Howard Swan, Charles Hirt, and Roger Wagner: their influences and the building of choral culture in southern California

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HOWARD SWAN, CHARLES HIRT, AND ROGER WAGNER:

THEIR INFLUENCES AND THE BUILDING OF CHORAL CULTURE IN
SOUTHERN CALIFORNIA

by

Lesley Gayle Leighton

A Dissertation Presented to the
FACULTY OF THE USC THORNTON SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF MUSICAL ARTS
(CHORAL MUSIC)

May 2012

Copyright 2012 Lesley Gayle Leighton
ii
DEDICATION
The efforts and culmination of my academic career is most lovingly dedicated to
my mentor, Paul Salamunovich, without whom I would never have attempted what has
turned into a lifelong passion of choral music. His words of guidance and incredible
knowledge of creating choral sound will always be in my ear, just as his songs will
always be in my heart.
I would also be remiss if I did not mention Roger Wagner, not only for all of his
contributions to choral music at large, but to me personally through my experiences of
rehearsing, performing and touring with him at the end of his career and the beginning of
mine. Without Roger (as the founder of Los Angeles Master Chorale), and most certainly
without my friend and colleague, Grant Gershon (current music director of LAMC), I
would not have the second best job on the planet —Grant has the best one!
Finally, this degree would not have been possible without my parents, Lester &
Phyllis Leighton, who only had the opportunity to earn high school degrees, but placed
great value on my garnering the highest possible education. Regrettably, they did not live
to see this degree completed, but I thank them posthumously for all the opportunities they
afforded me all of my life.

iii

ACKNOWLEDGMENTS
I would like to acknowledge my committee members Dr. Jo-Michael Scheibe
(chair), Donald Brinegar, and Dr. Nick Strimple for their time and guidance through this
process. They each offered a unique perspective on the dissertation method, and I am
most grateful.
Acknowledgments must also be made to a few of my other teachers, who have
been incredibly important to me both personally and in my musical development: Robert
D. Hunter —how I miss him still; Walter Arlen; Dr. Leroy W. Southers, Jr.; Dr. Morten
Lauridsen; and Judith Oas Natalucci.
It is also impossible not to say thank you to a few people who were of great
support and help throughout the course of my degree, not in any particular order: Dr.
Deborah Huffman, Gordon LaCross, Jeff DeCaen, Stuart Kessler, Brian Head, Grant
Gershon, Elissa Johnston, Paul Salamunovich, Nancy McCook, Dr. Mike & Judi
O’ S u l li va n , T e r r y Kn o w l e s , Do n N o r e s , D r . Ni c o l e B a ke r , Ge o r ge S t e r n e , K e vi n K o e l bl , Kathie Freeman, Len Geres, Marianne Saltzer, Susan Lopez, Sharon Lavery, and most
certainly the goons of 305!

iv

TABLE OF CONTENTS
Dedication ii

Acknowledgments iii

List of Figures iv

Abstract viii

Introduction 1

Chapter One: Howard S. Swan 14

Chapter Two: Dr. Charles C. Hirt 50

Chapter Three: Dr. Roger F. Wagner 81
The Roger Wagner Chorale (1950-1964) 94
The Los Angeles Master Chorale (1964-1986) 161
The Final Years (1986-1992) 351

Conclusion and Recommendations 366

Bibliography 373

Appendix: Vita 431

v

LIST OF FIGURES
Figure 1. Charles Hirt and Walt Disney. 62
Figure 2. Concert Chorale Members. 90

Figure 3. The Roger Wagner Chorale in London, 1953. 105
Figure 4. Wallenstein and Wagner. Wagner is on the right. 114
Figure 5. Roger Wagner conducting at the Hollywood Bowl. 130
Figure 6. “ M us i c a l R e f l e c t i o n s . ” 130
Figure 7. Wagner publicity photo. 131
Figure 8. Wagner at a Marymount College workshop. 137
Figure 9. Alfred and Mrs. Wallenstein. 142
Figure 10. Roger Wagner marking a score. 146
Figure 11. Publicity photo of Wagner. 150
Figure 12. Roger Wagner, from 1962 photograph. 156
Figure 13. Wagner with members of the SCCMA. 175
Figure 14. Wagner at the Meistersinger Ball. 180
Figure 15. Salli Terri. 182
Figure 16. Wagner leading the Chorale in Chicago. 183
Figure 17. “ R o ge r W a gn e r — C h o r a l e go e s b e gg i n g. ” 189
Figure 18. Wagner rehearsing. 192
Figure 19. Wagner conducting. 195
Figure 20. “ R o ge r W a gn e r . . . f a v o r s b r i s k pa c i ng. 200
vi

Figure 21. Roger Wagner and his brother Jack Wagner. 201
Figure 22. “ R o ge r W a gn e r —a career synonymous with the story of
professional choral activity in Los Angeles. 1972. 205

Figure 23. Paul Salamunovich. 216
Figure 24. Opening Night. 222
Figure 25. Wagner in concert 225
Figure 26. Wagner. 232
Figure 27. Wagner was an avid tennis player. 235
Figure 28. Wagner rehearsing the LAMC. 237
Figure 29. Salamunovich guest-rehearsing chorale members. 241

Figure 30. Wagner conducting, with Robert Hunter at the piano. 278
Figure 31. Roger Wagner. 279
Figure 32. Wagner —another stock photo. 280
Figure 31. The Los Angeles Master Chorale, 1979. 281
Figure 32. Wagner conducting. 282
Figure 33. Wagner at work. 284
Figure 34. Roger Wagner, conductor series. 286
Figure 35. The Roger Wagner Chorale. 292
Figure 36. Robert Wagner, about to being his 17th season with the
Master Chorale. 304

Figure 37. P r o m o t i o n a l p h o to a dv e r t i s i ng L o u i s Gr e e nb e r g ’ s Song
of Faith. 317
vii

Figure 38. “ R o ge r W a gn e r l e a ds P a vil ionful of sing-alongers in
Ha n de l o r a tor i o . ” 321

Figure 39. Roger Wagner conducting at the Pavilion. 325
Figure 40. Wagner at awards luncheon with Mrs. Paul Selwyn and
William Crutchfield 323

Figure 41. Wagner and The Art of Conducting. 323
Figure 42. “ R o ge r W a gn e r h a s a s pe c i a l a f f i n i t y f o r F r e n c h r e pe r tor y . ” 336
Figure 43. Roger Wagner, post-Master Chorale. 349

viii

ABSTRACT
While there are several critically important first-generation conducting figures in
the development of the choral tradition in southern California, three of the most
influential figures who contributed lasting legacies to the choral arts in Los Angeles are
Howard Swan, Charles Hirt, and Roger Wagner. This paper studies the work, lives, and
influences to the choral culture that has been established over the past nine decades in the
southern California region, through the filter of these three conductors, which covers
approximately the years 1925-1992.
By uncovering their work, approaches, performance practices, methodologies and
ethics in the profession, some principles of their lasting influences upon the generations
that have followed might be drawn; and in coming to a literate understanding of their
effect on the choral cultural of southern California regarding the institutions they founded
or greatly impacted, programs they created, core values they followed, repertoire choices,
development of outstanding choral singers and performance practices, we can hope to
uncover ideas and values that will help shape future generations of the southern
California choral community while respecting its historical foundations.

1

INTRODUCTION

The emergence throughout the past seventy years of a definable choral culture in
Los Angeles has become not only a geographically specific value, but also a development
that is a living tradition in the composition of our artistic structure. Los Angeles was the
first city in the nation to boast a professional chorus that not only performs with the
largest symphonic orchestra in town, but also maintains its own performance season —an
outgrowth of dedication to the choral arts that is witnessed in this region. Yet, there has
been on in-depth study of this phenomenon. Many factors have helped to form this
tradition over the past seven decades, including state and city funding in the early years,
economic growth and repression, the film industry fueling the need for talented and
skilled musicians, the strength of choral programs at the professional, university, college,
secondary and primary levels, and certainly the incredible vocal talent that has been
fostered here. However, the continuing interest and development of high-quality choral
music in Los Angeles is also owing to the contributions of the many fine musicians and
teachers who live and work here, especially those who helped to define the tradition in
Los Angeles in its infancy. The influence of three of these choral giants is the focus of
this study.
Purpose of Study
The purpose of this study is to investigate the influence of three renowned choral
artists who lived and worked in Los Angeles throughout their careers upon the
comprehensive trend of choral tradition and culture in this city. The three conductors
around which this endeavor concentrates are Dr. Howard Swan, Dr. Charles Hirt, and Dr.
2

Roger Wagner. Each of these educators lived an extraordinary musical life and is
recognized for his contribution to choral music nationally. Howard Swan was active from
1934-1995 and enjoyed national acclaim as a choral educator and was widely known as
“ t h e De a n o f southern California c h o r a l m us i c ” by hi s c o l l e a gue s across the nation.
1

Swan spent his academic career at Occidental College until 1971, and then went on to
teach at both UC Irvine and Cal State Fullerton. Charles Hirt was active from 1934-2001
and was known as the architect of the choral music department at the University of
Southern California, in addition to being a leader in church music, building and
maintaining the program at Hollywood Presbyterian Church for more than 30 years.
2
He
was recognized internationally as an expert in sacred music and toured internationally
several times including a tour sponsored by the U.S. Department of State in 1964 with his
Chamber Singers at USC. Roger Wagner was active from 1935-1992, and was a
preeminent choral music figure internationally.
3
A Grammy® award-winning conductor
and acclaimed for many of his choral albums, Wagner achieved international recognition
for touring with the Roger Wagner Chorale, especially for singing in the Soviet Union in
1974 as part of a cultural exchange between the U.S. and the USSR.
4
Wagner is also

1
R i c h a r d S l a t e r , “ ‘ G e r m a n R e q u i e m ’ a t C a l S t a t e F ul l e r t on , ” Los Angeles Times, May 28, 1975.

2
My r n a O l i ve r , “ C h a r l e s H i r t : P i one e r i ng C hoi r Le a de r , ” Los Angeles Times, February 12, 2001.

3
G e r a l d F a r i s, “ R o ge r W a g ne r , C h o r a l Mus i c Le a de r , D i e s a t 78 , ” Los Angeles Times, September
18, 1992.

4
Mu r r a y S e e ge r , “ W a g ne r C o nd uc t s U S , R uss i a n Mi x o n T o ur , ” Los Angeles Times, June 5,
1974.

3

recognized as the founding director of the widely acclaimed Los Angeles Master Chorale,
which is considered a “ m a j o r cultural a s s e t ” of Los Angeles today.
5

Issues
This study sought to identify how Swan, Hirt, and Wagner influenced the choral
culture in Los Angeles, and secondarily if this influence is still felt a decade or two
beyond their passings. The following issues were addressed toward this goal:
1. Historical facts and data were collected and studied in order to provide an
appropriate background for this presentation.
2. Gathering information from newspapers, journals and books in addition to
archival material at institutions was required to assess the influence of these
men.
3. Conclusions have been formulated after the data was collected, examined and
interpreted regarding the influence of Howard Swan, Charles Hirt, and Roger
Wagner on the choral culture of Los Angeles.
Definition of Terms
Choral culture is defined in many different ways and can be interpreted variously
by individuals. Timothy Sharp, executive director of ACDA,
6
identifies choral culture as
something that can b e “ c r e a t e d” by choral communities and that is can be singular,
regional or national , c i t i n g b o t h W a l e s a n d E s to ni a a s e x a m p l e s o f “ n a t i o n a l c h o r a l
5
“ LA M a st e r C h o r a l e , ” Los Angeles Sentinel, November 16, 1972.

