possession of author,
Phoenix, AZ.
________ , Greenville, SC, to W arren Martin, Princeton, NJ, 6 April

Swartzentruber, Lloyd and Laura, Kokomo, IN, to W arren Martin,

Princeton, NJ, 6 April 1982. In possession of author, Phoenix, AZ.
McLaughlin, Beverly, [no location], to W arren Martin, Princeton, NJ, 6

Composition contract letters
*M artin, W arren, P rinceton, NJ, to Ray R obinson, P rinceton, NJ, 12

F ebruary 19 74 . In p o ssessio n o f author, P hoenix, AZ.
508
*R obinson, Ray, P rinceton, NJ, to W arren M artin, P rinceton, NJ, 12

February 1 9 7 4 . In p o ssessio n o f author, P hoenix, AZ.
________ , Princeton, NJ, to W arren Martin, Princeton, NJ, 1 April

*________ , Princeton, NJ, to W arren Martin, Princeton, NJ, 11 April

*Hinshaw, Donald G., Chapel Hill, NC, to Ray Robinson, Princeton, NJ, 7
*________ , Chapel Hill, NC, to W arren Martin, Princeton, NJ, 3 April

*________ , Chapel Hill, NC, to W arren Martin, Princeton, NJ, 6 July

*________ , Chapel Hill, NC, to W arren Martin, Princeton, NJ, 21 August

*Williamson, Van, Chapel Hill, NC, to W arren Martin, Princeton, NJ,

22 October 1979. In possession of author, Phoenix, AZ.
Hait, Van, Chapel Hill, NC, to W arren Martin, Princeton, NJ, 20

*Hinshaw, Donald G., Chapel Hill, NC, to W arren Martin, Princeton, NJ,
2 Septem ber 1980. In possession of author, Phoenix, AZ.
509
Miscellaneous correspondence
Charles Boynton Martin, to J. Kent Martin, Galeton, PA, 10 September

Williamson, John Finley, Princeton, NJ, to J. K. Martin, Galeton, PA, 31

________ , Princeton, NJ, to J. K. Martin, Galeton, PA, 25 October 1933.

________ , Princeton, NJ, to J. K. Martin, Galeton, PA, 21 June 1934. In

Brockett, Olive, Los Angeles, CA, to Mrs. Martin, Galeton, PA, 6 June
Jacobs, A rthur Leslie, Los Angeles, CA, to Mrs. Martin, Galeton, PA, 6
June 1941. In possession of author, Phoenix, AZ.
Brockett, Olive, Los Angeles, CA, to Gertrude Martin, Galeton, PA, 13

July 194[1]. In possession of author, Phoenix, AZ.
________ , Los Angeles, CA, to Gertrude Martin, Galeton, PA, 16 July

________ , Los Angeles, CA, to Gertrude Martin, Galeton, PA, 23 July

T ubbs, Lt. W illiam M., Camp Grant, IL, to Mrs. M artin, G aleton, PA, 28
July 1 9 4 1 . In p o ssessio n o f author, P hoenix, AZ.
510
Brockett, O live, Los A ngeles, CA, to G ertrude M artin, G aleton, PA, 2

A ugust 1 9 4 1 . In p ossession o f au th or, Phoenix, AZ.
________ , Los Angeles, CA, to G ertrude Martin, Galeton, PA, 12

________ , Los Angeles, CA, to Gertrude Martin, Galeton, PA, 31

________ _ Los Angeles, CA, to G ertrude Martin, Galeton, PA, 14


________ _ Los Angeles, CA, to Gertrude Martin, Galeton, PA, 29


________ _ Los Angeles, CA, to G ertrude Martin, Galeton, PA, 2

________ _ Los Angeles, CA, to Gertrude Martin, Galeton, PA, 21 July

________ , Los Angeles, CA, to G ertrude Martin, Galeton, PA, 6 June

________ _ Los Angeles, CA, to Friends, Galeton, PA, 21 July 1942. In

________ _ Ronniko Springs, CA, to Gertrude Martin, Galeton, PA, 17

__________, Los A ngeles, CA, to G ertrude M artin, G aleton, PA, 15

Sep tem b er 1 9 4 3 . In p o ssessio n o f author, Phoenix, AZ.
511
__________, Los A ngeles, CA, to G ertrude M artin, G aleton, PA, 13

D ecem b er 1943. In p o ssessio n o f author, Phoenix, AZ.
________ , Los Angeles, CA, to J. K. and Gertrude Martin, Galeton, PA,


________ , Los Angeles, CA, to Gertrude Martin, Galeton, PA, 4 April


Buck, Ella, Wellesley, MA, to G ertrude Martin, Galeton, PA, 17

Gordon, Earl, Suffera, NY, to Gertrude Martin, Galeton, PA, 25

Buck, Ella, Wellesley, MA, to G ertrude Martin, Galeton, PA, 28

Brockett, Olive, Los Angeles, CA, to Gertrude Martin, Galeton, PA, 27


________ , Los Angeles, CA, to Gertrude Martin, Galeton, PA, 26 June


, Los A ngeles, CA, to G ertrude M artin, G aleton, PA, 26

A ugust 1 9 4 5 . In p o ssessio n o f author, Phoenix, AZ.
512
_________ , Los A ngeles, CA, to G ertrude M artin, G aleton, PA, 5

Sep tem b er 1 94 5. In p o ssessio n o f author, P hoenix, AZ.




*________ , Los Angeles, CA, to Gertrude Martin, Galeton, PA, 11

M arch 1946. In possession of author, Phoenix, AZ.
*Scheide, William H., Princeton, NJ, to Harold Hedgpeth, Princeton, NJ,

30 April 1960. Facsimile. In possession of author, Phoenix, AZ.
*Herford, Julius, Bloomington, IN, to Lois Laverty, Princeton, NJ, 28

[Waters], Ann, [no location], to Gertrude Martin, Galeton, PA, 5 July

Waters, James, Kent, OH, to Lois Ann Laverty, Princeton, NJ, 12

*Robinson, Ray, Princeton, NJ, to the Martin Family, Galeton, PA, 15
[No surname], Wendy, [no location], to Gertrude and Esther Martin,

Blacksburg, VA, 19 April 1982. In possession of author, Phoenix,
AZ.
R obinson, Ray, P rinceton, NJ, to Mrs. J. Kent M artin, G aleton, PA, 14

M ay 1 98 2. In p o ssessio n o f author, Phoenix, AZ.
513
*Hopkins, C. Howard, Claremont, CA, to Ray R obinson, Princeton, NJ, 1

June 1982. In p o ssessio n o f author, Phoenix, AZ.
Schisler, Charles, Princeton, NJ, to Esther Martin, Galeton, PA, 27 July

Laverty, Lois, Princeton, NJ, to Esther Martin, e t al, Blacksburg, VA,

27 July 1982. In possession of author, Phoenix, AZ.
*Martin, Esther, Blacksburg, VA, to Charles Schisler, Princeton, NJ, 31

*Schisler, Charles, Princeton, NJ, to Esther Martin, Blacksburg, VA, 4

McKinney, Mathilde, Franconia, NH, to Lois Laverty, Princeton, NJ, 9

Laverty, Lois, Princeton, NJ, to Gertrude Martin, Blacksburg, VA, 15

Robinson, Ray, Princeton, NJ, to Esther Martin, Galeton, PA, 18 August

Webb, Richard, Princeton, NJ, to Christopher Samuel, Phoenix, AZ, 23

*Crane, Ella Robinson, Roswell, NM, to Thomas Purviance, Princeton,

NJ, 22 September 1990. In possession of author, Phoenix, AZ.
Martin, Esther, Blacksburg, VA, to Christopher Samuel, Phoenix, AZ,

