Journal of Book of Mormon Studies

Volume 8 Number 2 Article 3

7-31-1999

Leroy Robertson and the Oratorio from the Book of Mormon: Reminiscences of a Daughter

Marian Robertson Wilson

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BYU ScholarsArchive Citation Robertson Wilson, Marian (1999) "Leroy Robertson and the Oratorio from the Book of Mormon: Reminiscences of a Daughter," Journal of Book of Mormon Studies: Vol. 8 : No. 2 , Article 3. Available at: https://scholarsarchive.byu.edu/jbms/vol8/iss2/3

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 Leroy Robertson and the Oratorio from the Book of Mormon: Reminiscences of a Daughter

Author(s) Marian Robertson Wilson

Reference Journal of Book of Mormon Studies 8/2 (1999): 4–13, 84.

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

Abstract Marian Robertson Wilson recounts her memories of her father, Leroy Robertson, and of the creation of his masterpiece, the Oratorio from the Book of Mormon. The idea to compose an oratorio based on the Book of Mormon first came to Robertson when Elder Melvin J. Ballard of the Quorum of the Twelve Apostles casually suggested it to him one day in 1919. After his conversa- tion with Elder Ballard, Robertson dedicated much of his time to studying the Book of Mormon and choos- ing sections of scripture to use in his compilation. The piece eventually received attention from LDS church leadership and from the renowned Maurice Abravanel. It significantly impacted missionary work, as well as the work of other LDS composers. Leroy Robertson Oratorioand the from the Book of Mormon

Reminiscences of a Daughter

Marian Robertson Wilson he Oratorio from the Book of Mormon by Leroy Robertson occupies a unique place in the history of music thanks to both T its form and content. Twentieth-century composers in gen- eral chose not to write oratorios, and no one had ever before com- posed such a large work based on Mormon scriptures. Therefore, when Robertson’s Oratorio appeared, it came as an unexpected, almost anachronistic addition to our musical literature. Nonetheless, as soon as it became known to the world, critics cross-country hailed it as “one of the musical masterpieces of the twentieth century,” and described it as a “stirring work of grand design” that was “sweeping,” “surprisingly big . . . [and] powerfully dramatic.” For their part, non­ musicians—whose opinion Robertson consistently prized the most— wrote of being “enthralled,” “flooded with an experience that was more than music and poetry alone,” and of being overwhelmed by “prophetic amazement . . . [and] sacred communion.”1

It became a seminal work for other LDS musicians in that it trig- gered their imaginations and inspired them to compose pieces simi- lar in nature. Robert Cundick has declared Robertson’s Oratorio to be “the father” of the many analogous works written by Mormon composers that were soon to follow.2 Composing the Oratorio

The Idea Is Conceived The idea for composing an oratorio based on the Book of Mormon was first planted in young Robertson’s mind by Apostle Melvin J. Ballard ca. 1919 as the two chanced to sit together on the old interurban train that once ran between Payson and Salt Lake City. Twenty-one-year-old Leroy had just spent a day giving violin lessons in Payson and was returning to Pleasant Grove, where he was then living with his maternal grandparents. His tall, thin figure and earnest demeanor must have made quite a picture as he boarded the train, awkwardly balancing his violin case and music-laden briefcase. The venerable Church dig- nitary engaged his traveling companion in conversation Musical notations and text sketched by Robertson in the margins of his Book of Mormon. without delay and soon learned that Leroy had been enamored of music since his birth; had diligently stud- ied Theory and Composition at Brigham Young University while still a high school student; and cher- Every evening after supper, ished firm hopes of becoming a first-rate violinist as he would go to “his chair”—a sturdy well as a serious composer. Elder Ballard in turn told Leroy how he himself had long hoped that someday platform rocker placed near the some musician somewhere would write an oratorio based on scriptures from the Book of Mormon—an living room fireplace—and here, oratorio as moving as Händel’s Messiah, so beloved and well known amongst the Latter-day Saints.3 with long legs outstretched resting The concept instantly fired Leroy’s imagination. However, this treasured project would be destined to lie on a convenient footstool, quietly in the back of his mind for many years, dormant yet never forgotten. Other more immediate and pressing he would sit poring over what demands were consuming his time. First, with Utah then he lovingly came to call essentially a musical desert, Leroy felt an urgent need for more advanced study outside his home state, and within “the good old ‘And it came to pass’.” a year he did manage to get to the New England Conser­ vatory in Boston, then the premiere music school in America. After his graduation from the Conservatory in 1923, his foremost concern was to find employment. In short order, he became a faculty member in the Music Department at Brigham Young University, where he would remain for some twenty-three years (1925–1948), steadily enlarging the University’s music curriculum and building the first nationally known symphony orchestra to come from the Intermountain West. Also, in addition to Church callings—chiefly related to his talents as a musician—he and his beloved wife, Naomi, whom he had married in 1925, were rearing a family of four chal- lenging children. Somehow, through it all, he was com- posing, ever composing, but not as yet able to devote consistent time to the Oratorio.4