6
ACDA: American Choral Directors Association, a national membership of choral directors.
S h a r p w r o t e a n a r t i c l e c a l l e d “ C r e a t i ng C ho r a l C ul t ur e ” o n t he A C D A w e bsi t e . S e e http://acda.org/sharp_notes/creating_choral_culture (accessed on November 3, 2011).
4

c u l t ur e s . ” S h a r p g o e s o n to s a y t h a t “ c u l t ur a l c o de s a r e l i ke d i f f e r e n t i m pr i n t s , ” a n d t h a t people use the cultures often with realizing it. So in his way, Sharp defines choral culture
as something that can be created but becomes unique to a region or nation and can
become so ingrained in the fabric of the participating people that they are unaware of its
presence in their lives.
7
Arthur Mees, in his book Choirs and choral music, boldly states
t h a t t h e P i l gr i m s i n 1620 b r o ugh t a “ h a t r e d o f m u s ica l culture which has no parallel in
hi s t o r y . ” He go e s o n to e x p l a i n t ha t t h e y w i s h e d t o wi p e o u t a ny pa ga n a r t a n d g i v e t h e Church its own art, and much of their efforts against art were musical. He also insists that
the rapid recovery and fostering of music, especially that of choral culture and singing,
wa s “ li t t l e s h o r t o f m a r v e l o us . ” It is clear through his language and references to
“ Am e r i c a n c h o r a l c u l t ur e ” t h a t M e e s separates choral culture in the states by eras. He
refers to it nationally when discussing the early settlors then separates further the
differences between choral culture in New Yo r k, whi c h h e c a ll s “ i nde pe n de n t ” f r o m culture in New England which he views as strict owing to the Dutch Reformed Church.
And Gary Anderson, in his article from the ACDA Choral Journal, April 2001,
8
defines
choral culture through sound. He discusses the Swedish choral culture as something
identifiable by sound, and also by nationality. For the purpose of this s t ud y , “ c h o r a l c u l t ur e ” wi ll b e de f i ne d a s the way we collectively group the core values of choral music
and singing in a particular environment, and these will be broadly drawn. Choral culture

7
Ibid.

8
G . L. A nde r s on , “ T h e S w e di s h so u nd , ” Choral Journal 41, no. 9 (2001): 35,
http://search.proquest.com/docview/1032186?accountid=14749 (accessed November 11, 2011).

5

will not, for example, distinguish the differences from choir to choir of tone, but whether
or not choral tone is a consideration in the value system of a larger body, such as the city
of Los Angeles at large. T h e wor ds “ c h o r us ” a n d “ c h o i r ” w i ll b e s y n o nym ously used
t h r o ugh o u t t h e pa pe r a s wi ll t h e wo r ds “ c u l t ur e ” a n d “ t r a di t i o n ” b e i n t e r c h a n g e a bl e .
It should also be noted that while the author has strived for accuracy in regard to
the titles of all departments, organizations, publications and the like, given the breadth of
years and the amount of changes in titles and conflicting information in primary sources,
this accuracy cannot be considered absolute. A prime example is the title of the music
department at USC, which has been called at different times in its history: Department of
Church Music
9
at its founding; Department of Church Music and Choral Organizations,
sometime in the 60s; Department of Choral and Church Music
10
around 1972 when the
MM and DMA degrees were instituted; and currently the Department of Choral and
Sacred Music
11
which changed over c. 2000, and is the current title in 2011. In the case of
the USC choral department, the author is fairly certain that the above information is
accurate; however, that claim cannot hold for all institutional names and their changes
throughout this paper.

9
Ja m e s V a i l , “ T h e D e pa r t m e n t of C ho r a l a n d S a c r e d Mus i c a n d t he C h a m b e r S i nge r s a t U S C T h o r n t on S c hoo l o f Mus i c : A R e t r o sp e c t , ” F e br ua r y 3, 2009, un publ i she d m a n usc r i pt , Los
Angeles Master Chorale Association, Los Angeles.

10
Ibid.

11
Ibid.
6

Demarcations
This study is limited to the influence of the afore-mentioned three conductors on
the emergence and development of choral culture in Los Angeles, and will not take into
consideration the many other individuals who have also undoubtedly made significant
contributions. No other persons have been discussed in depth, despite some passing
mentions, nor has any other arc of influence been analyzed or addressed.
The influence examined here has been based principally on the data collected
from newspaper and journal articles, biographical dissertations and books, books
authored by the men being studied and historical records. There was no attempt made to
examine or discuss developments of choral cultures outside of Los Angeles County, nor
were any other contributors of influence studied in depth.
Assumptions
This study assumes that choral culture is important to the continuing choral
tradition and vocal success that is specific to Los Angeles, and assumes that there is a
choral culture specific to Los Angeles. This paper further assumes that the emergence of
the first professional choir to have its own season, which also remains one of the largest
in the nation based upon budget and resources, is an outgrowth of this culture and
tradition. Therefore, the phenomenon is worthy of in-depth and scholarly study. Further,
this paper assumes that Roger Wagner, Howard Swan, and Charles Hirt have been
important contributors to the lasting choral legacy of Los Angeles and leaders in its
development as a choral center, and that they have influenced other conductors in the
southern California region.
7

Hypotheses
The study has sought to provide evidence of the influence of Swan, Hirt, and
Wagner on the cultural phenomenon that exists in Los Angeles, a city which has had
thriving choral programs for many years in addition to a resident professional chorus that
is almost on equal footing at least in terms of stature (not budget) with the major
orchestra that plays in the same hall. The paper has attempted to identify the means by
which the influence may have occurred; examples of the means studied include reviews
of performances, scholarly articles, newspaper articles, observations of authors, concert
exposure, recordings study, personal experience singing with all three conductors and
through the writings of the men themselves. The goal is to determine to what degree, if
any, have any of the contributions of Swan, Hirt, or Wagner influenced choral music in
Los Angeles, and whether or not that influence is still exhibited today in any kind of
tangible way.
Significance of Study
Since there has been an emergence and growth over the past seventy or so years
of a choral tradition in Los Angeles that has been demonstrated in a variety of ways, a
study of this phenomenon is overdue. It is a line of choral development that is not only
uni que n a t i o n a l ly i n i t s “ f i r s t s , ” b ut a l s o i n s o m e o f i t s l a s t i n g l e ga c i e s a n d deserving of
study. In Los Angeles there have been choral departments attached to universities and
colleges, community choral organizations, high school choirs, church choirs and
professional choirs that have experienced gradations of success. With some new interest
in choral singing brought on in some ways through television media productions such as
8

Glee and The Choir, interest in choral singing on the part of younger generations is
burgeoning, while perhaps rekindling in older ones. Chorus America
12
has noted in a
2009 study that an estimated 32.5 million adults sing in choruses, up from 23.5 million
estimated in 2003, and when children are included, the number of singers in American
choruses jumps to 42.6 million.
13
Given that the influence of Hirt, Swan, and Wagner
was felt not only locally, but nationally through their individual work touring, recording,
presenting at national conventions and conferences, and leading workshops and honor
choirs, this study becomes all the more far-reaching.
The continuing existence of several organizations and academic programs that
were founded by these three conductors decades past, also points toward their strong
sphere of influence in Los Angeles specifically. This study has examined important
aspects of the development of choral traditions in Los Angeles and the influence of these
three men upon the broader phenomenon of choral culture that still exists today. Because
little has been written regarding choral culture as a geographic presence, an additional
goal of this paper is to spark interest in how culture and influence spreads to larger areas,
for example, how has the choral culture in Los Angeles affected that of Ventura, Orange,
or San Diego county? And there is much room to investigate the other musicians who
have contributed to this choral culture significantly —there is plenty of room for further
interest and study.

12
Chorus America: a choral membership organization largely aimed at professional, semi-
professional and community choirs.

13
Chorus America also estimates thatthere are over 270,000 choruses nationwide,
http://www.chorusamerica.org/ (accessed November 3, 2011).
9

Finally, this paper should be of interest to anyone studying Swan, Hirt, or Wagner
or their specific contributions to Los Angeles institutions such as Los Angeles Master
Chorale, Occidental College, or the University of Southern California.
Similar Studies and Related Literature
There are other studies and literature which relates to this one that arises from
similar methodology: (a) those projects which parallel the methodology of this one; (b)
published sources that deal with broader scopes such as national choral cultures; and (c) a
few sources that specifically relate to the influences of conductors on other phenomenon.
Similar Studies
Some similar studies include research papers and dissertations that have been
complied such as P hi ll i p M o r r o w’ s 1993 s t udy o n t h e “Influence of the Robert Shaw
Chorale, the Roger Wagner Chorale and the Gregg Smith Singers on the professional
chorus in the United States. ”
14
M or r o w’ s pa pe r i s s im il a r i n c o n c e pt a n d b a c kgr o un d
information, at least regarding Wagner. Morrow outlines the influence that Wagner had
as a force in being the conductor of one of only two professional choruses in the United
State in 1953 (Morrow, 1993), and how his chorale directly influenced the development
of other such choirs nationally.
“ A t t r i b ut e s o f Uni t e d S t a t e s c o m m u ni t y c h o r us ’ s uc c e s s a n d l o n ge vi t y : A c a s e s t udy w i t h t h e T ur t l e C r e e k C h o r a l e o f Da l l a s , T e xa s ” ha s s o m e s im il a r i t y i n t h a t
14
P h i l l i p Je f f r e y M o r r o w , “ T he I n f l u e nc e of t he R o b e r t S h a w C ho r a l e , t he R oge r W a gne r Chorale and the Gregg Smith Singers on the p r of e ss i ona l c ho r us i n t he U n i t e d S t a t e s” ( D MA diss., Southern Baptist Theological Seminary, 1993).

10

Gregory studied the culture contributing to the longevity of a chorus, which shares some
background with Wagner and Los Angeles Master Chorale.
15
“ T h e l if e a n d c o n c e pt s o f c h o r a l c o n duc t or W i ll i a m Da ws o n Ha ll ( b . 1934) , ” by Gene Peterson,
16
is similar in
r e ga r d to t h e b a c kgr o un d s t udy ne e de d to wr i t e a b o u t a c o n duc to r ’ s i nf l ue n c e .
A few other studies are also similar in their examination of individual conductors
and their contributions to choral music: "The Choral Artistry of Paul Salamunovich: an
emphasis on stylistic philosophies and rehearsal techniques regarding the interpretation
and performance of Renaissance choral music by the mixed choir;"
17
“ Ho wa r d S wa n :
T e a c h e r a n d c o n duc to r ; ”
18
a n d “ P o r tr a i t o f a l e a d i ng c h o r a l c o n duc t o r : t h e l i f e a n d wo r k
of Roger Wagner, 1914- 1992. ”
19

15
Craig Gregory, "Attributes of United States community chorus' success and longevity: A case
study with the Turtle Creek Chorale of Dallas, Texas" (PhD diss., Florida State University, 2009),
accessed from http://www.proquest.com.libprOccidental.usc.edu (publication number AAT
3373998).

16
Gene Peterson, "The life and concepts of choral conductor William Dawson Hall (b. 1934)"
(DMA diss., University of Washington, 2010), accessed from
http://www.proquest.com.libprOccidental.usc.edu (publication number AAT 3421979).

17
David Brent Ballweg, “ T h e Choral Artistry of Paul Salamunovich: an emphasis on stylistic
philosophies and rehearsal techniques regarding the interpretation and performance of
R e n a i ss a n c e c ho r a l m usi c b y t he m i x e d c ho i r ” (DMA diss., University of Missouri, 1987),
accessed from http://www.proquest.com.libprOccidental.usc.edu.

18
David Alan Rasmussen, "Howard Swan: Teacher and Conductor" (EdD diss., Arizona State
University, 1989) accessed from http://www.proquest.com.libprOccidental.usc.edu.