York, David S., Princeton, NJ, to Christopher Samuel, Phoenix, AZ, 23

Craighead, Marian, R ochester, NY, to Christopher Sam uel, Phoenix, AZ,

15 M ay 1 9 9 3 . In p o ssessio n o f author, Phoenix, AZ.
514
Purviance, T hom as, Princeton, NJ, to C hristopher Sam uel, Phoenix, AZ,
8 Septem ber 1 9 9 3 . In p ossession o f author, Phoenix, AZ.
Crowell, Allen, Princeton, NJ, to David Stocker, Tempe, AZ, 23 June

Benton, Mary, Princeton, NJ, to Christopher Samuel, Phoenix, AZ, 13

_________ Princeton,NJ, to Christopher Samuel, Phoenix, AZ, 18 March

Zakroff, Stephen, Princeton, NJ, to Esther Martin, Blacksburg, VA, 32

Laverty, Lois, Lawrenceville, NJ, to Christopher Samuel, Phoenix, AZ,

Martin, Esther, Blacksburg, VA, to Christopher Samuel, Phoenix, AZ,

*Owen, Barbara, Newburyport, MA, to Christopher Samuel, Phoenix,

AZ, 4 April 1997. In possession of author, Phoenix, AZ.
Bird, Barbara Caler, Mendocino, CA, to John Burke, Sonoma, CA, 27

Burke, John, Sonoma, CA, to Christopher Samuel, Phoenix, AZ, 15

________ , Sonoma, CA, to Christopher Samuel, Phoenix, AZ, 30 April

Bird, Barbara Caler, Mendocino, CA, to Christopher Samuel, Phoenix,

AZ, 9 May 1997. In possession of author, Phoenix, AZ.
Rockabrand, Bob, Elsah, IL, to Christopher Samuel, Phoenix, AZ, 27

June, 1 9 9 7 . In p ossession o f author, Phoenix, AZ.
515
*Beckwith, D aniel, Chicago, IL, to Christopher Sam uel, Phoenix, AZ, 16

A ugust 1 9 9 7 . In p o ssessio n o f author, Phoenix, AZ.
*Convery, Robert, Folly Beach, SC, to Christopher Samuel, Phoenix, AZ,

26 August 1997. In possession of author, Phoenix, AZ.
Bamshaw, Carolyn, Princeton, NJ, to Christopher Samuel, Phoenix, AZ,

*Martin, Esther, Blacksburg, VA, to Lois Laverty, Lawrenceville, NJ,

[no day] December 1997. In possession of author, Phoenix, AZ.
________ , Blacksburg, VA, to Christopher Samuel, Phoenix, AZ, 4

Unpublished Material
Dissertations
Bargmann, Theodore John. "The Solo and Instrumental Chamber

Works for Piano by Roy Harris." D.M.A. diss., American
Conservatory of Music, 1986.
Brookhart, Charles Edward. "The Choral Music of Aaron Copland, Roy

Harris, and Randall Thompson." Ph.D. diss., George Peabody
College for Teachers, 1960.
Buehler, John M. "George Lynn—the Westminster Connection. Choral

Sound and Choral Composition: A Vocal Approach." D.M.A. diss.,
University of Missouri-Kansas City, 1989.
Cavanagh, George Alfred. "William D. Revelli: The Hobart Years."

Ed.D. diss., University of Michigan, 1971.
516
Clark, John Wayne. "The One-Movement Symphony in America,

1937-1976: with Analyses of Works by Roy Harris, William
Schuman, Vincent Persichetti, and Peter Flicker." Ph.D. diss.,
University of California, Santa Barbara, 1982.
Davis, Tony Max. "A Study of Stylistic Characteristics in Selected

Major Choral Works of Normand Lockwood." D.M.A. diss.,
University of Missouri- Kansas City, 1980.
Ewing, James Dewar. "Elaine Brown and Singing City: The Choral Art
as a Communicative Social Force." Ph.D. diss., University of Miami,
1976.
Farrior, Christine Bordeaux. "Body, Mind, Spirit, Voice: Helen Kemp

and the Development of the Children's Choir Movement." Ed.D.
diss., University of North Carolina at Greensboro, 1993.
Fennell, James Mitchell. "A Study of Selected Band Music of Roy

Harris." D.A. diss., University of Northern Colorado, 1991.
Gregory, Earle Suydam. "Mark H. Hindsley: The Illinois Years." Ed.D.

diss., University of Illinois at Urbana-Champaign, 1982.
Lange, Stephen Reynolds. "An Analysis of Concerto for Brass, Organ,

and Percussion by Robert Elmore, Concerto for Brass and Organ by
Seth Bingham, and Concerto for Organ and Brasses by Normand
Lockwood." Ph.D. diss., Michigan State University, 1978.
Norton, S. Kay. "The music of Normand Lockwood from 1930 to 1980:

Fifty years in American composition." Ph.D. diss., University of
Colorado at Boulder, 1990.
Pierce, Edward Eugene. "Julius Herford: His Life, Teaching, and

Influence on the Choral Art in the United States." D.A. diss.,
University of Northern Colorado, 1988.
Schisler, Charles Harvey. "A History of Westminster Choir College,

1926-1973." Ph.D. diss., Indiana University, 1976.
517
Sprenger, Curtis Donald. "A Study of the Text-Music Relationships in

the Choral Works of Jean Berger, Cecil Effinger, and Normand
Lockwood.” Ed.D. diss., Colorado State College, 1969.
Stehman, Dan. "The Symphonies of Roy Harris: An Analytical Study

of the Linear Materials and of Related Works." Ph.D. diss.,
University of Southern California, 1973.
Wehr, David A. "John Finley Williamson (1887-1964): His Life and

Contribution to Choral Music." Ph.D. diss., University of Miami,
1971.
Yarrington, John. "A Performance Analysis of M artyr's Mirror,

Family Reunion, and Singer's Glen, Three Operas by Alice Parker."
D.MA. diss., University of Oklahoma, 1985.
Concert Programs
American Guild of Organists. Pacific Coast Regional Convention

Concert Program. Pasadena, CA. 24-26 June 1940. In possession of
Coudersport Consistory. Miscellaneous Concert Programs.
Coudersport, PA, 1933-39. In possession of author, Phoenix, AZ.
First Congregational Church. Music Ministry Dinner Program and

Assorted Photographs. Los Angeles, CA, 17 February 1939. In
_________ Miscellaneous Concert Programs. Los Angeles, CA. 18

November 1939-24 May 1941. In possession of author, Phoenix,
AZ.
__________ V esper Organ Recital B ook let Los A ngeles, CA, 1 9 3 9-1940
Season. In p o ssessio n o f author, Phoenix, AZ.
518
Martin, Warren. Westminster Choir College. Senior Organ Recital

Program. Princeton, NJ, 23 April 1936. In possession of author,
Phoenix, AZ.
St. Luke's Methodist Church. Westminster Choral Festival Program.

