“Hail, Cumorah! Silent Wonder”: Music Inspired by the Hill Cumorah

Volume 13 Number 1 Article 11

7-31-2004

Roger L. Miller

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BYU ScholarsArchive Citation Miller, Roger L. (2004) "“Hail, Cumorah! Silent Wonder”: Music Inspired by the Hill Cumorah," Journal of Book of Mormon Studies: Vol. 13 : No. 1 , Article 11. Available at: https://scholarsarchive.byu.edu/jbms/vol13/iss1/11

This Feature Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Journal of Book of Mormon Studies by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Title “Hail, Cumorah! Silent Wonder”: Music Inspired by the Hill Cumorah

Author(s) Roger L. Miller

Reference Journal of Book of Mormon Studies 13/1–2 (2004): 98–109, 171–73.

ISSN 1065-9366 (print), 2168-3158 (online)

Abstract A varied body of musical works inspired by the Hill Cumorah’s prophetic history attests to the dramatic and emotional appeal of this great landmark of Mormonism. The author surveys a variety of musical works, including compositions, anthems, hymns, ora- tories, plays, operas, and musicals, that show a wealth of musical potential in the Hill Cumorah’s history. Despite the variety and quality of works composed thus far, the author considers the potential largely untapped and hopes that the music of Cumorah has only just begun. “Hail, Cumorah! silent wonder” MUSIC INSPIRED BY THE HILL CUMORAH

98 VOLUME 13, NUMBER 1–2, 2004 — ROGER L . MILLER —

by Alfred Lambourne. Courtesy of Museum of Church History and Art, Hill Cumorah, The Church of Jesus Christ of Latter-day Saints, Salt Lake City, Utah. © Intellectual Reserve, Inc.

And I saw another angel fly in the midst of heaven, HETHER IT BE the music of a lovely spring Wmorning ringing through a nearby grove or silent wonder” the gilded statue of Moroni trumpeting the everlasting gospel to all the world, as in St. John’s revelation, having the everlasting gospel to preach unto them that music, it seems, is never far from “Cumorah’s lonely hill.”¹ A surprisingly varied body of musical works inspired by the hill’s prophetic history, ranging from Parley P. Pratt’s well-known “An Angel from dwell on the earth, and to every nation, and kindred, on High”² to the music of the famous Hill Cumo- rah pageant “America’s Witness for Christ,”³ attests to the dramatic and emotional appeal of this great and tongue, and people. —Revelation 14:6 landmark of Mormonism.JOURNAL OF BOOK⁴ OF MORMON STUDIES 99 Recently, several Latter-day Saint composers Bares your treasure to the dawn, were invited to submit keyboard compositions for And Moroni clothed in glory, a recording project conceived around the general Crowns your visage as of old, theme “Pictures at a Mormon Exhibition.” For his To reveal the ancient story part, pianist Reid Nibley chose an 1893 painting, Written on your heart of gold. Hill Cumorah,⁵ by Alfred Lambourne. The Lam- Twice a people’s last protection, bourne painting, Nibley explains, Twice a witness of the world gives me pretty much the same feeling as my In the arms of insurrection, piano piece—tempestuous movement, harmonic To prophetic ruin hurled. colors shifting from dark to light and sudden Ramah,⁹ of the ancient nation, changes in dynamics. There are unlimited pos- Dawns thy glorious day at last. sibilities for a story to go with the painting and From your bosom comes salvation music but the very name “Cumorah” opens our And the story of the past. imagination to the incredible events that oc- curred there.⁶ The first stanza envisions the Hill Cumorah as we know it today, with Moroni’s handsome statue The painting, which is prominently displayed in a crowning its crest, while the second stanza neatly central hallway of the Salt Lake Temple, is not only summarizes Book of Mormon history. Not surpris- a brilliant and compelling witness to the power of ingly, the poem’s vivid imagery has attracted several art in the service of faith but also a bold piece of musical settings. Hugh Dougall’s setting, for exam- religious symbolism. The time appears to be early ple, was included in the 1927 hymnal. This linkage fall, perhaps late September. Faded meadow grass between visual art, refined poetic word, and music carpets the ground beneath trees and bushes in underlies this survey of music inspired by Cumo- various stages of muted autumn color. Stark and rah, a survey that is at once brief, tantalizing, and lonely, the gray summit thrusts upward, dividing its brimming with optimism about our musical future. sky into fields of blue-white radiance and troubled, sinister darkness. On one side, light appears to Hymns and the Hill Cumorah burst from the hillside; on the other, a violent storm threatens as jagged streaks of lightning pierce the Recently, Karen Lynn Davidson traced “the roiling clouds. No human object interrupts the awe- influence of the Book of Mormon through more some landscape, except for telling glimpses of a rail than a century and a half of Mormon hymnody” fence virtually buried and unnoticed in the sublime (from Emma Smith’s 1835 Collection of Sacred vision.⁷ Beneath its anxious exterior, what would Hymns to the 1985 Hymns).¹⁰ By Davidson’s criteria seem to be a modernist nature painting is nothing only 19 hymns published in the official hymnals of less than a metaphorical drama of the restoration of the church could be uniquely tied to the Book of the gospel, with Joseph Smith and the angel Moroni Mormon. Even fewer mentioned the Hill Cumorah barely out of view. Extensions of the metaphor come directly: “An Angel Came Down from the Man- easily to mind: the ominous shadow of two fratri- sions of Glory,” by William W. Phelps;¹¹ “I Have cidal battles fought either here or at some faraway No Home. Where Shall I Go?” by Lucy Smith;¹² namesake of this place, the precious plates and the “An Angel from On High,” by Parley P. Pratt, and heavy loneliness of the man who bore them here, two of his lesser known hymns, “Hark! ye mor- and the ancient stick of Joseph speaking to our day tals. Hist! be still”¹³ and “When Earth in Bondage as “a voice from the dust.” Long Had Lain.”¹⁴ First published in the unofficial Theodore E. Curtis’s “Hail Cumorah, Silent hymnal known as Little and Gardner (1844),¹⁵ the Wonder,”⁸ a verbal analogue to Lambourne’s paint- last hymn’s 10 original stanzas attempt a sum- ing, seems to have captured the intense drama as mary of the entire restored gospel, with perhaps the well as the quiet majesty of this sacred place: earliest use of Pratt’s familiar phrase “Cumorah’s lonely hill” in the third stanza (see accompanying Hail Cumorah, silent wonder sidebar). Lucy Smith’s extensive narrative on the Of the hidden ages gone, post-destruction tribulations of Moroni is likewise Lo, the footprints of the thunder

JOURNAL OF BOOK OF MORMON STUDIES 101 When Earth in Bondage Long Had Lain, by Parley P. Pratt¹⁶

typical of the lengthy narrative style practiced by The kingdom of Jesus in Zion shall flourish, many 19th-century versifiers. William W. Phelps The righteous will gather, the wicked must perish. found a sharper Book of Mormon focus for his Cu- O Israel! O Israel! In all your abidings, morah hymn (composed in 1835 but dropped from Prepare for your Lord, when you hear these glad the hymnbooks after 1927):¹⁷ tidings. An angel came down from the mansions of glory, While hymns of this sort were well received in And told that a record was hid in Cumorah, the church’s first century, Davidson’s study sug- Containing our Saviour’s most glorious Gospel,— gested a current need for more “devotional hymns And also the cov’nant to gather His people. of timeless and universal dignity, personal medita- A heavenly treasure, a book full of merit, tions upon Book of Mormon texts, hymns that pour It speaks from the dust by the power of the Spirit; forth the gratitude and testimony of the writer, in- A voice from the Saviour that Saints can rely on, viting the congregation to do the same.”¹⁸ A similar To watch for the day when He brings again Zion. plea was made by Elder Boyd K. Packer in 1976: O listen ye isles, and give ear, ev’ry nation. Our hymns speak the truth as far as they go. For great things await you in this generation, They could speak more of it if we had more of

