The Foreign Tours of The Rober

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TH E F L O R I D A S T A T E U N I V E R S I T Y
SCHOOL OF MUSIC
T H E F O R E I G N T O U R S O F T H E R O B E R T SHAW C H O R A L E
by
ROBERT DEAN
A D i s s e r t a t i o n s u b m i t t e d to the
School o f M usic
in pa r tia l f u l f i l l m e n t o f the
r e q u i r e m e n t s f o r th e d e g r e e o f
D octor o f Philosophy
S p r i n g S e m e s t e r , 2000
C o p y rig h t© 2000
Robert Dean
All R i g h t s R e s e r v e d
UMI Number 9973237
Copyright 2000 by
Dean, Robert
All rights reserved.
UMI
UMI Microform9973237
Copyright 2000 by Bell & Howell Information and Learning Company.
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unauthorized copying under Title 17, United States Code.
Bell & Howell Information and Learning Company

300 North Zeeb Road
P.O. Box 1346
Ann Arbor, Ml 48106-1346
T h e m em bers o f the C o m m itte e approve the d is s e r ta tio n o f
R o b e r t K. D e a n d e f e n d e d o n t h e 10 Ih d ay o f M a y , 2 0 0 0 .
tis U jd u ' t j . M jb tU c n '_______
A n d r e J. T h o m a s
P r o f e s s o r Directing D i s s e r a t i o n
fitu'Spl\iw ________
P eter Spencer
O u ts id e Comm ittee M em b e r
R o d n e y Eictienberger
C o m m itte e M ember
A m y Brown
Jvf&y Bofctfers
To m y p a r e n ts . G l e n n a n d H e r b a Dean,
and to the m e m o r y o f
W i l l i a m F. C r a m e r
iii
ACKNOWLEDGMENTS
I want to e x p r e s s m y s in c e re g r a t i t u d e to m y m a j o r profe sso r. Dr.
A n d r e J. T hom as , for his e n c o u r a g e m e n t a n d w i s e c o u n s e l during the
c o m p l e t i o n o f this s t u d y a nd t h r o u g h o u t m y d e g r e e p r o g ra m . I wou ld
a l s o like to t ha nk the o t h e r m e m b e r s o f m y c o m m i t t e e . Profe sso r
R o d n e y E i c h e n b e r g e r . Dr. J u d y Bo w ers. Dr. A m y B r o w n and Dr. Pet er
S p e n c e r for th eir a s s i s t a n c e a nd g u idance.
A special a c k n o w l e d g e m e n t is due to m y a c a d e m i c advisor. Dr.

C l i f f o r d Mad sen. His s t e a d f a s t sup p o rt a nd e n c o u r a g e m e n t have h e lp e d
me in more ways t han I c a n express .
T ha nks al so are d u e to the s ta f f at th e F l o r i d a S ta te Un iver sity
S c h o o l o f Music, e s p e c i a l l y M a rily n n S u m m e r s . P a t t y H er rin gton.
B e n j a m i n A. E b e n e r a n d J u n e G o m illio n .
Th anks to N ola F r i n k for p ro v id i n g a c c e s s to p e r s o n a l s cra p b o o k s
and m e m o r a b i l i a o f R o b e r t S h a w , and for s h u t t l i n g m a t e r ia ls ar oun d
Atlanta.
My s in c e re s t t h a n k s go to C h a r lo tte K r e h b i e l a n d Barbara
F r e e m a n Parker, w ho w e r e a m a j o r par t o f th is p r o c e s s from b eg in n in g
to en d . Also. I w is h to t h a n k Rober t K. G e r m a n , w h o provided
i n s p i r a t i o n and in s ig h t. T h a n k s to Anne W o o d w a r d , Flo re nc e K o pleff,

B a r b a r a L in d n e r H u m p h r e y , R o b er t R i c h a r d s , J a n e G u n t e r McCoy,
D o n a l d Neuen. E d w a r d E u g e n e Pierc e, A n n S h a w P r ic e and the fam ily
o f R o b e r t Law so n S h a w f o r s h a ri n g a w e a l t h o f k n o w l e d g e .
iv
F i n a l l y . I would not h a v e c o m p l e t e d this p r o je c t a n d th i s d e g r e e
w ith o u t the lo v in g s u p p o r t o f Jan . m y w i f e and p a r t n e r . H er devotion
and b e l i e f in me are a c o n s t a n t s o u r c e o f i n s p ir a t io n .
TABLE OF C O N T E N T S
ACKNOWLEDGMENTS..........................................................................................................iv
LIST OF FIGURES.....................................................................................................................ix
LIST OF TABLES.......................................................................................................................xi
LIST OF ABBREVIATIONS...................................................................................................xii
ABSTRACT............................................................................................................................... xiii
CHAPTER
1. INTRODUCTION ..................................................................................................................1
Purpose of the Study................................................................................................................ 4

Research Questions.................................................................................................................. 6
Sources o f Information............................................................................................................7
Definitions of Terms................................................................................................................ 8
Delimitations............................................................................................................................. 9
Procedures for Investigation................................................................................................. 10
Procedures Used in Addressing Research Questions.........................................................11
I n t r o d u c t i o n ..................................................................................................................... 11
O v e r v ie w o f the L i t e r a t u r e .......................................................................................13
D i s s e r t a t i o n s ................................................................................................................... 13
Pu blish ed A r t i c l e s ....................................................................................................... 20
B o o k s ..................................................................................................................................25
S u m m a r y ........................................................................................................................... 29
2. BIOGRAPHICAL INFORMATION..................................................................................31
3. THE ERA OF CULTURAL DIPLOMACY......................................................................46
Historical Background...........................................................................................................46
Cultural Exchange. 1948-1980............................................................................................ 51
Cultural Ambassadors Getting Results................................................................................52
4. THE SINGERS OF THE ROBERT SHAW CHORALE................................................60
vi
Rehearsals.............................................................................................................................. 68
Profiles of Robert Shaw Chorale Members........................................................................70
Singer P r o f i l e s .............................................................................................................. 70
5. REPERTOIRE OF THE SHAW CHORALE................................................................... 84
6. THE 1956 TOUR OF THE MIDDLE EAST AND EUROPE.......................................95
The Repertoire of the Middle East and European Tour.................................................... 99

The Tour Itinerary................................................................................................................ 100
7. THE 1962 TOUR OF THE SOVIET UNION............................................................... 126
Planned Selections for Soviet Tour....................................................................................132

Berlin................................................................................................................................... 134
Yugoslavia............................................................................................................................136
Moscow.................................................................................................................................138
Background for the B minor Mass Performance.............................................................. 145
The Cuban Missile Crisis....................................................................................................147
Commentary on the Music................................................................................................ 157
8. THE 1964 TOUR OF SOUTH AMERICA.....................................................................160
The Background o f the Tour.............................................................................................. 161

South America..................................................................................................................... 162
Cultural and Political Background.....................................................................................162
The Repertoire..................................................................................................................... 165
9. SUMMARY. CONCLUSIONS. A N D............................................................................ 184

RECOMMENDATIONS FOR FUTURE RESEARCH
Summary.............................................................................................................................. 188
Conclusions.......................................................................................................................... 198
Value of the Study.............................................................................................................. 200
Recommendations for Future Research............................................................................200
APPENDICES
A. TOURS AND REPERTOIRE OF THE ROBERT SHAW CHORALE....................202

1964-1967
B. REPERTOIRE FOR STANDARD BRANDS.............................................................. 212

SUMMER OF 1948 BROADCASTS
C. CHORALE SINGERS FOR THE THREE FOREIGN T O U R S ................................ 217
vii
D. FOREIGN TOURS ORCHESTRA PERSONNE L......................................................220
E. PERMISSION FORM S ................................................................................................... 221
SELECTED BIBLIOGRAPHY.............................................................................................225
BIOGRAPHICAL INFORMATION.....................................................................................235
LIST OF F I G U R E S
FIGURES
1. S h a w a n d th e C o l l e g i a t e C h o r a l e a r e s h o w n r e h e a r s i n g
in a 1952 L o o k m a g a z i n e a r t i c l e ..........................................................................21
2. I l l u s t r a t i o n r e c r e a t e s S h a w ’s s k e t c h e s for s ta n d i n g a r r a n g e m e n t s . . 28
3. I l l u s t r a t i o n f r o m a c o n c e r t r e v i e w .................................................................... 97
4. M e m b e r s o f th e S h a w C h o r a l e s h o w n at Id le w ild A i r p o r t
p r e p a r e to b o a r d t h e flight f o r C a i r o ....................................................... 100
5. S h a w C h o r a l e m e m b e r s r elax at a n i g h t c l u b in C a i r o ..................... 102
6. D e s t i n a t i o n s f o r th e 1956 M i d d l e E a s t an d E u r o p e a n T o u r
i n d i c a t i n g t o u r s t o p s and d a t e s .....................................................................103
7. P o s t e r f o r th e c o n c e r t at the S a l l e P l e y e l A u d i t o r i u m in P a r i s 3May
1 9 5 6 ................................................................................................................................ 1 17
8. D e s t i n a t i o n s f o r the 1962 S o v i e t U n i o n T o u r i n d i c a t i n g t o u r s to p s
an d d a t e s ...................................................................................................................... 13 1
9. T he S h a w C h o r a l e is h o n o r e d at a r e c e p t i o n by the
B r a n k o K r s m a n o v i c e C h o r u s o f B e l g r a d e .............................................. 136
10. T h e N e w Y o r k T im es h e a d l i n e o f O c t o b e r 15, 1 9 6 2 ...............................141
11. N o t e f r o m a s t u d e n t from the I n s t i t u t e o f L ibrary S c i e n c e

r e q u e s t i n g t h a t th e C h o r a le p e r f o r m "D r y Bones ." .............................. 142
12. R o b e r t S h a w C h o r a l e and O r c h e s t r a p e r f o r m the B m i n o r M a s s in

M o s c o w .......................................................................................................................... 144
13. T h e C h o r a l e p e r f o r m s in L e n i n g r a d d u r i n g Cu ban M i s s i l e C r i s i s .
........................................................................................................................................... 149
14. P o s t e d a n n o u n c e m e n t in C y r i l l i c o f th e C h o r a le 's c o n c e r t in K ie v .
........................................................................................................................................... 152
ix
15. S h a w r e h e a r s i n g C h i l e a n c h o i r in the M o z a r t R e q u i e m ................... 168
16. D e s t i n a t i o n s for the 1964 S o u t h A m e r i c a n T o u r

i n d i c a t i n g tour s t o p s a n d d a t e s ....................................................................... 171
17. R u s s i a n in t e r p r e t e r s a n d e s c o r t s at a r e c e p t i o n n e a r the end o f the

t o u r .................................................................................................................................. 197
LIST OF TABLES
TABLES
1. C l a s s i c a l P r o g r a m One for 1956 T o u r o f the M id d l e E a s t an d

E u r o p e ........................................................................................................................... 84
2. List o f w o r k s c o n d u c t e d by S h a w on the f o r e ig n t o u r s and in years

p r e v i o u s ..........................................................................................................................92
3. 1962 F o r e i g n T o u r P r o g r a m s I l l u s t r a t i n g R e c u r r e n c e s .........................133
4. A c a p p e l l a w o r k s p e r f o r m e d o n th e th re e f o re i g n t o u r s ...................... 193
xi
LIST OF A B B R E V I A T I O N S
AB C: A m e r i c a n B r o a d c a s t i n g C o r p o r a t io n
AFM : A m e r i c a n F e d e r a t i o n o f M u s ic ia n s
A M ICANA: A s o c i a c i o n M e n d o c i n a De I n te r c a m b i o C u l t u r a l
A r g e n t i o n o N o r t e a m e r i c a n o (U nite d S t a t e s - A r g e n t i n a
Cultural Exchange A ssociation of M endoza)
ANTA: A m e r i c a n N a t i o n a l T h e a t r e and A c a d e m y
ASCAP: A m e r i c a n S o c i e t y o f C o m p o s e r s and P u b l i s h e r s
CB S: C o lu m b ia B roadcasting System
CIA: C e n t r a l I n te ll i g e n c e A g e n c y
CPI: C o m m i t t e e on P u b l i c I n f o r m a t i o n
ICES : I n t e r n a t i o n a l C u l t u r a l E x c h a n g e S e r v ic e
NB C: N ational Broadcasting Corporation
R IL M : I n t e r n a t i o n a l R e p e r t o r y o f M u sic L i t e r a t u r e
U SIA: U n i t e d States I n f o r m a t i o n A g en cy
xii
ABSTRACT
T h e Ro ber t S h a w C h o r a l e made thre e f o r e i g n to ur s u n d e r the
a u s p i c e s o f the U .S . D e p a r t m e n t o f Stat e as a p a r t o f the c u l tu r a l

d i p l o m a c y effort i n i t i a t e d d u r i n g the E i s e n h o w e r a n d K e n n e d y
adm inistrations. T h e t o u r s w e r e w id e ly p r a i s e d in the i n t e r n a t i o n a l

p r e s s a n d did m u c h to d i s p e l th e no tion o f A m e r i c a as E u r o p e ’s c u l t u r a l
inferior. The p r e s e n t s t u d y seeks to d o c u m e n t t h e ev en ts o f the t h r e e
f o r e i g n tours and in t h e p r o c e s s , de tail a m a j o r p a r t o f the R o b e r t S h a w
C h o r a l e ' s hi st ory. In s o d o i n g , the f o l l o w i n g s e r v e as r esear ch

questions:
1. What e v e n t s led to the e s t a b l i s h m e n t o f the R o b er t S h a w

Chorale?
2. What e v e n t s le d to the p l a n n i n g o f th e f o re ig n t o u r s ?
3. What w a s t h e h i s t o r i c a l and p o l i t i c a l b a c k g r o u n d o f the
“C u l t u r a l E x c h a n g e ” tours s p o n s o r e d b y th e U.S. S tate
D epartm ent?
4. Who w e r e t h e m e m b e r s o f the C h o r a l e a n d O r c h e s t r a ?
5. Wh en d id t h e t o u r s take p la c e a n d to w h a t c o u n t r ie s ?
6. Why d id t h e U . S . State D e p a r t m e n t c h o o s e the R o b e r t S h a w
C h o r a l e f o r t h e s e tou rs ?
7. What r e p e r t o i r e d id R o b e r t S h a w c h o o s e for the to u r s , a n d
what r o le d i d t h e f or eign g o v e r n m e n t s p l a y in s e l e c t i n g t h i s
repertoire?
XUl
8. How were the t o u r s o r g a n i z e d and w h o c o o r d i n a t e d th em ?
9. W hat was the i n f l u e n c e o f the t ours u p o n U.S. foreign
r e la tio n s ?
10. W hat was the r e s p o n s e o f the p e o p l e in the c o u n t r ie s
v isited ?
T h e s tu d y c o n c l u d e s t h a t th e Ro bert S h a w c h o r a l e was a
s i g n i f i c a n t r e p r e s e n t a t i v e o f th e U.S. g o v e r n m e n t d u r i n g its three
foreign tours. The C h o r a l e ' s f i r s t to u r to the M i d d l e E a s t and Eu rope in
1956 c o v e r e d eleven c o u n t r i e s in s ev en ty day s a n d r e s u l t e d in many
i n v i t a t i o n s to return. In 1 9 6 2 . the Choral e r e t u r n e d to E u r o p e for a
h i s t o r y m a k i n g tour o f B e r l i n . Y u g o s l a v ia a nd th e S o v i e t Union. While
in L e n i n g r a d in O cto b er , t h e C h o r a l e sang to o v e r f l o w a u d i e n c e s as the
C u b a n m i s s i l e crisis t h r e a t e n e d to bring th e S o v i e t a n d A m e r i c a n
g o v e r n m e n t s to armed c o n f l i c t . In 1964, the C h o r a l e m a d e its final
f o r e i g n t o u r to South A m e r i c a . S h a w and the C h o r a l e ' s vi s it open ed the
d o o r f o r S o u t h A m e r ic a n c o n d u c t o r s to co m e to t h e U n i t e d States as
F u l b r i g h t S c h o la r s and r e s u l t e d in Shaw's b e in g a s k e d to return to work
with S o u t h A m e r i c a n c h o i r s th e fo llo w in g two s u m m e r s .
T h e s tu dy also c o n c l u d e s that the singers o f t h e R o b e r t Shaw
C h o r a l e wer e a pr ofe ssion al g r o u p that varied from t o u r to tour. A core o f
s in g e r s , m o s tly New York b a s e d , san g with Shaw on n u m e r o u s tours and
r e c o r d i n g s , and remained loy al as so ciates and frien ds for decades.
xiv
C H A P T E R ONE
INTRODUCTION
The R o b e r t Shaw C h o r a l e was the “g e n e a l o g i c a l a n d sp ir it u a l

o f f s p r i n g , ” a c c o r d i n g to S h a w , o f the ideals o f the C o l l e g i a t e C hor ale,
fo rm e d in 1941. In an a r t ic l e p u b l i s h e d by the N e w Y o r k Tim es in 1951.
titled " C h o r a l I d e a l s . " S h aw o u t l i n e d his r ea so ns for c r e a t i n g the
R o b e r t S h a w C h o r a l e . He w r o t e : " B o t h in terms o f m o t i v a t i o n , ideas
and g e n e a l o g y , the R o b e r t S h a w C h o r a l e is a d i r e c t o f f s p r i n g o f the
C o l l e g i a t e C h o r a l e . ” 1 A l t h o u g h S h a w adm its that " th e i d e a l s " behind
the C o l l e g i a t e C h o r a l e m ay h a v e b e e n realized o n ly a f t e r th e fact, the
n o tio n s o f a c o m m u n i t y o f s i n g e r s in w hic h ea ch c o n t r i b u t e d to the

w h o le his " i n t e l l i g e n c e , s k il l, a n d l o v e " became a m a j o r p a r t o f its
cr ee d. T h e s e s a m e g e n e r a l id e a ls c a r r i e d over to the R o b e r t S haw
C h o r a le , with the a d d i t i o n a l t a s k o f a p p ly in g an a m a t e u r ' s c r e e d to a
p r o f e s s i o n a l l y p r o f i c i e n t , p a id c h o r u s o f select s in g e r s . T h i s res pe ct
and a p p r e c i a t i o n for the " a m a t e u r " in m us ic r e m a i n e d a c o n s t a n t theme
t h r o u g h o u t his c a r e e r , even w h i l e i n s is tin g that the S h a w C h o r a l e
pe r fo r m as well as wo uld a n y p r o f e s s i o n a l or c h e st r a .
The R o b e r t S h a w C h o r a l e was cr e a te d , in S h a w ' s w o r d s , in order
to p e r fo r m w o r k s " le ss s u it a b l e to a lar ge mass ed c h o i r . ” a n d . Shaw
hoped, to form the ba sis for an e v e n t u a l full - t im e p r o f e s s i o n a l sin ging

e n s e m b le . S h a w ' s goal s w e r e c le a r , as he stated in “ C h o r a l I d e a ls."
w r iti n g that the R o b e r t S h a w C h o r a l e “ se ek s to e s t a b l i s h a r e a s o n a b l y
1 Robert Shaw. "C horal Id eals." N ew York Tim es, 30 D e cem b er 1 9 5 1. sec. x, p.7.
s t a n d a r d and p e r m a n e n t c h o r a l - o r c h e s t r a l i n s t r u m e n t for t h e
p e r f o r m a n c e o f a d i s t i n g u i s h e d l i t e r a t u r e . " 2 Shaw w i s h e d to c r e a t e in
this c o u n tr y w h a t t h e m a j o r s y m p h o n y o r c h e s t r a s had b e e n a b l e to
maintain: a p erm a n e n t, year-round, professio n al choir. It w a s a d r e a m
tha t w o u ld u l t i m a t e l y r e m a i n u n f u l f i l l e d .
In 1964. S h a w and W a l t e r G o u l d . S h a w ' s p e r s o n a l m a n a g e r ,

lo b b ie d the F ord F o u n d a t i o n for f u n d s w i t h w hich to e s t a b l i s h a f u l l
tim e paid p r o f e s s i o n a l c h o r u s . G o u l d p l e a d e d t h e i r c a s e in a l e t t e r
w r itt e n to E d w a r d F. D ’A r m s. A s s o c i a t e D i r e c t o r o f the F o r d
Foundation. He w r o t e :
I b e l i e v e it is an u n q u e s t i o n e d f act that the R o b e r t

S h a w C h o r a l e , a n d Mr. R o b e r t S h a w h i m s e l f , s t a n d
a l o n e in the w o r ld o f c h o r a l m u s i c to day . It is a l s o a
fact t h a t a l m o s t e v e r y m a j o r c i t y has a s y m p h o n y
o r c h e s t r a , s u p p o r t e d in s o m e m a n n e r by f o u n d a t i o n s
or o r g a n i z a t i o n s c a p a b l e o f s e c u r i n g th e n e c e s s a r y
f i n a n c e s n e e d e d to run a f u ll s y m p h o n y s e a s o n .
N o w h e r e in this c o u n t r y is t h e r e a p e r m a n e n t C h o r a l e
[sic] f o u n d a t i o n . Mr. S h a w ' s r e c e n t trip to S o u t h
A m e r i c a , as well as his p r e v i o u s tour o f R u s s i a .
Y u g o s l a v i a and G e r m a n y , h as p o i n t e d up the
t r e m e n d o u s b o n d s t hat c a n be d e v e l o p e d t h r o u g h the
c h o r a l li t e r a t u r e . Mr. S h a w h i m s e l f will be g o i n g to
S o u t h A m e r i c a to w o r k w i t h l o c a l c h o r u s e s .
We e n v i s i o n a p e r m a n e n t c h o r a l o r g a n i z a t i o n t h a t
would present yearly sch e d u le d concerts c o m p a ra b le
to t h o s e g iv e n by th e s y m p h o n i c s o c ie ti e s . In
a d d i t i o n to th ese r e g u l a r , s c h e d u l e d c o n c e r t s . . . it is
o u r i n t e n t i o n to i n v i te c h o r a l le a d e r s fro m all o v e r th e
w o r l d to a tte n d c l i n i c s a n d w o r k s h o p s a nd to a c t u a l l y
w o r k w i t h and c o n d u c t o u r A m e r i c a n c h o r u s . J
2 Robert S haw , “ C h o ral Ideals." 1951.
3 Walter G o u ld . N e w York to Edward F. D 'A rm s , New York 20 O c to b e r 1964. Shaw

Papers. Atlanta.
D e s p i te th e e l o q u e n t a r g u m e n t s for a p e r m a n e n t A m e r i c a n
c h o r a l e , the F o r d F o u n d a t i o n d e c l i n e d to b e c o m e in v o l v e d in
s u p p o r t i n g a p e r m a n e n t c h o ir . D ' A r m s w r o t e back to G o u l d on
27 O c t o b e r , s t a t i n g sim ply:
U n f o r t u n a t e l y . I see n o p o s s i b i l i t y that the For d

F o u n d a t i o n w o u ld be a b l e to s u p p o r t such a
perm anent establishm ent.4
In " C h o r a l I d e a l s " S h a w a c k n o w l e d g e d that ther e w e r e o t h e r m o r e

practical f a c t o r s in e s t a b l i s h i n g a s m a l l e r p r o f e s s i o n a l c h o r u s . Through
his w i d e l y a c c l a i m e d work p r e p a r i n g c h o r u s e s for m a jo r U.S. s y m p h o n y
c o n d u c t o r s . S h a w h a d beg un to a t t r a c t th e a t t e n t i o n o f r e c o r d i n g
c o m p a n y e x e c u t i v e s w ho w is h e d to c a p i t a l i z e on the e m e r g i n g m a r k e t
for the n e w h ig h f i d e l i t y r e c o r d i n g s . A l s o , d u r i n g the p e r i o d o f th e

m i d - 1 9 4 0 ' s . r a d i o w a s still a s i g n i f i c a n t m e a n s o f lit e ra r y e n t e r t a i n m e n t
for A m e r i c a n a u d i e n c e s . F or s e v e r a l y e a r s , the major r a d i o n e t w o r k s .

ABC. CBS and N B C ' s r e c o r d i n g d i v i s i o n , R C A Victor C o m p a n y , had
e m p l o y e d S h a w to p r e p a r e c h o r u s e s u n d e r t h e i r c o m p a n y n a m e s . Thus,
prior to 1946. S h a w ' s ch orus had r e c o r d e d u n d e r the n a m e s o f t h e A B C
Chorale, the C B S C h o r a l e a nd the R C A V i c t o r C h o r a le . The n a m e o f
the " C h o r a l e " w a s i m m a t e r i a l . O n l y b y v i r t u e o f the f a c t th a t e a c h
c o m p a n y w as p a y i n g for the C h o r a l e d i d the g r o u p " b e l o n g ” to t h e
studio; in r e a l i ty , t h e sin g er s " b e l o n g e d " to R o b e r t S haw . S h a w ’s list
o f q u a l i f i e d s i n g e r s was p r im a r i l y c o m p r i s e d o f New Y o r k - b a s e d
m em b er s o f the C o l l e g i a t e C h o r a l e a n d p r o f e s s i o n a l s in g e r s . T h e y
4 Edward F. D’A rm s to W alter G o u ld . N e w Y ork. N Y 27 O ctober 1964, S h a w Papers,

Atlanta.
included s u c h p e o p l e as F lo r e n c e K o p l e f f . C l a y t o n K r e h b i e l . C h a r l o t t e
Beig K r e h b i e l . A lb e r t M a y . R o b e r t Y e a g e r . T h o m a s Pyle. Y v o n n e
C ia n n e lla . A lex Z i m m e r , and R ic h a r d W r i g h t . In 1948. S h a w a c c e p t e d
an a s s i g n m e n t ( a r r a n g e d th ro u g h G o u l d ) to do a s u m m e r r e p l a c e m e n t
series w ith a n o n - n e t w o r k a f f i l i a t e d r a d i o s h o w and r e n a m e d t h e g r o u p
the R o b e r t S h a w C h o r a l e to av o id a n y s i g n o f f av or itism.
A n o t h e r r e a s o n c i t e d by S h a w for th e n a m e change w a s t h a t th e
fo ll o w in g y e a r , the J a m e s A. D a v i d s o n M a n a g e m e n t A g e n c y , w i t h
Gould l e a d i n g the w ay . h ad o f f e r e d to s et up a n a tional to u r for a
p r o f e s s i o n a l c h o ir . At the time, it w as f e l t t h a t the group s h o u l d be an
in d e p e n d e n t o r g a n i z a t i o n , and g iv e n the g r o u p ' s r ec en t r ad io s u c c e s s ,
that to n a m e the c h o r u s a f t e r a large A m e r i c a n m ed ia c o n g l o m e r a t e
would not be as a p p e a l i n g as w o u ld s i m p l y n a m i n g the c h o i r f o r its
director. As a re s u lt , the R o b e r t S h a w C h o r a l e o f f ic i a lly c a m e into
being d u r i n g the s u m m e r o f 1948. D u r i n g the next e ig h t e e n y e a r s the
Robert S h a w C h o r a l e b e c a m e the p r e e m i n e n t p r o f e s s i o n a l c h o r u s o f its

era th r o u g h its r e c o r d i n g s un d er the R C A V i c t o r Red Seal label, a nd
thro ugh its e i g h t e e n d o m e s t i c to urs and its t h r e e f ore ign to u rs .
P u r p o s e o f th e S t u d v
In o r d e r to p r e s e r v e the h i s t o r y o f t h e R o b e r t Shaw C h o r a l e and.

in p a r t i c u la r , to d o c u m e n t its u n ique c o n t r i b u t i o n s to a w o r l d w i d e
audie nce, th is s tu d y d e a l s w ith the th r e e f o r e i g n tours: (1) the M i d d l e
East and E u r o p e a n T o u r o f 1956, (2) the S o v i e t Un ion T o u r o f 19 62,
and (3) the S o u th A m e r i c a n T our o f 1964. T h e thre e f o reig n to u r s ,
s p o n s o r e d by the D e p a r t m e n t o f S ta te u n d e r the Un ited States
I n f o r m a t i o n Ser vice, e s t a b l i s h e d R o b e r t S h a w as a wo rld r e n o w n e d
c o n d u c t o r a nd i n t r o d u c e d the R o b e r t S h a w C h o r a l e to a w orld w i d e
a u d i e n c e g e n e r a l l y s k e p ti c a l o f A m e r i c a n c u l t u r e .
A s e c o n d a r y aim o f t h i s s tu d y is to p l a c e the R o b er t S h aw
C h o r a l e in h isto r ic al c o n t e x t o f th e T r u m a n . E i s e n h o w e r , and
K e n n e d y ' s a d m i n i s t r a t i o n s e a r l y e f f o r t s to e s t a b l i s h “ free e x c h a n g e s " o f
p e o p l e , id e a s , and r e s o u r c e s . T h e S tate D e p a r t m e n t tours w e r e p a r t o f a
m u c h l a r g e r s c h e m e to c r e a t e f r i e n d s h i p a nd u n d e r s t a n d i n g b e t w e e n
n a t i o n s th a t was in it ia te d by P r e s i d e n t i a l O r d e r and the U nited S t a t e s
I n f o r m a t i o n and E d u c a t i o n a l A c t, P u b li c L a w 4 0 2 . p a s se d by the 8 0 t h
c o n g r e s s in 1948. The f o r e i g n to u rs a t t e m p t e d to b r id g e i d e o l o g i c a l
and c u l t u r a l gaps in th re e c r u c i a l r e g i o n s o f t h e w o r ld ; the M i d d l e E a s t
and C e n t r a l Eur ope , the S o v i e t U n io n , and L a t i n A m e r i c a .
R o b e r t Shaw's w o r k w i t h the R o b e r t S h a w C h o r a l e had an

e n o r m o u s im p act on c h o r a l m u s i c p e r f o r m a n c e in this c o u n tr y and
abroad. T h e c o n f l u e n c e o f r a p i d l y d e v e l o p i n g m a r k e t s for the n e w H i g h
F i d e l i t y r e c o r d i n g s and p o s t - w a r p r o s p e r i t y e n a b l e d A m e r i c a n s to e n j o y
the c l e a r a nd r h y th m i c a l l y p r e c i s e s ound o f t h e R o b e r t Shaw C h o r a l e in
t h e i r o w n h o m e s . A f te r e i g h t y e a r s o f s u c c e s s f u l to u r in g w ith in the
U n i t e d S t a t e s , the R o b e r t S h a w C h o r a l e b e c a m e o ne o f the w o r l d 's m o s t
p o p u l a r f o r e i g n a m b a s s a d o r s in t h e “ c u l t u r a l b a t t l e . " S haw was

c a u t i o u s , h o w e v e r , in his a p p r a i s a l o f the e f f e c t the tours m i g h t h a v e .
He f e l t t h a t the w o r l d ' s p r o b l e m s wer e too c o m p l i c a t e d to be s o l v e d by
m a n u f a c t u r e d good will. As he w r o t e in a s p e e c h d e l i v e r e d at the
U n i t a r i a n c h u r c h in C l e v e l a n d f o l l o w i n g the 1962 R u s s ia n tour:
S in g in g t o g e t h e r h a s s o m e g r a n d a n d g l o r i o u s and
s a lu ta r y r e s u lts , b u t a m o n g th e m a r e n o t the s e tt lin g
o f e c o n o m i c o r p o l i t i c a l or m i l i t a r y p r o b l e m s . These
p r o b le m s have to be s e t t l e d e c o n o m i c a l l y a n d
p o li tic a lly . W h a t c u l t u r a l e x c h a n g e can do is ac t as a
lu b ri c a n t . . . it c a n g a i n us time.^
A n a d d i t i o n a l p u r p o s e o f th i s s t u d y is to h i g h l i g h t S h a w ' s
c o n t r i b u t i o n to the fie ld o f c h o r a l m u s i c e d u c a t i o n . T h e f o re ig n tou rs
r e v e a l S h a w to be an u n s e l f i s h t e a c h e r o f s t u d e n t s , p r o f e s s i o n a l c hor al
c o n d u c t o r s and te a c h e r s in o t h e r c o u n t r i e s . He s h a r e d his te c h n i q u e s
and p h i l o s o p h i e s wit h a n y o n e w h o w o u l d listen , and in a v e r y real
s e n s e , b e c a m e an u n o f f i c i a l m e n t o r to s e v e ra l g e n e r a t i o n s o f cho ral
conductors. Upon e x a m i n a t i o n , it b e c a m e c l e a r t h a t S h a w was a p e r so n
u n e n a m o u r e d with his o w n a c c o m p l i s h m e n t s , r a t h e r , in his own w ords,
a d e d i c a t e d “ c r a f t s m a n ” b e i n g g u i d e d by the g e n i u s o f g r e a t c o m p o s e r s .
R esearch Q uestions
T h i s s tudy de ta il s the f o r e i g n t o u r s o f th e R o b e r t S h a w C h o r a le
a nd s e e k s to place the m a j o r e v e n t s o f the p e r i o d . 1956 t h r o u g h 1964.
into h i s t o r i c a l p e r s p e c t i v e . In so d o i n g , the f o l l o w i n g s e r v e as r esear ch

questions:
1. W h a t ev ents led to th e e s t a b l i s h m e n t o f the R o b e r t Shaw

Chorale?
2. W h a t ev en ts led to the p l a n n i n g o f the f o r e i g n t o u r s ?
3. W h a t was the h i s t o r i c a l a n d p o l i t i c a l b a c k g r o u n d o f the
" C u l t u r a l E x c h a n g e ” t o u r s s p o n s o r e d by t h e U . S . State
Department?
5 R o bert Shaw, "R u ssian T o ur: U n ita ria n C hurch S e rm o n .” C le v e la n d Unitarian

C h u rch, 3 M arch 1963. (Personal p apers o f R o b e rt Shaw, A tlanta).
4. W h o w e r e the m e m b e r s o f t h e C h o r a l e and O r c h e s t r a ?
5. W h e n did the tours take p l a c e a n d to what c o u n t r i e s ?
6. W h y did the U.S. S ta te D e p a r t m e n t ch o o s e the R o b e r t S h aw
C h o r a l e for these t o u r s ?
7. W h a t r e p e r t o i r e did R o b e r t S h a w c h o o s e for the t o u r s , and
w h a t r o le did the f o r e i g n g o v e r n m e n t s play in s e l e c t i n g this

repertoire?
8. H o w w e r e the tours o r g a n i z e d a n d w ho c o o r d i n a t e d t h e m ?
9. W'hat w'as the i n flu e n c e o f t h e to u r s upon U.S. f o r e i g n
relations?
10. W h a t was the r e s p o n s e o f t h e p e o p l e in the c o u n t r i e s v i s i t e d ?
Sources o f Inform ation
P r i m a r y s o u r c e s o f data c o n s i s t o f the p e r s o n a l p a p e r s,
s c r a p b o o k s , a n d m e m o r a b i l i a o f R o b e r t L a w s o n S h a w and o f C h o r a l e
m e m b e r s w h o t o u r e d with him . T h e s e p a p e r s c o n s is t o f t o u r b o o k l e t s ,
brochures, itin eraries, concert pro g ram s, personal corresp o n d en ce,
j o u r n a l s , t o u r r o s t e r s , and c o p i e s o f p r i n t e d r e v ie w s . Photographs were
also u s e fu l in v e r i f y i n g i n f o r m a t i o n as w e ll as p r o v id i n g i n t e r e s t for the
re ad er. O t h e r s o u r c e s o f i n f o r m a t i o n c a m e fro m State D e p a r t m e n t
r ecord s h o u s e d in the N ati o n a l A r c h i v e s in C o ll e g e Par k. M a r y l a n d , and

r ecord s a nd d o c u m e n t s found in n e w s p a p e r a nd j o u r n a l a r t i c l e s l o c a t e d
eit h er in the S t r o z i e r and W a r r e n D. A l l e n L i b r a r ie s at F l o r i d a S ta te
U n i v e r s i t y o r t h r o u g h in t e r l i b r a r y lo a n . A dditionally, D issertation
A b s t r a c t s o n C D - R O M were a h e l p f u l s o u r c e o f i n f o r m a t i o n in l i m i t i n g
the s c o p e o f t h i s s tu d y . A d d i t i o n a l i n f o r m a t i o n was s u p p l i e d by
e y e w i t n e s s a c c o u n t s o f e m b a s s y o f fic ia l s in th e v a r i o u s c o u n t r ie s
v i s i t e d . F in all y , p u b l i s h e d artic le s in new s j o u r n a l s , music b u s in e s s
j o u r n a l s , and m a j o r n e w s p a p e r s p r o v id e d i n v a l u a b l e data r e g a r d i n g
r e p e r t o i r e and c r i t i c a l r e s p o n s e to the C h o r a l e .
Definitions o f Term s
The na m e " R o b e r t S h a w C h o r a l e ” r e f e r s to the p r o f e s s io n a l

t o u r i n g e n s e m b le f o u n d e d by R obert S h a w in 1948 and c o n t i n u i n g u n til
1967. The n a m e s " C h o r a l e . ” “ Shaw C h o r a l e . ” a n d " R o b e r t S haw
C h o r a l e ” are us ed i n t e r c h a n g e a b l y in this s t u d y . T h e terms “ o r c h e s t r a ”
a n d “ string e n s e m b l e ” ar e u s e d to s ig n if y th e h a n d - p ick ed o r c h e s t r a l
m u s i c i a n s who a c c o m p a n i e d the Rober t S h a w C h o r a l e on tour. Th e
o r c h e s t r a p la y e r s t h a t S h a w e m p l o y e d w e r e , f o r th e most par t, f r e e
la n c e m u s ic ia n s and w e r e , as such, a " p i c k - u p ” g r o u p sele cted for th e

n e e d s o f ea ch p a r t i c u l a r to u r . The y are r e f e r r e d to as the " o r c h e s t r a ”
or. in c o m b i n a t i o n w i t h the C h o r a le , as the " R o b e r t Sha w C h o r a l e a n d
O r c h e s t r a . ” It s h o u l d a ls o be noted that th e " R o b e r t Shaw C h o r a l e ” an d
the " O r c h e s t r a ” w e r e n o t s ta tic o r g a n i z a t i o n s w i t h fixed m e m b e r s h i p s .
R a t h e r , the m e m b e r s h i p s c h a n g e d f r e q u e n t l y ( u s u a l l y from t o u r to t o u r ) .
T he name R u s s ia is u s e d f r e q u e n t ly , in st e a d o f th e Soviet U n io n . M o s t
o f the c o ncerts were g i v e n in Ru ssia itself, w h i l e s e v e r a l d e s t i n a t i o n s
i n c l u d e d cities in o t h e r S o v i e t R e p u b li c s s u c h as B e la r u s and the
U k r a i n e . 6 Th e te rm R u s s i a is used in this s t u d y to sp ecify a
6 The Shaw C horale p erfo rm ed in only three cities in R u ss ia itself, ac cordin g to

R ob ert German, a U.S. e m b assy official in M oscow at the tim e . T h o se cities were M o sco w ,
L enigrad amd Ryazan. The re m a in in g concerts p erform an c es w e re in three cities in S o vie t
R epub lics that are now in d ep en d e n t nations: Belarus (M in sk ); M o ld av ia (K ishinev, now
C hisinau); and Ukraine (K ie v , the capital; Yalta, in the C rim e a ; and L'vov and C h e rn o v ts y
in the far west). (R ob ert K. G e rm an , Unpublished M em o irs, 1999).
g e o g r a ph ical and c u l t u r a l p l a c e , while the S o v i e t U n i o n is used to
r e p r e s e n t a p o l i t i c a l a n d g o v e r n m e n t a l e n t i t y as w e l l as a more
encom passing g e o -p o litic a l area. H o w e v e r , in m o s t o f the s o u r c e s
r e f e r e n c e d , the tw o n a m e s ar e u s e d s o m e w h a t i n t e r c h a n g e a b l y .
“ D o m e s tic t o u r " r e f e r s to any t o u r t h a t t o o k p l a c e w ithin the
continental United S tates, including neig h b o rin g po rtio n s of Canada.
" F o r e i g n t o u r " r e f e r s to t o u r s t hat r e q u i r e d t r a v e l i n g to a n o n - U .S . or
C a n a d i a n lo c a t i o n . “ E m b a s s y o f f i c i a l " r e f e r s to o f f i c e r s , s e c r e t a r i e s ,
a n d c o n s u ls s e r v i n g in A m e r i c a n posts. G o s k o n c e r t ( G o s is the s h o r t
p r e f i x m e a n i n g “ s t a t e " ) w a s the o f fi cial c o n c e r t b o o k i n g a g e n c y r u n by
the S o v i e t M i n i s t r y o f C u l t u r e an d was r e s p o n s i b l e f o r d e t e r m i n i n g
w h i c h groups or s o lo p e r f o r m e r s were a l l o w e d to t o u r R us sia .
G o s k o n c e r t also d e t e r m i n e d w h a t r e p e r t o i r e w a s to be a l lo w e d .
Delimitations
This s tu d y d o e s n o t s e e k to d o c u m e n t the c o m p l e t e life an d c a r e e r

o f R o b e r t Shaw . A m o r e c o m p l e t e b i o g r a p h y w i l l no d o u b t f o ll o w w i th
his p a s s in g in J a n u a r y o f 1999 (as this d i s s e r t a t i o n w a s b e in g w r i t t e n . )
S i n c e S ha w's w o r k w i t h th e R o b e r t S haw C h o r a l e e n d e d with his
a p p o i n t m e n t as c o n d u c t o r o f th e A t la n ta S y m p h o n y , this study d o e s not
f o c u s on S haw 's c a r e e r a f t e r th e p eriod w h e n th e C h o r a l e was a c t i v e l y
t o u r i n g . N or d o e s th i s s t u d y a t t e m p t to d o c u m e n t th e e n t i r e h i s t o r y o f
the R o b e r t S h a w C h o r a l e e x c e p t whe re r e l e v a n t to t h e p r e s e n t
d i s c u s s i o n or for h i s t o r i c a l b a c k g r o u n d . A l s o , f o r t h e p u r p o s e o f this
s t u d y , no a t t e m p t is m a d e to r e p o r t the g e n e r a l h i s t o r y o f p r o f e s s i o n a l
choral organizations. D i s c o g r a ph ies o f the R o b e r t S h a w C h o r a l e are
b e y o n d the sco pe o f th i s s t u d y a n d t h e r e f o r e are n o t i n c l u d e d .
P r o c e d u r e s for I n v e s t i g a t i o n
1. The p r e p a r a t i o n o f a w o r k in g b i b l i o g r a p h y a n d r e v i e w o f
li t e r a t u r e b e g a n with s e a r c h e s o f d i s s e r t a t i o n s on C D - R O M lo cated in
the S t r o z i e r L ibrary on t h e c a m p u s o f F l o r id a S ta te U n i v e r s i t y and with
i n t e r v i e w s o f c o l l e a g u e s , f r i e n d s , and p r o f e s s i o n a l m u s i c i a n s who k n e w
o f the a c t i v i t i e s o f the R o b e r t S h a w C h o r a l e .
2. S ource s s u c h as The M u s ic I n d e x . I n d e x to t h e N e w York

Times . I n t e r n a t i o n a l R e p e r t o r y o f M usic L i t e r a t u r e ( R I L M ) . B oo ks in
Print, a n d i n t e r n a ti o n a l p e r i o d i c a l in dexes w e r e e x a m i n e d to c o m p i l e
data r e g a r d i n g p u b l i s h e d a r t i c l e s .
3. U n p u b l i s h e d i n f o r m a t i o n p e r t a i n i n g to t h e t o u r s was
a c c e s s e d t h r o u g h U.S. S t a t e D e p a r t m e n t r e c o r d s at t h e N a t i o n a l
A r c h i v e s in C o lle g e P a r k , M a r y l a n d , and i n s p e c t i o n o f t h e p e r s o n a l
p a p e r s a n d s c r a p b o o k s o f R o b e r t S haw and f o r m e r C h o r a l e m e m b e r s .
4. F o r m er R o b e r t S h a w C h o r a le m e m b e r s w e r e i n t e r v i e w e d by
t e l e p h o n e , e - m a il. m a il , a n d , w h e r e p o s s ib l e , in p e r s o n . Personal
i n t e r v i e w s p r o v id e d u s e f u l c o n f i r m a t i o n o f fac ts as w e l l as m an y
personal anecdotes.
5. O r g a n i z a t i o n o f m a t e r i a l s was a r r a n g e d c h r o n o l o g i c a l l y
b e g i n n i n g w ith a b i o g r a p h i c a l s k e tc h o f R o b e r t S h a w , c h a p t e r s d e ta i lin g
the c u l t u r a l e x c h a n g e m o v e m e n t , the sin g er s on the t o u r s , th e r e p e r to ir e

o f the t o u r s , the M id dle E a s t t o u r , the R u s s i a n t o u r , a n d t h e South
A m e r i c a n tour.
10
P r o c e d u r e s U s e d in A d d r e s s i n g R e s e a r c h Q u e s t i o n s
In p r e p a r i n g this d o c u m e n t th e f o ll o w i n g p r o c e d u r e s w e r e
employed.
1. A t h o r o u g h r e v i e w o f l i t e r a t u r e p e r t a i n i n g to th e topic.
2. C o m p i l i n g d a ta t h r o u g h p u b l i s h e d m a t e r ia ls i n c l u d i n g
e n c y c l o p e d i a s , b i o g r a p h i c a l d i c t i o n a r i e s , a nd a r t i c l e s in
j o u r n a l s and n e w s p a p e r s .
3. C o l l e c t i n g a n d c l a s s i f y i n g u n p u b l i s h e d m a t e r i a l in c lu d i n g
p e r s o n a l c o r r e s p o n d e n c e , te l e g r a m s , to u r r o s t e r s , printed
p r o g r a m s he ld in p r i v a t e c o l l e c t i o n s , p h o t o g r a p h s , and
notes.
4. C o n d u c t i n g p e r s o n a l i n t e r v i e w s with f o r m e r R o b e r t Shaw
C horale members.
5. O r g a n i z i n g the p r e s e n t a t i o n o f m a te r ia ls into c h a p t e r s .
R e v i e w o f R e l a t e d L ite r a tu r e
Introduction
T h e R o b e r t Shaw C h o r a l e w a s o n e o f the fin e st A m e r i c a n

p e r f o r m i n g o r g a n i z a t i o n s o f th e 1950s a nd 60s. T h e ir t o u r s a nd
r e c o r d i n g s for th e RCA V i c t o r C o m p a n y set the s ta n d a r d f o r q u a l i t y
a m o n g c h o r a l g r o u p s in A m e r i c a a n d e s t a b l i s h e d S h a w as an
i n t e r n a t i o n a l m u s i c a l figure. In 1986 , on the o c c a s i o n o f S h a w ' s
s e v e n t i e t h b i r t h d a y , C h a r l e s S c h i s l e r w r o t e , "N o o t h e r m u s i c i a n o f
11
t w e n t i e t h c e n t u r y A m e r i c a has m a d e a g r e a t e r c o n t r i b u t i o n to the
m u s i c a l p r o d u c e o f A m e r i c a b o th t h r o u g h t ra in i n g and p e r f o r m a n c e . " 7
W h e n R o b e r t S h a w p as sed a w a y 25 J a n u a r y 1999. the N e w York Times
c a lle d him th e " e l d e r s ta t e s m a n an d g r e a t s p ir it o f A m e r i c a n m u s ic a l

p e r f o r m a n c e . " 8 His p e r f o r m a n c e s a n d G r a m m y - w i n n i n g r e c o r d i n g s with
the S h a w C h o r a l e and the A t l a n t a S y m p h o n y O r c h e s t r a e a r n e d him the
r e s p e c t an d a d m i r a t i o n o f c h o r a l an d o r c h e s t r a l m u s i c i a n s alik e. A
m e m b e r o f th e P i t t s b u r g h S y m p h o n y O r c h e s t r a o n ce to ld the a u t h o r th at
S h a w w as o n e o f t h e i r m o st w e l c o m e d a n d r e s p e c t e d g u e s t c o n d u c t o r s .
But S h a w , by his o w n a d m i s s i o n , h a d a lot to learn w h e n he c r e a t e d the
R o b e r t S h a w C h o r a l e . 9 The s u c c e s s he h ad a c h i e v e d w it h the C o l l e g i a t e
C h o r a l in th e 1940s was a r e s u l t o f i n n a t e t a l e n t , e n o r m o u s in t e l l e c t ,
an d d e t e r m i n a t i o n . E v e n t u a l l y t h e s e q u a l i t i e s b r o u g h t him to the
attention o f A rturo Toscanini, Serge K oussevitzky, Leopold Stokow ski,
and o t h e r n o t a b l e s y m p h o n y c o n d u c t o r s . A f t e r the r e c o g n i t i o n an d
d e s e r v e d " i n v i t a t i o n s . " as he s ta t e d in 1984, cam e the " m a k e - u p
l e s s o n s . " 10
' C h a rle s S ch isler. "Robert S haw at S ev en ty : Tribute to a T ita n .” The C horal

J o u rn a l 26 (A p ril 1986): 15.
8 Jam es R. O e streich , "Robert Shaw, C h o ral and O rchestral Leader, Is Dead at 8 2 .”

N ew York T im es, 26 J an u a ry 1999, sec. A 21.
9 N e w sw e ek quoted Shaw in the 21 Jan u a ry 1952 issue as saying, “ 1 don't handle the
o rchestra as well as a chorus, and I w ant to find o u t w h y .” ("B ob S h a w ’s M usic.” p. 36)
10 Brian T. Ellis. W riter/Producer, R o b ert S h a w a n d the A tla n ta S ym p h o n y (Fulton

C ounty Arts c o u n c il, 1984), videocassette.
12
O v e r v i e w o f the L i t e r a t u r e
M u c h o f what has b e e n w r itte n a b o u t S h a w h a s f o c u s e d on his

p h i l o s o p h i e s and t e c h n i q u e s o f ch oral m u s i c . T h e s e w r i t i n g s fall into
five m a i n c a t e g o r i e s :
1. D i s s e r t a t i o n s d e a l i n g with t o p i c s r e l a t e d to ch o r a l
conducting o r ch oral conductors
2. I n te r v i e w s o f S h a w an d his w r i t i n g f o r v a r i o u s p u b li c a ti o n s
3. B i o g r a p h i c a l s k e t c h e s in p u b l i s h e d j o u r n a l s th at have
h i g h l i g h t e d v a r i o u s as p ects o f his c a r e e r a n d his musica l
and p r o f e s s i o n a l c o n t r i b u t i o n s
4. Fe a tu r e a r t i c l e s a n d rev iew s
5. C h o r a l c o n d u c t i n g t e x t b o o k s i n t e n d e d f o r t r a i n i n g ch oral
m u s i c i a n s at t h e c o l l e g i a t e level
T h e l ite r a tu r e r e v i e w w ill focus on th e b o d y o f w r i ti n g s ,
i n t e r v i e w s , and s tu d i e s t h a t a d d r e s s the p r o f e s s i o n a l life o f Rob er t
Shaw. T h e R e v ie w o f L i t e r a t u r e is d i v id e d i n to t h e f iv e main
c a t e g o r i e s above. For th e purp o se of clarity, u n d e r l in e d subheadings

d e l i n e a t e th e areas b e i n g r e v i e w e d .
Dissertations
S e v e r a l d o c to r a l d i s s e r t a t i o n s have d e a l t w i t h th e c o n d u c t i n g an d
rehearsal methods o f R o b e rt Shaw. Brian J. K n u t s o n , in his d i s s e r t a t i o n
e n t i t l e d . I n t e r v i e w s w i t h S e l e c t e d C o n d u c t o r s C o n c e r n i n g R a ti o n a le a n d
P r a c t i c e s R e g a r d i n g C h o r a l B l e n d , a d d r e s s e d t h e i d e a s o f thirt ee n w e ll-
k n o w n c h o r a l c o n d u c t o r s r e g a r d i n g blend in c h o r a l s i n g i n g . " K nuts on
11 B rian J. Knutson, “ In te r v ie w s with Selected C h o ral C o n d u c t o r s Concerning

R a tio n ale and Practices R e g a rd in g C h o ra l Blend” (P h.D . d is s ., F l o r i d a State University,
1987). 65.
13
i n t e r v i e w e d e i g h t a c t iv e c h o r a l d i r e c t o r s a b o u t the t o p i c o f blend as
a p p r o a c h e d by these w e l l - k n o w n c o n d u c t o r s . He i n d i c a t e d tha t Shaw's
ideas c o n c e r n i n g bl end f o c u s s e d on: (1) S i n g i n g the c o r r e c t
c o m b i n a t i o n o f v o w e ls an d c o n s o n a n t s at the c o r r e c t t i m e . (2) getting

p e o p le to s i n g in tune, a n d (3) t r a i n i n g the c h o i r to c r e s c e n d o and
d e c r e s c e n d o at the s am e rat e. K n u t s o n also r e p o r t e d t h a t S h a w had a
" p r a c t i c a l f i x - i t " a t t i t u d e w h e n it c a m e to b le n d . He b e l i e v e d that good
c h o r a l t o n e r e f l e c t e d th e i n t e n t a n d s ty le o f the m u s i c , r a t h e r than
h a v in g o n e '‘i d e a l " c h o r a l t o n e f o r all m us ic.
In his d i s s e r t a t i o n . C h o r a l R e c o r d i n g as H i s t o r y : A S t u d y o f the
R e c o r d i n g T e c h n i q u e s o f Fiv e C h o r a l O r g a n i z a t i o n s . A l a n W a y n e
M il l e r d e v o t e d a c h a p t e r to the i n n o v a t i o n s an d id e a s e m p l o y e d by
R o b e r t S h a w , i n c l u d i n g his w o r k w i t h the C o l l e g i a t e C h o r a l e , the

R o b e r t S h a w C h o r a l e , an d th e A t l a n t a S y m p h o n y O r c h e s t r a . S h a w ’s
G r a m m y a w a r d s for his r e c o r d i n g s for Tela rc ar e d i s c u s s e d , and
d e t a i l e d i n t e r v i e w s w i th r e c o r d i n g t e c h n i c i a n s w h o w o r k e d w it h Shaw
d u r in g t h e s e a n d o t h e r s e s s i o n s a r e in c lu d e d . M i l l e r s t a t e d that S h a w ’s
e x p e r i e n c e s w i t h r e c o r d i n g b e g a n in the 1930s w h i l e w o r k i n g for the
Fred W a r i n g o r g a n i z a t i o n . M i l l e r w r o te :
In a d d i t i o n to c o n d u c t i n g W a r i n g ’s G le e C l u b . S h a w
o f t e n sat in th e c o n t r o l r o o m whil e th e y r e c o r d e d ,
h e l p i n g e n g i n e e r s w i t h b a l a n c i n g the v o i c e s an d
o r c h e s t r a . 1' S h a w s t a t e s th a t the m o s t s i g n i f i c a n t
12 S h aw later perform ed the sam e du ty as A ssociate C o n d u c to r o f the Cleveland

O rchestra u n d e r G e o rg e Szell. F or m an y years Shaw took an active ro le in the editing o f the
recordings, but stated that as tim e w ent on. he was too busy and d e c id e d to trust the sound
engineers to do th e editing for him.
14
p r o b l e m s e n c o u n t e r e d w e r e “ m u s i c a l on es: a c h i e v i n g
j u s t b a l a n c e s , in t o n a t i o n a nd e n u n c i a t i o n . " Ij
M i l l e r d e v o t e d c o n s id e r a b l e a t t e n t i o n to the r e c o r d i n g t e c h n i q u e s
used by S h a w a n d four oth er o r g a n i z a t i o n s : the M o rm o n T a b e r n a c l e
Choir. St. O l a f C h o i r Colleg e, the W e s t m i n s t e r C h o i r C o l l e g e , and Fred
W ar in g a nd t h e P e n n s y lv a n i a n s . M i l l e r a d d r e s s e d the c o n d u c t o r o f each
group and h i s c o n t r i b u t i o n s or i n n o v a t i o n s to r e c o rd i n g t e c h n i q u e s .
M iller t r a c e d th e d e v e l o p m e n t o f R o b e r t S h a w b e g in n in g w i t h his work
with Fred W a r i n g ' s P e n n s y lv a n i a n s . It w a s from W a r i n g t h a t S h a w
lear ned the b e n e f i t s o f “tone syllables*" 14 for c reating c l a r i t y o f d ictio n ,
e ither in r e c o r d i n g s or live r ad io b r o a d c a s t s . Shaw q u i c k l y r e a l i z e d
that c r i sp e n u n c i a t i o n was c r u c i a l in a m e d i u m (ra dio) w h e r e th e
a u d ie n c e c o u l d not see the s i n g e r s ' lips m o v e . Shaw and W a r i n g ' s
e m p h a s is on t e x t e n u n c i a t i o n set t h e m a p a r t from th eir c o l l e a g u e s at

u n i v e r s i t i e s a n d c o l l e g e s who f o c u s s e d m o r e on d e v e l o p i n g s i n g e r s who
a d h e r e d to p a r t i c u l a r p h i l o s o p h i e s o f s i n g i n g p r o d u ctio n . S i n c e both
W aring a nd S h a w w o r k e d with a c c o m p l i s h e d , p r o f e s s i o n a l s i n g e r s , most
o f t h e i r w o r k w a s d o n e to e n h a n c e e n s e m b l e and a r t i c u l a t i o n . M iller's
in t e rv i e w s w i t h s e v e r a l o f S haw 's r e c o r d i n g en g in eer s i n d i c a t e d that
Shaw was an i n n o v a t o r and that the R o b e r t S haw C h o r a l e w a s a m a j o r
factor in the d e v e l o p m e n t o f r e c o r d i n g t e c h n i q u e s .
13 Alan W a y n e M iller, "Choral R eco rdin gs As History: A Study o f th e R ecording

T echniques o f F ive C h o ral O rganizations,” (P h .D . diss., Florida State U n iv ersity , 1992),
228.
14 “T o n e S y ll a b le s ,” a phrase co p y rig h te d by Fred Waring, break the w o rd s to be

spoken or sung into the sm allest units o f sound p o ssib le . Exaggerating the c o n s o n a n ts is
intended to c la r ify te x t enunciation.
15
P h i l l i p J e f f e r y M o rr o w 's d i s s e r t a t i o n . The I n f l u e n c e o f th e R o b e r t
S h a w C h o r a l e , th e R o g e r W a gner C h o r a l e a n d the G r e g g S m i t h S i n g e r s
on the P r o f e s s i o n a l C h o r u s in A m e r i c a ( 1 9 9 3 ) was a d e s c r i p t i v e s t u d y
that e m p l o y e d a s u r v e y i n s t r u m e n t to g a t h e r q u a n t i t a t i v e and q u a l i t a t i v e
data. T h e s t u d y c o m p a r e d the c o n t r i b u t i o n s o f the R o b e r t S h a w
C h o r a l e , the R o g e r W a g n e r C h o r a l e , a n d th e G r e g g S m i t h S i n g e r s to
p r o f e s s i o n a l c h o i r s in A m er ica. M o r r o w e m p l o y e d a free r e s p o n s e
s e c t io n to a l l o w for p e r s o n a l c o m m e n t s . Tw enty-nine professional
c h o r a l c o n d u c t o r s r e s p o n d e d to s u r v e y q u e s t i o n s b a s e d up o n a L i k e r t
s ca le as w e l l as a fre e r e s p o n s e fo rm to g a t h e r n o n - s t a t i s t i c a l d a t a . The
s u r v e y s o u g h t to a s c e r t a i n the d e g r e e to w h i c h ea ch r e s p o n d e n t fe lt th a t
thes e th r e e c h o i r s a nd the ir c o n d u c t o r s h a d i n f l u e n c e d the p r o f e s s i o n a l
c h o r u s in A m e r i c a . T h e s u rv e y f o u n d t h a t a h ig h p e r c e n t a g e o f
r e s p o n d e n t s ( 9 2 . 9 ) felt that the S h a w C h o r a l e had a s tr o n g i n f l u e n c e on
the s u b s e q u e n t a c t i v i t i e s o f o t h e r p r o f e s s i o n a l c h o i r s . T h is s t u d y g a v e
an o v e r v i e w o f the a c t i v i t i e s o f the S h a w C h o r a l e , bu t s p e c i f i c
r e p e r t o i r e , t o u r d a t e s , p er s o n n e l r o s t e r s a n d tr i p d e t a i l s w er e b e y o n d the
sco pe o f th e s t u d y . M o r r o w d e s c r i b e d s o m e o f the w o r k o f the R o b e r t
S haw C h o r a l e , b r i e f l y o u t l in in g the d e t a i l s o f th e to u r s . M orrow
s u m m a r i z e d t h a t the R o b e r t S h a w C h o r a l e p r o d u c e d n ot only
a c h i e v e m e n t in the r ealm o f m u s ic , b u t in ‘"social and p o l i t i c a l s p h e r e s . ”

E arlene B r a s h e r's dissertation. The C ontributions o f Robert Shaw
a n d the A t l a n t a S y m p h o n y O r c h e s t r a to th e E d u c a t i o n a l a n d C u l t u r a l
C l i m a t e o f A t l a n t a , G eor gia , c o n c e n t r a t e d o n S h a w ' s t im e in A t l a n t a ,
b e g i n n i n g in 19 66 w h e n the a c t i v i t i e s o f th e t o u r i n g R o b e r t S h a w
C h o r a l e w e r e c o m i n g to a clos e. T h e s t u d y d e a l t w ith the c o n t r i b u t i o n s
o f R o b e r t S h a w a n d the A t l a n t a S y m p h o n y O r c h e s t r a on the c i t y o f
16
A t l a n t a , f o c u s in g o n t h e i r ef fect on the e d u c a t i o n a l an d c u l t u r a l c l i m a t e
o f th e c it y , p a r t i c u l a r l y the a tt e m p ts to e n c o u r a g e m i n o r i t y p a r t i c i p a t i o n
in th e a r ts and d e v e l o p m e n t o f i n n e r c i ty o u t r e a c h p r o g r a m s . Brasher
d i s c u s s e d S h a w 's c o m m i t m e n t to c o n t e m p o r a r y A m e r i c a n c o m p o s e r s
a n d th e c o m p o s e r in r e s i d e n c e p r o g r a m . Fostering contem porary music
was an i n t e g ra l p a r t o f S haw 's p h i l o s o p h y fro m the e a r l i e s t d a y s o f th e
C o l l e g i a t e C h o r a l e a n d c o n t i n u e d t h r o u g h his w o r k w i t h the R o b e r t
S h a w C h o r a l e a n d th e A t l a n t a S y m p h o n y . S h a w w-as i n s t r u m e n t a l in
p r o m o t i n g the w o r k s o f A m e r i c a n c o m p o s e r s s u c h as Gail R u b i k .
W illiam Schuman. Ja c o b A vshalom ov. Lukas Foss. Samuel B arber.
S c o t t J o p l i n and N o r m a n De llo Jo io .
Philip W ayne G riffin's dissertation, C layton H en ry K rehbiel:

M u s i c i a n / E d u c a to r , is p a r t i c u l a r l y s i g n i f i c a n t to t h e p r e s e n t s t u d y .
G r i f f i n ' s w ork is an h i s t o r i c a l n a r r a t i v e o f th e life a n d c a r e e r o f C l a y t o n

K r e h b i e l . ch oral m u s i c e d u c a t o r at the U n i v e r s i t y o f K a n s a s . K e n t S t a te
U n i v e r s i t y , and F l o r i d a S ta te U n i v e r s i t y . G r i f f i n ' s s t u d y is s i g n i f i c a n t
in t h a t K r e h b i e l 's c a r e e r was so i n t e r t w i n e d w it h t h a t o f R o b e r t S h a w .
G r i f f i n s ta te d th at K r e h b i e l b e c a m e a v a l u a b l e a s s i s t a n t to S h a w in
m a n y w a y s , s e r v i n g n o t o n ly to “ b u f f e r ” S h a w ' s t e m p e r a m e n t w i t h the
c h o i r , b u t also to p r o v i d e a great d eal o f p r e p a r a t o r y w o r k for t h e
f u n c t i o n s o f the C h o r a l e . The two m e n m e t in N e w Y o r k Ci ty in 1944
w h e n K r e h b i e l a u d i t i o n e d for th e C o l l e g i a t e C h o r a l e . Krehbiel and
S h a w w e r e , in m a n y w a y s , k in d re d s p ir i t s and s o o n K r e h b i e l w a s
h a n d l i n g a lot o f d e t a i l s , such as a u d i t i o n i n g s i n g e r s . S haw d e p e n d e d
u p o n C l a y t o n for his s t e a d i n e s s an d “ m i d - w e s t e r n " c o m m o n s e n s e .
K r e h b i e l was also an i m p o r t a n t s o l o i s t for th e S h a w C h o r a l e , h a v i n g a
p a r t i c u l a r flair for t h e N e g r o s p ir i tu a l. Eventually Krehbiel becam e
17
a s s i s t a n t c o n d u c t o r o f the R o b e r t S h a w C h o r a l e . C l a y t o n K r e h b i e l and
his w i f e . C h a r l o t t e (Bieg ) K r e h b i e l . m et d urin g t h o s e e a r l y y e a r s o f the
C o l l e g i a t e C h o r a l e and b e c o m e m a i n s t a y s o f the R o b e r t S h a w C horale.
S h a w a n d the K r e h b ie ls r e m a i n e d l i f e l o n g friends . In 1948. d u r in g the
firs t t o u r o f the Shaw C h o r a l e , C l a y t o n ' s family in M o u n d r i d g e . Kansas
had the e n t i r e C h orale to t h e i r h o u s e for a meal.

In an in te rv i e w w ith G r i f f i n , S h a w e x p r e s s e d r e g r e t th a t Kr ehbiel
d e c i d e d to l e a v e New Y o r k for g r a d u a t e s tu dy at the U n i v e r s i t y o f
Kansas. G r i f f i n quotes S h aw as s a y i n g , “ I had s e v e n m o r e y e a r s in New
Y o r k o f e v e r y so rt o f r ig o r o u s d e v e l o p m e n t . . . . Had he ( C l a y t o n ) been in
N e w Y o r k in s t e a d o f K a n s a s he w o u l d h a v e sha re d m o r e o f that
d e v e l o p m e n t . ” 15
F r i t z M o n tf o r d 's d i s s e r t a t i o n , F r e d W aring a n d A m e r i c a n C horal

S i n g i n g : His C a r e e r , P h i l o s o p h y a n d Tec hniques, is a s t u d y th a t deals
w ith t h e t e c h n i q u e s o f Fred W a r i n g , and by e x t e n s io n , R o b e r t Shaw.

W a r i n g m e t S h a w in 1938 at P o m o n a C o l le g e and w as r e s p o n s i b l e for
g e t t i n g h im s ta r te d as a c h o r a l c o n d u c t o r . W ar ing had d e v e l o p e d the
t e c h n i q u e o f “t o n e s y l l a b l e s , ” a n d S h a w i n c o r p o r a t e d t h i s t e c h n i q u e
into hi s o w n re h e a rs a ls and pu t it to f u r t h e r good use in p r o j e c t i n g the
text o f a p i e c e o f music o v e r a f u ll o r c h e s t r a . S h a w l a t e r s a id , “ We
( c h o i r s ) d o n ' t s in g words. We s i n g s e r i e s o f s y ll a b l e s t h a t a u d i e n c e s
h e a r as w o r d s . ”
A n o t h e r h i sto r ical n a r r a t i v e s t u d y that r elates to t h e s tu d y o f the

R o b e r t S h a w C h o r a le is E d w a r d E u g e n e P ierc e's d i s s e r t a t i o n , J u l i u s
15 P h ilip W ayne Griffin, “C layto n H e n ry Krehbiel: M u s ic ia n /E d u c a to r1' (Ph.D . diss.,

F lorida S ta te U niversity, 1988), 163.
18
Herford: His L ife a n d In fluenc e o n L e a d i n g C h o r a l C o n d u c t o r s .
Herford p l a y e d an es sential role in t h e m u s i c a l d e v e l o p m e n t o f R o b e r t

Shaw a nd o t h e r p r o m i n e n t c hor al c o n d u c t o r s such as M a r g a r e t H i l l i s .
Donald N e u e n . J o h n Nelso n, J o s e p h F l u m m e r f e l t and E l a i n e B r o w n .

Herford m et S h a w in 1944 t h r o u g h L u k a s F o s s . The C o l l e g i a t e C h o r a l e
was p r e p a r i n g th e p r e m ie re o f L u k a s F o s s ’s The Pr airie and F o s s , a
pupil o f H e r f o r d ' s in Berlin, in v ite d H e r f o r d to com e w ith him to a
r ehears al. S h a w , r e a l iz in g his n e e d f o r f o r m a l tra in in g in m u s i c , t u r n e d
to H e r fo r d f o r p r i v a t e tu to ri ng , a nd s o o n the two were w o r k i n g lo n g
hours on t h e o r y , a n a ly s is , and h i s t o r y . ( S h a w had s tu d i e d b r i e f l y w ith
George S z e l l b u t had quit a f te r f o u r l e s s o n s . ) In the s u m m e r o f 19 50.
Shaw w e n t to S an F r a n c i s c o to s tu d y w i t h P i e r r e M o n te u x , c o n d u c t o r o f
the San F r a n c i s c o S y m p h o n y O r c h e s t r a . Y e t it was H e r f o r d w h o m S h a w

most o f t e n c r e d i t e d with b eing his m e n t o r . Later, H e r f o r d b e c a m e the
official m u s i c a l c o n s u lta n t to the R o b e r t S h a w Chor ale, c o l l a b o r a t i n g
on r e c o r d i n g s o f the B m inor M ass , M e s s i a h , and tour r e p e r t o i r e .
H er ford t a u g h t at C o lu m b ia T e a c h e r s ' C o l l e g e . Ju illiar d S c h o o l o f
Music, W e s t m i n s t e r C h o ir C o l l e g e , U n i v e r s i t y o f T e n n e s s e e , I n d i a n a
U n i v e r s it y a n d B o s t o n U n iv er sity . F o r s o u r c e m ateria l. P i e r c e s t u d i e d
H er fo rd's p a p e r s at In dia na U n i v e r s i t y a n d at his home in B l o o m i n g t o n .
E x te n s iv e i n t e r v i e w s with c h o r a l c o n d u c t o r s as well as H e r f o r d ' s w i d o w
provid e d m u c h v a l i d a t i o n for P i e r c e ’s s t u d y .
A c c o r d i n g to Pierce, the G e r m a n - b o r n Herfo rd b e g a n s t u d y i n g
music at a g e s ix and atten ded the S t e r n C o n s e r v a t o r y in B e r lin . He
began t e a c h i n g in a hig h school in B e r l i n in 1929. S h o r tl y a f t e r H i t l e r

was n a m e d C h a n c e l l o r o f G e r m a n y in 1 9 3 3 , Herfo rd, w ho was J e w i s h ,
was l im it e d b y th e N az is to t e a c h i n g n o n - A r y a n s . F r ie n d s in t h e
19
g o v e r n m e n t w a r n e d H e r f o r d th a t he was in d a n g e r a n d that he s h o u ld
flee G e r m a n y . But H e r f o r d w a s d e t e r m i n e d to s ta y . F ina lly, w h i l e o n a
trip to S w e d e n , he r e c e i v e d an in v i t a t i o n to t e a c h in A m e r i c a at
C o l u m b i a U n i v e r s i t y T e a c h e r s C o lle g e and left E u r o p e . (B oth o f
H e r f o r d ’s p a r e n t s w o u l d d ie in th e H o l o c a u s t . ) L e a v i n g for S w e d e n he
a s s u r e d the N a z i s that he " w o u l d not try to r e t u r n . " 16
Published A rticles
M u c h o f the i n f o r m a t i o n a v a i l a b l e on R o b e r t S h a w is by w a y o f
personal interviews o f Shaw and journal artic le s. In th e late 1940s a n d
e a r ly 1950s . S haw 's a c c o m p l i s h m e n t s w e r e r e c e i v i n g a grea t d e a l o f
attention. S h a w was i n t e r v i e w e d or w r itt e n a b o u t d o z e n s o f t im e s . His

p o r t r a i t a p p e a r e d on the c o v e r o f M u s i c a l A m e r i c a in 1958. Time.
N e w s w e e k . T h e New Y o r k T im e s a n d R e a d e r ' s D i g e s t all ran f e a t u r e s o n
him. Time M a g a z i n e w r o t e in 1947 th at R o b e r t S h a w “ has p r a c t i c a l l y a

m o n o p o l y on b i g - l e a g u e c h o r a l s i n g i n g . " 17 T h e a u t h o r o f the a r t ic le
later s t a t e d , ‘"to his s i n g e r s , he is a tou gh t a s k m a s t e r w h o insists on
c l a r i ty o f line ins tead o f o v e r w h e l m i n g m a s s e s o f s o u n d . " 18 S aid S h a w .

