Robert Shaw (conductor)

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For other people with the name Robert or Bob Shaw, see Robert Shaw (disambiguation).
Robert Shaw

Robert Shaw (April 30, 1916 – January 25, 1999) was an American conductor most famous for his work with his namesake Chorale, with the Cleveland Orchestra and Chorus, and the Atlanta Symphony Orchestra and Chorus. Shaw received 14 Grammy awards, four ASCAP awards for service to contemporary music, the first Guggenheim Fellowship ever awarded to a conductor, the Alice M. Ditson Conductor's Award for Service to American Music; the George Peabody Medal for outstanding contributions to music in America, the Gold Baton Award of the American Symphony Orchestra League for "distinguished service to music and the arts," the American National Medal of Arts, France's Officier des Arts et des Lettres, England's Gramophone Award, and was a 1991 recipient of the Kennedy Center Honors.[1][2]

Biography[edit]

Shaw was born in Red Bluff, California. He attended Pomona College, class of 1938. In 1941, he founded the Collegiate Chorale, a group notable in its day for its racial integration. In 1945, the group performed Beethoven's Symphony No. 9 with the NBC Symphony and Arturo Toscanini, who famously remarked, "In Robert Shaw I have at last found the maestro I have been looking for." [3] Shaw continued to prepare choirs for Toscanini until March 1954, when they sang in Te Deum by Verdi and the prologue to Mefistofele by Boito. Shaw's choirs participated in the NBC broadcast performances of three Verdi operas: Aida, Falstaff and A Masked Ball, all conducted by Toscanini. They can be seen on the home videos of the telecasts of Aida and Beethoven's Ninth Symphony (from April 1948, also conducted by Toscanini). Shaw himself took a bow at the end of the Beethoven telecast.

Shaw was also Charles F. Shaw's second cousin and often vacationed at his winery in Napa Valley.

He went on to found the Robert Shaw Chorale in 1948, a group which produced numerous recordings on RCA Victor up until his appointment in Atlanta. The Chorale visited 30 countries in tours sponsored by the U.S. State Department. Shaw was named music director of the San Diego Symphony in 1953 and served in that post for four years. Only after his San Diego tenure did he become an apprentice again, studying the art of conducting with George Szell and serving as his assistant at the Cleveland Orchestra for eleven seasons. He also took over the fledgling Cleveland Orchestra Chorus and fine-tuned it into one of the finest all-volunteer choral ensembles sponsored by an American symphony orchestra. From 1967-1988 he was music director and conductor of the Atlanta Symphony Orchestra.[4] In 1970, he founded the Atlanta Symphony Orchestra Chorus and worked to recreate the success he had had for Cleveland in preparing them for performances and recordings with their namesake symphony orchestra.

After stepping down from his Atlanta post in 1988, Shaw continued to conduct the Atlanta Symphony Orchestra as its Music Director Emeritus and Conductor Laureate, was a regular guest conductor with other orchestras including Cleveland, and taught in a series of summer festivals and week-long Carnegie Hall workshops for choral conductors and singers.

Although noted in classical repertoire, Shaw hardly limited himself to that genre. His discography also includes recordings of sea shanties, glee club songs, sacred music and spirituals, musical theater numbers, Irish folk tunes, and, most notably, Christmas albums that have remained bestsellers ever since their release. Under Shaw, the Atlanta Symphony Orchestra made its first recordings, beginning with a 2-LP album set called Nativity in 1976, based on the annual Christmas concerts that Shaw performed in Atlanta beginning in 1970.[5] For Telarc he recorded several digital remakes of the Christmas albums he had previously recorded for RCA Victor, including The Many Moods of Christmas. Shaw collaborated with noted choral composer and conductor Alice Parker (a former student of Shaw's at the Juilliard School) on arrangements of folksongs, hymns, spirituals, and Christmas music that remain popular with choruses today.