19
Mi c h a e l Le e S c a r br o ug h , “ Portrait of a leading choral conductor: The life and work of Roger
Wagner, 1914- 1992” ( D MA di ss . , A r i z on a S t a t e U ni ve r si t y , 1996) , accessed from
http://www.proquest.com.libprOccidental.usc.edu.

11

Related Literature
Howard Swan co-authored a book with Charles Fowler
20
in which there is a
chapter devoted to the history of music in Los Angeles from the time of its settlement in
1781 to the late 1980s. There is a lot of useful information in this book that was used in
this study. Al s o S wa n’ s b o o k , Music in the Southwest
21
was invaluable and has some
relation to this study. Ot h e r b oo ks r e l a t e d to t hi s s t ud y a r e C a r o l e G l e nn’ s In Quest of
Answers,
22
and M us s u lm a n’ s Dear People
23
on the work of Robert Shaw.
A larger body of literature regarding this subject is found in journal articles and
newspaper reviews and articles. Much information regarding the work of Swan, Hirt, and
Wagner can be found in these sources, chronicled sometimes by the men themselves
through their work, and often by other observers of the time. However, throughout all of
this available literature, there is not much concentration on the long-lasting influence of
any of these men on the choral tradition in Los Angeles.
Methodology
This study examined the influences of three prominent conductors who are
considered by many to be not only influential, key developers of the choral culture of Los

20
Howard Swan and Charles Fowler, Conscience of a Profession: Howard Swan, Choral
director and Teacher (Chapel Hill, NC: Hinshaw 1987).

21
Howard Swan, Music in the Southwest, 1825-1950 (San Marino, CA: Huntington Library,
1952).

22
Carole Glenn, In Quest of Answers: Interviews with American Choral Conductors. (Chapel
Hill, NC: Hinshaw Music, 1991).

23
Joseph Mussulman, Dear People: Robert Shaw (Bloomington, IN: Indiana
University Press, 1979).

12

Angeles, but also preeminent in the field of choral education and conducting nationally.
The procedure is as outlined as follows.
Data Collection
Historical facts and biographical data were needed to discuss the backgrounds,
contributions and key career moments of Howard Swan, Charles Hirt, and Roger
Wagner; this information was derived from two main sources: journal literature and
biographical scholarly works. Newspaper pieces attributed the information regarding the
activities of the three subjects as observed by reporters as events unfolded. These three
sources were considered to be primary sources. Other published works, such as books
that interviewed the subjects were used as secondary sources for historical information.
S o m e o f t h e m o r e i m po r t a n t s e c o n da r y s o ur c e s t h a t we r e us e d we r e P h i ll i p M o r r o w’ s dissertation
24
from Southern Baptist Seminary on the influences of the three chorales,
i nc l ud i ng R o ge r W a gne r ’ s ; Do ug M c E we n ’ s pa pe r
25
from the University of Colorado on
the philosophies and techniques of several different conductors, including Wagner;
Michael S c a r b r o ugh ’ s dissertation
26
from Arizona State University on the life and work
of Wagner; a n d Da vi d R a s m us s e n’ s d i s s e r t a t i o n
27
from Arizona State University on
Howard Swan.

24
Mo r r o w , “ T h e I n f l u e n c e o f t he R o b e r t S h a w C h o r a l e . ”

25
D o ugl a s R e e ve Mc E w e n , “ Mus i c P h i l o s o p h i e s, C h o r a l C o n c e pt s, a n d C ho r a l T e c hni q u e s
Employed by Selected Choral Conductors in Southern California Four-Year Colleges and
Universities (EdD diss., Colorado State College, 1961), 89.

26
S c a r b r o ugh , “ R o ge r W a g ne r . ”

27
R a sm uss e n , " H ow a r d S w a n . ”
13

Data Analysis
The data was examined and studied, and an hypothesis formulated about each of
the three preeminent conductors chosen for this paper and his relation to not only the
emergence and development of choral culture in Los Angeles, but also with regard to
e a c h pe r s o n ’ s c o n t r i b ut i o ns being lasting or continuing in their influence. Facts were
s y n t he s i z e d t o c r e a t e a b i o gr a phi c a l a s we l l a s hi s t o r i c a l p i c t ur e o f e a c h m a n’ s c a r e e r i n order to come to conclusions regarding his place in the living culture that exists today.
Reporting
Chapter one introduces the venture and outlines methodology, procedure and the
individuals being studied. Chapter two is dedicated to Howard Swan and includes a
biography and history of his career. A fair amount of this chapter deals with S wa n’ s direct contributions to choral music, art and culture in Los Angeles. Chapter three is
devoted to Charles Hirt, includes a biography, history of his career and then his
contributions to Los Angeles. Chapter four belongs to Roger Wagner, including a
biography, history and his choral legacy. Chapter five, the final chapter, offers
conclusions related to the hypotheses. I t a l s o i n c l u de s po s i t i o ns r e ga r d i n g e a c h s u bj e c t ’ s lasting legacy when viewed through the lens of the present choral scene in Los Angeles,
and final offers other ideas for future studies.

14

CHAPTER ONE
HOWARD SHELTON SWAN (1906-1995)

“I believe that it is important for me and for those who work with me to understand that
my profession is greater than myself.” – Howard Swan, 1947

For more than sixty years, Howard Swan was a fixture as a choral educator, not
only in Los Angeles, but also across the nation as a visiting lecturer, clinician and
teacher. He was so beloved that ACDA dedicated its 1987 national convention in San
Antonio, Texas to him.
28
Swan was considered to be a “ d y na mi c f o r c e ” i n t h e choral
craft
29
and was in demand as a guest clinician throughout the United States.
30
The man
wh o b e c a m e c o m m o nly k n o wn a s t h e “ De a n ” o f c h o r a l m u s i c in southern California
31

was born in Denver, Colorado on March 29, 1906, to David Shelton Swan and Ethel
Katherine Miller Swan.
32
The family relocated to southern California when Swan was
six in 1913, his father eventually becoming vice principal of Fairfax High School —the
very same high school Roger Wagner attended.
Howard Swan graduated from Hollywood High School (as did renowned choral
conductor Paul Salamunovich) and Pomona College (as did Robert Shaw); however,
Swan did not study music at Pomona. To appease his practical-minded father, Swan

28
R a sm uss e n , “ H o w a r d S w a n , ” 1.

29
Swan and Fowler. Conscience of a Profession,” 3.

30
R a sm uss e n , “ H o w a r d S w a n , ” 43.

31
Myn a O l i ve r , “ H o w a r d S w a n ; C ho r a l D i r e c t o r , A ut ho r , ” Los Angeles Times, September 21,
1995, accessed November 2, 2011, http://www.proquest.com.

32
R a sm uss e n , “ H o w a r d S w a n , ” 11.
15

earned a B.A. in History at Pomona in 1928 with academic minors in political science
and music, while continuing to study choral music with Ralph Lyman.
33
During his fifth
year at Pomona, while he was earning his teaching certification , t h e di r e c t o r o f t h e M e n ’ s Glee Club (Lyman) took a sabbatical and Swan had his first taste of conducting a college
ensemble; it is interesting to note that Swan also received an award in Track and Field
from Pomona in 1929, as a member of the varsity team.
34
Also in that same year, he
worked as a tenor soloist in churches around the southern California, and he married
Katherine Smith, whom he met in his sophomore year at Pomona.
35
Together they
produced a family of three children (David, Robert, and Katherine Schwarberg) and eight
grandchildren.
36

Following his undergraduate degree, Swan continued to sing at the Methodist
Church in Hollywood and a t B ’ n a i B ’ r i t h T e m p l e on Wilshire. In the 1920s, Swan met
John Smallman, who was on the faculty at the University of Southern California, and also
the founder of both the Los Angeles Oratorio Society and the Los Angeles Bach Festival.
Smallman engaged Swan as a student
37
and eventually hired him in his professional
singing quartet, the Tudor Singers. Swan considered Smallman to have been a large

33
Ibid.,11.

34
“ P om on a T r a c k A t h l e t e s G e t 1929 A w a r d s, ” Los Angeles Times, April 25, 1929.

35
Swan met Katherine Smith in 1924 when he was a sophomore and she a freshman. She
transferred and obtained a BA from UC Berkeley, but she eventually returned to LA and they
married in 1929.

36
Swan and Fowler, Conscience of a Profession, 3.

37
R a sm uss e n , “ H o w a r d S w a n , ” 12.

16

influence on him as a conductor,
38
and also stated that his choral views were developed
largely as a result of his personal associations with conductors he admired and studied
with subsequent to his college training.
39

During his early years following Pomona, Swan had two careers: one as a
professional singer, at the Hollywood Bowl, Immanuel Presbyterian a n d B ’ n a i B i r i t h Temple where he was tenor soloist, S m a ll m a n’ s qu a r t e t , on the radio for Bob Burns and
Raymond P a i ge ’ s programs, and as a studio singer for soundtracks at the studios such as
Devil’s Island and the Northwest Mounted Police; and his other career as a social
sciences teacher at Eagle Rock High School, where he taught for five years beginning in
1929. After his arrival at the high school, Swan was asked to take over the b o y ’ s g l e e a t Eagle Rock High School —incidentally where Robert Shaw
40
first met and sang for
Howard Swan.
41
In his second year at Eagle Rock, Swan asked if he could start an a
cappella SA T B c h o i r s im il a r to I da B a c h ’ s c h o i r a t F r e m o n t Hi g h S c h o o l , the only one in
L o s An ge l e s a t t h e t i m e ; hi s pr i nc i pa l , He l e n B a bs o n s a i d, “ I do n ’ t kn o w wh a t i t i s ; I do n ’ t kn o w h o w to s pe l l i t , b ut i f y o u’ d li ke i t , y o u m a y h a v e o n e . ”
42
Soon Eagle Rock

38
Ibid.

39
Mc Ew e n , “ Mus i c P h i l o s o p h i e s, ” 89.

40
Robert Shaw, world-renowned conductor of the Atlanta Symphony Chorus and Orchestra, grew
up in Los Angeles, attended Eagle Rock High School from 1930-34 and then graduated from
Pomona College in 1938. He eventually conducted at Pomona before moving to NYC to found
the Robert Shaw Chorale after working with Fred Waring.

41
D a n i e l C a r i a g a , “ R o b e r t S h a w —F i r e a nd H e i gh t s, ” Los Angeles Times, March 21, 1975,

42
Swan and Fowler, Conscience of a Profession, 4.

17

had t wo a c a ppe l l a c h o i r s a n d a b o y ’ s g l e e , a n d t h r e e y e a r s l a t e r , to ge t h e r wi t h L A USD
43

supervisor, Louis Curtis, Swan invited several of the other schools to participate in what
was the first high school choral festival in Los Angeles.
44
S wa n ’ s E a g l e R o c k Hi g h
S c h o o l c h o i r a l s o pa r t i c i pa t e d i n S m a ll m a n’ s f i r s t B a c h F e s t i va l i n Los Angeles in 1934,
mentioned in the Los Angeles Times a s “ f ur ni s hi ng t h e v o i c e o bbli ga t o s wi t h t h e j u ni o r college orchestra under the dire c t i o n o f Dr . E dm u nd C . C y k l e r . ”
45
Interestingly, Swan
also continued to sing during this period, listed as the tenor soloist in the Messiah for the
Los Angeles Choral Union under John Trowbridge in December of 1931;
46
in recital with
Kathryn Melsie from San Francisco Opera company; and as part of the Pacific Palisades
tenth annual music festival appearing with the John Smallman quartet.
47

In 1933, Swan became the conductor at Highland Park Presbyterian Church,
where he stayed until 1940. He started with one adult choir, but before he left he added a
yout h a n d a c hil dr e n ’ s c h o i r . Also in 1933, Swan, at age 27, suffered an unexplained
paralysis in one of his vocal folds, rendering him unable to vibrate his cords to make
sound. At the time, doctors believed that he sustained some type of traumatic blow to the
throat, but years later specialists believed that the paralysis was caused by a viral
infection. In the meantime, Walter Hartley, Chair of the Department of Music at
Occidental College fell ill right before the 1934 commencement exercise; he knew Swan

43
At the time, it was simply called the Los Angeles School District.

44
Ibid.

45
“ B a c h F e st i v a l P l a n C om p l e t e , ” Los Angeles Times, May 13, 1934.