"It is th e p e r f o r m e r ' s b u s i n e s s to get out o f t h e w a y o f the m u s i c . " 19
16 Edw ard Eugene Pierce, " Ju liu s Herford: His Life, T e a c h in g , and Influence on the
Choral Art in the United S tates" (P h .D . diss.. University o f N o rth e rn C olorado, 1988). 15.
17 “ C h o ral Varsity," Time. 29 D e cem b er 1947, 39.
18 " C h o ra l Varsity," 39.
19 “ C h oral V arsity,” 39.
20
K c p r in ie i i f r o m lh«r M a rc h 2 5 . 1 9 5 2 i»«ue o f Look
ROBERT SHAW
C h c ra ! m usic. lung rr ic g a trd tr C horale w ill w a lk off w itr. :**p v i 'ir.g *rca? m usic effectiv ely . R e-
c h o :r lofts, ca m p u ses, a few U rge ta l h onors a n y w h e re in t i w a ’ ccrtlir.i>x and j p ro fessio n al to u rin g
c itie s. ha s ta k e n m any y ea rs tn S h a w 's in itia l reco g n itio n cam e ensem ble, tn e R obert S h a w C h o
re a c h tn e n a tio n a l concert stage. w hen F red W a n n g v isite d P o m o n a rale. help to pay off th e deficits of
!t h a s b ee n tn e m ission of th is 35- College w n ere S h a w w as co n d u c his le>s com m ercial p ro je cts
y c a r - c ld c h o ra l d ire c to r to g e t for ting th e glee c lu b W a n n g wu.% M eticulous, te m p e ra m e n ta l an d
it th e k in d o f a tte n tio n h e th in k s sufficiently im p resse d to offer th e nervous. Snaw ex h o rts, ca jo les an d
;t d e s e rv e s . T h e sev en con certs in young d ire c to r a jo b in N ew Y ork mturt.ite* his singers to in sp ire d
S h a w 's C h o ra l M asterw o rJu Se b uilding a sin g in g g ro u p fo r ru* Dfr:?rnuince» T h e re s u lt ca u sed
ries. h e ld a t C a rn e g ie H ail in New o rch estra This le d to th e f o rm a 7„>. *r.ir.:. venose p raise is seldom
Y o rk th is p a st w in te r an d spring, tion of th e C o lleg ia te C h o rale, an e«*n-rcu«. to exclaim a f te r h e a rin g
h a v e co n firm ed th e com m ent of am a te u r ch o ru s t h a t p e rfo rm s p ro Sn.iv. ;cR carse th e c h o ra l finale
o n e c r i t i c w h o w r o te : r. 1943 f e s s io n a lly . a n d t h r o u g h w h im • i Bt M novcr. *» Svm phony.
“C iv e n th e tim e , th e place and the Shaw h as d e m o n s tra te d th a t you 'I vc* d u ally found th e co n d u c to r
m u sic . . . R o b e rt S h aw 's C ollegiate don't h a r e to be a g r e a t sin g er to I h jv e oecn '.coking 4or.“
F i g u r e 1. S h a w a n d the C o l l e g i a t e C h o r a l e are s h o w n r e h e a r s i n g in
a 1952 L o o k m a g a z i n e art icle.
In a 1945 a r t i c l e w r itten at t h e i n v i t a t i o n o f E t u d e M a g a z i n e ,
S h aw o u t l i n e d his ideas on c h o r a l m u s i c a nd the A m e r i c a n d e m o c r a t i c
spirit. S h a w s a id . “ In choral w o r k , p e o p l e get to w o r k t o g e t h e r , to
u n d e r s t a n d e a c h o t h e r , and to r e s p e c t e a c h o t h e r . ” L a t e r in th e same
a rtic le . S h a w r e m a r k e d , “ I s h o u l d l i k e to see every t o w n , e v e r y
21
in d u s tr ia l p l a n t , bu ild in g a c h o r u s o f its o w n . " Shaw w r o t e t h a t the
C o l l e g i a t e C h o r a l e began as an " e x p e r i m e n t " althou gh it had " t a k e n on
a m o re p r o f e s s i o n a l s t a t u s . " 20
R o b e r t S h a w ’s wish, in the e a r l y d a y s o f the R o b e r t S h a w
C h o r a le , w a s to have a f u ll- ti m e , p r o f e s s i o n a l chorus. T h e p r o f e s s i o n a l
c ho rus w as th e s u b je c t o f an a r t ic le b y H o w a r d T a u b m a n p u b l i s h e d in
the ,Veu’ Y o r k T im es in 1953. T a u b m a n o u t l i n e d S h a w ’s g o a l s o f h a v in g

a p e r m a n e n t p r o f e s s i o n a l c h o i r t h a t w o u l d f u n ctio n in th e s a m e c a p a c i t y
as a m a j o r s y m p h o n y or c h e str a . T a u b m a n e xplained tha t, in s p i t e o f the
tours, r e c o r d i n g s , b r o a d c a sts , and c o n c e r t d ates , the R o b e r t S h a w
C h o r a le s i n g e r s co u l d only t y p i c a l l y " e a r n betw een $ 3 , 0 0 0 a n d $ 3 , 5 0 0 a
y e a r ." w h i c h w as not, even by 1953 s t a n d a r d s enough to s u p p o r t o n e s e l f
w i th o u t o t h e r e m p l o y m e n t . 21
M o s t o f the Ch ora le m e m b e r s w e r e r e c e n t u n i v e r s i t y or
c o n s e r v a t o r y g r a d u a t e s . T h e y w o r k e d o u t s i d e o f music in d e p a r t m e n t
stores, s a n g in c h u r c h choirs or g a v e p r i v a t e lessons. M a n y f o u n d

te a c h i n g p o s t s w h i le others u s e d the S h a w C h orale e x p e r i e n c e as a
springboard for professional singing careers. Singer Y v o n n e C i a n n e l l a .

after s i n g i n g w ith the Shaw C h o r a l e f o r t h r e e years, e s t a b l i s h e d h e r s e l f
in E u r o p e a n o p e r a houses. S h a w t o o k g r e a t pride in " t r a i n i n g g o o d
s in g e r s " o f t e n r e m a r k i n g that s e v e r a l f o r m e r mem be rs w e r e s i n g i n g at
the M e t r o p o l i t a n O p e r a or th a t o t h e r s w e r e teac h in g in c o l l e g e s .
C i a n n e l l a r e m e m b e r s . " T h e s e w e r e n o t o r d i n a r y choral s i n g e r s . Each of
20 R ob ert Shaw. "Choral Ideals," N ew Y ork Tim es. 30 December 1951 sec x, 7.
21 The a m o u n t was roughly the eq u iv a le n t o f S 2 1,000 in 1999 dollars. (B u re a u o f

Labor S ta tistics. U nited States D epartm ent o f L ab o r.)
22
the C h o r a le m e m b e r s h a d th eir o w n p r o f e s s i o n a l car eer s at the s a m e
time. - 2 2
A n o t h e r a r t i c l e t h a t a d d r e s s e d t h e b u s i n e s s a s p ects o f th e C h o r a l e
a p p e a r e d in N e w s w e e k , 21 J a n u a r y 1952. T h e a rtic le c a l l e d the R o b e r t
Shaw C h o r a l e " o n e o f t h e h o t t e s t e n s e m b l e a t t r a c t io n s in the m u s i c
b u s i n e s s . " 2j T h e a r t i c l e then d i s c u s s e d t h e f ir s t two c o n c e r t s o f t h e
1952 " C h o r a l M a s t e r w o r k s S e r i e s ’* h e ld in C a r n e g i e Hall. The a u t h o r

e x p l a i n e d t h a t th e s e r i e s was fa r m o r e e x p e n s i v e to p r o d u c e t h a n t i c k e t
pr o ceed s w o u ld c o v e r . T h e a r t i c l e d e t a i l e d S h a w 's s o l u t i o n : p a y t h e
d if f e r e n c e ou t o f his o w n p o cket. S h a w is q u o t e d as e x p l a i n i n g . " T h i s
is the o n ly w ay I k n o w to make th e k i n d o f m u s i c I b e lie v e in f o r the
kind o f a u d i e n c e I b e l i e v e in.” 24
S everal i n t e r v i e w s o f R o b e r t S h a w a r e c o n s id e r e d l a n d m a r k s .
One o f th e s e w a s t h e 1977 i n t e r v i e w b y A n t o n i o M olina w h i l e S h a w

was in s u m m e r r e s i d e n c e at the W e s t m i n s t e r C h o i r C o l l e g e . M olina's
the sis was that d i f f e r e n c e s ex ist b e t w e e n t h e task s o f c h o r a l an d

o r c h e s tr a l c o n d u c t i n g a n d since S h a w w a s a c c o m p l i s h e d at b o th , he
co u ld shed light o n the to p ic. S h a w s p o k e in d e p t h not o n l y a b o u t the
te c h n i c a l a s p e c t s o f c o n d u c t i n g , b u t a l s o a b o u t his e x p e r i e n c e w i t h th e
Ro ber t S h a w C h o r a l e , his first o p p o r t u n i t y to c o n d u c t an o r c h e s t r a ( T h e
N B C S y m p h o n y ) a n d his p o s it i o n as f u l l - t i m e c o n d u c t o r o f the S a n
D ieg o S y m p h o n y . 23 T h e R o b e r t S h a w C h o r a l e n ear ly a l w a y s e m p l o y e d
22 Yvonne C ia n n e lla , personal in terv iew by th e a u th o r, 2 April 1998.
2j “ Bob S h aw 's M u s ic " N ew sw eek, 21 J a n u a ry 1952.
24 “ Bob S h aw 's M u s ic " 1952.
25 The San D ieg o S y m p h o n y in the early 1950s h ad only a sum m er season w h ic h

allowed Shaw to tour d u rin g th e fall, w inter and s p rin g w ith the Robert S haw C h o ra le and
continue his work w ith the C o lle g ia te C ho rale.
23
o r c h e s t r a l p l a y e r s for its t o u r s . A sm all s tr i n g e n s e m b l e (a bout t w e l v e
p l a y e r s ) w a s hired for B a c h ' s C h r i s t lag in T o d e s b a n d e n d u r in g the
C h o r a l e ' s s e c o n d year . T h e f o l l o w i n g year, the e n s e m b l e was e n l a r g e d

to a b o u t t w e n t y for the M o z a r t R e q u i e m tours o f 1951 a n d 1952. A
c h a m b e r o r c h e s t r a o f a b o u t t w e n t y - f i v e a c c o m p a n i e d the C h o r a l e for
e a c h o f th e f o re i g n to u rs .
A c c o r d i n g to Paul H i l l , p r o f e s s i o n a l t o u r i n g c h o i r s o f the 1950s
and 1 9 6 0 s w e r e the m a in p u r v i e w o f thre e A m e r i c a n c o n d u c t o r s : R o g e r
W a g n e r . F r e d W a r in g and R o b e r t S h a w . 26 All t h r e e r e c o r d e d
e x t e n s i v e l y a n d were a m a j o r f a c t o r in the s o - c a l l e d ‘‘c h o r a l
r e n a i s s a n c e ’’27 o f the 1950s. H ill s t a t e s that th e W a r i n g o r g a n i z a t i o n
was a “ h i s t o r y o f the f o u n d a t i o n a n d b a c k b o n e o f th e A m e r i c a n
p r o f e s s i o n a l c hor al m o v e m e n t . ” 28 H il l goes on to s a y t h a t the W a r i n g
o r g a n i z a t i o n s e rv e d as an i m p o r t a n t e d u c a t i o n a l t r a i n i n g ground for
m a n y c o n d u c t o r and t e a c h e r s .
J a c k B o y d , in “ C o n v e r s a t i o n s with R o b e r t S h a w , ” 29 d isc u s s e d
s e l e c t i n g s i n g e r s , the a u d i t i o n p r o c e s s , and the d i f f e r e n c e betw een
26 Paul Hill, “The P ro fe ssio n a l C h o ir in America: A H is to ry and Report on Present

A c tiv ity ,” The C h o ra l Jo u rn a l 80 (A p r il 1980): 10-16.
27 T h e use o f the phrase “c h o r a l re n a is s a n c e ” first a p p e a re d in an article w ritten by

S haw for E tu d e M agazine in 1945. R e fe rrin g to some o f the c o m m o n practices o f the tim e,
Shaw w ro te , “ C o lo r vitality and d ra m a tic con tinuity are what w e w h a t we expect from a
B e eth o v e n S y m p h o n y ; they are also w h a t we ex pect from a ch o ral perform ance. They can
be a c q u ire d by a resolute d e te rm in a tio n to avo id . . . fixed, in fle x ib le (and therefore
m o n o to n o u s) to n e quality . . . W hen all th ese sins are co n q u e red , we shall look forw ard to a
re n a is s a n c e o f ch oral art in a new, n a tio n a l art form that will tru ly be 'o f th e people, by the
people and for the people.” In the 1949 to u r booklet Shaw w ro te th a t the Robert Shaw
C horale is o n ly one part o f a sig n ific a n t choral renaissance in A m e ric a , a m ovem ent w hich
is ju s t a b o u t the healthiest thing that co u ld hap p e n to A m eric an m u sic, and which is bound
to e n ric h all o f A m erican life.” R o b e rt S haw T o u r Booklet 1949-50, Jam es A. D avidson
M a n a g e m e n t, publishers.
28 Paul Hill, 1980.

29 J a c k B oyd, “C on v ersa tio n s w ith R o b ert Shaw,” The C h o ra l J o u rn a l 7
(S e p te m b e r/O c to b e r 1966): 12.
24
w o r k i n g w ith a m ateu r s and p r o f e s s i o n a l s . Shaw d i s c u s s e d p r e p a r i n g
the C h o r a l e for the foreign t o u r s , n o t i n g that for the R u s s i a n to u r, he

o n ly had f if t y ho urs o f r e h e a r s a l s to p r e p a r e three s e p a r a t e p r o g r a m s .
He also s t a t e d that most o f th e p r o b l e m s in p r e p a rin g a c h o i r for tour

w ere f i n a n c i a l and that, c o n t r a r y to w h a t most p e o p le w o u l d b elieve,
vo ic e s u s u a l l y g r e w s tr o n g e r i n s t e a d o f w e a k e r o v e r th e c o u r s e o f a
tour. T h e a r t ic le also p r o v i d e s a g l i m p s e into S h a w 's t h o u g h t s

r e g a r d i n g his s e le c tio n o f r e p e r t o i r e a n d his ch oice o f s i n g e r s to match
the s e l e c t e d r epert oire.
Books
V e r y fe w book s have b e e n w r i t t e n that s p e c i f i c a l l y d i s c u s s e s the
topic o f R o b e r t Shaw. T h o s e t h a t h a v e be en p u b l i s h e d a r e p r i m a r i l y
c o l l e g e t e x t s or bo oks d i r e c t e d t o w a r d s the intere sts o f p r o f e s s i o n a l
c o n d u c t o r s , and also in c lu d e d i s c u s s i o n s o f other c o n d u c t o r s . P erhaps
the o l d e s t a n d m o s t well k n o w n o f t h e s e works is C h o r a l C o n d u c t i n g : A
S y m p o s i u m , e d i t e d by H a r o l d D e c k e r a n d Julius H e r f o r d . T h e D eck er -
H e r f o r d b o o k is a f iv e - c h a p t e r a n t h o l o g y o f choral i s s u e s w r i t t e n by
five l e a d i n g c h o r a l c o n d u c t o r s a n d e d u c a t o r s : H o w a r d S w a n , L l o y d
P f a u t s c h . W a l t e r S. Co ll ins, D a n i e l M o e , and Ju lius H e r f o r d . In
C h a p t e r O n e , H o w a r d Swan o u t l i n e s the d o m i n a n t p h i l o s o p h ies o f
c h o r a l m u s i c in Am eric a, b e g i n n i n g w i t h the t e c h n i q u e s a n d
phil o s o p h i e s o f J o h n Finley W i l l i a m s o n and p r o g r e s s i n g t h r o u g h F at her
W i l l i a m J. F inn, F. Melius C h r i s t i a n s e n , Fred W a r in g , J o s e p h J. Kline

an d f i n a l l y R o b e r t Shaw. T h e t e c h n i q u e s o f the v a r i o u s c o n d u c t o r s are
c o m p a r e d a n d c o n tr asted . S w a n l a b e l e d them “’s c h o o l s ” a n d d i s c u s s e d
25
each one as to t h e i r " f u n d a m e n t a l p r e m i s e s . ” Schoo l " F ” is an
o v e r v ie w o f th e c h o r a l p r o c e d u r e s an d t e c h n i q u e s o f R o b e r t S h a w .
Swan i d e n t i f i e s the f u n d a m e n t a l p r e m i s e s to be:
1. E v e r y in st an t o f m u s i c a l t i m e m u s t be used up in s i n g i n g .
T h e r e is no f r a g m e n t a r y t i m e w i t h o u t d r a m a t i c d r i v e .
2. T h e r e is no such t h i n g as a b s t r a c t be auty o f c h o r a l t o n e :
t h e r e is o n ly d r a m a t ic i n t e g r i t y o f tone.
3. I f a c o n d u c t o r and his c h o r u s a r e s en s i tiv e to th e r h y t h m i c

e l e m e n t in a score an d ar e a b l e to rec re ate t h e s e by s e n s i n g
o r f e e l i n g or e x p e r i e n c i n g t h e m , all e x p r e s s i v e d e v i c e s ,
i n c l u d i n g tone, will m e e t t h e r e q u i r e m e n t s o f th e c o m p o s e r
a n d his m u s i c . j0
A n o t h e r b o o k t h a t deals d i r e c t l y w i t h the Robe rt S h a w C h o r a l e is
The C h o r a l E x p e r i e n c e by Ray R o b i n s o n a n d Allen W i n o l d ( 1 9 7 6 ) . jI

R o b in s o n an d W i n o l d give a b r i e f h i s t o r y o f the R obert S h a w C h o r a l e .
The a u t h o r s d i s c u s s S ha w's s t a n d i n g a r r a n g e m e n t for the C h o r a l e

(mixed q u a r t e t s ) , s p a c i n g , and his use o f p a r t d o u b li n g to e n h a n c e li nes
o f m usi c th at lie at the e x tr e m e s o f a s e c t i o n ' s range. ( See F i g u r e 2.)
Te no rs f r e q u e n t l y h e lp e d out on p a r t s t h a t w e r e in the low r a n g e f o r th e
altos and a l t o s h e l p e d out on hi gh t e n o r p a r t s . Te no rs also f r e q u e n t l y
doubled on h i g h bass or ba rito ne lines w h i l e ba rito ne s w e r e o f t e n a s k e d
to d o u b l e on lo w t e n o r parts. S h a w d e v e l o p e d many o f t h e s e m e t h o d s
while c o n d u c t i n g the C o l l e g i a t e C h o r a l e d u r i n g the w a r y e a r s . A
10 Howard S w an, The D evelopm ent o f a C h o r a l Instrum ent, in C h o ra l C o n d u c tin g : A

Sym posium , ed. H a ro ld A. Decker and Julius H e r f o r d (E nglew ood C liffs, N ew J e r s e y :
Prentice-Hall, Inc.. 1973), 47.
Jl Ray R o b in so n and Allen Winold, The C h o r a l E xperience (N ew Y ork: H a rp e r's

College Press, 1973). 179-181.
26
s h o r t a g e o f male v o i c e s d u e to the a r m e d s e r v i c e s d r a f t n e c e s s i t a t e d
s u c h te c h n i q u e s . By c a r e f u l p l a c e m e n t o f s i n g e r s . S h a w not o n ly
a c h i e v e d the i n d e p e n d e n c e o f sin g er s th a t he w a n t e d , but a lso m a d e it
m u c h e a s i e r to " b o r r o w " o n e or two s i n g e r s f r o m o ne s ec tion a n d a d d
t h e m t e m p o r a r i l y to a n o t h e r .
As Shaw r e l a t e d to B. H. H a g g in in H a g g i n ' s book. The T o s c a n i n i
M u s i c i a n s Knew, d o u b l i n g w a s of te n n ot o n l y h e l p f u l , but o f te n
e s s e n t i a l . Hag gin i n t e r v i e w e d m u s i c i a n s w h o h a d w o r k ed c l o s e l y w i t h
T o s c a n i n i and he d e v o t e d a c h a p t e r to e a c h m u s i c i a n ' s r e f l e c t i o n s .
H a g g a n asked S h a w to s p e a k a b o u t his r e l a t i o n s h i p with M a e s t r o
Toscanini. Shaw r e l a t e d t h a t d u r in g a r e h e a r s a l o f B e e th o v e n 's
S y m p h o n y No. 9, w h i c h th e C o l l e g i a t e C h o r a l e w a s s in ging w i t h th e
N B C S y m p h o n y . S h a w w e n t up to “c h e c k t e m p o s a nd ask him a b o u t
c e rta in technical th in g s." Shaw continued:
B e c a u s e w e w e r e a little s h o r t o f m e n ' s voices d u r i n g

the w a r y e a r s w e ' d been in the h a b i t o f using s om e
altos o c c a s i o n a l l y in high t e n o r p a r t s ; and in the
Nin th I t h o u g h t it w o u ld be w i s e o c c a s i o n a l l y to us e
some t e n o r s in low alto p a r t s t o o . I a s k e d T o s c a n i n i
if th is w o u l d be all right w ith h i m . He said: “ Will it
make th e s c o r e s o u n d ? ” I s a id : “ M a e s t r o , I think this
is the o n l y w a y it c a n be m a d e to s o u n d . ” And he
said: “ A n y t h i n g w h i c h m a k e s th e s c o r e sound is
r i g h t . ” 32
3* B. H. Haggin, The T o sc a n in i M usicians K n ew , ( N e w York: Horizon P ress 1967),

80.
27
! S | A T B S A S B | T A s J
1 B S A T B B T | A S B
T B S A T A S I B T
( R a n k O r d e r ) No. 1
A r t B S T B S A T B
S 1 A T B S B S A T B
s A 1 T B A S A T B
A | S B I T B T B | T B s A
A S B T S S T B S A
A S B T A T B S A
B A S B T T T B s A B
T A S B S S B S A T
T A S B A B S A
T S A B B A B B A s T
T S A | B S S B A S T
B S A T T T A S B
B S A T B T B T A S B 1
1 B S A T S S T A S B _
B S A T A T A S B * ✓
F i g u r e 2. I ll u s t r a t i o n r e c r e a t e s S h a w ' s s k e t c h e s f o r p o s s i b l e
s t a n d i n g a r r a n g e m e n t s . H i s r a n k o r d e r p r e f e r e n c e is i n d i c a t e d
b e l o w e a c h ch art . ( N o t e : n o s . 2 a n d 4 w e r e n o t c h o s e n . ) S h a w
p l a c e d c h e c k m a r k s ( / ) b e s i d e e a c h ch art to i n d i c a t e s t r o n g to w e a k
p r e f e r e n c e s . (S haw P a p e r s )
28
On e f in a l bo o k b e a r s m e n t i o n in this r e v i e w o f l i t e r a t u r e . Jo seph
M u s s u l m a n ' s b i o g r a p h i c a l p o r t r a i t o f Shaw. D e a r P e o p l e . . . Ro bert
Sha w, p u b l i s h e d in 1979. is a b i o g r a p h y d e ta il in g S h a w ' s life and work
r e l y in g h e a v i l y on S h a w ' s l e t t e r s to t hre e d i f f e r e n t c h o r u s e s .
M u s s u l m a n b e g in s w ith S h a w ' s f a m i l y b a c k g r o u n d . He t h e n det ai ls

S h a w ’s c o l l e g e life a nd c o n t i n u e s t h r o u g h the y e a r s o f the C o ll e g i a t e
C h o r a l e , the R o b e r t S h a w C h o r a l e , and fina lly the A t l a n t a S y m p h o n y
Orchestra. W h i le c o v e r i n g a l a r g e p o r ti o n o f S h a w 's l i f e . M u s s u lm a n
does not d e l v e e s p e c i a l l y d e e p l y into any one a s p e c t o f S h a w ' s work.
The bo o k w a s also w r i t t e n f o r a c o m m e r c i a l r e a d e r s h i p a n d w as not.
therefore, heavily referenced. St ill , it is a c o m p e l l i n g n a r r a t i v e and an
e x c e l l e n t r e s o u r c e for b e g i n n i n g a s tu d y into the life o f R o b e r t Shaw.
Summary
L itt le h a s been w r i t t e n in th e w ay o f s c h o la r l y r e s e a r c h on the

topic o f the t o u r i n g R o b e r t S h a w C h o r a l e . B r a s h e r ( 1 9 8 8 ) a nd Morrowr
(1 9 9 3 ) are the on ly d i s s e r t a t i o n s to date that h a v e f o c u s e d on the work

o f Robert Shaw. M o r r o w a n d M i l l e r both dea lt w it h o t h e r c o n d u c t o r s as
well. K n u t s o n ( 1 9 8 8 ) d i s c u s s e d S h a w in r e f e r e n c e to t h e to p ic o f
blend . Q u i t e a n u m b e r o f o t h e r d i s s e r t a t i o n s deal i n d i r e c t l y w ith Shaw
in f o c u s i n g on a n o t h e r i n d i v i d u a l ' s w o r k , such as J o h n L a t t a ' s
d i s s e r t a t i o n . A l i c e P a r k e r : C h o r a l C o m p o s e r , A r r a n g e r a n d T e a c h e r 33
33 John L atta. "Alice P arker: C h o ra l C om poser, A rranger and T e a c h e r .” (Ed.D. diss.,

U niversity o f Illinois at U rb a n a -C h a m p a ig n , 1986)
29
and M o n tf o r d 's F r e d W a r i n g a n d A m e r i c a n C h o r a l S i n g i n g : H i s C a r e e r ,
P h i l o s o p h y a n d T e c h n i q u e s . j4
S h a w was i n t e r v i e w e d n u m e r o u s t i m e s ov er the y e a r s a b o u t b a s ic
e l e m e n t s o f his ph il o s o p h v a nd t e c h n i q u e . Interview's by M o l i n a .
G o r d o n L a m b , a n d B r i a n K n u t s o n a r e e s p e c i a l l y r e l e v a n t as r e g a r d s
te c h n i q u e . Yet the to p i c o f the f o r e i g n to u r s o f the R o b e r t S h a w
C h o r a le w'as not d i s c u s s e d in a n y d e p t h . S o m e o f the m o s t s i g n i f i c a n t
m a te r ia l c o m e s fro m i n t e r v i e w s i m m e d i a t e l y f o ll o w i n g e a c h t o u r . Shaw
was o f te n s o u g h t o ut for c o m m e n t u p o n his a r riv al b a c k in th e U n i t e d
States. On one s u c h o c c a s i o n , he a d d r e s s e d the s p e c i f i c a s p e c t s o f the
1962 R u s s i a n to u r to his f e l l o w p a r i s h i o n e r s at the C l e v e l a n d U n i t a r i a n
C h u r ch . S h a w w a s t h e a u t h o r o f t h r e e b a s ic s p e e c h e s t h a t h e r e w o r k e d
for p a r t i c u l a r o c c a s i o n s . T h e s e w e r e (1) " T h e C o n s e r v a t i v e A r t s . ” (2)

the " S e r m o n to th e C l e v e l a n d U n i t a r i a n C h u r c h . ” a n d (3) his
" c o m m e n c e m e n t s p e e c h ” d e l i v e r e d at s e v e r a l g r a d u a t i o n c e r e m o n i e s .
Each o f th e se s p e e c h e s c o n t a i n e d m a t e r i a l b o r r o w e d fro m t h e o t h e r s .
T h is s tu d y s o u g h t to c o m p i l e all o f the a v a i l a b l e w r i t t e n m a t e r i a l
r e g a r d i n g S h a w a n d th e R o b e r t S h a w C h o r a l e and c r e a t e a n a r r a t i v e that
p r e se n t s the s to r y in an o r g a n i z e d f a s h i o n . The p u r p o s e o f t h i s
e n d e a v o r was to tell th e e x t r a o r d i n a r y s to r y o f R o b er t S h a w a n d a
d e d i c a te d g r o u p o f i n d i v i d u a l s w ho b e l i e v e d in him a nd b e l i e v e d in the
m is s io n o f c r e a t i n g a full ti m e , r e s i d e n t p r o f e s s i o n a l c h o r u s .
34Fritz M ontford. "F re d W aring and the A m eric an Choral S inging: H is C a re e r.

Philosophy and T e c h n iq u e s ." (D .M .A diss.. U n iv e rs ity o f M issouri-K ansas C ity , 1992).
30
CHAPTER TWO
BIOGRAPHICAL IN FO R M A TIO N
Rober t L a w s o n S h a w w as born in R e d B l u f f . C a l i f o r n i a to S h i r l e y
R i c h a r d Shaw and N e l l i e M a e ( L a w s o n ) S h a w o n 30 Ap ril 1916. S h a w ' s
f a t h e r was a m i n i s t e r in t h e D is c ip le s o f C h r i s t C h r i s t i a n C h u r c h a n d
m o v e d f r e q u e n tl y f ro m s m a l l to w n to s m a l l t o w n m i n i s t e r i n g to
d i f f e r e n t C a l i f o r n i a c o n g r e g a t i o n s . As a r e s u l t o f t h is s o m e w h a t
n o m a d i c life s ty le , e a c h o f th e Shaw c h i l d r e n w a s b o r n in a d i f f e r e n t
C a l i f o r n i a t o w n / 5 S h a w ' s m a te r n a l g r e a t - g r a n d f a t h e r , G eo r g e L a w s o n ,
had been a U n io n s o l d i e r f r o m Illino is w h o f o u g h t in the A rm y o f th e
C u m b e r l a n d u n d e r S h e r m a n in his 1864 m a r c h t h r o u g h G eorgia . T h e

S h a w family n a m e ha s its r o o ts in S c o t l a n d a n d A n n Shaw Pric e s t a t e d
s he be li ev ed that the S h a w a n c e s t o r s c a m e f r o m s o m e w h e r e in O h io . In
an in terv iew w ith G o r d o n L a m b in 1975, S h a w s t a t e d that his a n c e s t r y
was “ fourth or f if t h g e n e r a t i o n C a l i f o r n i a n s , ” a n d t h a t his g r a n d f a t h e r
had been a p ar t o f th e “ a n t i s a l o o n ” l e a g u e m o v e m e n t that b r o u g h t
p r o h ib iti o n to C a l i f o r n i a . 36
Ro ber t S h a w ’s b e g i n n i n g s were h u m b l e , a n d hi s story has a
distinctly A m erican fla v o r. In a 1986 l e t t e r to t h e A t l a n t a S y m p h o n y
35 Charles M oritz, ed. C u r r e n t B iography Y earbook , N e w Y ork: The H.W. W ilson

C om pany, 1966, 368.
36 Gordon H. L am b, “ C h a r l e s Ives: The Man and H is M u sic: Interview with R obert

S h a w ,” 15 April 1975, 5-8.
31
C h o r u s . S h aw wrote. “ E v e n a s late as the year s o f my y o u t h .
C a l i f o r n i a n s wer e c o n s c i o u s o f b e i n g very n e a r to the p i o n e e r s . The
r uin s o f e a r l y mines w e r e th e s c e n e s o f our s u m m e r c a m p i n g s . " j7 Shaw
was the son a nd m a te r n a l g r a n d s o n o f C a li f o rn i a p r e a c h e r s a nd grew up
s i n g i n g in th e c h urch c h o i r . H e l e a r n e d the h y m n s o f r u r a l P rote s tant
w o r k i n g c la s s peo ple. "‘T h e O l d R u g g e d C r o s s , ’' “J u s t A s I A m ” and
"A m azin g G race" among them . H e later r e call ed t h a t t h e w o r d s to
t h o s e h y m n s w ere “m a g i c ” to h i m , r ecalling the s i m p l e d i g n i t y o f the ir
message. E v e n after y e a r s o f w o r k i n g with the w o r l d ’s g r e a t e s t solo
a r t i s t s , S h a w said that hi s m o t h e r ' s sin ging m o v e d him l i k e no other
could. S h a w would s ta t e t h a t he s e ld o m r e h e a r s e s the “ C h r i s t e e l e i s o n ”
from B a c h 's B m in o r M a s s w i t h o u t “h oping for the u n b e l i e v a b l e
c o i n c i d e n c e o f time, t o n e , a n d t e m p e r a m e n t th at u s ed to c h a r a c t e r i z e ”
the d u e t s s u n g in ch u r c h by h i s m o t h e r and g r a n d m o t h e r . ■>8
T h e S h a w family w a s s o m e t i m e s re ferred to as th e “ s i n g i n g
S h a w s . ” S h a w ' s m o th er w a s a h o u s e w i f e who s a n g in t h e c h u r c h choir,
as d id S h a w ' s g r a n d m o t h e r a n d e a c h o f the S h a w c h i l d r e n . Remembered
Ann S h a w , “ M o th e r a n d H o l l y s a n g soprano, the b o y s s a n g te n o r . Our
f a t h e r s a n g b a s s , so t h a t m e a n t I h ad to be an alt o so w e c o u l d have four
part h a r m o n y . ” j9 Several o f th e s i b l i n g s dire ct ed the s a m e s m a l l church
c h o i r in G l e n d a l e . C a l i f o r n i a . H is sister, H oll ace ( H o l l y ) b e c a m e a
p r o f e s s i o n a l s in g e r u p o n g r a d u a t i n g from P o m o n a C o l l e g e a n d ap pe ar ed
3< R obert Shaw, letter to the A tla n ta Symphony O rchestra C h o ru s , 5 M arch 1986.
38 M u ssulm an, Joseph A., D e a r P eo p le ...R o b ert Sh a w : A B io g ra p h y (B loom ington:

Indiana U n iversity Press, 1979) 7.
39 Ann Shaw Price, te lep h o n e co n v e rs a tio n with the author, 26 F e b ru a ry 2000.
32
on B r o a d w a y , at Radio City Music H a il , and on s e v e r a l C B S r a d i o
p r o g ra m s . 40
S h a w w a s also a p a tr io t who s e r v e d his c o u n t r y , f i r s t as a N aval
S eam an d u r i n g W o r ld War II, then as an u n o f f ic ia l c u l t u r a l d i p l o m a t on

three f o r e i g n to u r s with the R o b e r t S h a w C h o r a l e . In 1991, S h a w was
p r e se n te d w i t h th e K e n n e d y C e n t e r H o n o r for a l i f e t i m e o f a c h i e v e m e n t
and d e d i c a t i o n to A m e r ic a n art. H e a r i n g o f the a w a r d w h i l e on
v a c a ti o n in I ta ly , Shaw was filled w i t h p r id e . In an a r t i c l e by H e l e n
Smith o f t h e A t l a n t a J o u r n a l a n d C o n s t i t u t i o n , S h a w w a s q u o t e d as
saying, “ I lo v e m y co u n tr y and I'm p a r t i c u l a r l y fo nd o f its a r t i s t s , and
to be in the c o m p a n y o f p e o p le like t h a t is a ver y neat h o n o r . " 41
A n n S h a w Pric e o f fe r e d an i n s i g h t f u l g l im p s e i n t o th e p e r s o n a l i t y
o f her o l d e r b r o t h e r , rec a l lin g that R o b e r t a lw ay s s e e m e d to h a v e a

sense o f w h e r e he wa nted to go. “He w a s h e a d s t r o n g . A nd very
s t u b b o r n . " s h e s aid . “ Even as a c h il d , he had a s e n s e o f d i r e c t i o n . He

knew w h a t he w a n t e d to d o . " Pric e r e l a t e d that, as a v e r y y o u n g c h il d .
Shaw w o u l d “j u s t take o f f" ou t the b a c k d o o r and be g o n e for h o u r s .
“ He w o u ld j u s t b o l t out th at d o o r to go se e the w o r ld . O u r parents
would f i n a l l y h a v e to go and e n lis t the h e lp o f the p o l i c e to f in d h i m . "
Price also r e l a t e d that Shaw was “ so s t u b b o r n he w o u ld n e v e r cr y.
Father w as a v e r y strict d i s c i p l i n a r i a n a n d R o b e r t p r o b a b l y g o t th e
worst o f t h a t o f a n y o f us. But. R o b e r t w o u l d n 't a p o l o g i z e i f he k n e w
he was r i g h t . " 42
40 C o m p o s e r Jerom e Kern ( Very Warm f o r M ay) was very fond o f H o lly ’s voice and
wrote "All the T h in g s You Are” with her in mind.
41 H elen C. Sm ith, “The G enius and Heart o f Robert S haw ,” The A tla n ta J o u r n a l and
C onstitution, 1 D e c e m b e r 1991, sec. K, 1-3.
4: Ann S haw Price, telephone con versation with the author, 26 F e b ru a ry 2000.
33
A fter g r a d u a t i n g w i t h the class o f 1933 o f C h a f f e y H i g h S c h o o l in
O n t a r i o . C a l i f o r n i a . S h a w w e n t to P o m o n a C o l l e g e i n te n t on a c a r e e r in
" s o m e form o f th e m i n i s t r y , perhaps p r e a c h i n g o r t e a c h i n g c o m p a r a t i v e
r e l i g i o n s . " It w a s d u r i n g his colle g e days t hat S h a w w as i n t r o d u c e d to
a w o r l d o f c u l t u r a l d i v e r s i t y a nd r e lig ious t h o u g h t t h a t c a u s e d h i m to
m o v e aw ay from a c o n s e r v a t i v e view o f C h r i s t i a n d o g m a t i s m . In an
interv iew ' for G e o r g i a P u b l i c T e le v is i o n in 1983, S h a w s p o k e o f the

f a s c i n a t i o n o f d i s c o v e r i n g th e v a rie ty o f w o r l d r e l i g i o n s . He r e a l i z e d
f o r the first ti m e th a t " C h r i s t i a n i t y was not th e o n l y r e l i g i o n in t h e
w o r l d . . .which w a s a s h o c k to many o f u s . " 4j His m a j o r a r e a s o f s t u d y
at c o l l e g e , as he t o ld A n t o n i o M olina ( 1 9 7 7 ) w e r e c o m p a r a t i v e r e l i g i o n s
a n d E n g lis h l i t e r a t u r e . T o e a r n his way, a c c o r d i n g to C o l u m b i a A r t i s t s
p r e s s re le a se s , he a l s o " w r a p p e d bread in a lo c a l b a k e r y , w o r k e d in th e
G e n e r a l Electr ic s te e l m i l l s , w as h ed d i s h e s , w a i t e d t a b l e s , c o r r e c t e d
e x a m i n a t i o n p a p e r s , a n d d i d o c c a s i o n a l p r e a c h i n g o n the s i d e . " 44
A c c o r d i n g to his y o u n g e r s i s t e r Ann S h aw P r ic e , all o f the c h i l d r e n
h e l p e d out d u r in g the d e p r e s s i o n years to do w h a t t h e y c o u ld
f in a n c i a l l y . " R o b e r t a n d J i m e v e n tried to r a i s e c h i c k e n s in th e b a c k
y a r d f o r income, but t h a t d i d n ' t seem to w o r k o u t. I don't think they
e v e r m a d e any m o n e y f r o m i t . " 45 When P o m o n a C o l l e g e ' s g le e c l u b
d i r e c t o r Ralph L y m a n b e c a m e ill during S h a w ' s f r e s h m a n y e a r , S h a w
s t e p p e d in for his a i l i n g i n s t r u c t o r . T w o y e a r s la te r , Shaw' was a s k e d
by the college a d m i n i s t r a t i o n to serve as c h o i r d i r e c t o r w h i le P r o f e s s o r
Brian T. Ellis, W rite r/P r o d u c e r, Robert Shaw a n d th e A tla n ta S y m p h o n y (F u lto n

C o u n ty A rts council, 1984), v id e o c a s s e tte .
44 Columbia A rtists M a n a g e m e n t, Publicity G uide, R obert S h aw , 1949.
45 Ann Shaw P rice, t e l e p h o n e interview by the au th o r, 26 F e b ru a ry 2000.
34
L y m a n t o o k a leave o f a b s e n c e . S h a w was p a id a s t i p e n d o f $ 5 0 0 .0 0 for
his w o r k w it h the glee c l u b . In 1937. Shaw 's j u n i o r y e a r at Pomona
C o l l e g e , the Fred W a r i n g O r c h e s t r a came to c a m p u s to f i l m a W arner

B r o t h e r s m o v i e c a l l e d '‘V a r s i t y Show*’ with D i c k P o w e l l a n d singer.
P r i s c i l l a La ne. (The N e w Y o r k Tim es Film r e v i e w e r , B. R. C r i s le r wrote
that th e W a r i n g O r c h e s t r a w a s th e best thing a b o u t the f i l m . ) ' ’6 Waring
n e e d e d a c o lleg e g l e e c l u b to m a k e a bit a p p e a r a n c e in t h e m ovie. He
saw S h a w co n d u c t the P o m o n a G l e e Club and w a s i m m e d i a t e l y
i m p r e s s e d w ith his s e r i o u s n e s s a n d in te l l i g e n c e . W a r i n g o f f e r e d him a
j o b d i r e c t i n g the gle e c l u b f o r h is radio show, F r e d W a r i n g a n d the
P e n n s y l v a n i a n s . At f ir s t S h a w d e c l i n e d the o f f e r , b u t r e c o n s i d e r e d the
f o l l o w i n g yea r, d e c i d i n g to a c c e p t the p o s iti o n to h e l p p a y o f f his
college debt. Shaw l a t e r s a i d t h a t he had n e v e r i n t e n d e d m u s i c to be

a n y t h i n g b ut a hob by and w a s t h r u s t into the r o le o f c o n d u c t o r ‘"quite
u n i n t e n t i o n a l l y . " 47 A c c o r d i n g to the “Press B o o k ” f o r R o b e r t Shaw
p r e p a r e d by Jame s A. D a v i d s o n M a n a g e m e n t , “ th e s u m t o t a l o f his
t h e o r e t i c a l k n o w l e d g e w a s o n e c o u r s e in h a r m o n y at P o m o n a C o l l e g e . ” 48
49 A f t e r s e v e ra l y e a r s in N e w Y o r k with the W a r i n g o r g a n i z a t i o n . Shaw
was g r o w i n g res tles s a n d l o o k i n g to e x p a n d his m u s i c a l h o r i z o n s into

c l a s s i c a l m u sic . He r e s i g n e d f ro m the W aring o r g a n i z a t i o n in 1945.
46 B. R. Crisler. Film R e v ie w , N ew York Time Film R e v ie w , 2 S e p t e m b e r 1937. 1422.
4’ A n to n io M. M olina. “C h o r a l and O rchestra C o n d u ctin g : An I n te r v ie w with Robert

S h a w ," The C h o ra l Jo u rn a l 18 ( M a r c h 1978): 26-32.
48 “ Press Book." Press R e le a s e s F or Robert Shaw, 1948, S e c tio n S ix , p.2. Personal

papers o f R obert Shaw, A tlanta, G e o r g ia .
49 In a 1977 interview at W e s tm i n s t e r C hoir C ollege, S h aw told M o lin a that he had

not ta k e n a n y classes in m usic at P o m o n a C ollege.
35
As e a r l y as 1941. S h a w p u t t o g e t h e r a small m i x e d c h o r u s o f
a r o u n d t h i r t y v o i c e s to p e r f o r m q u a l i t y s a c re d l i t e r a tu r e . T h is g r o u p ,
w h ic h he h a d n a m e d the C h a p e l C h o i r , in c lu d e d his s i s t e r H o l l y , w ho
was living in N e w Yo rk at th e t i m e , a nd an a c q u a i n t a n c e . G o r d o n
B erger. S h a w and B e r g e r f o r m e d th e C o l l e g i a t e C h o r a l e . 50 w h i c h soon
a t t r a c t e d the a t t e n t i o n o f o r c h e s t r a l c o n d u c t o r s s u c h as B r u n o W a l t e r .
Serg e K o u s s e v i t z k y . L e o p o ld S t o k o w s k i and. m ost n o t a b l y . A r t u r o

Toscanini. K o u s s e v i t z k y g a v e S h a w his first c h a n c e to c o n d u c t an
o r c h e s t r a ( th e B o s t o n S y m p h o n y ) d u r i n g his first s u m m e r as d i r e c t o r o f
the c h o r u s at T a n g l e w o o d . T h a t s a m e s u m m e r T o s c a n i n i a s k e d S h a w to
c o n d u c t s e v e r a l c o n c e r t s w i t h the N B C S y m p h o n y O r c h e s t r a . 51 W i l l i a m
S c h u m a n . c o m p o s e r and D i r e c t o r o f J u i l l i a r d S c h o o l o f M u s i c , s a w
Shaw w o r k a f ew y e a r s later w i t h t h e C o l l e g i a t e C h o r a l e a nd w a s
equally im pressed. H o w e v e r , S c h u m a n ' s im p r e s s io n s w e r e n o t

c o m p l e t e l y f a v o r a b l e . M u s s u l m a n w r i t e s that S c h u m a n " w a s s t r u c k by
a r e m a r k a b l e p a r a d o x : on th e o ne h a n d , S h aw 's n a i v e t e , ” a n d o n the
other, the ” w o n d r o u s l y v i s c e r a l q u a l i t y o f his c o n d u c t i n g a nd the
r e s u l t i n g v i t a l i t y . . . o f the g r o u p ' s s i n g i n g . ” 52 Late r, r e l a t e d

M u s s u l m a n , S c h u m a n r e t u r n e d to a C o l l e g i a t e C h o r a l e r e h e a r s a l ,
b r in g in g K o u s s e v i t z k y , “w h o w a s a m a z e d that any g r o u p o f a d u l t s
w o u ld w i l l i n g l y e n d u r e such t y r a n n i c a l t r e a t m e n t fro m a c o n d u c t o r . ” 53
50 The C o lle g ia te C horale to o k its nam e from the C ollegiate M arble C h u rch in N ew
York City. The ch u rc h served as its first re h earsa l location.
51 Scott C an trell, Robert Shaw : A P ro fe ss io n a l's Am ateur S pirit.” S ym p h o n y

M agazine 35, n o .l (1 9 8 4 ): 20.
52 Joseph A. M ussulm an, D ea r P e o p le . . .R o b ert Shaw: A B io g ra p h y (B lo o m in g to n :

Indiana U niversity P ress, 1979). 35.
53 M u ssu lm a n , p.36.
36
Y e a r s later in A t l a n t a . S c h u m a n visited the S h a w h o m e , m e e t i n g S h a w ' s
s e c o n d wife. C a r o l i n e , a n d t h e i r sons. A lex a n d T h o m a s for the first
t im e . The gr o u p r e m i n i s c e d f o r hours. R e f e r r i n g to S h a w ’s initial lack
o f m usica l t r a in in g , S c h u m a n told Shaw, “ G o d . R o b e r t , you w er e

dum b." Shaw's r e s p o n s e w a s a good h e a r t e d ( a n d h o n e s t ) . “ By God.
B ill, you were r i g h t . " W i l e y H o u s e w r i g h t . f o r m e r D e a n o f the School
o f M u sic at F lo r id a S t a t e U n i v e r s i t y , was an e a r l y m e m b e r o f the
C o l l e g i a t e C h o r a le . A s k e d a b o u t Shaw's la c k o f m u s i c a l k n o w l e d g e .
H o u s e w r i g h t r e l a t e d to t h e a u t h o r that, a b o u t t h e s e c o n d or third y e a r o f
the C o lle g ia te C h o r a l e S h a w t o ld H o u s e w r i g h t t h a t s e v e ra l p e o p l e
w a n t e d to do the M o z a r t R e q u i e m the ne xt s e a s o n . S h a w , not k n o w i n g
th e w ork at all. a s k e d H o u s e w r i g h t if he k n e w th e w o r k and w h e t h e r it
w a s “ a nice p i e c e ? ” 54
When W orld W a r II b r o k e out. the p a c i f i s t S h a w a ppli ed for
s t a t u s as a c o n s c i e n t i o u s o b j e c t o r . His b r o t h e r , J i m , w as killed in
a c t i o n in the P a c if ic T h e a t r e in 1944, c o m p e l l i n g S h a w to dr op his
e x e m p t i o n . 55 A f t e r b e i n g i n d u c t e d into the N a v y on 30 April 1945,
S h a w was d i r e c t e d to o r g a n i z e a ser vice gle e c l u b at S a m p s o n N a v a l

T r a i n i n g C e n te r in N e w Y o r k , on ly to d e v e l o p a c o n t a c t aller gy to the
d y e used in the wool u n i f o r m s . After a c o n c e r t in B u f f a l o with his
f e l l o w seam en , he c o l l a p s e d fro m what he d e s c r i b e d as fatigue a nd “ cat
s c r a t c h f e v e r . ” 56 S h a w s p e n t the rest o f his N a v y c a r e e r in the h o s p ita l.
He rec e iv e d an h o n o r a b l e d i s c h a r g e in J uly a f t e r a s c a n t thre e m o n t h s in
54 Wiley H ousew righ t, in te rv ie w by the author, 8 M a rc h 1999.
55 That same year, a c c o rd in g to Ann Shaw Price, S h a w ’s fa th e r died o f a heart attack

w h ile delivering a serm on . ( T e le p h o n e conversation with th e a u t h o r 26 February 2000).
56 Columbia A rtists M a n a g e m e n t, Robert Shaw P u b lic ity B ooklet, 1948.
37
the m i l i t a r y . A f te r l e a v i n g t h e N a v y . Shaw w e n t b a c k to his wo rk with
the C o l l e g i a t e C h o r a le in N e w Y o r k City.
T h e w o r k i n g c a r e e r o f R o b e r t S h a w can be d i v i d e d into three

m a jo r p e r i o d s b e g i n n i n g w i t h m e e t i n g Fred W a r i n g o n t h e c a m p u s o f
P o m o n a C o l l e g e in 1937: ( 1 ) F r e d W a r i n g a nd th e C o l l e g i a t e C h o r a l e
Y e a r s . ( 2 ) th e R o b er t S h a w C h o r a l e . San D ie g o a nd C l e v e l a n d Years,
and ( 3 ) t h e A t l a n t a S y m p h o n y y e a r s . Shaw w o r k e d in t h e W a r i n g
o r g a n i z a t i o n from 1938 u n t i l h e j o i n e d the s e r v i c e in 1945. He
c o n d u c t e d the C o l l e g i a t e C h o r a l e fro m 1941 to 19 54. a n d th e San D ieg o
S y m p h o n y from 1953 to 19 57. H e w a s with the C l e v e l a n d O r c h e s t r a as
A s s o c i a t e C o n d u c t o r fro m 19 56 u n til 1966. S h a w b e g a n hi s t e n u r e in
A t l a n t a in 1966 and r e t i r e d in 1988 fro m full t i m e d u t i e s . He c o n t i n u e d
in an a c t i v e c a p a c i t y as C o n d u c t o r L a u r e a t e o f th e A S O u n t i l his dea th
in 1999.
S h a w w a s c o m m i t t e d to th e w o r k o f A m e r i c a n c o m p o s e r s . This
c o m m i t m e n t was a m a j o r t h e m e t h a t w o u ld c o n t i n u e t h r o u g h o u t his
c a r e e r , e a r n i n g him f o u r A S C A P a w a r d s for s e r v i c e to c o n t e m p o r a r y
music. P r e s e n t i n g w o r k s by A m e r i c a n c o m p o s e r s w a s a p a r t o f the
c r e e d o f th e C o l l e g i a t e C h o r a l e , w h i c h r e f l e c t e d th e d o m i n a n t th e m e s o f
d e m o c r a c y a n d p a t r io t i s m . As S h a w sta ted in a 1943 l e t t e r , “ Y ou do n 't
j u s t s i n g in t h e C o l l e g i a t e C h o r a l e . Y o u live it. It's d a m n n e a r a
r e l i g i o n / ' 57 S h a w a nd the C o l l e g i a t e C h o r a l e p r e s e n t e d p r e m i e r e
c o n c e r t s o f A m e r i c a n c o m p o s e r s s u c h as J a c o b A v s h a l o m o v , Sam uel
B a r b e r . M a r c B l i t z s t e i n , L u k a s F o s s , W illiam S c h u m a n , a n d C h ar les
Ives. S h a w ' s c o m m i t m e n t to th e A m e r i c a n c o m p o s e r s o f h is g e n e r a t i o n
57 R o b ert Shaw, letter to th e C o lle g ia te Chorale, 8 F ebru ary 1943.
38
c o n t i n u e d w i t h t h e R obert S h a w C h o r a l e . Shaw always s h o w c a se d
A m e r i c a n c o m p o s e r s on to ur. And h is w o r k on b e h a l f o f A m e r i c a n
composers, and especially A fric a n -A m e ric a n composers, was a m ajor
part o f the s u c c e s s story o f th e A t l a n t a S y m p h o n y and th e c i t y o f
A tla n ta in t h e 1 9 7 0 s and 1980s. S h a w ' s 1972 world p r e m i e r e
p r o d u c t io n o f S c o t t J oplin's o p e r a , T r e e m o n i s h a b r o u g h t n a t i o n a l
a tt e n t i o n to t h e A t l a n t a S y m p h o n y O r c h e s t r a and its c o n d u c t o r .
S h a w f i r s t r e c e i v e d r e c o g n i t i o n as a c o n d u c t o r in 1943 f r o m th e
N a ti o n al A s s o c i a t i o n o f C o m p o s e r s a n d C o n d u c t o r s as the “ o u t s t a n d i n g
A m e r i c a n b o r n c o n d u c t o r o f the y e a r . " In 1946, S haw w as a p p o i n t e d
D ir e c to r o f C h o r a l A c t i v i t i e s at the J u i l l i a r d School o f M u s i c , a p o s t he
held par t t i m e u n t i l 1948. S h a w w a s n o t p a r t i c u la r l y fo n d o f t h e
c l a s s r o o m s e t t i n g , finding it too c o n f i n i n g . O v e r the y e a r s h e v i s i t e d
many c a m p u s e s to tea ch and c o n d u c t , b u t it was a l w a y s in a w o r k s h o p -

perform ance setting. In 1946. he w a s a p p o i n t e d c h o r a l d i r e c t o r for the
B e r k s h ir e M u s i c C e n t e r at T a n g l e w o o d in Le nox, M a s s a c h u s e t t s . He
b r o u g h t t w e n t y o f his own s i n g e r s a n d a l o n g with H u g h R o s s ' s S c h o l a
C a n t o r u m . f o r m e d th e ch orus for th e T a n g l e w o o d s e a s o n .
In 1 953. he w as o f fe r e d the c o n d u c t o r s h i p o f the t h e n p a r t time

San D i e g o S y m p h o n y O r c h e s t r a . In t w o y e a r s , the San D i e g o
S y m p h o n y w e n t fro m a s u m m e r o n l y o r c h e s t r a , to i n c lu d e a r e g u l a r
seaso n c o n c e r t s e r i e s . Ea rly in his S a n D i e g o tenur e. S h a w w a s o f t e n
tre ated s k e p t i c a l l y by the s y m p h o n y p l a y e r s . A Time m a g a z i n e a r t i c l e
in A u g u s t 1 9 55, e n t i t l e d “ C o m i n g o f A g e , ” s tated that d u r i n g his first

two y e a r s th e o r c h e s t r a l m u s i c i a n s w e r e o f t e n “noisy in r e h e a r s a l s ” and
39
“ h a r r i e d him w ith u n i m p o r t a n t q u e s t i o n s . ”58 In the r e v i e w e r ' s w o r d s,
t h e y t r e a t e d the new c o n d u c t o r as a kind o f ‘‘m u s i c a l B o y Scout. . . But
th i s y e a r , ” wr ote T i m e , “ t h e y d e f e r to his a u t h o r i t y w i t h re sp e c tf u l
s i l e n c e , pass [sic] th e ir q u e s t i o n s up t h r o u g h the c o n c e r t m a s t e r . ” As
f o r his own i m p r o v e m e n t w it h th e or c h e str a , the a r t i c l e quoted S h a w as
s a y i n g that he, too, was n o t i c i n g a d iff e r e n c e . “ I'm b e g i n n i n g to feel
th e o r c h e s t r a in my f i n g e r s n o w . My f inge rs t a s t e the s ound; my ears

t a s t e the sound. I c a n ’t e x p l a i n it-I j u s t am c l o s e r . ” 59
On 16 April 1953 S h a w w as honored by th e T o w n Hall Club.
W i l l i a m S c h u m a n s e r v e d as to a s t m a s t e r . G u e s t s o f h o n o r in c l u d e d Mr.
a n d Mrs . Juli us H e r f o r d . Mr. a n d Mrs. W a lte r G o u l d , N o r m a n D ello
J o i o . and Peter M e n n in . A m i x e d e n s e m b le o f t w e l v e v o i c e s f ro m the
R o b e r t S haw C h o r a l e p r e s e n t e d th re e B r a h m s p ar t s o n g s and t h re e
S p a n i s h folk so ng a r r a n g e m e n t s by Alice P a r k e r and R o b e r t Shaw . T h e

s i n g e r s in cluded Y v o n n e C i a n n e l l a , F lo re n c e F o g e l s o n , and L o u i s e
N a t a l e , s o p ra n o s ; G r e t c h e n B e n c e . F lore nc e K o p l e f f , a n d M a r g e r y
P e a r c e , altos; W a lt e r C a r r i n g e r , R ichard W r i g h t, and D o n M e is s n e r.
t e n o r s ; and B e n ja m in De L o a c h e , Thomas Pyle, and A l e x Z im m e r ,
basses. Shaw's s c r a p b o o k s r e v e a l e d letters o f c o n g r a t u l a t i o n s from
n o t a b l e m usical d i g n i t a r i e s w h o had been u n a b l e to a tte n d , i n c l u d i n g
R o b e r t Ru ssell B e n n e tt, A r t u r o T o s c a n in i ( th r o u g h a le t t e r w r i tt e n for

h im by his son. W a lte r ), M a r c B lit z s te in , J o h n F i n l e y W i l l i a m s o n and
S h a w ' s coll ege c h o r a l p r o f e s s o r , Ralph H. L y m a n . S h a w ’s parents did
not live to share in m u c h o f S h a w ' s re c o g n it io n , a l t h o u g h his m o t h e r
5* “C om ing o f Age,” T im e, 1 A u g u s t 1955.
59 Concert Review. Tim e M a g a zin e , 1 August 1955.
40
was able to c o m e to New Y o r k o n o n e o c c a s i o n and h e a r h im c o n d u c t
the C o l l e g i a t e C h o r a l e . A n n S h a w P r i c e stated that t h e i r f a t h e r n e v e r
was able to go to N ew York for a c o n c e r t . 60
S h a w c o n t i n u e d to c o n d u c t t h e C o l l e g i a t e C h o r a l e u n t i l 195 4.
w h e n r e s p o n s i b i l i t i e s to the S an D i e g o S y m p h o n y O r c h e s t r a d e m a n d e d
m o re o f his e n e r g y than he c o u l d s u s t a i n a nd still m a i n t a i n t h e N e w
York based chorale. His la st c o n c e r t as c o n d u c t o r o f the C o l l e g i a t e
C h o r a l e was 18 M arc h 1954. T h e r e w a s s p e c u l a t i o n in th e m e d i a t h a t
S h a w was l e a v i n g the c hor al f ie l d to p u r s u e a c a r e e r as a s y m p h o n y
conductor. S h a w d o w n p l a y e d the i d e a . “ A lot o f p e o p l e c o n s i d e r it a
big s w i t c h . ” s a i d Shaw. “ B u t I'm n o t o n e o f t h e m . ” 61 In f a c t , h e w a s
a d d i n g the one e l e m e n t that w o u l d m a k e his c o n d u c t i n g c a r e e r d i s t i n c t ;
s p e n d i n g the n e x t f o rty - fiv e y e a r s s p e c i a l i z i n g in c o n d u c t i n g t h e c h o r a l
a nd o r c h e s t r a l r e p e r to i r e .
W ith th e C o l l e g i a t e C h o r a l e S h a w had be gun th e p r a c t i c e o f
w r i t i n g l e t te rs to his ch o r u s, u s u a l l y b e g i n n i n g " D e a r P e o p l e , ” o r “ D e a r
F r i e n d s . ” M u c h o f S haw 's c h o r a l t e c h n i q u e s and m u s i c a l ( a n d
o t h e r w i s e ) p h i l o s o p h i e s w e r e d i s c u s s e d in these le tte rs . T h e l e t t e r s
o f te n s c o l d e d a n d ofte n c o n g r a t u l a t e d , but their mai n p u r p o s e w a s to
i n s t r u c t in an e f f i c i e n t m a n n e r . S h a w h a t e d wa stin g t i m e in r e h e a r s a l .
T h e r e f o r e , i f t h e ch orus c o u l d h a v e his t h o u g h ts a b o u t th e m u s i c
b e t w e e n r e h e a r s a l s , he w o u l d n o t h a v e to spen d as m u c h t i m e c o r r e c t i n g
t h i n g s he felt t h e sin ger s s h o u l d a l r e a d y know .
60 Ann S haw Price, telephone c o n v e rs a tio n with the author, 26 F e b ru a ry 2 0 00.
61 Irving K o lo d in , "Is Robert S h aw S w itc h in g his Batons?” N a tio n a l W e e k ly , 10 June

1956.
41
From th e t i m e S h a w fo rm ed the C o l l e g i a t e C h o r a l e in 1941. he
h a d also w o r k e d w i t h s m a l l e r c h o ir s d o i n g l a r g e l y s erio u s w'orks a n d
o f t e n doing r e c o r d i n g s e s s i o n s for R C A V i c t o r a n d NBC. S aid S h a w :
" T h e y were k n o w n t h e n d e p e n d i n g u p o n w h e r e t h e y p e r f o r m e d , as th e
C B S Choral e o r t h e A B C and NB C C h o r a l e o r the RCA V i c t o r
C h o r a l e . ”62 F or m o s t o f th e 1940s. S h a w h a d r e f e r r e d to the g r o u p as
t h e "small c h o i r ” f r o m the C o l l e g i a t e C h o r a l e . In the s u m m e r o f 1948 .

S h a w was a s k e d to p r e p a r e a c h o r u s f o r a t h i r t e e n - w e e k r e p l a c e m e n t o f
th e r e g u la r NB C r a d i o p r o g r a m , the E d g a r B e r g e n - C h a r l i e M c C a r t h y
Show. S p e a k in g to A n t o n i o M o li n a . S h a w s a id , “ S inc e we c o u l d n o t
i d e n t i f y it (the C h o r a l e ) w ith N B C , C B S . o r A B C , it cam e to be k n o w n
w i t h my n a m e . ” 6j T h e t h i r t e e n - w e e k r e p l a c e m e n t j o b was a c r i ti c a l
s u c c e s s and b r o u g h t n a t i o n a l nam e r e c o g n i t i o n to the c h o r u s he n o w
c a l l e d the R o b e r t S h a w C h o r a le . V i r g il T h o m p s o n , r e v i e w e r for th e
N e w York H e r a l d T r i b u n e w rote , “ I do not k n o w his equal in th e c h o r a l
f ie ld t o d a y . ”64
Walter G o u l d . S h a w ' s p e r s o n a l m a n a g e r s in c e 1947. p e r s u a d e d his
e m p l o y e r . J a m e s A. D a v i d s o n , to s p o n s o r t h e S h a w C h o r a le in a t o u r o f
th e M id w es t. It w a s to be the first o f t w e n t y - o n e tour s the S h a w
C h o r a l e would u n d e r t a k e . Singer s w ho h a d s i g n e d on to do the
r e p l a c e m e n t s h o w a l s o h a d to a g r e e to t a k e p a r t in the up c o m i n g t o u r .
In 1956. a f t e r e i g h t y ea rs on the d o m e s t i c t o u r c i r cu it, th e R o b e r t
S h a w Choral e j o i n e d th e “ c u lt ura l d i p l o m a c y ” e f f o r t with the f ir s t o f
63 Antonio M. M o lin a . "C h o ral and O rc h e s tra C o n d u c tin g : An Interview with R o b e rt

S h a w ," The C horal J o u r n a l 18 (M arch 1978): 26-32.
63 Molina. 1978.
64 James A. D a v id so n M anagem ent, "P re ss B o o k ” for R obert Shaw, 1948.
42
thre e f o re ig n to u r s s p o n s o r e d by t h e U .S . State D e p a r t m e n t . While
S h a w d o w n p l a y e d the ef fe c ts o f m u s i c a l d i p l o m a c y to s o l v e global
p o l i t i c a l p r o b l e m s , there r e m a i n e d little doubt t hat t h e r e was much to
gain from p e r s o n a l c o n tact b e t w e e n p e o p l e s o f o t h e r n a t i o n s and
cultural traditions. In R u s s ia d u r i n g th e height o f the C u b a n m iss ile

c r i s i s , o f f i c i a l s a nd c o m m o n c i t i z e n s tre a te d the S h a w C h o r a l e with the
u t m o s t r e s p e c t a nd a d m i r a t i o n a l i k e . At a r e c e p t i o n , h e l d n e a r the end
o f the tou r. D e p u t y M i n i s t e r o f F o r e i g n A ffa irs ( A l e x a n d e r K u z n e t s o v ) 65
was h eard to say to the U.S. A m b a s s a d o r that " A ll th is m a k e s our j o b a
little eas ier.'" 66
In the fall o f 1956, S h a w b e c a m e A s s o c i a t e C o n d u c t o r o f the
C l e v e l a n d S y m p h o n y O r c h e s t r a u n d e r G eo r g e S zell, a p o s t he held for

t w e l v e years. S h a w c o n d u c t e d f o u r s u b s c r i p t i o n c o n c e r t s a year,
h e a d e d the e d u c a t i o n a l a c t i v i t i e s o f the o r c h e s t r a , c o n d u c t e d c h i l d r e n 's
c o n c e r t s , and r e b u i l t the C l e v e l a n d S y m p h o n y O r c h e s t r a C h o r u s .
S h a w 's t e n u r e in C l e v e l a n d w a s p r o d u c t i v e f o r h i m a nd the
orchestra. Szell a nd Shaw had t r e m e n d o u s r e s p e c t for e a c h other , but
w h e n S h a w was o f f e r e d the c o n d u c t o r s h i p o f the A t l a n t a S y m p h o n y , he
left C l e v e l a n d for "t h e a p p e t i z i n g o p p o r t u n i t y to . . . h a v e o n e 's own
o r c h e s t r a . " 67 O f Sze ll. S haw w o u l d l a t e r say: “ It t a k e s a long time to
r e a l i z e that G e o r g e Szell is as h a r d on h i m s e l f as he is o n e v e r y b o d y
else . So I was s o r t o f lo o k in g to g e t a w a y . " 68 S h a w ’s n a m e first
65 K uznetsov was not identified by nam e in the Shaw serm on.
66 Robert Shaw , “ Russian Tour: U n ita ria n C hurch S erm on ," C le v e la n d Unitarian
C hurch. 3 M arch 1963 (Personal papers o f R o b ert Shaw, Atlanta).
67 M argaret S hakespeare. “ R o b ert S h aw R em em bers." O v a tio n 9 , no. 4 (1988): 9.
68 S hakespeare. 1988.
43
su rfa ce d as a c a n d i d a t e for th e A t l a n t a S y m p h o n y O r c h e s t r a p o s t by
way o f s y m p h o n y b o a r d m e m b e r and o l d a c q u a i n t a n c e . C h a r l e s Y a t e s .
Charles Y at es h ad b e e n a friend and f r e q u e n t g o lfi n g p a r t n e r o f F r e d
Waring, and it was t h r o u g h W a r i n g th a t Y a t e s a n d Shaw f ir s t met.

When H en r y S o p k i n . the A tla n ta S y m p h o n y ' s c o n d u c t o r sin ce 1945.
a n n o u n c e d his r e t i r e m e n t e f f e c t i v e at t h e e n d o f the 1965 s e a s o n , t h e
Atlanta S y m p h o n y b o a r d beg an s e a r c h i n g f o r a r e p l a c e m e n t that c o u l d
take the o r c h e s t r a to the next level o f a c h i e v e m e n t . They s o o n a g r e e d
that Shaw w as the p e r s o n for the task , b u t S h a w was not so s ure . At
first he d e m u r r e d , o f f e r i n g i n s t e a d the n a m e s o f oth er c o n d u c t o r s he f elt
were more q u a l i f i e d to do the j o b . A t l a n t a p e r s i s t e d in w o o i n g S h a w ,

who e v e n t u a l l y a c c e p t e d with his usu al u n b r i d l e d e n t h u s i a s m .
W hen S h a w a r r i v e d in A t l a n t a , t h e A t l a n t a S y m p h o n y O r c h e s t r a
was a sm al l, r e g i o n a l o r c h e s t r a w ith a m o d e s t b u d g e t, ( a b o u t $ 5 0 0 , 0 0 0
a c c o r d in g to t h e A t l a n t a J o u r n a l ) 69 and 6 0 t o 70 " m o d e s t l y p a i d "
musicians . T w e n t y - o n e years late r the b u d g e t was $12 m i l l i o n a nd the

orch es tr a had n i n e t y - t h r e e full t im e p l a y e r s . 70 In a 1988 i n t e r v i e w w i t h
M ar gar et S h a k e s p e a r e . Shaw said t hat h e w a s a l r e a d y " s o l d " on A t l a n t a
through his f a m i l i a r i t y with s e v e r a l m e n , R a l p h McGill and E u g e n e
Patterson, e d i t o r s o f th e A t l a n t a C o n s t i t u t i o n a n d the A t l a n t a J o u r n a l ,
and o u t s p o k e n a d v o c a t e s o f civil r ig h ts in t h e s o u th . He c o n t i n u e d :
Y o u see. R al ph M c G i ll , late e d i t o r o f the A t l a n t a

C o n s t i t u t i o n [ 1 9 4 2 -6 0 ] , was a l r e a d y one o f my idols.
A n d th e n there was E u g e n e P a t t e r s o n , e d ito r o f the
C o n s t i t u t i o n [ 1 9 6 0 -6 8 ] , . . . w h a t a g r e a t bl ow for
69 W endell B rock , "P assing o f a Musical G i a n t ,” A tla n ta Jo u rn a l-C o n stitu tio n , 26

January 1999, sec. B. 1.
70 Brock. 1999.
44
freedom ! M y e a r l i e s t f riends in A t l a n t a w e r e p e o p le
like W e n d a l l W h a l u m . late c h a i r m a n o f th e M usi c
D e p a r t m e n t a n d d i r e c t o r o f the M o r e h o u s e C o lle g e
Glee C l u b . . . I fe lt. then, th a t the a r t s c o u l d make a
h u m a n d i f f e r e n c e . 71
F o l l o w i n g th e 1967 s e a s o n in C l e v e l a n d a n d a f in a l tou r and
r e c o r d i n g s e s s io n w ith t h e R o b e r t Shaw C h o r a l e . S h a w was h e a d e d to
A tlanta. Sh aw ' t h i r t y - t w o y e a r s in A t l a n t a p r o v e d to be the h a p p i e s t

a nd a r g u a b l y the m o s t p r o d u c t i v e o f his life. H i s 1973 m a r r i a g e to
C a r o l i n e S a u ls Hitz p r o v i d e d an e l e m e n t o f s t a b i l i t y a n d h a p p i n e s s in
his p e r s o n a l life. In an e r a w h e n c o n d u c t o r s m o v e d f r o m p o s it io n to
p o s i t i o n , o r m a i n t a i n e d s e v e r a l o r c h e s t r a s in s e v e r a l l o c a t i o n s . S h a w
s t a y e d in A t l a n t a , d e d i c a t i n g h i m s e l f to the g r o w t h o f th e arts in his
a d o p t e d c ity . In r e t u r n f o r its loy alty, he g a v e t h e c it y o f A t l a n t a a
q u a r t e r o f a c e n t u r y o f s t a b i l i t y and c u l t u r a l g r o w t h . His
a c c o m p l i s h m e n t s w it h t h e A t l a n t a S y m p h o n y a n d C h o r u s r e f l e c t e d the
h a p p i n e s s o f a man w h o h a d f o u n d a h o m e a nd a la r g e m e a s u r e o f
f u l f i l l m e n t in his li fe 's p u r p o s e .
M arg aret S h akespeare. “ R o b e rt Shaw R em em b ers.” O v a tio n 9, no. 4 (1988): 10.
45
C H A P T E R THREE
T H E ERA O F C U L T U R A L D I P L O M A C Y
H istorical Background
A c c o r d i n g to State D e p a r t m e n t r e c o r d s , a d i v i s i o n o f C u l t u r a l
R e l a t i o n s w a s e s t a b l i s h e d in 1938 to e n c o u r a g e g o o d r e l a t i o n s with
other nations. P r e s i d e n t F r a n k l i n D. R o o s e v e l t was c o n c e r n e d ab o u t the
g r o w i n g N a z i i n f l u e n c e in L a t i n A m e r i c a a nd e s t a b l i s h e d t h e " g o o d
n e i g h b o r p o l i c y ” to p r o m o t e g o o d r e l a t i o n s with S o u t h A m e r i c a n
countries. “ P r i o r to 1938. th e G o v e r n m e n t ' s role in c u l t u r a l r e la tio n s

had b e e n i n c i d e n t a l , s p o r a d i c , a n d u n p l a n n e d . ”72 In 1940, N e l s o n
R o c k e f e l l e r , C o o r d i n a t o r o f C o m m e r c i a l a n d C u lt u r a l A f f a i r s for the
La tin R e p u b l i c s , in vited 130 j o u r n a l i s t s fro m Latin A m e r i c a to visit the

U n i te d S t a t e s . F u r th e r a t t e m p t s at g l o b a l u n d e r s t a n d i n g f o l l o w e d . By
1963. m o r e t h a n 2 1 .0 0 0 A m e r i c a n s a n d 5 3 . 0 0 0 f o re i g n n a t i o n a l s had
t a k e n p a r t in the C u l tu r a l E x c h a n g e P r o g r a m . 0
In 19 45 , at the c lo se o f h o s t i l i t i e s b e tw e e n the A x i s c o u n t r i e s and
the A l l i e s , l e a d e r s on both s id e s o f th e A t l a n t i c r e a l i z e d t h a t t h e
v i c t o r i o u s S o v i e t Un ion a nd the U n i t e d S ta te s would c o n t r o l m o s t o f the
w o r l d ’s p o s t - w a r e c o n o m i c w e a l t h a n d m i l i t a r y p o w e r . A s e a r l y as
U. S. D ep artm ent o f State. E d u c a tio n a l a n d C ultural D ip lo m a c y -1 9 6 2 :

In te rn a tio n a l In fo rm a tio n an d C u ltu ra l S e r ie s 85, R epo rt 7612, W a s h in g to n , D .C.:
G o v e rn m e n t P rin tin g Office, 1962.
73 L u c iu s D. Battle. E d u ca tio n a l a n d C u ltu r a l A ffairs. U.S. D e p a r tm e n t o f State,

P ublicatio n 7 5 5 7 , W ashington, D.C.: G P O , 1963.
46
1943. at the M o s c o w C o n f e r e n c e , t h e A m e r i c a n g o v e r n m e n t s o u g h t to
e s ta b lis h a m u t u a l p o licy o f i n f o r m a t i o n a n d c u l t u r a l e x c h a n g e b e t w e e n
the two n a t i o n s . In a State D e p a r t m e n t d o c u m e n t r e le a se d in A p r i l

1949. the a u t h o r s w rote. •'The p o l i t i c a l , e c o n o m i c , and c u l t u r a l
tra d it i o n s o f t h e s e t w o p e o p le s d i f f e r e d so v a s tl y that only a t o l e r a n t
acceptance o f each other's v ie w p o in t's could prevent unfortunate
m i s u n d e r s t a n d i n g s . ” 74 G e n e r a l W a l t e r B e d e l l S m ith, then A m b a s s a d o r
to the S o v i e t U n i o n , clear ly s t a t e d t h e U . S . p o l i c y , “The m o r e p e o p l e o f
the w orld k n o w a b o u t each o t h e r , t h e b e t t e r th e y u n d e r s t a n d e a c h o th e r ,
and the less f r i c t i o n there is likely to b e . ” 75 It s e e m e d an u n a s s a i l a b l e
truth in the U n i t e d States p e r s p e c t i v e t h a t p o s t w a r c o o p e r a t i o n was
e s s e n t i a l to b o t h s id e s .
T h e r e w a s , h o w e v e r , m i s t r u s t a n d a g e n e r a l lack o f a g r e e m e n t on
many iss u es t h a t d a t e d from the B o l s h e v i k R e v o l u t i o n to the S o v i e t
h a n d l i n g o f W o r l d W a r II. In 1939 p i a n i s t E m il G ilels w as s c h e d u l e d to
b e c o m e the f i r s t R u s s i a n a r tis t to t o u r the U n i t e d States s in c e

P r o k o f i e f f in 1921. His visit, in c o n j u n c t i o n w i th the N ew Y o r k
W o r l d ' s F a i r , w a s c a n c e lle d w h e n S t a l i n s i g n e d a n o n - a g g r e s s i o n p a c t
with H i t l e r ’s N A Z I g o v e r n m e n t . F o l l o w i n g the war, m an y m i l i t a r y and
p o li tic a l l e a d e r s in th e Un ited S tates w e r e c o n v i n c e d that th e A l l i e s had
g iven too m u c h a w a y to the S o v i e t s . S till o t h e r s spoke o p e n l y o f g o i n g
to war w ith R u s s i a .
As f o r the S o v i e t s , there was a m p l e h i s t o r i c a l e v i d e n c e to s u s p e c t

A m e r i c a ' s s e e m i n g l y good i n t e n t i o n s . B e t w e e n the years 1 9 1 3 - 1 9 2 1 ,
74 U.S. D e p a rtm e n t o f State, C u ltu ra l R e la tio n s b etw een the U nited S ta te s a n d th e

S oviet U nion: P u b lic a tio n 3480, W ashington, D .C .: G P O , 1949, 1-2.
5 U.S. D e p a rtm e n t o f State, 1949, 2.
47
the W o o d r o w W i lso n a d m i n i s t r a t i o n had o p e n l y s o u g h t to s p r e a d
A m e r i c a ' s influ e n c e in the w o r l d th r o u g h e c o n o m i c and p o l i t i c a l m e a n s .
W i l s o n and other s in his a d m i n i s t r a t i o n w e r e c o n v i n c e d that o n l y
A m e r i c a would h a v e t h e " m o r a l s t a n c e ” to n e g o t i a t e post w a r w o r l d
o r d e r . 76 H er b ert H o o v e r , th e n head o f the A m e r i c a n R e l i e f
A d m i n i s t r a t i o n , h a n d l e d th e d i s b u r s e m e n t o f $ 1 0 0 m ill io n c o n g r e s s i o n a l
d o l l a r s to a s tr u g g l i n g E u r o p e in the y e a r s i m m e d i a t e l y f o l l o w i n g th e
F i r s t W o r l d War. M i l l i o n s o f lives w e r e u n d o u b t e d l y s av ed d u e to t h i s
e f f o r t . 77 But the f i n a n c i a l a nd h u m a n i t a r i a n a i d had p o li tic a l p u r p o s e s
as w e l l . The a s s u m p t i o n a nd ho p e o f th e U . S . g o v e r n m e n t w as t h a t
s u p p o r t o f Cen tral E u r o p e a n c o u n t r i e s w o u l d b o l s t e r their s t r e n g t h
a g a i n s t the in flu e n c e o f B o l s h e v i s m . W h e n H u n g a r y cam e u n d e r the
c o n t r o l o f a B o l s h e v i k r e g i m e in 1919. A m e r i c a n o f f i c i a l s q u i c k l y s h u t
d o w n th e flo w o f fo od s u p p l i e s , a n n o u n c i n g t h a t o n l y af ter a “ n o n -
B o l s h e v i k " group c a m e to p o w e r would the a s s i s t a n c e be r e i n s t a t e d .
The s t r a t e g y was s u c c e s s f u l , p r o m p t i n g o n e U . S . o f f i c i a l to c o m m e n t .
" B r e a d is m ig h ti e r t h a n the s w o r d . ”78 D u r i n g the p e r i o d f o l l o w i n g t h e
o v e r t h r o w o f C z a r N i c o l a s II in 1917. s e v e r a l f a c t i o n s w it h i n R u s s i a
s o u g h t c o n t r o l o f the c o u n t r y . American W all Street tycoon W illiam