6 VOLUME 8, NUMBER 2, 1999 Leroy Robertson composing at Aspen Grove about 1939.

The Writing Begins family hubbub. (With him so strategically located in our Only ca. 1938 did he begin continual work on this path, we children could not help but traipse or chase long-gestating composition. Its overall design rapidly around him, often quite noisily.) took shape, and, of course, undergirding the whole struc- A perusal of his Triple Combination leaves no doubt ture stood the scriptures from the Book of Mormon. The that Robertson was well acquainted with the entire Book copy that Robertson chose to study while constructing his of Mormon. Notations in his copy—mostly in light black libretto was the very one he had used during his stint as pencil—indicate that he worked through the whole text an Eastern States missionary in the summer of 1922— before selecting those parts which would come to serve a well-worn Triple Combination, its cover in tatters. as the backbone of his narrative. Finally, at Helaman During these late 1930s and early 1940s, the family 13:5, two parallel lines, definitively drawn, clearly mark became increasingly aware of their father’s ongoing inten- the Oratorio’s first words, i.e., the beginning of Samuel sive Book of Mormon studies. Every evening after supper, the Lamanite’s foreboding prophecy. In the passages that he would go to “his chair”—a sturdy platform rocker follow, certain encircled verses as well as the term “cho- placed near the living room fireplace—and here, with rus” scribbled in the margins evidence how this com long legs outstretched resting on a convenient footstool, poser was already envisioning the whole work, balancing he would sit poring over what he lovingly came to call solos and choral numbers, with the orchestra constantly “the good old ‘And it came to pass’.” As he sat outlining sounding in the back of his mind. Perhaps the most the basic sections of the narrative and carefully marking intriguing pages are those upon which he sketched rudi- pertinent lines of scripture, so intently did he concentrate mentary musical ideas, most of which would later appear that, although he was aware of what was going on about in the Oratorio, masterfully expanded and developed in him, he remained completely undisturbed by the constant full-blown form.5

JOURNAL OF BOOK OF MORMON STUDIES 7 From the countless events recounted in the Book of Yea your hearts are not drawn out unto the Lord Mormon, Robertson chose what constitutes in the eyes of . . . for this hath the Lord caused that a curse many the supreme episode of the entire book: the appear- should come upon the land and also upon your ance of the resurrected Christ on the American continent riches—and in the day of your poverty ye shall and his ministry among the Nephites, all of which is pre- cry unto the Lord: ceded by an account of his birth and death as foretold by Samuel. Adapting his text from Helaman and 3 Nephi, O that we had repented. . . . Behold we are the composer divided this immense musical drama into surrounded by demons, encircled about by three parts, with Part I based almost wholly upon the the angels of him who hath sought to prophecies of Samuel—his warning to the evildoing destroy our souls— Nephites of their ultimate destruction and his description of the signs of the Savior’s imminent birth and inevitable Part II: The birth of Christ. death. Part II depicts the birth of Christ, and the signs The angels did appear and declare glad tidings . . . and and miracles thereof shown to the Nephites, while Part III miracles were wrought among the believing— chronicles the destruction visited upon the Nephites due ...... to their iniquities, and then portrays the sudden appear- But they who believed not hardened their hearts ance of the resurrected Christ and his ministry to the and came to depend on their own strength and Nephites. Underlying the entire narrative is the basic wisdom for Satan did get hold upon them . . .

From the countless events recounted in the Book of Mormon, Robertson chose what constitutes in the eyes of many the supreme episode of the entire book: the appearance of the resurrected Christ on the American continent and his ministry among the Nephites.

theme of the eternal conflict between good and evil, the Part III: The appearance of Christ to the Nephites. exploitation by Satan of our human frailties, and the Behold—I am Jesus Christ—the Son of God—I never-ending love and overwhelming triumph of Christ. created the heav’ns and the earth and all that in Words alone cannot express the full meaning of the them are. I have come to bring redemption to Oratorio, but in order to give a flavor of what Robertson save the world from sin and whoso cometh to wrote, here follow a few excerpts from his libretto (with me as a little child the same will I receive—for of all words and punctuation as found in the orchestra score such is the Kingdom, the Kingdom of God. and determined by the music):6 To conclude the Oratorio, Robertson composed a Part I: The prophecy of Samuel. noble setting for the Lesser Doxology, a text not found in Behold, I, Samuel, a Lamanite, do speak the the Book of Mormon, but familiar to most Latter-day words of the Lord, and He hath put it into my Saints: heart to say that the sword of justice hangeth over this people, and four hundred years pass not Glory unto the Father and the Son and [unto] away that the sword of justice falleth and heavy the Holy Ghost . . . destruction awaiteth . . . and nothing can save but As it was in the beginning is now and shall be repentance and faith on the Lord Jesus Christ forever— who surely shall come into the world and shall World without end—Forever—World without suffer many things and be slain by his people. end—Amen......