102 VOLUME 13, NUMBER 1–2, 2004 them, specifically teaching the principles of the There is much to admire in Turner’s rhetorical con- restored gospel of Jesus Christ. If I had my way cept, even with its minor problems. Especially note- there would be many new hymns with lyrics worthy is the three-part sequence: “From its heights” near scriptural in their power, bonded to music (repentance), “From its heart” (forgiveness), and that would inspire people to worship. Think “From on high” (salvation and eternal life). how much we could be helped by another in- Nowhere is the doctrine of salvation through spired anthem or hymn of the Restoration.¹⁹ Christ more succinctly stated than in Moroni’s final address to the Gentiles, written shortly before the Retired Brigham Young University religion plates were buried: professor Rodney Turner’s “What Do We Hear from Come unto Christ, and be perfected in him, Cumorah?” (with music by Janice Kapp Perry)²⁰ at- and deny yourselves of all ungodliness; and tempts exactly that. His text adapts the rhetorical if ye shall . . . love God with all your might, format of Joseph Smith’s 1842 doctrinal “epistle” mind and strength, then is his grace sufficient (Doctrine and Covenants 128), written from Nau- for you, that . . . ye may be perfect in Christ. voo to encourage and energize the Saints during (Moroni 10:32) this difficult period: And again, what do we hear? Glad tidings A frequent source of texts, this eloquent passage from Cumorah! Moroni, an angel from heaven, with its concise invitation to “Come unto Christ” declaring the fulfilment of the prophets—the has inspired a number of works of that title, in- book to be revealed.²¹ cluding Reid Nibley’s recent anthem “Come unto Christ,” for chorus and organ (2000).²² Closely Formulated as a concise refrain, the hymn’s title be- related are the many works based on the recurrent gins each of its three stanzas: “voice from the dust” metaphor, with its direct con- What do we hear from Cumorah? nection to Cumorah, as in Moroni 10:27: From its heights holy prophets of old And I exhort you to remember these things; Witness with power and plainness for the time speedily cometh that ye shall know Of Jesus, on plates of gold. that I lie not, for ye shall see me at the bar of Their message is truth everlasting, God; and the Lord God will say unto you: Did The truth that shall save each soul I not declare my words unto you, which were Who, hearing the call of the Shepherd, written by this man, like as one crying from the Repents and seeks rest in His fold. dead, yea, even as one speaking out of the dust?²³ What do we hear from Cumorah? Among the several interesting works on this From its heart humble servants proclaim theme, Henry Evans Giles’s anthem “The Truth Has Men are alike unto heaven, Spoken from the Dust” was composed for the 100th As children of God, the same. anniversary of Joseph Smith’s receiving the plates Restored is the gospel of gladness, from the angel Moroni, which was observed with With joy we can now exclaim programs and ceremonies throughout the church.²⁴ “The burden of sin has been lifted President Heber J. Grant marked the occasion with Because of our faith in Christ’s name.” a visit to the Hill Cumorah on 22 September 1927. What do we hear from Cumorah? Wards and stakes held commemorative services From on high speaks the voice of the Son the following Sunday, 25 September, and a special Off’ring to all life eternal program arranged by Tabernacle organist Edward P. Through Him who denieth none. Kimball aired that evening on KSL radio.²⁵ Giles’s With Joseph’s word joined unto Judah, anthem (composed for the Ensign Stake) contains Their witnesses stand as one, four divisions—Chorus, Chant, Chorale, Finale— The gospel goes forth to the nations and bears the ceremonial trappings of a British The work of salvation begun! coronation anthem, opening with a fugal song of praise and concluding with a brief “Amen” chorus. Only the second section (Chant) refers specifically

JOURNAL OF BOOK OF MORMON STUDIES 103 Dream no more of food! Eat! Eat what the Lord sendeth that thy soul be not empty. Think no more of thirst! Drink! Drink of the waters of life that ye be filled, For the Lord doeth a marvelous work and a wonder. (Isaiah 29:8, 13–14) Jerusalem! Jerusalem! Hear the words of the book from the dust! (Isaiah 29:11–12) Israel! Israel! See his great work made without hands! (Daniel 2:34) Jerusalem! The Lord speaketh, who shall not hear? The Lord sendeth, who shall not receive? The Lord worketh, who shall not be astonished? Trumpeters atop Cumorah officially begin the pageant. Photo courtesy of Palmyra Bean Packer. (Isaiah 29:18–24) Rejoice! O Israel! Jerusalem, Thy salvation is nigh. to the work’s title, with an explicit nod to Moroni’s A number of avant-garde techniques support symbolic trumpet: the poetic imagery. For example, the syllables JE- The truth has spoken from the dust RU-SA-LEM, which begin the piece, are intoned by And righteousness from heav’n come forth; “slow, intense” tone clusters underscored by vocal sonorities of indistinct pitch and shape, creating The fullness of the everlasting Gospel a deliberate feeling of remoteness and estrange- Shall now resound through all the earth. ment. Inchoate whispers (“whispering low out of Give ear unto the Angel’s call. the dust”) gradually form coherent words, finally His trumpet sounding long and loud. emerging as full-voiced, pitched sounds at the text Ye nations, kindreds, tongues, and empires all “out of the ground.” After a bout of “frenzied” Prepare to meet the Lord, your God. counterpoint, all the voices climax in unison, shout- ing, “Rejoice, O Israel! Rejoice, O Israel!” before A more recent treatment of this theme, Merrill coming full circle to the sounds of the opening on Bradshaw’s avant-garde “A Voice from the Dust”²⁶ the text, “Jerusalem, Thy salvation is nigh.” In a re- (composed in 1978 for a cappella choir), could lated piece, “The Vision of Ezekiel”²⁷ (composed for hardly have been more different. At first glance, its the BYU A Cappella Choir and the Israel Chamber text—a gloss on Isaiah 29, treating the future re- Orchestra), Bradshaw reverted to more traditional demption of Jerusalem—seems to harbor only dis- musical language for his treatment of the stick of tant echoes of Cumorah. A closer reading, however, Joseph and stick of Judah theme. Again, the con- reveals that the real theme is the coming forth of nection to Cumorah might seem tangential, until the Book of Mormon and restoration of the gospel we realize that Ezekiel 37:16–27 is the key to the in the last days: unrelenting importance that Book of Mormon writ- Jerusalem, thou holy city far above value ers attach to the Old Testament patriarch Joseph, Have no more heaviness and sorrow who by name and covenant links the ancient patri- For the word of the Lord cometh to thee from a far archal order with the remnant of the house of Israel land through a modern Joseph at Cumorah.²⁸ It is hard Whispering low out of the dust to resist commenting on current BYU composer Christian Asplund’s several hundred innovative With a familiar spirit out of the ground. hymns, composed primarily as a personal expres- (Isaiah 29:1–6)