B o y c e T h o m p s o n us ed, w i t h t a c i t a p p r o v a l f r o m the W ilso n
A d m i n i s t r a t i o n , the A m e r i c a n R ed C ros s to b a c k the p r o v i s i o n a l
g o v e r n m e n t under A l e x a n d e r K e r e n s k y . A f t e r L e n i n d e f e a te d
K e r e n s k y ' s forces. T h o m p s o n tu rn e d his s u p p o r t to G e n e r a l K o l c h a k , a
76 E m ily S. R osenberg, S p r e a d in g the A m erica n D rea m : A m erica n E co n o m ic a n d

C u ltu ra l E xpansion. 1890-1945 (N e w York: Hill and W ang, 1982), 80.
Rosenberg, 76.
'* R osenberg, 77.
48
liberal a n t i - B o l s h e v i k c o u n t e r r e v o l u t i o n a r y . Emily R o sen b erg
( S p r e a d i n g th e A m e r i c a n D r e a m : A m e r i c a n E c o n o m i c a n d C u l t u r a l
E xpansion. 1890-1945) w rites th at President W ils o n 's m ilitary support
o f the a n t i - B o l s h e v i k s in S i b e r i a , c o u p l e d w ith t h e s e o t h e r " u n o f f i c i a l "

e f f o r t s , " c o n v i n c e d the S o v i e t r e g i m e o f A m e r i c a ' s i n t e n t i o n to d e s tr o y
i t . " 79
M o r e o v e r t m e a s u r e s in s p r e a d i n g the A m e r i c a n d o c t r i n e were
u n d e r t a k e n b y th e C o m m i t t e e o n P u b l i c I n f o r m a t i o n ( C P I ) , a
g o v e r n m e n t a l a g e n c y c r e a t e d in 1914 and d i r e c t e d b y n e w s p a p e r m a n
and s t a u n c h c a p i t a l i s t , G e o r g e C r e e l . CPI d i s t r i b u t e d th e d o c t r i n e o f
p r o g r e s s i v i s m an d d e m o c r a c y t h r o u g h o u t the w o r l d , e m p l o y i n g the
Y M C A . t h e R e d Cross, an d e v e n m i s s i o n a r y g r o u p s t o p a m p h l e t e e r on
b e h a l f o f th e A m e r i c a n g o v e r n m e n t . R o s e n b e r g w r i t e s . “ C r e e l w orked
to p r o j e c t A m e r i c a ’s i m a g e as a p o w e r f u l i n d u s t r i a l i z e d , f re e and j u s t
s o c i e t y t h a t o t h e r s s h o u ld e m u l a t e . " 80 Creel an d the C P I e v e n c r e a te d a
g o v e r n m e n t r u n news w ir e s e r v i c e t h a t p r o v i d e d f o r e i g n n e w s p a p e r s
in fo rm atio n free o f charge. A 19 1 8 d e l e g a t i o n o f M e x i c a n j o u r n a l i s t s

b r o u g h t w i d e s p r e a d p o s i t i v e r e a c t i o n to the n a tu r a l b e a u t i e s o f A m e r i c a
and its i n d u s t r i a l w ealth. T h e C P I s p o n s o r e d tri p w a s w i d e l y p u b lic i z e d
t h r o u g h o u t L a t i n A m e r ic a . In p e a s a n t v i lla g e s in R u s s i a , C h i l e , and
Peru, th e C P I u s e d the Y M C A a n d t h e Red C r o s s to d i s t r i b u t e A m e r i c a n
m o v ie s t h a t w e r e little m o r e t h a n a d v e r t i s e m e n t s for t h e A m e r i c a n way
o f life. W h i l e E u r o p e a n f il m s t u d i o s v i r tu a l ly c o l l a p s e d d u r i n g WWI,
Creel i n s u r e d t h a t H o l l y w o o d p r o d u c e r s r e c e i v e d e n o u g h w a r - tim e
79 R o s e n b e r g , 78.
80 R o s e n b e r g , 78.
49
a l l o t m e n t s to c r e a t e la v ish A m e r i c a n f ilm s o f te n d e p i c t i n g a d i s t o r t e d
p i c t u r e o f A m e r i c a n w ea lth- W r o t e o n e F r e n c h critic:
F o r m e r l y the p r e a c h e r s o f C i n c i n n a t i or B a l t i m o r e
d e l u g e d the w o r l d w it h p i o u s b r o c h u r e s ; t h e i r
c h e e r f u l o f f s p r i n g , w h o p u r s u e the sa me e n d s ,
i n u n d a t e it w ith b l o n d m o v i e s ta r s ; w h e t h e r as
m i s s i o n a r i e s l o a d e d w i t h B ib le s or p r o d u c e r s w e l l
s u p p l i e d w it h f il m s , the A m e r i c a n s are e q u a l l y
d e v o t e d to s p r e a d i n g th e A m e r i c a n way o f l i f e . 81
T he e c o n o m i c c o l l a p s e and r e s u l t i n g d e p r e s s i o n o f th e 1930s
b r o u g h t d i s i l l u s i o n m e n t and r e a s s e s s m e n t o f the A m e r i c a n d r e a m .
P r iv a te i n d u s t r y a n d g o v e r n m e n t a s s o c i a t i o n s , along w i t h t h e Y M C A
and o t h e r i n d e p e n d e n t a g e n c i e s fell on h a r d tim es . A c c o r d i n g to
R o s e n b e r g , the Y M C A ’s t o t a l b u d g e t for 1933 was o n l y 22 p e r c e n t o f

its a v e r a g e for th e y e a r s fro m 1 9 2 5 - 1 9 2 9 . T h e failure o f th e w o r l d
e c o n o m y and the i n a b i l i t y or u n w i l l i n g n e s s o f E u r o p e a n n a t i o n s to pay
their w a r d e b ts c a u s e d m a n y A m e r i c a n s to b e lie v e th a t the U . S .
i n v o l v e m e n t in “ E u r o p e ' s w a r " h ad b e e n a m istake. In 1931, H e r b e r t
H o o v e r a g r e e d to s u s p e n d d e m a n d s for d e p t r e p a y m e n t s for a y e a r , but

at the c l o s e o f th e “ d e b t m o r a t o r i u m " in the s u m m e r o f 1932, m o s t
c o u n t r i e s c h o s e to d e f a u l t . In the w a k e o f the mass d e f a u l t s , th e U.S.
C o n g r e s s p a s s e d th e J o h n s o n A ct o f 1934, w h ic h s o u g h t to p u n i s h
n a t i o n s th at had n o t p a i d t h e i r w a r d e b t s by r e f u s in g p r i v a t e l o a n s.
P r e s i d e n t R o o s e v e l t , f e e l i n g u n c o m f o r t a b l e w ith the n e w i s o l a t i o n i s t
p o li c y , m a n a g e d to h a v e an e x c e p t i o n to the bill for g o v e r n m e n t a l
loans. The S o v i e t U n i o n b e n e f i t e d g r e a t l y fro m this e x c e p t i o n and
81 R osenberg, 100.
50
Stalin h i m s e l f a c k n o w l e d g e d the S o v ie t U n i o n ' s d e p e n d e n c e up on th e
U nited States t h r o u g h l e n d - l e a s e a g r e e m e n t s . 82
C ultural Exchange. 1948-1980
The first p o s t w a r c u l t u r a l e x c h a n g e p r o g r a m o f fic ia ll y b e g a n in
1948 with C o n g r e s s i o n a l a p p r o v a l o f P u b l i c L a w 4 0 2 . o f f i c i a l l y k n o w n
as the United S tate s I n f o r m a t i o n and E d u c a t i o n a l E x c h a n g e Act. T h i s
law a p p roved the e x t e n s i o n o f the e x i s t i n g p r o g r a m with L a tin A m e r i c a
to include e x c h a n g e s w i t h all ar eas o f the w o r l d .
Known as th e S m i t h - M u n d t Ac t a f t e r its s p o n s o r s S e n a t o r H.
A le x a n d e r S m ith a nd H o u s e R e p r e s e n t a t i v e K a r l M und t. the act

m anda ted:
1. C o o p e r a t i o n w i t h oth er c o u n t r i e s in i n t e r c h a n g e o f id eas ,
p e r s o n s , s k i l l s , and k n o w l e d g e .
2. P r o v is i o n o f t e c h n i c a l and o t h e r s e r v i c e s .
3. E x c h a n g e o f d e v e l o p m e n t s in e d u c a t i o n , arts and s c i e n c e s .
The C u l tu r a l P r e s e n t a t i o n s P r o g r a m b e g a n in 1954 as a d i r e c t
r e s u l t o f a r e q u e s t to C o n g r e s s from P r e s i d e n t D w i g h t D. E i s e n h o w e r .
T he result was the a u t h o r i z a t i o n o f the I n t e r n a t i o n a l C u l tu r a l E x c h a n g e
and Fair Trade P a r t i c i p a t i o n Act o f 1956 ( P u b l i c L a w 860). It p r o v i d e d
pe r m a n e n t fu n d in g o f “ i n d i v i d u a l or g r o u p t o u r s o f p e r f o r m i n g a r t i s t s ,
at hlete s, fe st ivals and e x h i b i t i o n s . ’'’ The p u r p o s e o f the i n i t i a t iv e w a s
clear : to prove that A m e r i c a was not the c u l t u r a l “ b a c k w a t e r ” m a n y
c o n s id e re d her to be. Q u o t i n g E i s e n h o w e r , th e r e q u e s t was m a d e “ to
82 U.S. D epartm ent o f S tate, C u ltu ra l R ela tio n s b e tw e e n th e U nited S ta tes a n d th e

S o v ie t Union: Publication 3480, W ashington. D.C.: G o v e r n m e n t Printing O ffice, 1949, 1-2.
51
a s s i s t a r t i s t s to tour a b r o a d f o r th e p u r p o s e o f d e m o n s t r a t i n g t hat
A m e r i c a , to o . can lay c l a i m to h i g h c u l t u r a l a n d a r t i s t i c
a c h i e v e m e n t s . ” 8'’ In 1955. P r e s i d e n t E i s e n h o w e r a n d N i k i t a Khrushchev-
met at a s u m m i t c o n f e r e n c e ; b o t h ag r e e d t h a t “t h e U n i t e d States and the

S o v i e t U n i o n s hould s t r e n g t h e n t h e i r m u t u a l a n d c u l t u r a l r e l a t i o n s . " 84
It w a s u n d e r this m a n d a t e t h a t t h e R o b e r t S h a w C h o r a l e was in v ite d to
tour th e M i d d l e East a n d E u r o p e . C u ltu r a l e x c h a n g e s o f ar tists and
s p e c i a l i s t s h ad a c t u a l l y b e e n u n d e r way w h i l e P r e s i d e n t H a r ry T r u m a n
had b e e n in the W hite H o u s e . B l e v i n s D a v is , a f o r m e r E n g lis h t e a c h e r
from I n d e p e n d e n c e . M i s s o u r i h a d o r g a n i z e d t o u r s o f A m e r i c a n
p r o d u c t i o n s o f S h a k e s p e a r e p l a y s , w hi ch he t o o k to s e v e r a l E u r o p e a n
countries. A m o n g the n o t e w o r t h y e n d e a v o r s w a s B l e v i n ' s p r o d u c t i o n o f
P o r g y a n d B e s s that h e l p e d p a v e th e way f o r s u b s e q u e n t a r tis ts , s u c h as
the R o b e r t S h a w C h o r a l e , B e n n y G o o d m a n a n d t h e N e w Y o r k B a ll e t.
Cultural A m bassadors Getting R esu lts
O n 1 J a n u a r y 1956 a p a n e l o f B u r e a u c h i e f s a n d f o re i g n
c o r e s p o n d e n t s met in N e w Y o r k to b r o a d c a s t a y e a r - e n d r e p o rt o f the
top n e w s s t o r i e s and d e v e l o p m e n t s . The p a n e l w a s m o d e r a t e d by

E d w a r d R. M o r r o w . 85 C h i e f a m o n g new s s t o r i e s w a s th e f lurry o f
c u l t u r a l e x c h a n g e s that had r e a c h e d an a l l - t i m e h i g h in 1955, s h o w i n g
8j C o n g re s s. House, In te r n a tio n a l C u ltu ra l E xchange a n d F a ir Trade P a rticip a tio n

A ct o f 1956 (P u b lic Law 860). 8 5 Ih C o n g r e s s . 1956.
84 P h ilip H. Coom bs. The F o u rth D im ension o f F oreign P o lic y : E duca tio n a l a n d
C u ltu ra l A ffa irs, P u b lish ed f o r th e C o u n c il on F oreign R e la tio n s ( N e w Y ork: H arper &
Row, 1964), 55.
85 “ C u ltu ral A m bassadors G et R e s u lts ,” M usical A m e ric a 76 (1 9 5 6 ): 2.
52
an i n c r e a s e d w i l l i n g n e s s on the p ar t o f t h e Soviet B l o c to e n g a g e in
s uch e x c h a n g e s .
D a n i e l S c h o r r . CBS c o r r e s p o n d e n t in M o s c o w , s u m m e d up the
i m p r o v e d r e l a t i o n s by s ayin g . ‘‘T h e m o s t s i g n i f i c a n t c h a n g e w a s the
o p e n i n g o f t h e w i n d o w on the W e s t a nd t h e w a y the R u s s i a n s have
flo c k ed to t h o s e w i n d o w s for a b r e a t h o f f r e s h a i r / ' 86 M r. S c h o r r noted
the r e c e n t p e r f o r m a n c e s o f P o r g y a n d B e s s a n d said t h a t th e S o v iet

p u blic w a s " s t a r v e d ” for s u c h c o n t a c t . ‘‘L a s t wee k I saw' m e m b e r s o f
the P o r g y a n d B e s s c o m p a n y a l m o s t m o b b e d by a d m i r e r s o n th e streets
of Leningrad. A n d th e w h o le S o v i e t w o r l d o f a r d e n t c u l t u r e is b r e a k i n g
t h r o u g h th e o l d S t a l i n i s t c rust, g r o p i n g f o r n e w f r e e d o m s . ” 87 R o b er t
P i e r p o i n t . C B S c o r r e s p o n d e n t in T o k y o e c h o e d the s a m e s e n t i m e n t s by
s a y in g . “ F r a n k l y , I'd say the b e s t t h i n g w e did in th e F a r E a s t was
when the S t a t e D e p a r t m e n t b r o u g h t th e S y m p h o n y o f t h e A i r o u t . ” 88
I r o n i c a l l y , w h e n the S o v i e t U n i o n i n v i t e d the t o u r i n g c o m p a n y o f
P o r g y a n d B e s s , the U. S. S t a te D e p a r t m e n t did not s u p p o r t t h e project
and r e f u s e d to s e n d th e m , c a l l i n g the m o v e ‘‘p o l i t i c a l l y i n e p t at this
t i m e . ” 89 T h e c o m p a n y then d e c i d e d to go on its own a n d t h e R u s s i a n s

ch ose to u n d e r w r i t e th e tour. It wras th e f i r s t A m e r i c a n t h e a t r i c a l group
to visit R u s s i a s i n c e before the 1917 R e v o l u t i o n and a p u b l i c r e la tio n s
co up for th e S o v i e t s .
86 " C u ltu r a l A m b a s s a d o rs ” 1956. 2.
87 " C u ltu ra l A m b a s s a d o rs ” 1956, 2.
88 " C u ltu ra l A m b a s sa d o rs ” 1956, 2.
89 " R u s s ia n s . M usic, and U s,” M u sica l A m e ric a , 15 D ecem ber 1955, 2.
53
The H o u s e U n - A m e r i c a n A c t i v i t i e s C o m m i t t e e h e a r i n g s into
a l l e g e d C o m m u n i s t a c t iv iti e s r e p r e s e n t e d a level o f d i s t r u s t th a t
a f f e c t e d n e a r l y e v e r y area o f the ar ts i n d u s t r y . In the s u m m e r o f 1955
the S y m p h o n y o f the A i r 90 p l a y e d a s u c c e s s f u l t h i r t y - f i v e - c o n c e r t t o u r
o f the Far E a s t . A l t h o u g h a c r i ti c a l s u c c e s s , the to u r was m a r k e d by
c o n t r o v e r s y , w i th a c c u s a t i o n s by s e v e r a l m e m b e r s th at o t h e r s o n the
to ur w e r e e n g a g i n g in “red p r o p a g a n d a ” w h i l e in Asia. The charges
were n e v e r s u b s t a n t i a t e d but the S t a t e D e p a r t m e n t , not w i l l i n g to take

c h a n c e s , w i t h d r e w a p ro p o s e d E u r o p e a n t o u r o f the o r c h e s t r a in 1956.
P r o te s t s f r o m th e A m e r i c a n C iv il L i b e r t i e s U n io n and th e N a t i o n a l
C o u n c i l on F r e e d o m from C e n s o r s h i p w e r e im m e d i a te , but to no av ail.
In 1956. th e S t a t e D e p a r t m e n t , s t a t i n g t h a t it was less c a p a b l e o f
j u d g i n g a r t i s t i c m e r it than p r o f e s s i o n a l a r t i s t s and m u s i c i a n s , g a v e
c o n t r o l o f t h e C u l t u r a l P r e s e n t a t i o n s P r o g r a m to an i n d e p e n d e n t a g e n c y ,
the A m e r i c a n N a t i o n a l T h e a t r e A s s o c i a t i o n ( A N T A ) .
T he o t h e r s i g n i f i c a n t e v e n t in t h e “ c u l t u r a l b a t t l e ” w as the
t r i u m p h o f T e x a n . V an C lib u r n . w h o w o n f ir s t prize at the i n a u g u r a l
I n t e r n a t i o n a l T c h a i k o v s k y P i a n o C o m p e t i t i o n held in M o s c o w in A p r il
1958. V an C l i b u r n ( “ V a n y a ” ) w as w a r m l y c o n g r a t u l a t e d by K h r u s h c h e v
and s h o w e r e d w i t h gifts from the R u s s i a n p e o p l e . In his b o o k . M u s ic
a n d M u s i c a l L i f e in the S o v i e t Union, B o r i s S c h w a r z w r o t e , “ T h e
p r o f e s s i o n a l j u r y and the S o v ie t a u d i e n c e s w e r e u n a n i m o u s . Van
90 The S y m p h o n y o f the Air was form ed from the m em bership o f the N B C S y m ph ony
O rchestra, w h ich th e netw ork chose to disband a f te r the retirem ent o f its c o n d u c to r , Arturo
T oscanini in 1954.
54
C l ib u r n b e c a m e an id ol in R u s s ia , a n d he has c o n t r i b u t e d m o r e to
mutual u n d e r s t a n d i n g and g o o d w i l l t h a n m a n y a d i p l o m a t . " 91
The M u t u a l E d u c a t io n a l and C u l t u r a l E x c h a n g e A c t o f 196 1. also
know as the F u l b r i g h t - H a y e s A ct. i n c r e a s e d the U.S. g o v e r n m e n t ' s

r e s p o n s i b i l i t y f o r the cu l tu ra l e x c h a n g e p r o g r a m s . In s i g n i n g the ac t on
21 S e p t e m b e r 19 61, P r e s i d e n t J o h n F. K e n n e d y said, “ T h i s c e r e m o n y
has h i s t o r i c s i g n i f i c a n c e b e c a u s e it m a r k s full r e c o g n i t i o n b y the

Congress o f the im portance o f a more com prehensive program o f
e d u c a t i o n a l a n d c u l t u r a l a c ti v i tie s as a c o m p o n e n t o f o u r f o r e i g n
i .•
r e la tio n s . -192
By the e n d o f 1962. g r o w th in t h e C u l t u r a l E x c h a n g e P r o g r a m had
had an e n o r m o u s i m p a c t on f o r e ig n r e l a t i o n s . A c c o r d i n g to S t a t e
Department records, approxim ately 21 .5 0 0 A m ericans had traveled
ab road u n d e r t h e v a r i o u s C u ltu r a l E x c h a n g e Acts. D ev elo p in g nations,

e s p e c i a l l y , h a d b e n e f i t e d e n o r m o u s l y f ro m the free e x c h a n g e o f idea s
with r e s p e c t to m e d i c a l t ra in in g , farm a n d m a c h i n e r y e x c h a n g e s , and
food and w a t e r m a n a g e m e n t .
By 1962, h o w e v e r , the C u l t u r a l P r e s e n t a t i o n s P r o g r a m w a s
s h o w in g s ig n s o f “ g r o w i n g p a i n s . ” T h e S t a t e D e p a r t m e n t a n d its a g e n t s
were a d m i n i s t e r i n g a g lobal e f f o r t a n d , as an a d v i s o r y c o m m i t t e e
s u g g e s t e d , t h e r e n e e d e d to be m o re c o o r d i n a t i o n o f a c t i v i t i e s .
P r o b le m s , i n e v i t a b l e c o n s i d e r i n g the s iz e o f the p r o g r a m , had a r i s e n in
the ar eas o f g r o u p s e l e c t i o n , r e p e r t o i r e , t o u r p l a n n i n g a n d o v e r
91 S ch w a rz. B oris. M u sic and M u sica l L ife in S o v ie t R ussia: 1 9 1 7-1970 (L o n d o n :

Barrie & Jenkins, 1972). 313.
92 Lucius D. B attle, E d u ca tio n a l a n d C u ltu r a l A ffa irs in In te rn a tio n a l R ela tio n s:

Departm ent o f S ta te B u lle tin , Publication 7401, (W a sh in g to n D.C.: G o v e rn m e n t Printing
Office, 9 July 1962, 76.
55
m a n a g e m e n t . " 95 In S e p t e m b e r 1962. L u c i u s D. B a t t l e . A s s i s t a n t
S e c r e t a r y o f S t a t e f o r E d u c a t i o n a l and C u l t u r a l A f f a i r s , r e q u e s t e d t h a t
the U.S. A d v i s o r y C o m m i t t e e o v e r s e e i n g t h e C u l t u r a l E x c h a n g e
P r o g r a m , m a k e a t h o r o u g h e x a m i n a t i o n o f t h e e n t i r e p r o g ra m to
d e t e r m i n e i f m a x i m u m b e n e f i t s wer e b e i n g a c h i e v e d from t o u r i n g
p e r f o r m a n c e s . 94
The r e s u l t o f t h i s i n v e s t i g a t i o n was t h e L a r s e n - W o l f e R e p o r t ,
n a m e d for its c h i e f a u t h o r s . Lu cius B a t t l e h a d a s k e d Roy E. L a r s e n .
C h a i r m a n o f th e E x e c u t i v e C o m m i t t e e at T i m e . In c .. and G l e n n G.
W olfe. S e n i o r F o r e i g n S e r v i c e O f f i c e r , to h e a d t h e ad v is o r y c o m m i t t e e
for the c u l t u r a l p r o g r a m s . The r esu lts o f t h e i r e f f o r t s wer e f o u r g u i d i n g
“ p r i n c i p l e s ” for c o n d u c t i n g the c u l t u r a l p r e s e n t a t i o n s p r o g r a m .
1. R e v i t a l i z e a n d e x p a n d the r o le o f t h e A d v i s o r y C o m m i t t e e
on th e A r t s .
2. R e s u m e f u l l r e s p o n s i b i l i t y by t h e S t a t e D e p a r t m e n t f o r th e
d i r e c t m a n a g e m e n t o f all p h a s e s o f th e progr am .
3. E s t a b l i s h a f o r m a l p o licy o f l o n g - r a n g e pla nning.
4. I n c r e a s e s i g n i f i c a n t l y the r e c o g n i t i o n o f those who
p a r t i c i p a t e in th e p r o g r a m . 95
The A d v i s o r y C o m m i t t e e c o n s is t e d o f l e a d e r s in the r e s p e c t i v e
a r e a s o f m u s i c , d a n c e , t h e a t r e and p u b l i s h i n g . T h i s panel o f e x p e r t s
93 U. S. D e p a rtm e n t o f S tate, C ultural P re se n ta tio n s P rogram : A R eport to th e

C ongress a n d th e P u b lic b y th e A d v iso ry C om m ittee o n th e A rts, 1963. Roy E. Larsen,
C h a i r m a n (W a sh in g to n . D .C .: G o v ern m ent Printing O f f ic e . 1964) 6.
94 U.S. D e p a rtm e n t o f State, C ultural P r e s e n ta tio n s P ro g ra m o f the U.S. D e p a rtm e n t

o f State, J u ly 1, 1963 - J u n e 30, 1964, (W ashington. D .C .: G o v e rn m en t P rinting O ffice,
1964), 2.
95 U.S. D e p a rtm e n t o f S tate, 1964, 2.
56
was r e s p o n s i b l e for n o m i n a t i n g w o r t h y i n d i v i d u a l s and p e r f o r m i n g
g r o u p s , as well as r e v i e w i n g r e p e r t o i r e . O n c e on t our, the A dv is o ry
C o m m i t t e e s ou ght to i n s u r e t h a t p e r f o r m i n g g r o u p s w e r e not
o v e r s c h e d u l e d or e x p l o i t e d . T h is a p p l i e d p r i m a r i l y to n o n - p r o f e s s i o n a l
g r o u p s s u c h as coll e g e and s e c o n d a r y s c h o o l e n s e m b l e s , but also
a c k n o w l e d g e d the i n e v i t a b i l i t y o f e m b a s s y p e r s o n n e l o r local
i m p r e s a r i o s p r e s s u r i n g a n y o r g a n i z a t i o n to p e r f o r m m o r e than they
w o u l d be a b le to do.
A n o t h e r key e l e m e n t o f th e A d v i s o r y C o m m i t t e e ' s m a n d a te was

that p e r s o n a l con ta c t w it h c i t i z e n s o f f o re i g n n a t i o n s s h o u l d be
p r o m o t e d a nd e n c o u r a g e d w h e r e v e r p o s s i b l e . A c c o r d i n g to La rsen-
W o l f e . " I t h a s . . . b e e n l e a r n e d t h a t t here is g r e a t v a lu e to sett in g a s id e

e n o u g h t im e for o f f - s t a g e a p p e a r a n c e s o f the p e r f o r m e r s . T h e y s hould
be g i v e n as m u ch o p p o r t u n i t y as p o s s i b l e to e n g a g e in s u c h activ i tie s in
r e l a x e d a nd le isu r e ly c i r c u m s t a n c e s r a t h e r t h a n in the h u r r i e d and
p e r e m p t o r y m a n n e r o f te n i m p o s e d by tigh t s c h e d u l e s . " 96 As a result o f
this p a r t o f th e r e c o m m e n d a t i o n s , t o u r i n g e n s e m b l e s s u c h the Shaw
C h o r a l e s p e n t a great d e a l m o r e t i m e in s u b s e q u e n t y e a r s p e r f o r m i n g in
educational environments. A d d i t i o n a l l y , m o r e e m p h a s i s was placed on

" w o r k s h o p " ty pe o f p e r f o r m a n c e s as o p p o s e d to c o n c e r t a p p e a r a n c e s .
L a r s e n - W o l f e al so h i g h l i g h t e d the p r o b l e m s o f p u b l i c i t y and
planning. M a n y t im es, as e x p e r i e n c e d by S h a w , c o n c e r t a p p e a r a n c e s
w ere i n s u f f i c i e n t l y p r o m o t e d a h e a d o f tim e by local a u t h o r i t i e s ,

r e s u l t i n g in p o o r ly a t t e n d e d c o n c e r t s in th o se a r e a s. In c o u n t r i e s or
96 U.S. D epartm ent o f S tate, C u ltu ra l P resen ta tio n s P rogram o f th e U.S. D epartm ent
o f S ta te. J u ly 1, 1963 - Ju n e 30. 1964, (W a s h in g to n , D.C.: G ov e rn m en t P rinting Office,
1964), 9.
57
c ities w h e r e m o re than one day w a s s p e n t p e r f o r m i n g , th e r e w o u l d be a
large d i s p a r i t y in conce rt a t t e n d a n c e b e tw e e n the first and s u b s e q u e n t
days . T h e r e a s o n for this was t h a t the qua li ty o f the p e r f o r m a n c e would
be s p r e a d e i t h e r by word o f m o u t h or th ro ugh r e v i e w s in the m e d ia .
S h a w d i s c u s s e d this iss ue f o l l o w i n g the 1956 t o u r w h en he was
a s k e d i f t h e r e had been a n y p r o b l e m s with the to ur. S h a w 's r e s p o n s e
was th at, g e n e r a l l y s p e a k in g , " t h e t o u r had been a c r itic a l and
p r o p a g a n d a s u c c e s s , if s o m e t h i n g o f a f in a n c ia l p r o b l e m . ” 97 He a d ded:
W e s h o u l d p r o b a b l y sta y l o n g e r in one p la c e so the e f f e c t s

o f th e e x c e l l e n t r e v i e w s w e h a v e been g e t t i n g w o u ld b u i ld
an a u d i e n c e . Go ing in a c i t y in one day a n d out the nex t
has r e s t r i c t e d our p u b l ic to a few p eople w ho k n o w the
C h o r a l e from rec o rd s. 98
T h e A m e r i c a n N a t io n a l T h e a t r e and A c a d e m y ( A N T A ) p l a y e d an
i n t e g r a l p a r t in th e State D e p a r t m e n t ' s tours b e tw e e n 1954 and 1962.
As an i n d e p e n d e n t , n o n - p r o f i t o r g a n i z a t i o n , A N T A p r o v id e d e x p e r t i s e
in the a r t s th at o f fic ia l s in the S t a t e D e p a r t m e n t did not have. A N T A
also s e r v e d as a s e le c t in g body, r e l i e v i n g the S tate D e p a r t m e n t o f the
d i r e c t r e s p o n s i b i l i t y for a c c e p t i n g s o m e gr oups and r e j e c t i n g o t h e r s .
P r o b l e m s e v e n t u a l l y ar ose w ith the a r r a n g e m e n t due, in part, to the
c a p r i c i o u s n a t u r e o f s e le c tin g t a l e n t , and due als o to a lack o f w h a t
L a r s e n - W o l f c a l l e d “high leve l c o o r d i n a t i o n b e t w e e n the g o v e r n m e n t
and the a r t s . ” 99 S ecr etary B a t t l e ' s ca ll for “a t h o r o u g h s to c k t a k i n g ” in
97 Irv ing K oiodin, “S h aw ’s C h o ra le M akes Friends,” The S a tu rd a y Review , preprinted

in The S a n D ieg o U nion, 17 June 1956, sec. E. 6).
98 K o io d in , 1956.
99 U. S. D epartm ent o f State, C u ltu ra l P resentations P rogram : A R eport to the

C ongress a n d th e P u b lic by the A d v iso ry C o m m ittee on the Arts, 1963, Roy E. Larsen,
C hairm an (W a s h in g to n , D.C.: G ov e rn m en t Printing Office, 1964) A ppendix A., 83.
58
the a d m i n i s t r a t i o n o f the C ultur al P r e s e n t a t i o n s Programs r e s u l t e d in a
more e q u i t a b l e adm in is trat io n o f th e p r o g r a m and incr ea sed S tate
D e p a r t m e n t involv em en t.
59
CHAPTER FOUR
T H E S I N G E R S OF TH E R O B E R T S H A W C H O R A L E
In the e a r l y y e a r s o f the C o l l e g i a t e C h o r a l e . S h a w m et m a n y o f
the p e o p l e w h o s e l iv e s an d m u s i c a l c a r e e r s w o u l d p a r a l l e l his o w n and
who w o u l d b e c o m e s t a l w a r t s o f th e R o b e r t S h a w C h o r a l e . O u t o f the
C o l l e g i a t e C h o r a l e g r e w a n u c l e u s o f a s s o c i a t e s a n d fri ends o f R o b e r t
S haw th at w o u l d r e m a i n lo y a l for d e c a d e s . T h e y in c l u d e d C l a y t o n and
C h a r l o t t e ( B i e g ) K r e h b i e l , F l o r e n c e K o p l e f f , T h o m a s Pyle, A l i c e
Pa r k e r, R a y m o n d K e a s t , A l e x Z i m m e r . W i l e y H o u s e w r i g h t , an d A l le n
La n n o m .
A 1947 p r o g r a m o f the C o l l e g i a t e C h o r a l e l i s t e d a m o n g its
members C harlotte B ieg, David C onviser, B etty Jane Grimm. Florence
K o p l e f f. C l a y t o n K r e h b i e l , P e te r M a r a v e l l , D o n a l d M e is s n e r , M a r j e a n
M o o re , T o m P y le , A l e x Z i m m e r and A l l e n L a n n o m . All but t w o o f
thes e i n d i v i d u a l s b e c a m e R o b e r t S h a w C h o r a l e m e m b e r s . Betty Jane
G r im m b e c a m e a v o i c e f a c u l t y m e m b e r at F l o r i d a S t a t e U n i v e r s i t y .
Allen L a n n o m , one o f S h a w ' s first a s s i s t a n t c o n d u c t o r s with th e
C o l l e g i a t e C h o r a l e , f i n i s h e d his s tu d i e s at J u i l l i a r d a n d e v e n t u a l l y
b e c a m e D i r e c t o r o f C h o r a l A c t i v i t i e s at B o s t o n U n i v e r s i t y .
O v e r a t h o u s a n d a p p l i c a n t s r e s p o n d e d t o th e C o l l e g i a t e C h o r a l e ' s
first call for s i n g e r s , a t w o - l i n e a d v e r t i s e m e n t in 1941 in the N e w York
Times. Fro m the a p p l i c a n t s , Shaw s e l e c t e d 185 s i n g e r s . Fre d W a r i n g
lo aned S h a w his s t u d i o s , lo cate d at 1697 B r o a d w a y , for the a u d i t i o n s .
60
T h e C o l l e g i a t e C h o r a le g a v e its first p e r f o r m a n c e o n 21 D e c e m b e r
1941. Its first major p u b l i c n o t i c e came in M a r c h 1942 w h e n the New

Y or k T im e s r evie w ed its d e b u t c o n c e r t in C a r n e g i e H a l l th e previou s
evening. The r e v ie w e r s t a t e d that the “a m a t e u r c h o r u s o f 150 mix ed
v o i c e s r e a p e d p r o lo n g e d o v a t i o n for its r e m a r k a b l e s i n g i n g ,
c h a r a c t e r i z e d by e x c e p t i o n a l f r e s h n e s s and p u r it y o f t o n e , and rare
e x p r e s s i v e n e s s . ” 100
T h e sin ger s who g a t h e r e d ar o u n d R o b e r t S h a w in the ea rly 1940s
w e r e t y p i c a l l y young m e n a n d w o m e n u n d e r t h i r t y w h o e i t h e r w o r k e d
p a r t t i m e in music or w e r e l o o k i n g to get a s ta r t as a p r o f e s s i o n a l
s i n g e r . 101 M a n y sang in c h u r c h c h o ir s or w o r k e d in r a d i o . M an y o f the
s i n g e r s w e r e recent g r a d u a t e s o f N ew Y ork c o n s e r v a t o r i e s . O th e r s had
g r a d u a t e d from c o ll e g e s a n d u n i v e r s i t i e s o u t s i d e o f N e w Y o r k and wer e

in N e w Y o r k to study p r i v a t e l y a nd look for o p p o r t u n i t i e s as solo
artists. D u r i n g the w ar y e a r s t h e r e was a t r e m e n d o u s t u r n o v e r from one

y e a r to th e nex t, e s p e c i a l l y a m o n g the m ale s i n g e r s . In the sec on d y e a r
o f the C o l l e g i a t e C h o r a l e . 1942, a notice p u b l i s h e d in the New' York
T i m e s a n n o u n c e d t h a t t h e r e w e r e s e v e n t y - f i v e v a c a n c i e s ( o v e r a th ird o f
the m e m b e r s h i p ) due to a r m e d forc es draf ts an d e n l i s t m e n t s . 102
W h i l e the s in g er s o f th e C o lle g ia te C h o r a l e d i d not have a lot o f

m o n e y , t h e y did have t i m e . F u ll tim e e m p l o y m e n t o p p o r t u n i t i e s wer e
ra re . Y e t , in spite o f th e e c o n o m i c and j o b s c a r c i t y , e a c h o f them
c o n t r i b u t e d $10.00 per y e a r in d u e s , d o nated t i m e w o r k i n g in the c h o r a l
100 N ew York Tim es. C o n c e r t R eview , 29 March 1942.
101 S h aw told Antonio M o lin a in a 1977 interview that th e a v e ra g e age o f a R obert

S haw C h o ra le singer was b etw een 22 and 32.
102 W a lter S. Collins, “D a C a p o " The C horal J o u r n a l 12 ( J a n u a ry 1973): 18.
61
l ibra ry, a n d s o li cited c o r p o r a t e s p o n s o r s h i p for the C h o r a l e ' s a c t iv iti e s .
R e f l e c t i n g on those y e a r s. S h a w w r o t e in a le tt e r to the A t l a n t a C h o r u s .
As the t h irtie s b e c a m e th e forties . N e w Y o r k C ity was

the c enter o f a v a s t p o p u l a t i o n in an e c o n o m y o f
sc a rc ity , and as a r e s u l t , the two h u n d r e d p l u s
in d i v i d u a ls w h o m a d e up the C o l l e g i a t e C h o r a l e wer e
i n d i v i d u a l ly r e m a r k a b l y t a l e n t e d - L o t s o f t i m e a n d few
e m p l o y m e n t o p p o r t u n i t i e s . 10'’
T h e a u d i t i o n for the C o l l e g i a t e C h o r a le s t r e s s e d k n o w l e d g e o f
m us ic t h e o r y o v e r vocal a b i l i t y . F o r the a u d i t i o n the s i n g e r s had to
pass a w r i t t e n m usi ca l te st, s i n g a fe w scales, a nd i d e n t i f y s o m e
i n t e r v a ls p l a y e d on the p i a n o . A c c o r d i n g to C l a y t o n K r e h b i e l . who
he lp e d a u d i t i o n sin ger s f o r s e v e r a l y e a r s o f the C h o r a l e , the e m p h a s is
for S h a w w as k n o w l e d g e o f b a s i c m u s i c th e o r y f ir s t a n d s i n g i n g ab il ity
s eco n d . T h e m e m b e r s h i p w as as d i v e r s e a g r o u p o f i n d i v i d u a l s as one
was l i k e l y to find a n y w h e r e at t h a t ti m e . Jew s, C a t h o l i c s , C h r i s t i a n s ,
a t h e i s t s , b l a c k s and w h i te s w e r e all r e p r e s e n t e d . T h e b o n d i n g and

c e n tr a l t h e m e o f the C o l l e g i a t e C h o r a l e was th a t " t h e A m e r i c a n ideal
can be e x p r e s s e d th ro u g h s o n g . ” 104 As Shaw has p o i n t e d ou t. the R o b e r t

Shaw C h o r a l e was an e x t e n s i o n o f th is notion , w i th th e a d d e d idea that
a f u l l - t i m e p r o f e s s i o n a l c h o r a l e n s e m b l e s h o u ld be a b l e to s u s t a i n i t s e l f
and its m e m b e r s in the s a m e m a n n e r as a s y m p h o n y o r c h e s t r a .
O u t s i d e o f the C o l l e g i a t e C h o r a l e , Shaw b e g a n w o r k i n g with a

s m a l l e r g r o u p o f singer s for t h e p u r p o s e o f p e r f o r m i n g w o r k s "less
s u i t a b l e " to the larger f o rc e s o f th e C o l l e g i a t e C h o r a l e . 105 He r efe rred
103 R ob ert Shaw, letter to the A tla n ta Sym phony C ho rus, 19 S e p te m b e r 1985.
104 W illiam H. Schuman, N ew York Tim es, 10 January 1943.
105 R obert Shaw “Choral Id e a ls ,” N ew York Tim es, 30 D e c e m b e r 1951. sec. 10, 7.
62
to this g r o u p as th e " s m a l l choir.*' T h i s n u c l e u s o f s i n g e r s f o r m e d th e
R o b e r t S h a w C h o r a l e in 1948. S h a w w a s a l w a y s qu ic k to p o i n t o u t th a t
he was w o r k i n g w i t h e x t r a o r d i n a r y s i n g e r s . In concerts he o f t e n
in t r o d u c e d the s i n g e r s by n am e, g i v i n g a b r i e f o v e r v ie w o f t h e i r
in d i v i d u a l a c c o m p l i s h m e n t s . M a n y o f t h e s in g e r s w er e i n t e r e s t e d in
c o n d u c t i n g a nd t e a c h i n g and saw the S h a w C h o r a le as an o p p o r t u n i t y
to. not o n ly s h o w c a s e th e ir a b i l i t i e s , b u t to g a i n e x p e r i e n c e w o r k i n g
under a gifted co nductor. S h a w a l w a y s u s e d m e m b e r s o f th e C h o r a l e as

s o l o is ts for the v a r i o u s w ork s t h e y w o u l d be p e r f o r m i n g . For those
s in g e r s i n t e r e s t e d in a s in g in g c a r e e r , t h i s o p p o r tu n i t y w a s a m a j o r
m o t i v a t i o n for b e i n g in the c h o ir . As S h a w told M o li n a, " T h e t o p f o r t y
v o ices (fr o m t h e C o l l e g i a t e C h o r a l e ) w e r e r e a l l y pros, e v e n t h o u g h t h e y

w e r e not m a k i n g a li v i n g at it.*’ 106 M a n y s i n g e r s , such as C l a y t o n
K r e h b ie l and A l l e n L a n n o m . s oon l a n d e d p r e s t i g i o u s u n i v e r s i t y
conducting positions. O th e r s w o n p r e s t i g i o u s aw ar ds or f e l l o w s h i p s .
M ost o f th e s i n g e r s had h ig h e r a s p i r a t i o n s t h a n s in gi ng in a c h o i r , e v e n
one as a c c o m p l i s h e d as the S h a w C h o r a l e . T h e r e f o r e . S h a w o n l y h ad
a c c e s s to m o s t o f th e s in g er s for a v e r y s h o r t time. S h a w c a l l e d t h i s th e
" p e r i l o u s p e r i o d ” 107 for sin gers . It w a s t h e s in g e r who w a s o n t h e c u s p
o f a c a r e e r t h a t w a n t e d to sing w ith t h e R o b e r t Shaw C h o r a l e .
A c c o r d i n g to th e 19 59 “ Press B o o k ” f o r t h e R o b er t S h a w C h o r a l e ,
T h e y o u n g ar tists o f th e g r o u p ar e p r o f e s s i o n a l
s i n g e r s , la r g e ly w ith c o n s e r v a t o r y b a c k g r o u n d . M o s t
o f t h e m are w o r k in g t o w a r d s a s o lo career. S o m e o f
106 A nto n io M . M olin a, “Choral and O r c h e s t r a C onducting: An In te rv ie w w ith R o b e rt

S haw ,” The C h o ra l J o u r n a l 18 (M arch 1978): 2 6 -3 2 .
107 “ Press B o o k .” Press Releases F or R o b e rt S h aw , 1959, Sec.2. 4. P e rs o n a l p a p e rs o f

Robert Shaw, A tlan ta, G eo rg ia.
63
them w a n t to b e c o m e t e a c h e r s o r c o n d u c t o r s . M o re
than a s c o r e o f g r a d u a t e s f ro m th e g r o u p are a l r e a d y
e m p l o y e d in leading t e a c h i n g p o s i t i o n s t h r o u g h o u t
the U n i t e d S tates. O t h e r s h a v e a c h i e v e d i n t e r n a ti o n a l
r e c o g n i t i o n as s in g er s . T w o f o r m e r m e m b e r s o f the
C h o r a l e a r e n o w on the r o s t e r s o f th e M e tr o p o l i t a n
a nd S a n F r a n c i s c o O p e r a C o m p a n i e s . Not less than
e l e v e n S h a w al um ni h a v e b e e n a w a r d e d F u l b r i g h t
s c h o l a r s h i p s for s tu dy a b r o a d a n d m a n y o f them w e n t
on f r o m t h e r e to a p p e a r as s o l o i s t s in E u r o p e a n o p e r a
i 108
houses.
W h e n the E d g a r B e r g e n a nd C h a r l i e M c C a r t h y s u m m e r
r e p l a c e m e n t s h o w w a s a n n o u n c e d , s i n g e r s w h o s ig n e d on for the
r e p l a c e m e n t s e r i e s a l s o had to s ig n on f o r th e u p c o m i n g fall t o u r b e i n g
p l a n n e d by W a l t e r G o u l d and C o l u m b i a A r t i s t s M a n a g e m e n t . M ost o f
them h a p p i l y c o n t i n u e d s in c e it w a s an o p p o r t u n i t y for c o n t i n u e d
e m p l o y m e n t as a s i n g e r . O f the s i n g e r s w h o w e r e in the C o l l e g i a t e
C h o r a l e , D avid C o n v i s e r . C la y t o n K r e h b i e l , C h a r l o t t e Bieg K r e h b i e l .
F l o r e n c e K o p l e f f , P e t e r M a r a v e l l , M a r t h a M i l b u r n , M a rj e a n M o o r e ,
T h o m a s Pyle, a nd A l e x Z i m m e r t o o k p a r t in t h e s u m m e r r e p l a c e m e n t
ra dio p r o g r a m a nd w e n t on the f ir s t t o u r o f t h e R o b e r t Shaw C h o r a l e .
T he s e c o n d y e a r o f t h e R o b e r t S h a w C h o r a l e a g a i n fe ature d a
p r o f e s s i o n a l c a s t o f s i n g e r s . H o w e v e r , s ix t y p e r c e n t wer e n e w to th e
C h o r a l e , as S h a w w'rote in “ This is W h y , ” an o p e n letter to c o n c e r t
p a t r o n s o f the R o b e r t S h a w C h o r a le . S h a w s t a t e d that the p r e s e n t
R o b e r t S h a w C h o r a l e is “ an a t t e m p t to f u lf i l l th e a m a t e u r ' s c r e e d on a
p r o f e s s i o n a l , t e c h n i c a l , a nd a r tis tic l e v e l . ” 109
108 “ Press B o o k .” P ress Releases F or R obert S haw , 1959, Sec. 2. 4. P ersonal p ap e rs

o f R obert S haw , A tlan ta. G e o rg ia.
109 R obert Shaw , “ T h is is W hy,” T o u r B ook let 1949, Jam es A. Davidson

M an a gem en t, New Y ork.
64
T h e b e n e f i t s o f sin g i n g in the Ro ber t S haw C h o r a l e a c c o r d i n g to
S haw , w e r e :
1. To learn the p r a c t i c a l d is c ip lin e s o f a c o n c e r t - a r t i s t ' s life.

2. To e x p e r i e n c e t h e d i s c o m f o r ts o f f o r c e d t r a v e l .
3. To learn to d e a l w i t h the com p l e t e a n d u n p r e d i c t a b l e
h e t e r o g e n e i t y o f s t a g e s , a u d it o r i u m s a n d a c o u s t i c s ;
4. To learn a r t i s t - a u d i e n c e c o m m u n i c a t i o n ;
5. To deal with t h e n e c e s s i t i e s o f d e l i v e r i n g a f i r s t class
p e r f o r m a n c e w h e n o n e simple d o e s n 't f e e l like s inging at
all.
6. I n c r e a s i n g s k i l l s in s ig h t - r e a d i n g , f l e x i b i l i t y o f d y n am ics
c o l o r c ontrol, i n t o n a t i o n , and a b o v e all a s e n s e o f en s e m b le
- the a w a r e n e s s o f o t h e r music al f a c t o r s a n d o f other p e o p le -
a lw a y s p r e s e n t in th e m ak in g o f m u s i c . 110
A c c o r d i n g to Shaw, t h e R o b e r t Shaw C h o r a l e w a s a c t u a l l y a
“ p r e s c r i p t i o n ” chorus f o r m e d f o r the period o f a t o u r a n d then

d i s b a n d e d . 111 The t u r n o v e r r a t e , as it had bee n in th e C o l l e g i a t e
C h o r a l e , w as e x tr e m e ly h i g h . S h a w c o n s id e re d h i m s e l f f o r t u n a t e i f a
th ir d o f t h e c h o i r r e m a i n e d i n t a c t from one y e a r to t h e n e x t . The re wer e
m an y s i n g e r s w ho were “ a v a i l a b l e ” on a “c a l l ” b a s is . I f a t o u r or
r e c o r d i n g s e s s i o n could be w o r k e d in bet w ee n s e m e s t e r s o r in the
s u m m e r , a nd th e y were a v a i l a b l e , t hey wo uld s ing.
M u c h o f the r e s p o n s i b i l i t y o f booking and s e t t i n g up auditions for

s in g e r s e v e n t u a l l y fell to l o n g t i m e as sociate and f r i e n d , T o m Pyle.
1,0 R ob ert Shaw, “This is W h y , “ 1949.
111 A n to n io M. Molina, “C h o ra l and Orchestra C on ducting: An In terv ie w with Robert

S haw ,” T he C h o ra l Journal 18 ( M a r c h 1978): 27.
65
Pyle had b e e n one o f the f o u n d i n g m e m b e r s o f the C o l l e g i a t e C h o r a l e
and the R o b e r t S h aw C h o r a l e . ( P y l e c a n be hea rd as b a s s s o l o i s t on
m a n y o f t h e r e c o r d i n g s o f the S h a w C h o r a l e , n o t a b l y in t h e s p i r i t u a l s
" S e t d o w n S e r v a n t . " “T h is Ol' H a m m e r " a n d “ S o o n O n e M o r n i n ' . " )
Pyle f o r m e d an a g e n c y in N e w Y o r k C ity , C h o r a l A s s o c i a t e s , for
c o n t r a c t i n g c h o r a l sin g er s a n d w a s . in a d d i t i o n to h i s w o r k w i t h the
S h a w C h o r a l e , a p o p u la r and e n e r g e t i c a d v o c a t e for y o u n g t a l e n t . An
a r t ic le w r i t t e n in J a n u a r y 1964 f o r the N e w Y ork T i m e s e n t i t l e d “ Go
S in g for T o m m y P y l e ” to ld m u c h o f the s t o r y . 112 T o m m y P y l e w a s the
a n s w e r f o r m a n y young s i n g e r s , u s u a l l y f r e s h from c o l l e g e , w h o ar ri ved
in N e w Y o r k lo o k i n g for o p p o r t u n i t i e s to be hea rd a n d m a k e a living.
Pyle p r i d e d h i m s e l f in g e t t i n g to k n o w a n y y o u n g s i n g e r w h o c a m e to
N e w Y o r k i n t e n t on a p r o f e s s i o n a l c a r e e r . To S h a w , P y l e w a s an
i n d i s p e n s a b l e a s s i s ta n t . E a r l y in his c a r e e r , S haw t r i e d to p e r s o n a l l y
a u d i t i o n e v e r y s in g e r . A f t e r s e v e r a l y e a r s o f t o u r i n g a n d w o r k i n g on
both c o a s t s , t h i s bec am e i n c r e a s i n g l y d i f f i c u l t for S h a w . P y l e , as well
as C l a y t o n K r e h b i e l , kn ew th e s o u n d that S h a w w a n t e d f o r a p a r t i c u l a r
repertoire. S i n c e Pyle was p e r m a n e n t l y l o c a t e d in N e w Y o r k , he took

on m o s t o f t h e r e s p o n s i b i l i t y f o r th e a u d i t i o n s and b o o k i n g s i n g e r s for
to u rs . On t h e E u r o p e a n t o u r o f 1956. P yl e ( a l o n g w i t h F l o r e n c e K o p l e f f
and M a x i n e S h a w ) took on m a n y o f the t o u r r e s p o n s i b i l i t i e s a f t e r the
E u r o p e a n g u i d e q uit upon s e e i n g th e i t i n e r a r y . In a d d i t i o n to his work
for the S h a w o r g a n i z a t i o n , P y le o r g a n i z e d c h o r u s e s f o r m a n y w e l l -
k n o w n c o n d u c t o r s , i n c lu d in g L e o n a r d B e r n s t e i n , P i e r r e B o u l e z , and
Igor S t r a v i n s k y . T r a g i c a l l y , T h o m a s Pyle d i e d in 1 9 7 6 o f a h e a r t attack
112 “G o S in g for Tom m y P y le ,” N ew York Tim es, 5 January 1964.
66
at the ag e o f f if t y - s e v e n . O v e r 4 0 0 o f P y l e 's c l o s e s t f r i e n d s , c l i e n t s ,
a n d a c q u a i n t a n c e s c am e to th e C a t h e d r a l o f St. J o h n th e D i v i n e in N e w
Y o r k C i t y to s i n g tr ib u t e to P y l e ’s m e m o r y . R o b e r t Shawr le d th e m in an
u n r e h e a r s e d p e r f o r m a n c e o f B r a h m s ' s R e q u i e m . A c c o r d i n g to s i n g e r
an d l o n g - t i m e f r i e n d o f P y le . A n n e W o o d w a r d , S h a w s a id a v e r y few
s im p l e w o r d s p r i o r to the m e m o r i a l c o n c e r t . Said S h a w , “ N e v e r has so
m u c h lo v e b e e n g a t h e r e d in one p l a c e . L e t's s i n g . ” 113
A u d i t i o n s f o r the R o b e r t S h a w C h o r a l e w e r e m u c h m o r e s t r e n u o u s
th an a u d i t i o n s f o r the C o l l e g i a t e C h o r a l e . T h e s i n g e r s w e r e r e q u i r e d to
s ig h t r e a d at an e x t r e m e l y h i g h le v e l. T h e y also h a d to s i n g s e v e r a l art
s o n g s a n d w e r e j u d g e d on c a t e g o r i e s s u c h as voc al q u a l i t y , p e r f o r m a n c e
d i s c i p l i n e s , a n d in n a t e m u s i c a l i t y . In a 1966 i n t e r v i e w w i t h J a c k B o yd,
S h a w w as a s k e d i f he c h o s e v o i c e s a c c o r d i n g to th e p i e c e o r s t y l e o f
p i e c e s he w o u l d be p e r f o r m i n g . S h a w s t a t e d that to a c e r t a i n e x t e n t he
did. I f he w e r e c o n d u c t i n g a P a l i s t r i n a M a s s as the m a i n p a r t o f a
c o n c e r t , h e w o u l d be very “c a r e f u l a b o u t the d r a m a t i c v o c a l t a l e n t o f
the s i n g e r s . ” 114 B u t S haw a l s o s t a t e d t h a t w h a t he s o u g h t w e r e s i n g e r s
w i th “ a s o l i d , t r u e so u n d , not d i s t u r b e d by e x t r a n e o u s v o c a l c h o r d s . ” 113
W h a t he l o o k e d for . he s aid , w a s s o m e o n e w ith a “ b e a u t i f u l s o u n d . ” 116
A u d i t i o n f o r m s for th e R o b e r t S h a w C h o r a l e p r o v i d e u s e f u l
i n s i g h t in to t h e s e l e c t i o n p r o c e s s . A c c o r d i n g to a u d i t i o n s h e e t s from
the files o f R o b e r t Shaw , a s i n g e r w o u l d be rule d o u t i f an y f a c t o r
Mj N o ra A n n e W oodw ard, in terv iew by th e au th o r. 26 F ebruary 2000.
114 Ja c k B o yd, “ C o n v ersa tio n s with R o b ert S h a w ,” The C h o ra l J o u r n a l 6 6:7

(S e p te m b e r/O c to b e r 1968): 12.
115 B o yd, 1968.
1,6 B o yd , 1968.
67
p r e v e n t e d the s i n g e r from s in g in g p a s s a g e s f la w l e s s ly . U n d e r the
c a t e g o r y o f “ v o c a l q u a l i t y " fell such q u a l i f i c a t i o n s as s iz e o f v o i c e ,
c o lo r , v i b r a t o , i n t o n a t i o n and r a n g e . O n e e x a m p l e was a s i n g e r w h o s e
t r a n s i t i o n into the f a l s e t t o voice was to o p r o n o u n c e d a n d th u s , a u d i b l e

to an a u d i e n c e . A n o t h e r a u d iti o n s h e e t i n d i c a t e d that the s i n g e r in
q u e s t i o n l a c k e d “ u n d e r s t a n d i n g o f th e s t y l e " a nd was m a r k e d d o w n
u n d e r the c a t e g o r y for “ p e r f o r m a n c e d i s c i p l i n e s . ” S h a w a l s o f e lt that
this s i n g e r ' s v i b r a t o w a s “too m u c h " a n d w o u l d hurt t h e s o u n d o f the
e n s e m b le . As n o t e d p r e v io u s ly , S h a w a lso t o o k into c o n s i d e r a t i o n the
r e p e r t o r y b e i n g p e r f o r m e d for t h a t p a r t i c u l a r a u d itio n . One com m ent
read, “ to o o p e r a t i c for Han del, but n i c e v o i c e . ” 117
Rehearsals
S h a w l o o k e d for p r o f e s s i o n a l s i n g e r s f o r the R o b e r t S h a w
C h o r a l e . He did n ot w a n t the r e s p o n s i b i l i t y o f t e a c h i n g v o c a l t e c h n i q u e .
D o n a l d N e u e n s t a t e d t h a t the firs t t i m e the S h a w C h o r a l e c a m e to his

h o m e t o w n , he w e n t b a c k s t a g e a f t e r t h e c o n c e r t to m e e t S h a w . Neuen
w a n t e d to a s k him a q u e s ti o n , but b e i n g n e r v o u s , c o u ld o n l y t h i n k o f
one: “ H o w do y o u t e a c h an “e ” v o w e l ? " a s k e d Ne ue n. Shaw matter-of-
factly a n s w e r e d , “ I d o n 't . With this g r o u p o f sin ge rs I d o n ' t h a v e t o . " 118
N e u e n b e l i e v e s t h a t th i s was one o f th e r e a s o n s that t h e p r o f e s s i o n a l
S haw C h o r a l e had s u c h an im p act on t h e l is t e n e r . P e o p l e w e r e
u n a c c u s t o m e d to h e a r i n g a r e l a t iv e l y s m a l l c h o i r sing w i t h so m u c h
p o w e r a nd p r e c i s i o n .
117 R obert S haw , R obert Shaw C horale A u d itio n Sheets, P ersonal pap e rs, A tlanta.
118 Donald N euen , telephone interview by th e auth or, 11 April 2000.
68
S ingers w e r e p a i d u n i o n scale w a g e s f o r r e h e a r s a l s , p e r f o r m a n c e s ,
and r e c o r d i n g s e s s i o n s a c c o r d i n g to th e A m e r i c a n G uild o f M u s i c i a n s
scale. S haw w o u ld r e h e a r s e b e t w e e n t w e n t y - f i v e a n d fifty h o u r s f o r a
tour, d e p e n d i n g on the d i f f i c u l t y and f a m i l i a r i t y o f the music. S h a w
a s s i s t a n t s such as F l o r e n c e K o p l e f f an d T o m P y l e u s u ally c o o r d i n a t e d
r e h e a r s a l d etails. O f t e n r e h e a r s i n g in a c i r c l e . S h a w was very p a r t i c u l a r
that e a c h s in g er s to o d p r e c i s e l y in the a s s i g n e d p l a c e . He w o u ld s t o p
r e h e a r s a l , a c c o r d i n g to f o r m e r singers, i f a n y o n e le a n e d " o u t o f l i n e ” or
s tr a y e d from t h e ir d e s i g n a t e d spot.
S h a w ’s r e l a t i o n s h i p s w i th the s i n g e r s in th e R o b e r t S haw C h o r a l e
w ere u s u a ll y very g o o d . S h a w 's t e m p e r w a s . o f c o u r s e , l e g e n d a r y
a m o n g th o s e who s a n g w i t h him for a n y l e n g t h o f t im e . T h e re w e r e
s to r ie s a b o u t f ly in g c h a i r s an d biting i n s u l t s . A n n M. Ling g w r i t i n g f o r
R e c r e a t i o n M a g a z i n e h a d th is to say:
At t i m e s , h is i m p a tie n c e le a d s h i m to s m a s h ch air s,
h u r lin g t h e m fro m the a u d i t o r i u m o n t o the r e h e a r s a l
stage. His p o w e r f u l voice c a n b e a t e r r o r to his
sin g er s . B u t th e y drea d it e v e n m o r e w h e n he talks
slo w ly an d c a l m l y . " Y o u c a n t a k e a n y g r oup o f f the
s t r e e t . ” I o n c e heard him say w e a r i l y , “ and it will
sing m o r e b e a u t i f u l l y than y o u d o . ” 19
But there w a s a l s o an e n o r m o u s a m o u n t o f r e s p e c t that e x i s t e d

b e t w e e n them r e g a r d l e s s o f h o w harsh he c o u l d o f t e n be. One s t o r y
q u o te d in Philip W a y n e G r i f f i n ' s d i s s e r t a t i o n on C l a y t o n K r e h b i e l is
p a r t i c u l a r l y telling. G r i f f i n w r ite s that K r e h b i e l , f o l l o w i n g the
s u c c e s s f u l S ta n d a r d B r a n d s S u m m e r s e r i e s , h a d a s k e d Shaw to p r e s e n t
f lo w e rs t h a t K r e h b i e l p u r c h a s e d for e a c h o f t h e w o m e n in the C h o r a l e .
119 Ann M. Lingg. “ He M akes People S ing,” R e c r e a tio n M a g a zin e (R eprin ted in
1948-49 T ou r Booklet).
69
S h a w r e f u s e d until K r e h b i e l f i n a l l y i n s i s t e d t h a t he had to d o it.
S i m i l a r l y , th e K r e h b i e l s had p u r c h a s e d a set o f c u f f l i n k s a n d s t u d s to be
p r e s e n t e d to S h a w from th e g r o u p . T h e n C l a y t o n an d C h a r l o t t e had
g o n e f r o m s i n g e r to s i n g e r a s k i n g for a d o l l a r to h e lp c o v e r t h e cos t.
Th e s i n g e r s " r e s e n t e d i t . ” a c c o r d i n g to K r e h b i e l . b e c a u s e S h a w had
b een “ h a r d o n t h e m . ” 120 Yet in s p i t e o f the v o l a t i l i t y t h a t w a s a p a r t o f
S h a w ' s p e r s o n a l i t y , the p e o p l e w h o s a n g with him r e m a i n e d i n t e n s e l y
lo yal a n d p r o t e c t i v e o f S h a w t h r o u g h o u t the y e a r s .
P r o file s o f R o b e r t S h a w C h o r a l e M e m b e r s
In a t t e m p t i n g to a n s w e r r e s e a r c h q u e s ti o n fo ur. “ W h o w e r e the
s i n g e r s o f t h e R o b e r t S h a w C h o r a l e ? ” the a u t h o r e m p l o y e d t h e
f o l l o w i n g : ( 1 ) p r in te d t o u r p r o g r a m s w i t h b i o g r a p h i c a l s k e t c h e s . (2)
lists o f t o u r m a n i f e s t s . (3) p e r s o n a l i n t e r v i e w s with th e s i n g e r s

t h e m s e l v e s , ( 4 ) s e a r c h e s o f C o l l e g e M u s i c S o c i e t y a n d M E N C f a c u l ty
l i s t i n g s , a n d ( 5 ) the p e r s o n a l p a p e r s o f R o b e r t S h a w . T h e a m o u n t o f
a v a i l a b l e i n f o r m a t i o n r e l a t e d to t h e i n d i v i d u a l s v a r i e d g r e a t l y d u e to the
p a s s a g e o f t i m e and i n c o m p l e t e p e r s o n n e l files. In s o m e c a s e s o n l y the
i n d i v i d u a l ’s n a m e and t o u r w e r e a v a i l a b l e . T he le n g t h o f e n t r i e s belo w
s h o u l d n o t be c o n s t r u e d as m e a s u r e s o f s i g n i f i c a n c e . ( S e e A p p e n d i x C
for a l is t o f s i n g e r s by to u r . )
S in g e r Profiles
J a n e A l f a n o j o i n e d the R o b e r t S h a w C h o r a l e in 1955 a n d w e n t on
the 19 56 M i d d l e East a n d E u r o p e a n t o u r . Ms. A l f a n o ' s f i r s t m e n t i o n in
to u r b o o k l e t s o f the S h a w C h o r a l e is t h e fall t o u r o f 1955, w h e n the
120 P h ilip W ayne G riffin, “C la y to n H e n ry Krehbiel: M u s ic ia n /E d u c a to r ,’' (P h .D diss.,

Florida S ta te U niversity . 1988), 160.
70
C h o r a l e p e r f o r m e d H o n e g g e r ’s K i n g D a v i d and the B a c h M a g n i f i c a t as
well as an e c l e c t i c p r o g ra m o f c h o r a l m a s t e r p i e c e s . H e r h o m e t o w n was
listed as Y o r k . P e n n s y lv a n i a .
J e s s i e A l l d a r i c e . s o p r a n o , w a s f r o m M o u n t a i n L a k e s . N e w J e rs e y .
H er b i o g r a p h i c a l s k etc h in the 1952 S h a w C h o r a l e T o u r b o o k n o t e d that
she was an E a s t m a n Sch oo l o f M u s i c g r a d u a t e who a p p e a r e d as a s o lo i s t
w ith the E a s t m a n R o c h e s t e r S y m p h o n y a n d with the I n d i a n a U n i v e r s i t y
S y m p h o n y O r c h e s t r a . Ms. A l l a r d i c e a l s o h a d a l e a d i n g r o le in t h e
p r e m i e r o f B e r n a r d R o g e r ’s The Ve il. S h e to u r e d w ith the C h o r a l e
b e t w e e n 1 9 5 2 a n d 1956.
E v e l y n A r i n g , sop ran o , t o u r e d w i t h the C h o r a l e b e g i n n i n g in 1951

a f te r g r a d u a t i n g from the J u i l l i a r d S c h o o l o f M usic. W h i l e at J u i l l i a r d ,
she was a s t u d e n t o f Belle J u li e S o u d a n t . T h e T o le d o . O h io n a t i v e sang
with the S h a w C h o r a l e for t h e i r 19 5 6 t o u r . The 1951 t o u r b o o k l e t al so
i n d i c a t e d t h a t s h e san g in the A m e r i c a n p r e m i e r e o f B e n j a m i n B r i t t e n 's
a r r a n g e m e n t o f J o h n Gay's B e g g a r ' s O p e r a .
E a rl B a k e r , b as s, to u r e d w i t h t h e S h a w C h o r a le for the R u s s i a n
and the S o u t h A m e r i c a n to u rs . He w a s a r e s i d e n t o f N e w Y o r k C ity ,

and his b i r t h p l a c e was listed as C o l o r a d o .
E d w a r d “ L i n d s e y " B e r g e n w a s a m e m b e r o f th e C h o r a l e in 1955-
56 and t o u r e d the M id d le E a st a nd E u r o p e w ith the e n s e m b l e . His
h o m e t o w n w a s l i s t e d as W a s h i n g t o n , D . C . B e r g e n w a s one o f t h e
s o lo i s t s f o r K i n g D a v i d by H o n e g g e r .
E u g e n e H. B rice, bass, was o n e o f t h e first A f r i c a n - A m e r i c a n

m em bers o f the Robert Shaw C h o rale. H e w a s a s o l o i s t in the 1955
S h a w t o u r o f K i n g D a v i d by H o n e g g e r . H i s h o m e t o w n was l i s t e d as
71
New Y o r k City. B r ic e t o u r e d w it h the C h o r a l e on the 1956 M id d l e E a st
and E u r o p e a n tour.
M ary E v e ly n B r u c e , a n a t i v e o f V i r g in i a , t o u r e d with the C h o r a l e
for the R u s si a n a nd S o u t h A m e r i c a n to urs . Ms. B r u c e 's first t o u r w as
the 1960 B m i n o r M a s s tour. In R u s s i a a nd S o u t h A m e r ic a , Ms. B r u c e
san g the s o p ra n o s o lo s in the B m i n o r M a ss as w ell as in the S c h u b e r t
M a s s in G. She s a n g th e s o p r a n o s olo in th e M o z a r t S o l e m n Ve sper s on

to u r in Ru ssia, but c o u l d not s in g on the r e c o r d i n g (On Tour, RCA
V i c t o r ) af te r the to u r b e c a u s e o f la r y n g i t i s . Ms. B r u c e also s o lo e d w ith
the C l e v e l a n d S y m p h o n y O r c h e s t r a in the M o z a r t R e q u ie m u n d e r S h a w ' s
direction. She c o n t i n u e s to s in g in N e w Y o r k C ity and tea ch es M u s i c at
T r i n i t y Sch ool in M a n h a t t a n .
H a z e l B r y a n t, s o p r a n o , w as a m e m b e r o f the C h o r a l e for the
R u s s i a n tour.
M a u ric e C a s e y w a s a m e m b e r o f the C h o r a l e for the 1956 tou r.

C a s e y be c a m e a c h o r a l c o n d u c t o r at Ohio S t a t e U n iv e r s ity . He r e tir e d
from a c t i v e t e a c h i n g in 1997 and c o n t i n u e s to w o r k in chur ch m u s i c .
A v r o n R. C o l m a n t o u r e d w i t h the C h o r a l e in 1954, 1955, a nd on
the 1956 M id dle E a st a n d E u r o p e a n to urs . He was a barito ne who
s e r v e d as n a r r a to r for the 1955 t o u r o f K i n g D a v i d by H onegger.
J a n e C r a n e r j o i n e d the S h a w C h o r a l e in 1952 a f te r g r a d u a tio n
from the Cran e S c h o o l o f M u s i c in P o t s d a m , N e w York. Ms. C r a n e r
w as a s o lo is t w ith the S h a w C h o r a l e on s e v e r a l t o u r s and r e c o r d in g s .