Oklahoma City, OK, 4 May 1958. In possession of author, Phoenix,
AZ.
University of California. Concert Program. Los Angeles, CA, 18 April

_________ Concert program. Berkeley, CA, 18 July 1956. In possession

Westminster Choir. Tour Program. Innsbruck, Austria, 16 October

Westminster Choir College. "Vocal Music of Warren Martin" Concert

Program. Princeton, NJ, 31 October 1976. In possession of author,
Phoenix, AZ.
Westminster Choir School, Talbott Festival. Miscellaneous Concert

Programs. Princeton, NJ, June 1934-June 1935. In possession of
Church Bulletins
First Congregational Church. Miscellaneous Service Bulletins. Los

Angeles, CA, 5 June 1938-30 September 1947. In possession of
First P resbyterian Church. Service Bulletin. Trenton, NJ, 13 D ecem ber

519
Plymouth Congregational Church. Miscellaneous Service Bulletins.

New Haven, CT, January 1937-May 1937. In possession of author,
Phoenix, AZ.
Princeton University Chapel. "Musical Vesper Service" Bulletin.

Princeton, NJ, Sunday, 27 November [ca. early 1930s]. In
Rockefeller Chapel, University of Chicago. Miscellaneous Bulletins and

Concert Programs. Chicago, 1948-49. In possession of author,
Phoenix, AZ.
Plav bills
Carnegie Hall. The Westminster Choir. Play bill. New York, NY, 27
Kungl Teatem. Play bill. Stockholm, Sweden, 19 September 1934. In

Diplomas and Academic Certificates
Elementary School. Diploma. Coudersport, PA, 28 April 1928. In

West Pike School. Certificate o: Award. Potter County, PA, 23 April

1925, 21 May 1926. In possession of author, Phoenix, AZ.
Westminster Choir School. First Semester Report Card. Princeton, NJ,

W estm inster Choir School. "Master o f Music" Diplom a. Princeton, NJ,

2 6 M ay 1938. In p o ssessio n o f author, Phoenix, AZ.
520
Military Documents
U nited States Arm y. Registration D ocum ent. Camp Grant, IL, 28 July
________ , The Clerical School. Certificate of Proficiency. Camp Grant,

IL, 24 October 1941. In possession of author, Phoenix, AZ.
_________ Army Placard. July 1942. In possession of author, Phoenix,

AZ.
_________ Promotion Document. 31 August 1943. In possession of

_______ . Discharge Document. 15 January 1946. In possession of

Westminster Choir College Documents
Bristol, Lee H., Jr., Princeton, NJ, to the Board of Trustees, Princeton,
NJ, 15 January 1964. Facsimile. In possession of author, Phoenix,
AZ.
Hopkins, C. Howard, Princeton, NJ, to the Board of Trustees, Princeton,

NJ, 22 October 1958. Facsimile. In possession of author, Phoenix,
AZ.
Martin, Warren. Faculty Folder. Princeton, NJ, 1950-1982. Dean's

Office, Westminster Choir College, Princeton, NJ.
___________"Biographical an d Professional Information" Faculty Form.

P rinceton, NJ, 1 N ovem ber 1958. In p o ssessio n o f author, Phoenix,
AZ.
521
_________ Attachment to "Biographical and Professional Information"

Faculty Form. Princeton, NJ, 1 November 1958. In possession of
________ , Princeton, NJ, to the Board of Trustees, Princeton, NJ, 21

October 1959-12 March 1962. In possession of author, Phoenix,
AZ.
Schisler, Charles. Dean's Office, to "All Faculty and Staff/'

Interdepartmental Memorandum, Westminster Choir College,
Princeton, NJ, 22 November 1976. Facsimile. In possession of
Westminster Choir College. Minutes of the Board of Trustees Meeting.

Princeton, NJ, 23 May 1950-16 March 1966. Archives,
Westminster Choir College, Princeton, NJ.
Westminster Choir College. "Bylaws." Princeton, NJ, 1959. Archives,

Westminster Choir School. Curriculum Bulletin. Princeton, NJ, 1933-

Williamson, J. F. Waverly, PA, to the Board of Trustees, Princeton, NJ,

19 August 1961. Archives, Westminster Choir College, Princeton,
NJ.
Miscellaneous
Frognersaeterens Hovedrestaurant Dinner Menu, Oslo, Norway, 16

G aleton High School. C om m encem ent program . Coudersport, PA, 9

June 1932. In p o ssessio n o f author, Phoenix, AZ.
522
Martin, Charles Boynton. The Musician o f Pine Creek. Unpublished

manuscript. Scarsdale, NY, 9 June 1931. Facsimile. In possession of
Martin, Esther. Family childhood sketch in the hand of Esther Martin.

Blacksburg, VA, [ca.]10 March 1995. In possession of author,
Phoenix, AZ.
Martin, Warren. U.S. passport. Date of issue 13 July 1934. In

________ . Biographical Sketch in the hand of Warren Martin.

Princeton, NJ, [ca. early 1970s]. In possession of author, Phoenix,
AZ.
_________ "Last Will and Testament" in the hand of Warren Martin.

Princeton, NJ, 4 January 1982. Martin Family farmhouse, Galeton,
PA.
The National Academy of Recording Arts and Sciences. Award Plaque.

New York City, 1962. In possession of author, Phoenix, AZ.
Steamship MS Lafayette. Passenger list. Le Havre, France, 25 August

Steamship SS Manhattan. Passenger list. 26 October 1934, in

Westminster Choir. Tour Itinerary, [no location], [no day] [no month]
1934, in the hand of Warren Martin. In possession of author,
Phoenix, AZ.
W estm inster Choir School. C om m encem ent Program. Princeton, NJ, 4

June 19 3 6 . In p ossession o f author, Phoenix, AZ.
523
Published Materials
Newsletters and Periodicals
A lum ni News (Princeton, NJ). January, June 1966.
Ford T im es. "The Singing Christmas Tree." December 1967.
Processional (Princeton, NJ). May 1940-March 1955.
W estm inster Choir College News (Princeton, NJ). Fall 1962-Spring

1964.
W estm inster Choir College Newsletter (Princeton, NJ). 26 June 1958-

March 1977.
Newspapers
Los Angeles Times. 13 July 1943.

Princeton Packet. 3 February 1955-11 April 1982.
Roanoke Times. "She invaded Moscow with a song in her heart." 16
October i997.
St. Louis Globe-Democrat. 17 February 1961.
APPENDIX A
SELECTED COMPOSITIONS BYWARREN MARTIN

525
SELECTED COMPOSITIONS BYWARREN MARTIN
Choral Compositions
"This Is the Day the Lord Hath Made." Score. 1933. Talbott Library,
"Thanks Be to God." Score. 1938. Talbott Library, Westminster Choir

College, Princeton, NJ.
The King o f Love M y Shepherd Is. New York: Carl Fischer, 1940.
"Missa Brevis." Score. 1940. Talbott Library, Westminster Choir

Lord, I Want to Be a Christian. Bryn Mawr, PA: Theodore Presser,

1950.
When I Survey the Wondrous Cross. Bryn Mawr, PA: Theodore

Presser, 1950.
GreatDay. Bryn Mawr, PA: Theodore Presser, 1950.
"Adieu, Farewell Earth's Bliss." Score. 1951. Talbott Library,