104 VOLUME 13, NUMBER 1–2, 2004 sion. Some require a cultivated ear, but several are first performance of a gigantic outdoor drama on the surprisingly accessible despite their modern pro- slopes of the Hill Cumorah. For its first 20 years, the pensities. “And now I, Moroni” (Ether 12:38–41)—a pageant relied on excerpts from works by Wagner mildly dissonant choral recitative for male voices— and Tchaikovsky, but in 1957 an original musical is especially effective. A solemn loneliness infuses score was performed and recorded by BYU choruses the chantlike chords, which in their expressive and the Utah Symphony Orchestra in the Salt Lake neutrality (static harmony and dynamics, mini- Tabernacle under the direction of the composer, mal melodic motion) emphasize the pure power Crawford Gates. Now, it is impossible for anyone who of Moroni’s testimony.²⁹ Imaginative works of this has seen “America’s Witness for Christ” not to think sort show how modernist and even avant-garde of Gates’s spectacular score resounding across the techniques can be effectively employed in dramatic woods and farmlands of upstate New York.³⁶ and rhetorical contexts. It is generally assumed that Significantly, Elder Roberts’s ideas served as a audiences have not kept pace with the rhetoric of kind of manifesto for a new generation of Latter- modern music, but if—as here—the context is clear day Saint artists. One who seems to have taken his and the purpose convincing, the effect can be ex- ideas seriously was BYU English professor Clinton actly right.³⁰ F. Larson, whose poetic drama Coriantumr and its companion piece Moroni attracted much attention Dramatic Works in the early 1960s.³⁷ These plays, according to the foreword³⁸ by Marden J. Clark, “mark a milestone The Book of Mormon presents many opportuni- in the use . . . of strictly Mormon, especially Book ties to go beyond tradition in the portrayal of what of Mormon, material” for serious dramatic pur- Davidson describes as its “stirring oratory, thought- poses. “So far as I know,” Clark writes, “Mr. Larson provoking figures of speech and distinctive turns of is the first artist of any kind to exploit the tragic phrase.”³¹ One could add to these its rich narrative, potential in the paral- compelling adventures, and intense drama. Elder B. lel destructions of the H. Roberts of the First Council of the Seventy was peoples of Jared and among the first to have a substantial vision of music Nephi recorded in the and drama as a means of telling the Book of Mor- Book of Mormon.” The mon story.³² As a young journalist, he wrote stories “language is truly life- about Moroni, sketched a “Nephite Republic,” and like . . . in its ability created “a fictionalized and heightened account of to suggest, to embody, the life of Alma’s son Corianton,” later adapted as a even to create life in play that “found its way from the Salt Lake Theater its depths, its totality, to Broadway.”³³ His purpose was to show that “Book its ramifications, its of Mormon characters have flesh-and-blood counter- emotional richness.”³⁹ parts in our own day and in our own interior lives.” Larson is able to skirt In 1923, as president of the Eastern States Mission, the didacticism that Roberts “set up an elaborate celebration” to mark the has plagued so much 100th anniversary of Joseph Smith’s first encounter of Mormon literature with the angel Moroni.³⁴ A dramatic oration that he while still making use prepared for the occasion was hailed by the press as of “the religious, moral, “a sweeping vision with the power of a Nordic saga” and ethical affirma- and a “graphic panorama of the past”—perhaps the tions that are the heart earliest intimation of what a Book of Mormon pag- of the Book of Mor- eant might be. As the 1930 centennial of the church’s mon.” He treats both founding approached, Roberts “dreamed of a major the Jaredite Coriantumr motion picture with a script built upon one or more and the Nephite Mo- Elder B. H. Roberts instructs lo- of the epic civilizations portrayed in the book.”³⁵ roni as tragic figures cal Latter-day Saint missionaries The movie was not to be, but in 1937 his dream was whose lives, because gathered at Hill Cumorah. Photo realized in an even more significant way, with the they are intertwined courtesy of Palmyra Bean Packer.

JOURNAL OF BOOK OF MORMON STUDIES 105 with nations of divine destiny, have transcendent, Coriantumr.⁴² In this play Larson’s elevated poetic universal appeal. In Clark’s view the plays achieve prose examines the psychology of denial and despair universality by stressing not “undeserved suffering that must have plagued the last days of the Jaredites and evil,” but rather the “regenerative effects of suf- (see Ether 12–15). As the play opens, the Jaredites fering” through the atonement of Christ. Rarely, he have fought themselves almost to oblivion, and says, have artistic mastery and spiritual power come once again the separate factions (one led by Shiz, together with such force as when, at the end of the the other by Coriantumr) have gone out to sense- second play, Moroni addresses the prophet Joseph less battle. The scene begins with Coriantumr’s wife, from out of the past: Sarah, holding an imaginary conversation with her Joseph, I reach to you! son Mahonri. In her delusion, Sarah has convinced I reach to you from Sherrizah! He who was slain herself that Mahonri has not been involved in the By the Jews lived among us! fighting but is only just back from a day of hunting; Joseph, we lived! in fact, he has joined the fighting and does not seem Ask if we have not lived! to be present as she speaks: ...... (Scene: Near the hill Ramah on the North American con- My people, my people, let the Word raise you from tinent, in the fourth century before the birth of Christ. the dead.⁴⁰ The time is late autumn. There is a cave to the right. In the center is a table; against the table rests a sword, upon In the end Clark pleads not only for these plays to be which the light is particularly intense. In the posture of performed but for more of their kind to be written: SARAH, who is alone, there is the hint of calamity.) Their very existence and publication chal- SARAH (Clearing the table) lenges Church members to rise to a cultural Mahonri, your father will be here soon. level at which, if not these plays, then at least Sheath your sword; your work is done today. similarly honest attempts at real art from (Abstractedly) Mormon materials will get the kind of hearing There is enough food to last for many days; they deserve.⁴¹ Yet you bring more here to surfeit us, Such a challenge could not go unanswered. And we eat or it spoils in the bright sun. Fresh from a doctorate in composition at the Uni- (Now humming) versity of Illinois, a young Merrill Bradshaw was just Your sword, Mahonri—how could you hunt beginning his long today? . . . and productive career (Grasping reality) at BYU when Larson’s What am I thinking of? Or was the sun but the plays were published. glint The two men became Of a jeweled scabbard somewhere near? . . . warm friends and (Looking, then fondling the cross of the sword) intellectual comrades, Ah, the sacrifice of this time, that we are lonely, sharing common es- Just a few in this expanse of light and heat, thetic and spiritual Alone as the unbending trees. And we fight, perspectives about art run— in the church. A piano And fight again. The days of our traveling here, and vocal score found are heavy. among Bradshaw’s (CORIANTUMR enters with three soldiers, all breathing papers at BYU may heavily. Their swords are streaked with blood.)⁴³ be his initial probe into Larson’s dramatic Sarah’s pensive and distracted mood changes world. Entitled “Sar- are reflected in the disjunct contours of Bradshaw’s ah’s Soliloquy,” it is a skillful counterpoint and in the piano’s mildly dis- Book of Mormon dramatist Clinton F. setting of the open- sonant harmonies. Both musically and dramatically, Larson. Photo courtesy of the Larson family. ing scene of Larson’s he seems to have found an uncompromising—yet