She is listed as a s o l o i s t f o r K i n g D a v i d in 1955. She can be h e a r d on a
r e c o r d i n g o f s p i r i t u a l s D e e p R i v e r a n d O t h e r S p i r i t u a l s 121 s in g in g “ T h is
121 Robert S haw C h o ra le , D eep R ive r a n d O ther S p iritu a ls, RCA LCS-2247.
72
Little Light of M ine." S h e w a s a lso a s o lo i s t f o r t h e 1960 B m i n o r
M a s s tour.
C h a r l e s C u r t is , b a s s , w a s a m e m b e r o f th e R u s s i a n tour.
P a t r i c k D a u g h e r t y , t e n o r , t o u r e d with the C h o r a l e o n the R u s s ia n
tour.
J a n i c e Davis, a lto , a H u n t i n g t o n , W est V i r g i n i a n a t i v e , was a

m e m b e r o f the C h o r a l e d u r i n g th e d o m e s t i c t o u r o f e a r l y 1964 and the
S o u t h A m e r i c a n t o u r in 19 64.
J a m e s D. D e e r e , b a s s , j o i n e d the C h o r a l e in 1 9 6 4 a n d sang w it h
th e C h o r a l e on the S o u t h A m e r i c a n tour. He w a s a n a t i v e o f T e n n e s s e e .
H a r r i s o n F i s h e r was a b a s s w ho sang o n t h e d o m e s t i c and f o r e i g n
t o u r s o f South A m e r i c a in 1964. His r e s i d e n c e w a s l i s t e d in tour
r e c o r d s as being in N e w Y o r k . He was born in t h e P h i l i p p i n e s .
D a v i d Ford w a s a m e m b e r o f the C h o r a l e f o r t h e R u s s i a n and
S o u t h A m e r i c a n to u rs . He w a s the bass s o l o i s t f o r t h e B m i n o r M a s s in
South America. F o r d w as a n a t i v e o f Te xas.
B a r b a r a F r e e m a n , s o p r a n o , j o i n e d the S h a w C h o r a l e in 1956. j u s t
p r i o r to the first f o r e i g n t o u r . H er voice t e a c h e r a t H u n t i n g d o n C o l l e g e

in M o n t g o m e r y , AL, R i c h a r d R i v e r s , had b e e n a m e m b e r o f the
C o l l e g i a t e C h o r a l e a n d k n e w S h a w well. U p o n h i s r e c o m m e n d a t i o n ,
S h a w a u d i t i o n e d F r e e m a n w h i l e on to u r t h r o u g h t h e s o u t h e a s t .
I m p r e s s e d , Shaw a s k e d F r e e m a n to j o i n the C h o r a l e in I ll i n o i s and
r e t u r n to N e w Y ork w ith t h e C h o r a l e . C o a c h e d b y L e n n y M oore ,

B a r b a r a q u i c k l y l e a r n e d t h e m u s i c for the M i d d l e E a s t to u r . F r e e m a n
s a n g w i t h the C h o r a l e for t h e n e x t ten y e a r s . A c c o r d i n g to F reem an,
sh e d i d n ’t go on the R u s s i a n t o u r b e c a u s e h e r m o t h e r w a s af ra id for h er
73
to go. "I w a s a l so in love at t h e t i m e . " ( it a lic s a d d e d ) . 1' 2 She also w e n t
on the S o u t h A m e r i c a n t o u r . F o l l o w i n g her s i n g i n g c a r e e r . F r eem an
ta u g h t m u s i c in A l a b a m a a n d F l o r i d a .
C a r o l y n F rid ay, s o p r a n o , w a s a m e m b e r w h e n t h e C h o r a l e to ure d
R us sia in 1962. Her firs t s e a s o n w i t h the R o b e r t S h a w C h o r a l e was
1958. F r i d a y a l s o sang on t h e B m i n o r M a ss t o u r a n d r e c o r d i n g o f
1960.
J a m e s E d w a r d F r o m m e . t e n o r , w as a m e m b e r o f th e 1964 to u r to
South A m e r i c a . F r o m m e w a s a n a t i v e o f T e x a s and a t e n o r s o lo is t on
the H a y d n L o r d N e l s o n M a s s .
P a u l a G l a d w e l l . a lto, w a s a B r i t i s h c i t i z e n b o r n in S o m e r s e t in the
U nited K i n g d o m . She t o u r e d w i t h t h e C h o r a le o n th e S o u t h A m e r i c a n
tour.
L e o G o e k e was a t e n o r w i t h t h e C h o r a le f o r th e R u s s i a n tour, and

the d o m e s t i c t o u r that f o l l o w e d . G o e k e sang th e t e n o r s o lo on the
" N i g h t i n g a l e " d u r in g th e R u s s i a n to u r . He has s u n g at th e M e t r o p o l i t a n
Opera, t h e G l y n d e b o u r n e F e s t i v a l , a n d m ad e his La S c a l a d e b u t in
1978. He j o i n e d the D e p a u w U n i v e r s i t y f a c u lt y in 19 92.
J a n e G u n t e r ( M c C o y ) , c o n t r a l t o , j o i n e d th e C h o r a l e in 1962 w h en
Shaw c a m e to the ca m p u s o f I n d i a n a U n i v e r s i t y to a u d i t i o n sin g er s for
the u p c o m i n g s e a s o n . In a c o n v e r s a t i o n with the a u t h o r , s h e rel at ed
that S h a w “ t o o k j u s t a b o u t e v e r y b o d y at I n d ia n a w h o t r i e d o u t . ” 12'’ She
sang on t h e R u s s i a n and the 196 6 M e s s i a h to u r. J a n e m e t t e n o r Seth
M c C o y on th e S o u t h A m e r i c a n t o u r a n d they l a t e r m a r r i e d .
122 B a rb a ra F reem an P arker, in te rv ie w by the author, T a lla h a s s e e , FL, 14 March

1999.
123 J a n e G u n t e r McCoy, t e le p h o n e in te rv ie w by the author, 7 M arch 2000.
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M a r g a r e t H a u p t m a n n , s o p r a n o , t o u r e d with the C h o r a l e to the
S o v ie t U n i o n a n d South A m e r i c a . S h e was s o p ra n o s o l o i s t for the
Had y n L o r d N e l s o n Mass d u r i n g t h e 1964 d o m e stic tour. She was a
n a t iv e o f I o w a . Ms. H a u p t m a n n t a u g h t at Drake U n i v e r s i t y a n d is now-

r e tir e d f ro m fu ll t im e t e a c h in g .
M a r g u e r i t e Holler, s o p r a n o , w a s an In diana n a tiv e w h o t o u r e d on

the R u s s i a n a n d South A m e r i c a n t o u r s . Ms. Holler was s o p r a n o s o lo is t
for the B e n j a m i n Britten R e j o i c e in th e L a m b p e r f o r m e d in 1964.
J e n n i e H u d s o n , alto, was a m e m b e r o f the 1962 R u s s i a n tour.
J on H u m p h r e y , te nor, j o i n e d th e S h a w C h o r a l e in 1960 f o r the B
m i n o r M a s s t o u r a nd t ra v e le d to th e S o v i e t Union in 1962. He w a s the
ten o r s o l o i s t in the B m i n o r M a s s o n th e Russi an tour. H u m p h r e y met
B a r b a r a L i n d n e r , a s o p r a n o in t h e C h o r a l e while a s tu d e n t in O h i o , and
they w'ere m a r r i e d in 1969. He h a s b e e n a r eg u lar s o lo i s t w i t h m a j o r
s y m p h o n y o r c h e s t r a s in c lu d i n g t h e C l e v e l a n d , A tl a n ta , D e t r o i t . B o s to n .
New- Y o r k P h i l h a r m o n i c , I n d i a n a p o l i s . San F r a n c is c o a n d P h i l a d e l p h i a
O r c h e s t r a s a n d th e H andel a nd H a y d n S o c i e ty o f B os to n.
R o l a n d H u r s t , bass, was a C h o r a l e m e m b e r d u r i n g th e 1964
s e a s o n for th e d o m e s t i c a nd the S o u t h A m e r i c a n to urs . He w a s a native
o f N o r th C a r o l i n a .
M i c h a e l H a r v e y ( H a r v e y M i c h a e l Ingra m), te nor, a n a t i v e o f New

York C it y , w a s a s in g e r w it h the C h o r a l e for the 1964 s e a s o n , t o u r i n g
the M i d w e s t a n d Sou th A m e r i c a .
C a r o l J o n e s , m e z z o - s o p r a n o , w a s a native o f C h a t t a n o o g a ,
Tennessee. S h e j o i n e d the C h o r a l e in 1948, toure d in 19 53, a n d s a n g on
s e v e ra l r e c o r d i n g s with the S h a w C h o r a l e and on the M i d d l e E a s t and
European tour. J o n e s sang so lo o n H o n e g g e r ’s K i n g D a v i d d u r i n g the
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1955 tour. She ca n be h e a r d on the r e c o r d i n g o f D eep R i v e r a n d O t h e r
S p i r i t u a l s s i n g i n g the s o p r a n o solo on " D i d n ' t My Lord D e l i v e r
D a n ie l. " She was a l e a d i n g s o p ra n o s o l o i s t w i th the C h a t t a n o o g a O p e r a
C o m p a n y b e f o re l e a v i n g to study in N e w Y o r k .
M a r g a r e t K a n g u s , s o p r a n o , t o u r e d w i t h the C h orale on the
R us sian tour.
R a y m o n d K e a s t , b a r i to n e , was a l o n g t i m e m e m b e r o f the S h a w
Ch o r ale, b e g i n n i n g in 1948 and c o n t i n u i n g until 1967 w’hen th e C h o r a l e
cea sed o p e r a t i o n s . K e a s t . a nativ e o f A r i z o n a , s tu d ie d at the S a n
F r a n c is c o C o n s e r v a t o r y a n d at J u il l i a r d . A s tu d e n t o f Mack H a r r e l l , he
was acti v e on Br o ad w ray a nd was f r e q u e n t l y h e a r d as a s o lo i s t w i t h the
Shaw C h o r a le . He is f e a t u r e d on s e v e r a l S h a w r e c o r d i n g s i n c l u d i n g t h e
Sw ee t a n d L o w a l b u m . K e a s t went on the M i d d l e East and E u r o p e a n
tour and the R u s s i a n to u r as sin g er , a nd o n th e South A m e r i c a n t o u r as
s in ger and c o m p a n y m a n a g e r . K e a s t was a l s o s o lo is t for the 5 th A v e n u e
P r e s b y te r ia n C h u r c h in N e w York. K e a s t , w h o pas sed a w a y in 1999,

was r e m e m b e r e d as v a l u a b l e s in g e r a n d a s s i s t a n t to Shaw.
Jo an Lee “J o d y " K e r s e n b r o c k , al to, j o i n e d the C h o r a le in 1962 for
the R u s s ia n to u r a n d a l s o w e n t to S o u t h A m e r i c a . She r e m a i n e d w i t h
the C h o r a le , s i n g i n g on e v e r y r e c o r d i n g a n d t o u r until 1967 w h e n th e
C h o r a le c e a s e d o p e r a t i o n . F o l l o w i n g he r s t i n t w ith the S h aw C h o r a l e ,
Ms. K e r s e n b r o c k s t u d i e d f o r s ev eral y e a r s i n M u n ic h with S h i g i r u

Hotoke, an e arly S h a w C h o r a l e m e m b e r . R e t u r n i n g to the U.S ..
K e r s e n b r o c k e n r o l l e d in th e K a t h e r i n e G i b b s S c h o o l in B o s to n to
pursue t r a i n i n g in a r ts a d m i n i s t r a t i o n . F o r a t im e , she s e rv e d as v o c a l
coach for B o s t o n 's H a n d e l and H a y d n S o c i e t y . She now r e s i d e s in
N e b r a s k a and has c o n t i n u e d her s i n g i n g c a r e e r as a part tim e a v o c a t i o n .
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R a c h e l Day K e s s l e r , s o p r a n o , was a m e m b e r o f the S h a w C h o r a le
f ro m 196 2 to 1964. A n a t i v e o f W i s c o n s i n , she t r a v e l e d to the Soviet
U n i o n a n d South A m e r i c a w i t h the C h o r ale. K e s s l e r a l s o s a n g on
s e v e r a l d o m e s t i c tours.
D e b o r a h K ie ffe r. a l t o , s a n g w it h the S h a w C h o r a l e f o r the
R u s s i a n t o u r o f 1962.
R o b e rt Kingsbury, a H a ttie sb u rg . M ississippi n ative, was a
m e m b e r o f the M id d le E a s t t o u r . He also sang on t h e d o m e s t i c tour o f
1955 o f H o n e g g e r 's K i n g D a v i d a n d Bach's M a g n i f i c a t .
F l o r e n c e K o p l e f f. c o n t r a l t o , was a c h a r t e r m e m b e r o f the
C o l l e g i a t e C h o r a l e a nd the R o b e r t S h a w C h o r a l e . M s . K o p l e f f was the
f e m a l e s o l o i s t most o f te n f e a t u r e d w ith the S h a w C h o r a l e a n d c o n t i n u e d
to s i n g u n d e r Mr. S h a w a f t e r he w e n t to the A t l a n t a S y m p h o n y . Critics
a n d r e v i e w e r s often s i n g l e d o u t F l o r e n c e K o p l e f f f o r h e r s o l o work on
to u r . H e r r e n d e r in g o f the B m i n o r M ass so lo w o r k w o n h e r ac c la im in
the i n t e r n a t i o n a l p r e ss . S h e w a s a l s o fea ture d on m a n y r e c o r d i n g s o f

the S h a w C h o r a le . H e r r e c o r d i n g o f “ S o m e t i m e s I F e e l L i k e a M oanin '
D o v e " w a s a h i g h l ig h t o f t h e “ O n T o u r ” r e c o r d i n g a n d an a u d i e n c e
f a v o r i t e in th e Soviet U n i o n . In a d d i t i o n to h er s i n g i n g d u t i e s , K o p l e f f
w a s a d m i n i s t r a t i v e a s s i s t a n t to S h a w and the C h o r a l e . Follow ing a
h i g h l y s u c c e s s f u l s in g i n g c a r e e r . Ms. K o p l e f f j o i n e d t h e f a c u l t y o f
G e o r g i a S t a t e U n iv e r s i t y in A t l a n t a , G eorgia . She r e t i r e d f ro m full
t i m e t e a c h i n g in 1997. Ms. K o p l e f f went on all t w e n t y - o n e to u rs o f the
Shaw Chorale.
C h a r l o t t e (Bieg ) K r e h b i e l w a s a n o t h e r l o n g - s t a n d i n g m e m b e r o f
the C o l l e g i a t e C h orale and t h e S h a w C h o r ale. C h a r l o t t e m e t C l a y to n

K r e h b i e l , a recent g r a d u a t e o f t h e U n i v e r s i t y o f K a n s a s , w h i l e s in g in g
77
in the C o l l e g i a t e C h o r a l e . C h a r l o t t e an d C la y to n s o o n b e c a m e r e g u la r
m e m b e r s o f a c l o s e k n it g r o u p o f f r i e n d s g a t h e r e d a r o u n d S h a w that
i n c l u d e d F l o r e n c e K o p l e f f . T h o m a s P yle, and A l i c e P a r k e r . Charlotte
and C l a y t o n w e r e m a r r i e d in 1 9 4 8 . O v e r the n e x t d e c a d e a n d a half.
C h a r l o t t e an d C l a y t o n r e c o r d e d a n d t o u r e d with th e S h a w C h o r a l e
( u s u a l l y t r a d i n g o f f y e a r s so o n e o f th e m could be h o m e w i t h t h e ir th re e
children). C h a r l o t t e w e n t on t h e 1956 tour o f th e M i d d l e E a s t and
E u r o p e an d t h e 1964 t o u r o f S o u t h A m e r ic a . S he s a n g o n n u m e r o u s
r e c o r d i n g s w i t h the Shaw' C h o r a l e as well as r e c o r d i n g s a n d t e l e v i s io n
a p p e a r a n c e s w i t h M it c h M i l l e r . S h e worked as th e D i r e c t o r o f Public
R e l a t i o n s for the F l o r i d a S t a t e U n i v e r s i t y S ch ool o f M u s i c from 1973 to
1985.
C l a y t o n K r e h b i e l . t e n o r , a u d i t i o n e d for the C o l l e g i a t e C h o r a le
s oon a f t e r c o m i n g to N e w Y o r k in 1944. A fter a f e w s e a s o n s , he was
a s s i s t i n g R o b e r t S haw w ith a u d i t i o n s a n d ta k in g r e h e a r s a l s w h e n Shaw

c o u l d n ' t be t h e r e . K r e h b i e l a s s u m e d a natur al l e a d e r s h i p r o l e with the
Shaw Chorale. He was an i m p o r t a n t ba lla st for S h a w ' s t e m p e r a m e n t .
E ve n S h a w w o u l d r e m a r k t h a t " C l a y t o n was v e r y e f f e c t i v e at c o r k i n g
my too v o l a t i l e t e m p e r an d d i r e c t i n g the e n e r g y to m o r e p r o d u c t i v e
a c t i o n s . ” 124 C l a y t o n w e n t to R u s s i a an d to S outh A m e r i c a w ith the
Shaw Chorale.
A n n L a F r a t t a , a n a t i v e o f R i c h m o n d . V i r g in i a , j o i n e d th e Shaw
C h o r a l e in 1955 and s a n g on t h e M i d d l e East and E u r o p e a n to u r.
124 Philip W ay ne G riffin, “C l a y t o n H e n ry Krehbiel: M u s ic ia n /E d u c a to r ,” (Ph.D.

diss., F lorida State U niversity, 1988), 159.
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Lo uis L a w s o n , a Ne bra ska n a t i v e , s a n g on the Sou th A m e r i c a n
tour.
B a r b a r a L i n d n e r , s o p ra n o , p e r f o r m e d with the S h a w C h o r a l e in
R u s sia and in S o u t h A m e r i c a , as wrell as on se vera l d o m e s t i c to u r s . She
met te n o r J on H u m p h r e y , also a S h a w C h o r a l e Singer, w h i l e b o t h w er e
s tu d e n t s in O h io a n d m a r rie d him in 1969.

Seth M c C o y , t e n o r , was a t e n o r s o l o i s t and m e m b e r o f the S h a w
C h o r a le for the S o u t h A m e r i c a n to ur. M c C o y had a d i s t i n g u i s h e d
ca r e e r s in g i n g l a r g e w o r k s for c h o r u s a n d o r c h e s tr a . He s o l o e d w i t h the
A t l a n t a S y m p h o n y O r c h e s t r a on n u m e r o u s o c c a s i o n s u n d e r th e b a t o n o f
Shaw. Mr. M c C o y w a s a P r o f e s s o r o f V o i c e at E a s tm a n S c h o o l o f
M usi c until his d e a t h in 1998.
Bill M c D o n a l d , ten or , s a n g w it h the S h a w C h o r a le on t h e R u s s i a n

tour.
D o r a l e n e E l l e n M c N e lly , s o p r a n o , j o i n e d the S h a w C h o r a l e for
the R u s s ia n and S o u t h A m e r i c a n to u rs . S h e hailed from B r o o k v i l l e ,

Ohio. M c N e l l y s a n g th e M ozart S o l e m n V e s p e r s s o p ra n o s o lo on the
"On T o u r ” r e c o r d i n g m a d e f o ll o w i n g t h e R u s s i a n t r i p . 125
Jo hn M e a d o w s , te n o r , was from H u n t i n g t o n , I n d ia n a . He s a n g
with the C h o r a l e o n l y for the S o u th A m e r i c a n tour.
L e o n a r d M o o r e j o i n e d the C h o r a l e in 1950 and w e n t to t h e M id d l e

East and E u r o p e w i t h th e e n s e m b le . M o o r e w as a n a t i v e o f W a s h i n g t o n
State a nd r e t u r n e d t h e r e to form the L e o n a r d M oore C h o r a l e . M oore
was an a s s i s t a n t c o n d u c t o r with the S h a w C h o r a l e a nd c o n d u c t e d
s e c tio n r e h e a r s a l s as w e l l as r e h e a r s a l s in S h a w ’s a b s e n c e .
123 Mary Evelyn B ru c e had sung the solo o n to ur, but had laryngitis d u rin g the taping
and was not able to sing th e solo.
79
R a y m o n d M u r c e l l . b a s s , was a m e m b e r o f the S h aw C h o r a l e for
the 1962 to u r o f the S o v i e t Union.
Dor is O c k e r s o n w'as an ear ly m e m b e r o f th e S h a w C h o r a l e ,

jo i n i n g in 1948. She s a n g w i t h the C h o r a l e f o r t h e n e x t two s e a s o n s
and j o i n e d the g r o u p f o r the M id dle E a s t t o u r . O ckerson studied at
North T e x a s S tate U n i v e r s i t y and the J u i l l i a r d S c h o o l o f M usic.
O c k e r s o n was a s o l o i s t f o r s ev eral w o r k s , i n c l u d i n g M i l h a u d ’s Six

So n n e ts o f J e a n C a s s o u .
C h a r l e n e M. P e t e r s o n w a s a m e m b e r o f t h e C h o r a l e for th e S o u t h
A m e r ic a n tour. S h e w a s a n a ti v e o f N e w Y o r k C it y .
D ia n e P u f f e r j o i n e d th e C h o r a l e in 1955 f o r the d o m e s t ic t o u r
s in gin g K i n g D a v i d a n d B a c h ' s M a g n if i c a t . S h e t o u r e d with th e C h o r a l e
on the M id d l e E a s t a n d E u r o p e a n tour.
M e r l e P u f f e r j o i n e d th e C h o r a le in 1955 a n d s a n g on the d o m e s t i c
and E u r o p e a n to u rs .
T h o m a s P yl e w a s a f o u n d i n g m e m b e r o f th e R o b e r t S h aw C h o r a l e
and a c lo se c o n f i d a n t a n d f r i e n d o f Shaw . P y l e m a d e his N ew Y o r k
Tow n Hall d e b u t in 19 5 0 a n d r e c o rd e d e x t e n s i v e l y in New Y o r k w i t h
the C h o r a l e and for R C A V i c t o r as a s o l o i s t a n d n a r r a t o r . P y le w a s a

native o f K i n g s p o r t . T e n n e s s e e where he a t t e n d e d K i n g C o ll e g e . He
served on the B o a r d o f D i r e c t o r s o f the C o l l e g i a t e C h o r a l e and w as
f re q u e n tly h eard as a s o l o i s t w ith the R o b e r t S h a w C h o r a le . P y l e 's b a s s
voice is hear d on s e v e r a l r e c o r d i n g s , n o t a b l y th e D e e p Rive r a n d O t h e r
S p i r i t u a l s a lb u m . P y l e t o u r e d with the S h a w C h o r a l e for the 1956
M iddle East tour. P y l e d i d m o s t o f the c o n t r a c t i n g for sin ger s f o r t h e

Shaw tours a f te r 1957. P y l e w as m a r r ie d to A l i c e P a r k e r , the c o n d u c t o r
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and a r r a n g e r , until his s u d d e n d e a t h in 1 976. T o g e t h e r they h a d f iv e
ch ildren.
Neil R a b e r . b a s s, w a s a m e m b e r o f t h e C h o r a l e from 1958 to
1964. He t o u r e d w i th t h e C h o r a l e in the S o v i e t U n i o n and S o u t h
A m e r ic a n to u r s .
S h ar o n S p r o w l s R e e d , s o p r a n o , a n a t i v e o f O k l a h o m a , w a s a
s in g e r on the S o u t h A m e r i c a n tour.
R o b e r t R i c h a r d s j o i n e d the R o b e r t S h a w C h o r a l e in 1960 a nd s a n g
on the R u s s i a n to u r . He t a u g h t v o i c e a n d d i r e c t e d the U n i v e r s i t y
C h o r a l e at R a d f o r d U n i v e r s i t y until his r e t i r e m e n t in 1994.
H o w a r d R o b e r t s w a s a m e m b e r o f t h e S h a w C h o r a l e for the
M id dle Ea st a n d E u r o p e a n tou r.
G len n R o w e n . t e n o r , w as a s i n g e r o n th e S o u t h A m e r i c a n t o u r .
Clar k S a l o n i s C l a r k , bas s, w a s a m e m b e r o f th e C h o r a le for t h e
R u s sia n tou r.
Vi olet S e r w i n w a s a f o r m e r m e m b e r o f th e C o l l e g i a t e C h o r a l e
who be gan s i n g i n g w ith t h e R o b e r t S h a w C h o r a l e in 1948. S he w a s a
na ti v e o f S l a t i n g t o n , PA. S e r w i n s a n g on t h e S o v i e t Union a n d S o u t h
A m e r ic a n to u r s .
David M a l l e t t S m i t h , a n a ti v e o f A l a b a m a w a s a m e m b e r o f th e
C h o r a le for the S o u t h A m e r i c a n tou r.
M alc olm S m i t h , b a s s , sang o n the R u s s i a n to u r .
Ja yne S o m o g i e s a n g w i t h the C h o r a l e f o r the 1956 to ur o f the
M id dle East a n d E u r o p e . S h e j o i n e d the C h o r a l e in 1955.
R o b er t T e b o s a n g t w o y ea rs w i t h t h e C h o r a l e , from 1955 to 19 56,
tr a v e l in g to the M i d d l e E a s t with the C h o r a l e .
81
R i c h a r d D o u g l a s V o g t, a N e w J e rs e y n a t i v e , w e n t to South
A m e r i c a w it h the C h o r a l e in 1964.
Paul W e s t b r o o k , bas s, j o i n e d the C h o r a l e in 1955 a nd sang on the
195 5 K i n g D a v i d and B a c h M a g n i f i c a t to ur. He s a n g on the Middle
E a s t to u r, and on the B M i n o r M a s s tour. He j o i n e d the C h o r a le in 1955
fo r the H o n e g g e r and Bac h M a g n i f i c a t tour, c o n t i n u i n g t h r o u g h the B
M i n o r M a s s tour. W e s t b r o o k o f t e n sang so lo r o l e s on t o u r , in clu d in g

b a s s r o le s in the S u i t e fro m L e s B r i g a n d s by O f f e n b a c h in 1958.
D i a n n e White, c o n t r a l t o , w a s a m e m b e r o f t h e C h o r a l e for the
R u s s i a n a n d South A m e r i c a n t o u r s . She is a n a t i v e o f C l e v e l a n d , Ohio.
W i l l i a m P. W h i t e s i d e s s a n g with the S h a w C h o r a l e from 1955 to
1956. W h i t e s i d e s s a n g on t h e t o u r o f the M i d d l e E a s t a n d Europe.
M a r y B. W i l l i a m s o n w a s a s in g e r for the M i d d l e E a s t and

E u r o p e a n to ur.
K ay W ink le r, s o p r a n o , w a s a m e m b e r o f t h e C h o r a l e for the 1962

t o u r o f the So viet U nio n.
A n n e W o o d w a r d was a m e m b e r o f the C h o r a l e fro m 1960 t h r o u g h

1967. A f t e r a s u c c e s s f u l s i n g i n g c a r e e r in N e w Y o r k s h e return ed to
h e r n a t i v e N o r t h C a r o l i n a w h e r e she was a f a c u l t y m e m b e r at
G r e e n s b o r o C ollege. W o o d w a r d has sung s olo r o l e s for the Choral
S o c i e t y o f G r e e n s b o r o and t h e R o a n o k e V a l l e y C h o r u s , a n d c o n tin u e s to
t e a c h p a r t time.
R i c h a r d W rig ht w as o n e o f o n l y th re e s i n g e r s w h o s a n g on all
t h r e e f o r e i g n tours. He w as a g r a d u a t e o f C i n c i n n a t i C o n s e r v a t o r y o f
M u s i c a n d s tu d ied c o m p o s i t i o n w i t h D ar ius M i l h a u d a nd A rnold

Schoenberg. He was a m e m b e r o f the N ew Y o r k C i t y O p e r a C o m p a n y .
W r i g h t b e g a n s in ging w ith t h e C h o r a l e in 1948, s i n g i n g t e n o r solo on
82
the M o z a r t R e q u i e m tours. A 1964 t o u r p r o g r a m lis t e d W r i g h t as having
been on s e v e n p r e v io u s tours .
J o h n W u s tm a n . p ian is t, was a s i g n i f i c a n t m e m b e r o f th e Sha w
Chorale organization. W u s tm a n b e g a n h is c ar eer as a c c o m p a n i s t for the
R o b e r t S h a w C h o r a l e p e r f o r m i n g o n m a n y o f the e a r l y t o u r s , in cluding
the M i d d l e E a s t tour. He is P r o f e s s o r E m e r i t u s o f a c c o m p a n y i n g at the
U n i v e r s i t y o f I ll in ois , and has p e r f o r m e d with s uch s i n g e r s as E li s abeth
S c h w a r z k o p f , B ir g it N il ss o n , and R e n a t a Scotto.
K e i t h W y a t t was a s in g e r on th e t o u r o f the M i d d l e E a s t an d
E urope.
R o b e r t Y e a g e r g r a d u a t e d f r o m th e J u il l i a r d S c h o o l o f M u s i c in
1949. He has a p p e a r e d as t e n o r s o l o i s t w i t h the R o b e r t S h a w C horal e

and the C o l l e g i a t e C h orale. D u r i n g th e S e c o n d W o r ld W a r he serv ed in
the U.S. A i r F o r c e . He t r a v e l e d w i t h the C h o r ale to R u s s i a in 1962 and

South A m e r i c a in 1964. Y e a g e r j o i n e d th e C horale in 1948 .
83
C H A P T E R FIVE
R E P E R T O I R E OF T H E S H A W C H O R A L E
F o r e a c h o f the thre e f o r e i g n t o u r s S h a w s e l e c t e d a w i d e r a n g e o f
c hor al w o r k s t h a t he o r g a n i z e d into t h r e e o r f o u r s e p a r a t e p r o g r a m s .
S h a w l a b e l e d t h e p r o g r a m s by R o m a n n u m e r a l o r b y l e t te r. An example
o f th is s y s t e m is d e m o n s t r a t e d by the n a m e . C l a s s i c a l P r o g r a m “ C . ”
(See T a b l e 1.) T y p i c a l l y , th ese p r o g r a m s c o n s i s t e d o f R e n a i s s a n c e a
c a p p e l l a s e l e c t i o n s , m a j o r w o r k s s u ch as the S c h u b e r t M a s s in G or the
M o z a r t R e q u i e m a n d s e l e c t io n s o f c o n t e m p o r a r y c o m p o s e r s . The Bach
B m i n o r M a s s w a s s u n g as a c o m p l e t e c o n c e r t o n b o th t h e R u s s i a n a nd
South A m e r i c a n to u r s . Shaw a lso f e a t u r e d s e l e c t i o n s o f c o n t e m p o r a r y

A m e r i c a n c o m p o s e r s and N eg r o S p i r i t u a l s .
T a b l e 1. “ C l a s s i c a l P r o g r a m O n e ” f o r 1956 T o u r o f t h e M i d d l e E a s t
and Europe.
P rogram O n e - C L A S SIC A L
B erlin , G e rm an y - A m e ric a H o u se
S H A W C H O R A L E
I I 6 lh C e n t u r y :
O Vos O m nes V icto ria
T h i s Is t h e R e c o r d o f J o h n G ib b o n s
Fa U n a C a n z o n e Vecchi
S e l i g S i n d D ie T o te n S c h U tz
Echo Song Di L a s s o
II Jesu m ein e F reu d e Bach
III M a s s in G S chubert
IN T E R M IS S IO N
84
T a b l e 1. C o n t i n u e d
IV F ried e A u f E rd e n S choenberg
V C hanson: I D i e u ! Q u il La F a it D ebussy
II Q u a n t j a i o u y T a b o u r i n
III Y v e r
I N ico lette R av el
II T ro is B eaux O iseaux
III Ronde
VI H arvest H om e C h o ra le s Ives
• * *
S h a w 's r e p e r t o i r e c h o i c e s r e f l e c t e d his o f t - s t a t e d p h i l o s o p h y t h a t
o n l y the b e s t p o s s i b l e w o r k s w o u l d s u s t a i n n o t o n l y an a u d i e n c e ' s
in te re sts , b ut a ls o t h e a t t e n t i o n o f his m u s i c i a n s o v e r a l e n g t h y to u r. As
S h a w s ta te d in 1984, “ Y o u c ould do a M o z a r t R e q u i e m one h u n d r e d
ti m e s and t h e o n e h u n d r e d t h tim e w o u ld be m o r e m e a n i n g f u l t h a n the

f i r s t . ” R e f e r r i n g to h is d a y s with the W a r i n g o r g a n i z a t i o n , S h a w al so
sta ted, ” 1 g o t o u t o f s t r i c t l y e n t e r t a i n m e n t m u s i c b e c a u s e it d i d n 't g i v e
b a c k . ” 126 W i t h th e R o b e r t S h a w C h o r a l e , S h a w m o v e d q u i c k l y a nd
intentionally aw ay from popular music. He re c o g n iz e d , however, that
to keep the c l a s s i c a l e f f o r t s o f the C h o r a l e v i a b l e , he still had to

p e r fo r m the o c c a s i o n a l love song, C h r i s t m a s m u s i c , and r e c o r d i n g s s u c h
as “ With L o v e f r o m a C h o r u s . ” In 1954 at t h e C o l l e g e o f W o o s te r
C o m m e n c e m e n t S h a w m a d e a s tr o n g c a s e for th e C h o r a l e ' s a v o i d a n c e o f
“ p o p u l a r ” m u s i c , w h i c h he said w as “c a l c u l a t e d to m a k e p e o p l e
f o r g e t . ” 127
126 Brian T. E llis, W rite r/P ro d u cer, R obert S h a w a n d th e A tla n ta Sym pho n y (F u lto n
C ounty Arts C ou ncil, 1984), v ideocassette.
127 R obert S haw , '‘C h a p e l T a lk ,” C ollege o f W o o s te r . W o o ste r, Ohio, 16 April 1954.
85
T h e tours o f th e R o b e r t S h a w C h o r a l e r e f l e c t S h a w ' s c o n t i n u o u s
g r o w t h in m usi cal s o p h i s t i c a t i o n dur in g the 1950s a n d 1960s. The
e a r l i e r to urs c o n s i s t e d o f m o s t l y s ta n d a rd c h o r a l l i t e r a t u r e , much o f
w h i c h was new. h o w e v e r , to S h a w . By the m id 1 9 6 0 s Shaw had g r o w n
f r o m a " c h o r a l p h e n o m e n o n " to a s e a s o n e d o r c h e s t r a l c o n d u c t o r w ho
w a s i n c r e a s i n g l y c o m f o r t a b l e w ith more d i f f i c u l t a n d e s o te r ic l it e r a tu r e .
Sh aw 's d e t e r m i n e d s t a n c e on r e p e r t o i r e o c c a s i o n a l l y ca used him
to be at odds w ith c o n c e r t p r o m o t e r s and his o w n m a n a g e m e n t . P r i o r to
t h e 1955 to u rin g s e a s o n , a d i f f e r e n c e o f o p i n i o n o v e r r e p e r t o i r e a r o s e
b e t w e e n Shaw a n d C o l u m b i a A r t i s t s M a n a g e m e n t . S h a w was a s k e d by
m a n a g e m e n t to p e r f o r m a m o r e " a c c e s s i b l e " p r o g r a m o f w e ll- k n o w n
o r a t o r y c h o r u s e s i n s t e a d o f his o w n first c h o i c e s . K i n g D a v i d by A r t h u r
H o n e g g e r and J. S. B a c h ' s M a g n i f i c a t . S h a w r e f e r r e d to the s u g g e s t e d
p r o g r a m o f f a m ili a r o r a t o r i o c h o r u s e s as “b e a u t i f u l a n d fa miliar , i f to
m y m in d , s li g h tly m i s c e l l a n e o u s an d u n e n t e r p r i s i n g . ” 128 A letter w r i tt e n

by S h a w to c o n c e r t p r o m o t e r s r e v e a l e d the n a t u r e o f S h a w 's strong
f e e l i n g s . The l e tt e r r e a d in pa rt:
A f te r s e v e n y e a r s an d some s e v e n h u n d r e d c oncer ts
on the r o a d , I m u s t r e p o rt to y o u th e i m p o s s i b i l i t y o f
a t t e m p t i n g to m a i n t a i n p e r f o r m a n c e s t a n d a r d s with
any o t h e r t h a n a m u s i c a l r e p e r t o i r e w h i c h n ig h t after
night a n d w e e k a f t e r w eek r e a w a k e n s t h e m i n d and
r e v i t a l i z e s t h e s p i r i t . Given a c r e a t o r o f g e n i u s ,
wh o s e b u s i n e s s is the m a s te r y o f f o r m no less than
c o l o r ( S h a k e s p e a r e , El G rec o, M o z a r t ) , I t h i n k we all
w ould r a t h e r a t t e n d th e whole p la y , s e e t h e whole
p i cture , h e a r th e w h o l e s y m p h o n y , t h a n h a v e it
p a r c e l e d in p r e s u m a b l y p a l a t a b l e p o r t i o n s . 129
128 Robert Shaw, le tter to C o n c e r t Prom oters, S u m m e r 1954, S haw Papers, A tlanta.
129 Shaw, 1954.
86
A d d r e s s i n g th e issue o f a u d i e n c e s o p h i s t i c a t i o n , S h a w w r o te :
In the firs t p la c e . I b e l i e v e that g r e a t m u s i c is the

p e o p l e ' s m u s i c . It is g r e a t p r e c i s e l y b e c a u s e it says
s o m e t h i n g b a s i c a l l y a n d i n e s c a p a b l y h u m a n . Its
u n d e r s t a n d i n g is n o t l i m i t e d to a c o v e y o f
s o p h i s t i c a t e s f r i n g i n g the m o r e vit al o r g a n s o f
m e t r o p o l i t a n life, b u t is o p e n to m e n o f g o o d w ill and
g o o d s e n s e w h e r e v e r t h e y m a y be. B a c h a nd
B e e t h o v e n h a v e a g r e a t deal m o re in c o m m o n w it h a
w i s e l y u s e d p i e c e o f f a rm m a c h i n e r y t h a n a
c h a u f f e u r e d line o f s o l i d g o ld C a d i l l a c s . —A nd I
n e v e r h ave u n d e r s t o o d w h y m u s ic a p p r o p r i a t e to the
b ig city s h o u l d be b e y o n d th e c o m p r e h e n s i o n o f o u r
t o w n . The g r e a t c o m p o s e r s w r ite — s i n c e r e l y and
h o p e f u l l y — for t h e p e o p l e ; a nd yo u ar e l i k e l y to find
t h e m a n y w h e r e . 130
In the e n d a c o m p r o m i s e was r e a c h e d that e n a b l e d S h a w to p e r f o r m the

Bac h a n d the H o n e g g e r a n d th e v a r i e d c h o r a l w o r k s on a l t e r n a t i n g
nig h ts, a p r a c t i c e that he w o u l d c o n t i n u e to e m p l o y for th e f o r e i g n
tours.
F o r th e E u r o p e a n to u r, S h a w ' s c h o i c e s f o r th e R e n a i s s a n c e a
c a p p e l l a p o r t i o n s ( u s u a l l y s u n g at the b e g i n n i n g o f the c o n c e r t ) o f the
p r o g r a m i n c l u d e d “Ola! O Ch e B o n E c c h o ” by di L a s s o , “ O V o s
O m n e s " by V i c t o r ia , “ C h r i s t R i s i n g A g a i n ” by W i l l i a m B y r d , “ S elig
Sind D ie T o t e n ” by H e i n r i c h S c h iit z , “ Fa una C a n z o n e ” by O r a z i o
V e c c h i. In R u s s i a , six y e a r s l a t e r , S h a w r e p e a t e d m a n y o f th e s e w o r k s ,
s u b s t i t u t i n g the W ill ia m By rd m o t e t w it h “ This is the R e c o r d o f J o h n ”
by G i b b o n s . P r o g r a m n u m b e r “ o n e ” c o n s i s t e d o f M u s i c o f the S i x t e e n t h
C e n t u r y : V i c t o r i a , “O Vos O m n e s , ” G i b b o n s ; “ This is th e R e c o r d o f
J o h n ; ” V e c c h i , “ Fa u n a C a n z o n e ; ” Schiitz, “ S e li g S in d D i e T o t e n ; ” and
di L a s s o , “ Ola! O Che B on E c c h o . ” Set tw o o f the s a m e p r o g r a m
130 Shaw, 1954.
87
c o n s i s t e d o f J . S . Bach. J e s u . m e i n e F r e u d e . Set t h r e e c o n s i s t e d o f the
S c h u b e r t M a s s in G. A f t e r th e I n t e r m i s s i o n , the C h o r a l e s a n g
S c h o e n b e r g ' s F r ie d e A u f E r d e n \ D e b u s s y ' s Six C h a n s o n d e C h a r l e s
D ' L e o n . N o s . 1. 2. and 3. R a v e l ' s T r o i s C h a n s o n s . “ N i c o l e t t e . ” " T r o i s
B e a u x O i s e a u x " and “ R o n d e ; ” a n d C h a r l e s Ives's T hre e H a r v e s t Home
C h o r a l e s . P r o g r a m “f o u r " c o n s i s t e d o f the B m i n o r M a s s .
A d d i t i o n a l l y , t h e r e were s e v e r a l s e t s o f s e le c tio n s o f A m e r i c a n fo lk
s o n g s , N e g r o S p i r i t u a l s , an d R u s s i a n f o l k s ong s th at w e r e u s e d as both
c l o s i n g p i e c e s an d en c o r e s . T h e s p i r i t u a l s were a u d i e n c e f a v o r i t e s ,
p r o m p t i n g r e q u e s t s from a u d i e n c e m e m b e r s and, on at l e a s t o n e
o c c a s i o n , l o u d f o o t s t o m p i n g a n d c l a p p i n g until S h a w c a m e b a c k to the
p o d i u m to r e p e a t an a r r a n g e m e n t .
T h e S c h u b e r t M ass in G w a s o f t e n paired wit h th e a c a p p e l l a set
to m a k e u p th e f ir s t h a l f o f th e p r o g r a m . I f the M o z a r t R e q u i e m w as to
be p e r f o r m e d . S h a w w o u ld p l a c e it f i r s t on the p r o g r a m , a n d h a v e the
s e c o n d h a l f c o n s i s t o f the a c a p p e l l a w o r k s , the A m e r i c a n c o m p o s e r s ,
and a n o t h e r s e le c t io n .
In E u r o p e , Shaw a l s o p e r f o r m e d B a c h 's C a n t a t a no. 4, C h r i s t lag
in T o d e s b a n d e n . the P r a y e r s o f K i e r k e g a a r d by S a m u e l B a r b e r , The
L a r k by A a r o n C o p la n d , a n d th e L o r d o f the H a r v e s t b y C h a r l e s Ives.
S h a w d r e w upon the w o r k s o f A m e r i c a n c o m p o s e r s , s o m e o f
w h o m h a d b e e n active in A m e r i c a f o r y e a r s and s o m e w h o w e r e
r e l a t i v e l y u n k n o w n o u t s i d e o f m a j o r A m e r i c a n cit ie s . S h a w h a d lon g
been d e d i c a t e d to the idea t h a t t h e m o d e r n “ A m e r i c a n s o n g ” s h o u l d be
hea rd. M e m b e r s o f the C o l l e g i a t e C h o r a l e had also b l a n c h e d at s o m e o f
the r e p e r t o i r e t h a t Shaw w o u l d l a t e r s u c c e s s f u l l y take o n t o u r w i t h the
88
Ro ber t S h a w C h o r a l e : B ar b er 's A S t o p w a t c h a n d an O r d i n a n c e M a p and
S c h o e n b e r g 's F r i e d e A u f Erden.
T he c o m p o s e r s o f the " A m e r i c a n s o n g ” in cluded S a m u e l B a r b e r .

Lukas F o s s ljl. C h a r l e s Ives, A a r o n C o p l a n d , W illiam S c h u m a n . G a il
Kubik. a n d G e o r g e G e r s h w i n , N o r m a n D e l l o J o io . and J aco b
A v s h a l o m o v . I_>2 S h a w h eld C h a r l e s I v e s in h i g h es te em , o n c e c o m p a r i n g
his " Y a n k e e p i o n e e r i n g s p ir i t ” to t h a t o f h is o w n g r a n d fa th e r . When

Shaw a nd th e C o l l e g i a t e C h o r a le f ir s t s a n g th e H a r v e s t H o m e C h o r a l e s .
Shaw c o n f e s s e d to the C h o r a le t h a t he w a s s till " plenty p e r p l e x e d "
about th e Ives p i e c e s . S h a w i n v i t e d I v e s , w h o was in p o o r h e a l t h , to
atten d the c o n c e r t , b ut Ives r e s p o n d e d t h r o u g h his wife, H a r m o n y , th at,
while he r e g r e t t e d t h a t he cou ld n o t a t t e n d , he would like to s o m e d a y
" s h a k e the h a n d o f a m a n who i sn 't a f r a i d to t a c k l e a to u g h j o b . ” ,JJ

Shaw 's r e l a t i o n s h i p w ith W il li am S c h u m a n w a s quite w arm , a nd t h e i r
f r i e n d s h i p e n d u r e d for d e c a d e s . S c h u m a n h a d h eard S h a w 's w o r k w i t h

the C o l l e g i a t e C h o r a l e in the e a r l y 1 9 4 0 s , a n d had asked that they
per fo r m s o m e o f h i s c h o r a l w o r k s. As q u o t e d in M u s s u lm a n ' s b o o k .
Dear P e o p l e , S h a w s a id yes to the o f f e r , i f S c h u m a n w o u ld c o n d u c t .
S c h u m a n 's r e s p o n s e w as "No, y o u m u s t c o n d u c t . But first y o u 'v e g o t to

learn a fe w m o r e t h i n g s ab o u t m u s i c . ” lj4
131 The a u th o r in clu d es Foss in this g ro u p e v e n th o ug h he was not a native born

A m erican. Born in B erlin, his family m oved to P aris and finally New York when H itler
came to po w er. S haw first collaborated w ith F o ss fo r th e prem iere perform ance o f The
P ra irie, an o ra to rio set to poem s by Carl S an d b e rg 's .
lj2 Like Foss, A v s h a lo m o v was foreign b o rn (in C hin a to Russian parents).
133 H arm ony Ives, letter to Robert S h aw q u o t e d in M ussulman, D ear P eo p le... R o b ert
Shaw. (B lo o m in g to n : In d ia n a University Press, 1979), 78.
134 Jo sep h M u s s u lm a n . D ear P eople . . . R o b e r t Sh a w , (B loom ington: Indiana

University Press, 1979). 36.
89
Shaw 's note s s h o w t h a t the pro g ram r e p e r t o i r e f o r tours wou ld be
a r r a n g e d so that w o r k s w o u l d n o t be r e p e a t e d in a n y c ity . How ev er , on

the R u s s i a n and the S o u th A m e r i c a n tours S h a w a d d e d p e r f o r m a n c e s o f
the B m i n o r M a s s . for i n s t a n c e , when p u b lic r e s p o n s e to the work
p r o v e d to be o v e r w h e l m i n g . In South A m e r i c a the B m i n o r Mass had
b e e n s c h e d u l e d s ev en t i m e s , but was p e r f o r m e d an a d d i t i o n a l sev en

ti m e s when, in S h a w 's w o r d s , “ W or d sp re a d a h e a d t h a t th is was the one
t h i n g n o t to m i s s . ” 135
S h a w had a sp e c i a l a f f i n i t y for the folk s p i r i t u a l , w hich he felt
was kin to the m u s ic o f h is o w n u p b rin g in g , ( h y m n s o f P r o te s ta n t
A m erica). S h a w ’s e a r l i e s t e x p e r i e n c e wit h p r o d u c i n g a r r a n g e m e n t s for
the F r e d W arin g o r g a n i z a t i o n r e s u lt e d in the e n o r m o u s l y succ es sfu l
“ Set D o w n S e r v a n t . ” A l i c e P a r k e r , who c o l l a b o r a t e d w i t h Shaw on
m a n y a r r a n g e m e n t s o f f o lk s o n g s and s p i r i t u a l s , e x p l a i n e d in 1996 th at
S h a w h ad a p r a c t i c a l yet p e r f e c t i o n i s t a t t i t u d e t o w a r d s ar ra n g in g .
“ E a c h note, word and p h r a s e h ad to be j u s t r ig h t. E a c h v oice part had
to i n v ite the s in g e r into t h e p h r a s e . ” 136 His r e s p e c t f o r the integrity o f

the tu n e and the w o r d s w a s a lso ev iden t. W r o te P a r k e r : “ The m elo die s
and t e x t s were to be r e s p e c t e d . ” 137 To Shaw, th is m e a n t that no spec ial
e f f e c t s or c le v e r c o m p o s i t i o n a l d ev ic es wer e to o b s c u r e the beauty o f
the m u s i c a l line or the s i m p l i c i t y o f the text. F o r P a r k e r , w orkin g with

S h a w w a s a p r a c t i c a l and r e w a r d i n g le ar n in g e x p e r i e n c e that she
135 Barry K ittleson, “ R obert S h a w and his traveling C h o r a l e ,” M u sic Business. 29

A ug u st 1964, 14.
136 Alice Parker. “ P ark e r-S h aw M em ories,” Choral Journ al 36 (A pril 1996): 15-18.
137 Parker, 1996.
90
c o m p a r e d to a “M e d i e v a l - s t y le a p p r e n t i c e s h i p . ” ,j8 M a n y o f the
s p i r i t u a l s a n d folk s o n g a r r a n g e m e n t s used on t h e t o u r s w e r e
S h a w /P a rk e r arrangements. A c c o r d i n g to P a r k e r . ‘‘T h e r a w sk e tc h e s
w e r e m i n e , b u t the f i n i s h e d p r o d u c t s , t o t a ll y t r a n s f o r m e d , w e r e ni net y-
five p e r c e n t S h a w . ” lj9 T h e a r r a n g e m e n t s o f s p i r i t u a l s a n d g o s p e l songs
als o p r o v i d e d a m p le o p p o r t u n i t y f o r solo s i n g e r s to s h o w c a s e their
vocal versatility. S i n g e r s s u c h as b a r i t o n e T h o m a s P y l e w e r e as
c o n v i n c i n g in a ve r se o f “T h i s O l' H a m m e r ” as t h e y w e r e s i n g i n g solos
in th e B r a h m s R e q u ie m o r t h e B a c h B m i n o r M a s s . A l i c e P a r k e r sta ted
that s h e l e a r n e d fro m T o m P y l e , h e r h u s b a n d a n d l o n g t i m e S h aw
a s s i s t a n t , to look t h r o u g h t h e m a n u s c r i p t (as t h o u g h it w e r e
“ t r a n s l u c e n t ” ) and p i c t u r e t h e f a c e o f the s i n g e r f o r w h o m the line was
being w ritten. “I a s k e d m y s e l f i f the line w a s w o r t h y o f t h a t v o i c e . ” 140

D u r i n g the e a r l i e s t d o m e s t i c to u rs o f th e R o b e r t S h a w C h o r a le ,
the C h o r a l e s an g e i t h e r a c a p p e l l a s e l e c t io n s o r t h o s e a c c o m p a n i e d by
piano. T h e r e a s o n i n g b e h i n d t h i s w a s sim p le : i n s t r u m e n t a l i s t s cost

money. A n d the S h a w C h o r a l e w a s not yet a t t r a c t i n g s e l l - o u t c r o w d s
w h o s e a d m i s s i o n p r ic e s w o u l d a l l o w for s m a ll o r c h e s t r a s . F o r the
s e c o n d t o u r in 1949-50, S h a w h a d a d d e d a s m a l l s t r i n g e n s e m b l e for the
B a c h C a n t a t a No. 4 C h r i s t l a g in T o d e s b a n d e n a n d th i s e n s e m b l e was
a u g m e n t e d to ab o u t t w e n t y f o r th e M o z a r t R e q u i e m in 1951 and 52. By

the t i m e o f th e f ore ign t o u r s , o r c h e s t r a s w e r e an i m p o r t a n t p a r t o f the
m ix , w h i c h g r e a t l y e x p a n d e d th e t y p e s o f c o m p o s i t i o n s the C h o r a le
c o u l d p e r f o r m . For the M i d d l e E a s t and E u r o p e a n t o u r the o r c h e s t r a
138 P ark e r, 1996.
139 P ark e r, 1996.
140 P ark e r, 1996.
91
c o n s is t e d o f t w e n t y - f i v e i n s t r u m e n t a l i s t s , e n o u g h for th e M o z a r t
R e q u ie m and th e S c h u b e r t Mass in G. F o r th e R u s s ia n tour. S h a w

e m p l o y e d t w e n t y - t h r e e i n s t r u m e n t a l i s t s , e n o u g h for the B m i n o r M a s s .
Alvin B r e h m . d o u b l e b a s s i s t, was S h a w ' s c o n t r a c t o r and o r c h e s t r a

m a n a g e r for th e f i r s t t w o f ore ig n t o u r s . F o r the South A m e r i c a n t o u r
S haw a g a i n t o o k t w e n t y - t h r e e i n s t r u m e n t a l i s t s .
T h e m u s i c o f th e fore ign to u r s w a s l a r g e l y f a m i l i a r to S h a w , bu t
some o f it was n e w to h is sin gers. S haw had conducted most o f the
r e p e r t o i r e on p r e v i o u s t o u r s or w it h t h e C o l l e g i a t e C h o r a l e . H e c h o s e
the w o r k s th at he c o n s i d e r e d to be s h o w c a s e p ie c e s , th a t he w a s v e r y
fond of. and t h a t h e f e lt d e s e r v e d to b e h e a r d in f o re ig n v e n u e s . The
i l l u s t r a t i o n b e l o w li s ts the p r im a r y w o r k s p e r f o r m e d on th e f o r e i g n
tou rs a nd the p r e v i o u s p e r f o r m a n c e s o f t h o s e w orks u n d e r S h a w ' s b ato n .
T a b le 2. L ist o f w o r k s c o n d u c t e d b y S h a w on the f o r e i g n t o u r s an d
in y ea rs p r e v i o u s . L i s t e d by y e a r a n d e n s e m b l e .
(CC) d e n o t e s C o l l e g i a t e C h o r a le ; ( R S C ) d e n o t e s R o b e r t S h a w C h o r a l e
M iddle E a s t a n d E u r o p e
" O Vos O m n e s ” ( V i c t o r i a ) 1954, 55 ( R S C )
“ C hrist R is i n g A g a i n ” ( B y r d ) 1954, 55 ( R S C )
“ Selig S in d D ie T o t e n ” (Schiitz) 1952 ( R S C )
“ Fa una C a n z o n e ” ( V e c c h i ) 1949, 50, 54, 55 ( R S C )
"Ola! O C he B o n E c c h o ” (di L a s s o ) 1949, 50 ( R S C )
C hr ist l a g in T o d e s b a n d e n ( B ach) 1949 ( R S C )
M ass in G ( S c h u b e r t ) 1952 ( R S C )
“ Soon o n e M o r n i n ” ( A r r . Kub ik ) 1948 S u m m e r
Replacement Show
“ Ain-a T h a t G o o d N e w s ” (Arr. D a w s o n ) 1948 S u m m e r
Replacement S how
P r a y e r s o f K i e r k e g a a r d (B a r b e r)
The L a r k ( C o p l a n d ) 1942 ( C C ) P r e m i e r e
L o r d o f th e H a r v e s t ( I v e s ) 1956 ( R S C )
92
T a b le 2. c o n t i n u e d
" L a m e n t for B r o t h e r R o b b i n s ” ( G e r s h w i n ) 1951 ( R S C )

R e q u ie m Mass ( M o z a r t ) 195 1, 52. (RSC)
B e r lin . Y u g o s l a v i a . R u s s i a
" T h i s is the R e c o r d o f J o h n ” ( G i b b o n s ) 1 9 4 9 ( R SC )
"O Vos O m n e s ” ( V i c t o r i a ) 1948, 54, 55. 56 ( R S C )

" Fa una C a n z o n e ” ( V e c c h i ) 1949, 54, 55 ( R S C )
" S e l i g Sind Die T o t e n ” ( S c h ii t z ) 1 9 5 2 (RSC)
"Ola! O Ch e Bon E c c h o ” ( d i L a s s o ) 1948. 56 (RSC)
Je su, m e in e F r e u d e ( B a c h ) 1948, 54 (RSC)
M a ss in G ( S c h u b e r t ) 1952 ( R S C )
F r i e d e A u f Erden ( S c h o e n b e r g )
A Cerem ony o f Carols (B ritten)
Trois C h a n s o n de C h a r l e s D ' L e o n ( D e b u s s y ) 1949, 52 (RSC)
"Nicolette”
"Beaux O iseaux”
“ Ronde”
H a r v e s t Hom e C h o r a l e s ( C h a r l e s Ives) 1 9 5 6 (RSC)
B m i n o r M ass ( B a c h ) 1946 ( C C ) . 52 (C C ) ;
6 0, 6 2 ( R S C )
S u ite f r o m The P r a i r i e ( F o s s ) 1944 P r e m ie r e (C C )
Drei Madrigale aus Z w o e l f M adrigalen, 1958 ( R S C )
(H indem ith)
The M y s t i c T r u m p e t e r ( D e l l o J o io )
C a r o ls o f Dea th ( W i l l i a m S c h u m a n )
Tom O 'B e d l a m ( J a c o b A v s h a l o m o v ) 1954 ( R S C )
S outh A m e r i c a
" T h i s is the R e c o rd o f J o h n ” ( G i b b o n s ) 1 9 4 9 (RSC)

"O Vos O m n e s ” ( V i c t o r i a ) 1948, 54, 55, 56 ( R S C )
''F a una C a n z o n e ” ( V e c c h i ) 194 9, 50, 54, 55 ( R S C )
" S e l i g S in d Die T o t e n ” ( S c h ii tz ) 195 2 ( R S C )
“ Ola! O C he Bon E c c h o ” ( d i L a s s o ) 194 8, 56 (RSC)
C a n t a t a No. 4 C h r i s t la g in T o d e s b a n d e n ( B a c 194 9 ( R S C )
M a s s in G ( S c h u b e r t ) 1952 ( R S C )
" S o o n O n e M o r n i n ” (A rr . K u b i k ) 1948 S u m m e r
Replacement Show
" A i n - a T h a t Good N e w s ” ( A r r . D a w s o n ) 1948 S um m er
Replacement Show
Prayers o f K ierkegaard (Barber)
93
T a b le 2. c o n t i n u e d
The L a r k ( C o p la n d ) 1942 ( C C ) P r e m ie r e
L o r d o f the H a r v e s t ( I v e s ) 1 9 5 6 (RSC)
" L a m e n t for B r o th e r R o b b i n s ” ( G e r s h w i n ) 1951 ( R S C )
R e q u i e m M ass ( M o z a r t ) 1951. 52. (R SC)
J e s u m e i n e F r eude ( B a c h )
M a s s in G ( S c h u b e r t ) 1 9 5 2 (RSC)
F r ie d e A u f E rde n ( S c h o e n b e r g )
S i x C h a n s o n de C h a r l e s D ' L e o n ( D e b u s s y )
Tro is C h a n s o n s 1949, 52 (RSC)
"N icolette”
"Beaux O iseaux”
"Ronde”
H a r v e s t H om e C h o r a l e s ( C h a r l e s Ives) 1 9 5 6 (RSC)
B m in o r Mass (Bach) 1946 ( C C ) . 52 ( C C ) ;
60, 62 ( R S C )
94
C H A P T E R SIX
T H E 1956 T O U R OF T H E M I D D L E E A ST A N D E U R O P E
O n F r i d a y . 16 M arc h 1956, t h e R o b e r t S h a w C h o r a l e a n d e i g h t e e n
i n s t r u m e n t a l i s t s boa rded a K L M R o y a l D u tc h a i r l i n e r b o u n d f o r the
M id d l e E a s t . T h e first d e s t i n a t i o n w a s Cai ro, E g y p t on w h a t w a s to be
an e x h a u s t i v e s e v e n t y - d a y to u r o f th e M id d l e East a n d E u r o p e . The
P r e s i d e n t ' s C o m m i t t e e for I n t e r n a t i o n a l E x c h a n g e to r e p r e s e n t A m e r i c a
in the " c u l t u r a l b a t t l e ” i n v i t e d t h e R o b e r t S haw C h o r a l e . 141 T h e t o u r
was a j o i n t v e n t u r e o f the U.S. S t a t e D e p a r t m e n t . C o l u m b i a A r t i s t s

M a n a g e m e n t , th e A m e r i c a n N a t i o n a l T h e a t r e and A c a d e m y ( A N T A ) ,
and the U . S . S ta te D e p a r t m e n t . F r e d e r i c k F. S c h a n g o f C o l u m b i a
A r t is t s a n d R o b e r t C. S c h n i t z e r , g e n e r a l m a n a g e r o f the i n t e r n a t i o n a l
e x c h a n g e p r o g r a m for A N T A , w o r k e d w i t h State D e p a r t m e n t o f f i c i a l s
and f o r e i g n p o s t s in o r g a n i z i n g t h e s e v e n t y - d a y t o u r o f t w e n t y
countries. It w a s an e x h a u s t i v e a n d e x t e n s i v e u n d e r t a k i n g f o r the
Chorale. A l t h o u g h the R o b e r t S h a w C h o r a l e had b e e n t o u r i n g f o r e ight
y e a r s, c o m p l e t i n g eleven d o m e s t i c t o u r s in f o r t y - s ix s t a t e s , n e v e r had
any m u s i c a l g r o u p a t t e m p t e d to c o v e r t h i s much t e r r i t o r y o r f o l l o w such
a d e m a n d in g schedule. R o b e r t C. S c h n i t z e r , A N T A 's r e p r e s e n t a t i v e and
tour o r g a n i z e r s ta te d . "It was o n e o f o u r m os t s t r e n u o u s t o u r s . ” 142
141 “ H o ld in g O ur Own in C u ltu re B a t t le ," M u sica l A m erica, 76, no. 7 (1 9 5 6 ) : 2.
142 W .G . R o g ers. “ Shaw C h o ra le S c o r e s Big Success in 7 0 -D a y T o u r o f E u ro p e , Mid-

East.” A s s o c ia te d P ress News F ea tu res, 21 J u l y 1956.
95
A c c o r d i n g to the 1958 R o b e r t S h aw C h o r a l e T o u r P r o g r a m , the i t i n e r a r y
w as so s t r e n u o u s t h a t the m a n a g e r lin ed up to t a k e ov er e s c o r t d u t i e s
a f t e r the C a i r o c o n c e r t s q u it. Thi s left M a x i n e S h a w . l4:> F l o r e n c e
K o p l e f f , a n d T o m P y l e to h a n d le m a n y o f the t r a v e l det ai ls s u c h as
h o t e l a r r a n g e m e n t s , b u s d r iv e r s , a i r p o r t t r a n s f e r s , a nd e x c h a n g e r a t e s .
The 19 5 5 - 5 6 s e a s o n h ad been a h u g e s u c c e s s for the S h a w
C h o r a l e a n d its c o n d u c t o r . P rio r to d e p a r t u r e f o r the M id dle E a s t in

M a r c h , the C h o r a l e h a d t o u r e d the e a s t e r n U n i t e d S tate s, g o i n g as fa r
w e s t as T e x a s b e f o r e w i n d i n g up in I ll i n o i s a n d f i n a lly New Y o r k in
e a r l y M a r c h w it h B a c h ' s J e s u m e in e F r e u d e a n d H o n e g g e r ' s K i n g
D a v id . W h il e c o n c e r t t o u r s in the e a r l y y e a r s o f th e C h o r a l e h ad o f t e n
b e e n d i f f i c u l t to sell to c o m m u n i t i e s , 144 by 195 4 to u rs o f the R o b e r t
S h a w C h o r a l e w e r e m o r e o f t e n th an no t h u g e l y s u c c e s s f u l . V a r ie ty
M a g a z i n e r e p o r t e d t h a t th e S h a w C h o r a l e h a d e a r n e d a gro ss o f
$ 2 4 0 , 0 0 0 for the 1 9 5 4 - 5 5 s e a s o n , 145 and c a l l e d the C h o r a le th e “ b i g g e s t

m o n e y t o u r o f th e c u r r e n t s e a s o n for a s t r i c t l y c o n c e r t a t t r a c t i o n . ”
For S h a w p e r s o n a l l y , the 1955-56 s e a s o n w as also a h u g e s u c c e s s .
In J u n e 1955 he w a s a w a r d e d the A l ic e M. D i t s o n A w a r d fro m

C o l u m b i a U n i v e r s i t y f o r his a c c o m p l i s h m e n t o f “ b r i n g i n g a new v i t a l i t y
143 Shaw m arrie d M a x in e F arley in 1939. T o g e th e r th ey had three children, Jo h an n a ,

Peter, and T haddeus. The S h aw s lived apart for m uch o f th e tim e they were m arried, and
d ivo rce d in 1970. M rs. S h a w w ent on the first tour to the M id d le East and E urope h elp in g
facility travel a r ra n g e m e n ts a f te r the tour guide quit the to u r.
144 Early tours o f th e R o b ert Shaw C h orale w ere not a lw a y s sold out events. A
re v ie w in the C h ica g o T rib u n e (1 0 O ctober 1948) lam ented the fact that “the finest c h o ru s
o f its kind in e x is te n c e " had failed to fill O rc h estra Hall. T h e review er, C laudia C as s id y ,
stated that “ Mr. S haw is a p e rfe c tio n is t who takes life the hard way, and you could see that
he was disturbed to com e at last to C hicago and a p p e ar to less than the best p ossible
a d v a n ta g e .”
145“ S haw C h o rale W in d in g So ck Season with 240G T a k e For 16-Week T o u r,”

V a riety, 198 (30 M arch 1955) 68.
96
to c h o r a l m us ic in the U n i t e d S t a t e s . ” 146 In J a n u a r y 1956. it was
a n n o u n c e d that S h aw had b e e n n a m e d a s s o c i a t e c o n d u c t o r
• ' P e r f e c t i o n ”
Memorable”
M unificent n
A \ ^
.V '
A \)
\
I Ij f
J
1 ROBERT
IHere ii arty mom macjfiifici'nt choral ung
incj 111i•». suie of t lw Celestial Choir than that
S H A W 'S CHORALE,
fra ri LIy Overcome revievncr just w a u 1rf n' t b»• able to
take if Last mqbt was not w r repeat, |ult a brrl
rK„
liant concert It v*a *.a svcmo r\ and a (mod for living

And if w q %us u n Io rq t*t fa h Ie a n experience as
I’Ot ever been offered to Boaurnont muti( lovers
8 « O u n o n l jc,u">ol
F i g u r e 3. I l lu s t r a t io n f r o m a c o n c e r t r eview . P e r s o n a l papers o f
R obert Shaw. R eprinted by perm ission.
146 A lice M. Ditson A w ard fo r S e rv ic e to Choral M usic, R o b ert S h aw Personal

papers, A tlanta.
97
o f the C l e v e l a n d S y m p h o n y O r c h e s t r a , p r o m p t i n g s o m e in t h e music
industry^ to q u e s t i o n w h e t h e r S h a w w a s leaving his c h o r a l " r o o t s " for
the s y m p h o n i c world. M u s i c c r i t i c f o r the S a t u r d a y R e v i e w . I rv ing
K o l o d i n . a s k e d . ‘‘Is R o b e r t S h a w s w i t c h i n g his b a t o n s ? ” 147 F o r his part,

S h a w d o w n p l a y e d the s i g n i f i c a n c e o f his new a s s i g n m e n t : "Some
p e o p l e s e e m to reg ard th is as t h e b ig s w itc h, bu t I'm n o t o n e o f
t h e m . ” 148 B o t h T o s c a n i n i a n d K o u s s e v i t z k y ha d g i v e n S h a w s y m p h o n i c
c o n d u c t i n g e x p e r i e n c e in th e l a t e 1 9 40s . His r e c o r d i n g d u t i e s for the
RC A V i c t o r C o m p a n y a n d t h e C h o r a l e ' s m an y a p p e a r a n c e s o n rad io and
t e l e v i s i o n h a d m ad e a n a m e f o r t h e y o u n g c o n d u c t o r . In t h r e e ye ar s,
S h aw h a d t a k e n the San D i e g o S y m p h o n y O r c h e s t r a f r o m a s u m m e r only
s c h e d u l e to h a v i n g a r e g u l a r S e p t e m b e r to J u n e s u b s c r i p t i o n c o n c e r t
s e a so n . T i m e M a g a z i n e , in the 1 A u g u s t 1956 iss u e, w r o t e , " A t 39,
R o b e r t S h a w h a d made th e d i f f i c u l t t r a n s i t i o n from a b r i l l i a n t leader o f

v o ices to a t o p n o t c h d i r e c t o r o f ( s y m p h o n y ) m u s i c i a n s . ” 149 F o r his part,
S haw a c k n o w l e d g e d his p r o g r e s s . “ I'm b e g i n n i n g to feel t h e o r c h e s t r a

in my f i n g e r s n o w . ” 150
T h e g r o u p o f s in g e r s t h a t a s s e m b l e d in e a r l y M a r c h in p r e p a r a t i o n
for the t o u r s o f the M id d le E a s t a n d E u r o p e was m o s t l y S h a w C h o r a le
veterans. W i t h only m i n o r c h a n g e s in p e r s o n n e l , the g r o u p t h a t was to
147 Irv in g Kolodin, “ Is R o b e rt S h a w S w itch in g his B a to n s ? ” S a tu rd a y R eview , 10

June 1956.
,4S K o lo d in , 1956.
149 “ C o m in g o f Age,” Tim e, I A u g u s t 1956
150 “ C o m in g o f Age,” 1956.
98
t o u r E u r o p e w a s w e l l a c q u a i n t e d with S h a w a n d th e rigors o f h is
d e m a n d s . 151
T h e R e p e r t o i r e o f th e M id d le E a s t a n d E u r o p e a n T o u r
R e p e r t o i r e f o r th e 1956 M id dle E a st a n d E u r o p e a n t o u r c o n s i s t e d
o f two full p r o g r a m s o f c l a s s i c a l m us ic, a g r o u p o f s p i r i t u a l s , a n a
c a p p e l l a g r o u p f r o m th e 17,h C e n t u r y plus e i t h e r J o h a n n S e b a s t i a n B a c h
C h r is t l a g in T o d e s b a n d e n a n d th e S c h u b e r t M a s s in G o r th e M o z a r t
R e q u ie m . T h e s e c o n d h a l f o f the p r o g ra m c o n s i s t e d o f the A m e r i c a n
N egro s p i r i t u a l s a n d s e v e r a l c o n t e m p o r a r y A m e r i c a n c o m p o s e r s . The a
c a p p e l l a s e l e c t i o n s f r o m the 17,h c e n t u r y i n c l u d e d : “ O Vo s O m n e s '" by
T om as L u i s de V i c t o r i a . ‘‘C h r i s t R is ing A g a i n ” b y W illia m B y r d , ‘‘S e l i g
S ind Die T o t e n ” b y H e i n r i c h Schiitz, “ Fa u n a C a n z o n e ” by O r a z i o

V ecc hi. and “ O la ! O C h e B on E c c h o ” by O r l a n d o di Lass o. T h e
A m e r i c a n N e g r o s p i r i t u a l s in c lu d e d : “ S o o n O n e M o r n i n ' “ a r r a n g e d by
Kubik, “ M y L o r d . W h a t A M o u r i n ' “ an d “A i n - a T h a t Goo d N e w s ”
a r ra n g e d by W i l l i a m D a w s o n . T a ble O n e g i v e s a c o m p le te l i s t i n g o f the
r e p e r to ir e for t h i s to u r. T he c o n t e m p o r a r y c o m p o s i t i o n s o f A m e r i c a n
c o m p o s e r s i n c l u d e d t h e f o l l o w i n g : The P r a y e r s o f K i e r k e g a a r d ( “ O
T h o u Who A r t U n c h a n g e a b l e . ” and “ H o ld N o t O u r Sins up A g a i n s t U s ” )
by Samuel B a r b e r ; The L a r k by A a r o n C o p l a n d ; L o r d o f the H a r v e s t by
C harles I v es; a n d “ L a m e n t for B r o t h e r R o b b i n s ” ( fr om P o r g y a n d B e s s )
by G eorge G e r s h w i n . M a n y o f th ese s e l e c t i o n s w o u ld be f e a t u r e d on
the two s u b s e q u e n t f o r e i g n t o u r s as well.
151 Due to illness and personal business, sev e ral C h o ra le m embers from th e d o m e s tic
tour had to be re p la ced b efo re re h earsa ls began in N e w Y o rk .
99
F i g u r e 4. M e m b e r s o f t h e S h a w C h o r a l e s h o w n at I d lew il d A i r p o r t
p r e p a r e to board the f l i g h t f o r Cairo. P e r s o n a l p a p e r s o f R o b e r t
S h a w . R e p r in t e d by p e r m i s s i o n .
The Tour I ti n e r a r y
On 16 M a r c h 195 6, m e m b e r s o f the R o b e r t S h a w Choral e

a s s e m b l e d at C ar r o ll D r u m Stu dio on W e s t 4 8 th S t r e e t for a bus r id e to
I d le w i ld Airp ort 152 a nd a n o o n d e p a r tu re on a K L M R o y a l Du tch
A i r li n e s charter for the tr i p to Cairo, E g y p t. It w a s co ld and s n o w i n g in
N e w York City as the s i n g e r s and i n s t r u m e n t a l i s t s g a t h e r e d to leave.
On the way to the a i r p o r t , the ch a r te re d b u s b r o k e d o w n . That, c o u p l e d
w ith the weather , c a u s e d a n e a r l y t w o - h o u r d e l a y f ro m the s c h e d u le d
12:00 noon d e p a r tu r e t i m e . T h e four p r o p e l l e r D C - 6 to o k o f f from N e w
152 Idlewild Airport, b u ilt in a m arshy section o f Q u e e n s in 1948, was hailed as the
largest commercial airport in th e world. On D ecem ber 24, 1963 the name was officially
changed to John F. K ennedy In tern atio n al Airport in h o nor o f the recently slain president.
100
Yo rk at 1:49 p.m. Just m i n u t e s la t e r the a i r p o r t c l o s e d until the
w e a t h e r c le a r e d .
A f t e r a frigid s t o p o v e r in N e w f o u n d l a n d , w h e r e the gr o u p was

g r e e t e d by m o re snow t han m a n y o f them had e v e r e n c o u n t e r e d , the
C h o r a l e l a n d e d in S h a n n o n , I r e l a n d a r o u n d 8:0 0 a . m . on St. P a t r i c k ' s
Day th e n e x t m orn ing. As t h e y o u n g e s t m e m b e r o f t h e C h o r a l e , B a r b a r a

F r e e m a n , w r o t e to her t e a c h e r a n d f o r m e r S h a w s i n g e r , R i c h a r d R i v e r a ,
" E v e r y t h i n g is so e x c iti n g . E v e r y o n e is d r e s s e d in g r e e n . ” 153 A f te r
b r e a k f a s t in Sha nnon, th e t r o u p e f l e w on to A m s t e r d a m , w h e r e , b e c a u s e
o f an u n e x p e c t e d lay o v e r , t h e y h ad a t w o - h o u r t o u r o f th e city. The
b e a u t y and c l e a n li n e s s o f th e c i t y i m p r e s s e d the C h o r a l e a n d m a n y o f
them s a i d that they l o o k e d f o r w a r d to co m i n g b a c k to A m s t e r d a m at the
end o f th e tou r. After a n i n e - h o u r f li g h t from A m s t e r d a m , the e n s e m b l e
a r r i v e d in C a i r o sho rtly a f t e r m i d n i g h t on S u n d a y m o r n i n g . They

c h e c k e d into the C o n t i n e n t a l - S a v o y Hotel a r o u n d tw o o 'c l o c k in the
m o r n i n g , a f t e r having been t r a v e l i n g for n e a r l y f o rt y h o u r s .

A f t e r s le e p in g late t h a t S u n d a y m o rn i n g , the m e m b e r s o f the
tr o u p e t o u r e d the p y r a m id s , s o m e o f them on c a m e l b a c k . B y all
a c c o u n t s , S h a w d eclined the c a m e l rid e. F o l l o w i n g t h e t r i p to the
p y r a m i d s , th e y were t a k e n to s e e the S phin x and the N i l e R i v e r . L a te r
that e v e n i n g , sev er al o f the C h o r a l e m e m b e r s , i n c l u d i n g B a r b a r a
F r e e m a n , P au l W e s tb r o o k , E v e l y n A r i n g , L i n d s a y B e r g e n a nd Jane
C r a n e r , w e n t to a n i g h tc lu b in C a i r o that was f o r m e r l y a p a r t o f King
F a r o u k 's p a l a c e .
153 B arb a ra Freeman, S hannon Ireland to Mr. and Mrs. R ic h a rd R iv era, M ontgom ery,
AL 17 M arch 1956.
101
F i g u r e 5. S h a w C h o r a l e m e m b e r s r e l a x at a n i g h tc lu b in C a i r o .
P ic t u r e d f r o m l e f t to right: B a r b a r a F r e e m a n , L i n d s e y B e r g e n , J a n e
C r a n e r , an E g y p t i a n host , Pau l W e s t b r o o k , and E v e l y n A r i n g .
From the file s o f B a r b a r a F r e e m a n , 1 9 9 9 . R e p r i n t e d by p e r m i s s i o n .
M o n d a y . 19 M a r c h the e n s e m b l e h a d its first r e h e a r s a l s i n c e

l eavin g N e w Y o r k , a nd by all a c c o u n t s th e m u s i c was in g o o d s h a p e .
L e o n a r d M o o r e , a S h a w a s s i s ta n t a nd e x p e r i e n c e d C h o r a l e m e m b e r
c o n d u c t e d the r e h e a r s a l . Lenny, as he w a s k n o w n to f r i e n d s , w a s a
tru s ted a s s i s t a n t a n d a fine c o n d u c t o r . H e h a d been c o a c h i n g s o m e o f
the n e w e s t m e m b e r s o f the C h o r a le on t h e i r p a r ts since a r r i v i n g in N e w

Yo rk in M a r c h . F o l l o w i n g the r e h e a r s a l at th e hotel, A m b a s s a d o r and
Mrs. B y r o a d f e t e d the m e m b e r s o f the C h o r a l e and o r c h e s t r a a t a
r e c e p ti o n at the A m e r i c a n E m b a s sy . F o l l o w i n g the r e c e p t i o n , w h i c h
end ed a r o u n d n i n e o 'c l o c k , the i m p r e s a r i o f o r Cairo and A l e x a n d r i a ,
Mr. L i e b o w i t z , t o o k C h a r lo tt e K r e h b i e l , F l o r e n c e K o p le f f, a n d T o m
102
Pyle to see a p r o d u c t i o n o f “ T h e P o r tr a i t o f D o r i a n G r e y ." A f t e r w a r d s ,
w r o t e C h a r l o t t e K r e h b i e l “ w e had d i n n e r in an A r a b i a n r e s t a u r a n t w h e r e
we sa t on rugs a n d a t e p i g e o n w ith m u c h a t m o s p h e r e . " 154
I r e la
united
K ia td o a
Soviet Union
’C .0 .R .
F JcG .
Y ugoslavia
B u lg a ria
Turkey
C airo (M arch 20)

A lexandria (March 21)
Be (nil (March 23)
4 Tel Aviv (March 25-Apni 4)
Jerusalem
5. Istanbul (April 4)
6. A nkara (April S) 17. M adrid (A pnl 22-24)
7 Athens (April 6) 18. I n b w (April 25) tygpt
8 Belgrade (April 9) 19. Barcelona (April 28)
9 Zagreb (A pnl 10) 20. Rome (April 29) 28 The Hague (May 18-21)
10 Trieste (April II) 21. Paris (A pnl 30-Mav 5) 29 Copenhagen (May 22)
11 Venice (A pnl 12) 22. Stuttgart (May 5) 30 G othenburg, Sweden (M ay 23)
12 Salzburg (Apnl 12>I5) 23 Berlin (May 6-10) 31. Oslo (May 24)
13 Innsbruck (April 15) 24. Hamburg (May 11) 32. Stockholm (May 25)
M M unich (A pnl 16) 25. London (May 12-15) 33. Helsinki (May 28)
15 G eneva (April II) 26. Bristol (M ay 16) 34. Keflavik. Iceland (M ay 29-31)
16 B em c (A pnl 19) 27. Cambridge (May 17) 35. R e y tja v * to New Y ork (Ju n e I )
F i g u r e 6. D e s t i n a t i o n s f o r t h e 1956 M i d d l e E a s t and E u r o p e a n T o u r
in d ica tin g tour stops and dates.
154 Charlotte K re h b ie l, C a iro , to C layton K re h b iel, L a w re n c e , KS, 20 M arch 1956.

Personal papers o f C h a rlo tte K re h b iel.
103
T h e C h o r a le 's first p e r f o r m a n c e o f the t o u r w a s o n T u e s d a y . 20
M a r c h at 9:15 p.m. T h e C h o r a l e a n d o r c h e s tr a had t h r e e d a y s to
b e c o m e a c c u s t o m e d to the c h a n g e in time z o n e an d c l i m a t e before

s i n g i n g t h e i r first c o n c e r t a t T h e a t r e L 'E w a rt ( E w a r t M e m o r i a l Hall) in
C a i r o a n d w e r e eag er to s t a r t s i n g i n g . The d a y s o f f a l s o g a v e the
e n s e m b l e an o p p o r tu n i t y to o v e r c o m e the e f f e c t s o f th e e x h a u s t i v e trip
fro m th e U .S . The first c o n c e r t o f th e tour b e g a n a t 9 : 3 0 p .m . .
c u s t o m a r y to the re gion, a n d f i n i s h e d after m i d n i g h t . T h e c o n cer t
c o n s i s t e d o f the M ozart R e q u i e m , Sam uel B a r b e r ' s P r a y e r s o f
K i e r k e g a a r d , two o f the B r a h m s ' L i e b e s l i e d e r W a l t z e r . D e b u s s y ' s Trois
C h a n s o n . C o p l a n d ' s The L a r k , a n d C harle s Iv es' L o r d o f the H ar vest.