46
“ Me ss i a h w i l l b e P r e s e n t e d , ” Los Angeles Times, December 6, 1931.

47
“ A ss e m b l y w i l l P r e s e n t D a i l y Mus i c P r og r a m s, ” Los Angeles Times, August 9, 1931.
18

from Pomona and asked him if he could bring his church choir to sing. It happened that
m o s t o f t h e s i n ge r s i n S wa n’ s c h ur c h c h o i r we r e f a c u l t y m e m be r s a t Oc c i de n t a l , s o t h e y happily performed at commencement that year. Two years prior in1932, Swan had
become t h e d i r e c t o r o f t h e “ U ni ve r s i t y G l e e C l u b , ” whi c h qu i t e o ddl y wa s n o t a tt a c h e d to
any university or college, but rather a collection of singers from 16 or more schools in
southern California who had formed a choir.
48
Ted Broadhead at Occidental eventually
a r r a n ge d f o r S wa n to b e c o m e t h e d i r e c to r o f t h e M e n’ s a n d W o m e n ’ s G l e e C l u bs a t t h e college, which was a part-time, non-faculty position.
49
However, in 1935, Occidental
offered Swan another position: director of public events for the yet-to-be-opened Thorne
Hall. Swan quit his job at Eagle Rock High and began working for Occidental full-time in
an administrative position,
50
y e t s t i ll c o n duc t i n g t h e M e n ’ s a n d W o m e n’ s G l e e C l u b s .
S oo n a f t e r t a ki n g hi s n e w po s i t i o n , S wa n o r ga ni z e d t h e “ C o l l e ge C h o i r ” a t Oc c i dental as
well, which was made up of non-music majors —this choir remained in place throughout
S wa n’ s t e n ur e a t Occidental College.
During the summers of 1934-5, Swan attended special seminars presented by Fr.
William J. Finn
51
at Loyola University Los Angeles. Finn, a recognized specialist in
c h o r a l m u s i c , s pa r ke d S wa n’ s i m a g i na t i o n i n t h e a r e a o f t e a c hi n g c h o r a l m us i c , s o m uc h
48
“ U ni ve r s i t y G l e e t o S i ng a t P l a z a C h ur c h , ” Los Angeles Times, June 7, 1936.

49
R a sm uss e n , “ H o w a r d S w a n , ” 15.

50
C h a r l e s C . C o h a n , “ T h i s C i t y L e a d s i n B u i l di ng A c t i vi t y , ” Los Angeles Times, October 17,
1937.

51
Fr. William J. Finn, C.S. established the Paulist Choristers of Chicago in 1904 and became an
internationally acclaimed 65-voice men and Boys Choir; he directed it until 1928 when Fr.
Euge ne O ’ Ma l l e y t ook ove r un t i l i t s f i n a l se a son in 1967.

19

so that Swan still boasted in the 1980s that he had kept all of his notes from those
sessions.
52
Swan considered three teachers extremely important to his development as a
choral specialist: John Smallman, Fr. William Finn, and John Finley Williamson,
53
the
latter of whom he met in San Francisco in 1937 when Swan attended a workshop given
by Williamson. Williamson, the founder of Westminster Choir College, took a great
interest in Swan and began to work with him privately as a student while Williamson was
in Los Angeles. He also helped Swan regain some of the use of his paralyzed vocal fold,
although it was a raspy, squeaky tenor without resonance or power. He also impressed
Swan with the idea that teaching voice and diagnosing vocal faults was required to be a
good choral conductor —advice Swan took to heart for the rest of his career. Swan chose
for his article appearing in Decker and He r e f o r d’ s b o o k , to highlight both Finn and
W il li a m s o n’ s s c h oo l s o f t h o ugh t r e ga r di n g c h o r a l s o un d , in which Swan famously
c r e a t e d t h e s i x “ c h o r a l s c h o o l s . ”
54

Swan conducted a 100-voice choir at Occidental i n Ha y d n ’ s Creation in 1936,
toured northern California with the Glee Clubs in 1937, and both his Men and W o m e n’s

52
R a sm uss e n , “ H o w a r d S w a n , ” 16.

53
John Finley Williamson (1887-1964) was the founder of Westminster Choir (1920) and co-
founder of Westminster Choir College (1926). He is considered to have been a driving force
behind choral music development in America.

54
Harold Decemberker and Julius Hereford, Choral Conducting: A Symposium (Upper Saddle
River, NJ: Prentice- H a l l , 1973) . S w a n ’ s a r t i c l e i s c a l l e d , “ T h e D e ve l o p m e nt o f a C h o r a l I n st r u m e n t , ” a n d w a s a st a pl e i n c ho r a l t e a c hi ng f o r a t l e a st t w o D e c a d es following its
publication.

20

Glee Clubs won first place in the Pacific Southwest Intercollegiate Glee Club (PSIGC)
55

competition.
56
In 1938, 350 male and female glee clubs competed in the 14
th
annual
PSIGC championships held at Pomona College, the Los Angeles Times mentions that
Swan and his Occidental glee clubs are the defending champions,
57
in addition, the
W o m e n’ s G l e e performed E l i n o r R e m i c k W a r r e n ’ s
58
Harp Weavers with the Federal
Project Orchestra following their 1938 tour.
59
S wa n’ s Occidental Glee Clubs also
participated again in the PSIGC contest held at Royce Hall in 1939 —other choirs
included Pomona under Ralph Lyman and UCLA under Ray Moremen.
60

Swan, along with eleven other leading church musicians, including Charles Hirt,
f o u n de d t h e C h o r a l C o n duc t or ’ s Gu i l d o f S o u thern California in 1938.
61
The group met
about once a month, usually at a fairly dressy dinner
62
to discuss repertoire, mentor each
other, and also to develop their students. By the 1950s the organization had several
chapters (all in southern California) organized geographically. The chapters held their

55
Pacific Southwest Intercollegiate Glee Club was established in 1924. It later became known as
PSICA or Pacific Southwest Intercollegiate Choral Association, as it still is known today.

56
“ O c c i de n t a l S i nge r s W i n , ” Los Angeles Times, April 19, 1937.

57
“ G l e e C l ubs w i l l C om p e t e T od a y , ” Los Angeles Times, March 19, 1938.

58
She was married in 1936 to the man who eventually was one of the founding members of the
Los Angeles Master Chorale, Z. Wayne Griffin.

59
Ibid.

60
Raymond Moremen was the choral director at the University of California Los Angeles from
1937-1966. Roger Wagner replaced him at UCLA in 1966.

61
“ H i st o r y o f t he A ss oc i a t i on o f N a t i on a l C h ur c h Mus i c i a n s, ” N A C M Me m b e r shi p B r o c h ur e , accessed November 4, 2011, http://www.nacmhq.org/documents/NACMMembBrochure.pdf.

62
Louise Bodger Whitman, The History of Choral Conductors Guild, (Pasadena, CA: Choral
C o nd u c t o r ’ s G ui l d , 1988) : 15.
21

own meetings to discuss vocal production, conducting technique as well as new music. In
the 1990s, CCG hired an executive secretary to handle the growing membership, and in
2003, the name was changed to National Association of Church Musicians.
63
Today the
dwindling membership has ten chapters, nine of which are still in southern California,
and only one in the east, in Washington D.C.
64
The founding of CCG was followed in
1939 by the establishment of the Southern California Vocal Association as an
organization to support choral conductors and advance vocal music in academic
institutions. Both Howard Swan (who served as the first Southern California Vocal
Association Vice President of College Level) and Charles Hirt were founding members,
in addition to some other well-known southern California choral voice teachers, like Joe
Klein
65
and conductors like Ray Moremen.
In 1940, Swan became director of music at Pasadena Presbyterian Church (where
he remained until 1960), leaving his church job in Highland Park, but continuing his
work at Occidental College. During WWII, Swan, like all college choral directors,
suffered a loss of male voices at Occidental, but since the Navy was using the college as a
training center, Swan recruited the seamen and officers into his choirs and kept them

63
National Association of Church Musicians, “ H i st o r y o f t h e A ssociation of National Church
Mus i c i a n s, ” Membership Brochure,
http://www.nacmhq.org/documents/NACMMembBrochure.pdf (accessed November 4, 2011).

64
Ronald Duquette, in the commen t s r e sp ond i ng t o a t w e e t , “ I s A C D A t he r i g h t n a m e f o r us? ” http://www.choralnet.org/294077 (accessed November 4, 2011).

65
Joseph Klein had a private voice studio in Glendale for more than 60 years, and was the music
director at Glendale First Presbyterian Church from 1939-1965.

22

going during the war.
66
In the late 30s, and continuing into the 40s, Swan had begun to
successfully attract donors to his choral activities at the college so that he was able to
pur c h a s e s c o r e s s uc h a s Ha n de l ’ s Messiah to perform the oratorio jointly with the choir at
USC.
67
Swan began teaching master classes in conducting at Occidental and soon had
young conductors coming from all over to study with him. He also offered intensive two-
week long, eight-hour-a-day summer seminars, featuring John Finley Williamson,
68
that
contributed to S wa n ’ s development of curriculum for conducting, church music, and
choral literature –all of which became part of the curriculum at Occidental.
69
And also in
the late 30s and early 40s he attended the Claremont Colleges where he earned his M.A.
degree in Psychology and Education in 1941.
70

Swan kept busy throughout the 1940s, including conducting a large community
choral concert as part of the Pasadena Choral Festival in 1941;
71
a Mozart Requiem at
Occidental with over 200 singers;
72
Verdi Requiem with 200 singers from Occidental

66
R a sm uss e n , “ H o w a r d S w a n , ” 19.

67
“ O c c i de n t a l t o g i ve P r e sb y t e r i a n F e t e , ” Los Angeles Times, October 7, 1937, A24. It is
interesting to note that Hirt and S w a n’ s pa t h s h a d t o c r o ss e a r l y on si n c e H i r t e a r ne d hi s B A f r om Occidental in 1934 and an MS from USC in 1940, followed by a PhD at SC in 1946 – it seems
likely that Hirt may have been singing during the 1937 joint performance of Messiah.

68
“ V o c a l C a m p w i l l O p e n on June 30, ” Los Angeles Times, May 18, 1941.

69
R a sm uss e n , “ H o w a r d S w a n , ” 18.

70
G o r do n P a i ne , “ H ow a r d S w a n T r i but e , ” C a l i f o r ni a S t a t e U n i ve r si t y F ul l e r t o n , 1995, a c c e ss e d November 4, 2011,
http://www.fullerton.edu/emeriti/pdf/Emeriti%20Tributes/Swan%20Howard%20Tribute.pdf.