Anthem o f Dedication, [composed 1951]. Bryn Mawr, PA: Theodore

Presser, 1958.
Sun o f M y Soul, [composed 1951]. Bryn Mawr, PA: Theodore

Presser, 1958.
"American Suite." Score. 1952. Talbott Library, Westminster Choir

526
"Te Deum on a Ground Bass." Score. 1952. Talbott Library,

"Variations on a French Tune." Score. 1952. Talbott library,

Calvary. Bryn Mawr, PA: Theodore Presser, 1954.
Psalm 13. New York: Rongwen Music, Inc., 1955.
"Mass in F." Score. 1955. Talbott Library, Westminster Choir

O Sons and Daughters, Let Us Sing. New York: Mercury Music, 1955.
Saviour, Like A Shepherd Lead Us. New York: Mercury Music, 1955.
"St. Matthew Passion." Score. 1960. Talbott Library, Westminster

Choir College, Princeton, NJ.
"Cielito Lindo." Score. 1963. Talbott Library, Westminster Choir

ONo, John. Golden, CO: Golden Music Publishers, 1964.
"A Christmas Medley." Score. 1967. Talbott Library, Westminster

"Out of the Depths (Psalm 130)." Score. 1967. Talbott Library,

"Mass." Score. 1968. Talbott Library, Westminster Choir College,

Princeton, NJ.
The Pharisee and the Pubhcan. Golden, CO: Golden Music Publishers,
1970.
52 7
"Sanctus." Score. 1973. Talbott Library, Westminster Choir College,

Princeton, NJ.
"God of Our Fathers.” Score. 1975. Talbott Library, Westminster

The Ch urch's One Foundation. New York: Carl Fischer, 1976.
Psalm 23. [composed 1976]. Chapel Hill, NC: Hinshaw Music, 1981.
Selected Songs for Solo Voice
"Three Tennyson Songs for Medium Voice and Piano" (1935)

1. Flower in the crannied wall
2. Sweet and low
3. Hallowed be Thy Name
"Three Songs for Bass and Piano" (1935)

1. The wayfarer
2. The night has a thousand eyes
3. To a golden-haired girl
"Song Cycle: Five Songs" [soprano and piano] (1937)

1. Salutation
2. Blue
3. Lament
528
4. Patter
5. Love song
"I Shall Keep Singing" [soprano and piano] (1937)
"I See His Blood Upon the Rose" [soprano and piano] (1937)
"Hickory Dickory Dock" [voice, violin, and piano] (1938)
"I Saw a Stranger Yestreen" [medium voice and piano] (1942)
"Suite" [voice and piano four hands] (1944)

1. Once I knew a fine song
2. And you love me
3. A man said to the universe
4. There came whispering
5. God lay dead in heaven
Selected Instrumental Compositions
"Andante for String Quartet." Score. 1934. Talbott library,

"Adagio for String Quartet." Score. 1935. Talbott Library,

"Scherzo for String Quartet." Score. 1935. Talbott Library,

"Variations and Scherzo for Organ and Piano." Score. 1937. Talbott
Library, Westminster Choir College, Princeton, NJ.
"Valse Lento, for Two Pianos." Score. 1938. Talbott Library,

529
"Processional for Piano and Organ." Score. 1939. Talbott Library,

"Variations on a Theme of Lyman Bodman, for Two Violins." Score.

1942. Talbott Library, Westminster Choir College, Princeton, NJ.
"Prelude and Fugue for Two Violins and Viola." Score. 1943. Talbott
"Sonatina for Cello and Piano." Score. 1945. Talbott Library,

"Sonatina for Piano." Score. 1945. Talbott Library, Westminster

"Trio for Viola, Bass, and Piano." Score. 1948. Talbott Library,
"Divertimento for Piano and Woodwinds." Score. 1949. Talbott

"Sonata for Viola and Piano." Score. 1949. Talbott Library,

"Adagio for Two Violas and Piano." Score. 1953. Talbott Library,
"Concerto Grosso." [2 Flutes, 2 Oboes, 2 A Clarinets, 2 Bassoons, 2

French Horns, 2 Bb Trumpets, 2 Trombones, Tuba, Cymbals, Timpani,
Solo Piano, Violin I, Violin II, Viola, Violoncello, Contrabass] Score.
"Allegro for String Quartet." Score. 1955. Talbott Library,

"Suite for Horn, Bassoon, Harp, Viola, and Violoncello." Score. 1957.
Talbott Library, Westminster Choir College, Princeton, NJ.
530
"Symphony in F." [2 Flutes, 2 Oboes, 2 Bb Clarinets, 2 Bassoons, 2

French Horns, 2 Bb Trumpets, Timpani, Violin I, Violin II, Viola,
Violoncello, Contrabass] Score. 1959. Talbott Library, Westminster
"Fanfare for Brass Choir and Percussion." Score. 1964. Talbott

"Kammermusik for Violin, Viola, Cello, and Bass." Score. 1965.

"Seven Different Pieces: Chamber Music for Strings." Score. 1934-

"Short Toccata for Piano." Score. 1965. Talbott Library, Westminster

"Suite for Viola and Piano." Score. 1965. Talbott Library,

"Quintet for Flute, Oboe, Violin, Viola, and Violoncello." Score. 1967.
"Sonata for Two Pianos." Score. 1967. Talbott Library, Westminster

"Five Pieces: Chamber Music with Piano." Score. 1945-70. Talbott

"Variations on Aus Tiefer Not, for Clarinet and Piano." Score. 1970.
"Andante for String Quartet." Score. 1976. Talbott library,

"Music for Piano(s): Four Pieces." Score. 1938-1976. Talbott

531
"Scherzo Suite for Two Pianos." Score. 1976. Talbott Library,

"Fanfares." Score, n.d. Talbott Library, Westminster Choir College,

Princeton, NJ.
APPENDIX B
"ON BEING A MINISTER OF MUSIC"

by Warren Martin
533
"ON BEING A MINISTER OF MUSIC" i

by Warren Martin
(A talk given to the Graduating Class at Westminster Choir College on

20 May 1958.)
Eating an ice cream cone provides one kind of satisfaction.

Reading Hamlet provides another kind. Nothing is wrong with either
kind of satisfaction—they are just very different. There is much to be
said for eating ice cream—in fact there are many times when ice
cream is definitely more satisfying than Shakespeare, but the person
who can enjoy Shakespeare as sincerely as he enjoys ice cream is
better off than the person who lives his life on the ice cream level.
Civilized, mature, educated people—this can mean you—find
happiness far above the ice cream level. They find happiness not
only in things which please themselves but also in things they do
with other people and for other people. Take music. It almost goes
without saying that a great deal of personal gratification is to be
gotten from listening to music and knowing music and performing
music. But discerning and ambitious people—and again I say, this can
mean you—find a higher quality of gratification in leading other
people in understanding, performing and enjoying music. And this
satisfaction becomes real fulfillment when that leadership is
exercised in places where music meets an honest need, places where
music does an honest good—places such as churches.
Which leads to my real remarks of the day—on being a Minister
of Music. What is a Minister of Music?
There are those who find the title of Minister of Music an
honorable but rather ambiguous one. Let's agree that it is honorable
and see if we can get rid of the ambiguity. It often helps in defining
something to say what it is not. First of all, a Minister of Music is not
a musician who happens to work in a church. Being a good musician
1 Warren Martin, "On Being A Minister of Music," N ew sletter II, no. 9 (26
June 1958): 4.
534
is a splendid thing—you all know me well enough to know that I will