106 VOLUME 13, NUMBER 1–2, 2004 accessible—musical voice to match this challenging was well received. But a work of this sort issues chal- poetry. But the venture never gets beyond this first lenges unique to itself, challenges that have yet to be scene. Usually when a large artistic project grinds successfully met: Can characters of whom we know to a halt, it does so in midcourse, leaving a residue so little be endowed with flesh and blood without be- of notes, sketches, outlines, and so on, but not in coming caricatures? Can an entertainment medium this case; all that remains is this one promising such as musical theater, or even the more artistically score, and then—nothing. That Bradshaw went on serious medium of opera, create a believable context to conclude many other lengthy and difficult proj- for the serious message of the Book of Mormon? Two ects suggests that this was a matter of choice. After projected works seek to answer yes. all, a good poem has its own music, and Larson’s is powerful poetry. Perhaps this initial encounter was enough to convince him that he had nothing fur- what constitutes the music of ther to add. Did Bradshaw, as others, find Larson’s cumorah? what are the themes poetry too leaden, too grand for a musical setting? Or did he simply outgrow his early enthusiasm as associated with its ancient history, his ideas matured in other directions?⁴⁴ The reasons its place in the restoration and are of little consequence, except that they indicate the difficulty any artist is likely to encounter in cre- the early history of the church, its ating a serious work of this magnitude. Even in a less ambitious project, there are dif- compelling role in the fulfillment ficulties. Newell Dayley’s Moroni (based on a script of book of mormon prophecy, by Ralph G. Rodgers) was presented in the summer of 1977 in Salt Lake City’s Salt Palace under the su- and its modern role in pervision of Elder Mark E. Peterson of the Quorum telling the church’s story? of the Twelve.⁴⁵ Far removed from the epic poetry of Larson’s Moroni, Rodgers’s fictional narrative sets out to humanize the prophet-general Mormon and The recently announced By the Hand of Mor- his house, as suggested in its preface: mon: Scenes from the Land of Promise hopes to Father Mormon is there, as is Moroni’s mother, achieve those very goals. A collaboration between his young friends, and even his romantic in- highly experienced professionals—composer Sam terests, and his enemies in war. . . . “Moroni” Cardon, librettist David Pliler, and artist Walter peels the gold leaf and bronze from this most Rane—it promises to take the Book of Mormon fascinating character, and shows us a living, musical to the level of a Broadway production. As breathing human being—one who has the same in previous attempts, the goal is to make Book of concerns about family, about life and happiness Mormon figures come to life as real people, in their as we do.⁴⁶ own environment, with something approximating authentic music, costuming, sets, and so on, with Its musical-theater format was intended to be both the hope that seeing into “their hearts and their lives didactic and entertaining: Moroni, though not quite can help point us to the Savior.”⁴⁷ Another dramatic the stereotypical “bishop’s son,” has fallen for the work with direct ties to Cumorah is Crawford Gates’s wrong girl—a self-centered beauty queen—while recent opera Joseph! Joseph!, on the life of Joseph the “girl next door” languishes unnoticed until, in a Smith. Covering the entire length and meaning of typical showtune duet (“When did love arrive?”), he the Prophet’s life, Joseph! Joseph! also attempts a real- awakens to himself through her and accepts his role istic portrait. It remains to be seen whether it is more in the world for what it really is. As the tragedy of the challenging to re-create a well-documented histori- Nephite destruction plays out, Moroni finds himself cal person than to construct an artificial life for epic alone with the sacred record, and the show ends with characters about whose personal life little is known. an epilogue picturing Joseph Smith and the resur- Both approaches hold out promise, but the challenge rected angel Moroni on the slopes of the Hill Cumo- is to find the right combination of spiritual insight rah. Quintessential Mormon musical theater, Moroni and artistic genius.⁴⁸

JOURNAL OF BOOK OF MORMON STUDIES 107 For what might seem obvious reasons, oratorio Jared—and hid up unto the Lord, to come forth and similar types of unstaged musical drama have in due time by way of the Gentiles to the con- also held a strong appeal for Latter-day Saint com- vincing of the Jew and Gentile that Jesus is the posers. Leroy Robertson’s Oratorio from the Book Christ, the Eternal God.’ of Mormon⁴⁹ was the first major work of this kind. I heard the voices ringing Its focus was the prophecies and ministry of Christ In tones of mighty worth, to the Nephites, as recorded in Helaman and 3 Ne- From men whose words had waited phi, and its success inspired other major Book of Long hidden in the earth. Mormon works.⁵⁰ One of these was Rowan Taylor’s When fools no longer hearken Coriantumr⁵¹ for four-part mixed chorus, soloists, And cry that Christ is dead. and orchestra, which premiered in the East Los An- Lo! Nephi tells his story; geles Stake Center in 1960. Like Larson’s play, the And Mormon’s word is read. oratorio follows the evolution of the downfall of the I heard the voices singing, Jaredites, as Coriantumr encounters the stratagems Of miracles, of prayer, of his various nemeses in the region around ancient Of Christ alive, but wounded, Ramah/Cumorah. Its text, taken directly from Of angels gathered there; the book of Ether, relies on the inherent poetry of When men again are seeking Mormon’s redaction, with its authentic structure, A hope against the night. inflection, and cadence. With this effort, Taylor—a His words will be their comfort, professor of composition at Pierce College in Los His love will make things right. Angeles—demonstrated that uncompromising works of more than limited appeal can be drawn The delightful children’s series Musical Ad- from Book of Mormon materials and that Latter- ventures in the Book of Mormon (formerly The day Saint composers who want to write seriously Wonderful Book of Gold), by Melanie Hoffman can create opportunities of their own accord. and Marvin Payne, takes an entirely different ap- Darwin Wolford’s oratorio The Land of Jo- proach to children and the Book of Mormon, re- seph,⁵² on a libretto by Marylou Cunningham placing seriousness with whimsy. The characters, Shaver (commissioned by Ricks College in 1976 including three children and their dog, present the for the American bicentennial), portrays a sweep- Book of Mormon in a way that is natural, accurate, ing vision of America’s religious history. The ora- and instructive to both children and adults. Set in torio, which concludes with Moroni’s final words the children’s treehouse, each of the 30 episodes of warning at Cumorah, has the unifying theme is a skit beginning with dialogue, followed by a that the “land of promise” can only be possessed cleverly arranged song. “All the Folks on Nephi’s by a righteous people. The narrow patriotic focus Boat,” for example, is a sea chantey, while the connecting the “land of promise” with the United “Murmur Song” makes skillful use of irony and States undoubtedly limits the potential of this work. musical cliché to mock the futility and lack of faith More universally appealing is Wolford’s Song from evident in the constant bickering of Lehi’s rebel- Cumorah, a cantata for children’s chorus, with nar- lious family: ration and lyrics by Mabel Jones Gabbott.⁵³ The Murmur in the morning. Murmur at night. cantata unfolds around important Book of Mormon Murmur to the left. Murmur to the right. topics, each narration reinforced with a song, as in They murmured up and down the desert sand: this example from the finale: They murmured all the way to the—PROMised “The stories we have told are in the Book of land. Mormon. The Book of Mormon was trans- The children ask questions and reason out solutions lated from the plates which the angel Moroni based on their own level of experience. Episodes are took from the Hill Cumorah. Joseph Smith sequential, so the accounts of Mormon abridging translated the record, which is ‘an account writ- the record and of Moroni burying the plates in the ten by the hand of Mormon; wherefore it is an Hill Cumorah conclude the story of The Wonderful abridgement of the record of the people of Nephi, Book of Gold.⁵⁴ and also of the Lamanites, and of the people of