71
I sa be l Mo r se J one s, “ F e st i v a l of Mus i c G i ve n , ” Los Angeles Times, June 4, 1941.

72
“ Mo z a r t G r o up t o G i ve C onc e r t , ” Los Angeles Times, September 3, 1944.
23

prepared for Alfred Wallenstein
73
with the Los Angeles Philharmonic at Philharmonic
Auditorium in 1945;
74
a w o r l d pr e m i e r e pe r f o r m a n c e o f J o s e ph C l o ke y ’ s The Temple
with the Kirk and Chapel Choirs of Occidental College and Pasadena Presbyterian
Church
75
with Clokey at the organ;
76
he led chamber music programs in summer school
at Occidental;
77
a massive male chorus festival at the Shrine Auditorium with more than
500 singers, including one of the first all-African-American choruses in the city
organized by Jester Hairston
78
(sponsored by the LA Bureau of Music, an entity formerly
run by Roger Wagner), and the Eagle Rock High School 15
th
annual choir festival,
originally founded by Swan,
79
both in 1949. It should also be mentioned that in 1948,

73
Alfred Wallenstein (1898-1983) was an American cellist and conductor —one of two
American-born conductors to gain positions as music directors of major symphonic orchestras.
Wallenstein played cello for SFS, Los Angeles Philharmonic and CSO before becoming
T o sc a n i ni ’ s pr i n c i pa l i n 1929 . He was appointed to the Los Angeles Philharmonic in 1943.

74
Isabel Morse J one s, “ W a l l e n st e i n Li st s B r i l l i a n t O f f e r i ng s f o r P h i l h a r m oni c T w i n O p e ni ng , ” Los Angeles Times, November 11, 1945.

75
“ S h a r ps a n d F l a t s, ” Los Angeles Times, February 17, 1946,

76
He was organist at Occidental during this era.

77
Isabel Morse J one s, “ I t ’ s a Mus i c a l S um m e r f o r S o ut he r n C a l i f o r n i a n s, ” Los Angeles Times,
June 9, 1946.

78
Jester Hairston (1901-2000) was an American composer, songwriter, arranger and conductor
who wrote the well- know n “ A m e n” go sp e l t he m e f r om t he f i l m Lilies of the Field (1963). The
grandson of slaves, Hairston was educated at Tufts and Julliard and was a founding member of
Screen Actors Guild who lived and worked for many years in the Los Angeles area. He so loved
choral music and gospel music traditions passed down through his family, that he taught as a
g u e st i n m a ny L A U S D h i gh sc hoo l s d ur i ng t he 1970s, i m pa r t i n g w h a t he c a l l e d t he “ a ut h e n t i c ”
way to perform African-American spirituals.

79
“ C h oi r F e st i v a l S e t f o r T o d a y , ” Los Angeles Times, December 2, 1949.

24

Swan became the chair of the music department at Occidental College
80
and also served
as president of CCG from 1944-45.
81

In early 1950, Swan participated in the Presbyterian evangelistic movement that
was kindled by Presbyterian moderator, Clifford Barbour. Swan presented the Occidental
College Glee Club at a large service at Pasadena Presbyterian Church,
82
in addition to
c o n duc t i n g B a c h’ s Mass in B-moll with his church choir as well. Swan presented also a
Messiah i n 1954 s po n s o r e d by t h e M us i c i a ns ’ C l u b o f P o m o na Va l l e y a t t h e L a Ve rne
Church of the Brethren,
83
and again in 1958 with more than 200 voices at Thorne Hall on
the Occidental College campus —the s t a gge r i n g n u m be r i n t hi s i s t h a t gi v e n Oc c i de n t a l ’ s student body at the time, 200 students was equal to one out of every seven students at the
college participating in this production of Messiah.
84
But one of the most interesting
p i e c e s f r o m t hi s de c a d e o f S wa n’ s c a r e e r wa s pe r ha ps t h e a ppe a r a n c e f o r “Monday
Evenings on the Roof. ”
85
The Monday Evening Concerts are known for their unexpected
programming, and so out of the ordinary was programming a college glee club, the

80
John R o c kw e l l “ Jo a n of A r c a t O c c i de n t a l , ” Los Angeles Times, May 8, 1971.

81
Whitman, 74.

82
William A. Mo s e s, “ F i r e o f E v a nge l i s m K i nd l e d b y P r e sb y t e r i a n Mode r a t o r , ” Los Angeles
Times, January 9, 1950.

83
“ T h e M e ss i a h w i l l b e pr e s e n t e d a t L a V e r ne , ” Los Angeles Times, February 14, 1954.

84
“ C o l l e ge S t ude n t s w i l l P r e s e n t ‘ T he Me ss i a h , ’ ” Los Angeles Times, December 7, 1958.

85
Founded in 1939, the historic Monday Evening Concerts in Los Angeles are one of the longest
running music series in the world devoted to contemporary music. This series saw the American
debut of Pierre Boulez, as well as the world premieres of Stravinsky, Webern, and Schoenberg. It
was and continues to be a spectacular representation of the adventurous musical culture that exists
in Los Angeles.
25

appearance was reviewed by the Los Angeles Times. Swan programmed pieces from
B a c h to M i l ha ud ; t h e l a t t e r ’ s c a n t a t a , Naissance de Venus written in 1949 makes this
1952 performance most likely a west coast premiere, although that was not confirmed in
the review. Swan also performed works by Paul Creston written in 1944 and John Klein
written in 1946, all relatively new at the time. He paired it with works by Bach, Arne,
Brahms, and Willbye.
86
The Occidental College Glee Clubs received an outstanding
review. W a l t e r A r l e n c a ll e d S wa n a n “ e x c e l l e n t c on duc t o r , ” a n d s a i d t h a t t h e c h o r us “ ga ve a m p l e e vi de n c e o f a n exemplary discipline which showed in flawless vocal attacks
and releases, in a full-bodied tone and a surprisingly clear and precise diction usually
found only in professional gro ups . ”
87
Swan closed the decade by recording with his
Occidental College Glee Clubs with Bruno Walter and the Los Angeles Philharmonic for
Columbia Records,
88
at the behest of Walter in 1958-59
89
and by receiving the first of his
many honorary doctorates, the first from Pomona College, which conferred an Honorary
Doctor of Music degree on him in 1959.
By 1960, Swan was much in demand all over the country and he retired from
Pasadena Presbyterian Church; however, he immediately founded the Chapel Choir of
Occidental College at the request of then president of the school, Arthur Coons. Later in

86
W a l t e r A r l e n , “ C h o r a l C o nd uc t o r s G ui l d t o Me e t a t S C S a t u r d a y , ” Los Angeles Times, January
10, 1952.

87
Ibid.

88
Swan and Fowler, Conscience of a Profession, 4. Swan and the Occidental Glee Clubs recorded
both the Alto Rhapsody and Schicksalslied of Brahms.

89
George Klump, "Letters." The American Organist 41, no. 1 (January 2007).

26

his career, Swan acknowledged that if he had not worked under such creative presidents
throughout his tenure at Occidental, he might not have had the latitude to continually
change and create curriculum as he grew as an educator.
90

Swan kept up his usual busy schedule throughout the decade of the 60s, which
included a presentation of the Glee Clubs ’ 75 voices at the Burbank Council of United
Church Women;
91
a concert tour of the Occidental Glee Club in 1961 of central and
northern California – a sure-fire recruitment trick used by many after him;
92
he served as
the first president of the Western Division of ACDA from 1964-67;
93
he was a member
o f t h e S o u t h e r n C a l if o r ni a C h o r a l M us i c A s s o c i a t i o n ’ s B o a r d o f D i r e c t o r s ,
94
for whom he
presented the preview of the LAMC 1966-67 season
95
at the Blue Ribbon Room of the
Dorothy Chandler Pavilion;
96
and Swan concertized with the Glee Clubs in Redondo
Bea c h i n a dd i t i o n to b e i n g a pa n e l m e m be r f o r t h e L A B a c h F e s t i v a l ’ s 3 3rd Annual

90
R a sm uss e n , “ H o w a r d S w a n , ” 20.

91
“ O xy G l e e C l ub t o S i ng a t B ur ba n k , ” Los Angeles Times, Apr 24, 1960.

92
“ O xy G l e e C l ub P r e pa r e s f o r C o nc e r t T o ur , ” Los Angeles Times, January 22, 1961.

93
Swan and Fowler, Conscience of a Profession, 5.

94
SCCMA was the original governing body of the Los Angeles Master Chorale, along with the
Los Angeles Junior Chamber of Commerce.

95
“ P r e vi e w S l a t e d by C ho r a l U ni t , ” Los Angeles Times, December 5, 1966.

96
Dorothy Chandler Pavilion is a large 3200-seat performance hall on the campus of the Los
Angeles County Music Center built in 1964 in the heart of downtown Los Angeles. DCP was the
home of both the Los Angeles Philharmonic and the Los Angeles Master Chorale until 2003
when Walt Disney Concert Hall opened on the south end of the Music Center. It is now occupied
by the Los Angeles Opera, although the offices of LAMC remain on the 5th floor of the building.

27

Symposium in 1967.
97
In a Los Angeles Times blurb advertising Swan and the
Occidental Glee Clubs for a performance, Robert Shaw was quoted saying that
Occidental was , “ o n e o f t h e finest collegiate choral ensembles in America. ”
98
And
finally, in 1969, in addition to being invited by the City of San Pedro to sing for their
Chamber of Commerce, Swan and Occidental were invited to represent the United States
at the second International University Choral Festival held at Lincoln Center in New
York.
99

One of the more interesting highlights of the 60s decade for Swan was receiving a
Ford Foundation Award in 1962; as did Charles Hirt at USC and Gregg Smith
100
—these
awards of $10,000 each permitted the directors to engage singers, employ special
instruments, or obtain scores not readily available; they could also increase their skills by
travel and study for specific objectives.
101
Swan used the opportunity the Ford
Foundation grant afforded him to take a leave of absence from Occidental College and
study the choral techniques of Robert Shaw, Roger Wagner, Robert Fountain,
102
Paul

97
“ B a c h F e st i v a l t o O pe n S a t ur d a y , ” Los Angeles Times, November 6, 1967.

98
“ O c c i de n t a l S i nge r s a t 2n d B a pt i st , ” Los Angeles Times, Apr 25, 1968.

99
Walter Arlen, “ A dde nd a , ” Los Angeles Times, March 16, 1969.

100
Gregg Smith conducted a professional ensemble, the Gregg Smith Singers, successfully for
many years.

101
“ M usi c N e w s, ” Los Angeles Times, June 24, 1962, A23.

102
Robert Fountain (1917-1996) was conductor at the University of Wisconsin and Oberlin
College, eventually becoming Dean of the Conservatory at Oberlin.

28

Christiansen,
103
Margret Hillis,
104
and Gregg Smith. He also traveled to Europe and
attended concerts in Paris, Barcelona, Munich, and London, along with festivals in
Florence, Vienna, and Wales.
105
Swan also served as the very first Western Division
Chairman of ACDA from 1964-67;
106
the title switched to president in 1967.
The 1970s brought with it a different kind of decade for Swan. 1971 was filled
with what could only have been elation over his visit with Dr. Henry Rubin, an eminent
laryngologist in Beverly Hills who i nj e c t e d s i li c o n i n t o S wa n ’ s c o l l a p s e d v o c a l f o l d, allowing for the first time since 1933 S wa n’ s two cords to vibrate normally against each
other to create sound.
107
His high “squeaky-sounding ”
108
voice lowered to a more normal
level and allowed him to speak with more power – probably more noticeable to Swan
than anyone else as he had grown used to making sound with only one cord.
109
Swan
himself actually credited the loss of his instrument as the very reason he wound up as a
choral director:

103
Paul Christiansen (1914-1997) was the youngest son of acclaimed choral pedagogue, F.
Melius Christiansen. Paul conducted the Concordia Choir, developing into a renowned
organization.

104
Margaret Hillis (1921-1998) was the founding director of the Chicago Symphony Chorus from
1957-1998. She was also the first woman to conduct the Chicago Symphony Orchestra and one of
the founding directors (along with Roger Wagner and others) of the Association of Professional
Vocal Ensembles now known as Chorus America (since 1993). She was the winner of nine
Grammy® awards.