8 VOLUME 8, NUMBER 2, 1999 As Robertson laid out his plan and drafted the final Although the Oratorio’s basic outline would always script, the music seemed to come to him almost unbid- be at the root of Robertson’s thinking, it is interesting to den. In fact, he would later observe, “As soon as I could note that the various parts and myriad details of the com- get a libretto that would work, the music was there. I posing would not be written in the same order that they didn’t have to worry about the music at all.”7 would finally take in the completed work. Some of the These were the years when students and colleagues earliest pieces to be composed come not at the beginning, would find him seated at the piano in his BYU studio, but rather, in the middle or towards the end. One such simultaneously playing, conducting, singing, and whist­ number is the orchestral interlude, “Pastorale,” heard at ling bits from the emerging Oratorio. “But it wasn’t really the conclusion of the scenes portraying Christ’s birth and whistling,” opined his listeners. Crawford Gates con- the signs thereof witnessed by the Nephites, placed at the tributes his own vivid memories of these occasions: end of Part II. This tender, peaceful meditation upon that momentous event in Bethlehem was actually first com- While he was writing the Oratorio from the Book posed as the slow movement of Robertson’s Desert of Mormon . . . I had sessions at night in that old Symphony, which dates from 1925. In its Oratorio version, building [College Building on the old BYU the piece remains virtually unchanged except for an Lower Campus], in which he played the orches- extended arpeggio figure in the last section, which is tral fabric on the piano, and sang to the top of given to the clarinet and is to be played softly as back- his lungs the passages of Samuel the Lamenite ground motion (a real challenge for clarinetists). The

Never will I forget those moments. Indeed, at such times, what most impressed those around Father was not his playing, singing, and “whistling,” but rather the faraway look that came into his eyes, described by one colleague as “a look into the cosmos.”

[sic] and others. He explained the development composer would later explain that this figure—in addi- of musical themes and ideas, the interlacing of tion to material introduced in the section preceding—was contrapuntal elements, and the weaving of “like a soft wind over the desert.”9 (Leroy Robertson was orchestral fabrics, and his concern with musical no stranger to the desert, for as a youth he had herded architecture of profound dimensions. sheep for his own father in Utah’s West Desert and had experienced firsthand the wind—both fierce and soft—in Many years later, I myself remember one afternoon at the vast solitude of that land.) home when, as I passed by him, he called to me, “Mary Another number heard in the latter part of the [sometimes he called me “Mary”], stop and listen to this.” Oratorio, but which was composed during its early devel- Then in full voice he thundered forth Samuel’s first lines, oping years, is Robertson’s renowned setting to the Lord’s “Behold, I, Samuel, a Lamanite, do speak the words of the Prayer, and here is its story: In 1939, for a final take-home Lord.” So forcefully did he sing that it was as if I were exam in an Advanced Music Theory class, this professor hearing Samuel himself. Never will I forget those had given his students a chorale melody to harmonize.10 moments. Indeed, at such times, what most impressed When, at the designated hour, they returned to submit those around Father was not his playing, singing, and the assignment, their teacher stepped to the chalkboard to “whistling,” but rather the faraway look that came into his show his charges various treatments they might have eyes, described by one colleague as “a look into the cos- tried, which was his custom. As he picked up the chalk, mos.” Anyone present could not help but sense that this the words to the Lord’s Prayer suddenly entered his mind composer had a strong line of communication to some along with a complete setting of the chorale melody. So power far beyond ordinary experience.8 rapidly did the music hit him that he could scarcely write