108 VOLUME 13, NUMBER 1–2, 2004 Steven Kapp Perry and Brad Wilcox’s From Cu- Cumorah by the rank and file of the church, in its morah’s Hill,⁵⁵ written in a popular medium geared worship and in the deepening of individual and col- for young adults, works best as a cantata or concert lective faith? Only gradually, it seems, have we come piece. It was conceived around letters received by to realize how vast the possibilities are. the composers addressing issues such as ridicule, The church moved away from its geographical intimidation and outright persecution, intellectual origins early in its history. Only a small percentage challenges, rebellious feelings and actions, and loneli- of early church members knew the prophet Joseph’s ness. Excerpts from the letters are paired with paral- New York surroundings at first hand. Yet Cumorah lel situations in the Book of Mormon, thus providing was, and is, the symbolic heart of the restoration. It practical and inspirational answers to the problems is a tangible connection with the Book of Mormon’s of ordinary people who want to live righteously but past—its prophets, its heroes, and its message to the face overwhelming personal challenges. world. As this very limited survey has shown, there “Voices from the Dust,” a (1990) stake produc- is a wealth of musical potential in Cumorah’s his- tion written by former KSL-TV news anchor Mar- tory, but despite the variety and quality of works garet Smoot, centered around the character Every- composed thus far, it is a potential largely untapped. man (pretaped and projected onto jumbo television There is, however, reason for optimism. First, in screens) and his search for truth.⁵⁶ Interaction be- terms of its cultural history, the church is still very tween the television character and an onstage fam- young; we should remember that it took centuries for ily who have shared with him a copy of the Book of Christianity in general to build its impressive artistic Mormon leads to portrayals—some humorous, some legacy. Second, it is always good to recognize that serious—of Book of Mormon episodes and doctrinal what exists need not limit or prescribe future pos- concepts, along with modern-day testimonials of sibilities. Efforts to create self-consciously Mormon its truth. Except for an original title song, the mu- art, however, are probably (and rightly) doomed to sic is borrowed, ending with Jeff Goodrich’s “You failure. The gospel is universal, and one of the great Can Believe in Christ.”⁵⁷ This unique application of challenges of our generation is to find that univer- television technology was but one way of enhancing sal voice without minimizing or compromising the an otherwise amateur production that proved both uniqueness of our mission. Because the gospel em- entertaining and inspiring. With today’s even more braces all truth—even (and perhaps especially) artis- advanced technologies, the potential for this kind of tic truth—we need to foster greater confidence in our creativity is virtually boundless. own creativity as a people. We should consciously and consistently use the arts, as other communities A Music Only Just Begun have done, for introspection and exploration to dis- cover and project the very best in ourselves. A real What began as a comprehensive survey of music Latter-day Saint art, avoiding the twin plagues of di- inspired by the Hill Cumorah became, in process, dacticism and narcissism, would provide the impetus a more introspective project, inevitably raising new for living the gospel richly and vigorously, so that the questions: What constitutes the music of Cumorah? wellsprings of our experience are full when the Lord What are the themes associated with its ancient his- would bless us with the gifts of his Spirit. Cumorah’s tory, its place in the restoration and the early history music ranges from high art to the songs of children, of the church, its compelling role in the fulfillment from the deeply serious to the comic. At each level of Book of Mormon prophecy, and its modern role in there have been fresh and interesting ideas, although telling the church’s story? How have these various as- not without challenges and failures. Let us hope that pects inspired composers and influenced the arts in the music of Cumorah, in both a real and a symbolic the church? What has been the response to the Hill sense, has only just begun. !

JOURNAL OF BOOK OF MORMON STUDIES 109 Discourses, 14:330–31; 15:182–83; 8. Brigham Young, in Journal of Road to Hill Cumorah” (PhD of the Ancient Near East (New 16:57; 17:30–31; 17:281; 19:218. Discourses, 19:37. diss., Brigham Young University, York: G. E. Stechert and Co., Another source for Pratt’s ac- 9. Brigham Young, in Journal of 1982); Gerald S. Argetsinger, 1923), 70. For more contempo- counts is supposedly the Quorum Discourses, 19:38. “Cumorah Pageant,” in rary information, see Florence of the Twelve Minutes, 6 May 10. Brigham Young, in Journal of Encyclopedia of Mormonism, ed. Eloise Petzel, Textiles of Ancient 1849, but I have not been able to Discourses, 19:38. Daniel H. Ludlow (New York: Mesopotamia, Persia, and confirm this. Brigham Young’s 11. Brigham Young, in Journal of Macmillan, 1992), 1:347. Egypt (Corvallis, OR: Cascade record of that date, however, is Discourses, 19:39. Printing, 1984), 21–28. interesting to note: “I met with 12. Journal of Jesse Nathaniel Smith, Designing Costumes for the Hill 10. See Anawalt, Indian Clothing President Willard Richards and 217. Cumorah Pageant before Cortés, 209–14. Also see the Twelve on the 6th. We spent 13. Heber C. Kimball, in Journal of Rory R. Scanlon Margot Blum Schevill, Costume the time in interesting conver- Discourses, 4:105. as Communication (Bristol, RI: sation upon old times, Joseph, 14. Kimball, in Journal of Discourses, 1. See Margot Blum Schevill, Mark-Burton, Inc., 1986), 13. the plates, Mount Cumorah, 4:105. Costume as Communication: 11. See Federico Kauffmann-Doig, treasures and records known to 15. Kimball, in Journal of Discourses, Ethnographic Costumes and Ancestors of the Incas: The be hid in the earth, the gift of 4:105. Textiles from Middle America Lost Civilization of Peru, trans. seeing, and how Joseph obtained 16. See also Jeffrey R. Holland, and the Central Andes of South Eulogio Guzman (Memphis, his first seer stone” (Manuscript “Therefore, What?” (ad- America in the Collections of TN: Wonders, 1998), 108–17. See History of Brigham Young, 6 May dress given at the 2000 CES the Haffenreffer Museum of also Raoul D’Harcourt, Textiles 1849, Church Archives). See also Conference, Brigham Young Anthropology, Brown University, of Ancient Peru and Their Journal History of The Church of University, 8 August 2000), 2; Bristol, Rhode Island (Bristol, Techniques, trans. Sadie Brown Jesus Christ of Latter-day Saints, and Leslie A. Taylor, “The Word RI: Haffenreffer Museum of (Seattle: Univ. of Washington 6 May 1849. of God,” JBMS 12/1 (2003): Anthropology, Brown University, Press, 1974), 3. 