105
Rasmussen, “ H o w a r d S w a n , ” 27.

106
Swan and Fowler, Conscience of a Profession, 5.

107
Jack Boe t t ne r , “ P r e a c he r o f Mus i c , ” Los Angeles Times, February 14, 1974.

108
S w a n ’ s ow n de s c r i pt i on o f hi s vo i c e d ur i ng h i s i n t e r vi e w w i t h G o r don P a i ne i n 1988.

109
Rasmussen , “ H o w a r d S w a n , ” 20.

29

T h e r e ’ s pr o vidence in this whole picture. If I had stayed in solo work, I wouldn ’ t have amounted to very much. But because this happened to me, a number of
things developed. In the first place, I went a lot of places trying to get my voice
fixed up. I read everything I could get my hands on concerning the working of the
voice. I really went into it. And if I do say so, at that time I think I knew as much
about the voice as anybody. . . . I t hi n k b e c a u s e I c o ul d n’ t i ll us t r a t e wi t h my o wn voice, I had to find words to do it. I think this made my pupils a lot more
independent. I j u s t di d n’ t s i t i n a c o r n e r a n d s a y do i t this way and open up my
mouth.
110

Swan credited his loss of voice also for his drive to know more about the voice and be
better as a director.
111

Also in 1971, Swan faced mandatory retirement (he was 65 at the time) at
Occidental College. S wa n ’ s f i na l c o nc e r t a t i n 197 1 , pr e s e n t e d H o n e gge r ’ s dr a m a t i c oratorio, Joan of Arc at the Stake at Thorne Hall. The production was fully staged by
Alan Freeman
112
and served as the second half of a program that started with the
Occidental Glee Clubs singing Renaissance through Romantic era choral styles. John
Rockwell of the Los Angeles Times c a l l e d t h e Ho n e gge r “ da r i n g a n d o r i g i na l ” a n d we n t o n to s a y t h a t S wa n ’ s c h o r us a n d o r c h e s t r a pe r f o r m e d w i t h “ s upe r b s t r e n gt h a n d s u b t l e a c c ur a c y . ” He go e s o n to s a y t h a t t h e f i r s t h a l f o f “ g l e e -cl u b n o s t a l g i a ” wa s f il l e d w i t h
110
Ibid.

111
It should be noted that in the primary sources there is a conflict regarding the timeframe of
S w a n ’ s si l i c on t r e a t m e n t . Rasmussen reported it as 1965, but Jack Boettner of the Los Angeles
Times reported it as 1971. I chose Boettner not only because he was a professional journalist with
a major newspaper, but also because he directly quoted Howard Swan in the article in regard to
the timeframe. Mo st of t he f a c t s h a ve b e e n c he c ke d i n r e g a r d t o so ur c e s usi ng bo t h R a sm uss e n ’ s
paper and many articles and blurbs in the Los Angeles Times.

112
Alan Freeman is Professor Emeritus of Theater at Occidental College now on special
assignment at the college in the 2011-12 academic year. Freeman has staged plays and music
events at Occidental since he was a student in the 60s and was on faculty from 1969-2010.

30

“ n o t e-perfect precision and infectious spirit, unforced and focused in tone and minutely
v a r i e d i n d y na mi c r a n ge . ”
113

Following his retirement from Occidental College, Swan and his wife Katherine
moved to Newport Beach, and he planned to take it easy and do some writing;
114

however, this turned out not to be the case. In 1971, at the urging of some graduate
students, Dave Thorsen
115
approached Swan regarding a teaching appointment at Cal
State Fullerton,
116
which Swan accepted, and he agreed to be in charge of graduate
studies at CSUF from 1971-72. He was asked to continue at Fullerton. In the meantime,
Swan noted that many of his graduate students had difficulty fulfilling the ensemble
participation requirement of the program because most of them had full-time positions as
teachers during the day. Swan founded the University Chorus at Fullerton in order to
accommodate his students with a chorus that rehearsed at night.
117
Swan also conducted
an elite chamber singers group at Fullerton, in addition to developing curriculum to teach
choral literature and choral methods while at CSUF, and he stayed at the school for six
years until 1977.
118
Swan was also recognized as the outstanding teacher in 1971 by the
Na t i o n a l T e a c h e r ’ s F o un da t i o n . I n 1974, along with his 1959 honorary doctorate from

113
John R o c kw e l l , “ Jo a n o f A r c a t O c c i de n t a l , ” Los Angeles Times, May 8, 1971.

114
Jack B oe t t ne r , “ P r e a c he r o f Mus i c , ” Los Angeles Times, February 14, 1974.

115
David Thorsen was the director of choral activities at California State University Fullerton in
the 80s; he was nationally recognized for his excellent choirs and his expertise in choral methods.

116
Boettner, “ P r e a c he r o f Mus i c . ”

117
Rasmussen, “ H o w a r d S w a n , ” 22.

118
B oe t t ne r , “ P r e a c he r o f Mu sic. ”

31

Pomona, a n d Oc c i de n t a l ’ s a ppe a r a n c e a t L i n c o ln Center in 1969, Swan named his
national teaching award as one of the three highlights of his career.
119

During the early 70s, Swan was much in demand as a guest conductor, lecturer
a n d c li n i c i a n f o r o r ga ni z a t i o n s li ke M E NC ( M us i c E duc a tor ’ s Na t i o n a l C o nf e r e n c e )
120

for whom he conducted a 250-voice all-state honor choir at their 1974 annual convention
in Anaheim,
121
in addition to appearing at the 1974 Texas Music Educa t or ’ s c o n v e n t i o n in Houston to conduct a 240-voice all-state high school honor choir, and he also appeared
in Wisconsin, Arizona and Idaho.
122
Swan was a featured clinician at the Aspen Music
F e s t i v a l ’ s s i x -week choral institute in the summer of 1970,
123
alongside Robert Shaw,
Robert Fountain, Julius Hereford, Jorge Mester
124
and Alice Parker,
125
where they

119
Ibid.

120
Now known as National Association for Music Education (NAME) as of September 1, 2011
(ACDA, 2011) http://www.choralnet.org/294077 (accessed on November 4, 2011).

121
B oe t t ne r , “ P r e a c he r o f Mus i c . ”

122
Ibid.

123
“ A l u m ni S e m i n a r S c he d u l e d , ” The Baltimore Sun: May 19, 1970.

124
Born in 1935, Mester was music director of the Aspen Music Festival from 1970-90, in
addition to being the director of the Pasadena Symphony from 1984-1998. He is now directing
the Mexico City Philharmonic Orchestra, the Naples Philharmonic Orchestra and has returned to
the Louisville Orchestra, where he started in 1967.

125
Alice Parker (b. 1925) is world renowned for her choral arrangements and compositions. For
many of them she partnered with Robert Shaw.

32

performed works by Bach and Beethoven
126
in addition to appearing at the Claremont
Music Festival that same summer.
127

Swan also participated with Robert Shaw and Paul Salamunovich
128
as guest
conductors of the workshop participants with a choral nucleus of the Los Angeles Master
Chorale (Roger Wagner, music director, also conducted) for a week long choral
workshop at UCLA which was designed to provide an opportunity for singers and
conductors to study with master teacher-conductors.
129
T h e “ C h o r a l S pe c t a c u l a r ” a s Martin Bernheimer
130
dubbed it in his review in the Los Angeles Times dated July 3,
1972, reported that Roger Wagner conducted the Duruflé Requiem in a wheelchair from
the podium (owin g t o a b a c k a i lm e n t ) a n d “ c o n duc t e d i t b e a ut i f u l ly . ” A c c o r di n g to B e r nh e im e r ’ s r e vi e w, S h a w c o n duc t e d B a c h ’ s Cantata No. 4 ( “ C h r i s t l a g i n T o de s b a n d e n ” ) ; S a l a m u n o vi c h c o n duc t e d Ha y d n’ s Te Deum; and Howard Swan the
B r a hm s ’ Schicksalslied. B e r nh e im e r c a l l e d S wa n a “ m a s t e r m i nd o f c h o r a l m us i c ” i n hi s review, and further stated t h a t t h e di r e c t o r o f “ c h o r a l m u s i c a t Oc c i d e n t a l C o l l e g e f o r more than 25 years [is] a specialist with few peers, ” and that his performance of the

126
Raymond Ericson, “ La D o l c e V i t a —E Mus i c a l e , ” New York Times, June 14, 1970.

127
“ D a t e s, F a c ul t y C h o s e n f o r 2
nd
Mus i c I n st i t ut e , ” Los Angeles Times, May 10, 1970.

128
Paul F. Salamunovich (b. 1927), nationally renowned choral conductor, was at the time the
assistant conductor of LAMC and had sung for Wagner since he was a boy soprano at 11 years
ol d i n S t . Jo se p h ’ s B oy s C ho i r .

129
“ U C LA S l a t e s 2 F i ne A r t s P r o g r a m s, ” Los Angeles Times, June 18, 1971.

130
Martin Bernheimer was the Pulitzer Prize-winning chief music and dance critic at the Los
Angeles Times from 1965-1996. He won the Pulitzer Prize for Criticism in 1982 and was known
in LA music circles as a brilliant writing with an acerbic pen.
33

Brahms “ i n t roduced mellow romanticism and dynamic subtlety. ”
131
Those who are
f a mi l i a r w i t h B e r nh e im e r ’ s a c e r bi c w i t a n d a bi li t y to publ i c a l ly de s t r o y s o m e o n e i n a single sentence will readily recognize his statements about Howard Swan as incredibly
high praise.
In 19 73, S wa n c o n tr i b ut e d a n a r t i c l e t o Ha r o l d De c ke r a n d J u l i u s He r e f o r d’ s book, Choral Conducting: A Symposium on the subject of choral production, methods
and tone. In it Swan condensed the different choral tones in the United States into six
schools of thought, including how the tones were produced and how it reflected the
philosophies of the conductors who used them. For decades after the article was written,
conductors have continued to refer to it in journal articles, books and certainly at
conventions and presentations.
132
It is a well thought out collection of the schools of
thought that branded the area of American choral music from the 1940s-1970s, and is still
a us e f u l t oo l t o da y i n i d e n t i f yi ng t h e c h a r a c t e r i s t i c s o f a c h o i r ’ s sound and the philosophy
of the conductor who produces it.
Swan worked with Wagner at UCLA in 1982 for a conducting workshop designed
just for women. Brought about through an NEA grant to the Los Angeles Master Chorale,
W a g ne r pr o duc e d a w o m e n’ s c o n duc t i n g wo r ks h op t h a t a l l o we d p articipants to work
with Wagner, Swan and Margret Hillis from CSO and like the workshop from a decade

131
Martin B e r nhe i m e r , “ C h o r a l S pe c t a c ul a r a t U C LA , ” Los Angeles Times, July 3, 1972.

132
Bill McMillan, “Choral Tone: A Decision , ” Choral Journal 39, no. 3 (March 1998): 43.

34

earlier, culminated in a performance with the participants and LAMC at UCLA
conducted by Hillis, Wagner and Swan.
133

S wa n c o n duc t e d B r a hm s ’ Requiem in 1975 at Cal State University Fullerton that
met with a tremendous review in the Los Angeles Times by Richard Slater. I t “ pr o v e d to be one of those occasions that makes the listener glad choral conductors, unlike old
sol d i e r s , n e v e r f a de a wa y . ”
134
He went on t o s a y t h a t t h e “ c h o r us s a n g w i t h s e a ml e s s blend, near perfect balance and a color palette which deftly matched every textual
nuance. T h e r e wa s n o l o s s o f c h o r a l f o c us i n e v e n th e m o s t c l im a t i c pa s s a ge s . ” Swan
also conducted a sing-along Messiah at El Camino College in 1976
135
and in an
interesting Los Angeles Times piece, announcing Pink Floyd, folk musicians from
Mexico, a n d H o wa r d S wa n ’ s C S U F c o n c e r t s a l l i n o n e gr a ph , r e f e r to S wa n a s “ No t e d
American choral conductor. ”
136
S wa n a l s o c o n duc t e d Ho n e gge r ’ s King David with a
250-voice chorus and full symphony orchestra for the Church Music Exploration
Conference at the Garden Grove Community Church
137
in 1979. The review in Los

133
Daniel C a r i a g a , “ W a r m - up f o r B ow l O p e n i ng , ” Los Angeles Times, June 30, 1974,

134
Richard Slater, ‘ G e r m a n R e q u i e m ’ a t C a l S t a t e F ul l e r t on , ” Los Angeles Times, May 28, 1975.