JOURNAL OF BOOK OF MORMON STUDIES 9 fast enough. But notate he did, nonstop from the opening the piano, and, as requested, enthusiastically played and “Our Father” through the final “Amen.” Just as he fin- sang from his large Oratorio score, indicating what had ished, the bell signaling the end of class rang. Breathless, already been composed and what yet remained to be put the composer put down the chalk while his students, on paper. When the spirited composer concluded his equally breathless, silently filed out of the room, quite presentation, the three august dignitaries unhesitatingly overwhelmed by what had happened. Ever practical requested that he finish the work posthaste so as to have Robertson immediately grabbed a sheet of manuscript it ready for the upcoming 1947 Centennial of the paper and quickly copied the notes from the board before Mormon Pioneers’ arrival in Utah. They proposed to the janitors could arrive to erase everything. At home that feature the Oratorio as the centerpiece of the grand cele- evening, Father gravely murmured, “Mary, I think some- brations already being planned. thing great happened today.” This would prove to be an Robertson was elated beyond expression. At last he understatement, for this setting of the Lord’s Prayer had the outside impetus to put his masterpiece in final would soon go on to become one of Leroy Robertson’s form, for, until that evening, he had indeed wondered most famous and beloved works.11 how he alone could amass the forces needed to perform such a large work. Forthwith he set to writing with The First Presidency Becomes Interested extraordinary vigor while still carrying out all the regu- Father was composing the Oratorio at a steady pace lar duties required of a full-time BYU professor. In when, in early 1946, the First Presidency of the Church addition, one more unexpected complication came his invited him to meet with them and show what he had way. He was granted a long overdue sabbatical leave for thus far accomplished with it. Accordingly, on an the coming school year of 1946–47 in order to work on evening in late February, Mother and he journeyed to the Ph.D. degree towards which he had been striving for Salt Lake City as guests of honor at a private dinner so many years. Not knowing when or if he would get hosted by First Counselor J. Reuben Clark, Jr., with another sabbatical and strongly feeling the academic President George Albert Smith and Second Counselor pressure to get his doctorate, he decided to attend the David O. McKay also in attendance.12 After an elegant University of Southern California, where he had briefly meal punctuated by lively conversation, Leroy went to studied during the summer of 1936.13 Along with his classwork, Robertson was also teaching Advanced Music Theory, and only in his spare time could he work on the Oratorio. After a few weeks he realized that if he were to have this epic composition ready on schedule, he would have to leave USC, return to Utah, and devote all his time and energies to completing it. Therefore, in January 1947, after a very successful first semester at USC, he came back to Utah. However, when he inquired about using his customary studio at BYU, he learned that it was occupied by another. With no room on cam- pus, he matter-of-factly set up a card table at home in an upstairs bedroom and proceeded to write almost round the clock. Evenings, when the bedroom was given over to a sleeping child, he once again went to his usual spot in the living room midst the ever-present family turmoil, and there he sat finalizing the last details, oblivious to all else. The weeks passed. The Oratorio was in essence com- pleted, save a few pages yet to be orchestrated, when one day in March Father chanced to read in the newspaper that Promised Valley—a musical by his student, Crawford Leroy Robertson (left) and Maurice Abravanel (center) present a copy of the first Oratorio recording to LDS Church President David O. Gates—had been selected to be performed as the center- McKay in 1953. Photograph courtesy Deseret News. piece of the 1947 Centennial. The Oratorio had obviously been replaced, even perhaps forgotten, and no one had

10 VOLUME 8, NUMBER 2, 1999 told Leroy Robertson. Father never said a word to anyone, many non-Mormon friends of the Symphony accused the not even to Mother. He simply put his treasured Oratorio Maestro of “selling out to the Church.” The general pub- aside and left it lying untouched for nearly six years while lic, however, looked forward to the event.15 he went on to other compositions. The evening of the much anticipated premiere finally arrived, and how dramatic it was. Despite a blinding Maurice Abravanel Offers Encouragement snowstorm raging throughout northern Utah, an audi- During that interim, Robertson moved with his ence of 6,000, which included high dignitaries from both family to Salt Lake City. For reasons quite unrelated to Church and State, filled the venerable Salt Lake the Oratorio incident, he had accepted an offer to head Tabernacle. An electrical excitement seemed to charge the the University of Utah’s Department of Music. One overriding factor in this 1948 decision was that the recently revamped Utah Symphony was in precarious From the first tumultuous measures— circumstances, and Robertson—who had long champi- oned Utah’s need for a professional symphony—knew played by the orchestra and that from a strong position at the University of Utah, he would be able to give the struggling organization portraying the iniquitous turmoil of much critical help. Equally important was the fact that he and Maurice Abravanel—appointed in 1947 as the the Nephites—to the final “Glory” and Symphony’s Conductor and Musical Director—had become friends, had the same ideals, and could work “Amen”—proclaiming the eternal well together.14 Maestro Abravanel had first seen the Oratorio score triumph of the Father, Son, in June 1947, during a visit with Robertson at BYU, and had admired the composition at once. Since that day he and Holy Ghost—all those present had kept urging the composer to pick it up again and fin- ish it. As further incentive, he promised to perform it remained spellbound. As the last with the Utah Symphony, special soloists, and choruses chord sounded, the audience leapt to from the University of Utah. However, not until 1953, when the Maestro announced that he had in fact sched- its feet, shouting “Bravo! Bravo!” uled a performance of the Oratorio for 18 February 1953, did the busy composer-teacher-administrator begin to and gave a standing ovation of some put the last touches on paper. Now convinced that his beloved score could at last be heard, Leroy Robertson twenty-five minutes. wrote those final notes with unsurpassed speed, getting everything ready just under the wire. air, for in the face of this unknown, never-before-heard work, no one knew what to expect. The performers took Performances and Recordings their places on stage; Abravanel stepped to the podium, and after a deep breath, gave the downbeat. From the first The Premiere Creates Local Enthusiasm tumultuous measures—played by the orchestra and por- Beginning with his first season with the Utah traying the iniquitous turmoil of the Nephites—to the Symphony, Abravanel had programmed at least one great final “Glory” and “Amen”—proclaiming the eternal tri- choral-orchestral work each year, so his decision to per- umph of the Father, Son, and Holy Ghost—all those pre- form the Oratorio was in keeping with an established tra- sent remained spellbound. As the last chord sounded, the dition. Nonetheless, presenting the Oratorio did involve audience leapt to its feet, shouting “Bravo! Bravo!” and some risk not only musically, but also financially and gave a standing ovation of some twenty-five minutes politically; for although the community had previously according to certain accounts. While the conductor, per- welcomed performances of great Catholic, Protestant, and formers, and composer acknowledged the applause, fur- Jewish choral-orchestral works, when the performance of ther excitement mounted as President David O. McKay the Oratorio from the Book of Mormon was announced, made his way to the podium to congratulate all