A c c o r d i n g to review the f o l l o w i n g m o r n in g in the C a i r o G az ette, the
c o n c l u s i o n o f the p r o g r a m “ s a w a r e m a r k a b l e d e m o n s t r a t i o n o f
e n t h u s i a s m , w ith the a u d i e n c e s t a m p i n g , c l a p p i n g , c h e e r i n g and

s h o u t i n g l u s t i l y . " 155 Th e G a z e t t e s ta te d , “ Th e C a i r o p u b l i c is
n o t o r i o u s l y fri gid t o w a r d s a r t i s t s a p p e a r i n g h er e f o r th e f ir s t time.
A u d i e n c e s th a t have a c c e p t e d t h e i r o f f e r in g s w ith a c o l d n e s s b o r d e r i n g
on i n d i f f e r e n c e have d i s c o n c e r t e d m a n y f a m o u s m u s i c i a n s or
ensem bles. T h is fate did n o t b e f a l l the R o b e r t S h a w C h o r a l e and
C o n c e r t O r c h e s t r a . " 156 S h a w a n d th e c h o r i s te r s t h e n s a n g s e v e n e n c o r e s
i n c l u d i n g A m e r i c a n fo lk t u n e s , “ O Dear, W h a t C a n th e M a t t e r B e , ”
“ P o l ly W o l l y D o o d le" and t h r e e N e g r o S p i r i tu a ls : “ S o o n O n e M o r n i n ', ”
“ M y L o r d W h a t a M o r n i n g " ( a r r . D a w s o n ) and “ A i n - a T h a t G ood N e w s ”
155 “ From Mozart to G e rs h w in . It W as All M agnificent,” G a ze tte , 22 March 1956.
156 “ M agn ificent,” 1956.
104
(arr. D a w s o n ) . The ch o ir w as a l s o p r a i s e d for its " e n t h u s i a s m ,
p r e c i s i o n a nd s o n o r o u s t o n e . " 15' A c c o r d i n g to K r e h b i e l . " W e did a good

one and t h e y lo v e d i t . " 138
T h e n e x t m o rn i n g . 21 M a r c h , the c h o i r left C a i r o v ia m o t o r coach

for A l e x a n d r i a , a r riv in g at 1:00 in the a f t e r n o o n . S o m e o f th e gr o u p
s ta y e d at t h e M e tr o p o l e H o t e l, o t h e r s at the C ec il e. One chorister
r e m e m b e r s b e i n g much m o r e p l e a s e d w i t h A l e x a n d r i a . " I t w a s n icer
and the f o o d w a s b e t t e r . ” r e m e m b e r s B a r b a r a F r e e m a n . 159 T h e c o n c e r t
that e v e n i n g w a s given at the T h e a t r e - M o h a m m e d Aly . The American
A m b a s s a d o r g a v e a r e c e p t i o n on s t a g e f o l l o w i n g the c o n c e r t .
T h e n e x t m o rn in g . 22 M a r c h , the C h o r a l e w a s d r i v e n b a c k to
Cai ro by b u s . B a r b a r a F r e e m a n w r o t e . " S h a w was re al a n x i o u s to get
back to C a i r o b e c a u s e he h ad a s p e e c h to make. He c o u l d n ’t m a k e the
d r i v e r u n d e r s t a n d that he w as in a h u r r y - since he ( th e d r i v e r ) was
d r i v i n g t h r o u g h th e zoo re al s l o w l y . We all had to j u s t s i t t h e r e whi le
S h a w s l o w l y b u r n e d . F i n a lly , t h e d r i v e r tu rn e d a r o u n d a n d s a id
‘W a s n ’t th a t n i c e , now we go to C a i r o . ’” 160
F r i d a y m o r n i n g , 23 M a r c h , t h e C h o r a l e fle w to B e i r u t , a r r i v i n g
ar o u n d n o o n f o r a one n ig h t s ta y a n d c o n c e r t b e f o r e f l y i n g o n to Israel.
C h o i r m e m b e r s c o m m e n t e d a b o u t h o w b e a u t i f u l the c ity w a s . Some o f
their r o o m s at th e Hotel L o r d ' s in B e i r u t o v e r l o o k e d t h e M e d i t e r r a n e a n ,
w hich t h e y d e s c r i b e d as a " d e e p , d e e p b l u e . ”
157 “ M a g n ific e n t,’' 1956.
158 C h a rlo tte Krehbiel, C airo to C la y to n K rehbiel, Law rence, K S. 20 M arch 1956.
Personal pap ers o f C h arlo tte Krehbiel.
159 B a rb a ra F reem an, Journal en try , 21 M arch 1956.
160 B a rb a ra Freem an, Journal en try , 22 M arch 1956.
105
The B e i r u t p e r f o r m a n c e that e v e n i n g w a s at the U N E S C O H a ll at
8:30 p.m. and w as a s e l l o u t p e r f o r m a n c e , a l t h o u g h Shaw w as a bit
d i s a p p o i n t e d that t h e r e w e r e so few L e b a n e s e at the c o n c e r t . T ickets
had b e e n so ld t h r o u g h the A m e r i c a n U n i v e r s i t y rat her t h a n a l o c a l
a g e n c y , a nd the a u d i e n c e was la r g e ly m a d e up o f A m e r i c a n s a n d
Europeans. S h a w a n n o u n c e d at th e c o n c e r t t h a t e v e n i n g t h a t t h e
p r o c e e d s from th e c o n c e r t would be d o n a t e d to th e r e l i e f c a u s e f o r th e
v i c t i m s o f a r e c e n t d i s a s t e r that h a d o c c u r r e d in L e b a n o n . On 16 M a r c h
(as the C h o r a l e w a s e n r o u te from N e w Y o r k to the M id d le E a s t ) an
e a r t h q u a k e had r o c k e d the m o u n t a i n o u s r e g i o n o f s o u th e r n L e b a n o n ,
d e s t r o y i n g m o r e t h a n t w e n t y v i l l a g e s a n d l e a v i n g 145 p e o p l e d e a d a n d
over 25.000 h o m e le ss. F o r his a c t o f g e n e r o s i t y , L e b an o n b e s t o w e d
upon S h a w the L e b a n e s e O r d e r o f M e r i t .
The n ext d e s t i n a t i o n on the t o u r w a s I s r a e l , where th e c h o i r s p e n t
e l e v e n days, the l o n g e s t s ta y in a n y c o u n t r y d u r i n g the t o u r ; t h e i r
a r riv a l c o i n c i d e d w i t h th e b e g i n n i n g o f H o l y W e e k . A f t e r d e p a r t i n g
from L e b a n o n ' s I n t e r n a t i o n a l A i r p o r t , t h e C h o r a l e made a p l a n n e d
s t o p o v e r on the i s l a n d o f C y prus . ( T h e g r o u p c o u l d not fly d i r e c t l y into
Isr ael from an A r a b c o u n t r y for s e c u r i t y r e a s o n s . ) W aitin g at t h e

a ir p o r t was th e f a m i l y o f P eter D i m e t r i a d e s , a v i o lin is t in th e o r c h e s t r a .
D i m e t r i a d e s , w h o h a d b e e n ra ised in t h e U . S . , h a d not m e t his
g r a n d m o t h e r u n til t h e p l a n e landed in C y p r u s . “ M ost o f th e
D i m e t r i a d e s e s on t h e i s l a n d a p p a r e n t l y t u r n e d o u t to w e l c o m e h i m . ” 161
A f te r the s h o r t l a y o v e r on C y p r u s , the C h o r a l e f l e w on to Tel A v i v o n
161 W.G. R ogers, “ S h a w C horale Scores Big S u c c e s s in 70-D ayTour o f E u ro p e , M id -

East.” A ss o c ia te d P ress, 14 J u ly 1956.
106
C y p r u s A i r w a y s , a r r i v i n g a r o u n d 3:00 p.m. T h e y i m m e d i a t e l y b o a r d e d
a bus for a t w o - h o u r r i d e to J e r u s a l e m , w h e r e t h e y w e r e to give a
c o n c e r t at 9:30 p.m. at E d i s o n Hall. P r i o r to th e c o n c e r t the C h o r a l e
w as t a k e n to the Y M C A in J e r u s a l e m in o r d e r to res t. When th e y
a r r i v e d t h e r e , they w e r e t o l d t h a t s n ip e r s w e r e o p p o s i t e the h o tel a n d
th at th e y s h o u ld not s t a n d in f ront o f or n e a r a w i n d o w . A fter the
c o n c e r t at E di son H a ll, th e C h o r a l e was d r iv e n b y bus bac k to Tel A v i v ,

at one p o i n t c o m i n g w i t h i n 50 y a r d s o f the tr u c e li n e . “ Y o u w o u l d see
b u r n e d out m ili ta ry t r u c k s on the sid es o f the r o a d s e v e r y w h e r e . ” 162
T h e y f i n a l l y got c h e c k e d into t h e i r r o o m s at the H o t e l Brist ol a r o u n d
5 : 0 0 a.m . S u n d a y m o r n i n g .
T h e m o st r e q u e s t e d w o r k in Israel was the M o z a r t R e q u ie m .

S h a w had p la n n e d to p e r f o r m it four t i m e s , but b e c a u s e o f f r e q u e n t
r e q u e s t s , th e C h o r a le p e r f o r m e d it e ig h t tim e s in e l e v e n days. “ S o m e
p e o p l e c a m e to all e i g h t o f the p e r f o r m a n c e s . ” s a i d S h a w . 16j
At t h e i r first c o n c e r t s in Isr ae l the s in g e r s a n d o r c h e s t r a l p l a y e r s
w e r e a l a r m e d wh en a u d i e n c e m e m b e r s s to o d c l a p p i n g an d s h o u te d “ Bis.
b i s ! ” To t h e i r A m e r i c a n e a r s , it s o u n d e d like " B o o , b o o . ” Shaw r e l a t e d :
“ W h e n t h e y r e a liz e d it j u s t m e a n t 'Do it a g a i n ' e v e r y t h i n g was
a l r i g h t . ” 164
S u n d a y 25 M a r c h w a s a free day e x c e p t for a r e c e p t i o n h o s t e d by

th e A m e r i c a n A m b a s s a d o r to Isr ael, E d w a r d B. L a w s o n . M o n d a y was
162 B arbara Freeman, Tel A viv to Mrs. Mary C arden F ree m a n , Phenix City, AL, 25
M arch 1956. Personal papers o f B arb a ra Freeman Parker.
163 Irving Kolodin. “ S h a w ’s C h o ra le Makes F riend s,” The S a tu rd a y Review.

preprinted in The San D iego U n io n , 17 June 1956, sec. E. 6).
164 W .G. Rogers, “ S h a w C h o ra le Scores Big Success in 7 0 -D a y T o u r o f Europe, M id-

E a s t.” A s so c ia te d P ress, 14 J u ly 1956.
107
also a free d ay and m e m b e r s o f th e C h o r a l e t o o k the o p p o r t u n i t y to go
to the F e a s t o f the P as so ver . “ It w a s j u s t u n b e l i e v a b l e b e i n g in
J e r u s a l e m d u r i n g Holy W e e k . ” r e m e m b e r e d B a r b a r a F r e e m a n . 165 Their
hos t for th e tra d it i o n a l S e d e r w a s th e G i v a t B r e n n e r c o m m u n a l
settlem ent. “ F o r d in n e r we h ad m o t z a balls, b o r sc h , a n d f is h w i th the
h eads a n d ta il s still o n . ” r e m e m b e r e d C h a r l o t t e K r e h b i e l . “ Y o u got a
head o r a tail. I f you h a p p e n e d to lo o k a w a y from y o u r p l a t e , you got a
h ead . . . n o b o d y w anted a h e a d . ” 166
T h e C h o r a l e ' s next c o n c e r t d a t e w a s T u e s d a y 27 M a r c h at Ohel

Shem H all in Te l Aviv. T w o c o n c e r t s w e r e gi ven at 6 : 4 5 p . m . and at
9:15 p .m . w ith a short b r e a k in b e t w e e n . The c o n c e r t t h e f o l l o w i n g
e v e n i n g w a s in the A rm on T h e a t r e in H a i f a , a s h o r t b u s r i d e a w a y . On
W e d n e s d a y , 29 March , th e y a g a i n g a v e tw o c o n c e r ts in T e l A v i v at
Oh el S h e m H all. On 30 M a r c h a c o n c e r t was g iv e n at K i r i a t H a i m , near

H aifa, a n d th e f o ll o w i n g day th e c h o i r to u re d N a z a r e t h , T i b e r i a s , and
the Sea o f G a l i l e e and p e r f o r m e d at the E in Gev F e s t i v a l at 8 : 3 0 p.m.
D e s p i te o n g o i n g b or de r i n c i d e n t s n e a r L a k e T i b e r i u s , t h e f e s t i v a l
p e r f o r m a n c e d r e w record c r o w d s . A c c o r d i n g to the p o p u l a r e v e n i n g
p aper. M a a r i v . “ T h o u s a n d s o f p e o p l e w e r e seen l e a v i n g T i b e r i a s to the
o p p o s it e s h o r e o f the K in n e r e t , to Ein G e v , to h ear the C h o i r . It was
very c o ld , b u t th e a u d ie n c e d e m a n d e d m o re and m o re o f th e 'p e r f e c t
s i n g i n g . ' ” 167 T h e co ncert at Ein G e v c o n s i s t e d o f the M o z a r t R e q u i e m ,
165 B arb a ra Freeman Parker, p e rso n a l in terv iew by the author, T a lla h a s s e e . FL, 14
March 1999.
166 C h a rlo tte Krehbiel, personal in te rv ie w by the author, T a lla h a s s e e , F L, 14 March

1999.
167 M a a riv co ncert review, 6 A pril 1956.
108
the S e v e n t e e n t h C e n t u r y a c a p p e l l a g r o u p a n d the A m e r i c a n C o m p o s e r s
G r o u p i n c l u d i n g th e B a r b e r , I v e s . E r n e s t B l o c h , and G e r s h w i n . The
a u d i e n c e w a s d e l i g h t e d w h e n , f o l l o w i n g e n c o r e s o f the N e g r o s p i r i t u a l s .
S h a w a nd th e C h o r a l e c o n c l u d e d the p e r f o r m a n c e with a H e b r e w " H o r a ”
in p r a is e o f J e r u s a l e m 168 R o b e r t S h a w ha d to e x c u s e h i m s e l f a n d his
c h o ir , p o l i t e l y , s a y i n g : ' M e m b e r s o f th e c h o i r ar e ti red a n d h a v e to
r each Tel A v i v t o n i g h t . P l e a s e e x c u s e t h e m . ”' 169
1 A p r i l 1956 w as E a s t e r , a n d the C h o r a l e san g t w o c o n c e r t s in
J e r u s a l e m at t h e Y M C A Hall: a m a t i n e e p e r f o r m a n c e at 3 : 3 0 p . m . and
an e v e n i n g p e r f o r m a n c e at 8 :3 0 p .m . The r e p e r t o i r e for th e E a s t e r
c o n c e r t s w as B a c h ' s C h r i s t l a g in T o d e s b a n d e n and S c h u b e r t ' s M a s s in
G. On 2 A p r i l th e c h o i r and o r c h e s t r a g a v e t h e i r final p e r f o r m a n c e in
Israel for m e m b e r s o f Israeli c h o i r s a nd s o l d i e r s in the I s r a e l i a r m y at
the Z i n a t r o n in R a m a t n ear Tel A v i v . A m e r i c a n s o l d i e r s w e r e a l s o
flo w n in f ro m C y p r u s . F o l l o w i n g the f ina l c o n c e r t M o n d a y e v e n i n g ,

Israe li F o r e i g n M i n i s t e r , M o s h e S h a r e t t, g a v e a r e c e p t i o n . The
f o l l o w i n g d a y , 4 A p r i l was a fre e d ay for the C h o r a l e a n d O r c h e s t r a .
S h a w m e t w i t h c h o r a l c o n d u c t o r s from all o v e r Israel f o r a l e c t u r e -

dem onstration. M r. W. H. R o b e r t s r e p o r t e d t h a t he had b e e n
" o v e r w h e l m e d w i t h r e q u e s t s to e x t e n d the g r o u p 's s t a y . ” 170 In f a c t, the
p o l ic e had to be b r o u g h t in to c o n t r o l the c r o w d at the Z i n a t r o n b e c a u s e
the ti c k e t o f f i c e h a d o v e r s o l d the h o u s e . 171 H a b o k e r , 3 A p r i l h e a d l i n e d ,
168 P eter G ra d e n w itz , "Shaw C h o ra le in Israel.” N ew York Tim es, 3 J u n e 1956, sec. 2,
7-8.
169 G r a d e n w itz . 1956.
170 Shalom C o h e n . “ 31 Solo M usician s Sing in C h o ru s Round T h e W o r ld ,” The

Je ru sa le m P ost, 3 A p ril 1956.
171 C ohen, 1956.
109
“ S h a w C h o r a l e A p p e a r e d U n d e r A rm ed G u a r d . " T h e a r t ic le s t a t e d :
" T h e p o l i c e were c a l l e d to th e Z i n a t r o n last n i g h t w h e n c r o w d s o f

s t a n d i n g a u d i e n c e m e m b e r s b e c a m e u n r u ly . The c o n c e r t s ta r te d la te
and w a s d is t u r b e d by p e o p l e s ta n d i n g in p a s s a g e w a y s . ” 172
M o s h e Gorali. w r i t i n g in the D a v a r H a s h a v u a . s a id o f t h e S h a w
a p p e a r a n c e s . "The S h a w C h o r a l e reached s u c h a h i g h s ta n d a r d o f
p e r f e c t i o n that its s i n g i n g t a k e s no notice o f t e c h n i c a l i t i e s but o f f e r s us
m u s i c in its a b s o lu te s i g n i f i c a n c e . This is th e g r e a t e s t pr aise t h a t c a n
be o f f e r e d a n y a r t i s t . ” 17j F o u r d a y s later, D a v a r w r o t e :
The f a r e w e l l c o n c e r t o f the R o b e r t S h a w C h o r a le t h a t
to o k pl ace o n S a t u r d a y e v e n i n g at th e Z i n a t r o n in
Ramat G an w a s a m e m o r a b l e e x p e r i e n c e f o r the
a u d i e n c e i n s i d e a n d o u ts i d e th e hal l, e n t r a n c e s to
wh ich w e r e a l m o s t forced o p e n by p r e s s u r e o f the
cr ow ds l o c k e d o u t . The a u d i e n c e , w h i c h e n jo y e d
deep ly the f i r s t p a r t o f the p r o g r a m , i n c l u d i n g
c o m p o s i t i o n s o f c l a s s i c a l m u s ic , was d e l i r i o u s l y
happy w h e n t h e s e c o n d part s ta r t e d A m e r i c a n Ne gr o
songs, s p i r i t u a l s a n d music. The e x c i t e m e n t in the
j a z z songs , in w h i c h R o bert S h a w s a n g a s s olo is t. At
the end th e c h o i r s a n g a H e b r e w s o n g . 174
O n W e d n e s d a y , 4 A p r i l , th e C h orale left Tel A v i v for I s t a n b u l .

T u r k e y , v ia El A1 A i r l i n e s c h a r t e r . A fter a r r i v i n g at Y e s i l k o y A i r p o r t ,
the C h o r a l e c h eck ed i n t o the H i l t o n I sta n b u l . T h e y g a v e four c o n c e r t s
in t w o d a y s in two d i f f e r e n t c i t i e s . All fo ur o f th e c o n c e r t s w e r e s o ld
out. O n W e d n e s d a y m o r n i n g , g r o u p m e m b e r s w e r e t h e guests o f U. S.
C o n s u l G e n e r a l and M r s . M i n o r at Liman R e s t a u r a n t . T h a t a f t e r n o o n at
172 “ S h a w ’s Chorale A p p e a re d U n d e r Police G u a rd ,” H a b o k e r, 3 April 1956.
173 M oshe Gorali, “A S o n g o f P ra ise to a C o n d u c to r,” D a v a r H a sh a vu a , I A pril

1956.
174 M oshe Gorali, “ E n jo y m e n t W as M utual,” D avar H a sh a v u a , 5 April 1956.
110
San S i n m a s i H all in I s t a n b u l , t h e c h o i r gave p e r f o r m a n c e s at 4:30 p.m.
an d 9 : 3 0 p .m . Th e C h o r a l e s t a y e d at the H i l t o n I s t a n b u l , w hich
m e m b e r s o f the g r oup r e m e m b e r as being the n i c e s t h o t e l th e y had
s ta y e d in. T h u r s d a y m o r n i n g at 8 :0 0 a.m. c o a c h t r a n s f e r r e d the c h o i r to

Y e s i l k o v A i r p o r t for th e f l i g h t to A n k a r a . T h e y a r r i v e d in A n k a r a a n d
c h e c k e d in to th e Hotel T u r i s t . T h a t a f t e r n o o n t h e y a g a i n p e r f o r m e d an
a f t e r n o o n m a t i n e e and an e v e n i n g p e r f o r m a n c e at th e S t a t e O p e r a
House. I l h a n K. M i m a r o g l u w r o t e fro m A n k a r a , “ T he t w o c o n c e r t s
g iv e n e a r l y in A pril by th e t o u r i n g R o b e r t S h a w C h o r a l e an d O r c h e s t r a
w er e o f a n a t u r e that had no p r e c e d e n t in the m u s i c a l life o f T u r k e y ' s
c a p i t a l . ” 1,5
On F r i d a y 6 A p r i l, th e C h o r a l e was to fly o u t o f E t i m e s g u t
A i r p o r t in A n k a r a at 10:10 a . m . v ia I s t a n b u l - T u r k i s h S t a t e A ir li n e s to
Athens. T h a t m o r n i n g m o s t o f t h e o r c h e s t r a a n d M a x i n e S h a w had left
e a r ly to fly to A th e n s to m a k e a r r a n g e m e n t s for the c o n c e r t to be held

th ere th e s a m e e v e n i n g , l e a v i n g t h e s in gers o f th e c h o r u s a rare
o p p o r t u n i t y to s le e p in at th e h o t e l . L a te r t h a t m o r n i n g , b e f o r e the r e s t
o f the g r o u p w as set to t a k e o f f , a d u s t stor m g r o u n d e d all flights out o f

A n k a r a , l e a v i n g the r e m a i n d e r o f th e C h o r a l e s t u c k at th e a i r p o r t. T h e y
had to c a t c h an o v e r n i g h t t r a i n i n s t e a d ; the c o n c e r t in A t h e n s was
scrapped. It w as the o n l y c o n c e r t the C h o r ale w o u l d m i s s d u r in g the
e n ti r e t o u r . “ T he s e c o n d b u n c h n e v e r got o v e r to A t h e n s an d it was a
m e s s , ” r e m e m b e r e d C h a r l o t t e K r e h b i e l . 176
175 Ilhan K. M im aroglu, “S h a w C h o ra le C heered in T u rk e y ,” M u sic a l A m erica 76 no.

7. May (1 95 6), 7.
176 C h a rlo tte Krehbiel, p erso n al in te rv ie w by the author, T alla h a s s e e , FL, 14 M arch
1999.
Ill
T h e e n t i r e g r o u p r e j o i n e d th e f o ll o w i n g d ay in S a l o n i c a . G r e e c e
for a c o n c e r t at the N a t i o n a l T h e a t r e . F o l l o w i n g the c o n c e r t in S a l o n i c a
the e n s e m b l e d e p a r t e d G r e e c e f o r B e l g r a d e on B a l k a n E x p r e s s . Choir
m e m b e r s r e p o r t e d that the s l e e p e r rail cars on the tr ip w e r e q u i t e nice
and the c h o i r g e n e r a l l y ha d no p r o b l e m s le e p in g . Barbara Freeman
w rote to h e r m o t h e r , “ T he rail s l e e p e r s are very nic e. I can sleep
a n y w h e r e - t r a i n - bus - p la n e . I am n o t p a r t i c u l a r a n y m o r e . " 177
T h e C h o r a l e a r r i v e d in th e a f t e r n o o n o f 9 A p r i l in B e l g r a d e and
p e r f o r m e d at K o l a r a f r Hall at 8 : 3 0 p .m . F o l l o w i n g the c o n c e r t in
B e l g r a d e , the C h o r a l e a g a i n b o a r d e d a s le e p e r t r a in on th e S i m p l a r -
O r i e n t E x p r e s s for the j o u r n e y to Z a g r e b , a r r i v i n g at 6 : 0 0 a . m . the
following m orning. In Z a g r e b t h e g r o u p c h e c k e d into the H o t e l
E s p l a n a d e to r e s t for th e c o n c e r t t h a t e v e n i n g at I s t r a H a l l . The
p r o g ra m in Z a g r e b c o n s i s t e d o f t h e M o z a r t R e q u i e m , f o l l o w e d b y the
I 7 lh c e n t u r y a c a p p e l l a g r o u p , t h e L i e b e s l i e d e r W altz er, a n d th e
A m erican com posers selections.
K r e s i m i r S ipus, r e v i e w e r f o r the Z a g r e b d a i l y n e w s p a p e r , V j e s n ik ,
w rote: " E v e n th e bad a c o u s t i c s o f th e Istra C o n c e r t Hall d i d n o t s u c c e e d
in d e c r e a s i n g t h e e x c e l l e n t i m p r e s s i o n we got o f the t o n a l a n d te c h n i c a l
p o s s i b i l i t i e s o f th e R o b e r t S h a w C h o r a l e and O r c h e s t r a . ” 178 T he
r e v i e w e r w e n t o n to d i s c u s s the s o l o q u a l i t y o f the v o i c e s , p r a i s i n g
e s p e c i a l l y t h e i r v i r t u o s i t y in th e f u g u e s o f the M o z a r t. S p e c i a l prai se
was a c c o r d e d th e s e c o n d h a l f o f th e p r o g r a m , w h i c h th e r e v i e w e r noted,
was s u n g “ a u t h e n t i c a l l y , and s t y l i s t i c a l l y i m p e c c a b l y . ” H e w r o t e o f
177 B a rb a ra Freem an, Zagreb, Y u g o s la v ia to Mrs. Mary C arden F re e m a n , Phenix

City, GA, 10 A pril 1956. Personal p ap ers o f B arb a ra Freeman Parker.
178 " A S u c ce ssfu l Concert: R o b ert S h a w C h o ra le and O rc h e s tra ,” V je sn ik , 17 April

1956.
112
Shaw : " T h e c o n d u c t o r R o b e r t S h a w w a s n o t b r i l l i a n t on the p o d i u m , but
if we t a k e i n to c o n s i d e r a t i o n t hat t h e h i g h m u s i c a l and t e c h n i c a l level
o f the e n s e m b l e is his w o r k , we m u s t a d m i t that he has e n v i a b l e m u s i c a l
q u a l i t i e s a n d k n o w l e d g e . ” 179
A n o t h e r r e v i e w e r . N e n a d T u r k a l j o f the d a il y N a r d o n i L ist.
la m e n t e d t h e p o o r a t t e n d a n c e at th e Z a g r e b c o n c e r t and b l a m e d th e
" c o n d i t i o n s o f a f i n a n c i a l n a t u r e ” t h a t p r e c l u d e d m u c h o f th e Z a g r e b
public f r o m a t t e n d i n g . C i t i n g p e r f o r m a n c e s by the C z e c h P h i l h a r m o n i c
and " e s p e c i a l l y t h a t o f th e A m e r i c a n R o b e r t S h a w e n s e m b l e ( s i c ) . ” the
r e v i e w s t a t e d t h a t , f o r t u n a t e l y , m o s t o f t h e p u b li c was a b l e to h e a r the
c o n c e r t v ia r a d i o b r o a d c a s t. T h e r e v i e w e r c a lle d S h a w a “ k i n d o f
p h e n o m e n o n o f A m e r i c a n c h o r u s c o n d u c t i n g , who . . . c r e a t e s w i t h his
c o m p a n y , m u s i c as a pure a n d g r e a t a r t . ” 180
F o l l o w i n g th e s u c c e s s f u l p e r f o r m a n c e s in Y u g o s l a v i a , th e C h o r a l e
d e p a r t e d f o r I t a l y via tra in o n 1 1 A p r i l . T h e firs t stop in th e I t a l i a n
p o r ti o n o f t h e t o u r was T r i e s te , l o c a t e d o n th e far n o r t h e r n tip o f th e
A d r i a t ic S e a a n d n o t far f ro m th e Y u g o s l a v bo r d e r. Th e p e r f o r m a n c e
that e v e n i n g w a s at Del T e a t r o C o m u n a l e “ G i u s e p p e V e r d i . ” In T r i e s te ,
th ey p e r f o r m e d t h e Bach C h r i s t l a g in T o d e s b a n d e n and th e S c h u b e r t
M a s s in G in a d d i t i o n to th e A m e r i c a n c o m p o s e r s , the D e b u s s y
C h a n s o n s a n d s e v e r a l s p ir i t u a l s . T h u r s d a y . 1 1 A pril the g r o u p d e p a r t e d
T r i e s te f o r a t w o - h o u r trip to V e n i c e . A f t e r a r r iv a l the g r o u p c h e c k e d
into t h e i r h o t e l a n d spent th e a f t e r n o o n v i s i t i n g St. M a r k ' s C a t h e d r a l
and s h o p p i n g f o r s o u v e n ir s . T h e y p e r f o r m e d at the T e a t r o F e n i c e tha t
179 “ S u c c e s s fu l C oncert,” 1956.
180 “ R o b e r t S h a w Chorale A nd O r c h e s t r a Will Introduce Its e lf to the Z a g re b P u b lic ,”

N a ro d n i L ist. 10 A pril 1956.
113
evening. A f t e r the c o n c e r t som e o f the C h o r a l e w en t for g o n d o l a r id e s
a l o n g the f a m o u s c an als .
The C h o r a l e ' s visit to A u s t r i a a nd S a l z b u r g p r o v e d to be a m o n g
the m ost m e m o r a b l e stops o f the to u r . N o t o n l y were m e m b e r s c h a r m e d

by the t o w n a n d the n e a r b y s n o w c a p p e d m o u n t a i n s , but th e y also
a r r i v e d d u r i n g c e l e b r a t i o n o f the 2 0 0 th C e n t e n a r y C e l e b r a t i o n o f
M o z a rt's b i r t h , w h i c h m ad e th e p e r f o r m a n c e o f the M o z a r t R e q u ie m all
the m o re s p e c i a l . T h e C h o r a l e v i s i t e d M o z a r t ' s b i r t h p l a c e , to u r e d
S a l z b u r g C a s t l e , a n d had a w o n d e r f u l t i m e v i s i t i n g the loca l p u b s and
d r i n k i n g the l o c a l B la c k B e e r out o f l a r g e s t e i n s . The C h o r a l e s ta y e d in
the Hot el P i t t e r on Z i m m e r S tra s s e . M e m b e r s o f the C h o r a l e w e r e also
d e l i g h t e d to r u n in to f o r m e r C h o r a l e m e m b e r , Y v o n n e C i a n e l l a , who
was e n j o y i n g a p r o f e s s i o n a l c a r e e r in E u r o p e and was s i n g i n g in
S a l z b u r g at t h e t i m e . The c o n c e r t in S a l z b u r g was on S a t u r d a y n ig h t at
the F e s t s p i e l h a u s e and was a t r e m e n d o u s s u c c e s s . The s e c o n d c o n c e r t

in A u s t r i a w a s in I n n s b r u c k on 15 A p r i l. T h e g r o u p s ta y e d at the Hotel
T y r o l w h ic h , l i k e the rest o f A u s t r i a , the g r o u p fo un d to be ver y
expensive.
On M o n d a y , 16 April, the C h o r a l e d e p a r t e d I n n s b r u c k by rail at

8:00 a.m. b o u n d f o r M u n ic h , G e r m a n y , a n d a r r i v e d s h o r t l y b e f o re noon.
In M u n ic h , t h e m e m b e r s o f the C h o r a l e a t e in the R a t h s k e l l e r
R e s t a u r a n t a n d t h e n w ent to a b e e r c e l l a r w h e r e they w e r e s e r e n a d e d by
m u s i c i a n s a n d e n t e r t a i n e d by lo ca l fo lk d a n c e r s . In one r e s t a u r a n t , the
o w n e r , k n o w i n g t h e y were A m e r i c a n s , b r o u g h t C o c a C o l a s to th eir
ta b le , the f ir s t t h e y had s een s in ce t h e y l e f t h o m e . B a r b a r a F r e e m a n
114
w r o te h e r m o th e r. "I n e a r l y w en t out o f my m i n d w h e n I saw t h e m . " 181
Th e c o n c e r t that e v e n i n g was at the Saal D e u t c h e s M u s e u m . At 8:45

a.m. th e f ollow in g m o r n i n g th e y boar d ed a t r a i n a nd arri ved in G e n e v a
at 8:00 p.m. On the t r a i n s o m e chorus and o r c h e s t r a m e m b e r s c a u g h t up

on t h e i r sleep as m u c h as t h e y could, but the s c e n e r y was too b e a u t i f u l
to m iss . Others w r o t e l e t t e r s and p o s tc a rd s . T h e r e was no co n c e r t
s c h e d u l e d for that e v e n i n g o r the next, so the s i n g e r s got some m u c h -
n e e d e d rest. By th is p o i n t in the tour, f a t i g u e w a s h a v in g an a f fe c t on
the c h o i r , but for the m o s t p a r t the s in g e r s a n d o r c h e s t r a players
m a n a g e d to kee p t h e i r s e n s e o f humor. S o m e o f t h e m j o k e d th at "N o
one but a nut like R o b e r t S h a w wo uld a t t e m p t to do a to ur like t h i s . " 182
The f o ll o w i n g e v e n i n g . 18 A p r i l , the g r o u p p e r f o r m e d at V icto r ia H all
in G e n e v a . On T h u r s d a y . 19 April, the e n s e m b l e left G e n e v a for B e r n e
by rail at 11:14 a . m . . a r r i v i n g in Berne at 11:15 p .m . The C h o r a le
e n j o y e d a n o th e r fre e d a y in B er n e. C o n t r a c t s for the m u sic ian s

s t i p u l a t e d at least one f r e e d a y per w e e k o f p e r f o r m i n g . H o w ev er , the
s p a c i n g o f the d a y s d i d n ' t a l w a y s work out p r e c i s e l y due to local
c o n c e r t s ch ed u le n e e d s .
T h e C h orale f le w to M a d r i d , Sp ain via P a n A m e r i c a n A ir lin e s on

22 A p r i l. Upon t h e i r a r r i v a l in M ad rid, the C h o r a l e t r a n s f e r r e d to the
H o te l S a v o y by a i r l i n e s m o t o r coach a r o u n d 6 : 0 0 p.m . The co n c e r t t h a t
e v e n i n g was at th e T h e a t r e C a r l o s III. A f t e r a t w o - d a y stay in M a d r i d ,
the C h o r a l e left M a d r i d v ia A v i a c o n y C o m e r l i a b o u n d for Lisbon. At
6 :3 0 p . m . , on 25 A p r i l, th e c h o i r sang its first p e r f o r m a n c e in L i s b o n at
Barbara Freem an, S a lz b u rg to Mrs. Mary C arden F reem an, Phenix City, AL, 15
April 1956, Personal papers o f B arb a ra Freeman Parker.
1,2 Barbara F reem an, S a lz b u rg to Mrs. Mary C arden F ree m a n , Phenix City, AL, 17
April 1956, Personal papers o f B a rb a ra Freeman Parker.
115
the T i v o l i T h e a t r e , w h e r e t h e y p e r f o r m e d a gain the n e x t d ay . Friday
a n d S a t u r d a y , the 27 a nd 28 A p r i l w e r e sp en t t r a v e l i n g b a c k to Madrid
a n d on to B a r c e lo n a . S a t u r d a y e v e n i n g they s a n g a c o n c e r t at the
P a l a c e de la M u sica. At 10 :0 0 a . m . the f o ll o w i n g m o r n i n g , th e C h orale
d e p a r t e d f ro m the M u n t a d a s A i r p o r t in B a r c e l o n a , h e a d e d f o r Rome on
Iberia A irlines. At a p p r o x i m a t e l y 3 : 0 0 p.m. the g r o u p a r r i v e d in Rom e,
c h e c k e d into the hotel, a n d w e n t d i r e c t l y to the t h e a t r e f o r the
p e r fo r m a n c e that evening.
A t 1:38 p.m. the n e x t d a y , the C h o r a le d e p a r t e d b y R o m e Express

for P a r i s , a n d a r ri v e d at t h e S t a t i o n Gar e de L y o n a r o u n d 9 :0 0 a.m.
W h i l e in P a r is , the g r o u p s t a y e d at the A tla n ti c H o t e l o n R u e de
Londres. A m o n g the h i g h l i g h t s o f the Paris s ta y w e r e a t r i p to the Paris

O p e r a H o u s e and vis it s to the l o c a l P a r is ia n n i g h t c l u b s . On 2 May,
th e r e w a s a r e c e p t i o n at th e h o t e l g iv e n by R o b e r t a n d M a x i n e Shaw for
the c h o r u s a n d o r c h e s t r a . T h e f o l l o w i n g day th e r e w a s a c o n c e r t o f the
M o z a r t R e q u i e m at P l a y e l A u d i t o r i u m at 252 F a u b o u r g S t r e e t . On 4
M a y t h e C h o r a l e sang f o r the U . S . A r m y Base at O r l e a n s .
116
SALLE PLEYEL AU COURS DE SA TOURNEE EUROPEENNE JBJDI 3 MAI 1956
u 2 .M ~ r .h M 4 w * UNIQ UE CO N C ERT
DU CELEBRE ensemble americain — — — — —
CHORALE ET ORCHESTRE
ROBERT SHAW
REQUIEM de MOZART
BRA HM S (VqIm s d'Amour) DEBUSSY (Trois Chansons)
CEuvras Choralos Amoriooinos :

Ch. IVES/ S. BARBER, A. COPLAND, G . GERSHWIN
P IA M O PLEYEL — — O R S U E C A V A IL L E C O L L ■■ D IS Q U E S R . C. A.
Pm dev oU cei . ISO i ISOO frjncv R id u c tlo c A ctlvitfe M intoles, J. M. F et EtudiaflU
LO C A T'C N l 3 !a vqlle (Car 06-30V sh e? D u ran d . *■ place d e la Madeleine, ec au* A /e n c e t h ab ltu ellei
Bureau International de Concerts C. KIESGEN. 151 Paubourj Salnt-Honore (Parlt-fr} — W at 2 1-25
F i g u r e 7. P o s t e r for the c o n c e r t a t t h e S a l l e P l e y e l A u d i t o r i u m in
P a r is 3 M a y 1 9 5 6 . P e r s o n a l P a p e r s o f R o b e r t S h a w . U s e d by
perm ission.
On 5 M a y th e y left P a r is for S t u t t g a r t , G e r m a n y on th e O r i e n t
E x p r e s s at 9 : 0 0 p .m . The f o l l o w i n g m o r n i n g they a r r i v e d in S t u t t g a r t
and w e r e t r a n s f e r r e d to the R e i c h s b a d e n H o t e l . T h e c o n c e r t t h a t
e v e n i n g w a s at G u s t a v e S i e g l e H a u s . F o l l o w i n g the c o n c e r t , t h e g r o u p
left S t u t t g a r t on a s le e p e r tr a in b o u n d for C o l o g n e . T h e c o n c e r t in
C o l o g n e w a s at t h e G u r z e n i c h T h e a t r e . F o l l o w i n g the one c o n c e r t in
C o l o g n e , t h e C h o r a l e d e p a r t e d for B e r l i n by BEA A i r l i n e s .
In B e r l i n , t h e y t r a n s f e r r e d to t h e H o t e l S t e i n p l a t z . The concert
that e v e n i n g w a s at the K o n z e r t s a a l d e r H o c h s c h u l e fur M u s i k . The
117
daily Die Well, t e r m e d th e c oncert “ m u s i c a l p e r f e c t i o n . " 18-5 T h e
re v ie w e r c a l l e d th e R o b e r t Shaw C h o r a l e a “ m ix ed c h o i r in th e tru e
sense o f the w o r d a nd at times they s o u n d e d like t h e y w e r e a h u n d r e d . "
The r e v i e w e r w a s i m p r e s s e d that t h e t h i r t y - o n e s in g e r s on th e s ta g e
stood not in s e c t i o n s b ut in q u a r t e ts a n d still sang w i t h “a l m o s t m a c h i n e
like p r e c i s i o n . " The r e v i e w c o n c l u d e s w i t h the f o l l o w i n g s e n t e n c e :
“ The B er li n a u d i e n c e r a t h e r r e l u c t a n t l y r e m e m b e r e d th a t the s i n g e r s ,
who are c u r r e n t l y t o u r i n g Eu r o p e, o c c a s i o n a l l y h ave to get s o m e

s l e e p . " 184
The B e r l i n T e l e g r a f , 12 M ay, w r o t e t h a t S h aw . . . “ is a
p e r s o n a lit y o f s t r o n g a r t i s t i c i n t e n s i t y a n d in itia t iv e . He m a s t e r s the
prob lem o f b l e n d i n g s o lo voices in to a u n a n i m o u s s o u n d . ” T h e
r e v ie w e r goes on to s a y t h a t he has r e s e r v a t i o n s a b o u t the s t y l e o f the
s in gin g o f the “ o l d e r m u s i c " , but “ o n e m u s t a d m it t h a t this c o n d u c t o r
and his s in g e r s u n d e r s t o o d the s p ir i t o f the w o r k s . " 185

In B e r l in s i n g e r s a n d o r c h e s t r a p e r s o n n e l got a first h a n d l o o k at
the tragic r e s u l t s o f the d e v a s t a t i o n o f w a r a nd p o l iti c a l m a n u v e r i n g .
When Be rli n was a n n e x e d and d i v i d e d f o l l o w i n g the S e c o n d W o r l d
War. B e r l i n e r s w e r e p r o h i b i t e d fro m t r a v e l i n g freely b e t w e e n th e E a st

Side and the W e s t Side. As a c o n s e q u e n c e , many p e o p l e in th e E a s t
Side o f B e r l in t o o k d r a s t i c m e a s u r e s to e s c a p e to th e W es t. T h e
d i ff e r e n c e b e t w e e n E a s t B er lin a nd W e s t B e r l i n w ere as s ta r k as the
d i ff e r e n c e b e t w e e n C o m m u n i s m a n d a f r e e ca pital s o c ie t y . Fam ilies
,8j “ M usical P e rfe c tio n .'’ D ie Welt. 12 M ay 1956.
184 “ P erfectio n ,” 1956.
185 “C horal S inging o f G re at Style: J u b ila tio n A round Robert S h a w ,” T eleg ra f. 12

May 1956.
118
were o f te n split, w i th th e y o u n g e r , more a m b i t i o u s f a m il y m e m b e r s
t a k i n g g r eat risks to e s c a p e East Berlin. T h e r e w e r e s evera l w a y s to

e s c a p e ; one o f the m o st d r a m a t i c was to leap f r o m an a p a r t m e n t
b u i l d i n g on the b o r d e r b e t w e e n East and W e s t B e r l i n an d land s a f e l y on
the o t h e r side. M a n y p e o p l e d ie d as a r e s u l t o f s u c h d e s p e r a t e m e a n s .
M a n y , on the o t h e r h a n d , f o u n d th e i r w a y to f r e e d o m . As a r e s u l t o f
p e o p le e s c a p i n g E a s t B e r l i n ( w i th only w h a t t h e y c o u l d carry for
p o s s e s s i o n s ) , r e f u g e e c e n t e r s had to be e s t a b l i s h e d . T h e S p a n d a u
R e f u g e e Ca mp in W es t B e r l i n was one su ch c e n t e r .
C o n t r o v e r s y a r o s e w h e n S h a w was a s k e d to p e r f o r m an e x t r a
c o n c e r t (at no c h a r g e ) f o r the S p a n d a u R e f u g e e s . It w o u l d be an e x t r a
c o n c e r t , but S haw w a s v e r y i n t e r e s t e d in d o i n g it f o r h u m a n i t a r i a n
r e a s o n s , as were m o s t m e m b e r s o f the C h o r a l e a n d o r c h e s t r a . T h e
p r o b l e m lay with the u n i o n a n d o r c h e s t r a p e r s o n n e l . A f t e r le n g th y

d i s c u s s i o n b e t w e e n the g r o u p and Shaw, it w a s d e c i d e d that S h a w
w o u ld w i r e the u n i o n s b a c k in the U.S. for p e r m i s s i o n to p e r fo r m a n d to

hav e th e c o n cer t r e c o r d e d an d b r o a d c a s t o v e r R a d i o F r e e E urop e.
" E v e r y o n e w a n te d to do it, o f c o u r s e . ” 186 S h a w a s k e d the union that
th ey be a l lo w e d to p e r f o r m th e c o n c e r t w ith " u n a n i m o u s c o n s e n t ” o f th e
o r c h e s t r a and c h o r u s . U n i o n o f f i c i a l s in N e w Y o r k w i r e d bac k th at
"w'ith u n a n i m o u s c o n s e n t ” t h e y co u ld p e r f o r m t h e free c oncert. Th e
p r o b le m arose w h e n on e o r t w o m e m b e r s o f t h e o r c h e s t r a did not w a n t
to p e r f o r m for free. W i t h o u t " u n a n i m o u s c o n s e n t , ” a c o n c e r t w ith th e
o r c h e s t r a was u n f e a s i b l e . S h a w was f u rio u s , b u t t h e r e was n o t h i n g he
1,6 Barbara Freem an Parker, personal interview by the a u th o r, Tallahassee, FL, 14

M arch 1999.
119
c o u l d do. B e c a u s e o f the rif t b e t w e e n m u s i c i a n s a n d c o n d u c t o r , e v e n
the c o n t i n u a t i o n o f th e t o u r was in j e o p a r d y . M e m b e r s o f the c h o r u s

w e r e ver y w o r r i e d t h a t B e r l i n w o u l d be the las t s t o p o f the to u r a nd th a t
th e y w o u ld be f ly i n g h o m e a h e a d o f s c h e d u l e . F i n a l l y , a s o lu tio n was
r e a c h e d that a p p e a s e d th e o n e o r two p e o p l e in p r o t e s t a n d gave S h a w
the c o n c e r t he w a n t e d . T h e c h o i r sang w i t h o u t o r c h e s t r a for the

r e f u g e e s . The c h o r u s s a n g t h e B r a h m s L i e b e s l i e d e r W a l t z e r
a c c o m p a n i e d by Al B r e h m a n d J o h n W u s t m a n o n t h e p i a n o . S e v e r a l
c h o r a l m e m b e r s a l so s a n g s o lo s . B a r b a r a F r e e m a n r e m e m b e r s th a t
S h a w as ked he r to s in g " V i s s i d ' A r t e ” by P u c c i n i . “ T h e r e f u g e e s wer e
s it t i n g there on t h e i r s t r a w m a ts with te a r s s t r e a m i n g d o w n th e i r f ac es
l i s t e n i n g to t h e i r m u s i c . " 187 B a r b a r a F r e e m a n r e m e m b e r e d that th e little
c h i l d r e n who w er e t h e r e k e p t r e a c h i n g for T o m P y l e a n d Joh n W u s t m a n

b e g g i n g to go w it h t h e m . It w as hard on the a d u l t s w h o had c h i l d r e n o f
t h e i r own back in th e U . S . “ A lot o f tea rs f l o w e d t h a t d a y . It was
s o m e t h i n g else . . . I w ill n e v e r forg et t h a t . ” 188 F o l l o w i n g the c o n c e r t ,
S h a w as k ed th at the C h o r a l e be d r iv e n to se e the b o r d e r b e t w e e n E a st
and W e s t Berlin. “ It w a s th e f ir s t time a n y o f us h ad s e e n it.” 189 T h e
i m p a c t o f the c o n c e r t at th e r e f u g e e c a m p c a n n o t , p e r h a p s , be m e a s u r e d .
N e v e r t h e l e s s , a le tt e r w r i t t e n to Shaw from G e o r g e D. H e n r y , C u l t u r a l
A f f a i r s O f fic e r at the A m e r i c a n e m b a s s y in B e r l i n , h a d a great im p a c t
on S h a w and th e C h o r a l e m e m b e r s . The l e tte r r e a d in par t:
18, Barbara F reem an P ark e r, p erso n al interview by the a u th o r, Tallahassee, FL, 14

M arch 1999.
1,8 Freeman P arker, 1999.
189 Freeman Parker, 1999.
120
A l t h o u g h r ave n o t i c e s . . . are n o t h i n g n e w to y o u . we
t h o u g h t y o u and t h e C h o r a l e m i g h t be i n t e r e s t e d in
t h e Berlin r e v i e w s a n d a few s h o ts [ p h o to s ] o f y o u r
v i s i t here. O b v i o u s l y , we feel that a t r e m e n d o u s
s e r v i c e has b e e n m a d e in i m p r e s s in g G e r m a n
a u d i e n c e s w ith A m e r i c a n cultu ra l a c h i e v e m e n t as
w e l l as c r e a t i n g a b e t t e r u n d e r s t a n d i n g b e t w e e n the
t w o nations. The f a c e s on the r e f u g e e s p r o b a b l y best
d e s c r i b e the w a r m c o n t a c t re a c h e d at that
p e r f o r m a n c e . 190
Review's o f the B e r l i n p e r f o r m a n c e s w ere o v e r w h e l m i n g l y
favorable. W r o t e the r e v i e w e r f o r the S p a n d a u e r V o l k s b l a t t , “the
e n s e m b l e w a s not yet k n o w n h e r e a nd B er lin 's f r i e n d s o f m u s i c did not
yet k n o w w h a t they m i s s e d i f t h e y d i d n 't a tt e n d th e c o n c e r t at the music
high s c h o o l . " " N e x t t i m e " the r e v i e w e r c o n t i n u e d , “ we a s s u m e it will
be s old o u t . " 191 Kurt W e s t p h a l o f the B e r l i n e r M o r g e n p o s t w o n d e r e d
a b o u t the t i m i n g o f the B e r l i n p e r f o r m a n c e s . “ W h y did t h i s c h o i r come

to B e r lin at s u c h an od d t im e ? It s h o u l d c o m e b a c k to th e B e r l i n
F e s ti v a l . F r o m this C h o i r we w o u l d s o m e t i m e like to h e a r O r f f ' s

C a r m i n a B u r a n a . ” 192
In H a m b u r g the e n s e m b l e s t a y e d at the B a s e l e r H o t e l and
p e r f o r m e d at t h e M u s i k h a l l e G r o s s e r Saal on F r id a y . 1 1 M a y . On
S a t u r d a y . 12 M a y . the g r o u p le f t f ro m F u h l s b u t t e l A i r p o r t b o u n d for
London.
In L o n d o n the C h o r a l e s t a y e d at the I m p e r i a l H o t e l on R u s s e ll
S q u a r e . On S u n d a y , 13 M a y t h e y p e r f o r m e d at the R o y a l A l b e r t Hall.
A f t e r a free d a y for s ig h t s e e i n g a n d rest, the C h o r a l e p e r f o r m e d at the
190 G e org e D. Henry, Berlin, to R o b e rt Shaw, S heveningen, N e th e rla n d s , 14 May

1956.
191 “ From B ach to G e rsh w in ,” S p a n d a u e r V olksblatt, 12 M ay 1956.
I9" Kurt W estphal, “A M a g n ific e n t C h o ir ,” B erliner M o rg e n p o st, 12 M ay 1956.
121
Royal F e s tiv a l Hall on 15 May. The p r o g r a m c o n s i s t e d o f S c h u b e r t 's
M ass in G. B a c h 's C h r i s t la g in T o d e s b a n d e n . 1 7 th C e n t u r y C h oral
wor ks . D e b u s s y ' s T r o is C h a n s o n s . and the A m e r i c a n c o m p o se rs '
s e le c tio n s .
M u s i c a l O p i n i o n w r o te : "The R o b e r t S h a w C h o r a l e . . . gave a
co n c e r t at the F e s t i v a l H all . . . a p r o d i g i o u s p r o g r a m m e o f two h o u r s

and forty m i n u t e s d u r a t i o n ran g in g from B y r d to G e r s h w i n and N e g r o
s p i r i t u a l s . ” T h e r e v i e w e n d e d with the w r y o b s e r v a t i o n : " N ow t h a t the
C h o r a le has s h o w n the e x t e n t o f its a c c o m p l i s h m e n t , the length o f its
next c o n c e r t s h o u ld be r e d u c e d by at leas t h a l f . ” ,9j
F o l l o w i n g t h e t w o c o n c e r t s in L o n d o n t h e C h o r a l e tr a v e l e d to
Bristol and C a m b r i d g e , p e r f o r m i n g p r o g r a m n u m b e r one in both c i t i e s .
From th er e t h e y w e n t to C a m b r i d g e w h e r e t h e y p e r f o r m e d the first

p r o g r a m . On 18 M a y , t h e C h o r a le fle w to T h e H a g u e , Holland.
Ch o r a le m e m b e r s h a d b e e n lo oking f o r w a r d to t h e r e t u r n to H o l l a n d
a f te r the b r i e f l a y o v e r t h e y had had on t h e i r i n i t i a l flight from N e w
York. The tu li p s w e r e in full b loom , and for s o m e it was the h i g h l i g h t
o f the tour. The S h a w C h o r a l e p e r f o r m e d t w o c o n c e r t s at the
C o n c e r t g e b o u w r A u d i t o r i u m on 19 May an d a g a i n on 21 May. At n o o n
on 22 May. t h e y lef t T h e Hag ue via S c a n d i n a v i a n A ir w a y s , a r r i v i n g in
C o p e n h a g e n . D e n m a r k at 2:00 p.m. F rom t h e r e , t h e y t ra n s f e rr e d p l a n e s
and flew to G o t h e m b u r g , Sw ed en w h e r e t h e y p e r f o r m e d on 23 May at
the L ies ber g A u d i t o r i u m . On 24 May the g r o u p f l e w from T o r s l a n d a
A ir p o rt on S c a n d i n a v i a n A ir w a y s for O slo , N o r w a y , a rri ving th e r e at
10:25 a.m. T h a t e v e n i n g th e y p e r f o r m e d in th e U n i v e r s i t y Hall. A f t e r
193 “ Robert S haw C h o ra le And O rchestra,” M u sica l O p in io n , 79:584 (July 1956).
122
s t a y i n g the n ig h t in O s l o , t h e y d e p a r t e d for S t o c k h o l m at 7:40 a.m. on
F r id a y . 25 May. g i v i n g a c o n c e r t in S t o c k h o l m t h a t s a m e even ing.
The next s to p on t h e t o u r w as H e l s in k i . F i n l a n d , w h e r e they
p e r f o r m e d on the e v e n i n g o f 28 May. The f o l l o w i n g d a y . 29 May. the
g r o u p left H e ls in k i A i r p o r t f o r K e f la v ik . I c e l a n d v i a K L M C har ter
F l i g h t , ar riv in g at 7:0 0 p . m . In Ice lan d, the C h o r a l e w e r e the g u e s ts o f
the U.S. Air F o r c e B a s e . T h e r e w as a r e c e p t i o n h e l d f o r the group at
A m b a s s a d o r J o h n J. M u c c i o ' s r e s i d e n c e at 4 : 3 0 p . m . T h e C h orale t h e n
had d i n n e r at the N a u s t R e s t a u r a n t before t h e c o n c e r t at 9:15 p.m. A
r e c e p t i o n f o ll o w e d , g i v e n by T h e R e y k j a v i k M u s i c S o c i e t y and the
I c e l a n d i c A m e r i c a n S o c i e t y , j o i n t s p o n s o r s o f th e I c e l a n d i c visit. On
T h u r s d a y , 31 M ay. the C h o r a l e left Ic e l a n d on a U . S . A i r Force ( n o n

r e v e n u e ) plane a nd a r r i v e d at M c G u i r e A ir F o r c e B a s e . N e w J ers ey , on
F r id a y . 1 June.
F o l lo w in g th e h i g h l y s u c c e s s f u l t o u r, th e e n s e m b l e had a few
d a y s o f f be fore b e g i n n i n g t w o w e e k s o f r e c o r d i n g in N e w York City. In
s u m m i n g up the e x p e r i e n c e o f the tour, S h a w s t a t e d t h a t the tour w a s a
"critical success” but also "som ething o f a fin a n cial p ro b le m .” Shaw

w e n t on to e x p l a in : " W e s h o u l d p r o b a b l y s t a y l o n g e r in o n e place so the
e f f e c t s o f the e x c e l l e n t r e v i e w s we had b e e n g e t t i n g w o u l d build an
a u d i e n c e . G o in g in o ne c i t y o n e d ay and ou t the n e x t h as r e str icted o u r
p u b l i c to a few p e o p l e w h o k n o w the C h o r a l e f ro m r e c o r d s or to r e a ll y
c u r i o u s music l o v e r s . ” 194
194 Irving K olodin, “ S h a w ’s C h o ra le Makes F rie n d s ,” The S a tu r d a y Review,

preprinted in The San D iego U nion, 17 June 1956, sec. E. 6).
123
In s u b s e q u e n t i n t e r v i e w s . S h a w e x p r e s s e d g r e a t p r i d e in the
a c c o m p l i s h m e n t s o f the 1956 t o u r . The 1959 P r e ss G u i d e f o r the

R o b e r t S h a w C h o r a l e stated.
S h a w has also c o n d u c t e d s u ch l e a d i n g A m e r i c a n
s y m p h o n y o r c h e s t r a s as the New Y o r k P h i l h a r m o n i c ,
th e L o s A n g eles P h i l h a r m o n i c , the S an F r a n c i s c o
S y m p h o n y , the B o s t o n S y m p h o n y , a nd the C l e v e l a n d
O r c h e s t r a , w h o s e A s s o c i a t e C o n d u c t o r he b e c a m e in
1957. Bu t w hen y o u a s k h im what he c o n s i d e r s his
p r o u d e s t and m o s t e x c i t i n g a c h i e v e m e n t , he w ill
u n h e s i t a t i n g l y tell y o u a b o u t the trip he a n d his
C h o r a l e u n d e r t o o k in 1956 when the g r o u p w a s
i n v i t e d by the P r e s i d e n t ' s C o m m i t t e e f o r I n t e r n a t i o n a l
E x c h a n g e to r e p r e s e n t A m e r i c a n m u s i c a l s t a n d a r d s on
a t o u r o f the M i d d l e E a s t a n d E u r o p e . 195
B o t h S h a w a n d the C u l t u r a l P r e s e n t a t i o n P r o g r a m l e a r n e d much
f r o m this i n i t i a l t o u r and the s i m i l a r e x p e r i e n c e s o f o t h e r g r o u p s .

P u b l i c i t y , o f t e n d i f f i c u l t in f o r e i g n c o u n t r ie s , was n o n e t h e l e s s
i m p o r t a n t i f s u c h to u r s were to r e m a i n viab le. Six y e a r s l a t e r , the S haw
C h o r a l e a n d O r c h e s t r a to ure d R u s s i a a n d sp en t at l e a s t t w o n i g h t s in
e a c h l o c a t i o n , t h u s a l lo w in g t h e r e v i e w s to bui ld a u d i e n c e s f o r them.
A l s o , the n u m b e r o f c o u n t r ie s w a s r e d u c e d , a l l o w i n g m o r e p e o p l e in an
a r e a to h e a r t h e m per fo r m .
T h e 1956 t o u r was m e m o r a b l e a n d e v e n tf u l in e v e r y s e n s e o f the
word. In a d d i t i o n to being a m u s i c a l s uccess that r e c e i v e d o u t s t a n d i n g
r e v i e w s on b o t h c o n t i n e n t s , th e C h o r a l e did m u ch to d i s p e l th e myth o f
A m e r i c a n s as c u l t u r a l i n fe ri ors. T h e S h a w C h o r a l e did i n d e e d m ak e
f r i e n d s in e v e r y c o u n t r y v i s i t e d , a n d w h i l e they did not s t o p a n y wars,

t h e y m a d e t h e e n v i r o n m e n t o f h o s t i l i t y a little m o re b e a r a b l e . M ore
1,5 M a n a g e m e n t, C olum bia A rtis ts , P ress B ook fo r The R o b ert S h a w C h o r a le , New

Y o rk , 1959.
124
than forty y e a r s la te r the e v e n ts o f th e t o u r are viv id in t h e m e m o r i e s o f
p e ople w h o w e r e th er e: a r r iv in g in I r e l a n d on St. P a t r i c k ' s D a y . bei ng in

J e r u s a l e m d u r i n g Holy week a n d in S a l z b u r g for the 2 0 0 th a n n i v e r s a r y
o f M o z a r t ' s b i r t h , the camel rid es in C a i r o and the b o r d e r h o s t i l i t i e s
tak ing p l a c e les s than a h u n d r e d y a r d s fro m them in I srael.
125
CHAPTER SEVEN
T H E 1962 T O U R O F T H E S O V I E T U N I O N
In the a u t u m n o f 1962, as p a r t o f the P r e s i d e n t 's P r o g r a m o f the

I n te r n a t i o n a l C u l t u r a l E x c h a n g e S e r v i c e a d m i n i s t e r e d by A N T A , th e
Rober t S h a w C h o r a l e to u re d B e r l i n . Y u g o s l a v i a and th e S o v i e t U n i o n .
The t o u r was s p o n s o r e d j o i n t l y by the U .S . S ta te D e p a r t m e n t a n d the
Soviet a g e n c y , G o s k o n c e r t. T he e x c h a n g e b r o u g h t the L e n i n g r a d
P h i l h a r m o n i c to the U nited S t a te s for t h e s a m e per iod o f t i m e , a l l o w i n g
the S ta te D e p a r t m e n t to use the s a m e a i r c r a f t for both e n s e m b l e s . The
tour b e g a n o n 4 O c t o b e r 1962 in B e r l i n at t h e Berlin F e s t i v a l a n d

incl ud ed a s i x - d a y s top in Y u g o s l a v i a b e f o r e c o n c l u d i n g w i t h a t h r e e -
week s ta y in t h e S o v i e t Union.
P l a n n i n g an d n e g o t i a t i o n s for t h e t rip t o R ussi a h ad b e g u n s h o r t l y
after the s u c c e s s f u l E u r o p e a n t o u r o f 1956. The Robert Shaw C h o ra le
tour b o o k l e t f o r the 1958- 59 s e a s o n s t a t e d t h a t plans w e r e a l r e a d y
u n d e r w a y for th e C h o r a le to t o u r the S o v i e t U n io n . In the l a t t e r p a r t o f
1960 and e a r l y 1961, C o l u m b i a A r t i s t s V i c e - P r e s i d e n t L e v e r e t t W r i g h t
and H e a th B o w m a n o f the B u r e a u o f E d u c a t i o n a l and C u l t u r a l A f f a i r s at
the S tat e D e p a r t m e n t were n e g o t i a t i n g a r r a n g e m e n t s for a t o u r o f
Russia for th e R o b e r t Shaw C h o r a l e . C o l u m b i a A rtis ts had a l r e a d y
a n n o u n c e d t h e e x c h a n g e to the p r e s s in N o v e m b e r 1960. A few m o n t h s

later, on 3 F e b r u a r y 1961, H e a t h B o w m a n c a b l e d W r ig h t at C o l u m b i a
Ar tists M a n a g e m e n t offi ces to n o t i f y h i m o f t h e State D e p a r t m e n t ' s
126
c o n t i n u e d i n t e r e s t in s e t t i n g up a to u r t h r o u g h the " P r e s i d e n t ' s
P r o g r a m " for the S p r i n g or Fall o f 1962. p r o v i d i n g a r r a n g e m e n t s w e r e
s a t i s f a c t o r y in th e S o v i e t U nion. L e v e r e t t W r i g h t t ra v e le d to M o s c o w
to meet w ith o f f i c i a l s o f G o s k o n c e r t a n d a g r e e up on a c o n t r a c t a n d
p r e l i m i n a r y s c h e d u l e . 195
C o n t r a c t n e g o t i a t i o n s for the e n s e m b l e and its c o n d u c t o r w e r e

h a n d le d p r i m a r i l y b y W a l t e r G o u l d a nd L e v e r e t t W rig ht o f C o l u m b i a
A r tis ts M a n a g e m e n t a l o n g with G e r t r u d e M a c y , d i r e c t o r o f the s t a f f at
ANTA. ( A f t e r t h e L a r s e n W o l f R e p o r t , A N T A ’s role w o u l d be t a k e n
o v e r by the S ta te D e p a r t m e n t . ) In a d d i t i o n , th e m u s i c i a n s w e r e b o u n d
by their o w n c o n t r a c t s w i t h th e A m e r i c a n F e d e r a t i o n o f M u s i c i a n s
( o r c h e s t r a l m u s i c i a n s ) a n d the A m e r i c a n G u i l d o f M u sical A r t i s t s
( c h o r u s s in g e r s ) .
By the s p r i n g o f 1962, p la n s for t h e t o u r w e r e t a k i n g s h a p e . A
d o c u m e n t d a t e d 24 M a y 1962 i n d i c a t e s t h a t t h e a g r e e m e n t r e n d e r e d w a s
b e t w e e n I n t e r n a t i o n a l C u l t u r a l E x c h a n g e S e r v i c e s ( IC E S ) , A N T A a n d
Colum bia Artists. T h i s d o c u m e n t s h o w e d t h a t the a r r a n g e m e n t s at t h a t
t im e still i n c l u d e d P o l a n d ; for r e a s o n s h a v i n g to do with U . S . - P o l i s h
r e l a t io n s at the t i m e , it w a s l ater d e c i d e d to s e l e c t Y u g o s l a v i a i n s t e a d .
T h e dates, h o w e v e r , w e r e d e f in ite . T h e m u s i c i a n s ' c o n t r a c t s s t i p u l a t e d
t h a t ther e w o u ld be o n e fre e d ay p er w e e k . I C E S and S h a w C h o r a l e
w o u ld j o i n t l y c o n s i d e r e x c e p t i o n s . I C E S a g r e e d to pay a ny d i f f e r e n c e
in the total c o s t o f th e t o u r and the a c t u a l s u m o f incom es r e c e i v e d .