135
“ S i ng-Along Messiah S e t , ” Los Angeles Times, November 21, 1976.

136
“ P i nk F l oyd a nd F o l kl o r i c C onc e r t s S l a t e d i n C o u n t y , ” Los Angeles Times May 6, 1977.

137
The Garden Grove Community Church, founded in 1955 by Robert H. Schuller and built in
1961, be c a m e t he “ C r y st a l C a t h e d r a l ” w he n t he ne w sa n c t ua r y w a s bui l t i n 1977 a n d c om pl e t e d in 1980. At this writing, the church is in Chapter 11 with both Chapman University and the
Roman Catholic Diocese of Orange bidding on the property.

35

Angeles Times stated that the chorus was the combined forces of the singers attending the
conference combined with the Hour of Power choir.
138

Under the best of circumstances, a work of the length, harmonic complexity and
contrapuntal intricacy of King David should have weeks of preparation. To
perform it after only four days of rehearsal, and with as few tenuous moments as
were discernible on this occasion, was a remarkable feat.

T h e r e vi e w we n t o n to s a y t h a t S wa n “ c o a x e d a gr e a t de a l o f pr e c i s i o n , r e a s o n a bl y go o d d i c t i o n a n d a ge n e r a ll y s m o ot h bl e n de d s o un d” w i t h t h e r a gt a g gr o up o f singers at his
disposal.
139

In 1977, Swan was forced once again by the state school system to retire, this
time from California State University Fullerton (CSUF); the same year that Westminster
Choir College conferred on him an honorary doctorate of humanities.
140
However, with
S wa n’ s r e t i r e m e n t f r o m C S UF , University of California Irvine (UCI) saw a golden
opportunity to hire him.
141
Swan agreed to come on board at UCI part-time in the
graduate division where he stayed until 1987.
142
Swan also wrote a book in 1978
entitled, Music in the Southwest: 1825-1950, published by da Capo Press. He also wrote

138
The Hour of Power Choir was the name of the choir that sang at the Crystal Cathedral in
Garden Grove, CA.

139
R i c h a r d S l a t e r , “ ’ G e r m a n R e q u i e m ’ a t C a l S t a t e F ul l e r t on , ” Los Angeles Times: May 28,
1975.

140
Gordon P a i ne , “ H ow a r d S w a n T r i but e .”

141
Ibid.

142
R a sm uss e n , “ H o w a r d S w a n , ” 24.

36

an entry on the music of Los Angeles for The New Grove Dictionary in 1980, published
in 1981.
143

Swan continued to travel in the 1980s, including appearing at the 1981 Hartt
Choral Music Symposium in Hartford Connecticut where he directed the University
C h o r us i n B e e t h o v e n’ s Mass in C and also the Symposium Chorus, which was used as
part of his lecture/demonstration group during the two-week conference.
144
1983 brought
a nostalgic visit to Occidental College as thousands of grads from 1928-1983 gathered to
celebrate their college years. According to Doug Smith in his Los Angeles Times article
o f ’ 83, t w o t r a di t i o n s h e l d up o v e r t h e 45 y e a r s o f c h a n g e s to Occidental: the honor
system and the Glee Club. Smith had this to say:
F o r h un dr e ds o f a l u m n i , t h e hi g h po i n t o f “ T h e W e e ke n d ” c a m e o n S a t ur da y , when Howard Swan, leader of the Occidental Glee Club from 1934-1971,
returned to lead an all-campus sing. Alumni from as early as 1928 and as late as
1983 assembled in Herrick Chapel on the center of campus. . . . Swan greeted his
former students in the white-walled chapel, standing on a massive black terrazzo
podium at the center of three sections of pews a r r a n ge d i n a c r o s s . . . . “ Better
g i v e us s e v e r a l p i t c h e s , we ’ r e o l d e r t h a n we us e d to b e , ” S wa n j o ke d to t h e pianist, “ I c a n’ t h e a r y o u, ” h e [ S wa n ] s h o ut e d . I m m e d i a t e l y , “ h a ll e l u j a hs ” resounded through the chapel and carried to the ends of the campus. It was just as
it had been for half a century.
145

Upon his retirement f r o m UC I i n t h e l a t e 80s , S wa n’ s wr i t i n gs we r e pu bl i s he d i n a book,
Conscience of a Profession: Howard Swan, Choral Director and Teacher. The
introduction of the book was written by Robert Shaw, who admonishes the reader: “If

143
Martin Bernheime r , “ S a m pl i ng t he F r ui t s o f t he N e w G r o ve , ” Los Angeles Times, January 25,
1981.

144
Doris W hi t b e c k , “ U si ng C h o r a l A r t t o C om m uni c a t e , ” The Hartford Courant: July 19, 1981.

145
Doug S m i t h , “ A T h o usa nd O c c i de n t a l G r a d s I n d u l ge i n T r a d i t i on , ” Los Angeles Times, July 3,
1983.

37

you ’ r e i n t e r e s t e d i n b e i ng a be tt e r c o n duc to r , b u y th e b o o k! I f y o u do n ’ t n ot i c e a n im m e d i a t e i m pr o v e m e n t , y o u’ l l a t l e a s t kn o w wh e r e t h e t r o ubl e l i e s . ” The book holds the
c o n t e n t s o f a l i f e t i m e o f t e a c hi n g a n d l e a r ni ng, S wa n’ s p hil o s o phi e s and beliefs all
collected in his writings over the decades, and compiled and edited by John Fowler.
Swan also presented with Robert Shaw at the final session of the 1983 ACDA
n a t i o n a l c o nv e n t i o n i n Na s hvil l e a s e s s i o n e n t i t l e d “ A C a u s e f o r C e l e b r a t i o n . ” In his
address, he summed up his beliefs on the role of inspiration in choral music by stating:
We can lead at times, but we also have to follow. I think that this is the very
essence of society. As choral musicians and teachers, we bear the unique, joyful
and solemn responsibility of keeping these lessons meaningful for all our
singers.
146

The ACDA honored Swan in 1987 by dedicating its national convention in San
Antonio, Texas to him, and in 1986 he was awarded by Occidental College an honorary
doctorate in music. In 1989, he was lauded w i t h a c o l l e c t i o n o f e s s a y s c a ll e d, “ F i ve Centuries of Choral Music: Essays in Honor of Howard Swan, ” publ i s he d by P e n dr a go n Press.
147
As the 90s approached, Swan did slow down a bit upon his retirement from UC
Irvine; he and his wife retired to the Presbyterian Regents Point assisted living in
Irvine —where of course he founded a volunteer chorus!
148
He still appeared at ACDA

146
Rasmussen, “ H o w a r d S w a n , ” 1.

147
Swan again worked with Wagner at UCLA in 1982 for a conducting workshop designed just
for women. Brought about through an NEA grant to the LA Master Chorale, Wagner produced a
w om e n’ s c ond uc t i ng w o r k sho p t h at allowed participants to work with Wagner, Swan, and
Margret Hillis from CSO and, like the workshop from a Decade earlier, culminated in a
performance with the participants and the LAMC at UCLA conducted by Hillis, Wagner, and
Swan.
147

148
Ibid.

38

conventions and the occasional workshop or clinic, but he tended to stay a bit closer to
home. He was presented with the Robert Shaw Choral Award in the spring of 1995 in
recognition of outstanding accomplishment and distinguished service to the art of choral
music; Charles Hirt was the very first recipient in 1991, and Roger Wagner received it
posthumously in 1993.
Howard Swan passed away at the age of 89 in Irvine, California on September 18,
1995. As part of its 40th anniversary celebration, the Fresno Community Chorus
de d i c a t e d i t s pe r f o r m a n c e o f B a c h ’ s B minor Mass to him. The Fresno Bee reported that
the c o n c e r t wa s i n “ h o n o r o f t h e l a t e Ho wa r d S wa n wh o pr o f o un d l y i nf l ue nc e d t h e c h o r a l traditions of California in his position as choral director at Occidental College. ”
149
Gary
Unruh, director of the Fresno Community Chorus and of choral activities at California
State University Fresno at the time, wa s a n ot e d s tuden t o f S wa n ’ s f r o m Oc c i d e n t a l College, where Unruh matriculated as an undergraduate.
As might be surmised from the previous biographical information about the body
of work over his lifetime, there have been few who worked as hard or were as dedicated
to the choral arts as Howard Swan. The sheer number of students with whom he worked
and inspired in his almost 60 years of teaching —many who have gone on to teach the
concepts of Swan which are now seen in the third generation of choral music educators.
On a national level, his name still arises in collegial circles, and at ACDA conventions,
between colleagues of all types of organizations. In the recent Choral Journal, national

149
Larry W a r k e n t i n , “ C h o r us W i l l C e l e br a t e 40t h by S i ngi ng B Mi no r Ma ss , ” The Fresno Bee:
November 19, 1995. http://nl.newsbank.com/nlsearch/we/Archives?p_action=list&p_topdoc=31
(accessed November 2, 2011).

39

President Jo-Michael Scheibe
150
listed Swan along with Hirt, Wagner and a few others as
“ c a us i ng a n e x p l o s i o n i n t h e c h o r a l m u s i c wo r l d, ” a n d i n t h a t c o n t e x t we r e i nf l ue nc e s upon Scheibe. At t h e Uni ve r s i t y o f S o u t h e r n C a li f o r ni a , Ho wa r d S wa n ’ s c o n c e pt s a r e s t i ll t a ugh t t h r o ugh S wa n ’ s article on the six choral schools of t o n e i n De c k e r ’ s b o o k . In Los
Angeles, Swan is still mentioned not only in the classroom, but also in conversations
between conductors; it is impossible to think about choral music in Los Angeles and its
rich history without thinking of Howard Swan among others. But those are more personal
observations of someone who has been involved in this classical music scene most of her
adult life.
Let us then look at something more tangible —at the writings of Howard Swan to
examine his ideas and then determine if any of his teaching concepts, ideas, inspirations,
founded organizations or even choirs are still operating i n t o da y ’ s L A c h o r a l c u l t ur e .
Since 1985, the California Chapter of ACDA has recognized outstanding choral
directors who are retired from full-time conducting. The Howard S. Swan Award is given
as a prestigious lifetime achievement award to a conductor in honor of Howard Swan,
wh o i s o f c o ur s e s t i ll r e c o gni z e d i n t h e s t a t e a s “ De an of American Choral Directors. On
the page of their website that explains the meaning of the award and announces each
y e a r ’ s w i nne r s i n a dd i t i o n to l i s t i n g a l l t he w i nn e r s s i n c e 1985, C a l if o r ni a A C D A s t a t e s :
It is nearly impossible to overemphasize the far- r e a c hi ng e f f e c t s o f hi s [ S wa n’ s ] artistic command, powerful personality, and humanitarian spirit. . . . The
Occidental College Glee Clubs under his direction gained national stature,
performing with exquisite tone quality and electric communication. Dr. Swan