JOURNAL OF BOOK OF MORMON STUDIES 11 A University of Utah / Utah Symphony performance in the Salt Lake Tabernacle. pulled,” but he foresaw one obstacle. The rather cumber- some title, Oratorio from the Book of Mormon, was not involved.16 The oratorio based on scriptures from the marketable, and furthermore, its straightforward identity Book of Mormon, envisioned so long ago by Apostle with the Book of Mormon could possibly generate nega- Melvin J. Ballard, had at last been born. tive reaction. He therefore insisted that Robertson retitle his composition, even suggesting Samuel as one possi­ Subsequent Performances and Recordings Bring National bility. There is evidence that the composer may have and International Recognition given the idea some consideration, for in his old copy of So popular was the Oratorio that within less than the Triple Combination, on seven weeks it was performed six times, each concert a the flyleaf facing the title sellout; and on 6 April, at another performance in the Salt page, he did inscribe three Lake Tabernacle, the first commercial recording was made. alternative titles: The Other In the years immediately following those exciting Sheep; A New Witness (this weeks of 1953, Abravanel regularly brought the work to in 1961!); and The Messiah enthusiastic Utah audiences. But it was only in 1961, of America. However, he when a second recording was released nationwide by New ultimately decided that the York’s Vanguard Company, that the work suddenly original title best described became known far beyond Utah. Praise from critics coast what he had written and to coast gave it considerable momentum among both opted against any name Mormons and non-Mormons alike. One New York pro- change. The producer ducer wanted to promote it everywhere, “no stops promptly lost interest.

