Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
Dear People ... Robert Shaw Hardcover – August 1, 1979
Customers who viewed this item also viewed
Customers who bought this item also bought
What other items do customers buy after viewing this item?
Author interviews, book reviews, editors picks, and more. Read it now
Top customer reviews
There was a problem filtering reviews right now. Please try again later.
In addition to several personal family pictures of the Shaws in different time frames and settings, there are noteable shots of Robert with his Glee Club in San Francisco and Fred Waring Workshop! Next an early rehearsal picture of Collegiate Chorale, calling-it "...the melting pot that sings." An early Tour Poster from the 1950-51 season, introducing that yet famous Robert Shaw Chorale wearing dress-black outfits, until they began wearing Choir Robes or Tuxedoes.
His most collectable pictures included, Norman Dello Joio, Fred Waring, Robert Merrill, Paul Hindemith, Serge Koussevitsky, and Pablo Casals. Many singers & Soloists became known and 'oft used in Major Symphony concerts. When Florence Kopleff had retired from teaching at GA State University, in the audience sat Alice Parker, Adele Addison, Saramae Endich, Clayton Krehbiel of FSU, John Wustman, Pianist++ other names from Robert Shaw Chorales.
My most fun Amazon reviews included, Brahms' German Requiem, The Bach B-Minor Mass, Beethoven's Missa Solemnis, Mozart's Requiem, Schubert Masses, Choral Masterpieces ++ other CD's. All of these musical giants became known to us and admired through rehearsals with an artistic creative, immanent touch of the only one whose choral genius will be missed, yet always an invisible Spirit in choral rehearsals, especially in Georgia! With grandioso thanks, Retired Singer and Chaplain, Fred W Hood
I came by my appreciation of Shaw relatively late in life, and by a somewhat unusual means. When he founded his Collegiate Chorale in 1941, I was all of two years old. I was still way too young to latch on to him seven years later, when he had disbanded the Collegiate Chorale and founded the Robert Shaw Chorale. For three decades after that, I had a somewhat different musical agenda, and he was a musical "ship passing in the night" for too many years.
The signal event which brought Shaw to the forefront of my musical consciousness was the launching of Telarc's digitally-mastered LP's by Bob Woods and Jack Renner, in 1977. The second of these LP's was a performance of Stravinsky's Firebird Suite and Borodin's Polovtsian Dances by Shaw and the Atlanta Symphony Orchestra and Chorus. Shaw had earlier assumed the directorship of the ASO in 1968, and Woods and Renner had been associated with Shaw during the period when he was assistant conductor and choral director for George Szell and the Cleveland Orchestra. In a very real sense, Woods and Renner were, by bringing this new technology to Shaw, thanking him for past friendships and associations. And the history of his role in leading the ASO, and bringing it to prominence with its recorded repertoire, was dramatically changed by this event. But much of this later history, and what followed Shaw's "retirement" as active music director of the ASO, has unfortunately been compressed into the all-too-brief Foreword, and the last three years of his life are not documented at all.
It is fair to say that the Telarc "gift" which Woods and Renner presented to Shaw made the difference between a career which would have been insufficiently documented by recordings (except for a handful of earlier RCA Victor recordings of the Robert Shaw Chorale) and one which will now stand the test of time. The ASO, good as it became under Shaw's leadership, served as much during his tenure as the recording instrument which would provide support for the "ultimate" Robert Shaw Chorale, the remarkable, and totally amateur (in the best sense) Atlanta Symphony Orchestra Chorus, as it would as the civic orchestra for the greater Atlanta area.
I could wax eloquent about the dozens of recordings this orchestra and chorus produced over a 20-year period of Telarc support. But there is one recording which stands out above all, of a work which was the closest thing to a cornerstone for Shaw's career: Bach's B Minor Mass. His professional life with this work is well-documented in Joe Mussulman's book. There is a wealth of anecdotes about how his performances of this work could reduce folks to tears, from Alaskan Aleuts to college kids everywhere to Soviet apparatchiks at the height of the Cold War.
One anecdote stands out above all others regarding his mastery, as well as his unassuming modesty in the face of it all, regarding the B Minor Mass. It occurred after a performance that must have really come together in a very special way. Following the concluding "Dona Nobis Pacem" of the Mass, Shaw left the podium and darted behind the curtain, awaiting the applause. He waited, and waited some more. Finally, not understanding why it was that the applause never arrived, he poked his head out from behind the curtain, only to find both the audience and the musicians facing each other and bawling their eyes out from what must have been a rendering of the final "Dona Nobis Pacem" of the Mass for the ages. Those who were at that performance carry a very special event around in their memories.
This single, simple paragraph of an anecdote says volumes about Shaw's largely underrated mastery. When you read this book, you too will cry. And you will laugh. And you will likely do both simultaneously. For all the right reasons.
Now, if only someone would fill in the final missing 20 years or so of "Dear People," we'd have it all.