insist on that, but being a Minister of Music involves more than
musical excellence. Secondly, a Minister of Music is not a devout and
active church worker who happens to dabble in music. Religion is
poorly served by casual or inferior music. What, then, does
"Minister" mean? In the context of the phrase "Minister of the
Gospel," a Minister of Music can well be said to reveal the word of
God in his own appropriate way—by using the expressive power of
music to enhance sacred words. The very function of singing in a
worship service is to set forth words in a different, more colorful,
more beautiful way than speaking can—not a better way, but a
special and appealing way. The word "Minister," in the context of the
phrase "ministering to people," may be used to describe the process
by which a Minister of Music works to help the people who are
involved in his program, in a tremendous number of big and little
ways—from bringing them together to find simple enjoyment and self
expression in music making to giving them insights into greatnesses
of thought and beauty and feeling which they could never aspire to
as individuals. Music can comfort, music can combat loneliness,
music can lift up the spirit, music can help people to love each other
better—the Minister of Music is in the position of being able to
"minister to people" in his own fashion and in his own field. So, to
sum up briefly, a Minister of Music earns his title by bringing special
elements of beauty to church worship, and by helping the lives of
individuals through their participation in music.
Adaptability. Making decisions is something we all are faced
with daily, unless we are children or privates in the army. You will
find that any position of leadership brings with it a large dose of
decision making. The hardest decisions you will be faced with as you
start a new church position will be those arising from honest
differences of opinion between you and the Minister, you and the
music committee, or you and the more strong-minded of your choir
members. Shall you insist on "your way?" Shall you meekly give in?
Shall you compromise and rely on tact and persuasion to gain what
you feel is best, later on? Percentage-wise, the latter course is the
one to follow 99% of the time. No m atter how strong your
convictions may be, or how confident you are that your background
and training support your opinion, you must consider that
535
harmonious personal relationships are of the greatest importance in

your line of work. In a new church position, start by fitting in as
gracefully as possible with the prevailing policies. Gradually, as you
get to know the people and the situation, you can begin working to
change the things you are sure need changing. Adaptability is not
spinelessness—the fact that you work slowly and carefully toward a
goal may make it more secure when you finally reach it.
Communication. Music is a magnificent language, but a
Minister of Music will still find a great deal of use for English. You
must be able to talk. You may be an excellent musician, you may
love people, you may be strong in your personal religious faith, you
may have a keen mind, and determination, and ambition, and
patience, and sixteen other praiseworthy qualities, but if you can't
express yourself in words with a serviceable degree of clearness and
fluency, you may as well resign your job and take up bird watching.
You d o n 't need elegance or eloquence—what you need is the ability to
gather your ideas together in an orderly way and present them in
plain words, whenever and wherever it may be helpful in your work.
Idealism and common sense. It would be wonderful if, in your
church jobs, you could always use the finest music and sing it in the
finest way, and work with your minister and your choirs and
everyone else in an exclusively harmonious and mutually
appreciative atmosphere. It would indeed be wonderful, in the exact
meaning of the word. But very few church choirs automatically
consist of a proper proportion of musically gifted, vocally opulent
sopranos, altos, tenors and basses and the people with whom you
work in churches are as human as anybody else, sometimes a bit
more so. You should have clearly in your minds various ideals—
ideals of musical quality, of organizational effectiveness, of personal
achievement, and so on. But these ideals must bow to common sense.
Bow, not grovel. From your ideals you must derive objectives—
objectives ranging from surefire little ones to possible medium sized
ones to hopeful long-range big ones. For each objective you will
work out plans. And to each plan you will apply as much skill,
enthusiasm and patience as you can m u ster. . . To formulate your
ideals you must dream—the kind of dreaming you do with your eyes
and ears wide open. To reach objectives you must work—and keep
on working—and not give up.
536
When you go out from here to work in churches, you

immediately involve yourselves in three traditions. Paradoxically,
your happiness and success as Ministers of Music will depend on
your exercising your freedom to develop in your own individual and
unique ways and at the same time on your being firmly rooted in
these three traditions. The first tradition is a young one as traditions
go, and one you may not yet fully appreciate because you have been
so close to it you have seen its imperfections along with its nobility—
the tradition of this college in its preparation of young people for
leadership in the church through music. The second tradition is that
of the a rt of music, whose value to you will be measured by your
respect and love for it. The third tradition is that of the Christian
church, to which you must give a straightforward allegiance if you
are to be worthy of your calling. "Put on then as God's chosen ones,
holy and beloved, compassion, kindness, lowliness, meekness, and
patience, forbearing one another . . . And above all these put on love,
which binds everything together in perfect harmony . . . Let the word
of Christ dwell in you richly, as you teach and admonish one another
in all wisdom, and as you sing psalms and hymns and spiritual songs
with thankfulness in your hearts to God."
APPENDIX C
REPORT OF THE MUSICAL DIRECTOR

538
REPORT OF THE MUSICAL DIRECTOR1
The true strength of our college is in the young people who

leave it to take up active and useful lives in their chosen profession.
We differ from many institutions whose curricula and activities are
also largely concerned with music in that our most representative
students go out into the world intending to use their musical
attainments to help others rather than for personal advancement or
glory. They respect music, and their standing as professional
musicians, because they ir e going to use music not primarily for
material gain or professic a fame but for the good of other people.
Our musical curriculum and our musical faculty are to be judged by
their effectiveness in creating what may properly be called
musicians with a special purpose. If we turn out graduates who are
good musicians lacking a special purpose, or graduates who have a
special purpose but are not good musicians, we have not been
faithful to our professed aims. I submit that in all important
respects this college is in fact currently providing its students with
an abundance of the kind of musical training which will permit them
to graduate as good musicians with a special purpose. Tangible proof
of this can be accumulated only from reports to come of the future
careers of our students—but the prevailing serious enthusiasm of our
student body and the tendency of most of our faculty to do, day after
day, considerably more than they are required to do, are straws in
the wind which indicate that students and faculty believe in what
they are doing and believe that it is being done effectively. My
impressions of student and faculty attitudes are of course drawn
mainly from observations of the college's musical activities, but I
think they are valid for the college as a whole. I submit, then, as the
most im portant p art of my report, that the college is on a sound
musical footing—that future changes of musical personnel or
curriculum will be made not to supplant something bad with
facsimile in possession of author, Phoenix, AZ.
53 9
something good but to make better something which is already good

or on the way to being good.
At the end of the last academic year action was taken, with
approval of the Board of Trustees, to reorganize our keyboard
departments. The effect of this reorganization is that the organ
departm ent remains as before, and the teaching of piano comes
under the supervision of the organ department. The present
arrangem ent serves our needs better in that students study piano to
prepare for the study of organ or to aid them in their general musical
development—both of which are practical aims in keeping with the
college's over-all aim. We do not now emphasize piano study as
preparation for concert performance or for teaching—aims which are
totally respectable but extraneous to our over-all aim. Our new
piano teachers are Westminster- and Curtis-trained, and their
outside experience as successful church musicians is an additional
factor in making them most suitable to our particular needs. The
reorganized keyboard departm ent functions smoothly under the
energetic supervision of Dr. McCurdy.
Last year the trustees approved the appointment of James