T h e c o n t r a c t a l so s t a t e d t h a t the five r u b l e s p e r d a y th at G o s k o n c e r t
195 Heath B o w m an , W ashin gto n, D.C., to L e v e re tt W right, New Y ork, 3 F e b ru a ry

1961, Personal papers o f R o b e rt Shaw, A tlanta.
127
w a s p a y i n g the m e m b e r s o f t h e C h o r a l e w h il e t h e y w e r e in Russia
w o u l d be d e p o s i t e d to I C E S a g a i n s t o p e r a t i n g c o s t s o f t h e C h o r a l e . 196
C o l u m b i a A r t i s t s M a n a g e m e n t a g r e e d to pay I C E S f r o m a n y " r e m a i n i n g
f u n d s a f t e r r e i m b u r s e m e n t f o r th e L e n i n g r a d S y m p h o n y an d David
O is tr a k h Am erican tours a n d a 20% com m ission on the com bined gross
i n c o m e o f the two p a r t i e s ’ r e m a i n d e r , i f any, f o r t h e o n e - w a y trip to
E u r o p e . ” 197
M e an w 'h ile, S h a w w a s g r o w i n g f r u s t r a t e d w i t h i n d e c i s i o n on the
p a r t o f th e S o v ie ts as to r e p e r t o i r e . M o n th s la te r , in a s e r m o n to the
F i r s t U n i t a r i a n C h u r c h in C l e v e l a n d on 3 M a r c h 1 9 6 3 , S h a w r e fle c te d
u p o n th e r e c e n t tour o f t h e S o v i e t U n i o n . 198 P e o p l e h a d a s k e d him,
d u r i n g t h e m o n t h s l e a d i n g u p t o t h e to u r, i f he w a s e x c i t e d about the
tour. H is r e s p o n s e w a s : “N o , I w a s too w o r r i e d a b o u t p r o b l e m s o f
p e r s o n n e l , p r o g r a m m i n g a n d r e h e a r s a l . ” A d d e d S h a w , “ I w as mad-
h y s t e r i c a l l y . ” Shaw w e n t o n to e x p l a i n that, b e c a u s e o f d e l a y s in
c o m m u n i c a t i o n and t r y i n g to w o r k w ith all o f t h e d i f f e r e n t c o u n tr ie s

a n d o f f i c i a l a g e n c i e s i n v o l v e d , he h a d not k n o w n e x a c t l y w h at
,96C o n tro v e rs y arose m id w a y t h ro u g h the Soviet tou r w h e n m e m b e rs o f the

e n to u ra g e , p rim a rily in the o rc h e s tra , t h r e a te n e d not to c o n tin u e u n le s s th ey received the
ad d itio n a l five rubles per day. T h e p e r d iem , m any felt, was b e in g p o c k e te d by Soviet
o ffic ia ls and the m oney was no t b e in g d is p e rs e d as had been a g r e e d u po n in the ICES
c o n tra c t. T he value o f a ruble w as $ 1 .1 0 U.S. in 1962. The issu e w as b ro u g h t to the
A m e ric a n F ed eratio n o f M u sic ia n s fo r re s o lu tio n . Jack F erentz, A s s is ta n t to the President o f
the A F M , c a b le d the orchestra re p r e s e n t a ti v e thro ugh the US e m b a s s y in M oscow stating
" d e m a n d in g per day from S h aw in a d d i t i o n to sca le” (as d e ta ile d in A rtic le 21 o f the
c o n tra c t) w as "o v e r scale" and th a t e a c h m u sician signed the c o n t r a c t and m ust live up to the
c o n tra c t " w ith o u t demand o f a d d itio n a l c o m p e n s a tio n .” (Ja c k F e re n tz , T elegram . Personal
p apers o f R obert Shaw).
197 C o lu m b ia Artists M a n a g e m e n t , International C ultu ral E x c h a n g e (ICES) and

A m e ric a n N atio n al Theatre and A c a d e m y , C o n tra c t A g reem ent, 31 M ay 1962, Personal
papers o f R o b ert Shaw, A tlanta.
I9S R ob ert Shaw, " R u ssian T o u r : U nitaria n Church S e r m o n , ” C le v e la n d Unitarian

C h u rch , 3 M arch 1963 (A tlanta: P e rs o n a l p apers o f Robert S h a w ).
128
r e p e r t o i r e w a s g o i n g to be p e r f o r m e d u n t il one w e e k p r i o r to d e p a r t u r e .
Shaw wrote:
S o m e w e e k s b e f o r e ( b u t to o late by S tate D e p a r t m e n t
S t a n d a r d s ) I had s u b m i t t e d to A N T A , o u r S ta te
D epartm ent officials, and th eir concert c o lla b o ra to rs
in G e r m a n y , R u s s i a - a n d u n k n o w n to me Y u g o s l a v i a
- s o m e 9 to 10 m o c k - u p , t e n t a t i v e p r o g r a m s . I h a d
t h o u g h t they w o u l d c o m e b a c k with c o u n t e r
p r o p o s a l s : some o f t h i s , s o m e o f that. W h a t h a p p e n e d
is t h a t G e r m a n y s e l e c t e d tw o p r o g r a m s , Y u g o s l a v i a 1
a n d 1/2; R u s s ia , th e B m i n o r M a s s plus tw o o t h e r s as
y e t u n s p e c i f i e d - a n d w e w e r e in our last w e e k o f
r e h e a r s a l . Th e p o i n t is t h a t u p o n leav in g for
G erm any, Yugoslavia and ultim ately Russia we were
in a s ta t e o f s h o c k . 199
A d d i n g to S h a w ' s w o r r i e s w a s th e f act that the C h o r a l e for this
t o u r was g o i n g to be, as u s u al, a n e w c o m b i n a t i o n o f i n d i v i d u a l s ,

although m ost were Shaw Chorale veterans. There had a l w a y s b e e n the
p r o b l e m o f n e w p e r s o n n e l , but the d e l a y in s e tt li n g on a r e p e r t o i r e had

put S h a w in a d i f f i c u l t s it u a t i o n . H e u l t i m a t e l y had less t h a n tw o weeks
wi th a " n e w ” C h o r a l e to p r e p a r e f o u r s e p a r a t e p r o g r a m s f o r t h e Soviet s,
B e r l i n e r s , a n d Y u g o s l a v s , and o n e w e e k to p r e p a re m a n y o f th e pie c e s
c h o s e n by th e S o v i e t s . In J u ly 1962, A N T A D i r e c t o r G e r t r u d e M a c y
had s e n t th e S o v i e t s thre e p r o g r a m s o f v a r i e d ch oral w o r k s p l u s the B
minor Mass. A s o f S e p t e m b e r , the R u s s i a n s had o n l y a p p r o v e d th e B
m i n o r M a s s a n d had not n o t i f i e d A N T A o f th e ir a p p r o v a l o f a n y o t h e r
programs. S h a w a l s o , i n d ir e c tl y , a s s u m e d s o m e o f the b l a m e for the
lack o f p l a n n i n g . In his w ords to his c o n g r e g a t i o n in C l e v e l a n d he

c a l l e d it “ n o p l a n n i n g ” and s aid t h a t it w a s also “a r e s u l t o f t r y i n g to
199 R ob ert S haw , “ S erm an ," 1963.
129
ser ve the C l e v e l a n d O r c h e s t r a and C h o r u s . C o l u m b i a A r t is t s
M a n a g e m e n t . R C A V i c t o r . Th e F irs t U n i t a r i a n C h u r c h o f C l e v e l a n d ,
and v a r i o u s m u s i c f e s t i v a l s fro m P u e r t o R i c o t h r o u g h M a r l b o r o .
M ic h i g a n S t a t e . U n i v e r s i t y o f M i n n e s o t a to A n c h o r a g e . A l a s k a . ” 200
Th e t o u r c a l l e d f o r a f iv e - d a y v i s i t to W e s t B e r lin w h e r e t h e
C h o r a l e w o u l d p e r f o r m at the B e r l i n F e s t i v a l . F o l l o w i n g a w e e k in
Y u g o s l a v i a the g r o u p p la n n e d to a r r i v e in M o s c o w on 14 O c t o b e r ( s e e
F ig u re 8) for th e R u s s i a n p o r ti o n o f th e t o u r , w h ic h was to last t w o
w eek s . It was a r e l a t i v e l y r e l a x e d i t i n e r a r y w h e n c o m p a r e d to th e
h ectic pace o f t h e 19 56 fo re ign to u r. T h e r e w e r e only t h r e e c o u n t r i e s to
visit as o p p o s e d to e l e v e n in 1956 an d w h i l e the d i s t a n c e c o v e r e d w a s
g r e a te r, the g r o u p w o u l d have m o r e t i m e in e a c h city.
In th e U S S R th e C h o r ale w as a c c o m p a n i e d by a g r o u p o f S o v i e t
e s c o rts who m a d e s u r e tha t the n e e d s o f t h e s in g e r s w er e m e t a n d t o o k
care o f an y p r o b l e m s t h e y m ight h a v e w i t h t r a n s l a t i o n s , a c c o m o d a t i o n s
or c o n c e r t a r r a n g e m e n t s . The s e n i o r m e m b e r o f this g r o u p w a s F e o d o r
Petro v o f w h o m S h a w later s p o k e v e r y w e l l in his s e r m o n to h is c h u r c h
in C l e v e l a n d .
’ 00
Shaw, *‘S e r m a n ,” 1963.
130
Baltic
Sea
y p S & ‘»:
l|«4 *.3i?s*|ltl i
Romania
1. Berlin (October 1-6)
YUGOSLAVIA
2. Belgrade (October 6-8)
3. Skoplje (October 9)
4. Sarajevo (October 10-13)
USSR
5 . Moscow (October 14-16)
6. M insk (October 17-19)
7. Leningrad (October 22-27)
8. Kiev (October 28-30)
9. Lvov (November 1-2)
10. Chernovtsy (November 3-4)
11. Kishinev (November 9)
12. Odessa (November 10-12)
13. Simferopol (November 13)
14. Yalta (November 14-15)
15. Moscow (November 16-23)
16. Ryazan (November 24)
17. Moscow (November 25-28)
F i g u r e 8. D e s t i n a t i o n s f o r t h e 1962 S o v i e t U n i o n T o u r i n d i c a t i n g
t o u r s t o p s a n d dates .
131
P la n n ed S e l e c t i o n s for Soviet T o u r
A f t e r m u c h w r a n g l i n g w i t h r e p r e s e n t a t i v e s fro m A N T A and
r e p r e s e n t a t i v e s o f three d i f f e r e n t c o u n t r i e s . Shaw s e l e c t e d f o u r c o ncert
programs. ( S e e table 3) He n u m b e r e d the p r o g ra m s " o n e " th r o u g h
“ f o u r . " l i s t i n g the r e p e r t o i r e a n d c i t y for each one. P r o g r a m “o n e ”
c o n s i s t e d o f m u s i c o f the S i x t e e n t h C e n tu r y : V i t t o r i a . “ O V o s O m n e s " :
G i b b o n s . “ T h i s is the R e c o r d o f J o h n ” ; Vecchi, “ Fa u n a C a n z o n e ” ;
S c h u t z . “ S e l i g Sind Die T o t e n ” ; a n d di Lasso, “Ola! O C h e Bon E c c h o ! ”
Set tw o o f the same p r o g r a m c o n s i s t e d o f J.S. B a c h 's J e s u , m eine
Freude. S et th r e e c o n s is t e d o f th e S c h u b e r t M a ss in G. A f t e r the
I n t e r m i s s i o n , c a m e S c h o e n b e r g , F r i e d e A u f E r d e n \ D e b u s s y , Six
C h a n s o n de C h a r l e s D 'L e o n , N o s . 1, 2 and 3; Rav e l C h a n s o n ,
“ N i c o l e t t e . ” “ T r o i s B e a u x O i s e a u x , ” a n d “ R o n d e , ” a n d C h a r l e s Ives,
Three H a r v e s t H o m e C h o r a l e s .
P r o g r a m “ t w o ” c o n s i s t e d o f J e s u meine F r e u d e b y J .S . Bach,
C e r e m o n y o f C a r o l s by B e n j a m i n B r i t t e n . A S t o p w a t c h a n d an
O r d i n a n c e M a p by Sam uel B a r b e r , F r i e d e A u f E r d e n by S c h o e n b e r g , the
c h a n s o n s o f D e b u s s y and R a v e l , S u i t e from The P a r r y b y L u k a s Foss,
D r e i M a d r i g a l e by H i n d e m i t h , a n d th e H ar vest H o m e C h o r a l e s by
Charles Ives.
P r o g r a m “ t h r e e ” i n c l u d e d The M y s t i c T r u m p e t e r by D e l l o Joio,
Suite f r o m The Prairie, A S t o p w a t c h a n d an O r d i n a n c e M a p by Barber,
The L a r k by C o p e l a n d , the H a r v e s t H o m e C h o r a le s by C h a r l e s Ives, two
sets o f A m e r i c a n s p ir it u a ls a r r a n g e d by Shaw and A l i c e P a r k e r and Gail
Rubik. T h e c o n c e r t c o n c l u d e d w i t h s c e n e s from P o r g y a n d Be ss .
P r o g r a m “ f o u r ” was to be th e B m i n o r M ass. A d d i t i o n a l l y , the re
w er e s e v e r a l sets o f s e l e c t i o n s o f A m e r i c a n folk S o n g s , N e g r o
132
S p i r i t u a l s , as well as R u s s i a n fo lk s o n g s . The c o n c e r t f o r th e Berlin
R adio B r o a d c a s t w o u ld b e a s e p a r a t e p r o g r a m c h o s e n f r o m the
contem porary composers.
T a b l e 3. 1962 F o r e ig n T o u r P r o g r a m s I ll u s t r a t i n g R e c u r r e n c e s .
( D o e s n ot i n c l u d e e n c o r e s )
Composition Program Recurrences
Program One
"O Vos Omnes." Vittoria,
“ This is the Record o f J o h n , ” Gibbons,
"Fa una Canzone,” Vecchi.
“ Selig Sind Die T ote n,” Schiitz
“Ola! O Che Bon E c c h o ! ” di Lasso
Jesu, meine Freude, J.S. Bach's One and Two
Mass in G, Schubert
Friede A u f Erden, Sch oen be rg One and Two
Six Chanson de Charles D'Leon, Debussy; One and Two
Chansons, Ravel One and Two
Three Harvest Home Chorales, Ives One, Two and Three
Proeram Two
Jesu meine Freude, J.S. Bach One and Two
Ceremony o f Carols, Benjamin Britten
Stopwatch and an Ordinance Map, Barber Two and Three
Friede A u f Erden, Scho enberg One and Two
Six Chanson de Charles D'Leon, Debussy One and Two
Chansons, Ravel One and Two
Suite from The Prairie, Lukas Foss Two and Three
Drei Madrigale, Hindemith
Harvest Home Chorales, Charles Ives One. Two and Three
Program Three
The Mystic Trumpeter, Dello Joio
Suite from The Prairie, Foss Two and Three
Stopwatch an d an Ordinan ce Map, Barber Two and Three
The Lark, Copeland
Harvest Home Chorales, Ives One, Two and Three
Amer. Spirituals, Shaw /P arker and Kubik
“Gone, Gone, Gone,” Po r g y and Bess
Program Four
B Minor Mass, J.S. Bach
133
Berlin
The S h a w C h o r a l e a r r i v e d in B e r l i n on the e v e n in g o f 1 O c t o b e r
1962. T h e r e was no c o n c e r t s c h e d u l e d for t h e f o ll o w i n g e v e n i n g . 2
O c to b e r . S o o n a f t e r a r r i v a l in B e r l i n , S h a w a n d W a l te r G o u l d l e a r n e d
o f a m a j o r p r o b l e m : t h e C h o r a l e w a s s c h e d u l e d to p e r fo r m B r i t t e n ’s A
C e r e m o n y o f C a r o l s o n th e r a d i o b r o a d c a s t th e f o ll o w i n g day . The
G e r m a n t o u r o r g a n i z e r s a d v i s e d S h a w an d G o u l d that th ere w as no h a r p
or h a r p i s t a v a i l a b l e a n y w h e r e in B e r l i n . G o u l d a n d Shaw b e g a n c a l l i n g
all o v e r the c o n t i n e n t s e a r c h i n g f o r a h a r p i s t a n d a harp. The G e r m a n s
were s k e p t i c a l. F i n a l l y , a r o u n d 2 : 0 0 a .m ., S h a w locate d a h a r p i s t in
E n g l a n d who o w n e d a h a r p a nd c o u l d be t h e r e th e f o ll o w i n g m o r n i n g
for r e h e a r s a l a n d th e c o n c e r t . W h e n , at 1 1 :0 0 a . m . , Shaw, G o u l d , a n d
the C h o r a l e a r r i v e d to f i n d n o t o n l y the h a r p i s t , b u t three h a r p s w a i t i n g
on stage , the G e r m a n f e s t i v a l o r g a n i z e r s w e r e a s to n i s h e d . The c o n c e r t

m a n a g e r s , w ho w e r e f ir m in t h e i r b e l i e f t h a t n o t h i n g co u ld be d o n e ,
cou ld o n ly s h a k e t h e i r h e a d s in a m a z e m e n t a n d s a y “T hese
A m e r i c a n s . ”201
T h e r e w a s a b r i e f i n g h eld f o r the C h o r a l e 2 O c t o b e r by Mr.
R o b er t C. V o th , A s s i s t a n t C u l t u r a l A f f a i r s O f f i c e r at the A m e r i c a
H ouse at 22 H a r d e n b e r g s t r a s s e . T h e n e x t m o r n i n g the C h o r a l e r e c o r d e d
a p r o g ra m for b r o a d c a s t o v e r r a d i o R I A S at L a n k w i t z S tudio. T h e
s tudio also i n t e r v i e w e d S h a w . L a t e r , Mr. A l b e r t H e m s in g , P u b l i c
A ffa irs O f f i c e r , g a v e a l u n c h e o n in h o n o r o f R o b e r t Shaw at H a r n a c k
201 W alter G o uld , N e w Y ork, N Y , to R ob ert S haw , A tla n ta , 30 April 1991 (A tla n ta :
Personal papers o f R obert S h aw ).
134
House. T h e g r o u p r e h e a r s e d at 3 :0 0 p.m. at the C o l l e g e o f Music at 1
Fasanenstrasse.
T h e C h o r a l e s an g its f i r s t c o n c e r t p r o g r a m o f th e t o u r at a clo s e d
c o n c e r t f o r t h e s tu d e n ts at t h e C o l l e g e o f M u s i c . T h e H o c h s c h u l fur
M u s i k . s p o n s o r e d j o i n t l y by A m e r i c a H o u s e a n d T h e a t r e d e r S c h u le n . at
4 :00 p . m . on 4 O c t o b e r . T h e p r o g r a m was w h a t S h a w h ad labeled

“C lassical Program C ” or pro g ram number “ o n e .”
R e v i e w s from B e r l i n w e r e o u t s t a n d i n g a n d t y p i c a l o f what w a s to
c o m e d u r i n g th e r e m a i n d e r o f t h e to u r . D er Tag, r e f e r r i n g to the 1956
tour, w r o t e :
A g a i n the R o b e r t S h a w C h o r a l e e n c h a n t e d us with its

c l e a r , a b s o l u t e l y c l e a n i n t o n a t i o n , its m u l t i - c o l o r e d
h a r m o n y , its m u s i c a l u n i t y , and th e p e r f o r m i n g ability
o f this g r o u p . . . so m a s t e r f u l l y t r a i n e d b y R o b e r t
S h a w . 20*
T h e B e r l i n e r M o r g e n p o s t h e a d l i n e d , “ T r i u m p h a l G u e s t s , ” and
w en t on to p r a i s e the s o l o i s t s o f th e C h o r a le : “ A h y m n is due to R o b e r t
S haw a n d his s in g e r s . W i t h t h e h u m i l i t y a nd f a n a t i c i s m o f a g lo w in g
m u s i c i a n , S h a w each y e a r s e t s up his f am ous c h o i r a n e w . . . ”20j Die
W elt o b j e c t e d to S h a w ’s us e o f th e i n s t r u m e n t a l a c c o m p a n i m e n t for
Jesu, m e i n e F r e u d e , b u t p r a i s e d th e g r o u p for s h o w c a s i n g pieces t h a t
c a n n o t be e a s i l y p e r f o r m e d b y o t h e r c h o ir s - th e S c h o e n b e r g and the
Ives H a r v e s t H o m e C h o r a l e s . D e r K u r i e r h e a d l i n e d its r e v ie w
“A p p l a u s e T a k e s On H u r r i c a n e - L i k e P r o p o r t i o n s . ” A n d D e r
T a g e s s p i e g e l s ta te d t h a t w h i l e “ w e ( G e r m a n s ) p r e f e r a b l y ex er cise
-°- “ M a s te r C hoir From the U . S . A . , ” D e r Tag, 7 O c to b e r 1962.
:0j R u d o l f Bauer, “T rium ph d e r G a s te ” (T rium phal G u e s ts ), B e rlin e r M orgenpost, 1

O ctober 1962.
135
c h o r a l s i n g i n g as a c o m m u n i t y p e r f o r m a n c e o f e n t h u s i a s t i c l a y m e n , ” the
S h a w C h o r a l e “ may be p l a c e d u n d e r th e laws o f p e r f e c t i o n . ” 204
Y ugoslavia
T h e C h o r a l e t ra veled from B e r l i n to B e l g r a d e , Y u g o s l a v i a on 6
O c t o b e r 1962. B e lg r a d e was, at the ti m e , the c a p i t a l o f Y u g o s l a v i a and
the s e a t o f S e r b ia . S haw and the C h o r a l e wer e i n v i t e d to a t t e n d a
r e c e p t i o n and r e h e a r s a l o f the B ran k o K r s m a n o v i c e C h o r u s on 7
October. Mr. D j o r d j e V uceti c, p r e s i d e n t o f the c h o r u s , p r e s e n t e d Mr.
S haw w i t h a g u s l e , a s tr in g e d S e r b ia n f o lk i n s t r u m e n t .
F i g u r e 9. T h e S h a w C h o r a l e is h o n o r e d at a r e c e p t i o n by the
B r a n k o K r s m a n o v i c e C h o r u s o f B e l g r a d e . S h a w p a p e r s . Us ed by
perm ission.
204 “ V irtu o s e r C horgesang” [V irtuoso C horal Singing], D er T a g e ssp ie g e l, 10 October

1962.
136
T h e s e c o n d n ig h t in B e l g r a d e . 8 O c t o b e r , the C h o r a l e p e r f o r m e d
at the Do m S y n d i k a t a ( T r a d e U n i o n Hall ). T h e p r o g ra m c o n s i s t e d o f
B a c h ' s J e s u m e i n e F r eu d e; B r i t t e n ' s A C e r e m o n y o f C a r o l s ; B a r b e r ' s A
Slop W atch a n d an O r d i n a n c e M a p ; S c h o e n b e r g ' s F r i e d e A u f E r d e n ;

D e b u s s y ' s T r o i s C h a n s o n ; R a v e l ’s " N i c o l e t t e . ” ‘‘T r o is b e a u x o i s e a u x du
P a r a d i s ” a n d " R o n d e ; ” L u k a s F o s s , S u i t e f r o m the P r a i r i e ; H i n d e m i t h .
Dr ei M a d r i g a l e au s S w o e l f M a d r i g a l e n ; a n d C h a r l e s Ives . H a r v e s t
Home C h o r a l e s . A m b a s s a d o r a nd Mrs. G e o r g e F. K e n n a n h e l d a
r e c e p tio n f o r th e C h o r a l e at the P r e ss Cl ub.
In S k o p l j e , the cap it a l o f the P e o p l e ’s R e p u b l i c o f M a c e d o n i a , the
C h o r a le p r e s e n t e d its " C l a s s i c a l ” p r o g r a m : th e 16th C e n t u r y r e p e r t o i r e .
J es u m e i n e F r e u d e , S c h u b e r t ' s M a s s in G . a n d F r ie d e A u f E r d e n , as
well as the D e b u s s y , R av el, a nd I v e s p i e c e s . T h e C h o r a l e p e r f o r m e d
the sam e p r o g r a m in S a r a je v o on 10 O c t o b e r . The fina l c o n c e r t in
Y u g s l a v ia t o o k p l a c e at the C r o a t i a n M u s ic I n s t i t u t e in Z a g r e b . A fter a
day off, th e C h o r a l e tra v e le d to M o s c o w on 13 O cto b er .
In w r i t i n g a b o u t the Y u g o s l a v i a c o n c e r t s , the S e r b o - C r o a t i a n
n e w s p a p e r , O s l o b o d j e n j e ( L i b e r a t i o n ) w r o t e , " t h e a p p e a r a n c e o f th e
Robe rt S h a w v o c a l - i n s t r u m e n t a l e n s e m b l e r e p r e s e n t e d a g r e a t a r t i s t i c
e v e n t . ” 205 T h e w r i t e r o f the r e v i e w w e n t on to say, “ The e n s e m b l e h a s a
noble to n e , n e v e r fo rc e d , but n e v e r the less a c h i e v e s m a r v e l o u s
d y n a m i c g r a d a t i o n s . All the b a s i c e l e m e n t s o f g r o u p m u s i c m a k i n g -
p r e c i s io n o f i n t o n a t i o n and r h y th m , d i c t i o n , b r e a t h c o n t r o l , d y n a m i c
c o n tr a sts w e r e a c c o m p l i s h e d w it h fin e s s e . . . ,,2°6
2°5 “ C ra fts m e n o f Choral S inging: Visit o f the R o b e rt Shaw C h o ra le ,” O slo b o d je n je

[Liberation], 15 O c to b e r 1962.
306 “C ra f ts m e n o f Choral S in g in g ,” 1962.
137
T h e C h o r a l e d e p a r t e d Y u g o s l a v i a at 9 : 3 0 a . m . on a c h a r t e r e d D C -
6 8 b ound for M o s c o w . In a letter d a t e d 26 O c t o b e r 1962. G e o r g e F.
Kee nan . A m b a s s a d o r to Y u g o s l a v i a , w rote to S h a w :
I c a n n o t b e g i n to tell yo u how d e e p w a s the

i m p r e s s i o n m a d e her e in Y u g o s l a v i a by the
a p p e a r a n c e o f t h e C h o r a l e . I d o u b t t h a t we h a v e e v e r
had a n y A m e r i c a n p r e s e n t a t i o n in t h i s c o u n t r y w h i c h
did m o r e to w i n the r e s p e c t an d a d m i r a t i o n f o r t h e
a c h i e v e m e n t s o f A m e r i c a n s in th e c u l t u r a l f i e l d . 207
Moscow
The C h o r a l e a r r i v e d in M o s c o w , its f ir s t R u s s i a n d e s t i n a t i o n , on
14 O c t o b e r 1962, l a r g e l y u n h e r a l d e d in the p r i n t m e d i a o r t e l e v i s i o n .
M ost o f th e a t t e n t i o n in t h e p r e ss had b een d i r e c t e d t o w a r d s t h e
s i m u l t a n e o u s a r r i v a l o f t h e N e w Y ork Ci ty B a l l e t and its d i r e c t o r ,
G e o r g e B a l a n c h i n e . T i m e m a g a z i n e w rote:
M o s c o w w a s r e e l i n g u n d e r the h e a v i e s t A m e r i c a n
c u l t u r a l o n s l a u g h t in its h i sto r y . W i t h i n th e s p a c e o f
o n ly a f e w w e e k s , bass J e r o m e H i n e s h a d l a u n c h e d a
R u s s i a n T o u r f r o m the s ta g e o f the B o l s h o i . I g o r
S t r a v i n s k y h a d r e t u r n e d h o m e to h i s H o m e l a n d , a n d
G e o r g e B a l a n c h i n e had a r r i v e d w i t h h i s N e w Y o r k
C i ty B a l l e t C o m p a n y . 208
Th e re was a l s o an e l e m e n t o f R u s s ia n p r i d e at w o r k w i t h r e s p e c t
to the a p p e a r a n c e o f t h e C h o r a l e . R u s s i a n s ar e j u s t i f i a b l y p r o u d o f
t h e i r own ric h c h o r a l h i s t o r y an d v ie w e d A m e r i c a n c u l t u r e w i t h s o m e
s k e p t i c i s m . N e w s w e e k w r o t e on 29 O c to b e r , “ R u s s i a n c u l t u r a l o f f i c i a l s ,
207 G eorge F. K e n n a n , le tte r to Robert Shaw, C le v e la n d , O H , 26 O c to b e r 1962.
208 “ The Spirit in M o s c o w ,” Tim e, 26 O ctober, 1962, 3 9 .
138
c o n s c i o u s o f th e ir o w n c o u n t r y ' s r e s p l e n d e n t t r a d i t i o n o f chor al m u s i c ,
d o u b t e d that S haw c o u l d b r i n g them a n y t h i n g n e w d u r i n g the p l a n n e d
s e v e n - w e e k tour o f th e 3 4 - v o i c e c h o i r . ” O ne s t o r y , in p a r t ic u la r , is
revealing. Upon a r r i v i n g a h e a d o f Shaw and th e C h o r a l e . W alter G o u l d
l e a r n e d t h at ther e was a p r o b l e m with the o p e n i n g p r o g r a m . The
R u s s i a n s felt that it w a s t o o s h o r t. Gould r e m e m b e r s t h a t he told the
R u s s i a n o f f i c i a l s f ro m G o s k o n c e r t not to w o r r y . T h e C h o r a l e w o u ld do
s e v e r a l e n c o r e s to fill o u t t h e tim e. One R u s s i a n o f f i c i a l look ed b ack a t
G o u l d a n d as ked , “ W h a t m a k e s you think o u r a u d i e n c e s will even wan t
o n e e n c o r e ? ” G o u l d w o u l d la t e r write to S h a w , “T h e N e w York T i m e s 209
f r o n t p a g e story and th e H e r a l d Tribu ne' s e d i t o r i a l c e r t a i n l y a n s w e r e d

th e R u s s i a n ' s q u e s t i o n a b o u t th e r eactio n o f th e a u d i e n c e . ” 210
A n o t h e r e x p l a n a t i o n f o r th e lack o f p r e s s c o v e r a g e was g i v e n by
R o b e r t G e r m a n , an A m e r i c a n E m b a s s y o f f i c i a l , w h o a c c o m p a n i e d the
C h o r a l e d u r in g m u c h o f t h e i r R u s s i a n visit. G e r m a n e x p l a i n e d that “ a
v i s i t i n g c h o r u s from t h e U n i t e d States w o u ld n o t b e t h e ty pe o f ev en t
th a t S o v i e t n e w s p a p e r s w o u l d w i d e l y p u b l i c i z e . ” In a d d i t i o n , e x p l a i n e d
G e r m a n , the S oviet p e o p l e w e r e e ag er for c o n t a c t w i t h A m e r i c a n s and
t h a t th e “ c u l tu ra l g r a p e v i n e ” u s u a ll y took car e o f p u b l i c i t y for t h e m . 211
W o r d o f a s u c c e s s f u l c o n c e r t w o u l d and i n d e e d , d i d , t r a v e l very
quickly.
209 Seym our Top pin g, “ S h a w C h o rale, in M oscow, Wins B i g g e s t Ovation Since
C l i b u r n 's , ” N ew York T im es, 15 O c to b e r 1962, I.
210 W alter Gould, N ew Y o rk , N Y , to Robert Shaw, A tlan ta, 30 A pril 1991 Atlanta:
P e rso n a l papers o f Robert S haw , A tlan ta.
211 Robert K. G e rm an , t e l e p h o n e interview by the au tho r, 2 4 J u ly 1999.
139
In his book. M u s i c a n d M u s i c a l Life in S o v i e t R u s s i a . Boris
S c h w a r z , w r o te. "The a r r i v a l o f A m e r i c a n c o n d u c t o r R o b e r t Shaw and
his c h o r a l g r o u p p r o v i d e d e x c i t e m e n t o f q uite a d i f f e r e n t na ture. The

R u s s i a n s ar e used to a m a s s i v e c h o r a l style, a nd the li m p i d , e x q u i s i t e l y
t r a n s p a r e n t s o u n d o f S h a w ' s c h o r u s was a r e v e l a t i o n . ” 212 In fact, the
r e s p o n s e o f the M u s c o v i t e s w as b o th u n e x p e c t e d and o v e r w h e l m i n g .
The f r o n t p a g e o f the N e w Y o r k Tim es on 15 O c t o b e r h e a d l i n e d " S h a w

C h o r a l e , in M o s c o w , W i n s B i g g e s t O v atio n S i n c e C l i b u r n ’s . ” 213
In the first M o s c o w c o n c e r t , held at the large hall o f the
C o n s e r v a t o r y , Shaw c o n d u c t e d a m i x e d c hor al p r o g r a m t h a t in c lu d e d
the 16th c e n t u r y m a s t e r p i e c e s , S c h u b e r t ’s M a ss in G. S c h o e n b e r g ' s
F r i e d e A u f E r d e n , A v s h a l o m o f f s Tom O ’Be dla m , D e b u s s y ' s Trois
C h a n s o n , and a s e le c t i o n ( " L a m e n t for B r o th er R o b b i n s ” ) from
G e r sh w in 's Porgy a n d Bess. At the c o n c l u s io n o f the first co n cer t, the

R u s s i a n a u d i e n c e c h e e r e d a nd c l a p p e d in a c a d e n c e d o v a t i o n g e n e r a ll y
r e s e r v e d for ar tists that h a v e d e e p l y i m p re s se d th e m . The a u d ie n c e

r e p e a t e d l y s u m m o n e d S h a w b a c k to the pod iu m and was tre a te d to four
e n c o r e s : the Negro s p i r i t u a l s , “ M y G od Is a R o c k , ” " S o m e t i m e s I Feel
Like a M o a n i n ’ D o v e , ” “ S o o n I Will Be D o n e , ” and “ Dry B o n e s . ” “ Dry

B o n e s ” w as s u c h a hit w ith its j a z z y piano a c c o m p a n i m e n t that the
C h o r a l e had to repeat it. B e f o r e the final M o s c o w p e r f o r m a n c e on 25
N o v e m b e r , S h a w was h a n d e d a h a n d w r i t te n n o te from a c h o r u s s tu d e n t
*u Boris Schwarz, M u sic a n d M u sica l L ife in S oviet R ussia: 1917-1970. (London:

Barrie & J e n k in s, 1972), 356.
213 S e y m o u r Topping, “ S haw C ho rale, In Moscow, Wins B iggest O vation Since

C lib u r n 's ,” N ew York Tim es, 15 O c to b e r 1962, 1.
140
-N rtD i i u r * VLnrtY.3 i m i h i m k r. rnrr? ----------------- \ w \ \ „ r. r
Shaw Chorale, in Moscow, W ins

Biggest Ovation Since C l i b a r n ’s
s H H II K ( I I IN R I s N I \ N I I II D i l l II II M II I f V < I
\ i ♦• I I 4> li .1 : ^<»ii || .i \ <-

• • \ 4‘ 4 <■ i I 1- 4 I . i l l * ►I 1 r ♦* X J * 4 4 I . K I I 4 » I I .
H r r.lift - Jiib n u r in I i .. !•.,.■ I I I I | I M l I VI I ‘ V I, I

i ii « > ■4. ii r i ii v r >i o s i «►w i.as r > k ■>
S l j t M et* Q o r k S i m u o c t o b e k is, j< * 6 2 PAGE 1

Sh aw Chorala, in M oscow, W ins
B ig g est O vation Since Cliburn*s
F i g u r e 10. T h e N e w Y o r k T i m e s h e a d l i n e o f O c t o b e r 15, 1 9 6 2 .
at the S c h o o l for L i b r a r y S c i e n c e s ( w h i c h he s a v e d for his s c r a p b o o k )

r e q u e s t i n g , in s o m e w h a t i m p e r f e c t y e t p h o n e t i c a l l y e f f e c t i v e E n g l i s h ,
tha t he. ‘" V e r y a s k you p e r f o r m N e g r o s p e r i c h u e l l s D e c a y b o n e / ’214 (See
F ig u re 11.)
:14 P e rs o n a l p a p e rs o f R obert S haw , A tlanta.
141
n tt !
'iM svy c u 4 , yen* fu svf& r* n ffayu >

Ifu n J U e J u tU stU m ^ ceoy 4 + n .e *
& + *l ty * u - f f U i4 k je - t
lb u & U * v t$ qJ l& m j A 4 ti& b L * n *
r f’ "iU ijb • f
F igu re I I . N o t e f r o m a stud en t from t h e I n s t i t u t e o f L i b r a r y

S c i e n c e r e q u e s t i n g t h a t the C h o r a l e p e r f o r m "Dry B o n e s . ” S h a w
pa per s. U s e d b y p e r m i s s i o n .
On 16 O c t o b e r 1962 the N e w Y ork H e r a l d Tribune w r o t e : “ The

cult ura l e x c h a n g e p r o g r a m b e t w e e n the U n i t e d S ta tes and th e S o v i e t
Un io n has o f f e r e d m o r e th an a few s u r p r i s e s in re c e n t y e a r s , b u t no n e
has been m o r e s t a r t l i n g th a n the r e c e p t i o n j u s t a c c o r d e d th e R o b e r t
Shaw C h o r a l e on its f ir s t a p p e a r a n c e in M o s c o w . . . . The r e a c t i o n o f
M o s c o w 's m u s i c l o v e r s ... ind ica te t h a t t h e g u l f b e t w e e n p e o p l e s m ay
not be as w i d e as is s o m e t i m e s a s s u m e d . ” 215 T h e r e v i e w e r w e n t on to
c o m m e n t t h a t it w a s “ g o o d ” that m u s i c c o n t i n u e s to p e r f o r m its
t r a d iti o n a l r o le o f i n t e r n a ti o n a l l a n g u a g e , “ e v e n in an age o f s t r i f e a n d
d i s s e n s i o n . ” 216
215 “T he N ig h t T h a t M osco w Listened,” N ew Y o rk H e ra ld T ribune, 16 O c to b e r 1962.
142
T he s e c o n d M o s c o w c o n c e r t, p e r f o r m e d in th e C h a i k o v s k y Hall
on M a y a k o v s k y S q u a r e , c o n s i s t e d o f the m i x e d c h o r a l w'orks: Bach.
Jesu m e i n e F r e u d e . t h r e e o f th e psalm s e t t i n g s from M o z a rt 's Ve sp er es

S o l e m n e s de C o n f e s s o r a e . S c h u b e r t ' s M a s s in G. F r e i d e A u f E r d e n .
Mystic T r u m p e t e r by N o r m a n d ella Jo io . R a v e l ' s T hre e C h a n s o n s and
the Three H a r v e s t H o m e C h o r a l e s by C h a r l e s I v e s . A c c o r d i n g to
re p o rte r s p r e s e n t for t h e c o n c e r t , the M o s c o w c o n c e r t g o e r s l iste n e d
inten tly to the S c h u b e r t M a s s in G, w h i c h c o n c l u d e d th e first h a l f o f the
pro g ram , a n d b r o k e i n to a s p o n ta n e o u s o v a t i o n at its c o n c l u s io n .
On 16 O c t o b e r , t h e S h a w C h o r a le p r e s e n t e d its th ird c o n c e r t in
M o sco w at th e lar ge h a ll o f th e M o s c o w C o n s e r v a t o r y . I n te r e s t i n g l y ,
the B m i n o r M a s s , w h i c h , a c c o r d i n g to R u s s i a n a c c o u n t s , had not b een
p e r f o r m e d in the S o v i e t U n i o n since the 1917 R e v o l u t i o n , was the first

o f S h a w ' s c o n c e r t s to b e a p p r o v e d . In fac t, t h e R u s s i a n s r e q u e s t e d the
work be p e r f o r m e d in p l a c e o f th e o th e r p r o g r a m s . Consequently,
instead o f p e r f o r m i n g th e M a s s ten tim e s as p l a n n e d , th e y p e r f o r m e d it
fo ur teen t i m e s . It w a s p o i g n a n t for the m e m b e r s o f the A m e r i c a n
em b a s sy s t a f f an d M o s c o w v e t e r a n r e p o r t e r s to see s o m e o f the o ld e r
Rus si ans , w h o w o u l d h a v e r e m e m b e r e d h e a r i n g th e B m i n o r M a s s
p e r f o r m e d in t h e i r c i ty , b e c o m i n g t e a r y - e y e d a t h e a r i n g the m a s t e r p i e c e
by Bach a g a in . N e w s w e e k w r o t e that S h a w C h o r a l e h a d a l r e a d y b e c o m e
a smas h hit w i t h its f i r s t tw o c o n c e r ts in M o s c o w . 217 N o w the C h o r a l e
would s c o r e its b i g g e s t hit w i th the R u s s i a n p o p u l a c e . T h e R u s s i a n s

held th e ir h i g h e s t p r a i s e for the B m i n o r M a s s p e r f o r m e d in th e large
216 “T h e N ight T hat M o sco w L istened ,” 1962.
217 “ S le ep er A w a k es,” N ew sw e ek, 29 O ctober 1962, 2.
143
hall o f the M o s c o w C o n s e r v a t o r y . The a u d i e n c e ' s tre m en do u s and
s p o n t a n e o u s res pon se at firs t c a u g h t Shaw “ o f f g u a r d , ”218 but he soon

r e c o v e r e d and a c k n o w l e d g e d th e bouquets and o v a t i o n s , j o in in g the
a u d i e n c e in “ ex uber an t a p p l a u s e , ” a R us sia n c u s t o m .
* c p n o* ynpM fliffW ** Po B o p ta llk y w apoM a o n y a ap c a y ceBo a a p a p n a a » it

np«A«a4Mn.
M ipT UJey. lo p o o o tl m c t ^ i a p m u p nnpmm*p. SMCTyaa* c o p a a c ip a u a
CUJA — N rn iM M p c n w . Scctomcuim ■ ipynw uL Mjooct* oct» oh n p a a B p o a • 1 U 1 roily,
te r p a c e i« M e « t f t r i i i i o o i i t o p , e ycn cio « ootcrynamoati a nwo-<ltpBC>tt« T*yw*soa»e.
B NcnonMetMM j t c r o s c p o a n e p aw e n p o ia y tiM aurora* n p e a e a e p e w e l i p f c p a , l i p r e t a ,
BpnrrcHa. Ko o m m m . B o c ta , riyaouao. n p e u iO M e m w e m p w t f p M , n n e “4*
C c p rc * Kyc*o B e o n e i p CroaoonaA. A prypo Tockmmum rtpwmoattow t a p « a a
tc n e n n e iu ii o p e re p M l a apynuw x u p iM M M npom oM Qemw. Mropy CrpooaueassB ncneafc*
sooan to p n p a n o c ro a o o a e t C t a p o t u acuu»o **.
A n a n o a a ro so p * . c e a p i w e a 1941 ropy, P« 6 ep r Uloy o ro tfp a n r p t p u r f c la p a a ia
e c p r o r e ia c M h u a p o B e c c a o a iR M M aooitoo. CeAaac t a p e p e a a p n f 11-4 c a i a a coooB
a«flpcpwo»oA A o a re a o ao c t* .
Xop ra c rp o a n p o a a n a a m m o *" crpaaai Eaponai a CpoA aoro l e a e u . w c r y e M a
J* ro p o p a s C e o c p a o * A»cp*nm . •ap « * « tS m ro p > epen an a Bone* e r a r p i i m i a e an H aepa
c nyaisM«ui A*pamep*Mj» a a p M c r p i a e CUJA.
B op a a ic ry aa a r a ce n p o ae a « « H m i M c ra a ra e ro c p x e c rp a a c o c ra o o 21 t e m M R , Km *
4m A n e a e u eopa a a p t o i i N r a s e p i c n p i ycnciuae acn erw acr a e e e u n M m p r a % a e u -
aaoiM o a r a t cao am o cm .
’ o B c p r Uioy p a a ia n a r a a r so p a a ««**« a « rpyrutaaue no r o M c a a , a a a aB atxna apa*
a a ro ; c a t a ea a i a e r B an s a co n p aao . roaopa a •narw , p oB aaaaca stu m e n e p a c e o r e say-
• u a a a m y a e a a a a a a a arecTctaeaaocT* u a m r e a o a aa a c ra. y so p a oBi— p a n * m a a ie p ac-
aota p c n e p ty a p . B n p o rp a a u a x t r o ■oauaproa aioftST ae cc w B a n . P aaaa c M M a«apra.
a p e a s a e p e a a a r a a p a a t B*tso*cm*, Bpaaca.
l a e i y n f t e m a s o p a boa y a p a a a oa a <M PoBcpra UJoy npoxaA sr c aoaaM cam ssa ycMsa**.
H pccca nocTOOMMO orM oaaor «watoj*t*«ae c aaaan a a AO aoau a a e c n r s r u M O O t
^®p« Ti &mc<|. arw A p a a a e c acaycCTto. ocrpyio M y w tM iN y o —cw paa i a a — ct w a Boa*
y n p e a ao « tummx K i o i a c n o m e a a o * |«M b«.ftop* TepanaA TpaBee*»|.
■Xcp fo B o p ra Uloy o c ra e rc a u m m m s y a u a a a s ro ro . «ro Bmao c o i a i m • aBitacra
t e p o a e r o n e a a a aa j e n r a * . A o arae ropM*. — »3L < iier «Maaaro A efiau 7p"B**«a-
F i g u r e 12. Rob er t S h a w C h o r a l e and O r c h e s t r a p e r f o r in the B

m i n o r M a s s in M o s c o w . S h a w papers. Us ed b y p e r m i s s i o n .
218 “ Sleeper A w akes,” N ew sw eek, 29 October 1962, 2.
144
B a c k g r o u n d f o r the B m i n o r M a s s P e r f o r m a n c e
A S o v i e t d e l e g a t i o n had firs t h e a r d t h e S h a w C h o r a l e r e h e a r s i n g
the B m in o r M a ss in N e w Y o r k an d h a d b e e n d e e p l y i m p r e s s e d . O n 28
A u g u s t 1962. s e v e r a l l e a d i n g n e w s p a p e r s in A m e r i c a had c a r r i e d the
a n n o u n c e m e n t that f o r th e first t im e in the S o v i e t - A m e r i c a n c u l t u r a l
e x c h a n g e p r o g r a m , a m a j o r r e l ig i o u s w o r k h a d b e e n s a n c t i o n e d for
performance. At t h i s p o i n t S h a w o n l y k n e w t h a t he w ould be
c o n d u c t i n g the B m i n o r M a s s . Soviet officials had approved none o f

the o t h e r r e p e r t o i r e . L a t e r , S haw w r o t e .
No A m e r i c a n c o n c e r t a g e n c y e v e r a s k e d us to t o u r the
U.S. w i t h B a c h ' s B m i n o r M a s s . T h e B e r l i n F e s t i v a l
al so d i d n o t r e q u e s t the B m i n o r M a s s . th o u g h it was
on th e p r e p a r e d r e p e r t o r y list. O n l y t h e S o v i e t U n i o n
t h r o u g h it s s t a t e m o n o p o l y c o n c e r t b u r e a u - in a sta te
w h e r e c h u r c h e s ar e c o n v e r t e d o c c a s i o n a l l y at leas t, to
m u s e u m s o f a n t i - r e l i g i o u s p r o p a g a n d a , tra ct a n d art
( p o s t e r s o f J e s u s o f f e r i n g b r e a d - c o m m u n i o n w a f e r s to
s t a r v i n g c h i l d r e n , from w h i c h d r i p th e letters,
' p o i s o n , ' ) o n l y this p e o p l e an d its g o v e r n m e n t c o n c e r t
m an ag em en t requested that isolate tow ering edifice o f
r e l i g i o u s m u s i c s y m b o l i s m , the B m i n o r M a s s . 219
In t h e same s p e e c h , S h a w r e f e r r e d to th e S o v i e t M i n i s t e r o f C u l t u r e ' s
c o m m e n t s f o l l o w i n g t h e f i r s t n ig ht c o n c e r t o f th e s a c r e d c h o r a l m u s i c .
T h e S oviet o f f i c i a l s a i d , “ Y o u see, w e m a y n o t h o n o r the l e t t e r o f
r e l i g i o u s law, but we a r e n o t u n i m m u n e to its s p i r i t . ” 220
219 Robert Shaw, “‘S e r m o n ” 1963.
220 Robert Shaw, 1963.
145
In an in te rv ie w p u b l i s h e d in B r a v o . S h a w d i s c u s s e d the S o v i e t
r e s p o n s e to sacred m u s ic : “ I d o n ' t thin k it is n e c e s s a r y to equate
s p i r i t u a l i t y with e c c l e s i a s t i c i s m o r t h e o lo g y . R u s s i a n s to d ay still h ave
a s p i r i t u a l insight into th e m u s i c . The o p p o s i t i o n to r e l i g i o u s m u s i c is
a s ta t e p o l i c y not a h u m a n q u a l i t y . ” 221 A. M e d v e d e v , c r i ti c for the
Soviet jo u rn a l. M uzikalnaya Zhizn (M usical Life) wrote:
In the O c t o b e r 16 c o n c e r t the B a c h B m i n o r Mas s was

p e r fo r m e d . M u s c o v i t e s , a lr e a d y c a p t i v a t e d by the
a r tis tr y o f the t a l e n t e d e n s e m b le , w e r e a w a i t i n g the
p e r f o r m a n c e o f t h i s m a s t e r p i e c e o f c h o r a l m u s ic with
special i n t e r e s t . A n d t h e y wer e n ot m i s t a k e n . The
inspired p e r f o r m a n c e o f the M a s s b e c a m e an event in
the m u sic a l l i f e o f the S o v iet c a p i t a l . In w h a t lies the
i m m o r ta lity a n d e t e r n a l bea uty o f B a c h ' s m u s i c ? Why
does it so e x c i t e , p l e a s e and m o v e p e o p l e at all tim es,
in c lu d in g us, t h e p e o p l e o f the m i d d l e o f the 20th
ce ntury? P r o b a b l y , e v e r y g e n e r a t i o n h a s g i v e n and
gives its o w n a n s w e r to th ese q u e s t i o n s . T h e sp ir itual
life o f m o d e r n m a n is i n fin it e ly c o m p l i c a t e d . His
thinking, m e m o r y a n d a e s th e t ic f e e l i n g a r e c o n s ta n tl y
d e v e lo p in g . B u t still the h u m a n p r i n c i p l e s t h a t are
c h a r a c t e r is t i c o f m a n w e r e and r e m a i n i m m u t a b l e . 222
T h e S h a w C h o r a l e ' s n e x t s t o p was M in s k , c a p i t a l c ity o f B e l a r u s

and the w e s t e r n m o s t s to p o n t h e tour. T h e y a r r i v e d in M in s k by tr a in
on 17 O c t o b e r and s a n g t w o c o n c e r t s o f the B m i n o r M a s s that w ere
r e c e i v e d w it h t r e m e n d o u s r e s p o n s e ( a l t h o u g h , as w i t h the other U S S R
a p p e a r a n c e s , there w e r e no o f f i c i a l pr in t r e v i e w s u n t i l m u c h later.)
“ S po tlight,” B ravo II: 4 (1 9 6 2 ) : 22.
“ A. Medvedev, “ In s p ira tio n A nd S k ill,” M u zika ln a ya Z h izn [M usical Life],

N o v e m b e r 1962, 18-19.
146
The C u b a n M is s il e C r isis
On 20 O ctober, the C h o r a l e tr a v e l e d by tra in to L e n i n g r a d .

D u r i n g the trip, no o ne had a n y idea th a t e v en ts h a p p e n i n g on the island
o f C u b a , h a l f a world aw ay , w o u l d b r in g the S o v ie t U n i o n a n d the U.S.
c l o s e to a r m e d c o n f lic t. On t h e m o r n i n g o f 14 O c t o b e r 1 9 6 2 . a CIA
s u r v e i l l a n c e U-2 a i r c r a f t p h o t o g r a p h e d i n d i s p u t a b l e e v i d e n c e o f Sov iet
m i s s i l e l a u n c h i n g s ites in the w e s t e r n part o f C u b a . A d d i t i o n a l flights
the f o l l o w i n g day c o n f i r m e d s e v e r a l m o re sites. M c G e o r g e B u n d y ,
s p e c i a l a d v i s o r to P r e s i d e n t K e n n e d y , notifi ed K e n n e d y o f t h e i r
e x i s t e n c e on the m o r n i n g o f 16 O c t o b e r . The S h a w C h o r a l e was j u s t
w i n d i n g up its first s e r i e s o f c o n c e r t s in M o sc o w . In th e d a y s that
f o l l o w e d , t e n s e n e g o t i a t i o n s , b o t h w i t h i n the K e n n e d y a d m i n i s t r a t i o n ,
w h e r e a d v i s o r s w r a n g l e d o v e r w h a t the best US r e s p o n s e s h o u l d be, and
b e t w e e n the two w o r ld s u p e r p o w e r s , p layed out to a l a r g e l y
u n s u s p e c t i n g world.
T h e n on 22 O c t o b e r P r e s i d e n t K e n n e d y d e l i v e r e d t h e a d d r e s s ,
b r o a d c a s t a r o u n d the free w o r l d , t h a t the A m e r i c a n g o v e r n m e n t had
h ar d e v i d e n c e that the S o v ie t U n i o n w as b u i ld i n g o f f e n s i v e m i s s i l e and
b o m b e r b a s e s in C u b a, and t h a t he w a s i m m e d i a t e l y i n s t i t u t i n g a naval
and a i r “ q u a r a n t i n e ” a g a in s t s h i p m e n t s o f m il ita r y e q u i p m e n t to Cuba.
T he P r e s i d e n t put the m i l i t a r y o n hig h alert, b e e f i n g up th e f o r c e s at
G u a n t a n a m o Naval B a s e and e v a c u a t i n g d e p e n d e n t s o f p e r s o n n e l living
at th e b a s e . K h r u s h c h e v fired b a c k an angr y r e s p o n s e to P r e s i d e n t
K e n n e d y s a y i n g that the S o v i e t U n i o n would not r e s p o n d to t h r e a t s and
ultim atum s. K e n n e d y told B r i t i s h A m b a s s a d o r D a v i d O r m s b y - G o r e that

he w a s c o n s i d e r i n g tw o a c t i o n s : an air strik e a g a i n s t C u b a to d e s t r o y
the s i t e s , o r the i n s ti tu ti o n o f a b l o c k a d e to p r e v e n t S o v i e t s h i p s from
147
r e a c h i n g the i s l a n d . O r m s b y - G o r e s u g g e s t e d that th e d i s t a n c e at w h i c h
S o v i e t s h ip s w e r e to be i n t e r c e p t e d be r e d u c e d from the o r i g i n a l 8 0 0
miles to 500 m i l e s . Thi s w o u ld a l l o w th e S o v i e t g o v e r n m e n t m o r e t i m e
to o r d e r its s h i p s b a c k . He al so u r g e d r e s t r a i n t on th e p a r t o f t h e US
and th a t K e n n e d y s h o w the p h o t o g r a p h s a s p r o o f to D e G a u l l e a n d to the
G e r m a n s and t h e B r i t i s h . E v e n t h o u g h t h e S o v ie t g o v e r n m e n t h a d
j a m m e d the B r i t i s h B r o a d c a s t i n g C o m p a n y ’s t r a n s m i s s i o n s , t h e n e w s
somehow' r e a c h e d the U S S R via r a d i o o n t h e d ay o f th e f ir s t c o n c e r t in
L e n in g r a d , 23 O c t o b e r .
U p o n t h e i r a r r i v a l in L e n i n g r a d o n 22 O c to b e r , B ill M o r g a n , an
e m i s s a r y fro m t h e A m e r i c a n E m b a s s y in M o s c o w m et the S h a w g r o u p
with the n e w s t h a t the C u ban c r i s i s h a d j u s t b e e n a n n o u n c e d in R u s s i a
and that th e r e c o u l d be d e m o n s t r a t i o n s a i m e d at the A m e r i c a n s as a
result. S h a w w o u l d late r tell his f e l l o w C l e v e l a n d p a r i s h i o n e r s t h a t it

was a " g r i m m o m e n t . ” 22j S e v e r a l h u n d r e d p e o p l e g a t h e r e d o u t s i d e th e
A m e r i c a n e m b a s s y s h o u t i n g " H a n d s o f f C u b a . ” The re w as s o m e
p a i n tin g on the o u t s i d e walls o f the e m b a s s y , but it w as a m o s t l y
peaceful d em o n stratio n .
S h a w w a s in his hotel r o o m p r e p a r i n g f o r a five o ' c l o c k r e h e a r s a l

in the hall w h e n , at 4 : 3 0 p.m., an e m b a s s y o f f i c i a l c a l l e d to i n f o r m him
o f P r e s i d e n t K e n n e d y ' s ac tions, a nd to w a r n h im that t h e r e c o u l d be
d e m o n s t r a t i o n s " e i t h e r inside or o u t s i d e t h e h a l l . ”224 H o w e v e r , t h e
R u s s i a n s a p p e a r e d u n c o n c e r n e d a n d t h e c o n c e r t went o f f w i t h o u t
in cid en t. As S h a w l a t e r r e p o r t e d to t h e A m e r i c a n p r ess , th e r e s p o n s e o f
2X5 R obert S h a w , “S erm o n ,” 1963.
“ 4 Shaw , 1963.
148
the R u s s i a n p e o p l e w a s “ n o t h i n g . ” It is p o s s i b l e , as som e h av e
s u g g e s t e d , that the S o v i e t p e o p l e w er e s i m p l y n o t as awar e o f the
s i t u a t i o n as were the A m e r i c a n s , s in ce c e n s o r s h i p o f p o l iti c a l n e w s w a s
w i d e l y app li ed in the S o v i e t Union. “ A b s o l u t e l y n o t h i n g h a p p e n e d , o f
c o u r s e . ” 226
t, rrsr
95
m
W lT il
F i g u r e 13. T he C h o r a l e p e r f o r m s in L e n i n g r a d d u r i n g C u b an
M i s s i l e Cris is. F iles o f A n n e W o o d w a r d . U s e d by p e r m i s s io n .
A f t e r the in it ia l s h o c k w o r e off, the c h o i r fe lt m o r e and m o r e at

e a s e w i t h each p a s s i n g d a y t h a t there was g o i n g to be n o th in g in the
w a y o f r e p ris a ls d i r e c t e d at t h e m . In fact, r e m e m b e r s R o b e r t G e r m a n ,
225 H.L. Samford, “ R u s sia n R eaction To C uban C risis N o t V isible, Shaw Says On
R eturn To States,” The C le v e la n d Sun, 13 Decem ber 1962, sec. 2.
226 Shaw, “S erm an ” 1963.
149
" t h e S h a w C h o r a le s e e m e d to h a v e a c a l m i n g e f f e c t o n th e Soviet
■>17
c i t i z e n s . " " The f e e l i n g a m o n g th e Soviet c i t i z e n r y w a s th a t if an
A m e r i c a n ch oir was p e r f o r m i n g in the U S S R and r e c e i v i n g so m uch
p o s i t i v e atte n tio n , t hen n o t h i n g b ad was g o i n g to h a p p e n . C h a r lo tt e

K r e h b i e l . Shaw C h o r a l e v e t e r a n a nd wife o f C l a y t o n K r e h b i e l who was
on the tour. said. " W e w e r e m o r e w o r rie d a b o u t o u r s a f e t y over here
t han t h e i r s over t h e r e . ” "
In one h u m o r o u s a n e c d o t e , Shaw r e l a te d to h is c o n g r e g a t i o n in
C l e v e l a n d that one o f th e y o u n g e m b a s s y e m p l o y e e s d e c i d e d that he
s h o u ld mo ve his car o n t o t h e e m b a s s y g r o u n d s to k e e p it from b e i n g
d a m a g e d by the d e m o n s t r a t o r s , w h o w er e p a i n t i n g o n t h e walls o f the
e m b a s s y and r a t h e r p e r f u n c t o r i l y c h a n tin g v a r i o u s s l o g a n s . As S h a w
r e l a t e d in his s erm o n .
It was a larg e A m e r i c a n car, and as th e c r o w d m ille d

ar o u n d him he g o t into his car and s t a r t e d to d r iv e
away , r o l l i n g d o w n t h e w i n d o w as if f r o m h a b i t . A
be a r d e d m a n a p p r o a c h e d his car and he r e a l i z e d that
his a c t i o n s m i g h t h a v e put h i m s e l f in d a n g e r .
S u d d e n ly , the R u s s i a n man t h r u s t his h a n d in the
w i n d o w , a n d s a i d , “ H e y M ack, w h a t d o e s th i s c a r cost
in the S t a t e s ? ”
R o b e r t G er m an r e l a t e d th e s a m e story, fillin g in s o m e o f th e details.
On S a t u r d a y 2 7 O c t o b e r I had g o n e o u t to a b o o k s to r e
and w h en I r e t u r n e d I c o u ld n 't get into t h e e m b a s s y
co m p o u n d . I w a s d i v e r t e d ar o u n d to S p a s s o H ous e.
The str eet w a s j a m m e d with p e o p l e c h a n t i n g and
c a r r y in g s ig n s . A y o u n g e m b a s s y e m p l o y e e . Bill
Watts, o w n e d a M e r c e d e s Benz th at w a s p a r k e d
Robert K. G erm an, t e l e p h o n e interview by the author, 24 J u ly 1999.
“ * Charlotte K rehbiel, p e r s o n a l interview by the author, T a lla h a s s e e , FL, 3 March

1998.
150
outs ide the e m b a s s y . W a t t s and f e l lo w e m p l o y e e s
were w a t c h i n g the e v e n t s unfold from t h e e i g h t h floor
o f the e m b a s s y w h e n W a t t s s u d d e n ly r e a l i z e d t h a t his
car was in h a r m 's w'av. H is c o w o r k e r s t r i e d to
d is s u ad e him from g o i n g outsi de, but he m a n a g e d to
wor k his way d o w n to t h e street and g o t h i s c a r
an yw ay . My car . a M e r c u r y C o m e t , h a d s o m e red
paint on it. but w a s o t h e r w i s e u n d a m a g e d . 229
A n o t h e r h u m o r o u s s t o r y f r o m th e R u s s i a n t o u r , r e p o r t e d to this
w r i t e r by Robert G e r m a n , i n v o l v e d t h e pos te rs t h a t a n n o u n c e d the
c o n c e r t s o f the R o b e r t S h a w C h o r a l e . (See F i g u r e 1 4.) O n e s uch p o s te r
a p p e a r e d on a c r o w d e d wal l in K i e v a l o n g with m a n y o t h e r
announcem ents. As it r e a d in C y r i l l i c , it was i n d e c i p h e r a b l e to most o f

th e s i n g e r s . I n te r p r e t i n g p h o n e t i c a l l y and t r a n s l i t e r a t i n g t h e poste r
b a c k in to En glish ( “ or as c l o s e a n a p p r o x i m a t i o n o f E n g l i s h as they
c o u l d ”w r o t e G e r m a n ) s o m e o f t h e s in g e r s b e g a n j o k i n g l y r e f e r r in g to
S h a w as “ P o b e p ta W o y . ” 230 T h e r e w a s no r e c o l l e c t i o n a m o n g C horale
m e m b e r s i n t e r v i e w e d for th is s t u d y a s to w h e t h e r S h a w w a s aw ar e o f
th is “j o k e . ”
In any case, h u m o r o u s m o m e n t s o c c u r re d e v e n in th e m i d s t o f
s u c h o b v i o u s l y tense s i t u a t i o n s . T o u r m e m b e r s r e c o u n t e d s to r i e s o f
“ b u g g e d ” rooms and m y s t e r i o u s p h o n e calls late at n i g h t . To a llev iate
s o m e o f the stress and to m a k e l i g h t o f the s i t u a t i o n , s i n g e r s bega n
w h i s p e r i n g their c o n v e r s a t i o n s i n to l a m p s h a d e s an d o t h e r r o o m fixtures.
“ 9 Robert K. G erm an, te le p h o n e in te rv ie w by the author, 24 J u l y 1999.
230 German, 1999.
151
m—i p m tif
XOP TI BPHfiCTP
. - w i m n 'f •
, c mMJL^muMmrn^s ■
,
n t P t i l l \ AM V TL
ll
F i g u r e 14. P osted a n n o u n c e m e n t in C y r i l l i c o f t h e C h o r a l e ' s c o n c e r t
in K i e v . S h a w P a p e r s . U s e d by P e r m i s s i o n .
T h e L e n i n g r a d a u d i e n c e s w e r e i n c r e d i b ly r e s p o n s i v e and g e n e r o u s
to th e C h o r a l e . S haw l a t e r s a i d t h a t p eople s t o o d a ll n i g h t for the
o p p o r t u n i t y to get a c o u p o n so t h e y cou ld s t a n d in a n o t h e r line the day
o f the c o n c e r t for s t a n d i n g r o o m o n l y tic k e ts. T h e S h a w Chora le
p e r f o r m e d f o u r c o n c e r t s in L e n i n g r a d , s t a r t i n g w i t h t h e m ix e d ch oral
program . O n c e aga in th e c a d e n c e d a p p l a u s e o f th e a u d i e n c e s how ed the
R u s s i a n s ' a p p r e c i a t i o n o f th e S h a w C h o r a le . M. B y a l i k , in the V e c h e rn i
L e n i n g r a d w r o t e , “t h e r e w a s no s h o w i n g o f f ” in S h a w ' s c o n d u c t i n g
s ty le , w h i c h was “c o r r e c t a n d p r e c i s e . . . M u s ic d o m i n a t e s a l l . ”2'’1 The
s e c o n d c o n c e r t in L e n i n g r a d c o n s i s t e d o f t h e B m i n o r M a s s . On 26
“jl M. Byalik. “Art S erves the C o u rs e o f Bringing P eople T o g e t h e r , ” Vercherni

L e n in g ra d . 25 O c to b e r 1962.
152
O c t o b e r , t h e C h o r a l e p e r f o r m e d in L e n i n g r a d . On 27 O c t o b e r , the Shaw
g r o u p t o o k a t r a i n to Kiev in the U k r a i n e . T h e re t hey g a v e t h r e e
c o n c e r t s f r o m 28 th r o u g h 30 O c t o b e r . A f t e r the final c o n c e r t in K iev
K h r u s c h e v ' s s o n - i n - l a w . A le k s e i A d z h u b e i . whom S h a w l a t e r
m i s t a k e n l y i d e n t i f i e d as b e in g h e a d o f th e K iev O p e r a , g r e e t e d t h e m . 232
233
In t h e c i t y o f L'vov. in the w e s t e r n m o s t p r o v i n c e , the S o v i e t

R e p u b l i c o f U k r a i n e , they p e r f o r m e d t w o m e m o r a b l e c o n c e r t s . B y the
tim e o f the S h a w C h o r a l e ' s a r riv a l in L ' v o v , word had s p r e a d a m o n g the
S o v ie t c i t i z e n r y a b o u t the t r e m e n d o u s r e s p o n s e the C h o r a l e w a s
r e c e i v i n g in e a c h o f its s to p s . B e f o r e t h e s e c o n d c o n c e r t , h u n d r e d s
more p e o p l e g a t h e r e d o u t s i d e t han c o u l d fit into the s y m p h o n y hall. In

spite o f h e a v y p o l i c e s e c u r it y , c r o w d s b r o k e do w n th e b a r r i c a d e s and
rush ed f o r w a r d , p u s h in g t h o s e w h o h a d b e e n s ta n d in g o u t s i d e into the

hall. S h a w l a t e r s a id that n e a r riot c o n d i t i o n s broke ou t b e f o r e o r d e r
could be r e s t o r e d .
F r o m L ' v o v , the C h o r a l e t r a v e l e d s o u t h e a s t by tr a in to
C h e r n o v t s y , o n t h e R o m a n i a n b o r d e r , w h e r e they g a v e tw o c o n c e r t s on
3 and 4 N o v e m b e r . On 5 N o v e m b e r , t h e S h a w C h o r a l e t r a v e l e d by train
to K i s h i n e v w h e r e th e y g a v e one c o n c e r t o n l y before h e a d i n g by tra in to
O d e s s a th e s a m e n i g h t . At the c o n c e r t in K i s h in e v , th e M o l d a v i a n
D a n c e r s t r e a t e d t h e C h o r a le to a p e r f o r m a n c e o f R u s s i a n f o lk d a n c e s .
232 R o b e rt S h a w , “ S erm an,” 1963.
233 It is lik e ly th a t Shaw m isu nderstood w h a t w as said through an in terp re ter, and
that A d zh ubei w a s at the concert as a courtesy. B o ris S chw arz, in his book M u sic a n d
M usical L ife in S o v ie t R ussia, indicates that K h ru s c h e v was often re p resen te d by his son-in-
law at im p o rta n t m u s ic a l functions. This w ould s e e m to support the fact that he was,
indeed, at the c o n c e r t . However, Adzhubei was o ff ic ia lly e d ito r-in -c h ie f o f Izv e s tiy a , and
not officially a s s o c ia te d with the Kiev Opera.
153
On 10. 11. a nd 12 N o v e m b e r they gave t h r e e c o n c e r t s in Odessa.
A c c o r d i n g to the B l a c k S e a C o m m u n e , ljA r e p r e s e n t a t i v e s from the lo ca l

theatr e and the O b l a s t P h i l h a r m o n i a g r e e t e d t h e C h o r a l e upon their
arrival. The f ir s t c o n c e r t was p e r f o r m e d in th e G r e a t Hall o f the O b l a s t
P h i l h a r m o n i a . a n d a n o t h e r was p e r f o r m e d in t h e h all o f the O d e s s a
P h i l h a r m o n i a on 1 1 N o v e m b e r a c c o r d i n g to th e O d e s s a B anne r o f
C o m m u n i s m . 135 On 13 N o v e m b e r , th e y f le w to S i m f e r o p o l on the
C r im ean p e n i n s u l a l a n d i n g in a fog so d e n s e t h e p i l o t had to be o r d e r e d
to land by t h e i r S o v i e t g u i d e . F eodor P e t r o v . F r o m S im fe r o p o l th e y
travel ed by bus to Y a l t a for two c o n c e r t s on t h e 14th a nd 15th.
U n d e r m o s t c i r c u m s t a n c e s , g r o u p s t o u r i n g for the State
D e p a r t m e n t w o u l d be a s k e d by A m e r i c a n o f f i c i a l s to visi t some o f the
p r o v in c ia l c e n t e r s o t h e r th a n the m a jo r c e n t e r s o f M o s c o w , Kiev and
L e n in g r a d . T h i s w a s d o n e , a c c o r d i n g to R o b e r t G e r m a n , to “a ll o w a
few m o re S o v i e t s to c a t c h a g li m pse o f real li v e A m e r i c a n s and r e a l i z e

they did not h a v e h o r n s . ' ,2j6 The S o v iet o f f i c i a l s at G o s k o n c e r t
r eq u este d th a t the S h a w C h o r a l e give tw o a d d i t i o n a l co ncerts in

M osc ow d u r i n g its f in a l w e e k in M o s c o w . In o r d e r to a c c o m m o d a te th e
R ussi ans' r e q u e s t , tw o c o n c e r t s would n e e d to be d r o p p e d from the
itinerary. I n s t e a d o f g i v i n g two c o n c e r t s in S i m f e r o p o l on 18 and 19
N o v e m b e r as p l a n n e d , the g r o u p flew b ack to M o s c o w on 16 O c t o b e r

f o ll o w in g the t w o c o n c e r t s in Yalta. The t w o e x t r a c o n c e r ts wer e
sch ed u led for 18 a nd 19 N o v e m b e r . On S u n d a y , 18 N o v e m b e r the
334 “ R obert S haw E n s e m b le in O dessa,” B la ck S e a C o m m u n e, 11 N ovember 1962.
_3S “ C o ncerts o f A m e ric a n A rtists,” B anner o f C o m m u n ism , O d e ssa 11 N o vem ber

1962.
336 R obert K. G e rm a n , U npublished M em oirs, 1999.
154
C h o r a l e p e r f o r m e d the B m i n o r M a s s in T c h a i k o v s k y H a l l at 4:00 p.m.
The follow ing evening the C horale performed p r o g ra m num ber " tw o .”
this t im e in the lar ge hall o f th e M o s c o w C o n s e r v a t o r y at 7:00 p.m.
B e c a u s e o f the T h a n k s g i v i n g week h o l i d a y s , t h e r e w e r e no
c o n c e r t s o n 20. 21. o r 22 N o v e m b e r . On 21 N o v e m b e r , a r e c e p tio n was
g i v e n at S p a s o H ous e, the h o m e o f A m b a s s a d o r K o h l e r a n d his wife.
T h e C h o r a l e was al so e x t e n d e d an op en i n v i t a t i o n to v i s i t the
" A m e r i c a n H o u s e . ” a p r i v a t e c l u b o r g a n i z e d by A m e r i c a n s in M o s c o w
to w a t c h A m e r i c a n m o v i e s o r " o t h e r f orm s o f e n t e r t a i n m e n t . ” For
T h a n k s g i v i n g , the m e m b e r s o f t h e tro u p e w e r e i n v i t e d to various s t a f f
m e m b e r s ' h o m e s for d i n n e r . M e m b e r s o f the C h o r a l e r e m e m b e r e d this

" b r e a k ” a n d the o p p o r t u n i t y to c e l e b r a t e T h a n k s g i v i n g as a h ig h lig h t o f
the to u r. A r r a n g e m e n t s w e r e a l s o m ad e f o r bo th P r o t e s t a n t and
C a t h o l i c s e r v i c e s for th e m e m b e r s who w i s h e d to a t t e n d c h u r c h on
e i t h e r T h u r s d a y or S u n d a y .
O n F r i d a y 23 N o v e m b e r , t h e y p e r f o r m e d p r o g r a m n u m b e r " t w o ”
in S c h o l a r s ' Hou se ( D o m U c h e n y k h ) at 16 K r o p o t k i n s k i S t r e e t in
Moscow. S a tu r d a y . 24 N o v e m b e r th ey t o o k a s h o r t t r a i n ride to
R y a z a n f o r a p e r f o r m a n c e o f t h e B m i n o r M a s s . O n S u n d a y , 25
N o v e m b e r , they p e r f o r m e d th e c l a s s i c a l p r o g r a m " o n e ” , w h i c h in c l u d e d
the 16th C e n t u r y w o r k s , th e S c h u b e r t M a s s in G , S c h o e n b e r g ' s Fr eid e
A u f E r d e n a nd A v s h a l o m o f f ' s T o m O 'B e d l a m . T h e S h a w t o u r o f the
S o v i e t U n i o n end ed w it h t w o p e r f o r m a n c e s o f the B m i n o r M ass in the

lar ge h a l l o f the M o s c o w C o n s e r v a t o r y .
F o l l o w i n g the last c o n c e r t o f the tour, m e m b e r s o f t h e Choral e

w er e i n v i t e d to an a p a r t m e n t in M o s c o w o f p a i n t e r s , s c u l p t o r s , w r i te rs ,
and a r t is t s for a f a r e w e l l p a r t y . S h a w r e c a l le d t h a t w i t h i n th e walls o f
155
the t in y a p a r t m e n t were ‘'s c o r e s o f c o n t e m p o r a r y , a b s t r a c t p a i n t i n g s . " 2jl
S o m e o f t h e p a i n t i n g s had b e e n p a i n t e d in the d a y s s i n c e th e C h o r a le
fir st a r r i v e d a n d were to be g i f t s o f g r a t i t u d e to S h a w a n d the C h orale.
T h e R u s s i a n a r t i s t s gave S h a w f i v e p a i n t i n g s o f C h r i s t i a n i c o n s , m ostly
i m a g e s o f M a r y an d J es us . T h e s e p a i n t i n g s had to be t a k e n o u t o f the
c o untry by circu ito u s means. T h e y c o u l d not be s h i p p e d d i r e c t l y for
fe a r o f e n d a n g e r i n g the lives o f t h e a r t i s t s (si nce t h e r e w a s a s trict,
t h o u g h u n o f f i c i a l , c o n d e m n a t i o n o f a n y a b s tr a c t w o r k s o f a r t . ) As
r e g a r d s t h a t e v e n i n g , R o b e r t G e r m a n w r o te :
M o s t l y I r e m e m b e r h o w d e l i g h t e d the y o u n g p e o p l e
w e r e tha t S h a w h a d c o m e , ho w ty p i c a l l y c r o w d e d the
a p a r t m e n t was , a n d h o w m a n y p a in t in g s t h e r e w e r e ,
s o m e o f them q u i t e l a r g e an d some r a t h e r g o o d . M o s t
s u r p r i s i n g to me w a s t h a t s e v e ra l o f t h e s e y o u n g
a r t i s t s were p a i n t i n g r e l i g i o u s t h e m e s - c r u c i f i x e s .
M a d o n n a s , and p a i n t i n g s in the style o f a n c i e n t
R u s s i a n icons.
N o n e o f the p a i n t i n g s c o u l d have b ee n e x p o r t e d
l e g a l l y , but as we l e f t t h e a p a r t m e n t l a d e n w i t h g if ts I
a s s u r e d Shaw, w h o w a s l e a v i n g the f o l l o w i n g d a y ,
t h a t we w ou ld f i g u r e o u t a w ay to ge t t h e m t o him
e v e n t u a l l y . 238
R e l a t i n g th e m a n n e r in w h i c h th e art wor ks w e r e g o t t e n out o f

Russia. G e r m a n continued:
A m b a s s a d o r K o h l e r w e n t b a c k to W a s h i n g t o n f o r
c o n s u l t a t i o n in D e c e m b e r . W h e n e v e r th e A m e r i c a n
A m b a s s a d o r p e r s o n a l l y w a s le av ing th e c o u n t r y , the
S o v i e t s p e r m i t t e d a U . S . A i r Force p l a n e to f ly in for
h i m ( a f t e r s t o p p i n g in C o p e n h a g e n to p i c k u p a S o v ie t
p i l o t an d n a v i g a t o r ) . T h e p a in tin g s , w h i c h w e r e too
l a r g e to send o u t as d i p l o m a t i c mail, w e r e p u t a b o a r d
237 R o b e r t S haw , “ S erm an,” 1963.
231 R o b e rt K. G erm an, U n p u b lish ed M e m o irs, 1999.
156
t h e p l a n e as the A m b a s s a d o r ' s a c c o m p a n i e d l u g g a g e
a s far as F r a n k f o r t an d t h e n s h i p p e d on by
c o m m e r c i a l m ea ns from t h e r e . 2_>9
C o m m e n t a r y o n the M usic
S o v i e t a r t i s t s w ho co m e to th e U . S . ar e rar ely a d v e n t u r o u s in
their c h o i c e s o f m u s i c . L ik e w is e , A m e r i c a n p e r f o r m e r s u s u a l l y p l a y it
safe w it h r e g a r d to r e p e rto ir e . S h a w m u s t h a v e r a i s e d a few e y e b r o w s
when he a n n o u n c e d th at the C h o r a l e w o u l d p e r fo r m F r ie d e A u f E r d e n .
A r n o ld S c h o e n b e r g ' s mu sic had b e e n f o r b i d d e n by the S o v i e t M i n i s t r y
of C u l t u r e f o r s o m e tim e. Th e s a v i n g g r a c e , o f c o u r s e , was t h a t the
work had b e e n w r i t t e n prior to his d o d e c a p h o n i c p e r io d in 1906 an d

1907. and t h u s w o u l d have not p o s e d too m u c h o f a th re a t. In w r i t i n g
ab ou t the p e r f o r m a n c e s o f the S c h o e n b e r g , M e d v e d e v noted t h a t
S c h o e n b e r g h a d w r i t t e n F r ied e A u f E r d e n b e f o r e s e tt in g o f f " o n th e
d u b io u s r o a d o f a t o n a l e x p e r i m e n t s . " M ed v ed ev appreciated the Ravel
piec es , e s p e c i a l l y " T h r e e B i r d s , " w i t h its s i m p l e sto ry o f a g ir l t o rn

apar t from h e r b e l o v e d b e c a u s e o f w ar. M e d v e d e v als o c a l le d th e
M y s t ic T r u m p e t e r by N o r m a n D e l lo J o io , w i t h its text by W h i t m a n ,
“e p i c " an d “ p o w e r f u l . " H a r v e s t H o m e s C h o r a l e s was a bit h a r d e r for
M e d v e d e v to d i g e s t w i th its c o m p l i c a t e d s t r u c t u r e and to nal l a n g u a g e ,
but he c o m p l i m e n t e d the s in gers for p e r f o r m i n g the w o r k b r i l l i a n t l y . 240
In a 1975 i n t e r v i e w w ith G o r d o n L a m b , S h a w r e m a r k e d tha t th e Iv es
239 G e rm a n , M em o irs, 1999.
240 A. M e d v e d e v , "Inspiration A nd S k ill,” M u zik a ln a y a Z hizn [M usical L ife ],

N ovem ber 1962, 18-19.
157
p i e c e s " r e c e i v e d s u b s t a n t i a l l y no r e s p o n s e at all from the R u s s i a n
a u d i e n c e s , w h il e th e r e s p o n s e to the B m i n o r M a s s and the S p i r i t u a l s
w as o v e r w h e l m i n g . ” M e d v e d e v c o n c l u d e d his r e v i e w by s t a t i n g th a t
the Soviet p e o p l e a r e c o n v i n c e d t h at the “ w o n d e r f u l e n s e m b l e fro m the

U S A ” is d e s e r v i n g o f the fame it e n jo y s i n th e w o r l d . I n t e r e s t i n g l y ,
this was the o n ly r e v i e w th e C h o r a le r e c e i v e d in R u s sia , w h e r e m o s t
r e v ie w e r s w er e v e r y h e s i t a n t to write a n y t h i n g at all. O f f i c ia l w o r d
w o u ld have to c o m e fro m a re p u ta b le a n d t r u s t e d so u rce b e f o r e an
o f f i c i a l r e v i e w w o u l d be p u b lis h e d . A c c o r d i n g to S chw arz, “ The d a i l y
n e w s p a p e r s in the S o v i e t U nion r a re ly c a r r y r e v i e w s o f m u s i c a l e v e n t s .
O n l y in e x c e p t i o n a l c a s e s . . . are s u m m a r y a r t i c l e s pr in ted in P r a v d a or
I z v e s t i a . 2Al
The R u s s i a n t o u r is r e m e m b e r e d b y p a r t i c i p a n t s for the

o v e r w h e l m i n g e m o t i o n a l re s p o n s e o f th e R u s s i a n p e o p le , e s p e c i a l l y to
the B m in or Mass , the r e m a r k a b l e e v e n t s t h a t t o o k place in C u b a , a n d
the tr e m e n d o u s w a r m t h o f the R u s s i a n p e o p l e . S h a w was u n h a p p y
a b o u t the d e l a y s in s e t t l i n g the r e p e r t o i r e f o r th e R u s sia n to u r, but w a s

th r i l l e d at the e v e n t u a l o u tc o m e s . In f o u r t e e n y e a r s o f t o u r i n g an d
r e c o r d i n g , he had o n l y c o n c e r n e d h i m s e l f w i t h p r o v i d i n g a u d i e n c e s w i t h
the "best p o s s i b l e m u s i c ” and was n ot p r e p a r e d f o r the e n o r m o u s
b u r e a u c r a ti c m a c h i n e th at had been set i n t o m o t i o n by a c c e p t i n g th e
in v ita tio n to t o u r th e S o v i e t Union. In t h e e n d , S h a w was a l l o w e d to do
as he wished. T he S o v i e t M in is try o f C u l t u r e a n d G o s k o n c e r t were
p o w e r f u l b r a n c h e s o f a ver y c e n t r a li z e d g o v e r n m e n t and had to be
d e l i b e r a t e in t h e i r d e c i s i o n mak in g. O f f i c i a l s at t h e Berlin F e s t i v a l h a d
241 Schwarz, B oris. M u sic a n d M usical L ife in S o v ie t R u ssia : 1917-1970 (L on d o n :