12 VOLUME 8, NUMBER 2, 1999 The last time Leroy Robertson would hear the nial year of Robertson’s birth. Not only LDS members, Oratorio in live concert was in 1968 when Abravanel, with but many visitors and investigators came to listen and the Utah Symphony and choruses from BYU, presented it learn of the Gospel.18 in Provo. There is, however, one poignant tale yet to tell. On a concluding note, let it be said that this daughter In July 1971, as Father lay critically ill in a Salt Lake City remembers Leroy Robertson as a devout Latter-day Saint hospital, Abravanel—then in Santa Barbara as Director of who strove always “to keep his heart open to the Lord” the Music Academy of the West—insistently got a phone (from a prayer he offered as he christened a grandson). call through to the composer’s ICU bedside, no small feat He composed the Oratorio through dedicated study and in those days before portable telephones. The Maestro never failing inspiration, and thereby left us a work that wanted to cheer his longtime friend with the news that he bears vivid witness to the divine origin of the book upon had again programmed the Oratorio for performances in which it is based, namely, the Book of Mormon. the spring of 1972 as part of the regular Symphony sea- son. Leroy Robertson would die a few days later, reassured, Discography for the Oratorio from the Book however, that this masterpiece would live on. of Mormon And live on it has, but rather sporadically, with per- by Leroy Robertson formances here and there, from time to time. In 1978 Because it is highly unusual for a work of this magni- came the historic concert and recording by the Tabernacle tude to have so many recordings made and reissued so Choir and Utah Symphony, Abravanel conducting. This soon after its composition, and because I constantly heartwarming occasion marked a milestone in two ways, receive inquiries about recordings of the Oratorio, I have for it turned out to be the last time for the Oratorio to be prepared this discography. Unfortunately, however, all of heard live in Utah, and also became the last recording these recordings are at present sold out and hence are made by Maurice Abravanel.17 unavailable at this writing. • Salt Lake City, 1953: Studio Records, produced by The Oratorio Becomes an Effective Missionary Tool Allen Duff Associates (i.e., Allen Jensen of KSL Radio and Because of the widespread international attention Marion Duff Hanks), 5303–RC long play, featuring the that this recording had focused upon both the music and Utah Symphony, University of Utah Choruses, and soloists: the Book of Mormon, the Oratorio suddenly became a Désiré Ligeti, Harold Bennett, Kenly W. Whitelock, and remarkable tool for missionary work. Very soon after its Naomi Farr; Maurice Abravanel, conducting. release, requests for “the Book,” i.e., the Book of Mormon, • New York City, 1961: Vanguard, VRS 1077, featuring began to arrive at the Robertson home. Other perfor- the Utah Symphony, University of Utah Choruses, and mances in Minneapolis and Chicago in December 1975— soloists: Roy Samuelsen, Kenly W. Whitelock, Jean Preston, under the direction of Clyn Barrus and mostly non- and Warren Wood; Maurice Abravanel, conducting. Mormon performers—elicited some 200 requests for the • New York City, 1978: Columbia Masterworks, Book of Mormon from choir members. (With another M 35148, featuring the Mormon Tabernacle Choir, Jerold performance scheduled concurrently at Ricks College, we Ottley, Director; the Utah Symphony, and soloists: Hervey Robertson children faced a real challenge in preparing Hicks, John Prather, Clayne Robison, and JoAnn Ottley; enough scores and parts for all concerned.) Maurice Abravanel, conducting. In April 1983, a performance in the huge RLDS • Salt Lake City, 1986: Music Box Press, produced by Auditorium in Independence, Missouri—with non- Herold L. Gregory, MBPC 403 Stereo. This is the 1978 Mormon performers from the University of Missouri/ Columbia recording reissued on cassette tape. Kansas City, augmented by choir members from both the • New York City, 1996: Vanguard Classics, a Division LDS and RLDS communities—proved to be a genial ecu- of Omega Record Group, 08 5041 71. This is the 1961 menical occasion. High LDS and RLDS dignitaries sat Vanguard recording reissued as a CD, and was distributed side by side at the concert in friendship and respect, only in Europe. while audience members came from America’s heartland, • The BYU School of Music plans to perform and some having driven from St. Louis, Chicago, and even record the Oratorio within the next few years. Tantara from as far away as New York. The most recent event fea- Records will be the producer.  turing the Oratorio—by means of a CD recording, not a live performance—took place in Berlin, Germany, in March 1996, at a special program honoring the centen-