McKeever as a full time faculty member, with the intent of making
him head of the voice departm ent on the retirem ent of our present
head, Walter Johnson. This appointment is significant in that the
study of voice has been and will always be at the very center of
Westminster's musical program. It is appropriate to mention Mr.
McKeever by nam e because his strong convictions regarding the
importance of relating vocal study to the career of the church
musician is very much in line with the college's professed ideals and
also with its practical needs. This change of departm ent heads,
which is contemplated for next year, reflects no change of policy.
The college will value the continuing influence of Mr. Johnson, on a
necessarily reduced teaching schedule, for as long as circumstances
permit.
Near the end of the last academic year Harold Hedgpeth

severed his relations with the college. Mr. Hedgpeth's most
im portant activity was the direction of the Westminster Touring
540
Choir; after his departure, the choir's remaining concerts of the year
were conducted by the Musical Director. With the approval of the
Board of Trustees, immediate plans were made for the organization,
training and performance of this year's Westminster Choir. The choir
was chosen by the Musical Director in collaboration with the voice
faculty, with valuable assistance from the various Deans in judging
the non-musical qualifications of the prospective members. The
choir's tour is scheduled for the latter part of February, and is
substantially booked at this date. Other individual performing dates
have been accepted or are under consideration. The choir has
already made two public appearances, one at the Academy of Music
in Philadelphia, assisting Dr. McCurdy in a dedicatory recital on the
new organ there, and one at the McCarter Theatre in Princeton,
participating in the United Festival of Song. Westminster Choir's
concerts during this year will be conducted partly by Elaine Brown,
head of the Singing City organization in Philadelphia, and partly by
the Musical Director. Judgment of the choir's potential would be
premature at this date, but its present directors are confident that it
will be a source of legitimate pride to the college in continuing
Westminster Choir's function and outreach, and will augment that
function and outreach by achieving a musical excellence which has
not previously been possible.
During last year, and during this year to date, the other choirs
of the college have acquitted themselves as usual—which means that
they have adequately fulfilled their primary function of providing
appropriate choral training and experience for the students, and
their secondary function of representing the college to the general
public in choral performances. This status quo is not as passive as I
have made it sound; when we accept outside engagements for our
choirs, we are responsible for enriching the musical lives of the
students without making demands of them in time and energy which
will prevent them from concentrating properly on their other
studies. And we are at the mercy of circumstances beyond our
control in that worthy opportunities for performance depend not on
our capacity for musical achievement, which is constant, but on the
plans and schedules of orchestras and other outside organizations,
which are variable and diverse. This means that the quantity and
541
quality of such opportunities will vary from year to year—but over a

period of several years these outside performances provide a well-
rounded and stimulating addition to the students' musical lives, and
advertise the musical attainments of the college in the best possible
way. There is every indication that this combination of values and
drawbacks will continue. This November the Symphonic Choir will
appear with the Princeton Symphony in a concert featuring two
Beethoven works. (Incidentally, the concert will include the
performance of Bach's Passion Chorale in memory of Dr. Erdman—this
chorale in its form as a hymn has been closely associated with Dr.
Erdman during the past years at Westminster.) In February the
Symphonic Choir will sing ProkofiefPs Alexander Nevsky with the
New York Philharmonic, Thomas Schippers conducting, and there is
another set of appearances with the same orchestra projected for the
Easter season.
Our musical curriculum, other than in the areas of applied

music and choral activities, continues to be in a state of careful, slow
revision. I will not comment on projects which are included in other
reports, but I will attem pt to clarify the necessity for revision within
the courses we now teach. Our students have a total work load
which is immense, during their entire four years, if they devote the
proper time to each study or activity. We place this work load on
our students because we cannot otherwise give them what we are
sure they must have in three areas—musical, academic, and
religious—to measure up to the requirements of our degree and the
demands of their future positions of leadership. In addition to this
"normal" work load, there are time- and energy-consuming activities
such as student churches and choral performances which involve
many of our students and which we have no desire to curtail. It
should be pointed out that our schedule is more demanding than it
may appear to be on paper, because of the great emphasis we place
on applied music, necessitating for every student many hours of
vocal and instrum ental practice. All of these things are valuable; we
cannot dispense with any of them without damaging the fulfillment
of our college's purpose. Therefore, it is urgently necessary for us to
find every possible way to integrate all our activities so that none of
them is wasteful, and to plan and teach our courses so that they are
542
broad enough in scope to do justice to their aims and still

concentrated enough to remain within the students' capabilities.
There is no room for free and leisurely experimentation with
curricular projects which, while they may be excellent in themselves
and highly appropriate to a more relaxed institution than ours, would
mean the sacrifice of studies we now find essential. The revisions of
the musical curriculum which have been made during the past year
have been numerous but small; they are in the direction of objectives
which have been discussed and approved by the appropriate trustee
committee—and, with the exception of the change in the keyboard
departm ents mentioned earlier, they represent no significant change
of policy.
May I restate in conclusion my belief that the college's musical

affairs are, allowing for planned and foreseeable improvements,
sound and secure.
Respectfully submitted,
Warren Martin
APPENDIX D
1963-1964 TOUR MUSIC PROGRAM

544
1963-1964 TOUR MUSIC PROGRAM1
I
Music from Oratorio
Shepherds raised their happy voices J. C. F. Bach

("The Childhood of Christ")
Plorate filii Israel ("Jephtha") Giacomo Carissimi
Lift up your heads, O ye gates George Frederick Handel
("Messiah")
II
Music from the Madrigal Era
With heart perplexed and troubled Hans Leo Hassler

My bonny lass she smileth Thomas Morley
Mother, I will have a husband Thomas Vautor
Weep you no more, sad fountains John Dowland
Counterpoint of the Animals Adriano Banchieri
III
Music from Opera
Storm Scene and Greeting to Otello ("Othello") Giuseppe Verdi

Barcarolle ("The Tales of Hoffman") Jacques Offenbach
Easter Music (" Cavalleria Rusticana") Pietro Mascagni
INTERMISSION
IV
Music of the Romantic Period
Serenade for alto solo and men's voices, Op. 135 Franz Schubert
1 Westminster Choir College, Westminster Choir concert program, [no
day] [no month] 1964, in possession of author, Phoenix, AZ.
Message, Op. 74 ("Spanish Songbook") Robert Schumann
O schone Nacht, Op. 92 ("Quartets") Johannes Brahms
V
Folk Songs
Oh No, John (English) arr. Warren Martin

Poor Wayfaring Stranger (American) arr. Jackson-Gatwood
Holy Spirit, Don’t You Leave Me arr. William Grant Still
(Negro Spiritual)
Le Romarin Fleuri (French) arr. Darius Milhaud
By Bendemeer's Stream (Irish) arr. Warren Martin
Cielito Iindo (Mexican) arr. Warren Martin
APPENDIX E
DUTIES OF THE MUSICAL DIRECTOR

547
DUTIES OF THE MUSICAL DIRECTOR1
Duties of the Musical Director
{The outline below is an approximation of the status quo, not a

plan for the future.)
1. Supervision of the teaching of music (with Dean and

appropriate department heads)—including:
Assignment of teachers to classes, sections and private pupils

