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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 A History of the Atlanta Symphony Orchestra Choruses 1967-2017 Michael B. Peters Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A HISTORY OF THE ATLANTA SYMPHONY ORCHESTRA CHORUSES 1967-2017 By MICHAEL B. PETERS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2017 © 2017 Michael B. Peters Michael B. Peters defended this dissertation on June 19, 2017. The members of the supervisory committee were: André J. Thomas Professor Directing Dissertation Alexander Jiménez Outside Committee Member Kevin Fenton Committee Member Alice-Ann Darrow Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii To my mother, Linda, who taught me to sing and inspired me through her love of music. In honor of the members of the Atlanta Symphony Orchestra Choruses who volunteer their time and talent each year in an act of true love, dedicated to the symphonic choral art and the community that supports it. iii ACKNOWLEDGEMENTS I would like to thank the members of my committee: Dr. Thomas, Dr. Jiménez, Dr. Darrow, and Dr. Fenton. Dr. Thomas, thank you for your guidance through my coursework and as I began this project. Dr. Darrow, I am most grateful for your counsel, comments, and encouragement during the final stages. Three individuals associated with the ASO and ASOC were immensely helpful and always kind and gracious in their assistance. Without them, I could not have undertaken this history. They are: Nick Jones, former program annotator and archivist of the ASO; Nola Frink, former Choral Administrator and Shaw’s assistant; and Jeffrey Baxter, the current Choral Administrator. At Yale University, Richard Boursy, Archivist at the Irving S. Gilmore Music Library, catalogued the immense holdings of the Shaw Papers, a task which deserves enormous thanks. During the time I spent reading through countless folders of material, he guided me to the correct location and offered helpful suggestions as needed. Finally, without the support of my immediate and extended families, I could not have completed this document and my degree. Barb and Barry, I have always been incredibly grateful for your love and interest in my life and work. I am especially indebted to Matthew. For your patience, love, and assistance as I slowly worked through this process, thank you. iv TABLE OF CONTENTS List of Tables ................................................................................................................................. ix List of Figures ..................................................................................................................................x Abstract .......................................................................................................................................... xi 1. INTRODUCTION AND BACKGROUND ..............................................................................1 General Description of the Choruses and Their Accomplishments ...........................................1 Context and Contrast ............................................................................................................1 Overview and Significant Achievements .............................................................................2 General Musical Biography of Robert Shaw and Norman Mackenzie ......................................3 Brief Biography of Robert Shaw .........................................................................................3 Brief Biography of Norman Mackenzie ..............................................................................6 Purpose and Need for the Study .................................................................................................8 Procedures, Delimitations, and Document Organization ...........................................................9 Procedures ............................................................................................................................9 Delimitations ......................................................................................................................10 Document Organization .....................................................................................................10 2. THE ATLANTA SYMPHONY ORCHESTRA AND CHORAL MUSIC PRIOR TO 1967 .......................................................................................12 Formation of the Atlanta Symphony Orchestra .......................................................................12 The Atlanta Youth Symphony ...........................................................................................12 Name Change and Professionalization ..............................................................................16 Introduction of Choral Music into the Orchestra’s Programming ...........................................17 First Choral Work Performed ............................................................................................17 1951 Messiah Performance ................................................................................................18 Early Incarnation of the Atlanta Symphony Chorus in the 1950s ...........................................19 Stirrings of a Symphony Chorus ........................................................................................19 Brief Biography of Director Haskell Boyter ......................................................................21 Atlanta Symphony Chorus Performances through 1956 ...................................................22 Cancelled Beethoven Symphony No. 9 and End of Atlanta Symphony Chorus ................23 v Choral-Orchestral Performances from 1958-1967 ...................................................................23 Relationship with Choral Guild of Atlanta ........................................................................23 Performance Venue Difficulties and Changes ...................................................................25 Christmas Programs ...........................................................................................................28 End of Season Concerts .....................................................................................................30 Other Concerts ...................................................................................................................31 Robert Shaw Becomes Music Director of the Atlanta Symphony Orchestra ..........................32 Appearances in Atlanta with Shaw Chorale ......................................................................32 Shaw’s Guest Conducting Appearance with the Atlanta Symphony Orchestra ................33 Negotiations with Shaw and Announcement of His Appointment as Music Director ......36 Shaw’s Plans for Atlanta ....................................................................................................43 Formation of Atlanta Symphony Orchestra Chamber Chorus Announced .......................46 3. FORMING AND BUILDING THE ORCHESTRA’S OWN CHORUSES: 1967-1977 ................................................................................................................................47 First Decade of the ASO Choruses ..........................................................................................47 ASO Chamber Chorus and Other ASO Choral Programming: 1967-1970 .......................47 Full Atlanta Symphony Orchestra Chorus Takes Shape: 1970-1972 ................................54 A Time of Struggle for the ASO Choruses: 1972-1974 ....................................................61 A Firm Foundation Finally Takes Hold: 1974-1977 .........................................................69 Christmas Festivals: First Decade ............................................................................................74 The Beginning of an ASO Tradition ..................................................................................74 The Carol ...........................................................................................................................75 Premieres and First Recording ...........................................................................................77 The ASOC Gains National Recognition: Milestones ..............................................................77 Carnegie Hall Debut ..........................................................................................................77 National Debut: Singing in the Kennedy Center for Carter’s Inaugural Festivities ..........82 Next Steps: Shaw’s Vision for Future Achievements ........................................................84 Organization and Operation of the ASOC and ASOCC ..........................................................85 Auditions and Membership ................................................................................................85 Organizational Structures ...................................................................................................90 Personnel: Staff and Volunteers .........................................................................................94 Creating Community ..........................................................................................................98