JOURNAL OF BOOK OF MORMON STUDIES 13 ENDNOTES

Leroy Robertson and the Oratorio from the Nephites upon Christ’s death one finds students. bered—how many or how few I know Book of Mormon: penciled in the margins of Robertson’s 11. For more details about the history of not, neither is he [Joseph] able to inform Reminiscences of a Daughter Triple Combination, p. 417, a striking Robertson’s setting to the Lord’s Prayer, me; but [he] supposes it must have been Marian Robertson Wilson musical motif and this lament: see Robertson Wilson, Leroy Robertson, eleven or twelve, and perhaps later, as the O, O this great and terrible day 124 and 236–37. For another account of noise and bustle of the family, in retiring, 1. As a musical form, oratorio resembles The tempest, the thunder, the lightning its composition, see Charles J. Calman had long since ceased” when Moroni opera in that it is a dramatic story set to Our brethren are burned and William I. Kaufman, The Mormon appeared. Oliver noted as well that Joseph music, with singers portraying characters Our children are buried. Tabernacle Choir (New York: Harper and had “others beside him” who were sleep- of the plot while the orchestra provides However, only the first line (from 3 Nephi Row, Publishers, 1979), 120. ing during his interview with the angel. instrumental color and commentary; the 9:24) appears in the final version of the 12. This eventful dinner took place 26 Latter-day Saints Messenger and Advocate subject is usually taken from scripture. libretto; neither is the musical motif to be February 1946. For more details about the 1/5 (1835): 79. Oratorio differs from opera in that it is heard in the Oratorio. invitation, see The First Presidency: 2. Messenger and Advocate 2/1 (1835): presented in concert form, i.e., without 6. For more information about the George Albert Smith, J. Reuben Clark, Jr., 195–96. staging, costumes, or acting. Oratorio’s structure, plus a comparison of David O. McKay, letter to Leroy 3. Scot F. Proctor and Maurine J. Proctor, Larger than most, the Oratorio from the Robertson’s libretto with the scriptures Robertson (Salt Lake City: 17 December eds., The Revised and Enhanced History of Book of Mormon is scored for two large upon which it is based, and a cursory 1945), in the LJR Collection. Joseph Smith by His Mother (Salt Lake choruses, a children’s chorus, soloists, and analysis of music’s role in relation to the 13. For more details of Robertson’s long City: Bookcraft, 1996), 111. full orchestra. Over the years, Robertson scriptures, see Marian Robertson-Wilson, quest for his Ph.D. degree, see Robertson 4. In this article, I have generally followed compiled reviews from critics and kept “Inspired Melody and Chosen Word: The Wilson, Leroy Robertson, 85–88, 93–105, Lucy Mack Smith’s well-known version of letters sent to him about the Oratorio. For Wedding of Music and Scripture in Leroy 111–12, 139–40, 210–16. It is interesting events when a discrepancy between the citations in the first paragraph, see Robertson’s Oratorio from the Book of to note that, when it came time for accounts has arisen, unless there has been respectively: the Provo Herald, 20 Mormon,” in The Disciple as Scholar: Robertson to write the required disserta- compelling evidence for rejecting it. February 1953; the Denver Post, 14 Essays on the Scripture and the Ancient tion, he simply presented his committee Accounts that diverge widely from Lucy’s January 1962; Billboard Music Week (New World in Honor of Richard Lloyd with a number of his most recent compo- appear in the notes. York City, 30 October 1961); Washington Anderson, ed. Stephen D. Ricks, Donald sitions, from which they chose the 5. Proctor and Proctor, eds., History of [D.C.] Star, 10 December 1961; Apostle W. Parry, and Andrew H. Hedges (Provo, Oratorio. Joseph Smith, 140. See p. 151 for Lucy’s Mark E. Petersen, letter to Leroy Utah: FARMS, forthcoming). Two of the 14. For more details about this move to Salt identification of this “confidential friend” Robertson (Salt Lake City, 19 February Oratorio’s subthemes may well be (1) the Lake City and Robertson’s relationship as Martin Harris. 1953); Dr. David Reiser, letter to Leroy fulfillment of prophecies proclaimed by with Maurice Abravanel, see Robertson 6. Dean C. Jessee, “Joseph Knight’s Robertson (Salt Lake City, 18 February prophets of the Lord; and (2) the propen- Wilson, Leroy Robertson, 143–44 and pas- Recollection of Early Mormon History,” 1953); Dr. LaMar Barrus, interview with sity for mortals to disregard these sim thereafter. BYU Studies 17/1 (1976): 32; see William Marian Robertson Wilson (Rexburg, prophets and to turn away from the Lord, 15. Maurice Abravanel, interview with G. Hartley, “The Knight Family: Ever Idaho: 28 September 1981). For all these especially in times of prosperity. Marian Robertson Wilson (Salt Lake City: Faithful to the Prophet,” Ensign, January materials, see the Leroy J. Robertson The specific scriptural and musical refer- 5 October 1981); for the tape of this 1989, 44. Collection, Special Collections ences for the passages cited are: Part I: interview, see the Addendum. 7. Proctor and Proctor, eds., History of Department, University of Utah Libraries, Helaman 13:5–6/orchestra score, pp. 7–9; 16. David O. McKay had been sustained Joseph Smith, 137. One might argue that Salt Lake City (hereinafter LJR Helaman 13: 22–23, 36–37/orchestra President of the Church 9 April 1951 fol- Stowell and Knight, as friends of the fam- Collection), and the Addendum thereto score, pp. 12–26; Part II: Helaman 16:14, lowing the death of President George ily, just happened to be with the Smiths (hereinafter Addendum). 