Assignment of classrooms, studios and offices
Scheduling of classes and lessons
Supervision of teaching in progress, as to efficiency,
faithfulness to stated curriculum, cooperation between
departments
Interviewing of students and teachers in regard to
assignment of majors, requests for special course or
applied music assignments, and other related problems
Scheduling of student recitals
2. Planning and supervision of choral activities (with Dean and

conducting staff)—including:
Assignment of conductors to choirs

Assignment of students to choirs
Scheduling of choir rehearsals
Scheduling of choral performances, on and off campus, and
execution or supervision of many details connected with
them
General supervision of the progress of the choirs
3. Planning of the musical curriculum (with Dean)
4. Selection of musical faculty (with Dean, President, and trustee

committee)
1 Warren Martin, Princeton, to the Board of Trustees, 12 March 1962,
548
5. Assistance in admission of students (with Dean and

Registrar)—including:
Answering written inquiries from prospective students

Interviewing prospective students
Serving as a member of the Admissions Committee
Conferring with the recruitment officer
6. Assistance with registration of students (with Dean and

Registrar)—Including:
Supervision of theory departm ent preliminary examinations,

and of applied music auditions
Interviewing of transfer students, pre-graduate students, and
all other students with irregular or problematic schedules
in music
7. Assistance in setting up the Class Schedule (with Dean)
8. Supervision of the College Engagement Book (the scheduling of

all special events, on and off campus, including those
m entioned in previous paragraphs)
9. Assistance in planning all-college functions (with appropriate

administrative officers or faculty members)—including:
Weekly chapel service

Convocation and Commencement
Christmas and year's end activities
10. Conferences (irregular—as the need arises)—on such matters

as:
Purchase of music and musical books, and planning of use of

materials (with librarian)
Condition and use of instruments and musical equipment
(with Business Manager)
549
Background and personality quirks of students, in relation to

their musical accomplishment or to their selection for
choirs (with Deans of Men and Women)
Placement of students, problems of student churches in
relation to schoolwork, and matters relating to Alumni
(Placement Director, who is also Alumni Secretary)
11. Correspondence, telephone calls, supervision of records and

filing, and other office duties having to do with the college's
musical curriculum and activities
(The remaining items are not necessarily a part of the Musical

Director's job, but they are currently my responsibility.)
12. Conducting of Westminster Choir—including:
Selection of choir personnel (with the help of the faculty and

others)
Planning of training program for choir, and execution of same
Planning of tour and other concert engagements (with
Business Manager, Dean, New York agency, and other
appropriate individuals)—and execution or supervision of
details
Conducting of performances
13. Direction of Graduate Division—including:
Selection of students (with Dean) and supervision of their

pre-graduate year of study
Frequent individual conferences with graduate students and
graduate faculty
14. Teaching of graduate conducting course (This course is

scheduled for 9 hours; I am present for 5 or 6 hours weekly
and plan the work for the other session
15. Substitute supervision of and conducting of Symphonic Choir,

when regular conductor is absent (including supervision of all
550
details involved in trips to New York for rehearsals and

performances).
APPENDIX F
"VOCAL MUSIC OF WARREN MARTIN" CONCERT PROGRAM

552
"VOCAL MUSIC OF WARREN MARTIN" CONCERT PROGRAM1
Sunday, 31 October, 1976 — 8 p.m.

Playhouse
Lois Laverty, Judith Nicosia, and Susan Robinson, sopranos
with the composer at the piano
THE MUSIC
Prologue Tell me where is Fancy bred (1963) Trio
I Excerpts from unfinished operas

Lament: Far o'er the hilltops (1932)
Nicosia
Recitative and cavatina: Father, how can I
leave thee
Recitative and cabaletta: As brilliant
sunbeams come at m om (1932)
Robinson,Laverty
II Sacred songs
Intreat me not to leave thee (1965)

Laverty
I see His blood upon the rose (1937)
Robinson
Our Father, which art in heaven (1964)
Nicosia
Little lamb, who made thee? (1968)
Robinson
Like a father pitieth his children (1938)
Nicosia, Laverty
III Magnificat (1965) Laverty
1 Westminster Choir College, "Vocal Music of Warren Martin," Concert

program, Princeton, 31 October 1976, in possession of author, Phoenix, AZ.
553
Five Love Songs (1 9 5 6 )
The night has a thousand eyes

Nicosia
When we two parted
Laverty
Why so pale and wan, fond lover?
Robinson
Music I heard with you
Laverty
My heart is like a singing bird
Nicosia
Epilogue There is sweet music here (1937) Trio
THEWORDS
Prologue William Shakespeare
I Warren Martin
II verses from Ruth 1, King James version;

Joseph Plunkett; verses from Matthew 6, King
James version; William Blake; verses from
Psalm 103, King James version, slightly
paraphrased
III verses from Luke 1, New English Bible
IV Francis Bourdillon; Gordon, Lord Byron; Sir John

Suckling; Conrad Aiken; Christina Rossetti
Epilogue Alfred, Lord Tennyson
NOTE' The duet, Like as a father pitieth his children, is a later

version of the cavatina, Father, how can 1 leave Thee.
APPENDIX G
MUSIC BY WARREN MARTIN

In honor of his Sixtieth Birthday
555
MUSIC BY WARREN MARTINI

In honor of his Sixtieth Birthday
5 December 1976 at 5:30 PM
In the Chapel
Remarks — Charles Schisler
Chorale and Organ Fantasia, For God so loved the World

(from a setting of the St. Matthew Passion, 1960)
Chorale sung by members of Chamber Singers
Cantilena for organ (1962)
How Gen tie God's commands
(from Three Hymn Meditations, 1969)
Scherzo on A berystw yth
(from an organ suite, 1939)
Eugene Roan, organ
Variations on Aus defer Noth, for clarinet and piano (1970)

Chorale—FiveVariations—Cadenza—Chorale
George Jones, clarinet

Robert Dix Lincoln, piano
Romanza for viola and piano (1965)
Joseph Kovacs, viola

Harriet Chase, piano
INTERMISSION
1 Westminster Choir Coliege, Concert program, Princeton, 5 December

In the Playhouse
Sonatina for p ia n o (1 945)

Allegro con moto
Adagio
Rondo
William Cheadle, piano
Scherzo Suite for two pianos (1976)

Introduction—Scherzo in 2/2
Scherzo in 5/4
Scherzo in 6/8
Scherzo in 3/4
Scherzo in 4/4
Louise and William Cheadle, piano
Five Psalms for double chorus and two pianos (1975)

Psalm 137 By the Waters o f Babylon
Psalm 67 God be m erciful unto us
Psalm 23 The Lord is m y Shepherd
Psalm 24 The earth is the Lord’s
Psalm 51 Have m ercy upon me, O Lord
Wilbur Pauley, bass

Westminster Choir
Daniel Beckwith and Hal Pvsher, pianos
Joseph Flummerfelt, conductor
APPENDIX H
In memoriam
WARREN MARTIN
558
In memoriam
WARREN MARTINI
December 4,1916 — April 10,1982
MEMORIAL SERVICE 4:00 P.M.
Quartet in G minor, op. 10 Claude Debussy

I. Anim e et tres decide (1862-1918)
II. Assez v ife t bien rhythm e
III. Andantino doucem ent expressif
IV. Tres modere
Dead March from "Saul" George Frederic Handel

(1685-1759)
Hymn: Lauda anima John Goss

(Praise, my soul, the King of heaven) (1800-1880)
Scripture and Prayers Psalm 30

Revelation 7:13-17
Ray Robinson, President of the College
Elegy fo r Warren Brownell Martin George Lynn