Barrie & Jenkins, 1972), 223.
1S8
als o i n s i s t e d upo n text a p p r o v a l , w h i c h U SIA p r o v i d e d . When S h a w
w a n t e d to m a k e c h a n g e s in th e p r o g r a m d u r i n g t h e s e c o n d week o f
S e p t e m b e r , h o w e v e r , he w a s i n f o r m e d by A N T A t h a t " i n view o f all the
t r o u b l e a n d w o r k that has b e e n d o n e , the D e p a r t m e n t o f State fee ls th a t
y o u o u g h t to sti ck to th e p r o g r a m s y o u o r i g i n a l l y s u b m i t t e d . " 242 S h a w
w a s a c c u s t o m e d to m a k i n g la s t m i n u t e c h a n g e s o r s u b s t i t u t i o n s at w i ll,
w h i c h w a s s i m p l y not an o p t i o n in d e a l i n g w ith S o v i e t o f f ic ia l s . And.
in th is s ti l l r e l a t iv e ly new p e r i o d o f c o o p e r a t i o n , t h e U .S . State
D e p a r t m e n t w a s not e a g e r to r is k the c lo s i n g o f d i p l o m a t i c door s.
S p e a k i n g o f the R u s s i a n r e s p o n s e to the B m i n o r M a s s in his
U n i t a r i a n c h u r c h s e r m o n . S h a w a s k e d r h e t o r i c a l l y , “ H o w does one
e x p l a i n ? " A m o m e n t l a t e r he s aid , "‘It m ust be t r u e t h a t th e R u s s ia n
p e o p l e - th e g r e a t m i d d le c l a s s o f a p r e s u m a b l y n o n - c l a s s , cla s s le s s
s o c i e t y - the R u s s ia n p e o p l e ar e s i m p l y more s e n s i t i v e to the arts,
p a r t i c u l a r l y m u sic , and c u l t u r a l l y m o r e p r e p a r e d to d e a l w'ith it. to
u n d e r s t a n d it. than we h a v e b e e n led to b e l i e v e . 24'’
242 G e rtru d e Macy, letter to R o b e rt S haw , New York, 1 1 S e p te m b e r 1962.
243 R o b e rt Shaw, "S e rm an ," 1963.
159
C H A P T E R EIGHT
T H E 1964 T O U R O F S O U T H A M E R I C A
In th e s p r i n g o f 1964, the R o b e r t S h a w C h o r a l e e m b a r k e d u p o n its

th ird a n d w h a t w o u l d t urn o u t to be its f in a l c u l t u r a l e x c h a n g e t o u r for
the U.S. S t a t e D e p a r t m e n t . T h e S h a w C h o r a l e , rou g h ly h a l f o f w h o m
h ad t o u r e d R u s s i a in 1962, left v i a P a n A m e r i c a n A irlines o n 14 M a y
1964 f o r a t e n - w e e k tour o f S o u t h A m e r i c a . State Departm ent
r e p r e s e n t a t i v e a n d liai so n o f f i c e r , M r. N o r v e l l e H. S a n n e b e c k ,
c o o rd in ated arrangem ents, along w ith W alter Gould, Colum bia Artists
M a n a g e m e n t , a n d C u ltu r a l A f f a i r s o f f i c e r s f r o m foreign p o s t s . The
C h o r a l e r e t u r n e d to New Y o r k o n 23 J u l y 1964 h a v in g v i s i t e d e i g h t
d i f f e r e n t c o u n t r i e s and o v e r t h i r t y c i t i e s a n d v i l l a g e s . O f th e S o u t h
A m e r i c a n c o u n t r i e s , only B o l i v i a a n d V e n e z u e l a were n o t o n t h e
• • 244
itinerary.
A l t h o u g h s in g e r s fro m the t o u r w o u l d tell this w r ite r t h a t t h e y

h a d m o r e f r e e t i m e to e n j o y the S o u t h A m e r i c a n to u r, in t e r m s o f t r a v e l
at lea st, it w a s a d i f f i c u l t to ur. M o s t o f th e r e a s o n for this h a d to do
w ith th e n a t u r e o f the t e r r a i n a n d t h e lo n g d i s t a n c e s tr a v e le d . U nlike

th e two p r e v i o u s foreig n t o u r s , m o s t o f th e i n t e r i o r travel h a d to be
c o m p l e t e d b y a ir du e to the m o u n t a i n o u s r e g i o n s an d the l a c k o f
244 T h e R o g e r W agner C h o rale, a ls o u n d e r the a u sp ic e s o f the State D e p a rtm e n t, was

touring C e n tr a l A m e ric a at roughly the s a m e t im e the S h aw C h o ra le was in S o u th A m eric a.
B etw een M a r c h 31 an d June 7 the W agn er C h o r a l e visite d T rin id ad , the D o m in ic a n
R epub lic, J a m a ic a , M exico, G uatem ala, El S a lv a d o r, H o n d u ra s and Nicaragua.
160
adequate highw ay systems. The a b r u p t c h a n g e s o f a lt itu d e a l s o m a d e
for d if f ic u lt c h a n g e s in v o ic e s a nd i n s t r u m e n t s . In all. the C h o r a l e
t r a v e l e d m o r e t h a n 15. 000 miles p r e s e n t i n g t h i r t y - f i v e c o n c e r t s f o r the
p e o p l e o f S o u t h A m e r i c a and d o z e n s o f c h o r a l w o r k s h o p s for L a ti n
A m e r i c a n c h o r a l d i r e c t o r s and s t u d e n t s .
The i t i n e r a r y c a l l e d for a s w e e p d o w n the w e s t side o f th e
co n t i n e n t w it h s t o p s in C o l u m b i a ( t w e l v e d a y s ) , E c u a d o r ( n in e d a y s ) .
P er u (two d a y s ) a n d C h i l e (five d a y s ) . A f t e r r e a c h i n g as fa r s o u t h as
S a n ti a g o . C h ile , t h e t r o u p e flew e a s t a c r o s s the l o w e r tip o f the
c o n t i n e n t to B u e n o s A i r e s . A r g e n t i n a . F r o m t h e r e they f o l l o w e d a
c i r c u i t o u s r o u te u p th e e a s t e r n c o a s t s p e n d i n g t w e n t y - o n e day s in B r a z i l
b e f o r e h e a d in g b a c k to N e w York.
In s ta r k c o n t r a s t to the c h o i r S h a w h a d for the R u s sia n to u r,

m e m b e r s o f the S o u t h A m e r i c a n t o u r w e r e w e ll k n o w n to S haw . O f the
m o r e than t h i r t y p e o p l e on the S o u t h A m e r i c a n to u r, only four o r f iv e
had not t o u r e d w i t h the C h o r a l e on th e d o m e s t i c t o u r e a r lie r in the y e a r .
A d d i t i o n a l l y , m o s t o f the r e p e r t o i r e r e m a i n e d the sa me as it h ad b e e n in
Russia.
The B a c k g r o u n d o f th e T o u r
B e tw e e n J a n u a r y a nd M arc h 1964, S h a w t o u r e d the e a s t e r n

s e a b o a r d a nd p a r t s o f the M id w e s t p r io r to t h e S o u th A m e r i c a n to u r.
D u r i n g this d o m e s t i c t our, Shaw a n d the C h o r a l e p e r f o r m e d s ix ty
p e r f o r m a n c e s o f J e p h t h a h by C a r r i s i m i ; R e j o i c e in the L a m b , Op . 30 by
B r i t t e n ; L i e b e s l i e d e r W a lt z e r, Op. 52 by B r a h m s ; a nd the M a s s in D
m in o r , ( L o r d N e l s o n ) by Hay dn . T h e t o u r s t a r t e d in S c h e n e c t a d y , N Y ,
161
t r a v e l e d t h r o u g h V e r m o n t . C o n n e c t i c u t , a n d V i r g i n i a : and c o n t i n u e d al l
the w a y to Miami b e f o re c i r c l i n g bac k t h r o u g h A t l a n t a . GA.
C l a r k s v i l l e . TN. C a r b o n d a l e . IL. St. Lou is . MS a n d L o u i s v i l l e . K Y a n d
on to O n t a r i o before f i n i s h i n g in N e w Y o r k C i t y .
South America
S o u t h A m e r ic a is a l a n d o f rich c u l t u r a l a n d m u s i c a l t r a d it i o n s .
Folk m u s i c and dance are i n t e r t w i n e d and i n t e g r a l p a r t s o f the S o u t h
A m e r i c a n w a y o f life. In f act, as Shaw a nd the C h o r a l e wo uld o b s e r v e ,
m u c h o f t h e chor al s i n g i n g w a s a c c o m p a n i e d b y n a t i v e folk d a n c e , a nd
was i n s e p a r a b l e from the c e l e b r a t i o n o f the m u s i c . 245 Ye t in 1964 t h e r e
w er e m a n y regions o f th e c o u n t r y w h e r e th e p e o p l e h ad nev er h e a r d a
" c l a s s i c a l l y ” tra ined c h o r u s o r o r c h e s t r a . M o s t m a j o r m u sic a l t o u r i n g
e n s e m b l e s w o u ld spen d m o s t o f t h e i r time p e r f o r m i n g in the la r g e r,
c u l t u r a l l y s o p h is t i c a t e d c i t i e s . T h e Sou th A m e r i c a n t o u r o f the S h a w
C h o r a l e w o u l d be an e x c e p t i o n to th at p r a c t i c e a n d as a re sult, e s t a b l i s h
a p e r m a n e n t frie n d s h ip b e t w e e n S h a w and the p e o p l e o f Latin A m e r i c a .
C u l t u r a l a n d P o li tic a l B a c k g r o u n d
U .S . a n d South A m e r i c a n r e l a t io n s had b e e n a c o n c e r n s in ce the

1930s w h e n moves by the R o o s e v e l t a d m i n i s t r a t i o n a t t e m p t e d to
c o u n t e r a g r o w i n g f a s c i s t i n f l u e n c e there. L a t i n A m e r i c a had, in fact,

bee n t h e e a r l i e s t o f fic ia l f o c u s o f e f fo r t s to i m p r o v e fo re i g n r e l a t io n s
w h e n P r e s i d e n t F r a n k lin D. R o o s e v e l t i n s t i t u t e d th e “ G o o d N e i g h b o r
us In C hile, a w elcom ing p e r f o r m a n c e given by local folk d ancers and m usicians

p ro m p ted S haw to later co m m ent t h a t the perform ance was " c h o re o g r a p h e d with
professional com petence but with am ate u r, native, and an im al v ita lity .” (Letter to the
C lev elan d O rc h estra Chorus, 1966).
162
P o l i c y " in 1938. As a r e s u l t o f an e x e c u t i v e o r d e r s i g n e d 2 July, the
D i v i s i o n o f C ult ural R e l a t i o n s w i t h i n the S t a t e D e p a r t m e n t was
c r e a t e d . 246 F o l lo w in g th e r e c o m m e n d a t i o n s o f th e A d v i s o r y C o m m i t t e e
R e p o r t s an d the 1963 r e o r g a n i z a t i o n o f the C u l t u r a l P r e s e n t a t i o n s
P r o g r a m , this tour i n c l u d e d m o r e p e r s o n a l c o n t a c t w i t h e d u c a t i o n a l
l e a d e r s a n d u n iv e r s it y s t u d e n t s t h a n had p r e v i o u s t o u r s . M a n y o f the
c o n c e r t s w e r e e it h er b r o a d c a s t o v e r ra dio or t e l e v i s i o n , e n a b l i n g a large
p e r c e n t a g e o f the p o p u l a t i o n s to h e a r the C h o r a l e . A n d m a n y o f the
c o n c e r t a p p e a r a n c e s a n d w o r k s h o p s w er e in s m a l l v i l l a g e s and b a r rio s .
A s a re su lt o f the r e o r g a n i z a t i o n and r e d i r e c t i o n o f the C u l tu r a l
P r e s e n t a t i o n s P ro gra m in 1 9 6 2 a n d 1963. the S o u t h A m e r i c a n tour
d i f f e r e d in s ev er al r e s p e c t s f r o m t h e two p r e v i o u s f o r e i g n tours. The

" L a r s e n - W o l f e R e p o r t , ” m a n d a t e d by the D e p a r t m e n t o f S tat e and
A s s i s t a n t S e c r e ta r y o f S t a t e L u c i u s D. Battle, c a l l e d f o r a “ shift in
e m p h a s i s " aw ay from f o r m a l c o n c e r t v enues in p r i m a r i l y l ar g e f o r e ig n
c i t i e s , to m o r e a p p e a r a n c e s in s m a l l e r c o m m u n i t i e s a n d v il la g e s w h e r e
t o u r i n g m u s i c a l g r o u p s w e r e s e l d o m , if ever, h e a r d . L a r s e n - W o l f e also
s u g g e s t e d th at “ther e is g r e a t v a l u e to s ett in g a s i d e e n o u g h time for o f f
s ta g e a p p e a r a n c e s o f th e p e r f o r m e r s . ” 247 The r e p o r t n o t e d th at “the
g r e a t m a j o r i t y o f the p e r f o r m e r s h a v e been w i l l i n g to g i v e g e n e r o u s l y
o f t h e i r t i m e o f f- s ta g e for m e e t i n g s w it h local a r t i s t s , l e a d e r s and
s t u d e n t s , f o r w o r k s h o p s a n d d e m o n s t r a t i o n s e s s i o n s , f o r i n te r v ie w s and
146 G e o rg e N. Shuster, “ T he N a t u r e and D evelo pm ent o f C u ltu r a l R elations,"

C u ltu r a l A ffa ir s a n d F oreign R e la tio n s , Paul J. Braisted, ed. ( W a s h in g to n : C olum bia Books,
1968), 3.
247 R oy E. Larsen and G len n G . W o lfe , “ Larsen -W o lfe R e p o rt: R e p o rt o f Survey o f

the C u ltu r a l Presentation P rogram f o r th e U .S. A dvisory C o m m is s io n on International
E d u c a tio n a l and Cultural A ff a irs ,” (W a s h i n g to n , D.C.: G o v e rn m e n t P rin tin g Office, 1964).
163
r a d io an d t e l e v i s i o n a p p e a r a n c e s . ” 248 L a r s e n and W o l f e s t a t e d t h a t the
p r o b le m h a d b e e n that th e p e r f o r m e r s " h a v e too o f t e n b e e n f r u s t r a t e d in

t h e ir e f f o r t s to do so by l i m i t a t i o n s o f t i m e . ” 249 P art o f t h e r e a s o n for
this " l i m i t a t i o n " was the lack o f c e n t r a l i z e d p l a n n i n g a n d the a u t h o r i t y
g i v e n to c o n c e r t m a n a g e r s w i t h o u t s u f f i c i e n t c o o r d i n a t i o n at the
g o v e r n m e n t a l le v e l. C o n c e r t b o o k i n g a g e n c i e s w e r e c o n c e r n e d , an d
r ig h t l y so. w i t h p r e s e n t i n g t h e i r " a t t r a c t i o n s ” to as m a n y a u d i e n c e s as
p o s s i b l e in th e a v a i l a b l e a m o u n t o f t i m e . And. w h i l e th e a u t h o r s o f the
r e p o r t w e r e q u i c k to give c r e d i t to A N T A an d the o r i g i n a l Arts
C o m m i t t e e for t h e i r work, L a r s e n - W o l f e p o i n t e d o u t t h at the S t ate

D e p a r t m e n t h ad fa ile d to p r o v i d e " h i g h l e v e l ” c o o r d i n a t i o n b e t w e e n
g o v e r n m e n t s a n d the arts. T h is o f t e n r e s u l t e d in t i g h t s c h e d u l e s ,
o v e r b o o k i n g s , a n d the m i s j u d g i n g o f an a r e a 's m u s i c a l t a s t e or
s o p h i s t i c a t i o n le v e l. In s t a t i n g t h e c r u x o f their r e p o r t . L a r s o n and
Wolfe wrote:
T h e o r ig i n a l a r r a n g e m e n t w i t h an o u t s i d e g r o u p
( A N T A ) was u n d o u b t e d l y e s s e n t i a l to the s t a r t o f the
p r o g r a m . But o v e r t h e y e a r s it has p r o v e d to h a v e
c e r t a i n i n h e r e n t s h o r t c o m i n g s , not b e c a u s e o f a lack
o f d e v o t i o n o r c o m p e t e n c e on the pa rt o f the p e o p l e
in v o l v e d , but b e c a u s e o f th e i n a d e q u a c y o f th e
organizational arran g em en t itself.2 0
In s h o r t, th e C u l t u r a l P r o g r a m h a d g r o w n to o lar ge to be e n t r u s t e d to a
s in g l e , n o n g o v e r n m e n t a l a g e n c y .
248 Roy E. Larsen and G lenn G. W o lfe, “ Larsen -W o lfe R eport: R epo rt o f S u rvey o f
the C ultural P re s e n ta tio n Program for the U .S. A d v iso ry C om m ission on In ternational
E ducational and C ultu ral A ffairs," (W a s h in g to n , D .C .: G overnm ent P rin tin g O ffice, 1964).
249 L arsen and Wolfe, 1964.
250 Larsen and Wolfe, 1964.
164
F o l l o w i n g the 1956 t o u r o f the M id d le E a st and E u r o p e . Shaw
sp oke o f the n eed for m ore t i m e a n d p la n n i n g in o r d e r t o m a x i m i z e the
effo rts o f the C h o r a l e . Shaw' a l s o f o u n d h i m s e l f o c c a s i o n a l l y at odds
with pow ers o u t s i d e o f his c o n t r o l . In E u r o p e and in t h e S o v i e t Union,

p u b l ic it y had not a l w a y s been h a n d l e d ver y well due to p o o r
c o o r d i n a t io n a m o n g all the r e s p o n s i b l e par ties. The m e m b e r s o f the

o r c h e s tr a ( u n d e r the A m e r i c a n F e d e r a t i o n o f M u s i c i a n s U n i o n ) had on
one o c c a s i o n p r e v e n t e d th e C h o r a l e fro m p e r f o r m i n g an e x t r a c o n c e r t
that S h a w ve ry m u c h w a n t e d to do. N e v e r t h e l e s s , the L a r s e n - W o l f e
rep ort fo und that, c o n s i d e r i n g th e n u m b e r o f p e r f o r m e r s and e n s e m b l e s
that had to u re d for the S tate D e p a r t m e n t , ther e had b e e n r e l a t i v e l y few
p r o b le m s . C r e d i t for th is, the r e p o r t a d d e d , was due to t h e “ p e r f o r m e r s ,

th e m s e l v e s . . . w ho have b e e n re al a m b a s s a d o r s w i t h o u t p o r t f o l i o in an
a s s i g n m e n t u n p r e c e d e n t e d in f o r m a l U .S . in t e r n a ti o n a l r e l a t i o n s . ” 151
The Repertoire
The m usic for the S o u th A m e r i c a n tour c o n s is t e d o f s o m e o f the

same w orks th at S h a w had p e r f o r m e d on the two p r e v i o u s f o r e i g n tours.
The p r i m a r y w o r k was the B m i n o r M a s s , which had b e e n m et w'ith
lavish e n t h u s i a s m by a u d i e n c e s in t h e S o v iet U n io n two y e a r s before .
For the s e c o n d p r o g r a m , the C h o r a l e p e r f o r m e d a v a r ie d p r o g r a m as

they had don e in both E u r o p e a nd th e S o v i e t U nion, c o m p r i s e d o f a
v a rie ty o f c h o r a l s ty les r e p r e s e n t i n g d i f f e r e n t h i s t o r i c a l p e r i o d s . The a
c a p p e l la g r o u p c o n s i s t e d o f “ O V os O m n e s ” by V i c t o r i a , “ S e l i g Sind
Die T o t e n ” by Schiitz, “T h is is th e R e c o r d o f J o h n ” by G i b b o n s , “ Fa
231 Larsen and W olfe, 1964.
165
una C a n z o n e " by V e c c h i and “ Ola! O C h e B o n E c c h o ! " by O r l a n d o di
La ss o. T h e S c h u b e r t M a s s in G. a l s o p e r f o r m e d in 1956. w o u l d f o l l o w
the R e n a i s s a n c e an d B a r o q u e s e l e c t i o n s . On the s e c o n d h a l f o f th e
p r o g r a m was S c h o e n b e r g ' s F r i e d e A u f E r d e n . C h a r le s I v e s ' s T h r e e
H a r v e s t H o m e C h o r a l e s . G i n e s t e r a ’s L a m e n t a t i o n s o f J e r e m i a h . R o d o l f o
H a l f f t e r 's Tres E p i t a f i o s . an d “ L a m e n t f o r B r o t h e r R o b b i n s ” f r o m P o r g y
and Bess. O f t h e s e p i e c e s , o n l y th e T r e s E p i t a f i o s an d th e L a m e n t a t i o n
we re n e w to the C h o r a l e . F or e n c o r e s , S h a w a g a in c h o s e N e g r o
S p i r i t u a l s . O f the p r o g r a m s , the B m i n o r M a s s was c l e a r l y f a v o r e d by-
Latin a u d i e n c e s as it had b e e n in R u s s i a . In an a r t ic le p u b l i s h e d in
M u s i c B u s i n e s s . B a r r y K i t t l e s o n w r o t e t h a t S h a w had, a g a i n , b e e n
s u r p r i s e d by the i m p a c t the B m i n o r M a s s h a d upon a u d i e n c e s .
Shaw- has r e c e n t l y n o t i c e d a p a t t e r n which he is m o s t

p l e a s e d w i th : 'P e o p l e i n s t i n c t i v e l y r e c o g n i z e g r e a t
m u s i c , w h e t h e r th e y ar e f a m i l i a r w ith it or not. T h e
N e g r o S p i r i t u a l . . . s u n g s i m p l y an d h o n e s t l y - a n d th e
B a c h B m i n o r M a s s ar e w o r k s t h a t have a t r e m e n d o u s
k i n s h i p in r e a c h i n g an a u d i e n c e . . . T h e m u sic is so
p o w e r f u l an d m o n u m e n t a l t h a t t h e y r e s p o n d to it
i m m e d i a t e l y on a p u r e l y e x p e r i e n t i a l l e v e l . 252
Shaw- p o i n t e d o u t th at th e y had o r i g i n a l l y p l a n n e d to do s e v e n
p e r f o r m a n c e s o f the B m i n o r M a s s , b u t “ w o r d spre ad a h e a d t h a t
this was the one t h i n g n o t to m is s , a n d l o c a l im p r e s a r i o s
r e q u e s t e d th at we do s e v e n a d d i t i o n a l p e r f o r m a n c e s o f i t . ” T h e
sa me t h i n g h a p p e n e d , w r o t e K i t t l e s o n , o n th e R u s s ia n t o u r . 25j
252 B arry K ittleson, “ R o b ert S h a w and H is T ra v e lin g C horale,” M u sic B u s in e s s , 29

August 1964, 13-14.
233 K ittleson, 1964.
166
In 1974. Shaw s p o k e to G o r d o n L a m b for t h e C h o r a l J o u r n a l.
D i s c u s s i n g a u d i e n c e r e s p o n s e in R u s s ia to th e I v e s H a r v e s t Ho me
C h o r a l e s . Shaw s t a t e d t h a t the H a r v e s t H o m e C h o r a l e s " w e r e
p e r p l e x i n g to the a u d i e n c e a n d e l i c i t e d s u b s t a n t i a l l y no r e s p o n s e at all
w h i l e th e Bac h and the s p i r i t u a l s w ere m e t by an o v er flo w ' o f e m o t i o n
a nd r e s p o n s e . ”254
S h a w . along w ith m e m b e r s o f the C h o r a l e , g a v e a s e ri e s o f

d e m o n s t r a t i o n / w o r k s h o p s at lo c a l u n i v e r s i t i e s t h a t p r o v e d so s u c c e s s f u l
that Shaw' wo uld be i n v i t e d b a c k t h e f o l l o w i n g y e a r ( a g a i n un d er the
a u s p i c e s o f the State D e p a r t m e n t ) to do n o t h i n g b u t w o r k with S o u t h
A m e r i c a n c hoirs. W a l d o A r a n g u i z , p r e s i d e n t o f th e A s s o c i a t i o n o f
L a t i n A m e r i c a n C h o r a l S i n g e r s ( A L A C C ) r e m e m b e r s t h a t Shaw g a v e an
open w o rkshop follow ing a public perform ance o f the M ozart Requiem
by S o u t h A m e r i c a n s in C h i l e in 1 9 6 4 . 255 A r a n g u i z h a d p r e p a r e d the
s i n g e r s f o r the R e q u ie m a n d w as a b l e to be w ith S h a w e a c h day w h i l e

the C h o r a l e was in C h i l e . W hen Shaw d e m o n stra te d a sincere interest
in h e l p i n g C h i le a n c h o i r s . A r a n g u i z r e s p o n d e d by s a y i n g that the b e s t
h elp t h e y c o u l d get w o u l d be t r a i n i n g for C h i l e a n c h o i r d i r e c t o r s . On
the l a s t d a y A r a n g u iz s p e n t w i t h S h a w , S h a w said to h i m , “Nex t y e a r I
e x p e c t to se e you in the U n i t e d S t a t e s . ” 256
254 R o bert Shaw, “C h a rle s Ives: The M an and His M u sic ,” in te rv ie w by Gordon
L am b, C h o ra l Jo u rn a l 15 (A pril 1975): 5
255 W aldo Aranguiz. le tte r to the a u th o r (translated and fo rw ard by Daniela M u eller,
U.S. E m b a s s y , Santiago), 10 A u g u s t 1999.
256 A rangu iz, 1999.
167
Figure 15. S h a w r e h e a r s in g C h i l e a n c h o i r in the M o z a r t R e q u i e m .
From the files o f W ald o A r a n g u i z . R e p r in t e d by p e r m i s s i o n .
In a c o m m u n i c a t i o n with th i s a u t h o r , A r a n g u i z w r o t e t h a t he
thou ght “ t h e s e w e r e j u s t kind w o r d s . ” A few m o n t h s l a t e r A r a n g u i z
learned that S h a w , upon a r ri v i n g h o m e , had a r ra n g e d f o r a R o c k e f e l l e r
F o u n d a ti o n g r a n t for a group o f L a t i n A m e r i c a n c o n d u c t o r s to c o m e
study w ith him at the M e a d o w B r o o k S ch o o l in R o c h e s t e r , M i c h i g a n .
A r a n g u iz and o t h e r c o n d u c to r s a p p l i e d for and r e c e i v e d g r a n t s f ro m the
U.S. State D e p a r t m e n t and the R o c k e f e l l e r F o u n d a t i o n , w h i c h e n a b l e d
them to s t u d y n o t o n l y with S haw , b u t al so with J u liu s H e r f o r d a nd
168
o t h e r A m e r i c a n m u s i c o l o g i s t s . A r a n g u i z also a r r a n g e d to go b a c k to
M e a d o w B r o o k th e f o ll o w in g y e a r . Mr. A r a n g u iz r e m e m b e r s S h a w as a
man o f e x t r a o r d i n a r y w a r m t h w h o t o u c h e d “d eeply the l i v e s o f th o s e
who had t h e o p p o r t u n i t y o f s h a r i n g w i t h h i m . ”257
T h e f ir s t sto p on the t o u r w a s B o g o t a , the c a p i t a l c i t y o f

C o l u m b i a . 7 3 0 0 feet a b o v e s ea l e v e l , w h e r e on M ay 16 t h e C h o r a l e
p e r f o r m e d f o r s tu d e n ts at the U n i v e r s i t i e s Libre and N a c i o n a l . On
S u n d a y . 17 M a y the re w as a b r o a d c a s t t e l e v i s i o n a p p e a r a n c e a n d visits
to v a r i o u s b a r r i o s ar o u n d B o g a t a . T h i s p o l ic y o f v i s i t i n g s m a l l e r
c o m m u n i t i e s , k n o w n as b a r r i o s , a n d i n v o l v i n g local m u s i c i a n s in
w o r k s h o p a c t i v i t i e s r e f le c t e d the S t a t e D e p a r t m e n t ’s n e w l y p l a c e d
e m p h a s i s on r e a c h i n g a u d i e n c e s at a ll s o c ia l and e c o n o m i c l e v e l s . On
M o n d a y . 18 M a y , the C h o r a l e v i s i t e d th e local u n i v e r s i t i e s a g a i n and
perform ed a second concert. On 19 m a y the C h o r a le f l e w f r o m B o g o ta

to Cali a r r i v i n g e a r ly in the m o r n i n g . A c c o r d i n g to u n i o n p o l i c y , there
was no r e h e a r s a l or c o n c e r t on d a y s t h a t m e m b e r s o f the C h o r a l e and
O r c h e s t r a h a d to travel. In C a li, t h e r e w e r e more u n i v e r s i t y v i s i t s and a
performance. L e a v i n g 20 M ay at 6 : 0 0 a.m . the C h o r a l e f l e w th e sho rt
d i s t a n c e s o u t h fro m Cali to P o p a y a n . At P o p a y a n th e y v i s i t e d the
U n i v e r s i t y del C a u c a and g ave a p e r f o r m a n c e and w o r k s h o p . After a
free day o n 21 M ay, the g r o u p f le w f r o m Popayan b a c k to C a l i a n d then
on to P e r e i r a for th e ir n e x t p e r f o r m a n c e o n 22 May. S a t u r d a y , 23 May
the C h o r a l e left P er eira at 10:00 am a n d g a v e a p e r f o r m a n c e at
B a r r a n q u i l l a , lo c a te d on th e w e s t b a n k o f th e M a g d a l e n a r i v e r 12 miles
from the C a r i b b e a n sea, v i s i t i n g b a r r i o s o n the n ext d ay . O n 25 M ay
^ A r a n g u i z , 1999.
169
the C h o r a le and o r c h e s t r a left B a r r a n q u i l l a f o r M e d e l li n , the t e x t i l e s
and f o o d - p r o c e s s i n g c e n t e r loc a te d in t h e A n t i o q u i a d i s t r i c t w h e r e they
p e r f o r m e d th at e v e n i n g in M e d e l li n . O n T u e s d a y . 26 M a y t h e y left
M e d e l l i n for B o g o t a t h e n w e n t d i r e c t l y o n to Q u ito , E c u a d o r . At Quito
th e r e was a b r i e f i n g f o l l o w e d by a r e c e p t i o n . On W e d n e s d a y . 27 M ay
th e r e was a pr ess i n t e r v i e w and th e n a p e r f o r m a n c e . T h u r s d a y , 28 M a y
was a free day. On F r i d a y , 29 May t h e C h o r a l e and o r c h e s t r a
p e r f o r m e d in Q u it o to a s o l d o u t a u d i e n c e w it h m a n y m o r e p e o p l e
tu r n e d aw ay . The r e v i e w t h a t a p p e a r e d in Q u i t o f o l l o w i n g the c o n c e r t
h e a d l i n e d : " S h a w C h o r a l e M o v e s the P u b l i c w i t h th e B a c h B m i n o r
M ass."' T h e r e v i e w e r c o n t i n u e d , “T h e r e w e r e no a d j e c t i v e s to e x p r e s s
the e m o t i o n s felt by t h e a u d i e n c e in r e s p o n s e to the B m i n o r M a s s , "
w h i c h was the “ u n q u e s t i o n a b l e p r o o f o f t h e e x c e p t i o n a l a b i l i t i e s o f the
c h o i r . ” The r e v i e w e r a l s o p o i n t e d to t h e e x t r e m e l y d i f f i c u l t n a t u r e o f
the v ocal parts and s i n g l e d o u t the e x c e l l e n t s o lo i s t s , M a r y E l l e n B r u c e
( s o p r a n o ) , F l o r e n c e K o p l e f f ( c o n t r a l t o ) , S e th M c C o y ( t e n o r ) a n d D a v i d
Fo rd (bas s). The r e v i e w e r n o t e d t h a t t h e g e n e r a l c o m m e n t a m o n g the
c o n c e r t g o e r s was, “T h i s w a s M u s i c . ’’( i t a l i c s a d d e d ) The r e v i e w e n d e d
w ith thes e w o r d s: “ T h e p o w e r f u l , m a j e s t i c M a s s w as d e l i v e r e d w i t h
w o n d e r f u l b e a u ty a nd p e r f e c t d i r e c t i o n b y R o b e r t S h a w . ” 259 W h e n the
C h o r a l e left Q u i t o , t h e y l e f t one o f th e b e s t i m p r e s s i o n s , i f no t t h e be s t,
for a m u s ic a l p e r f o r m a n c e . L e a v i n g Q u i t o on S a t u r d a y , 30 M a y , the
gr o u p t r a v e l e d to I b a r r a f o r t h e i r n e x t p e r f o r m a n c e .
258 “ Coro Shaw c o n m o v is o al publico con M is a en Si m enor de B a c h ” (“ S h a w

C horale Moves the Public w ith the B ach B m in o r M a s s ”), Quito, Ecu ado r. 30 M ay 1964.
259 “Coro Shaw c o n m o v is o al pub lico,” 1964.
170
SOUTH AMERICA
M e d e llin CoLunbi
P ereirara ? ,__ • Bogota
Cj^li
Popayan
Guayaquil
if e
C O LU M BIA
1 Bogota (M av 14-19) ialvad or
2 CaJi (May 19-23\
Popayan B oliva
Pereira
3 Barranquilla (Ma% 23*24) B elo H o ri2 o n t
4 Medellin (M av 25)
EC U A D O R
5 Quito (M ay 26-30)
ft Ibarra (M ay 30-31) J a n e iro
Cuenca (M ay 3 1-June 2) Sao Paulo
S Guavaquil (June 2-4)
PERU '
9 Lima (June 4*6)
CHILE
10 Santiago (June 7-12)
Valparaiso V ina
Vina del Mar V alp arai ^■•Cordo
ARGENTINA S a n tia .MendozV* te v id e o
11 M endoza (June 13-15. R o sario o s A ire s
• 2. Cordoba (June 16)
13 Rosario (June 17-19)
14 Buenos A ires (June 20-27)
IK U G U A Y
15 M ontevideo (June 23-26)
16 Com cnles-R esistencta (A rgentina. June 27-28)
Pa r a g u a y
I" Asuncion (June 28-Julv 2)
BRAZIL
!S Sao Paulo (JuN 3-6)
N Rio De Janeiro (Jul\ 7-13)
20 Belo H orizonte (Jui> 13-15)
21 Salvador (JuK 15-16)
22 Recife (July 17-20)
25 Belem (July 21-23)
F i g u r e 16. D e s t i n a t i o n s f o r t h e 1964 S o u t h A m e r i c a n T o u r
in d ic a tin g to u r stops and dates.
171
S u n d a y . 31 M a y th e g r o u p left Iba rra via c h a r t e r f o r Cue nc a for a
w o r k s h o p w it h Shaw a n d a r e c e p t i o n . A p e r f o r m a n c e w a s held the nex t
day. 1 June. On 2 J u n e . T u e s d a y , the gr oup left C u e n c a by c h a r te r for
G u a y a q u i l for a r e c e p t i o n a n d w o r k s h o p . On W e d n e s d a y . 3 June the
C h o r a l e had a p e r f o r m a n c e . O n T hurs day. 4 J u n e t h e g r o u p left
G u a y a q u i l at 6:30 a. m. f o r L i m a . Peru, a r r i v i n g at 9 : 5 5 a . m . On F rid ay.
5 J u n e , t h e y had a p e r f o r m a n c e a nd left L im a 6 J u n e at 10: 0 0 am for

S a n t i a g o . C h i l e , a r r i v i n g a r o u n d noon for a b r i e f i n g a n d recep tio n .
O f all the c o u n t r ie s t h a t S h a w and the C h o r a l e v i s i t e d in South
A m e r i c a , C h ile made the m o s t l a sti n g im p re s s io n . S h a w was a m a z e d at
th e v i t a l i t y a nd a b u n d a n c e o f c h o i r s , c o n d u c to r s a n d s i n g e r s that this
c o u n t r y had to offer. In a 1966 le tter writt en to t h e C l e v e l a n d
O r c h e s t r a C h orus , S h a w d i s c u s s e d his e x p e r i e n c e s t h e r e w it h “n e a r ly
o n e h u n d r e d chor al c o n d u c t o r s ” from all o v e r C h i l e . He met w ith the
c o n d u c t o r s e a c h m o r n i n g w h i l e t h e y were in C h ile to h o l d inform al
s e m i n a r s in the art o f c h o r a l m u s i c . Wrote Shaw. “ W e r e h e a r s e d and
r e h a s h e d , p a n e le d a nd ' s e m i n a r e d , ' [sic] tra ded l i t e r a t u r e , te c h n i q u e s ,
a nd c o m p l i m e n t s . ”260 F o r S h a w it was an e n l i g h t e n i n g a n d r e a s s u rin g
event. L o n g an a d v o c a t e o f c o m m u n a l s in ging a n d “ th e p e o p l e ’s
m u s i c . ” S h a w d i s c o v e r e d t h a t c h o i r s and s in g i n g w e r e a n integral part
o f C h i l e a n cu l tu re a n d i n d e e d d i d belong to all o f t h e p e o p l e . He wrote,
“ In a d d i t i o n to choirs a s s o c i a t e d with sc hools and r e l i g i o u s in st itu tio n s,
e v e r y f a c t o r y , bank, d e p a r t m e n t sto re, in su r an ce c o m p a n y or a g e n c y o f
p u b l i c s e r v i c e or g o v e r n m e n t s e e m to sprout s om e s o r t o f choral
260 R obert Shaw, 1966 le tte r to the Cleveland Sym phony O r c h e s t r a Chorus, Quoted
in M u s su lm a n , D ear People. ...R o b e r t Sh a w , (Bloomington: In d ia n a U n iv e rs ity Press, 1979),
159.
172
a c t i v i t y . . . m usic w as n o t a s p e c t a t o r sport bu t d a i l y d o - i t - y o u r s e l f
b r e a d , w i n e , and j v . " 261 B e f o r e the first c o n c e r t on M o n d a y , the
C h i l e a n F e d e r a t i o n o f C h o i r s g a v e a r e c e p t io n for th e C h o r a l e at
M accab i G ym nasium . A c c o r d i n g to Var iet y m a g a z i n e , C h i l e a n folk
d a n c e r s a n d a t h o u s a n d - v o i c e c h o i r e n t e r t a i n e d the C h o r a l e . 262
R e p r e s e n t a t i v e s from l o c a l c h o i r s p r e s e n t e d the C h o r a l e m e m b e r s with
w e l c o m i n g g ifts . At the c e r e m o n y , S h a w e x p r e s s e d g r a t i t u d e to the
p e o p l e o f S a n t i a g o a n d d e d i c a t e d th e c o n c e r t s in C h i l e t o t h e m e m o r y o f
J o h n F. K e n n e d y . 26j T h e r e c e p t i o n e n d e d with the C h o r a l e s i n g i n g the
N e g r o s p i r i t u a l a r r a n g e d by S h a w . “ M y God is a R o c k in a W e a r y
Land."
T h e f ir s t c o n c e r t in C h i l e w a s h eld M o n d a y 8 J u n e at 7:0 0 p.m at

T e a t r o M u n i c i p a l . T h e p r o g r a m c o n s i s t e d o f “ O V o s O m n e s ” by
V i c t o r i a . “ T h is is the R e c o r d o f J o h n ” by G i b b o n s , “ S e l i g S i n d Die
T o t e n ” by H e i n r i c h S c h u t z , “ F a u n a C a n z o n e ” by V e c c h i , “ T h e Echo
S o n g ” b y O r l a n d o di L a s s o , S c h u b e r t ' s Mass in G, S c h o e n b e r g ' s Friede

A u f E r d e n . The H a r v e s t H o m e C h o r a l e s by C h a r le s I v e s , T h r e e
E p ita p h s by Rodolfo H alffter, and G ershwin's “ Lam ent for B rother
R o b b i n s ” fro m P o r g y a n d B e s s . L a t e r in the w e e k , at a r e c e p t i o n given
by the C h i l e a n G e n e r a l T i r e C o m p a n y on the last n i g h t o f t h e i r stay in
C h i l e , S h a w a nd the C h o r a l e w e r e s e r e n a d e d by the c o m p a n y ' s choir,
w h i c h n o t o n l y in c l u d e d th e w o r k e r s bu t also t h e i r s p o u s e s a nd in many
cases th e ir children. S h a w r e m a r k e d th at “this c h o r u s n o t o n l y cr os ses
261 S haw , 1966.
262 “ R o b e rt Shaw C horale, in S ta te D e p artm en t Tour, W ows 'E m a t 3 C hile

C o n c e r ts ,” V a riety, 235:48 17 Ju n e 1964.
263 D u rin g concert a p p e a ra n c e s S h a w o ften paid hom age to the late U n ited States
P resident by tellin g the au diences, “ P re s id e n t K ennedy sent us to sing for y o u . ”
173
m a n a g e m e n t - l a b o r lin e s , but also o n e s w h i c h s e p a r a t e the
g e n e r a t i o n s . " 264 S h a w also r e la te d th e e v e n t s o f the sa me e v e n i n g in

w h i c h he w as i n v i t e d to da nce with o n e o f t h e y o u n g ladies and t r i p p e d
all o v e r his " s e v e n - l e g b o o t s ” in w h a t he d e s c r i b e d as a “ l o s i n g " e f f o r t .

I f he was not i m p r e s s e d with his o w n d a n c i n g a b i l i t i e s , he c e r t a i n l y was
w it h the c o m m e n t s o f the A m e r i c a n w h o w a s the m a n a g e r o f the
A m erican-ow ned plant. The p l a n t m a n a g e r to ld S h a w that he had b e e n
t h e r e m ore t h a n t w e n t y year s and t h a t t h e r e h ad a l w a y s b een l a b o r -

m a n a g e m e n t p r o b l e m s : that is until the w o r k e r s a s k e d if th e y c o u l d sta r t
a chorus. S o o n , r e l a t e d the m a n , the c h o r u s w as c o m p r i s e d o f e v e r y
lev el o f w o r k e r a n d m a n a g e m e n t w i t h i n t h e c o m p a n y s tr u c tu r e .
W h e n e v e r p r o b l e m s a r o se , the “ guys sit d o w n t o g e t h e r . . . and it's all

s e t t l e d . N o t h i n g h a s b e e n so i m p o r t a n t in t h i s b ig c o m p a n y as t h a t
li tt le c h o r u s . ” 263
The n e x t d a y t h e r e wer e w o r k s h o p s a nd c l i n i c s f o ll o w e d by a
performance. R o b e r t S haw d e l i v e r e d t h r e e l e c t u r e / d e m o n s t r a t i o n s at
the I n s t i t u t o C u l t u r a l de P r o v i d e n c ia ( C u l t u r a l I n s t i t u t e o f P r o v i d e n c i a ) .
T h e r e wer e o p e n i n g s for a m a x i m u m o f 100 p e o p l e to a t te n d a nd the
p l a c e s f il le d v e r y q u i c k l y .
In an a r t i c l e p r i n t e d in R e v i s t a M u s i c a l C h i l e n a (C h i l e a n M u s i c
R e v ie w s ) , the a u t h o r pr a ise d R o b e r t S h a w a n d e c h o e d s e n t i m e n t s h e a r d
e l s e w h e r e in L a t i n A m e r i c a , that it is “ r a r e f o r a c h o i r o f th e c a l i b e r o f
the R o b e r t S h a w C h o r a l e to c o m e to S a n t i a g o . ” It is “ n e c e s s a r y to
264 R obert S h a w , 1966 letter to the C le v e la n d S y m p h o n y O rchestra C h oru s, Q u oted

in M ussulm an, D e a r P eo p le . ...R obert Sh a w , ( B lo o m in g to n : Indiana U niversity Press, 1979),
159.
265 R obert S h a w , 1966.
174
e m p h a s i z e the s t y l i s t i c p e r f e c t i o n , the b a l a n c e , the e x p r e s s i v e n e s s , the
e x t r a o r d i n a r y h o m o g e n e i t y o f the v o i c e s . ” T h e re v ie w e r, in r e f e r e n c e
to th e m ix ing o f v o i c e s , c a l l e d it the " p e r f e c t t i m b r e o f v o i c e s . ” E a ch
o n e o f the o r c h e s t r a m e m b e r s is o f a h i g h s o l o i s t i c qua lity. T h e
r e v i e w e r praised th e v a r i e t y o f e x p r e s s i o n o f th e var ious s ty le p e r i o d s .
" T h e p eople wer e a b l e to e n j o y the c r e a t i v e s e n s i t i v e n e s s and
i m a g i n a t i o n that c a u s e s R o b e r t Shaw to b e a m o n g the g r e a te s t c h o i r
d i r e c t o r s in the w o r l d . ” 266
The C h o r a l e , c o u r t e s y o f the A m e r i c a n g o v e r n m e n t , also g a v e an
e x t r a c o n c e r t on 8 J u n e f o r stu d en ts o f t h e e l e m e n t a r y s ch o o ls ,
s e c o n d a r y s chool, a n d u n i v e r s i t y at the T e a t r o M u n ic ip a l.
On 9 June the c h o i r p e r f o r m e d the B m i n o r M ass . It was
s c h e d u l e d to be a p a r t o f the r eg u lar s e a s o n o f th e C h ile a n P h i l h a r m o n i c
O r c h e s t r a . The r e v i e w s t a t e d that th e R o b e r t S h a w C h orale p e r f o r m e d
the w o r k with the " r e l i g i o u s m a g n i f i c e n c e a n d s u b li m e e x p r e s s i o n ”
r e q u i r e d o f this id e a l e x p r e s s i o n o f C h r i s t i a n i t y as i n t e rp r e te d by Bac h.
S o l o i s t s were M a r y E v e l y n Bruce, s o p r a n o ; F l o r e n c e K op p le f f,
c o n t r a l t o ; Seth M c C o y , te n o r ; and D a v i d F o r d , bas s. The r e v i e w e r
continued:
T h e y sang w i t h an i n t im a c y a p p r o p r i a t e to the L u t h e r a n faith.

T he o r c h e s t r a s o l o i s t s did m u c h in c o l l a b o r a t i o n with the s o lo is ts
to m at ch the s p i r i t o f the text. T h r o u g h o u t the en tire
p e r f o r m a n c e , R o b e r t S haw gave th e a r t i s t i c an d s p ir it u a l life
r e q u ire d by t h e s c o r e . 267
256 "Coro Y O rq u e s ta De R o b ert Shaw V isita C h i l e , ” R ev ista M usical C hilen a , 89

(1 9 6 4 ): 151-152.
267 "Coro Y O rq u e s ta ,” 1964.
175
T he a r t i c l e also sta ted th a t the R a d io C o o p e r a t i v e o f S a n tia g o and
V a l p a r a i s o b r o a d c a s t the f ir s t c o n c e r t s to the w h o l e o f Chile. The
C h o r a l e a lso sang at V ina d e l M a r on 10 June w it h t h e s a m e p r o g r a m as
the f ir s t p r o g r a m in S a n t i a g o . 268
T h e a f te r n o o n r e h e a r s a l in V i n a was fill ed to c a p a c i t y with
u n i v e r s i t y s tu d e n t s , as was th e c o n c e r t that s a m e e v e n i n g . The
p r e s i d e n t o f the P h i l h a r m o n i a O r c h e s t r a o f C h i l e w r o t e a letter o f
a p p r e c i a t i o n to U.S. S e c r e t a r y o f S ta te D ean R u s k t h a t r ead:
The P h i l h a r m o n i c O r c h e s t r a o f C h ile t h a n k s the

S e c r e ta ry for h a v i n g s e n t the R o b e r t S h a w C h o r a l e to
its c ountry. T h e o r c h e s t r a p raises th e h i g h q u a l i t y o f
the group . . . It is h o p e d that t a l e n t e d m u s i c i a n s o f
the same q u a l i t y w i l l be sent to C h i l e p e r i o d i c a l l y
sin ce they f o s t e r g o o d relatio ns b e t w e e n th e two
countries.'
On W e d n e s d a y . 10 J u n e the C h o r a le left S a n t i a g o by bus and

t r a v e l e d to V a lp a r a is o for a p e r f o r m a n c e . The n e x t d a y , a f te r a c h o r a l
w o r k s h o p g i v e n by Shaw , t h e e n s e m b l e left V a l p a r a i s o by bus for
S a n t i a g o for a 10:00 p.m. p e r f o r m a n c e that e v e n i n g . On F r id a y , 12
J u n e th e g r o u p left S a n t i a g o at 1:30 p.m. and f le w to M e n d o z a ; ther e
was t e l e v i s i o n c o v e r a g e o f t h e i r a r r iv a l at 3:15 p . m . U p o n ar ri val t here

was a b r i e f i n g and r e c e p t i o n at T h e Su ss ex H o te l by W a y n e T a y lo r o f
the U .S . I n f o r m a t i o n S e r v i c e in B u e n o s Aires . T h a t e v e n i n g , the
C h o r a l e a t t e n d e d a r e c e p t i o n g i v e n by the M e n d o z a P h i l h a r m o n i c
268 “ C o r o Y O r q u e s t a , ” 1 9 6 4 .
269 U . S . D e p a r t m e n t o f S t a t e , C u ltu ra l P resentations P r o g ra m : A R eport to the

C o n g ress a n d th e Public by the A d v is o r y C om m ittee on the A rts. 19 6 3 , R o y E . L a r s e n ,
C h a ir m a n ( W a s h in g to n , D .C .: G o v e r n m e n t P rin tin g O ffic e , 1 9 6 4 ) 4 4 .
176
A s s o c i a t i o n and A M I C A N A ( U . S . A r g e n t i n e C u l t u r a l C e n t e r ) . On
S a t u r d a y . 13 June the C h o r a l e p e r f o r m e d at T h e C i n e m a T h e a t r e Rex.
F o l l o w i n g a free d ay on S u n d a y , th e C h orale left M e n d o z a at 3:00 p.m.
an d a r r i v e d at C o r d o b a late in t h e a f te r n o o n . A f t e r c h e c k i n g into the
C r i l l o n H o t e l , there w a s a r e c e p t i o n for the e n s e m b l e at th e B in a ti o n a l
Center. O n T u e s d a y . 16 J u n e . S h a w and the C h o r a l e p r e s e n t e d a
w o r k s h o p w it h local c h o r a l g r o u p s . That e v e n i n g th e c o n c e r t was held
at t h e T e a t r o R iv e r a I n d a rte . T h e n e x t day the g r o u p l e f t C o r d o b a via
bus f o r R o s a r i o , A r g e n t i n a ’s s e c o n d largest city a n d a m a j o r indust rial
center. T h e r e was a p e r f o r m a n c e on T h u r s d a y e v e n i n g at 9:3 0 in El
C i r c u l o T h e a t r e . On F r id a y . 19 J u n e they left R o s a r i o a r o u n d 10:00
a.m . a n d a r r i v e d at the H o t e l C l a r i d g e in B u e n o s A i r e s , A r g e n t i n a at
4:30 p.m. T h a t e v e n i n g U n i t e d S t a t e s A m b a s s a d o r E d w i n M. M artin

g a v e a r e c e p t i o n for the e n s e m b l e at the e m b a s s y r e s i d e n c e . M art in and
his w i f e . P e g g y , wer e f r e q u e n t e n t e r t a i n e r s o f c u l t u r a l f i g u r e s in
A rgentina. C o m p o s e r A l b e r t o G i n e s t e r a was a f r e q u e n t g u e s t at the
M a r t i n s ’ r e s i d e n c e and a lso a t t e n d e d the r e c e p t i o n f o r t h e S h a w
Chorale. T h e C h o r a le h ad p r e p a r e d his L a m e n t a t i o n s o f J e r e m i a h for
p e r f o r m a n c e at the c o n c e r t s in B u e n o s Aires a n d w e r e p l e a s e d to meet
him at t h e lu n c h e o n . Mrs . P e g g y M a r t i n , in a t e l e p h o n e i n t e r v i e w ,
r e m e m b e r e d the Shaw vis i t as a h i g h l i g h t o f th e i r t i m e in A r g e n t i n a . 270
T h e g r o u p p e r f o r m e d t h e v a r i e d choral p r o g r a m ( i n c l u d i n g the
L a m e n t a t i o n s ) on S a t u r d a y , 2 0 J u n e a nd the B m i n o r M a s s o n Sunday ,
21 J u n e f o r e n t h u s i a s t i c a u d i e n c e s at the T e a tro C o l o n , B u e n o s Aires.
On M o n d a y , 22 June the s i n g e r s p r e s e n t e d the R e n a i s s a n c e a c a p p e l la
270 M arg aret Martin, te lep h o n e in te rv ie w by the author, 8 A p ril 1999.
177
s e l e c t i o n s , t h e S c h u b e r t M a s s in G. a n d F r ied e A u f E r d e n at a f re e n o o n
c o n c e r t at th e C i n e G ran Rex. T h e c o n c e r t was c o - s p o n s o r e d by
M o z a r t e u m A r g e n t i n o and an A r g e n t i n e c o r p o r a t i o n .
On T u e s d a y . 23 J u n e , the C h o r a l e left Bu en o s A i r e s at 5:00 p.m.

and a r r i v e d in M o n t e v i d e o , U r u g u a y at 6 :0 0 p.m. for a t h r e e - d ay stay.
A f t e r a b r i e f i n g an d pres s i n t e r v i e w , th e y a tt e n d e d a r e c e p t i o n . On
W e d n e s d a y , 24 J u n e , th e y p e r f o r m e d in M o n t e v i d e o a n d it w a s
b r o a d c a s t c o u n t r y w i d e o v e r g o v e r n m e n t s ta tio n s .
P r o b l e m s o f t r a n s l a t i o n h a p p e n e d f r e q u e n t l y , but ill m a n n e r s w er e
not the n o r m ; o c c a s i o n a l o c c u r r e n c e s , h o w e v e r , m a d e f o r i n t e r e s t i n g
s to r i e s . In M o n t e v i d e o a s o m e w h a t h u m o r o u s s to r y o c c u r r e d w h e n one
o f the s i n g e r s . B a r b a r a F r e e m a n , c a l l e d th e front d e s k o f the h o t e l to
r e q u e s t a w a k e - u p call at 8 : 3 0 a . m . th e n e x t m o rn i n g . H a v i n g had tw o
y e a r s o f S p a n i s h in c o lle g e , she k n e w t h a t she c o u ld m a k e h e r s e l f
u n d e r s t o o d to th e r e c e p c i o n i s t a . “ S e n o r , ” she s lo w l y b e g a n , “ por fa vor,

a m a n a n a . t e l e p h o n o a o c h o de m e d i o . ” T he desk c l e r k i m m e d i a t e l y
i n t e r r u p t e d h e r w i t h , “ Si c l a r o , I s p e a k v e r y good E n g l i s h . I
u n d e r s t a n d . ” N o t c o n v i n c e d t h a t s h e h ad b e e n u n d e r s t o o d c o r r e c t l y and
n ot w i s h i n g to o v e r s l e e p ( a n d i n c u r S h a w ' s w rath), B a r b a r a q u i z z e d the
man further. “ G o o d , ” she s a id . “ C a n y o u r ep eat b a c k to me w h a t I j u s t
s a i d ? ” E v i d e n t l y p i q u e d at b e i n g q u e s t i o n e d , the m a n a n s w e r e d c u r tly ,
“ Y es , c e r t a i n l y . Y o u w o u ld like te a for two at n o o n . ” S a y s F r e e m a n ,
“ N o w I c a n l a u g h . . . at th e t im e , it w a s n ' t at all f u n n y . ” 271
M u s s u l m a n w r o te t h a t in s p it e o f the u n e a s i n e s s t h a t m u c h o f the
free w o r l d h a d r e g a r d i n g A m e r i c a ' s t r e a t m e n t o f m i n o r i t i e s a n d
271 B a rb a ra F ree m a n Parker, in te rv ie w by the author, tape re cording, T alla h a s s e e ,

Florida, 14 M arch 1999.
178
m isg u id e d p o l i c i e s in C u b a and S o u t h e a s t A s i a , the C h o r a le was g r e e t e d
with " e x c e p t i o n a l c o r d i a l i t y and w i t h o u t t h e s l i g h t e s t hint o f
a n i m o s i t y . ” On F r i d a y . 26 June the C h o r a l e lef t M o n t e v i d e o in the

early a f t e r n o o n f o r B u e n o s Air es. T h a t e v e n i n g was free for
s ig h ts e e in g an d s h o p p i n g . On S a tu r d a y . 27 J u n e , the C h o r a l e left
Buen os Air es at 1 0 : 0 0 a .m . for C o r r i e n t e s - R e s i s t e n c i a . a r r i v i n g at 1:15
p.m. for a p e r f o r m a n c e . On Sunday , 28 J u n e , th e y left C o r r i e n t e s -
R e s i s t e n c i a at 8:55 a . m . and a r ri v e d in A s u n c i o n , P a r a g u a y at 9 :3 0 a.m .
The y w er e b r ie f e d a n d h a d the b a la n c e o f th e d a y free. On M o n d a y . 29
June, they a t t e n d e d a w o r k s h o p at the N a t i o n a l U n i v e r s i t y M u sic S c h o o l
and had a p e r f o r m a n c e w it h the u n i v e r s i t y s t u d e n t s . On T u e s d a y . 30
June, t h er e w as a n o t h e r w o r k s h o p wit h t h e m u s i c s tu d e n ts and a
performance. On W e d n e s d a y , 1 Ju ly, t h e r e w a s a c h i ld r e n 's
p e r f o r m a n c e f o l l o w e d b y a r e ceptio n. T h u r s d a y . 2 July, the C h o r a l e
left A s u n c i o n for S a o P a u l o , Brazil. On 3 J u l y , a f te r t h e ir b r ie f i n g ,
there was a r e c e p t i o n a n d a p e r f o r m a n c e . S a t u r d a y , 4 J u ly , was a free
day for the g r o u p . S u n d a y and M o n d a y . 5 a n d 6 July, t h e y p e r f o r m e d
and left Sao P a u l o f o r R io de Ja neir o on T u e s d a y . 7 July.
The g r o u p a t t e n d e d a w o r k s h o p on W e d n e s d a y , 8 July. A f t e r a
p e r f o r m a n c e o n 9 J u l y , t h e y had F r id a y as a fre e day. S a tu r d a y a n d
Sunday, 1 1 an d 12 J u l y , th ey p e r f o r m e d a n d left Rio de J a n e i r o o n
M onday . 13 J u ly , f o r B e l o H o r izo n te. T h e y a r r i v e d in H o r i z o n t e on 13
J uly and had a p e r f o r m a n c e the next day. L e a v i n g Belo H o r i z o n t e on
15 July, the g r o u p t r a v e l e d to S a lv a d o r for a p e r f o r m a n c e on T h u r s d a y ,

16 July.
In S a l v a d o r , B r a z i l , an unusual an d m e m o r a b l e e v e n t o c c u r r e d
when, j u s t as S h a w w a s b e g i n n i n g the o p e n i n g b a r s o f the Ky rie o f th e
179
B m i n o r M a s s . the li gh ts a n d p o w e r w en t o f f in the t h e a t r e . The
C h o r a l e and o r c h e s t r a w e r e left in total d a r k n e s s , a n d t h e Kyrie.
a c c o r d i n g to r e v i e w e r N o r m a n N a d e l . " g r o u n d to a h a l t a f t e r three or
f o u r m i n u t e s ; the m u s i c i a n s c o u l d n ' t play the m a s s i v e c o m p o s i t i o n in
the d a r k / ’272 R e m e m b e r e d A n n e W o o d w a r d , “ t h e s i n g e r s kep t goin g for
a w h i l e b e c a u s e o f c o u r s e w e k n e w th e musi c. Bu t t h e o r c h e s t r a
c o u l d n ' t r e a d the par ts and h a d to s t o p . ”273
A f t e r a b o u t t w e n t y m i n u t e s , s o m e o n e ra n ou t f r o m b a c k s t a g e w ith
c a n d l e s , bu t fire laws p r e v e n t e d th em from b e i n g u s e d . F o r the n ext
f o rty m i n u t e s , Shaw c o n d u c t e d th e sin g er s in a c a p p e l l a s e le c t io n s from
the 1 7 th c e n t u r y until the M a y o r o f S a lv a d o r , w h o h a p p e n e d to be in the
a u d i e n c e , c a l l e d in the F i r e D e p a r t m e n t for g e n e r a t o r s a n d e m e r g e n c y
f lo o d l i g h t i n g . H o w e v e r , b y t h a t tim e, it was n e a r l y m i d n i g h t , as
c o n c e r t s in B r a z il t y p i c a l l y s t a r t late. The c o n c e r t , o r i g i n a l l y s c h e d u l e d
to s t a r t at 9 :3 0 p.m., h a d n o t a c t u a l l y begu n u n til 1 0 : 0 0 p.m . Two
h o u r s lat er , at m i d n ig h t, S h a w a g a i n s ta r te d th e o p e n i n g o f the B m i n o r
M as s, th i s t i m e a c c o m p a n i e d by the d in o f S a l v a d o r ' s g e n e r a t o r s .
I n c r e d i b l y , n e a r l y e v e r y o n e s t a y e d until the f in a l c h o r d s o u n d e d at 2:45
O n F r i d a y , 17 J u ly , t h e C h o r a l e left S a l v a d o r a n d a r r i v e d in
R e c i f e at 4 : 4 0 p.m. for the la st leg o f their to u r. A f t e r p e r f o r m i n g on
S a t u r d a y , the group h ad a f r e e d a y on S und ay . O n M o n d a y , 20 July, at
' ■ N o rm a n Nadel , “ D ip lo m a c y th ro u g h M usic,” N ew York W o rld -T eleg ra m a n d S u n ,

1 A u g u s t 1964.
273 Anne W oodw ard, in terv iew by the author, G re en sb o ro , N o r t h C aro lin a, 26
F ebruary 2000.
274 Nadel , 1964.
180
7:00 a . m . . th e g r o u p left R e c if e f o r B e l e m a r r i v i n g at 1:20 p . m . The
f o l l o w i n g d a y th e y gav e w o r k s h o p s . W e d n e s d a y . 22 J u l y w a s t h e i r last
c o n c e r t o f th e tour: on T h u r s d a y . 23 J u l y , the C h o r a l e left B e l e m bound
for N e w Y o r k .
A l t h o u g h Shaw w o u ld a p p e a r in S o u th A m e r i c a to c o n d u c t
w o r k s h o p s in tw o s u b s e q u e n t y e a r s , t h e S o u t h A m e r i c a n t o u r w a s the
final c h a p t e r in the c u l t u r a l d i p l o m a c y e f f o r t by the R o b e r t S h a w
Chorale. B y al l a c c o u n t s it was a n e n o r m o u s l y s u c c e s s f u l v e n t u r e .
H e a d l i n e s in th e New York Tim es r e a d , “ S h a w a Hit in S o u t h A m e r i c a . ”
V ar iety c a l l e d the C h o r a le 's a p p e a r a n c e in C hile “the m o s t s u c c e s s f u l
State D e p a r t m e n t ex p o r t s i n c e L o u i s A r m s t r o n g . ” 275 I r v i n g K o l o d i n .
m usic e d i t o r f o r the S a t u r d a y R e v i e w , p r a i s e d S h aw s a y i n g , in p a r t , that
he had a c h i e v e d "not o n l y p e r s o n a l s u c c e s s ” (in his m u s i c a l c a r e e r ) ,
“ but a l s o in the in flu e n c e he has e x e r t e d w o r l d - w i d e t h r o u g h the
p e c u l i a r l y A m e r i c a n i n s t i t u t i o n he h a s c r e a t e d . ” 276 K o l o d i n a l s o noted
that w h i l e A m e r i c a n s y m p h o n y o r c h e s t r a s wer e o f te n r e g a r d e d by the
L a ti n s as a “ lu x u r y by p r o d u c t o f o u r a f f l u e n t s o c ie ty , . . . n o t h i n g ( o f
the s o rt ) c o u l d be said a b o u t S h a w a n d his s i n g e r s . ” 277 S h a w a n d the

C h o r a l e h a d . in fact, c o m p l e t e d t h e m i s s i o n a s s ig n e d to t h e m by the
State D e p a r t m e n t . Not o n ly had t h e y b r o u g h t m usic to all r e g i o n s and
p e o p l e s o f S o u t h A m e r ic a , they h a d b r o k e n do w n s o m e o f t h e
s t e r e o t y p e s o f A m e r i c a n s as a p r i v i l e g e d , u p p e r - c l a s s , r a c i a l l y d i v i d e d
275 " R o b e r t Shaw Chorale, in S tate D e p a r tm e n t Tour, Wows ‘Em at 3 C h ile

C on certs," V a r ie ty , 235:48 17 June 1964.
276 Irv in g Kolodin, "The M usic B o x ,” S a tu r d a y R eview , A ug ust I, 1964.
277 K o lo d in , 1964.
181
p e o p le . It had no t g o n e un n o tic e d th at s e v e r a l A f r i c a n A m e r i c a n s w e r e
p r o m i n e n t m e m b e r s o f th e C h o r a l e . 278
Back in the s t a t e s . Shaw found a c o u n t r y r e e l i n g from the e v e n t s
o f the F r e e d o m S u m m e r . 279 and fretted o v e r w h a t his own role s h o u ld be
in the cau se for c i v i l r ig h ts . Shaw had n e v e r o p e n l y c a m p a i g n e d for
c ivil rights, bu t h a d . as M u s s u l m a n n o te d , “a l w a y s c o n s i d e r e d any

a p p l i c a n t ( fo r his c h o i r s ) r e g a rd le s s o f ra ce or r e l i g i o n , who s h o w e d
s u i t a b l e t a l e n t a n d a b i l i t y in open c o m p e t i t i o n . ” 280 281 Part o f S h a w l s
s ta t e d r e a so n s for a c c e p t i n g the A t la n t a S y m p h o n y p o s it i o n was that he
felt that he c o u l d m a k e a “h u m a n d i f f e r e n c e ” in the S o u t h ’s civil r i g h t ' s
s t r u g g l e s . 282
Shaw r e f l e c t e d u p o n the South A m e r i c a n t o u r in a 1966 letter to
m e m b e r s o f the C l e v e l a n d S y m p h o n y O r c h e s t r a C h o r u s . He w rote .
“ T h e r e is a ver y s t r o n g i n t e r e s t in the c h o r a l ar t in all South A m e r i c a n
r e p u b l ic s , e s p e c i a l l y C h i l e . ” A c c o r d in g to s e v e r a l m e m b e r s o f the t o u r,
S h a w had a w o n d e r f u l t i m e in South A m e r i c a . He s e e m e d m o re r e l a x e d
t han he had in R u s s i a . He e n joyed the f e s t i v e a n d g e n e r o u s n atu re o f
2,8 As M u ssu lm a n w ro te in his biography o f R obert S h a w , L atin A m ericans had been

"surp rised -a lm o st as m u ch as the Russians had been, at the p re s e n c e o f two blacks in the
troupe-tenor soloist Seth M c C o y and soprano cho rister Diane W hite-and even more
(surp rised) that th ere had b ee n blacks in nearly every R obert S h aw C horale since 1948.”
(M ussulm an, 1979).
279 The F reedom S u m m e r Project was a result o f the c o lla b o ra tio n o f several civil
rights organizations, in c lu d in g the N AA CP and the SCLC (S o u th e rn C hristian L eadership
co nference) to urge b lacks in south ern states to reg ister to v o te and to otherw ise exercise
th eir rights as A m erican citiz e n s .
280 M ussulm an, 161.
281 Shaw's in s iste n c e th a t the Collegiate C ho rale rem ain o p en to Jews, C atholics and
blacks was at odds with th e C o lle g ia te Marble C hurch and ca u s e d him to disassociate from
the church in 1943.
282 M argaret S h a k e s p e a re . “ Robert Shaw R em em b ers.” O v a tio n 9, no. 4 (1988): 9.
182
the L a t i n A m e r ic a n s and he e n j o y e d the native e n t h u s i a s m th a t m arked
th e ir m u s i c a l heritage. T h e s i n g e r s , too. had a go o d t i m e in South
A m e r i c a , e n j o y in g a m o re r e l a x e d itine rary and t a k i n g a d v a n t a g e o f the
u n i o n ’s r e q u i r e m e n t s that t h e y h a v e travel day s free. In S o u t h A m er ica.

S h a w s a w an o p p o r tu n i t y to e s t a b l i s h an i n t e r n a t i o n a l d i a l o g u e bet wee n
m u s i c i a n s t hat p o t e n t ia lly c o u l d b r i n g the two h e m i s p h e r e s t o g e th e r .
The r e s u l t o f this e n t h u s i a s m w as to bring La ti n A m e r i c a n c o n d u c t o r s

to N o r t h A m e r i c a for the M e a d o w B r o o k School and t o b r i n g Shaw back
to S o u t h A m e r i c a for the n e x t tw o y ea rs as a S tate D e p a r t m e n t d ip lo m at
for c h o r a l musi c. Far b e y o n d p l a t i t u d e s and n o b le s t a t e m e n t s o f
i n t e n t i o n s . Shaw was s h o w i n g h i m s e l f to be a man w h o s i n c e r e l y
b e l i e v e d w h at he said a nd w h o p u t his beliefs into a c t i o n .
183
C H A P T E R NINE
SUMMARY, CO NCLUSIONS. AND
R E C O M M E N D A T IO N S FOR FUTURE R E S E A R C H
R o b e r t S h a w c r e a t e d the R o b e r t S h a w C h o r a l e in 1948 w i t h a
g r o u p o f f r i e n d s and a s s o c i a t e s f r o m the C o l l e g i a t e C h o r a l e in o r d e r to
" p e r f o r m w o r k s less w ell s u i t e d to a la r g e r ch oir, a n d to p e r f o r m paying
j o b s in a n d a r o u n d N ew Y o r k C i t y . ” 28'’ D u r in g the n e x t e i g h t e e n yea rs,
the R o b e r t S h a w C h o r a l e e s t a b l i s h e d i t s e l f as the p r e e m i n e n t
p r o f e s s i o n a l c h o r a l e n s e m b l e in t h e U n i t e d S tate s, a n d its f o u n d e r and
c o n d u c t o r as the f o r e m o s t c h o r a l c o n d u c t o r in A m e r i c a .
T h e f o c u s o f this s t u d y w a s n o t o n ly the a c h i e v e m e n t s m e n t i o n e d
a b o v e , b u t a l s o the vast i n f l u e n c e o f th e R o b e r t S h a w C h o r a l e on the art
o f c h o r a l s i n g i n g in A m e r i c a a n d a r o u n d the w o r ld . When the Robert
S h a w C h o r a l e c o m p l e t e d its f i n a l t o u r a nd r e c o r d i n g in 1967, the
e n s e m b l e and its c o n d u c t o r had c o m p l e t e d e i g h t e e n to u r s o f t h e Un it ed

S ta te s a n d t h r e e h i s t o r y - m a k i n g t o u r s o f fo re ig n c o u n t r i e s f o r th e State
Departm ent. The e n s e m b l e a l s o a p p e a r e d on n u m e r o u s t e l e v i s i o n
p r o g r a m s and was b r o a d c a s t liv e in S o u t h A m e r i c a a n d b e h i n d t h e Iron
C u r t a i n o n S o v i e t R u s s i a 's o f f i c i a l n e t w o r k . T h e y p e r f o r m e d in e v e r y
c o n c e i v a b l e e n v i r o n m e n t , f ro m h i g h s c h o o l g y m n a s i u m s to t h e f in e s t
c o n c e r t h a l l s in E u r o p e , S o u t h A m e r i c a , a n d R u s sia . A typical Shaw
C h o r a l e t o u r o f th e U n i t e d S t a t e s l a s t e d fro m s ix t y to s e v e n t y d a y s and
“>3 R o b ert Shaw , "Choral Id e a ls ,” N e w York Tim es, 30 D e c e m b e r 1951, sec. 10, p .7.
184
c o v e r e d an e n t i r e r e g i o n o f the c ountry. T h e S h a w sin gers t r a v e l e d by
bus to thirty or m o r e d e s t i n a t i o n s often h u n d r e d s o f miles a p a r t , g o t o f f
the bus. set up. r e h e a r s e d a nd p e r f o r m e d t h a t e v e n i n g . T h e i r f o r e i g n
t o u r s were no less g r u e l i n g . R o b e r t S h a w w a s c l e a r in his p u r p o s e . He
b e l ie v e d that a g r o u p o f w e l l - t r a i n e d s i n g e r s , i f t h e y w o r k e d h a r d
e n o u g h , co u ld s i n g w i t h th e s a m e skill a n d p e r f e c t i o n o f e n s e m b l e th a t
a p r o f e s s i o n a l o r c h e s t r a d i s p l a y e d . In an a r t i c l e w r i t t e n for the N e w
Y o r k Times in 1 9 5 1 , S h a w w r o t e that the C h o r a l e " s e e k s to e s t a b l i s h a
r e a s o n a b l y s t a n d a r d a n d p e r m a n e n t c h o r a l - o r c h e s t r a l i n s t r u m e n t f o r the
p e r f o r m a n c e o f a d i s t i n g u i s h e d l i t e r a t u r e . ” 284
The a c c o m p l i s h m e n t s o f the fo re i g n t o u r s a r e well d o c u m e n t e d in
the hu ndred s o f r e v i e w s , p u b l i c s t a t e m e n t s , a n d p e r s o n a l a n e c d o t e s
s h a r e d by the p a r t i c i p a n t s . T h e lo n g -t e r m e f f e c t s are s o m e w h a t m o r e
d i f f ic u lt to m e a s u r e . A s S h a w h i m s e l f s a id o n n u m e r o u s o c c a s i o n s , he
d o u b te d w h e t h e r m u s i c a l o n e w a s en ough to s o l v e t h e s e rio u s p r o b l e m s
f a c i n g the w o r l d 's p o p u l a t i o n a n d its p o l i t i c a l l e a d e r s . He r e m a i n e d th e
p h i l o s o p h i c a l s k e p t i c he h a d b e c o m e d u r i n g h is P o m o n a C o l l e g e d a y s
w h e n the s im p l e v i e w o f his c h il d h o o d w o r l d s u d d e n l y b e c a m e m u c h
b i g g e r and m o r e c o m p l e x . Y et , the o t h e r s i d e o f S h a w 's n a t u r e
r e m a in e d o p e n l y h o p e f u l a n d e v e n c h i l d l i k e in its e n t h u s i a s m f o r th e
p o s s ib il itie s o f m a n k i n d l e a r n i n g to get a l o n g w i t h one a n o t h e r a n d
f in d in g its way t h r o u g h m u s i c a l c o m m u n i t i e s .
Shaw's p a r t i c i p a t i o n in the c u ltura l d i p l o m a t i c ef fo rt was

s ig n if ic a n t . His p e r s o n a l s t y l e — a m ix tu r e o f d e e p c o m m i t m e n t ,
o u t w a r d h u m i l i t y , a n d s l i g h t l y s e l f - c o n s c i o u s c h a r m — e n d e a r e d h i m to
'u Robert Shaw , “ C h o ra l Id e a ls ,’' N ew York T im e s, 30 D e cem b er 1951, sec. 10, 7.
185
f o r e i g n a u d i e n c e s w h o o f t e n ha d q u i te the o p p o s i t e o p i n i o n o f
A mericans. The S h a w C h o r a l e ' s s u c c e s s is a ls o r e f l e c t e d in th e r e p e a t
r e q u e s t s for their a p p e a r a n c e s . No ot her c h o r a l e n s e m b l e was in v ite d
by th e S tate D e p a r t m e n t to t o u r on thre e s e p a r a t e o c c a s i o n s , and no
o t h e r e n s e m b le , c h o r a l o r o t h e r w i s e , was as w i d e l y l a u d e d in the
i n t e r n a t i o n a l press. One R u s s i a n of fi c ia l e v e n s u g g e s t e d to S h a w an
" i d e a l " e x c h a n g e : " Y o u t a k e my c h o i r and I'll t a k e y o u r s . ”285 Boris
S c h w a r z wrote th at th e S h a w a p p e a r a n c e in R u s s i a w a s “ a r e v e l a t i o n ” to
the R u s s i a n p e o p l e . 286 N e v e r h ad s uch a lea n, y e t p o w e r f u l ch oral
e n s e m b l e been h e a r d in R u s s i a , w h i c h had a m a s s i v e , ric h style o f
c h o r a l s in g in g . In a d d i t i o n , the s e n s i t i v e r e n d e r i n g o f the B m i n o r
M a ss . w h i c h Sha w h a d i n s i s t e d u p o n p e r f o r m i n g , m o v e d many o l d e r
R u s s i a n s to tears a n d left y o u n g e r m u si c s t u d e n t s m a r v e l i n g at the
b e a u t y o f a wor k t h e y h ad o n l y b e e n able to r e a d a b o u t in music h i s t o r y

b ook s.
O n e can on ly s p e c u l a t e a b o u t how d i f f e r e n t the h is to r y o f Ea st-
W es t r e l a t i o n s m i g h t h a v e b e e n had P r e m i e r e K h r u s h c h e v been a l l o w e d
to c a r r y on with his g r a d u a l e a s i n g o f S t a lin i s t c o n t r o l s . The f lo w o f
i n f o r m a t i o n , c u lture , an d f r i e n d s h i p co uld h a v e c o n t i n u e d in d e f in ite l y .
U n f o r t u n a t e l y , p r e s s u r e s w e r e b r o u g h t to b e a r b y p a r t y c o n s e r v a t i v e s ,
and K h r u s h c h e v h i m s e l f b l e w up at an e x h ib it o f m o d e r n art and
s c u l p t u r e in the M a n e g e E x h i b i t Hall in M o s c o w s h o r t l y af te r the en d o f
the S h a w C h o r a le to u r. A s B o r i s S c h w a r z w r o t e . K h r u s h c h e v “ l a u n c h e d
into an i l l - t e m p e r e d t i r a d e a g a i n s t the a b s t r a c t i o n i s t s , b e r a t i n g th e m as
285 Robert Shaw, " S e rm a n .’M9 63.
2,6 Schwarz, Boris. M usic a n d M u sic a l L ife in S o v ie t R u ssia : 1917-1970 (L on d o n :

Barrie & Jenkins, 1972), 356.
186
j a c k a s s e s a n d p a r a s i t e s . " 287 S o o n t h e r e a f t e r , a c r a c k d o w n on
e x p e r i m e n t a t i o n in the arts w as a n n o u n c e d and c u l t u r a l e x c h a n g e
a g r e e m e n t s w e r e put on hold. S o v i e t d e f e c t i o n s in the la te 1970s.
c o u p l e d w i t h d e t e r i o r a t i n g r e l a t i o n s b e t w e e n the U .S . a n d R u s s i a over
the S o v i e t w a r in A f g a n i s t a n . t e m p o r a r i l y e n d e d e f f o r t s at c u l t u r a l
•)O C
diplom acy."
T h e p u r p o s e o f this s t u d y w a s to d o c u m e n t t h e h i s t o r y o f the
f o re i g n t o u r s o f the R o b e r t S h a w C h o r a l e , a n d to p r o v i d e a n h i s to r i c a l
context. To a c c o m p l i s h t h e s e g o a l s , th e a u t h o r g a t h e r e d d a t a from all
a v a i l a b l e s o u r c e s p e r t a i n in g to th e life an d c a r e e r o f R o b e r t S h a w ,
i n c l u d i n g : (1) S h aw 's p h i l o s o p h y , ( 2 ) th e c r e a t i o n o f the R o b e r t Shaw

C h o r a l e . ( 3 ) the r easons for u n d e r t a k i n g the to u rs , (4) t h e s i n g e r s
i n v o l v e d in th e to u rs , (5) the l o c a t i o n s and i t i n e r a r i e s o f the to u r s . (6)

c o n c e r t r e v i e w s for the to u rs , ( 7 ) the r e p e r t o i r e c h o s e n f o r
p e r f o r m a n c e s , (8) a u d i e n c e r e a c t i o n to the to urs , (9) p o l i t i c a l and
cu l t u r a l b e n e f i t s o f the f o r e i g n t o u r s , a nd (10) S h a w ' s o w n p h i l o s o p h y
and r e f l e c t i o n s up on the to u rs .
T h i s s t u d y s ought to a n s w e r th e f o ll o w i n g r e s e a r c h q u e s t i o n s :
1. W h a t even ts led to th e e s t a b l i s h m e n t o f the R o b e r t Shaw

Chorale?
2. W h a t ev ents led to th e p l a n n i n g o f the f o r e i g n t o u r s ?