2. Most of the cave accounts 52–63. 1986), 9. 12. See Patricia Rieff Anawalt, mention Oliver Cowdery as a 17. Account 10, by Orson Pratt, also 2. See Ralph Whitlock, Everyday “Textile Research from the participant. Although Cowdery mentions an angelic guardian. Life of the Maya (New York: G. P. Mesoamerican Perspective,” is not formally on record as 18. Wilford Woodruff’s Journal, 11 Putnam’s Sons, 1976), 44–46. Beyond Cloth and Cordage: having shared this experi- December 1869, 6:508–9. 3. “There is a tendency by some Archaeological Textile Research ence in speaking or writing, 19. Orson F. Whitney, Life of Heber Christians to assume too much in the Americas, ed. P. B. there is one obscure line from C. Kimball: An Apostle, the from archaeology. Sometimes the Drooker and L. D. Webster (Salt Cowdery that might refer to Father and Founder of the British words confirm, prove, authen- Lake City: Univ. of Utah Press, the cave experience. In describ- Mission, 2nd ed. (Salt Lake ticate, and substantiate can be 2000), 214. ing his feelings about the Hill City: Stevens & Wallis, 1945), employed. It can be proved that 13. See Michael D. Coe and Justin Cumorah, Cowdery wrote, “In 15–17. See also Brigham Young, historical conditions were such Kerr, The Art of the Maya Scribe my estimation, certain places are in Journal of Discourses, 2:5; that Solomon could have been as (New York: Harry N. Abrams, dearer to me for what they now George A. Smith, in Journal of powerful a king as the Bible says 1998), 97. contain than for what they have Discourses, 13:104; 16:193; and he was; but it does not prove that 14. See Mormon 1:8–9; Jacob 1:14. contained” (Latter-day Saints’ Wilford Woodruff’s Journal, God gave Solomon wisdom. It Messenger and Advocate, October 7:622. can be fairly well substantiated A New Beginning for the Pageant: 1835, 2:196; emphasis in original). 20. It is also interesting to note that that there was a census when 1948 to 1951 3. It is interesting that his account when Moroni appeared to Joseph Jesus was born; but this confir- Harold I. Hansen differs from the others regarding Smith on 21 September 1823 mation hardly proves his divin- the exact location of the cave, and revealed the existence of the ity. No archaeological evidence 1. J. Karl Wood was called to direct and yet it should be remembered Nephite record, “he informed will ever prove the atonement. the Hill Cumorah Pageant in that Whitmer’s statement “not [Joseph] of great judgments It must be recognized that there 1939. far away from that place” may which were coming upon the is a clear separation between 2. Thorpe B. Isaacson, in have been referring to the exact earth, with great desolations by historical and theological proof.” Conference Report, October place where the plates were famine, sword, and pestilence” Alfred J. Hoerth, Archaeology 1949, 156. found, and therefore the cave, (Joseph Smith—History 1:45). and the Old Testament (Grand 3. Thorpe B. Isaacson, in which was nearby, could have Perhaps the sword in the cave Rapids, MI: Baker Books, 1998), Conference Report, October still been in the hill proper. symbolized that these judgments 20. 1949, 156–57. Another possibility is that, for were at hand. 4. John L. Sorenson, The Geography some reason, Whitmer was of Book of Mormon Events: A “Hail, Cumorah! Silent Wonder”: thinking of Miner’s Hill, which The Hill Cumorah Pageant: A Source Book (Provo, UT: FARMS, Music Inspired by the Hill is just north of the Hill Cumorah Historical Perspective 1992). Cumorah and was said to feature a cave Gerald S. Argetsinger 5. Joseph L. Allen, Exploring the Roger L. Miller dug by Mormons; see Cameron Lands of the Book of Mormon Packer, “A Study of the Hill 1. The Passion Play of Oberam- (Orem, UT: S. A. Publishers, 1. “An Angel from on High,” Cumorah: A Significant Latter- mergau is the world’s most en- 1989). Hymns of the Church of Jesus day Saint Landmark in Western during and famous play depict- 6. See John L. Sorenson, “The Book Christ of Latter-day Saints (Salt New York” (master’s thesis, ing the Passion of Jesus Christ. of Mormon Mapped,” in his An Lake City: The Church of Jesus Brigham Young University, It has been presented regularly Ancient American Setting for the Christ of Latter-day Saints, 2002), 59–62. since AD 1634 in Bavaria. Book of Mormon (Salt Lake City: 1985), no. 13; hereafter Hymns. 4. For a review of these missing 2. Charles W. Whitman, “A History Deseret Book, 1985). 2. Latter-day Saint children might records, see Monte S. Nyman, of the Hill Cumorah Pageant 7. See Patricia Rieff Anawalt, also think of one of their favorite “Other Ancient American (1937–1964) and an Explanation Indian Clothing before Cortés: songs: “The Golden Plates Lay Records Yet to Come Forth,” of the Dramatic Development of Mesoamerican Costumes from Hidden,” Children’s Songbook JBMS 10/1 (2001): 52–61. the Text of America’s Witness for the Codices (Norman: Univ. of of The Church of Jesus Christ of 5. Orson Pratt, in Journal of Christ” (PhD diss., University Oklahoma Press, 1981), 9–14. Latter-day Saints (Salt Lake City: Discourses, 16:57. of Minnesota, 1967); Randy V. 8. See Ralph Whitlock, Everyday The Church of Jesus Christ of 6. Orson Pratt, in Journal of Hansen, “Development of the Life of the Maya (New York: Latter-day Saints, 1989), 86. Discourses, 19:218. Cumorah Pageant” (honors the- Dorset Press, 1976), 43. 3. On summer evenings in July and 7. Brigham Young, in Journal of sis, Brigham Young University, 9. See Henry F. Lutz, Textiles and August, thousands gather on the Discourses, 19:39. 1978); Walter E. Boyden, “The Costumes among the Peoples slopes of the Hill Cumorah to