(for string quartet) (b. 1915)
Remarks: James Waters

Elaine Brown
Charles Schisler
Hymn: Seelenbraiitigam Adam Drese

(Jesus, still lead on) (1620-1701)
Donald McDonald, organist
1 Westminster Choir College, "In memoriam Warren Martin: Memorial

Service/Memorial Concert," Service program, Princeton, 14 November 1982, in
559
Quartet in B flat major, op. 130 Ludwig van Beethoven

IV. Alla danza tedesca, Allegro assai (1770-1827)
V. Cavatina. Adagio m olto espressivo
The de Pasquale String Quartet

William de Pasquale, violin Joseph de Pasquale, viola
Robert de Pasquale, violin George Harpham, cello
A brief pause
MEMORIAL CONCERT 5:30 P.M.
Compositions of Warren Martin
Solo Cantata: Psalm 100 ( 1951) Judith Nicosia, soprano

Alfred Weissman, trum pet
Joan Iippincott, organ
Sonatina ( 1945) William Cheadle, piano
Stabat m ater (1966) Lois Laverty, soprano

James Waters, piano
Six song on poem s ofKagawa (1951) Allen Crowell, bass

Marvin Keenze, piano
Romanza (1965) Joseph Kovacs, viola

Harriet Chase, piano
Five Love Songs (1956) Doris Yarick, soprano

Thomas Webb, piano
from Five Psalms (1976) Westminster Choir

Psalm 23 Joseph Flummerfelt, conductor
Psalm 67 Glenn Parker, piano
APPENDIX I
INTERVIEW QUESTIONS
561
INTERVIEW QUESTIONS
1. How long did you know Warren Martin? Were you one of his
close friends? Who did you perceive to have been his close friends?
If you were not a close friend, how would you describe your
relationship?
2. For what did WM look in a friendship? Did he treat all of his

friends similarly? What, in your opinion, attracted him to his
friends?
3. WM once said of himself that he was a "sort of jack of all

trades—good at a num ber of things, but not really outstanding at any
of them." Do you agree with his self-evaluation? Do you believe that
WM had a realistic impression of himself and his work?
4. What was WM's largest contribution to Westminster Choir

College? Did WM share the vision of the founders of WCC? How did
he differ from them in his beliefs regarding the purpose of the
institution?
5. As Musical Director of the school from 1958 to 1963, was he in

a position to make major changes in WCC? Did he have a particular
agenda for change during that period of time? If so, was he
successful in executing those plans or ideas? Do you base this on
information either personally shared with you at some point by WM,
observed by you dining that time period, or obtained through some
other source?
6. Was WM a great administrator? Describe his style. At the

time, was he perceived to be successful as Musical Director of the
College? In retrospect, do you believe that his policies were
appropriate? Why did WM resign as Musical Director of the College?
7. What was WM's relationship to the Board of Trustees during

his tenure as Musical Director? Was he held in high regard by the
boardmembers? By other school leaders?
56 2
8. What was WM’s relationship to President MacCalmont? To

Dean Hopkins?
9. Was WM a great conductor? What were his strengths as a

conductor? His weaknesses? What were the reactions of his
colleagues, students, and administrators to his conducting/leadership
style? What do you know of his score-study techniques?
10. Did WM change the sound of the Westminster Choirs from that
of his predecessors? If so, how would you describe those changes?
If you believe that he did make changes, was it simply to follow
then-current stylistic trends as he understood them, or was it a
reaction to some element in Williamson’s work? Did he have specific
ideas of his own regarding choral tone? Did you ever hear him
describe elements or influences that helped form or shape his
concept of choral sound? Did he conduct as he taught his students to
conduct?
11. Can you describe WM's professional relationship with John

Finley Williamson? Rhea Williamson? George Lynn? Joseph
Flummerfelt?
12. How would you describe WM's compositions? What pieces do

you know? Was it considered great music by his colleagues and
students? Do you think it was great music? Why or why not? Why
did he not seek to have his music published?
13. Was WM a great teacher? How would you describe his

teaching style?
14. Why did WM take less and less responsibility at WCC during
his long tenure there?
563
15. How did WM feel about his campus-wide, 60th-birthday

celebration in 1976? In your opinion, was this celebration
appropriate? Were there other, similar events of festivity during his
long tenure?
16. What other kinds of questions do you believe ought to be

included in this study? Are there obvious questions that you feel are
being overlooked? What else would you like to tell me about Warren
Martin?

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WESTMINSTER CHOIR COLLEGE'S PROFESSOR OF MUSIC

Christopher Bagby Samuel

A Dissertation Presented in Partial Fulfillment

ARIZONA STATE UNIVERSITY

All rights reserved.

UMI Microform 9918293

This microform edition is protected against unauthorized

WESTMINSTER CHOIR COLLEGE’S PROFESSOR OF MUSIC

Christopher Bagby Samuel

has been approved

Director of the School

Dean, Graduate College

W arren Brownell Martin (1916-1982) served on the faculty of

Westminster Choir College in Princeton, New Jersey from 1950 until

1982. During that thirty-two year period, he distinguished himself

as a teacher of conducting, theory, and composition; as a trainer of

choirs for concerts, tours, and recordings; as head of the graduate

departm ent and head of the theory department; and as music

director of the College. This study provides an account of Martin’s

life and distinguished career, and documents his important

contributions to the art of choral music.

The Prologue offers a brief overview of Martin’s life, and

includes descriptors of related dissertations. Chapter II documents

Martin’s childhood years as a Pennsylvania farmboy who developed

at the newly founded Westminster Choir School, where he was a

student of John Finley Williamson, David Hugh Jones, Carl Weinrich,

and Roy Harris. Martin’s career as a church musician at the First

Congregational Church of Los Angeles, his five years as a sergeant in

Chapter IV. Chapter V offers a brief overview of his year as director

of music and organist at Rockefeller Chapel at the University of

as a faculty member and administrator at Westminster Choir College,

scholar, musician, and teacher.

Appendices list interview subjects who assisted in the research

and references to recorded interviews conducted by others and used

in this study. Martin’s published and unpublished compositions,

various concert programs, and several of his significant writings and

reports about Westminster and about music are included in the

Appendices. Several hundred of the letters written by Martin and

material for this study are documented therein also.

II THE EARLY YEARS.............................................................23

III WESTMINSTER CHOIR SCHOOL ................................40

The W ar.................. 154

The Return to Los Angeles___________________ 204

VI WESTMINSTER CHOIR COLLEGE__________________ 250

VII MUSICAL DIRECTOR OF

VIII THE FINAL YEARS.................... 371

SOURCES CONSULTED____________________________________ 470

B *ON BEING A MINISTER OF MUSIC” _______________ 532

C REPORT OF THE MUSICAL DIRECTOR

D 1963-1964 TOUR MUSIC PROGRAM_______________ 543

E DUTIES OF THE MUSICAL DIRECTOR_______________ 546

F “VOCAL MUSIC OF WARREN MARTIN”

G MUSIC BY WARREN MARTIN

H In memorian WARREN MARTIN ................................... 55 7

I INTERVIEW QUESTIONS.................................................. 560

W arren Brownell Martin joined the faculty of Westminster

Choir College in Princeton, New Jersey in 1950.1 During the next

thirty-two years, he distinguished himself as a teacher of conducting,

theory, and composition; as a trainer of choirs for concerts, tours, and

recordings; as the head of the graduate department and head of the