During his long career, Shaw drew attention to choral music and came to be considered the "dean" of American choral conductors, mentoring a number of younger conductors—including Jameson Marvin, Margaret Hillis, Maurice Casey, Ken Clinton, Donald Neuen, Ann Howard Jones, and current Atlanta Symphony Orchestra Chorus and Chamber Chorus director Norman Mackenzie — and inspiring thousands of singers with whom he worked around the United States. His work set new choral standards in the United States, and many of his recordings are considered benchmarks for choral singing.[1]

Although his formative years and much of his work occurred before the rise of mainstream interest in informed historic performance practice, his recordings, reflecting his insistence that clearly projected texts serve as the foundation for musical interpretation, do not sound dated in comparison to more modern efforts by frequently smaller forces.[neutrality is disputed] He recorded many of the great choral-orchestral works more than once, and his performances of Handel's Messiah, J.S. Bach's Mass in B minor, Beethoven's Missa Solemnis, Orff's Carmina Burana, Verdi's Requiem, and other similar masterworks remain highly regarded. In a move toward historically informed performance, Shaw's first recording of Messiah, in 1966, used a chorus of only thirty-one singers.

Shaw was a champion of modern music from the beginning of his career. He commissioned a requiem for Franklin D. Roosevelt from the newly naturalized German-born composer Paul Hindemith, who responded with When Lilacs Last in the Dooryard Bloom'd, a setting of Walt Whitman's poem commemorating the death of Abraham Lincoln. Shaw led the premiere of the work in 1946 with the Collegiate Chorale and continued to champion the work well into the last decade of his life;[6] in 1996 he conducted a 50th anniversary performance at Yale University, where Hindemith was a professor when he wrote the work. In 1998 Yale also awarded Shaw an honorary doctorate. He was also a recipient of Yale's Sanford Medal.[7] Shaw also received the University of Pennsylvania Glee Club Award of Merit in honor of his vast influence on male choral music.[8]

Shaw recorded for a variety of labels, beginning with a single record for American Decca and numerous releases on RCA Victor during the 78 rpm era. During the 1950s and 1960s, Shaw and his Chorale made many LP's for RCA Victor Red Seal Records. From 1977 onward, most of his recordings appeared on the Telarc label. For that company he led not only the Atlanta Symphony Orchestra and Chorus but also the Robert Shaw Chamber Singers, which drew its personnel largely from the Atlanta Symphony Chamber Chorus, and the Robert Shaw Festival Singers, a group assembled for Shaw's summer choral workshops in France. His last recording was for Telarc of Dvořák's Stabat Mater with the Atlanta Symphony Orchestra, chorus, and soloists.

He was a National Patron of Delta Omicron, an international professional music fraternity.[9]

Shaw died in New Haven, Connecticut following a stroke, aged 82.

References[edit]

  1. ^ "Robert Shaw". Telarc. Archived from the original on 2007-03-27. Retrieved 2007-09-19. 
  2. ^ Singers.com website, Robert Shaw, http://www.singers.com/choral/robertshaw.html
  3. ^ Joseph A. Mussulman (1979). Dear People...Robert Shaw, Hinshaw Music, Inc. ISBN 0-937276-18-9
  4. ^ Nick Jones (1999), The Legacy of Robert Shaw, Atlanta Symphony Orchestra website, http://www.atlantasymphony.org/About/RobertShaw.aspx
  5. ^ Robert Shaw, Music Director | Atlanta Symphony Orchestra
  6. ^ Sullivan, Jack (1999-05-16). "American Composer's Orchestra, May 16, 1999: Whitman and Music". 
  7. ^ Passing of a musical giant
  8. ^ "The University of Pennsylvania Glee Club Award of Merit Recipients". 
  9. ^ Delta Omicron

External links[edit]


Preceded by
Henry Sopkin
Music Directors, Atlanta Symphony Orchestra
1967–1988
Succeeded by
Yoel Levi