JOURNAL OF BOOK OF MORMON STUDIES 171 see “America’s Witness for Christ.” Voices from Cumorah’s hill Break 18. Davidson, “Latter-day Saint 29. Christian Asplund, “And now The pageant and its history are the silence of the tomb,” etc., but Hymnody,” 17. I, Moroni . . . ,” Brick Church discussed elsewhere in this issue note the third stanza: “Thrones 19. “The Arts and the Spirit of the Hymnal 2:4 (Lebanon, NH: Frog of JBMS. shall totter, Babel fall, Satan reign Lord,” BYU devotional address, 1 Peak Music, 1998). 4. Surprisingly little folk music has no more at all; Saints shall gain February 1976. 30. Some contemporary composers surfaced that deals specifically the victory, Truth prevail o’er 20. Rodney Turner, “What Do We find that there is no place for such with the Hill Cumorah, but folk land and sea, Gentile tyrants sink Hear from Cumorah,” in Janice music in Latter-day Saint culture, music from Joseph Smith’s time to hell! Now’s the day of Israel!” Kapp Perry, Inspirational New leaving them isolated and unable and place may be useful in pro- Set to a tune from Handel’s Judas Hymns for Choir & Home, vol. 2 to contribute. viding a cultural context for the Maccabaeus, it was understand- (Prime Recordings Inc., 2000), 31. Davidson, “Latter-day Saint events surrounding the restoration ably dropped after the 1927 13. Acknowledging Elder Packer’s Hymnody,” 21. of the gospel; Latter-day Saint hymnal. Other early hymns dwelt challenge, Perry undertook a proj- 32. Truman G. Madsen, “B. H. Roberts composer Lisa Despain has begun on the plight of the “Red Man,” ect in 1997 to write 100 hymns on and the Book of Mormon,” in BYU work in this area. Popular music as for example, “O Stop and Tell texts by various Latter-day Saint Studies 19/3 (Spring 1979): 436. has produced only a few samples Me, Red Man,” by W. W. Phelps. poets (see her introduction to this It was through Roberts’s efforts, of music dealing with Cumorah; See Davidson, “Latter-day Saint collection). In this case the distinct during his five years (1922–1927) see, for example, Liz Smith, “Road Hymnody,” 20–21. resemblance of her music to the as president of the Eastern States from Cumorah,” from A Prayer 14. A text such as Pratt’s “The waltz tune “When Irish Eyes Are Mission, that the church pur- from the Heart, CD (Covenant Morning Breaks” (Hymns, 1) owes Smiling” tends to distract from the chased the Hill Cumorah, the Communications, 1996). its pride of place to (apparently) hymn’s overall effectiveness. Smith Family Farm, the Sacred 5. A copy of the painting is found in self-evident restoration and Book 21. Doctrine and Covenants 128:20. Grove, and the Whitmer Farm. the Museum of Church History of Mormon allusions. However, 22. Reid Nibley, “Come unto Christ,” See David F. Boone’s study in this and Art at Temple Square in Salt what might be seen by Latter-day for chorus and organ (2000); issue. It should also be noted that, Lake City. The recording project, Saints as clear-cut Hill Cumorah see also settings by Donald as early as 1919, Apostle Melvin J. including scores and photo- symbolism, “Angels from heav’n Ripplinger, Newell Dayley, Ballard communicated his hope graphic plates, is published as and truth from earth / Have met, Lorenzo Mitchell, etc. Not all that someone would compose an Mormoniana (New York: Mormon and both have record borne,” could works of this title are focused on oratorio on the Book of Mormon Artists Group Press, 2004). as easily have come from Psalm Moroni’s words; for example, a to the young Latter-day Saint Nibley’s “Hill Cumorah” is no. 4. 85:11: “Truth shall spring out of the similar text can be found in Omni composer Leroy Robertson, whose 6. Correspondence from the com- earth; and righteousness shall look 1:26, and Merrill Jensen’s oratorio Oratorio from the Book of Mormon poser, 4 September 2003. down from heaven.” While this Come unto Christ, commissioned has been widely performed since. 7. The rail fence refers, of course, biblical source does not prevent the by Ricks College (unpublished, See Marian Robertson Wilson, to Joseph Smith’s account of the Latter-day Saint interpretation, it 1999), centers on the conversion of “Leroy Robertson and the Oratorio morning after the angel Moroni’s also opens a wider field of possibili- Alma the Younger. from the Book of Mormon: visits when he failed in his attempt ties. Thus, Davidson’s study did not 23. See also 2 Nephi 3:18–21; Isaiah 29:4: Reminiscences of a Daughter,” to cross a fence on his way home count it as a specifically Book of “And thou shalt be brought down, JBMS 8/2 (1999): 4–13. (see Joseph Smith—History 1:48). Mormon hymn. and shalt speak out of the ground 33. Madsen, “B. H. Roberts,” 436. See 8. There are at least three published 15. The first six stanzas were retained and thy speech shall be low out of the Orestes U. Bean, Corianton, an versions of this poem. The text in Sacred Hymns and Spiritual dust, and thy voice shall be, as of one Aztec romance: a romantic spec- here comes from George H. Songs for the Church of Jesus Christ that hath a familiar spirit, out of the tacular drama, in four acts, L. Tom Durham’s anthem “Hail Cumorah! of Latter-day Saints, 24th ed. (Salt ground, and thy speech shall whisper Perry Special Collections, Harold Silent Wonder” (Salt Lake City: Lake City: n.p., 1905). Sometimes out of the dust.” B. Lee Library, Brigham Young Deseret Publishing, 1960), with attributed to “Dr. Rippon,” an 24. Henry E. Giles, “The Truth Has University; also Corianton, L. Tom only slight alterations in wording, English Baptist clergyman whose Spoken from the Dust: Chorus, Perry Special Collections, Harold punctuation, and capitalization well-known “A Selection of Chant, Chorale, Finale,” L. Tom B. Lee Library, Brigham Young from the version printed in Latter- Hymns from the Best Authors . . .” Perry Special Collections, Harold University, MSS 2927, for memo- day Saint Hymns (Salt Lake City: (1787) went through 27 printings B. Lee Library, Brigham Young rabilia connected with the motion Deseret Book, 1927), no. 319. An (including an American edition University. From the title page: picture but not the film itself. earlier and substantially different printed in Philadelphia in 1820), “For the one hundredth anniver- 34. Madsen, “B. H. Roberts,” 436. version, entitled “Cumorah,” ap- Pratt’s version was undoubtedly sary celebration of the delivery of 35. Madsen, “B. H. Roberts,” 436. The peared in the Improvement Era 12 a paraphrase. Its original tune, the plates from which the Book 1930 Centennial was also the occa- (March 1909), 373. “Advent,” like many hymns and of Mormon was translated to the sion for a large church-sponsored 9. Ramah is the Jaredite name for the sacred songs of the time, bor- prophet Joseph Smith. September pageant, “The Message of the ancient hill Cumorah. Another of rows from secular tradition, here 22nd, 1827–1927.” Ages,” with music for soloists, Curtis’s poems, “Historic Ramah’s reminiscent of an 18th-century 25. The afternoon session of the Salt chorus, and orchestra composed Verdant Slope” (Improvement Era English country dance. The tune Lake Stake conference in the and arranged by Leroy Robertson. 31 [1928], 245), incorporates this was rewritten for the 1927 hymnal Tabernacle (1927) also featured The pageant premiered on 6 April name, expanding upon the topics (Latter-day Saint Hymns, no. 224) the anniversary. 1930 in the Salt Lake Tabernacle. of Jaredite and Nephite destruc- by Tabernacle organist Edward P. 26. Merrill Bradshaw, A Voice from the It depicted the dispensations of tion and the revelation of the Book Kimball but was dropped in the Dust, ASCAP, 1978. A manuscript the gospel, culminating in the of Mormon plates to Joseph Smith. 1948 hymnal. Kimball’s resetting copy resides in the Music Division revelations given to Joseph Smith, 10. Karen Lynn Davidson, “The Book combined the first six stanzas into of BYU’s Harold B. Lee Library. including, of course, his encoun- of Mormon in Latter-day Saint three. 27. Merrill Bradshaw, The Vision of ters with Moroni and the coming Hymnody,” JBMS 9/1 (2000): 14–27. 16. This Parley P. Pratt hymn was Ezekiel, 1982. A manuscript copy forth of the Book of Mormon. 11. Latter-day Saint Hymns, 66. found in J. C. Little and G. B. resides in the Music Division of 36. The original score has been re- 12. Latter-day Saint Hymns, 270; Gardner’s A collection of sacred BYU’s Harold B. Lee Library. vised several times to conform to see also Davidson, “The Book hymns, for the use of the Latter- 28. Compare 2 Nephi 3. Ezekiel 37 changes in the pageant; Gates has of Mormon in Latter-day Saint day Saints (Nauvoo, IL: n.p., becomes an extension of the also adapted it as Symphony No. 2, Hymnody,” 22. It is not clear 1844), 65–66. “voice from the dust” metaphor. “Scenes from the Book of Mormon.” whether the author of this hymn is 17. Latter-day Saint Hymns, 66. See The “Joseph” theme is car- 37. Clinton F. Larson, Coriantumr and Lucy Mack Smith, Joseph Smith’s also G. Careless et al., The Latter- ried further in sections 10 and Moroni (Provo, UT: BYU Press, mother, or Lucy Smith, his sister. day Saint Psalmody: a Collection of 16 of Bradshaw’s oratorio The 1961). 13. Latter-day Saint Hymns, 137. Original Tunes, 2nd ed. (Salt Lake Restoration, premiered in 1974 by 38. Larson, Coriantumr and Moroni, “Hark! ye mortals. Hist! be still. City: Deseret News, 1902), 307. the BYU Oratorio Choir. 5–7, passim.