3. W h a t was the h i s t o r i c a l a n d p o li tic a l b a c k g r o u n d o f the
“ C u l t u r a l E x c h a n g e ” t o u r s s p o n s o r e d by the U . S . S ta te
Department?
2,7 S c h w a r z , 3 6 3 .
2M W h e n U .S./Soviet relations im p ro v ed du rin g the 1980s and the e x c h a n g e program

was re in sta te d , pian ist Vladim ir H o ro w itz m ad e a triu m ph ant return to R u s s ia a f te r a sixty-
year ab s e n c e , b ec o m in g the first A m e ric a n to visit the U.S.S.R. und er th e new agreem ent.
187
4. W h o w e r e the m e m b e r s o f th e C h o r a l e a nd O r c h e s t r a ?
5. W h e n d i d the t ours t a k e p l a c e and to w h a t c o u n t r i e s ?

6. W h y d i d the U.S. S t a t e D e p a r t m e n t c h o o s e the R o b e r t S h a w
C h o r a l e f o r thes e t o u r s ?
7. W h a t r e p e r t o i r e did R o b e r t S h aw c h o o s e for the t o u r s , a nd
w h a t r o l e did the f o r e i g n g o v e r n m e n t s p l a y in s e l e c t i n g th i s
repertoire?
8. H o w w e r e the to u r s o r g a n i z e d and w h o c o o r d i n a t e d t h e m ?
9. W h a t w a s the i n f l u e n c e o f th e to u rs u p o n U .S . f o r e i g n
relations?
10. W h a t w a s the r e s p o n s e o f the p e o p l e in the c o u n t r i e s
visited?
Sum m ary
C h a p t e r O n e c o n t a i n e d an i n t r o d u c t i o n to the s t u d y and d e s c r i b e d
the r e s e a r c h m e t h o d s , r e s e a r c h q u e s t i o n s , d e f i n i t i o n s , and a r e v i e w o f
r e l a t e d lit e r a t u r e . T h e related l i t e r a t u r e was d e t a i l e d by p u b l i c a t i o n or
s o u r c e type. T h e s e i n c l u d e d : ( 1 ) D i s s e r t a t i o n s ; (2) a r t i c l e s a b o u t a n d
r e v i e w s o f R o b e r t S h a w for j o u r n a l s a nd n e w s p a p e r s an d; (3) p u b l i s h e d
b o o k s that e i t h e r f o c u s on R o b e r t S h a w o r d i s c u s s a s p e c t s o f the R o b e r t
Shaw Chorale.
The r e v i e w o f r e l a t e d l i t e r a t u r e f o u n d t h a t d o c u m e n t a t i o n a n d
d e t a i l s o f the R o b e r t S h a w C h o r a l e w e r e w i d e l y s c a t t e r e d a m o n g
v a r i o u s p u b l i c a t i o n s , b o o k s , e n c y c l o p e d i a s , j o u r n a l s , and n e w s p a p e r
a r t i c l e s , as w ell as p e r s o n a l m e m o i r s a n d i n d i v i d u a l s c r a p b o o k s . The
tas k o f l o c a t i n g w r i t t e n s o u rc e s f o r d o c u m e n t a t i o n p r o v e d to be a
188
c h a ll e n g e . Up u n t i l th e i m p l e m e n t a t i o n o f th i s s t u d y , no a tt e m p t ha d
been m a d e to c a t a l o g u e and ga th e r i n f o r m a t i o n s u c h as dates , l o c a t i o n s ,
s in g er s , a n d c r i t i c a l r e s p o n s e s to the t o u r s in to o n e r e f e r e n c e s o u r c e .
The s i g n i f i c a n c e o f the R ob er t S h a w C h o r a l e is tha t it s e r v e d as
the p r o t o t y p e o f a n A m e r i c a n p r o f e s s i o n a l c h o r a l o r g a n i z a t i o n . The
review o f l i t e r a t u r e r e v e a l e d that S h a w w a s c o n v i n c e d o f the v a l u e an d
j u s t i f i c a t i o n for t h e c r e a t i o n and f i n a n c i a l b a c k i n g o f s u c h an
e n t e r p r is e . S h a w ' s s t a t e m e n t s at th e t i m e m a k e f r e q u e n t r e f e r e n c e to
the " i d e a l s ” o f th e C h o r a l e and d i s c u s s t h e f act t h a t A m e r i c a n e e d e d to
have p r o f e s s i o n a l , f i n a n c i a l l y s u p p o r t e d c h o i r s j u s t as it had r e s i d e n t
symphony o rc h e stra s. S h a w ar gu ed t h a t e a c h t o w n an d c o m m u n i t y in
A m e r ic a c o u l d b e n e f i t fro m a p r o f e s s i o n a l c h o i r t h a t w o u l d s erv e as a
resource. S h a w b e l i e v e d th at people f r o m all w a l k s o f life b e c o m e o n e

in c r e a t in g c h o r a l m u s i c . Shaw's le t te rs to t h r e e d i f f e r e n t c h o r u s e s
r ev ealed th a t S h a w f elt th at choral s i n g i n g w a s th e p e o p l e ' s art.
Specific r e f e r e n c e to c o r p o r a t e ch o ir s in C h i l e r e v e a l e d that S h a w felt

that la bor i s s u e s a n d m u t u a l u n d e r s t a n d i n g b e t w e e n w o r k e r s and
m a n a g e m e n t w e r e i m p r o v e d when p e o p l e w e r e j o i n e d t o g e t h e r for th e
purpose o f singing.
Th e r e v i e w o f l i t e r a t u r e d o c u m e n t e d th e p o s i t i v e r e a c t i o n o f
foreign a u d i e n c e s to the R o b e r t S h a w C h o r a l e . R e v i e w s o f c o n c e r t s in
Ru ssia, S o u t h A m e r i c a , the M idd le E a s t a n d E u r o p e d e m o n s t r a t e d th e
critica l a c c l a i m th e C h o r a l e rec ei ved .

C h a p t e r T w o f o c u s e d on the life a n d c a r e e r o f R o b e r t Shaw. This
c h a p te r d e t a i l e d m a j o r e v e n t s in his life a n d p r o v i d e d S h a w 's r e f l e c t i o n s
upon his u p b r i n g i n g a n d a c c o m p l i s h m e n t s . S h a w w as b o r n into a
C a l i f o r n i a f a m i l y w h e r e m u sic was a c o n s t a n t . H is f a t h e r and m a t e r n a l
189
g r a n d f a t h e r w e r e b o t h m i n i s t e r s , and s o c ia l life for the S h a w s r e v o l v e d
a r ou nd c h u r c h an d f a m il y life. Each o f the S h a w c h i l d r e n was m u s i c a l
and d i r e c t e d a lo ca l c h u r c h choi r.
S h a w b e c a m e a p r o f e s s i o n a l m u s i c i a n as a m a t t e r o f p r a c t i c a l i ty .
As he o n c e e x p r e s s e d it. “ m u s i c chose m e . ” He was i n t r o d u c e d to F r e d
W aring w h i l e in c o l l e g e a n d la te r o f f e r e d a j o b as F red W a r i n g 's c h o r a l
d ir e cto r. S h a w a c c e p t e d the j o b , he s aid , b e c a u s e he n e e d e d the m o n e y
to pay o f f his c o l l e g e lo an s. A f te r s e v e r a l y e a r s o f p r e p a r i n g ch o ir s f o r
W a r in g , S h a w d e c i d e d to b r a n c h out into c l a s s i c a l m u s ic , and he
d e v e l o p e d the C o l l e g i a t e C h o r a l e as a v e h i c l e f o r his c h a n g i n g
in te re st s. T h e C o l l e g i a t e C h o r a l e b r o u g h t S h a w to the a t t e n t i o n o f
m a jo r s y m p h o n y o r c h e s t r a c o n d u c t o r s s u c h as T o s c a n i n i a n d Ser ge
K o u s s e v i t z k y w ho g a v e him o p p o r t u n i t i e s to c o n d u c t t h e i r o r c h e s t r a s .
In 1943 the N a t i o n a l A s s o c i a t i o n o f C o m p o s e r s a n d C o n d u c t o r s n a m e d
S haw " A m e r i c a ' s g r e a t e s t c h o r a l c o n d u c t o r . ” S h a w b r o u g h t an h o n e s t y
and n a t u r a l n e s s to c h o r a l ar t t h a t had l a r g e l y b e e n m i s s i n g in this

cou n tr y .
The R o b e r t S h a w C h o r a l e was an o u t g r o w t h o f the C o l l e g i a t e
C horale. It g r e w o u t o f the s o - c a ll e d “ s m all c h o i r ” o f the C o l l e g i a t e
C h o r a l e an d w as c o m p r i s e d o f the best s i n g e r s f r o m the “ lar g e c h o i r . ”
T he d e m a n d for the s e r v i c e s o f the s m a ll c h o i r o r “ v a r s i t y ” c h o ir g r e w
as r e c o r d i n g c o m p a n i e s s o u g h t to c a p i t a l i z e o n t h e g r o w i n g m a r k e t f o r
lo ng p l a y i n g r e c o r d s . The n a m e o f the c h o i r w a s c h a n g e d to the R o b e r t

S h a w C h o r a l e in 1948 so tha t the c h o ir c o u l d f u n c t i o n i n d e p e n d e n t l y o f
the r e c o r d i n g a n d n e t w o r k b r o a d c a s t i n d u s t r i e s .
The R o b e r t S h a w C h o r a l e made o v e r f if t y r e c o r d i n g s and t w e n t y -
one tours in its e i g h t e e n - y e a r e x is te n c e . T h e t h r e e f o r e i g n to urs m a d e
190
Shaw an international figure. H is last a c t i v i t y w i t h t h e R o b e r t Shaw
C h o r a l e wras a r e c o r d i n g s e s s i o n in 1967 o f I r i s h F o l k S o n g s a r r a n g e d
by A l i c e P a r k e r . Shaw lef t b e f o r e the c o m p l e t i o n o f t h e s e s s i o n to s ta r t
a n e w p h a s e o f his c a r e e r w i t h t h e A tla n t a S y m p h o n y . W h e n S h aw w e n t
to A t l a n t a he i n h e r ite d a p a r t - t i m e , largel y a m a t e u r o r c h e s t r a with an
a n n u a l b u d g e t o f ar ound $ 5 0 0 , 0 0 0 . When he r e t i r e d as full time
c o n d u c t o r in 1988 to b e c o m e m u s i c d i r e c t o r e m e r i t u s a n d c o n d u c t o r
l a u r e a t e , t h e o r c h e s t r a had g r o w n to 93 f ull t i m e p r o f e s s i o n a l s a nd the

b u d g e t w a s o v e r $12 m i l l i o n . Shaw conducted the A tlanta Symphony
O r c h e s t r a f r o m 1967 until s h o r t l y before his d e a t h in J a n u a r y 1999; his
last a p p e a r a n c e was a M e s s i a h in D e c e m b e r 1998 at S y m p h o n y Hall.
C h a p t e r Three d e a l t w i t h t h e sin ger s o f th e S h a w C h o r a l e . It w as

d i s c o v e r e d t h a t the t y p i c a l S h a w C h o r a l e s i n g e r w a s b e t w e e n t w e n ty -
th re e a n d t h i r t y years old. M a n y h a d c o n s e r v a t o r y b a c k g r o u n d s and

e x t e n s i v e s i n g i n g e x p e r i e n c e b e f o r e j o i n i n g the C h o r a l e . M ost wer e
p u r s u i n g a s o lo career or w e r e i n t e r e s t e d in c h o r a l c o n d u c t i n g and
w a n t e d to g a i n v a lu a b le e x p e r i e n c e w o r k i n g u n d e r S h a w . Shaw is
q u o t e d as s a y i n g , “We get t h e s i n g e r s who a r e at t h e p e r i l o u s stage in
their c a r e e r s . ” ' Many o f t h e s i n g e r s r e m a i n e d l o y a l to S h a w and c a m e

back t i m e a n d a gain to t o u r o r r e c o r d with h i m b e c a u s e the C h o r a le
g a v e t h e m e x p o s u r e and t h e y a p p r e c i a t e d his p a s s i o n f o r e x c e l le n c e .
A d d i t i o n a l l y , m a n y s i n g e r s s t a t e d t h a t they l e a r n e d m o r e u n d e r S haw
than t h e y h a d a n y w h e r e e l s e . F l o r e n c e K o p l e f f s t a t e d to the au t h o r t h a t
p r a c t i c a l l y e v e r y t h i n g she k n e w a b o u t m usic she l e a r n e d from S h a w . 290
2*9 *‘p ress B o o k .” Press R e le a s e s F o r Robert Shaw , 1959, S e c tio n Two, p.4. Personal
papers o f R o b e rt Shaw , Atlanta, G e o rg ia .
290 F lo re n c e Kopleff, t e le p h o n e in te rv ie w by the auth or, 5 A p ril 1998.
191
T h e S h a w C h o r a l e w as n ot a s ta ti c o r g a n i z a t i o n ; p e r s o n n e l
c h a n g e d from t o u r to t o u r d e p e n d i n g upon that w as a v a i l a b l e and what
ty p e o f v o i c e s S h a w w a n t e d for a p a r t i c u l a r r e p e r t o i r e . S h a w trusted
his f rie n d a n d lo n g ti m e a s s o c i a t e T h o m a s Pyle to d o m o s t o f the
personnel work. Pyle h ad s t a r t e d hi s own c h o r a l t a l e n t a g e n c y (Choral
A s s o c i a t e s ) in N e w Y ork a n d h a d a list o f 4 0 0 - 5 0 0 o f t h e b e s t singers

available. A c c o r d i n g to s i n g e r s i n t e r v i e w e d f o r th is s t u d y , P y le was an
h o n e s t m a n w i t h g reat i n t e g r i t y . H i s s tr e n g th lay in b e i n g a b l e to match
v o i c e s to a p a r t i c u l a r c o n d u c t o r ' s s ty l e and n e e d s . S h a w s i n g e r s who
c o u n t e d on P y l e to p r o v i d e b o o k i n g s for them w o u l d r e c i p r o c a t e by
h o l d i n g o p e n a v a i l a b l e t i m e f o r t h e S h a w tours. In t u r n he w o u l d make
s u re th a t th e y g o t work.
M a n y o f th e ea rly S h a w C h o r a l m e m b e r s h a d b e e n m e m b e r s o f the
C o l l e g i a t e C h o r a l e . A u d i t i o n s f o r the Shaw C h o r a l e w e r e c o n d u c t e d by
S h a w a nd his t r u s t e d a s s i s t a n t , C l a y t o n K r e h b i e l . T h e a u d i t i o n
c o n s i s t e d o f tw o aria s e l e c t i o n s , s i g h t - r e a d i n g , and v o c a l i z a t i o n s .
C h a p t e r F o u r f o c u s e d o n t h e l ite r a tu r e o f the C h o r a l e . Shaw

c o o r d i n a t e d t h r e e or four s e p a r a t e p r o g r a m s for e a c h t o u r . T h e r e would
be (1) a s e l e c t i o n o f a c a p p e l l a R e n a i s s a n c e p i e c e s , ( 2 ) a s h o r t mass or
c a n t a t a , (3) o n e o r more w o r k s b y c o n t e m p o r a r y c o m p o s e r s , (4) one or
m o r e w o r k s by A m e r i c a n c o m p o s e r s , a nd (5) a c o m p l e t e c o n c e r t piece,
s u c h as th e B m i n o r Mass, w h i c h w a s alw ay s p e r f o r m e d a l o n e .
Shaw often remarked that “ c la s sic a l" music was the people's
m u s i c , a nd t h a t p e o p l e w e r e d r a w n i n s t i n c t i v e l y to t h e b e s t m u s ic . He
e x p l a i n e d the p o p u l a r i t y o f the B a c h B m in o r M a s s a n d t h e A m e r i c a n
S p i r i t u a l s w i th f o r e ig n a u d i e n c e s by s a y in g that t h e y w e r e b o th honest
ex p ressions o f spirituality.
192
This s t u d y r e v e a l e d that S h a w s t a y e d w i t h this s u c c e s s f u l
program f o r m u l a f o r ea ch o f the f o r e i g n t o u r s . Shaw i n c o r p o r a t e d m an y
o f the s a m e w'orks for the 1962 and 1964 t o u r s that he had u s e d on the
1956 tour. T h e a c a p p e l l a s e l e c t i o n s r e m a i n e d v ir tu a l ly the s a m e for
all three t o u rs . ( S e e T a b le 4.)
T a b l e 4. A c a p p e l l a w o r k s p e r f o r m e d on t h e thre e f o r e i g n t o u r s .
T itles 1956 1962 1964
" O la ! O C h e B o n E c c h o ! ” (di L a s s o ) x X X
“ O Vo s O m n e s ” ( V ic to r ia ) X X X
“ Christ R is in g A g a in ” (Byrd) X
“ S e lig S i n d D i e T o t e n ” (Sch iitz) X X X
“ Fa u na C a n z o n e ” (V e c c h i) X X X
“ T h is is t h e R e c o r d o f J o h n ” ( G i b b o n s ) X X
C h a p t e r F i v e f o c u s e d on the c u l t u r a l d i p l o m a c y m o v e m e n t th a t
began in the 1 9 5 0 s in an atte m p t to b r i n g n a t i o n s t o g e th e r t h r o u g h
mutual u n d e r s t a n d i n g . At the c lo se o f h o s t i l i t i e s in E u r o p e in 19 45 , the
A m e r ic a n g o v e r n m e n t was a l r e a d y t r y i n g to e s t a b l i s h c u l t u r a l e x c h a n g e
a g r e e m e n t s w ith t h e S o v ie t Un ion a nd o t h e r n a t i o n s with w h o m
im pro ved r e l a t i o n s w e r e d e s ir a b l e . The r e b u i l d i n g o f W e s t G e r m a n y
ben ef ited g r e a t l y f ro m e x c h a n g e s not o n l y in the arts, but a lso in
t e c h n o l o g y and r e s e a r c h .
In 1948, t h e U n i t e d States C o n g r e s s r a t i f i e d Public L a w 4 0 2 ,
known as the U n i t e d S t ates I n f o r m a t i o n a n d E d u c a t io n a l E x c h a n g e A ct.
193
In 1956 P r e s i d e n t E i s e n h o w e r s ig n e d in to e f f e c t t h e I n te r n a tio n a l
C u l tu r a l E x c h a n g e a n d F a ir Tr ad e A ct ( P u b l i c L a w 860) that p r o v i d e d
p e r m a n e n t f u n d i n g f o r i n d iv id u a l and g r o u p a r t i s t s . The p u r p o se o f th i s
l e g i s l a t i o n was to d e m o n s t r a t e to the w o r l d t h a t A m e r i c a also had a
s tr o n g a r t is t i c c u l t u r e . The R o b e r t S h a w C h o r a l e w a s one o f the
o r g a n i z a t i o n s t h a t w a s c h o s e n to r e p r e s e n t A m e r i c a in this " c u l t u r a l
battle.”
U n d e r the C u l t u r a l E x c h a n g e P r o g r a m , w h i c h u n d e r w e n t s e v e r a l
a l t e r a t i o n s and i m p r o v e m e n t s o v e r the n e x t t e n y e a r s , the R o b er t S h a w
C h o r a le c o m p l e t e d t h r e e historic f o r e i g n t o u r s . T h e first tour to the
M id d le E a s t a nd E u r o p e in 1956 la ste d s e v e n t y d a y s and was an
e x h a u s t i n g , e m o t i o n a l triu m p h for S h a w . He c a l l e d it one o f his
" p r o u d e s t a c h i e v e m e n t s . ” The 1962 to u r o f t h e S o v i e t Union was p a r t

o f an e x t r a o r d i n a r y a u t u m n in R u s sia . As B o r i s S c h w a r z wr ote in his
book . M u s i c a n d M u s i c a l Life in S o v i e t R u s s i a , th e S h a w C h o r a l e
a r r i v e d in M o s c o w at the same tim e th a t o t h e r “ p r o m i n e n t m u s i c i a n s

and. ar t is ts — w er e a r r i v i n g . 291
In 1964 the R o b e r t Shaw C h o r a l e w e n t to S o u t h A m e r ic a for a

to u r that had l a s t i n g s i g n i f i c a n c e for L a ti n A m e r i c a n ch oral m u s i c i a n s .
The ties e s t a b l i s h e d t h a t s u m m e r a l l o w e d c h o r a l m u s i c i a n s from S o u t h
A m e r i c a to c o m e to the U n ite d States to s t u d y u n d e r Ford F o u n d a t i o n
gr an ts, and c o n v i n c e d the State D e p a r t m e n t to s e n d S h aw to the r e g i o n
the nex t tw o s u m m e r s to co n d u c t c h o r a l w o r k s h o p s .
291 Igor S tra v in s k y w as making a trium phal return to th e USSR after a fifty -year
absence. V iolin ist Y e h u d i M enu hin and the N ew Y ork C ity B allet under George B a la n c h in e
join ed the R o b ert S h aw C h o ra le in the "cultural in v a s io n .”
194
C h a p t e r Six c h r o n i c l e d the ev e n ts o f th e 195 6 to u r o f the M id d l e
E a st a n d E u r o p e . The to u r c o v e r e d an e x t r a o r d i n a r y a m o u n t o f t e r r i t o r y
in s e v e n t y d a y s . R o b e r t C. S c h n i t z e r . t o u r o r g a n i z e r and A N T A
r e p r e s e n t a t i v e , called it " o n e o f o u r m os t s t r e n u o u s t o u r s . ” The

E u r o p e a n g u i d e who was to t a k e o v e r for th e E u r o p e a n p o r ti o n o f the
to u r r e p o r t e d l y quit u p o n s e e i n g t h e it i n e r a r y , l e a v i n g the f if ty - six
m e m b e r e n t o u r a g e to fend f o r its e l f . M i d w a y t h r o u g h the to ur the
s c h e d u l e p r o m p t e d o ne s i n g e r to j o k e , " O n l y a n u t like R o b e r t S h a w
w o u l d a t t e m p t a to ur like t h i s . ” 292 For S h a w it w a s a m o n u m e n t a l
achievem ent. The f o r e i g n p r e s s s h o w e r e d th e e n s e m b l e a nd its d i r e c t o r
w ith p r a i s e . In each s to p, t h e C h o r a l e p e r f o r m e d at leas t six e n c o r e s ,
w ith S h a w h a v i n g to p l e a d w i t h the a u d i e n c e s to let th em leave the

stage. In L e b a n o n , S h a w w a s a w a r d e d the L e b a n e s e O r d e r o f M e rit
a f t e r d o n a t i n g the p r o c e e d s o f the c o n c e r t s to th e r e l i e f ef fo r t for the
v ictim s o f a recent earth q u ak e that devastated s o u th e rn Lebanon. In

I s r a e l . S h a w and the C h o r a l e o f t e n t r a v e l e d w i t h i n y a r d s o f the tru c e
lines in th e w a r b e t w e e n the A r a b states a n d I s r a e l . A t the Ein Gev
F e s t i v a l n e a r the f i g h t i n g in the L a k e T i b e r i u s r e g i o n the C h o r a le
p e r f o r m e d th e M o z a rt R e q u i e m f o r t h o u s a n d s o f p e o p l e , m a n y o f w h o m
c r o s s e d t r u c e lines to get th e r e . In West B e r l i n t h e C h o r a l e v is ite d the
S p a n d a u r e f u g e e c a m p s i n g i n g t h e i r music ( th e G e r m a n p e o p l e ’s) as o ne
s i n g e r r e c a l l e d . “T h e re w e r e n o t m a n y d r y e y e s in the h o u s e . ”293 T h e
t o u r c o n c l u d e d with p e r f o r m a n c e s in H o l l a n d a n d I c e l a n d .
292 B a rb a ra Freeman, in terv iew by th e author, T a lla h a s s e e , FL, 14 M arch 1999.
293 F ree m a n , 1999.
195
C h a p t e r S e v e n f o c u s e d on the 1962 to u r o f th e S o v i e t Union.
P l a n n i n g f o r th e Soviet trip b e g a n s h o r t l y a f t e r the s u c c e s s f u l 1956
tour. E v i d e n c e that plans for the t o u r w ere u n d e r w a y is f o u n d in the
1958 t o u r b o o k l e t , wh ich m e n t i o n s th e plans. S h a w a n d t h e C h o r a le

w e r e i n v i t e d to p a r t i c ip a t e in the B e r l i n F e s ti v a l h e l d in e a r l y O c to b e r .
A f t e r a f i v e - n i g h t stay in B e r li n , th e C h o r a l e v i s i t e d Y u g o s l a v i a for a
w e e k , g i v i n g f o u r co n cer ts in B e l g r a d e . S k o p l j e , S a r a j e v o , and Z a g r e b .
T he C h o r a l e a r r i v e d in M o s c o w o n 13 O c t o b e r w i t h o u t m u c h notice
from t h e S o v i e t press. Th e C h o r a l e ' s p r e s e n c e t r a v e l e d q u i c k l y by w o r d
o f m o u t h a f t e r the initial 14 O c t o b e r c o n c e r t in the h a l l at the M o s c o w
Conservatory. The first c o n c e r t e n d e d wit h f i f t e e n m i n u t e s o f c a d e n c e d
a p p l a u s e a n d c a l l s for six e n c o r e s .
T h e m o s t m e m o r a b le and c e r t a i n l y the m o s t d i s c u s s e d detail o f
the S o v i e t t o u r was the i n c l u s i o n o f B a c h ' s B m i n o r M a s s in the to u r
repertoire. S h a w had i n s is te d in th e initial p l a n n i n g t h a t th e B m i n o r

M a s s b e i n c l u d e d , but the o f f i c i a l s o f G o s k o n c e r t d e l i b e r a t e d for ov er
two y e a r s b e f o r e finally a p p r o v i n g the c o n c e r t . ( T h e t o u r h ad o r ig i n a l l y
b een p l a n n e d f o r 1961, but S o v ie t r e f u s a l to a l l o w t h e M a s s had d e l a y e d
the t o u r . ) R o b e r t G e r m a n , A m e r i c a n e m b a s s y o f f i c i a l , r e m e m b e r e d that
m a n y p e o p l e in the a u d i e n c e w e r e m o v e d to te a r s , e s p e c i a l l y older
R u s s i a n s w h o h a d n ' t hea rd the M a s s p e r f o r m e d s in c e b e f o r e the
revolution. E v e n more a s t o n i s h i n g w a s the fact th a t t h e S o v ie ts asked
f or f o u r a d d i t i o n a l c o n c e r t s o f th e B m i n o r M a ss . C h o r a l e es cort ,
F e o d o r P e t r o v , w ho b e c a m e a f a v o r i t e o f S h aw and t h e C h o r a l e ,
e x p l a i n e d th e S o v i e t ’s a f f i n i t y to t h e M a s s , “ W i t h i n t h e f i r s t eight
m i n u t e s o f th e M a s s , . . . we w e r e o n l y a w a r e o f K y r i e e l e i s o n . H a l f the
196
p e o p l e w e r e c r y i n g . ”294 F i n a l l y , t h e M i n i s t e r o f C u l t u r e a s k e d i f the
C h o r a l e m i g h t r e t u r n an d p e r f o r m B e e t h o v e n ' s M i s s a S o l e m n i s and
B a c h 's St. M a tt h e w P assion.
F i g u r e 1 7 . R u s s i a n i n t e r p r e t e r s a n d e s c o r t s at a r e c e p t i o n n e a r the
e n d o f t h e t o u r . F e o d o r P e t r o v , to w h o m the C h o r a l e b e c a m e v ery
a t t a c h e d , is s h o w n r a i s i n g a g l a s s in t o a s t . P e r s o n a l p a p e r s o f
R o b e r t S h a w . R ep rin ted by p e r m is s io n .
C h a p t e r E i g h t f o c u s e d o n th e 1 9 6 4 t o u r o f S o u t h A m e r i c a . The
C h o r a l e a n d o r c h e s t r a left th e U n i t e d S t a t e s 14 M a y 1 9 6 4 a n d r e t u r n e d
23 J u l y 1 9 6 4 h a v i n g v i s i t e d e i g h t c o u n t r i e s and t r a v e l e d m o r e t h a n
15,000 m ile s . T h e C h o r a l e s p e n t t w e l v e d a y s in C o l u m b i a , s t a r t i n g in
B o g o t a , w i t h c o n c e r t s in C a l i , P o p a y a n , a n d P e r e i r a . F r o m t h e r e the
C h o r a l e s p e n t n i n e days in E q u a d o r , t w o d a y s in P e r u , a n d f i v e d a y s in
294 “ S p o t l i g h t , ” B ravo 11:4 (1 9 6 2 ) : 22.
197
C h ile . A f t e r f o u r c o n c e r t s in C h i l e , th e C h o r a l e t r a v e l e d e a s t to B uenos
A i r e s w h e r e they g a v e two c o n c e r t s , in c l u d i n g th e L a m e n t a t i o n s o f
J e r e m i a h by A r g e n t i n e c o m p o s e r . A l b e r t o G i n e s t e r a . A f t e r a s h o r t stay-
in A r g e n t i n a , the C h o r a l e t r a v e l e d to B r a z i l for t w e n t y - o n e d a y s ,
c o n c l u d i n g w ith c o n c e r t s in Sao P a u l o . Rio De J a n e i r o , B e l o H o r i z o n t e .
S a l v a d o r , R e c if e a nd Belem .
A l t h o u g h S h a w w o u ld m e n t i o n in an i n t e r v i e w t h a t t h e C h o r a l e
had o n ly t e n d a y s o f r e h e a r s a l s p r i o r to le a v in g for S o u t h A m e r i c a ,
m o s t o f the s i n g e r s on the S o u t h A m e r i c a n to ur had b e e n t o u r i n g w ith
S h a w b e f o r e a nd th e r e p e r t o i r e w a s f a m i l i a r to th e m . A p p r o x i m a t e l y
h a l f on th em had t o u r e d the S o v i e t U n i o n with S h a w tw o y e a r s b e f o r e .
T h e r e p e r t o i r e c o n s i s t e d o f the s a m e R e n a i s s a n c e p i e c e s as w e ll as
S c h u b e r t ' s M a s s in G, S c h o e n b e r g ' s F r i e d e A u f E r d e n , C h a r l e s I v e s'
Thre e H a r v e s t H o m e C h o r a l e s , a n d R o d o l f o H a l f f t e r 's T h r e e E p i t a p h s .
R e v i e w s o f th e South A m e r i c a n t o u r wer e u n a n i m o u s l y f a v o r a b l e
and the p e r s o n a l c o n t a c t s m a d e by Shaw- a nd the C h o r a i e r e s u l t e d in
i n c r e a s e d c o m m u n i c a t i o n s b e t w e e n c h o r a l d i r e c t o r s in N o r t h A m e r i c a
and S o u th A m e r i c a . R e v i s t a M u s i c a l C h i l e n a s ta t e d th a t it w a s r a r e for
a c h o i r o f the c a l i b e r o f the R o b e r t S h a w C h o r a l e to c o m e to S a n t i a g o .
T h e j o u r n a l als o s p o k e o f the e x p r e s s i v i t y and the e x t r a o r d i n a r y
h o m o g e n e i t y o f th e v o ic e s . T h e y c a l l e d it “ a p e r f e c t t i m b r e o f v o i c e s . ”
C onclusions
T h is s t u d y f o u n d that th e R o b e r t S h a w C h o r a l e w a s d e v e l o p e d as
a r e s u l t o f R o b e r t S h a w s e e k i n g to e s t a b l i s h a s m a l l e r , p r o f e s s i o n a l
c h o r u s fro m the C o l l e g i a t e C h o r a l e . T h i s h a p p e n e d in the f o l l o w i n g
198
s tages: (1) S h a w c r e a t e d w h a t was r e f e r r e d to as the “small c h o i r " in
1942. (2) S h a w w a s c o n t r a c t e d by RCA V i c t o r a n d other r e c o r d
c o m p a n i e s for a s e r i e s o f r e c o r d i n g s . (3) W a l t e r G o u ld o f C o l u m b i a
a r t is t m a n a g e m e n t p r o p o s e d and o r g a n i z e d a c h o r a l tour th at R o b e r t
S h a w w o u ld c o n d u c t in the fall o f 1948. ( 4 ) S t a n d a r d B r an d s h i r e d
R o b e r t S h a w a nd h i s “ V i c t o r ” C h o r a l e for a t e l e v i s e d n i n e - w e e k
r e p l a c e m e n t s h o w f o r th e E d g e r B e r g e n S h o w , a n d (5) the C h o r a l e ’s
n a m e was o f f i c i a l l y c h a n g e d to the R o b e r t S h a w C h o r a l e in o r d e r to
a v o i d h a v i n g R C A 's n a m e o n a n o n - n e t w o r k a f f i l i a t e d t e l e v i s i o n s h o w .
The s t u d y a l s o f o u n d th a t the f o r e i g n t o u r s o f the R o b e r t S h a w

C h o r a l e e s t a b l i s h e d R o b e r t S haw as an i n t e r n a t i o n a l m usica l f i g u r e .
T h e Shaw C h o r a l e r e c e i v e d u n p r e c e d e n t e d m e d i a c o v e r a g e f o r a t o u r i n g
c h o r a l o r g a n i z a t i o n , r i v a l i n g p u b l ic it y for p i a n i s t V a n C l i b u r n , b a n d
le a d e r B e n n y G o o d m a n , a n d the m a jo r s y m p h o n y o r c h e s t r a s . The s t u d y
al s o found t h a t t o u r i n g m u s i c a l gro ups ar e a n e f f e c t i v e m e a n s o f

c o m m u n i c a t i o n a n d a w a y to de v e lo p f r i e n d s h i p s a n d foster g o o d w i l l
a nd u n d e r s t a n d i n g b e t w e e n p e o p l e o f d i f f e r e n t n a t i o n s .
F i n a lly , the s t u d y s h o w e d that the s i n g e r s in the S h a w C h o r a l e
b e n e f i t e d g r e a t l y f r o m t h e e x p e r i e n c e o f i n t e r n a t i o n a l to u rin g . In
a d d i t i o n to b e n e f i t i n g f ro m th e ex p o s u re , m a n y s in g e r s c o n t a c t e d f o r
th is s tud y r e p o r t e d t h a t t h e y lea rn ed m ost o f w h a t t hey k n o w a b o u t
e x c e l l i n g in p e r f o r m a n c e u n d e r Shaw 's d e m a n d i n g tu t e la g e . In
a d d iti o n , m a n y o f t h e m f o u n d that the to u r s a l l o w e d them the
o p p o r t u n i t y to se e p a r t s o f the world and m e e t p e o p l e that t h e y n e v e r
w o u ld have o t h e r w i s e .
199
V a l u e o f the Studv
This study will s e r v e as a r e s o u r c e for t h o s e i n t e r e s t e d in

s t u d y i n g the h ist o r y and a c c o m p l i s h m e n t s o f the R o b e r t S h a w C h o r a l e
as well as the life a nd c a r e e r o f R o b e r t Shaw. In a d d i t i o n , c h o r a l
c o n d u c t o r s and t o u r i n g m u s i c a l o r g a n i z a t i o n s can le a r n from the
e x p e r i e n c e s o f the R o b e r t S h a w C h o r a l e w h e n p l a n n i n g and
i m p l e m e n t i n g f o re i g n t o u r s . C h o r a l c o n d u c t o r s at the p r o f e s s i o n a l o r
c o l l e g i a t e level can b e n e f i t fro m S h a w 's m e t h o d s o f p r o g r a m m i n g a n d

s c h e d u l i n g r e h e a r s a l s and f ro m his p e r s o n a l r e f l e c t i o n s d e t a i l e d in th i s
s tu d y . S tudents o f c o n d u c t i n g and m usic e d u c a t i o n will g ain i n s i g h t
into the p r o b le m s a nd s o l u t i o n s o f to u r i n g a b r o a d .
R e c o m m e n d a t i o n s for F u tu re R e s e a r c h
Thi s study r e v e a l e d t h a t fe w s tu d ie s ha ve s o u g h t to c o n s i d e r
s p e c i f i c issues o f t o u r i n g m u s i c a l o r g a n i z a t i o n s . S e v e r a l a r eas o f
f u t u r e r e s e a r c h seem to be s u g g e s t e d :
(1) Many o r g a n i z a t i o n s a s id e from the R o b e r t S h a w C h o r a l e ,
e s p e c i a l l y at t h e c o l l e g i a t e level, w e r e i n v o l v e d in th e S t a t e
D e p a r t m e n t s p o n s o r e d tours o f the 1950s a nd 1960s. U n d e r
F u lb rig h t g r a n t s , m a n y in d iv id u a l a r t is t s , p e r f o r m e r s , a n d
teachers w e r e a b l e to go a b r o a d in “ p e o p l e to p e o p l e ”
e x c h a n g e s th a t h a v e f o s te r e d m u tu a l u n d e r s t a n d i n g a m o n g
people o f o t h e r n a t i o n s .
(2) Q u a l ita t iv e d a t a r e g a r d i n g to ur s u c c e s s has b e e n la r g e ly
a n e c d o ta l in n a t u r e a nd no t tied to s p e c i f i c
accom plishm ents. S t u d i e s that s eek to d o c u m e n t i n s t a n c e s
o f m u tu al u n d e r s t a n d i n g are n e e d e d to d e t e r m i n e w h e t h e r
200
such e n d e a v o r s ar e w o r t h the e x p e n s e i n v o l v e d , and to
ex am in e w a y s o f m o r e e f f e c t i v e l y s h a r i n g id e a s .
(3) Studies that w e r e b e y o n d the s co p e o f th is s t u d y in v o lv e
Shaw's p e r s o n a l p a r t i c i p a t i o n in the e x c h a n g e p r o g r a m ,
in cluding the tw o f o l l o w - u p s u m m e r s t hat he s p e n t in S o u th
A m er ica w o r k i n g w it h c h o r a l c o n d u c t o r s . T h e r e needs to
be m ore r e s e a r c h c o n c e r n i n g S h a w 's i n t e r e s t in s e tt i n g up
an i n t e r n a t i o n a l t r a i n i n g ce n te r at M e a d o w B r o o k S c h o o l in
M ichigan .
201
APPEN DIX A
T O U R S A N D R E P E R T O I R E O F THE R O B E R T S H A W C H O R A L E
194 8-1967
1948- 49
C a n t a t a N o . 131, Aus d e r T i e f e n r u f e ich,

H e r r , z u d ir ( 1 7 0 7 )
( F r o m th e dep ths, O L o r d Bach
M u s i c o f th e X V I C e n t u r y
"Le C h a n t Des O i s e a u x " Janequin
"O V o s Omnes " V ictoria
" T h e S i l v e r Swan" G ibbons
" L i f t Up Your H e a d s " Leisring
" A g n u s Dei" M orley
" R e v e c y Ven ir du P r i n t e m p s " LeJeune
" L a s c i a t e m i M o r ir e " M onteverdi
" O l a ! O Che Bo n E c c h o " Di L a s s o
L i e b e s l i e d e r W a ltz e r ( 8 - 1 6 ) Brahm s
In The B e g i n n i n g C opland
Six C h a n s o n s H indem ith
A m erican Folk-Song S ketches K ubik
"Tee Roo"
" H e ' s G o n e A way "
" J o h n Hen ry "
" L i t t l e Bird"
A m e r i c a n N e g r o S p iri tu a ls
" M y L o r d , What a M o r n i n g " Dawson
" S o o n O n e M o rn in g " K ubik
" I f I G o t My T i c k e t" Shaw
" S o o n - a Will Be D o n e " Dawson
A m e r i c a n S h o w Music B r a n t , arr.
" W h e r e o r When"
" W i n t e r g r e e n for P r e s i d e n t "
" I ' v e t o ld Every L i t t l e S t a r "
" T h e S o n g is You"
M o te t III - J e s u meine F r e u d e Bach
F iv e P a r t - S o n g s Brahm s
202
" N a c h t w a c h e I"
" N a c h t w a c h e II"
"Letztes G luck”
"V erlorene Jugend"
"Im H e r b s t"
M u s ic o f th e XVI C e n t u r y
" L e C h a n t Des O i s e a u x " Janequin
"O V o s O m n e s " V ictoria
"The Silver Swan" G ibbons
" L i f t Up Your H e a d s " L eisring
" A g n u s Dei" M orley
" R e v e c y V en ir du P r i n t e m p s " LeJeune
"L asciatem i M orire" M onteverdi
" O l a ! O Che B o n E c c h o " di L a s s o
M a s s in G m a j o r Poulenc
S ix C h a n s o n s H indem ith
In The B e g i n n i n g Copland
O c t o b e r 1949 - March 1950
M otets for a Time o f P e n ite n c e Poulenc

" T i m o r et T r e m o r V e n e r u n t S u p e r M e ”
" V i n e a M ea E l e c t a ”
" T e n e b r a e F actas S u n t ”
C a n t a t a N o . 4 - C h r is t L a g i n T o d e s b a n d e n Bach
Trois C h a n s o n s D ebussy
” D ie u ! Q u'il la f ait b o n r e g a r d e r ! ”
" Q u a n t j ' a i ouy le t e b o u r i n ”
" Y v e r , v o u s n 'e s t e s q u ' u n v i l l a i n ”
S o n g s f o r M a le and M i x e d Schubert
" H y m n e an den U n e n d l i c h e n ”
"Standchen”
"W iderspruch”
M u sic at t h e t u r n o f th e 17,h C e n t u r y
" F a u na C a n z o n e ” Vecchi
" T h i s is the R e c o r d o f J o h n ” G ibbons
“ O la! O Ch e Bon E c c h o ” di L a s s o
Operatic Ensembles
" D a n s e du G r an d C a l u m e t ”
from Les I n d e s G a l a n t e s Rameau
"F u g itiv e s C h o ru s” fro m Macbeth Verdi
“ R a t a p l a n ” from L a F o r z a d e l Des tin o Verdi
"D e a th S cene” from B o r is Godounov M oussorgsky
A m erican Folk-Song S ketches K ubik
"B lack Jack D avey”
203
" L i t t l e Bird . Go T h r o u g h My W i n d o w ”
“ C r e e p A lo n g . M o s e s ”
Sea son S e p t e m b e r 1951- D e c e m b e r 1951
Requiem Mozart
S p r in g J a n u a r y 1951 - M a r c h 1951
R e q u i e m M a s s in D M i n o r Mozart
L i e b e s l i e d e r W alt z er Brahms
Trois C h a n s o n s Rave l
“N icolette”
“ Trois beaux oiseaux du P a ra d is ’
“ Ronde”
P o r g y a n d B e ss Gershwin
“ It A i n 't N e c e s s a r i l y S o ”
“ Gone, Gone, G o n e ”
F all 1952
T h r e e M o te t s Heinrich Schutz
“ Die M it T r a n e n S a e n ”
“ Ich B in Eine R u f e n d e S t i m m e ’
“ S e lig Sin d Die T o t e n ”
M a ss in G M a j o r Franz Schubert
Sacred Service Ernest Bloch
“ G lorification”
“ Sanctification”
“ Torah Service”
S ongs f o r C h o r u s Johannes Brahms
“ Der A b en d ”
“N achtens”
“Zum Schluss”
204
19 54 - 1 9 5 5
M usic o f th e L a t e R e n a i s s a n c e
"C h rist Rising" Byrd
"Fa Una Canzone" Vecchi
Three Psalm s M ozart
"D ixit D om inus”
"L audate Dom inum ”
" L a u d a te Pueri"
M o te t - J e s u m e i n e Fr eude Bach
S o n g s for S o l o V o i c e and M ale C h o r u s Schubert
"N achthelle"
"Standchen”
Tom O ' B e d l a m A vshalom off
C h o r u s e s f r o m Die F l e d e r m a u s Strauss
Fall S e p t e m b e r 1 9 5 4 - D e c e m b e r 1954
M us ic o f th e L a t e R e n a i s s a n c e
"C h rist R ising Again" W illiam B yrd
"Fa Una Canzone" Orazio V ecchi
Jesu . meine Freude J.S. B a c h
Three P salm s M ozart
" D i x i t D o m i n u s " ( P s a lm 110)
" L a u d a t e D o m i n u m ” ( P s a l m 117
" L a u d a t e P u e r i " ( P s a l m 1 13)
Song s for S o l o V o ic e an d M ail C h o r u s Franz Schubert
"N achthelle"
"Standchen”
Tom O ' B e d l a m Jacob A v s h a lo m o ff
C h o r u s e s f r o m Die F l e d e r m a u s Johann S trauss
Fall O c t o b e r 1955 - D e c e m b e r 1955
M a g n i f i c a t in D M a jo r J.S. B a c h
King D a v i d Arthur H onegger
" H a l l e l u j a h ” f r o m The M o u n t
o f Olives Beethoven
"He w a t c h i n g o v e r I s r a e l ” from E l i j a h F e li x M e n d e l s s o h n
"T h e S h e p h e r d ' s F a r e w e l l ” fro m
L ’E n f a n c e d u C hris t Hector B erlioz
“ D o n a n o b i s p a c e m ” from
205
Mass in B M i n o r J.S. B ac h
"H allelujah” from M essiah G. F. H a n d e l
Liebeslieder W altzer Johannes Brahms
King David Arthur H onegger
M idd le E a s t T o u r 1956
R e q u ie m M a s s in D M i n o r M ozart
L i e b e s l i e d e r W a l t z e r O p. 52 Johannes Brahms
Trois C h a n s o n s C la u d e D e b u s s y
C o n t e m p o r a r y A m e r i c a n C horal Art
M u si c o f the S e v e n t e e n t h C e n tu r y
"Ola! O C h e B o n E c c h o ” O r la n d o di Lass o
"O Vos O m n e s ” V ic t o r ia
“Christ R ising A gain" W illiam B yrd
“ S e li g S i n d D i e T o t e n ” H e in r ic h Schiitz
“ Fa U n a C a n z o n e ” O r a z io V e c c h i
M a s s in G Franz Schubert
Prayers o f K ie r k e g a a r d S am uel B a r b e r
“O Thou W ho Art U nchan g eab le”
The Lark Aaron Copland
" L a m e n t for B r o t h e r R o b b i n s , ” a n d “ G o n e ,
G one. G o n e ” f r o m P o r g y a n d B e s s George G ershw in
A G a lle r y o f A m e r i c a n C horal Art
L o r d o f th e H a r v e s t , from
H a r v e s t H o m e C h o r a le s C h a r l e s Ives
J a n u a r y 2 8 - M a r c h 11. 1956 D o m e s t i c T o u r
R e q u ie m M a s s in D M i n o r M ozart
M u sic at the T u r n o f t h e S e v e n t e e n t h C e n t u r y
“Ola! O C h e B o n E c c h o ” O r l a n d o di Lass o
“O Vos O m n e s ” V ic to r ia
“C h r i s t R i s i n g A g a i n ” W il lia m B y r d
“ S e lig S i n d D i e T o t e n ” H e in r i c h S c h u t z
“ Fa U n a C a n z o n e ” O r a z io V ecch i
A G a lle r y o f A m e r i c a n C horal Art
“ May t h e M e d i t a t i o n o f my H e a r t ” E rnes t B l o c h
“Lo rd o f th e H a r v e s t ” C h a r le s Iv es
“O Thou W ho Art U n changeable” S am uel B a r b e r
The L ar k Aaron C opland
A Stopwatch a n d an O rdnance Map S am uel B a r b e r
“ L a m e n t for B r o t h e r R o b b i n s , ” “ G o n e ,
G one, G o n e , ” f r o m P o r g y a n d B e s s George Gershw in
206
M arc h 22. 1956
M u s i c at th e turn o f the S e v e n t e e n t h C e n tu r y
" O Vos O m n e s " V ictoria
" C h r i s t Rising A g a i n " W i l l i a m Byrd
“ S e l i g Sind Die T o t e n " H e i n r i c h Schiitz
“ Fa Una C a n z o n e " O r a z i o V ec ch i
“ Ola! O Che Bon E c c h o ” O r l a n d o di Lasso
C h r i s t l a g in T o d e s b a n d e n J.S. Bach
M a s s in G F ra n z Schubert
A m e r i c a n N eg r o S p i r i t u a l s
“ S o o n One M o r n i n ' ” a r r . G a il Kub ik
“ My Lord, W ha t A M o u r i n ' ” arr. Dawson
“ A i n - a That G o o d N e w s ” arr. Dawson
C ontem porary Com positions
Prayers o f Kierkegaard S am u el Barber
The L a r k A a r o n C o p la n d
L o r d o f the H arve st C h a r l e s Ives
“ L a m e n t f o r B r o th er R o b b i n s ” fro m
P o r g y a n d Bess G e o rg e Gershwin
R e q u i e m in D M in o r M ozart
1956 F o r e i g n T o u r - A n k ar a. T u r k e y P r o g r a m
R e q u i e m M a s s in D m i n o r (K. 6 2 6 ) M ozart
M u s i c at th e Turn o f the S e v e n t e e n t h C e n t u r y
“ Ola! O Che Bon E c c h o ” O r l a n d o di Lasso
“ O V os O m n e s ” V ictoria
“ C h r i s t Ris in g A g a i n ” W i l l i a m Byrd
“ S e l i g Sind Die T o t e n ” H e i n r i c h Schiitz
“ Fa U na C a n z o n e ” O r a z i o V ecchi
M a s s in G Fran z Schubert
L i e b e s l i e d e r Walzer Op. 52 ( n o s . 8-16) J o h a n n e s Brahms
A G a l l e r y o f A m e r ic a n C h o r a l A r t
L o r d o f the H a r v e s t , f ro m
Harvest Home C horales C h a r l e s Ives
Prayers o f Kierkegaard S a m u e l B ar b er
“ O T h o u Who A r t U n c h a n g e a b l e ”
The L a r k A a r o n C o p la n d
“ L a m e n t for Broth er R o b b i n s , ” a n d “Gone,
G o n e , G o n e ” fro m P o r g y a n d Bess G e o r g e G e r s h w in
207
1956 F o r e i g n T o u r - Ewart Hail. C a i r o
R e q u i e m M a ss in D m i n o r M ozart
L i e b e s l i e d e r Walzer Op. 52 ( 8 - 1 6 ) J o h a n n e s B rahm s
Trois C h a n s o n s C la u d e Debussy
Prayers o f Kierkegaard S am u el Barber
" O T h o u Who Art U n c h a n g e a b l e ”’
‘' F a t h e r in H e a v e n . H o l d N o t O u r Sins Up A g a i n s t U s ”
The L a r k A a ro n Copland
L o r d o f the Harvest.
f ro m H a r v e s t Home C h o r a l e s C h a r l e s Ives
1956 F o r e ig n T o u r - L o ndon ( F e s t i v a l H a l l )
M u s i c at the Turn o f the S e v e n t e e n t h Century

" O la ! O Che Bon E c c h o ” O r l a n d o di Lass o
" O Vos O m n e s ” V ictoria
" C h r i s t Ris ing A g a i n ” W i l l i a m By rd
" S e l i g Sind Die T o t e n ” H e i n r i c h Schiitz
" F a Una C a n z o n e ” O r a z i o V ec c h i
C a n t a t a No. 4. Christ l a g in T o d e s b a n d e n J .S . B a c h
M a s s in G Schubert
Tro is C h a n s o n s C la u d e Debussy
P rayers o f Kierkegaard S a m u e l Barber
L o r d o f the H ar ve st.
f r o m H a r v e s t Home C h o r a l e s C h a r l e s Ives
" L a m e n t for B r o th er R o b b i n s , ” a nd "G one,
G o n e , G o n e ” from P o r g y a n d B e s s G e o r g e Gershwin
1959 F e b r u a r y - Ap ril
A lt o R h a p s o d y Brahm s
Faure Requiem Faure
1960 F e b r u a r y - M ar ch
M a s s in B M in o r J.S. B a c h
208
1961 January - March
S e v e n L a s t Words Haydn
C e r e m o n y o f Carols Britten
S i n g e r d e m H ern J .S . B a c h
1962
St. J o h n P a s s io n J .S . B a c h
S o v i e t U n io n Tour. 1962
This is the Re cord o f J o h n ” G ibbons

"O V o s O m n e s ” V ictoria
“ Fa u n a C a n z o n e ” Vecchi
“ S e l i g S in d Die T o t e n ” Schiitz
" O la ! O C h e Bon E c c h o ” di L a s s o
J e s u , m e i n e Freude Bach
M a s s in G Schubert
F r i e d e A u f E r den Schoenberg
A C e r e m o n y o f Carols Britten
T ro is C h a n s o n de C h a r l e s D ' L e o n Debussy
“N icolette”
“ Beaux Oiseaux”
“Ronde”
H a r v e s t H o m e C h o r a le s C h a r l e s Ives
B m inor M ass Bach
S u i te f r o m The Prairie Foss
D r e i M a d r i g a l e aus Z w o e l f M a d r i g a l e n . Hindem ith
The M y s t i c T ru m p ete r D e l l o J o io
Carols o f Death W illiam Schuman
Tom O ’B e d l a m Jacob A vshalom ov
1963 ( F i r s t T o u r a f te r R u s s i a )
Jesu , m e i n e Freu de J.S. Bach

Friede A u f Erden Schoenberg
Chansons Ravel
Trois C h a n s o n s Debussy
209
1 9 6 4 J a n u a r y - March
R e j o i c e in th e L a m b Britten
Jephtha Carissim i
Lord Nelson Mass Joseph Haydn
L ieb eslied er W altzer Brahms
S o u t h A m e r i c a . 1964
" T h i s is t h e R e c o r d o f J o h n ” Gibbons
"O Vo s O m n e s ” V ictoria
"F a una C a n z o n e ” Vecchi
"Selig Sind Die T o ten ” Schutz
"Ola! O C h e B o n E c c h o ” di L a s s o
Je su. m e i n e F r e u d e Bach
M a ss in G Schubert
Friede A u f Erden Schoenberg
A C erem o n y o f Carols Britten
Trois C h a n s o n de C h a r l e s D ' L e o n Debussy
"N icolette”
"Beaux Oiseaux”
"Ronde”
Harvest H o m e Chorales C harles Ives
B minor M ass Bac h
Suite f r o m The P r a i r i e F o ss
Drei M a d rig a le aus Z w o e l f M a d rig a le n , H indem ith
The M y s t i c T r u m p e t e r D e l lo J o i o
Carols o f D ea th W illiam Schum an
Tom O ' B e d l a m Jacob A v shalom ov
Prayers o f K ierkegaard Barber

The L a r k Copland
Tres E p i t a f i o s Rodolfo H alffter
Lam entations o f Jeremiah G inestera
1966 M a r c h - Mav
Messiah G .F . H a n d e l
210
Spring 1 9 6 7 - A p r i l - Ma v
Psa lm 90 Ives
Frie de A u f E r d e n Schoenberg
Six C h a n s o n s Hindem ith
Mass in G M a j o r Poulenc
E n tflie t a u f L e i c h t e b K a h r en Webern
211
APPENDIX B
REPER TO IR E FOR S T A N D A R D BRANDS
S U M M E R OF 1948 B R O A D C A S T S
(As lis t e d by S h a w )
P r o g ra m No. 1
J une is B u s t i n '
B e a u ti f u l D r e a m e r
L i e b e s l i e d e r W a l t z e s . 8-9-1 0-11
He's G o n e A w a y
I f I Lo v e d You
W hen I M a r r y Mr. S h o w
George W ashington
All C r e a t u r e s o f o u r G o d and K in g
P r o g ra m No. 2
Why Do I L ove Y o u
Loc h L o m o n d
Tee Roo
C h r ist La g in T o d e s b a n d e n
Can't H elp L o v i n ' T h a t Man
O nly M a k e B e l i e v e
Nancy Hanks
Old H u n d r e d t h
P r o g ra m No. 3- J u n e 20
W i n t e r g r e e n for P r e s i d e n t
Old Folks at H o m e
Candidate's a D o d g er
Laud I f I H a d a T i c k e t
O Leave Me N o t
Echo S ong
Who C a r e s
Lov e is S w e e p i n g th e C o u n tr y
Theodore R oosevelt
Rise up O M en o f G o d
P r o g ra m No. 4 - J u n e 27 (no r e c o r d s )
Poor Johnny One Note
212
I R i d e a n O ld Paint
S o o n a W i l l Be Done
B r a h m s - Im H er bst
B rahm s - At Night
W here or When
A bigail A dam s
0 G o d O u r H e l p in A g e s P ast
P r o g r a m N o 5 - Julv 4
S t r i k e u p th e B and
M instrel Boy
Peter G ray
Set D o w n S e r v a n t
B a c h - K y r i e Ele ison
All th e T h i n g s You Are
O liver de Lancey
A m e r i c a t h e B e a u ti f u l
P r o g r a m N o . 6 - Julv 1 1
1 Got Rhythm
P o l l y W o l l y D o o d le
Soon O ne M ornin'
H i n d e m i t h C h a n s o n s - D o e. S w a n
Black J a c k Davy
E m b ra c e a b le You
W oo d ro w W ilson
A M i g h t y F o r t r e s s Is O u r G o d
P r o g r a m N o . 7 - Julv 18
It's a G r a n d N i g h t for S i n g i n g
De C a m p T o w n Races
Santy A nno
A i n - a T h a t G o o d News
Silver S w an
R e v e c y V e n i r du Prin tans
That's for Me
C h ris to p h e r Columbus
N o w T h a n k W e All O u r G od
P r o g r a m N o . 8 - Julv 25
W ith a S o n g in My Heart
Oh D e a r W h a t C an the M a t t e r Be
C o m e W h e r e M y Love L i e s D r e a m i n g
Little B ird
La P a s t o r e l l a
I've T o l d E v e r y Little S ta r
213
T he S o n g Is You
N eg r o S p i r i t u a l M o n ta g e
C o m e T h o u A l m i g h t y Kin g
P r o g r a m No. 9 - A u g u s t 1
I G ot P l e n t y o f Nothin'
F lo w G e n t l y S w e e t A fton
N o w L e m m e Fly
J e s u M e i n e Freude
W h e r e H a v e Y ou Been My G o o d O le M an
Sum m ertim e
G o d the O m n i p o t e n t
P r o g r a m N o . 10 - A u g u s t 8
F a l l i n g in L o v e with Lo ve
A n n ie L a u r i e
John H enry
C r e a t e in Me
Oh - R o c k a m a h Soul
S in g for y o u r s u p p e r
This c a n ' t Be Lo ve
Pioneer W om en
P r a is e to t h e Lord
P r o g r a m N o 11 - A u g u s t 15
She D i d n ' t Say Yes
B e n d e m e e r ' s Stream
Dr y b o n e s
L i e b e s l i e d e r -1 3. 14, 15, 16
The W ay Y o u L o o k T o n i g h t
P T Barnum
Oh W o r s h i p The King
P r o g r a m N o 12 - A u g u s t 22
Le t's C a l l T h e W hole T h i n g O f f
B e l i e v e M e I f All
T h e B o l l - W e e v i l Song
M y L o r d . W h a t A M orn in'
M a t o n a L o v e l y M aid e n
S oon
The S h a k e d o w n Dance
L ift Up Y o u r H ea ds
P r o g r a m N o . 13 - A u g u s t 29
My R o m an ce
M a r c h M e n o f H ar lec h
214
Heavenly Light
Lolly T o o - D u m
C r e e p A l o n g Moses
My Hea rt S to o d Still
Poulenc M e s s e - S an ctus
G l o r io u s T h i n g s O f T h e e Are S p o k e n
P r o g ra m No 14 - S e p t e m b e r 5
F a s c i n a t i n g Rhythm
W ee C o o p e r o f Fife
H o lid ay S o n g
My L iver a n d My Lu ngs
If I Got M y ticket
Man I L o v e
Sehnsucht
F or All T h e Saints
P r o g ram N o 15 - S e p t e m b e r 12
Y e s te r d a y s
Lis te n To T h e M o c k in g bird
As I W en t A W alking
Ad am In th e G ar den
A gnus Dei
A pril Is In My M is tres s ' Fac e
Touc h O f Y o u r Hand
C h orale F r o m M e is t e r s i n g e r s
S i x t y - S e v e n t h Psalm
P r o g ram N o . 16 - S e p t e m b e r 19
Po lly W o l l y Doodle
A u n t D i n a h ' s Q u iltin g P a r ty
T he re Is A B alm In G ile a d
H op Up My Ladies
S o m e o n e T o W at ch O v e r Me and S o m e b o d y L ove s Me
L etztes G l u e c k and V e r l o r n e J u g e n d
H ow B r i d g e a nd Fair The M o r n i n g S ta r
C lap Yo H a n d s
P rogra m N o . 17 - S e p t e m b e r 26
Oklahoma
B e a u ti f u l D r e a m e r
Oh, S u s a n n a
S oon One M o r n i n g
Out Of My Dreams
Oh, What A B e a u ti f u l M o r n i n g
J es u, M e in e Fr eu d e
215
L ittle Bird
Bye and Bye
I'm W o r rie d N o w B u t I W on't Be W o r r i e d L o n g
216
APPENDIX C
C H O R A L E S I N G E R S FOR T H E T H R E E F O R E I G N T O U R S
(L ist ed a l p h a b e t i c a l l y )
Middle E a s t / E u r o p e Russia_________________ South A m e r i c a

Jane A lf a n o
Jess ie A l l d a r i c e
Evelyn A r i n g
Earl B a k e r Earl B a k e r
Edward B e r g e n
Mary E. B r u c e M ary E. B r u c e
Eu gene H. B r i c e
Hazel B r y a n t
M au rice C a s e y
A vron R. C o l e m a n
J ane C r a n e r
C harles C u r t i s
P a tric k D a u g h e r t y
Ja n ic e D a v is
Rachel D ay
J am e s D. D e e r e
H a r ris o n F i s h e r
David F or d D avid F ord
B arbara F r e e m a n B ar b a r a F r e e m a n
C a r o ly n F r i d a y
J am e s E d w a r d F r o m m e
Pau la G l a d w e l l
Leo G o ek e
J ane G u n t e r Jane G u n t e r
Margaret H a u p tm a n n Margaret H a u p tm a n n
M a r g a r it e H o l l e r Margarite H oller
J en nie H u d s o n
Jon H u m p h r e y
R o la n d H u r s t
Harvey M ichael
Ingra m
Carol Jon es
M argaret K angus
R ay m o n d K e a s t Raymond K east Raymond K east
217
C H O R A L E S I N G E R S F OR THE T H R E E F O R E I G N T O U R S
( Co n t i n u e d )
Middle East/Europe Russia South America
J o a n Le e K e r s e n b r o c k J o a n Lee K e r s e n b r o c k
R a c h e l (D ay ) K e s s l e r
D e b o r a h K ie f f e r
Robert Kingsbury
Florence K opleff Florence Kopleff Florence Kopleff
C h a r l o t t e K r ehbie l C h a r l o t t e K r e h b ie l
C layton Krehbiel C l a y t o n Kre hbie l
A nn L a F r a tt a
L o u i s La w so n
B a r b a r a L in d n e r Barbara Lindner
S e th M c C o y
B ill M c D o n a l d
D o r a l e n e Ellen D o r a l e n e Ellen
M cNelly M cNelly
John Meadows
D o n a l d R. M e is s n e r
L e o n a r d M oore
R a y m o n d M urc e ll
Dor is O k e r s o n
M a r g e r y P ea rce
C h a r l e n e P e te r so n
B e t t y ( B a i s c h ) P etillo
D ia n e Puffe r
M e r l e P uf fe r
T h o m a s Pyle
Neil Raber Neil Raber
S h a r o n S p r o w ls R ee d
R o b e r t R ich ar d s
H o w a r d R oberts
G lenn Rowen
C l a r k Salo nis
V i o l e t Serwin V i o l e t Ser win
D a v i d M all e t t S m i th *
M a l c o l m Smith
J a y n e S o m o g ie
Ethel S w e n s s o n
R o b e r t Te bo
R ichard Douglas Vogt
Pau l W e s t b r o o k
D i a n n e White D i a n n e W hite
218
C H O R A L E S I N G E R S F O R T HE THREE F O R E I G N T O U R S
(Continued)
Middle E ast/E u rop e R ussia South A m erica
W i l l i a m P. W h i t e s i d e s
Mary B. W i l l i a m s o n
K ay W i n k l e r
Nora A n n Woodward Nora A n n Woodward
R i c h a r d D a v i s Wrigh t R i c h a r d D a v i s Wright R i c h a r d D a v i s W right
Robert Y eager Robert Yeager
* David M allette
219
APPENDIX D
FOREIGN TOURS O R C H ESTR A PERSONNEL

Instrument identification for South America and Middle East /E urop e
unavailable.
(Source: S h a w Papers)
MIDDLE EAST AND RUSSIA SOUTH AM ERICA

EUROPE
Violins Jac queline Anderson
Edmond Basson Herbert Sorkin Richard Boldry
Svito F. Cusouna John Dally Ramona Dahlbor g
William E. Diard Louis Simon Fredric Eckler
Peter J. Dim atriades Jack Katz Robert Lee Fou rnier
James Robert Douglas Violin II Elliot Martin Golub
Aurora R. Falde Joe Sch or Barbara Alice Haffner
Max Falde Ruth Hurst Janet Hill
Sidney Norman Fleming Peter M ark Lee S. Larrison
Paul Gurevich Violas Vartan M anoogian
Sidney Kaufman Jack Glick Peter Mark
Oswald Lehnert. Jr. Barbara Baird David O li v e r McGuire
Patricia Lou MacD onald Cellos Philip Otto Naegle
Barbara Jeanne Lond Eddie Basson Frank Proto
Hyman Nigrina John Go ber m an John Arch Reed
Thomas Plank Bass Jayn Frances Rosenfeld
Charles William Piahny Alvin Brehm Don Rosenthal
Daniel Sagerman Flutes James Rudolph Smith
John Friedal Sawyer Nancy Dally Don LeRoy Smithers
John Charles Wustman. Carl Lutes Gordon Solie
Piano Oboes Herbert Sorkin
Janice M ino r Chris Jacob von Baeyer
Lila S torc h- Philip West
Freedman Edward Foote:
Bassoons Technician
Howard Vogel
Roland Small
Trumpets
Don Sm ithers
Hank N o v a k
David J us tis
Horn
Aubrey Facenda
Timpani
John Bergam o
220
APPENDIX E
PERM ISSION FORM S
I(we),
A*Jue. ^\JocJ &.rd
owner(s) o f the copyright to the photographs found in the /-~i Lt<, p-f /} aJAJ(£
VJocJ vu a rd
hereby authorize Robert Dean to use the following material as a part o f his dissertation to
be submitted to the Florida State University.
Photograph, description, and location:
R o b e r t S h a u ; dU orcde- pa.r-/n/-i>vis: kJ
I(we) further extend this authorization to University Microfilms International, Ann Arbor,
Michigan, for the purposes o f reproducing and distributing copies o f these photographs.
Signature
221
PERM ISSION F O R M
^ l ) a c ( '- C L i a '^ / U e > m n ~ 7 ^ A ./yfLU1
owner(s) o f the copyright to the photographs found in the /’/ i f 5 G -p
f ’r' t e r \A S J
hereby authorize Robert Dean to use the following material as a part o f his dissertation to
be submitted to the Florida State University.
'~‘?V>pfrzjr<Apl»; M gngeR g Tke . S i 4 « u 3 C h o r a .lc \zisih

^ h i.c /u L i r\ C c :rc : k . v ej p4r^ \ c\ S ~ £ p ._________________________
I(we) fixrther extent this authorization to University Microfilms International, Ann Arbor,
Signature
222
PE RM IS SIO N F O R M
ir wc)
N ola F r in k ( f o r Thomas Shaw, E x e c u to r , T he E s t a t e o f R o b e rt Shaw;
cwnerfs) o f the copyright to the photograph* found in the _____ <3%<Uc7 'T o .p j. /**s
u-'tb y authorize Robert Oean to use the following material as a part o f his dissertation to
—omitted to the Florida State University.

S iX tc k o f S+tsJDinq Arynn^/ntyt t -fbf 7?.S-C- ( S m m Prticxss)
ZOlud'r'a.h'trt -from a ^Concert‘nzriau fshA«j
Cph^M r/rik-rs Cff -inc. fha±‘ Cs *j*>Jt a .t ^EdJcLstlri A fidrt[5'ha»J Pcpw
fjihoh^) nnSTex? OP Cfimcr-t in Vftrjs / '■Sthrsjfy.e&l ^ .
^pho-hp S h A a j < % r a / e Q j c r u ^ i p y u fio S J w t,
/ufc£e repradn.c.’b aw -frtim a. SH^Cfe^C in AfaSvUrt (S'haufbt^e^
I(we) farther extend this authorization to University Microfilm* International. Ann Arbor,
Michigan, for the purpose* of reproducing and distributing copies o f these photographs.
Signature
223
PERMISSION FORM
I(we),
T W /g V * . A f t i / U f cm & /a / / o C lr& A C u S i
. - ji ihe copyright to the photographs found in the O JoJi/o Q r& n ffm 'z.
. wy -u^crize Robert Dean to use the following material as a part o f hie dissertation to
rJnnitted to the Florida State University,
holograph, description, and location:

ffiofogrufiJt of' "l&hcr i SA&kJ ra/>2)aCTS*J* t v / ’M j/J. &/*A-
— y C & r* C J ii/a .__
lUnher extend this authorization to University Microfilms International, Arm Arbor,

a 'j
\ \ ;■ ;
- ..> o . -V ;
224
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D e a n s a n g w i t h R o b e r t S h a w as a m e m b e r o f the A tla n ta
S y m p h o n y O r c h e s t r a C h o r u s fro m 1979 to 19 84. He sang on t h r e e
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in the p u b l ic s c h o o l s in F l o r i d a , G e o r g i a a n d M a s s a c h u s e t t s . C u r r e n t l y
235
he tea ch es c h o r a l m u s i c e d u c a t i o n at R a d f o r d U n i v e r s i t y in R a d f o r d .
V ir gin ia.
236

The Foreign Tours of The Rober

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tis U jd u ' t j . M jb tU c n '_______

A special a c k n o w l e d g e m e n t is due to m y a c a d e m i c advisor. Dr.

i n s p i r a t i o n and in s ig h t. T h a n k s to Anne W o o d w a r d , Flo re nc e K o pleff,

Purpose of the Study................................................................................................................ 4

3. THE ERA OF CULTURAL DIPLOMACY......................................................................46

4. THE SINGERS OF THE ROBERT SHAW CHORALE................................................60

5. REPERTOIRE OF THE SHAW CHORALE................................................................... 84

6. THE 1956 TOUR OF THE MIDDLE EAST AND EUROPE.......................................95

The Repertoire of the Middle East and European Tour.................................................... 99

7. THE 1962 TOUR OF THE SOVIET UNION............................................................... 126

Planned Selections for Soviet Tour....................................................................................132

8. THE 1964 TOUR OF SOUTH AMERICA.....................................................................160

The Background o f the Tour.............................................................................................. 161

9. SUMMARY. CONCLUSIONS. A N D............................................................................ 184

A. TOURS AND REPERTOIRE OF THE ROBERT SHAW CHORALE....................202

B. REPERTOIRE FOR STANDARD BRANDS.............................................................. 212

C. CHORALE SINGERS FOR THE THREE FOREIGN T O U R S ................................ 217

E. PERMISSION FORM S ................................................................................................... 221

5. S h a w C h o r a l e m e m b e r s r elax at a n i g h t c l u b in C a i r o ..................... 102

10. T h e N e w Y o r k T im es h e a d l i n e o f O c t o b e r 15, 1 9 6 2 ...............................141

11. N o t e f r o m a s t u d e n t from the I n s t i t u t e o f L ibrary S c i e n c e

12. R o b e r t S h a w C h o r a l e and O r c h e s t r a p e r f o r m the B m i n o r M a s s in

16. D e s t i n a t i o n s for the 1964 S o u t h A m e r i c a n T o u r

17. R u s s i a n in t e r p r e t e r s a n d e s c o r t s at a r e c e p t i o n n e a r the end o f the

1. C l a s s i c a l P r o g r a m One for 1956 T o u r o f the M id d l e E a s t an d

2. List o f w o r k s c o n d u c t e d by S h a w on the f o r e ig n t o u r s and in years

NB C: N ational Broadcasting Corporation

T h e Ro ber t S h a w C h o r a l e made thre e f o r e i g n to ur s u n d e r the

a u s p i c e s o f the U .S . D e p a r t m e n t o f Stat e as a p a r t o f the c u l tu r a l

adm inistrations. T h e t o u r s w e r e w id e ly p r a i s e d in the i n t e r n a t i o n a l

C h o r a l e ' s hi st ory. In s o d o i n g , the f o l l o w i n g s e r v e as r esear ch

1. What e v e n t s led to the e s t a b l i s h m e n t o f the R o b er t S h a w

s i g n i f i c a n t r e p r e s e n t a t i v e o f th e U.S. g o v e r n m e n t d u r i n g its three

foreign tours. The C h o r a l e ' s f i r s t to u r to the M i d d l e E a s t and Eu rope in

1956 c o v e r e d eleven c o u n t r i e s in s ev en ty day s a n d r e s u l t e d in many

i n v i t a t i o n s to return. In 1 9 6 2 . the Choral e r e t u r n e d to E u r o p e for a

h i s t o r y m a k i n g tour o f B e r l i n . Y u g o s l a v ia a nd th e S o v i e t Union. While

in L e n i n g r a d in O cto b er , t h e C h o r a l e sang to o v e r f l o w a u d i e n c e s as the

g o v e r n m e n t s to armed c o n f l i c t . In 1964, the C h o r a l e m a d e its final

f o r e i g n t o u r to South A m e r i c a . S h a w and the C h o r a l e ' s vi s it open ed the

F u l b r i g h t S c h o la r s and r e s u l t e d in Shaw's b e in g a s k e d to return to work

with S o u t h A m e r i c a n c h o i r s th e fo llo w in g two s u m m e r s .

T h e s tu dy also c o n c l u d e s that the singers o f t h e R o b e r t Shaw

C h o r a l e wer e a pr ofe ssion al g r o u p that varied from t o u r to tour. A core o f

s in g e r s , m o s tly New York b a s e d , san g with Shaw on n u m e r o u s tours and

r e c o r d i n g s , and remained loy al as so ciates and frien ds for decades.

The R o b e r t Shaw C h o r a l e was the “g e n e a l o g i c a l a n d sp ir it u a l

n o tio n s o f a c o m m u n i t y o f s i n g e r s in w hic h ea ch c o n t r i b u t e d to the

hoped, to form the ba sis for an e v e n t u a l full - t im e p r o f e s s i o n a l sin ging

In 1964. S h a w and W a l t e r G o u l d . S h a w ' s p e r s o n a l m a n a g e r ,

I b e l i e v e it is an u n q u e s t i o n e d f act that the R o b e r t

2 Robert S haw , “ C h o ral Ideals." 1951.

3 Walter G o u ld . N e w York to Edward F. D 'A rm s , New York 20 O c to b e r 1964. Shaw

U n f o r t u n a t e l y . I see n o p o s s i b i l i t y that the For d

In " C h o r a l I d e a l s " S h a w a c k n o w l e d g e d that ther e w e r e o t h e r m o r e

for the n e w h ig h f i d e l i t y r e c o r d i n g s . A l s o , d u r i n g the p e r i o d o f th e