4/orchestra score, pp. 55–57; Helaman Albert Smith five days previous (4 April). on the night of 21 September. Knight, 2. Robert Cundick, conversation with 16:15, 23/orchestra score, p. 58; Part III: 17. This joint effort by the Tabernacle Choir however, recorded how, in “the forepart of Marian Robertson Wilson (Salt Lake City, 3 Nephi 9:15, 21–22/orchestra score, pp. and Utah Symphony could not have September” of 1827, he “went to early February 1999). At the risk of omit- 121–22; the Lesser Doxology/orchestra occurred save for the goodwill of Maestro Rochester on Buisness and returnd By ting important Mormon works that fol- score, pp. 151–70. Abravanel, Choir Director Jerold Ottley, Palmyra to be there about the 22nt of lowed Robertson’s Oratorio, one may cite, 7. For the citation and further explanation the Choir and Symphony managements, September,” suggesting he knew the sig­ for example: Robert Cundick’s The Song about his developing the text, see Leroy and Herold L. Gregory, who served as the nificance of the date (Jessee, “Joseph of Nephi, and The Redeemer; Darwin Robertson, “Creativity in Music . . . Other unselfish linchpin holding it all together. Knight’s Recollection,” 32, emphasis Wolford’s Behold, He Cometh!; K. Newell Thoughts on Creativity” (Salt Lake City: 18. The concert in Independence, Missouri, added). Dayley’s Immanuel; Crawford Gates’s unpublished reprint of a manuscript came about due to the dedicated diplo- 8. Knight was apparently using the word Visions of Eternity; and most recently, from the Institute for Behavioral Research macy of Dr. Marian Petersen, a former seer to refer to someone who had the abil- Merrill Jensen’s Come unto Christ. in Creativity, n.d.), 83. Robertson’s Robertson student and highly respected ity to see or find objects hidden from nat- 3. After this 1919 encounter, Elder Ballard— remarks were later edited and published faculty member in the Conservatory of ural sight (ibid). soon to become the first chairman of the in Expanding Awareness of Creative Music of the University of Missouri/ 9. Ibid., 32–33. Church’s General Music Committee— Potentials Worldwide, ed. Calvin W. Taylor Kansas City. Her father, Apostle Mark E. 10. Lucy herself felt that Satan was involved would keep an abiding interest in Leroy (Salt Lake City: Brain Talent-Powers Petersen, was in attendance, as were other with such efforts, “stir[ring] up the hearts Robertson. For more details about their Press, 1990), 124–29; for these works, see General Authorities of the LDS Church, of those who had in any way gotten a hint relationship, see Marian Robertson the Addendum. along with their counterparts in the of the matter, to search into it and make Wilson, Leroy Robertson: Music Giant 8. For the citation, see Crawford Gates, let- RLDS Church. It should be noted that every possible move towards preventing from the Rockies (Salt Lake City: Blue ter to Marian Robertson Wilson (Beloit, from the time of the Oratorio’s 1953 pre- the work.” Proctor and Proctor, eds., Ribbon Publications, 1996), 55, 85, and Wisconsin: 23 February 1999), in miere, the RLDS community has History of Joseph Smith, 140. 267–92. For details of Robertson’s boy- Robertson Wilson’s possession. Further embraced this work as part of its own tra- 11. Ibid., 123, see p. 137. hood and youth, see ibid., 7–40. descriptions come from Lawrence dition. The program in Berlin, Germany, 12. Ibid., 137. 4. The children born to Leroy and Naomi Sardoni, interview with Marian was prepared and directed by young 13. Ibid., 145. (née Maggie Naomi Nelson) are Alice Robertson Wilson (Provo, Utah: 6 July David Ruetz, then studying at the Berlin 14. Lucy said Joseph hid the plates “about Marian, Renee, Karen Naomi, and James 1983); for the tape of this interview, see Hochschule für Musik (Conservatory of three miles from home” (ibid., 142), Leroy (Jim). For more details about the Addendum. Music). which was roughly how far the Hill Leroy’s years in Boston and the years fol- 9. For the citation, see Leroy Robertson, let- Cumorah itself was from the Smith’s lowing (1920–1948), see Robertson ter to Karl Krueger (Salt Lake City, late home. This and the presumption that Wilson, Leroy Robertson, 41–156. For a list November or early December, 1949), in “All My Endeavors To Preserve Them”: Emma was waiting for him in the wagon of his compositions from this period, see the LJR Collection. Protecting the Plates in Palmyra, 22 suggest that Joseph did not travel any Marian Robertson Wilson, Register of the 10. Chorale melodies, though akin to hymn September–December 1827 appreciable distance before hiding the Annotated Bibliography of the tunes, are usually more complicated. Andrew H. Hedges plates in the log. Compositions of Leroy Robertson (Salt Particularly well established during the 15. Ibid., 142–44. Martin Harris said Joseph Lake City: Special Collections German Reformation, these melodies are 1. According to Oliver Cowdery, Joseph’s hid the plates in the hollow top of an oak Department, University of Utah Libraries, generally anonymous, familiar to congre- prayer this evening may have been several tree. See Joel Tiffany, “Mormonism–No. 1985), 49–50. gations, and admit of many harmoniza- hours in length, which would place II,” Tiffany’s Monthly 5 (1859): 165; see 5. Not all the encircled and otherwise tions. The chorale melody assigned by Moroni’s first visit in the early hours of also Richard L. Bushman, Joseph Smith marked passages found their way into the Robertson was his own and appears 22 September rather than on 21 and the Beginnings of Mormonism final libretto. For example, next to the prominently in various parts of the September. Oliver wrote of the incident to (Urbana: University of Illinois Press, report of the destruction suffered by the Oratorio—a fact quite unknown to his W. W. Phelps that “hours passed unnum- 1984), 217 n. 5.

84 VOLUME 8, NUMBER 2, 1999