172 VOLUME 13, NUMBER 1–2, 2004 39. Some may regard this aspect Brigham Young University. “Torleif Knaphus, Sculptor Saint,” 18. John D. Giles, “The Symbolism of of Clark’s assessment as overly Taylor’s prolific output also in- Ensign, July 1980, 10–15. the Angel Moroni Monument— enthusiastic. Larson’s language cludes several symphonies with 6. Improvement Era, April 1935, 200. Hill Cumorah,” Instructor, April is epic in cast, not “lifelike” in Book of Mormon themes, includ- 7. “The Life of Torleif Severin 1951, 99. the sense of common, everyday ing symphonies 4 and 7, which Knaphus,” unpublished autobiog- 19. Marie Knaphus James, personal speech. But it is life-affirming and contain excerpts from Coriantumr. raphy, Family and Church History interview, September 2003. powerful in its ability to project 52. Darwin Wolford, The Land of Department Archives, The Church 20. Kit Poole, “Missionary sees fam- the terrible conflicts that come to Joseph, BYU–Idaho, Dept. of of Jesus Christ of Latter-day Saints. ily image in statue of the Angel each of us as a result of our being Music (Rexburg, ID: unpublished, 8. Torleif S. Knaphus, “Work Done Moroni,” Church News, 15 January “free to choose liberty and eternal 1976). Wolford was one of a num- for the Church of Jesus Christ of 1994, 12. life, . . . or to choose captivity and ber of Robertson’s composition Latter-day Saints,” date unknown, 21. This and other details are taken death” (2 Nephi 2:27). students. Robertson taught at BYU list in the author’s possession. from Clark, “Finding the Face of 40. Larson, Coriantumr, 71. and the University of Utah in the 9. LaVar Wallgren (craftsman who an Angel,” posted on the Ezra T. 41. Ibid., 7. 1930s through the 1960s. made the casts), personal inter- Clark family Web site. See n. 13 42. Merrill Bradshaw, Coriantumr 53. Darwin Wolford and Mabel Jones view, May 2001. above. (incomplete opera on a play by Gabbott, Song from Cumorah 10. Concerning the identity of this 22. Clark, “Finding the Face of an Clinton Larson, first scene only: (Orem, UT: Jackman Music, 1980). angel, Rebecca Bean remarked, Angel.” “Sarah’s Soliloquy”), an unpub- 54. Melanie Hoffman and Marvin “I say ‘angel,’ [but] I don’t know. 23. Torleif S. Knaphus, “The Call— lished voice/piano manuscript Payne, Scripture Scouts, Musical I asked Brother Knaphus, when Brief Description and Impressions copy resides in the Music Division Adventures in the Book of he told me the story, if it was the of My Trip,” unpublished docu- of BYU’s Harold B. Lee Library. Mormon, The Wonderful Book of Angel Moroni that came to him. ment in the author’s possession, 43. Larson, Coriantumr, 11. Gold (Salt Lake City: Deseret Book He said, ‘Sister Bean, that’s my June 1934. Bradshaw’s text differs in the last Co., 1986, 1987, 1992). The entire secret.’ But I really feel that it was 24. Knaphus, “The Call.” two lines from the published play, series contains 30 episodes, each the Angel Moroni who came [to 25. Byron Warner, “Statue Makes a which gives the following: “The with its own song. him]” (Rebecca Bean, fireside ad- Left Turn,” Church News, 17 April broad plains and the rivers, alone 55. Steven Kapp Perry and Brad dress given in Salt Lake City in 1976, 3. as the unbreathing Trees in the Wilcox, From Cumorah’s Hill: 1964. This address appears under 26. Journal History of the Church, 21 heavy days of our travelling here.” The Book of Mormon Speaks the title “The Mormons Return to July 1935, “Monument Dedicated,” 44. There is yet another possibility, to Our Day (Provo, UT: Prime Palmyra” at http://joda.cis.temple United Press, clipping taken from one that is always a potential prob- Recordings, 1990). .edu/~nichols/drhaws/hpalmyra the Los Angeles Times, 22 July lem when attempting to deal with 56. Margaret Smoot, Voices from the .html [accessed July 2004]). 1935. a fictional mise-en-scène. Perhaps Dust (unpublished, 1990). 11. Rebecca Bean, fireside address. 27. Journal History of the Church, the anachronisms and miscon- 57. Jeff Goodrich, I Heard Him Come 12. According to Rebecca Bean’s ac- July 21, 1935, “Mormons Dedicate ceptions in Larson’s script, laid and Other Songs about the Savior count, the angel, in response to Moroni Statue,” clipping taken bare through later research in the (Salt Lake City: Deseret Book). Torleif’s prayer about which of from Rochester Evening Journal second half of the 20th century, Direct inspiration for this piece the seven drawings to take to the and the Post Express, July 22, 1935. ultimately made him uncomfort- is attributed by the composer to Brethren, told him which drawing 28. Knaphus, “Description of the Hill able with the material. John 1:11–13 and Doctrine and was the right one. This raises the Cumorah Monument.” 45. Moroni was the first of three Covenants 93:1–2, but the doc- question of why Torleif presented theatrical works sponsored by the trine of Christ as taught in Moroni all seven drawings to the Brethren The Geologic History of Hill Promised Valley Playhouse (at 10:32 seems even more apt and is and not just the designated one. This Cumorah that time a cultural appendage of certainly reflected in the text. matter is resolved in the following Michael J. Dorais the church) to educate and inspire account: “When the sculptor in- through music and drama. The Look Once Again at Cumorah’s Hill: quired [of the angel] how he should 1. The 1815 Tambora eruption al- second was on the life of Christ The Poets’ View confront the Brethren with this tered weather patterns around the and the third on Joseph Smith. Louise Helps choice [the sketch that the angel’s world, causing the “year without 46. Prefatory note from the script finger pointed to] (inasmuch as they a summer” in 1816 and extensive published by the Promised Valley 1. These poems are similar to each were the ones making the decision), crop failures in New England. Playhouse, Salt Lake City, 1977. other. One was clearly a reworking he was instructed that they would 2. J. W. Miller Jr., “Variations in 47. Carma Wadley, “‘Hand of of the other. choose the one the Lord had chosen.” New York Drumlins,” Annals Mormon’ a monumental task,” Rand H. Packer, “History of Four of the Association of American Deseret Morning News, Sunday, 31 The Hill Cumorah Monument: Mormon Landmarks in Western Geographers 62/3 (1972): 418–23. August 2003, sec. E1. An Inspired Creation of Torleif S. New York: The Joseph Smith Farm, 3. W. Kenneth Hamblin and Eric H. 48. Another recent addition to the Knaphus Hill Cumorah, the Martin Harris Christiansen, Earth’s Dynamic genre is Meredith R. Taylor’s Allen P. Gerritsen Farm, and the Peter Whitmer, Sr., Systems, 9th ed. (Upper Saddle Abinadi (2003), an opera on the Farm” (master’s thesis, Brigham River, NJ: Prentice Hall, 2001). well-known Book of Mormon 1. Torleif S. Knaphus, “Description Young University, 1975), 31–32. 4. M. Milankovitch, Kanon der Erdbest- prophet. of the Hill Cumorah Monument,” 13. Antone Clark, “Finding the Face rahlung und seine Anwendung auf 49. See Robertson Wilson, “Leroy ca. 1935, in possession of the au- of an Angel,” http://www.ezrat das Eiszeitenproblem (Belgrade: Robertson and the Oratorio from thor. In a few instances, the punc- clark.org/familyfile_findingthe Königlich Serbische Akademie, the Book of Mormon,” 4–13. tuation and spelling in quotations faceofanangel.asp (accessed July 1941), 133. 50. Former Tabernacle organist Robert from Knaphus’s writings have 2004). 5. Jürgen Ehlers, Quaternary and Cundick’s doctoral thesis, for exam- been normalized. 14. Knaphus, “Work Done for the Glacial Geology (Chichester, ple, was an extended work for chorus 2. Torleif Knaphus, Personal Journal Church.” England: John Wiley & Sons, and orchestra, “The Song of Nephi” of Torleif S. Knaphus, trans. Brit 15. Marie Knaphus James (Torleif’s 1996); I. Peter Martini, Michael (1955), completed under Robertson’s Woodbury, unpublished document daughter), personal interview, E. Brookfield, and Steven tutelage at the University of Utah. in the author’s possession, 2. September 2003. Sadura, Principles of Glacial Cundick had copied the parts for the 3. Personal History of Torleif 16. The text on the plaque is nearly Geomorphology and Geology Oratorio from the Book of Mormon Knaphus, as dictated to Linda identical to Torleif’s description that (Upper Saddle River, NJ: Prentice and thus had a first-hand acquain- Knaphus, 1957, in the author’s appears in his “Description of the Hall, 2001), 110–30. tance with the score. possession, 4. Hill Cumorah Monument,” 23 June 6. M. E. Ragmo, and W. F. 51. Rowan Taylor, Coriantumr, manu- 4. Personal Journal, 3. 1935, in the author’s possession. Ruddimann, “Tectonic Forcing of script copy, L. Tom Perry Special 5. For more on Knaphus and his 17. Knaphus, “Description of the Hill Late Cenozoic Climate,” Nature Collections, Harold B. Lee Library, youth, see William G. Hartley, Cumorah Monument.” 359 (1992): 117–22.

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