150
Jo-Michael Scheibe, DMA, is currently the national president of ACDA and chair of the
Department of Choral and Sacred Music at the University of Southern California. He is also a
native of Los Angeles and grew up in the choral tradition in this city.
40

became the mentor of multiple generations of choral directors. Conductors from
all over the country would come to study with him at Occidental, and
subsequently at Cal State Fullerton and UC Irvine. His integrity, high view of the
artistic/human role of the choral director, and compelling ability to challenge and
inspire students and colleagues to greater vision and higher standards awakened
the collective conscience of the choral world. It is for this reason that the book
containing his writings and speeches is entitled, Conscience of a Profession:
Howard Swan, Choral Director and Teacher.
151

From this information, it is clear that Swan is still recognized in 2011 for his many
contributions to choral music and this acknowledgment is reiterated each year with the
naming of a recipient in his honor: a conductor of stature in his or her own right who has
demonstrated the same kind of dedication and integrity to the choral arts for which
Howard Swan set the example.
T h e C h o r a l C o n duc t o r ’ s Gui l d, a n o r ga ni z a t i o n f o r whi c h Ho wa r d S wa n wa s a co-founder in 1938, has of course changed its name, but does still exist today; nine out of
ten national chapters of this organization still exist in southern California, so one might
surmise that this has something to do with the traditions of this institution handed down
by the founders —namely Swan and Hirt.
The Southern California Vocal Association, established in 1939 by several
prominent members of the Los Angeles choral music scene including Howard Swan,
Charles Hirt, Joe Klein, and Ray Moremen,
152
is still very active in 2011. The
organizational structure of SCVA influenced many other professional choral

151
California ACDA website, http://acdacal.org/swan.htm (accessed November 6, 2011).
152
Je n ni f e r S t a n l e y , “ H i st o r y o f S C V A F e st i v a l s, ” 2011 , http://scvachoral.org/history.html
(accessed February 6, 2011).
41

organizations including ACDA.
153
One of the original purposes of SCVA was to provide
festivals so that local choirs could share their skills and hear other choirs in a non-
competitive setting – this was specifically the influence of Howard Swan and Charles
Hirt, who both saw a need for this type of educational environment.
154
This system of
festivals, and SCVA itself is still in use today: a volunteer host schedules the festival for
choirs of equal educational level and the choirs are evaluated by two certified
adjudicators while all the choirs hear the performances. The original adjudication form,
which included categories on interpretation and artistic effect, intonation, accuracy,
rhythm, tone, diction, presentation and appearance, was written by Swan and Hirt, is also
still in use. In 2010, there were 45 SCVA festivals for middle school and high school
concert choirs, as well as specialized festivals for show choirs and vocal jazz. SCVA
continues to offer annual adjudicator certification workshops.
155
The festivals are still
po pul a r e n o ugh i n t o da y ’ s li m i t e d r e s o ur c e c l im a t e to a tt r a c t southern Californian schools
to participate, a testament to the advanced thinking of both Swan and Hirt in the late 30s
to have seen a need for such an organization and to have founded it.
From his first book, Music in the Southwest to the Conscience of a Profession to
the collected essays published in his honor , S wa n ’ s wr i t ing, speeches and ideas are all a
testament to the m a n’ s a ppr o a c h n o t o nl y t o c h or a l m u s i c , b ut also the body of his work is
the guide to his philosophy of life. So revered was he that others took up the void left

153
Ibid.

154
Ibid.

155
Ibid.
42

behind to write essays in the style of the thoughtful and thought-provoking manner of the
man himself. Is there a greater tribute than emulation?
In his dissertation on Howard Swan, Rasmussen says that Swan contributed to
music education on three basic levels: inspiration, evaluation and guidance, and he
makes his case by outlining S wa n’ s a bil i t y t o i ns p ir e t h e m a s s e s o f hi s c l a s s e s , a t
conventions and clinics; his role as evaluator through his work with his students and in
t h e b r o a de r s c o pe o f m a ny i n t h e pr o f e s s i o n t hi n k in g o f hi m a s “ t h e c o n s c i e n c e ” o f us a ll ; and as a guide to many, whether in the form of a teacher in a classroom setting or as one
who assisted all and sundry to the formulation of their own thoughts by providing a
thoughtful framework. While no issue is taken with any of these facts on any level, it
seems that one might go even further i n vi e w i ng S wa n’ s c o n t r i b ut i o n s as meaningful and
everlasting – to be fair, it is acknowledged that this paper has more than 20 additional
y e a r s w i t h whi c h t o s e pa r a t e a n d vi e w S wa n’ s wo r k in a less attached way.
I n b e t t e r un de r s t a n d i ng S wa n’ s c o n t r i b ut i o ns a n d e v a l ua t i n g w h e t h e r t h e y c a n be considered as definitive toward the development of choral culture in Los Angeles, we
h a v e o nly t o l o o k a t t h e m a n’ s o wn philosophies with fresh and open minds. For
example, as early as 1947, when he spoke at the Redlands Church Music Conference, he
reminded all in attendance of some basic values that he held dear. To the point, his
s e s s i o n wa s e n t i t l e d, “ E t hi c s a n d C h ur c h M us i c , ” i n w hi c h h e n o t o nl y to l d hi s a udience
of church musicians that “ a l l f o r m s o f a r t m us t c o n t i n ue to g r o w o r di e ; ” t h a t “ o f a ll professions the art of making church music is related rather definitely to the character and
43

personality of the person producing it. ”
156
Swan went on to say that at one time church
music was noble and honorable, and then it was flooded with secular influence and
perhaps went too far in that direction, but that it was experiencing a Renaissance with
conductors looking to Bach, Palestrina and Russian composers to once again give an
“ o t h e r wor l d ly ” element to music-making.
157
He also gave his audience something to
chew on in telling them it is better to meet with and know colleagues so as not to judge
them but rather to want to find the good in them and their work. Swan made it clear that
t h e r e l a t i o ns hi p w i t h o n e ’ s c o l l e a gue s i s i nc r e d i bly i m po r t a n t , t h a t o n e s h o u l d “ t a ke e v e r y opportunity to meet with colleagues , ” to “ c u l t i v a t e t h e a bil i t y t o l i s t e n to t h e i d e a s o f ot h e r s , ” a n d “ s h a r e y o ur o wn i de a s with them .” He then explained his own meeting once
a month with eight of his colleagues in Los Angeles, describing the value in such
gatherings.
Swan goes on to suggest that there is tremendous value in developing a standard
o f e t hi c s a n d t h a t o n e i s “ pr o f e s s i o na l ” t h r o ugh h is or her approach to responsibilities; be
idealistic yet practical. He also left them with a guide to ethics, which have been
paraphrased below:
1. Have an unswerving faith in the power of music.
2. It is important to understand that the profession is greater than self.
3. Through competence one finds assurance.

156
Howard S w a n , “ E t h i c s a nd C h ur c h Mus i c , ” Church Music Series 1, no. 1 (1947): 30-40.
157
Ibid.
44

4. By knowing and understanding colleagues, one can welcome their
criticism, share knowledge with them and appreciate their work.
5. Beauty is enhanced and developed if in the creator of beauty exists
imagination, optimism and forgetfulness of self.
And finally in this lecture, Howard Swan, completely unaware at the time of his place in
choral history, but as he often did, speaking from the heart and out of great understanding
o f t h e po we r o f pa s s i o n h e s a i d: “ If what we have is a profession, then it must have
ideals and standards with which to regulate itself; traditions and beliefs held by such
individuals who practice the profession will develop as a tradition. We have the
responsibility for developing such tradition. ”
And without thinking of it as something that would be reviewed or read 64 years
later, Howard Swan handed the members of his profession then and now a formula that if
followed even loosely, taking into consideration the societal changes that come with
generations that have passed, for not only a code of honorable conduct within a
profession, but more importantly, a code that creates a harmonious, nurturing, caring,
thought-provoking and principled culture in which to create beautiful art. I t ’ s h a r d to
think of a better gift of legacy to the generations of students and colleagues that have
followed him than something so simple yet so elegant.
In 1987 at the ACDA national convention that was dedicated to him, he addressed
the body of membership.
158
He opened with a comment that is frankly timeless, he said:
“ W hy i s i t t h a t s o o f t e n t h e s e da y s we a c c e pt wi t h o ut a ny a r gu m e n t a phi l o s o phy o r a
158
Swan and Fowler, Conscience of a Profession, 7.

45

po i n t o f vi e w whi c h b a s i c a l ly i s u nh a pp y i n i t s t h ough t a n d c o n t e n t ? ” Amen, Dr. Swan.
How true this still seems 25 years later. He goes on to point out that while pessimism is
e a s i e r t h a t d o e s n ’ t m e a n i t i s m o r e “ r e a l . ” He a c kno wl e dge s t h a t t h e “ t i m e s i n w hi c h we li ve ” are partially responsible for a pessimistic spirit (it really could have been written
today, sadly), and he cites that so much in the world seems to have lost its credibility,
such as government, finance, politics and education – t h e pa r a l l e l t o t hi s a n d t o da y ’ s societal issues are slightly astounding. Swan goes on to say that whenever choral
conductors are in the same room together whether its three or three hundred, whether
they are school educators, church musicians or community, semi-pro or professional
choir conductors, there is an atmosphere of pessimism, and he cites specific comments
from conductors with whom he has met, illustrating his point. And then he quotes
Vo l t a i r e t h r o ugh t h e wo r ds o f C a n d i de : “ Opt i mi s m i s a m a ni a f o r m a i n t a i n i ng t h a t a l l i s we l l w h e n t hi n g s a r e go i n g b a d ly . ”
159
He f o l l o ws t hi s t h o ugh t qui c k ly w i t h a n o t h e r : “ t h e optimist proclaims that we live in the best of all possible worlds, and the pessimist fears
t h a t t hi s i s t r ue . ”
160

Swan spends some time going through the definitions of the words optimist,
pessimist, and realist. At the end, he tells us that as he was looking up all of these words
in the American Heritage Dictionary, he discovered a new word, “ m e li o r i s t , ”which he
proceeds to define a s “ o n e w h o b e li e v e s t h a t s o c i e t y ha s a n i nn a t e t e n de n c y t o wa r d
159
Françoise Marie Arout Voltaire, Candide. John Bartlett, Ed. Familiar Quotations 14th ed.
Little and Brown Company, Boston, MA, 1968.

160
James Branch Cabell, The Silver Stallion. John Bartlett, Ed. Familiar Quotations 14th ed.

46

improvement and that this tendency may be furthered through conscious h u m a n e f f o r t . ”
He e x c l a im s t h e n , “ I l i ke t h a t o n e ! ” He takes care to remind us that the woods would be
all but silent if only the birds who sing best are allowed to sing; he reminds us that
because of mutual need there are many opportunities to have the finest of human
relationships; sympathize with failure and rejoice with success; laugh with but not at
others; possessing a shared understanding of the human spirit, we can all be persons. And
if those at the helm desire it, so it will be.
161

Swan closes by reminding us that music is a magic link with something mightier
and larger than ourselves; something that has the ability to express when words fail us;
and finally and perhaps most importantly: that music is not judgmental. It does not know
race, nor color or creed, it does not recognize lesser abilities or wits – it gives to all
according to need. And in the end, if we are to serve music, we must first reflect the
sincerity which is at the very core of m u s i c ’ s purity. In other words: in order to serve
music, we must also serve humankind.
In reading of all the honors bestowed upon him for his work, of studying his
writings and presentations, and his biographical information that demonstrates a tireless
and dedicated servant of the choral arts, the item that is most striking is the unwavering
and united respect of his colleagues. Time and again one reads the statements of
admiration and respect that effervesce from the page like thousands of sparkling stars that
one imagines exist in space. It is this perhaps more than the organizations he founded,
and the adulation he received in critical reviews, and even his writings, which should be

161
Swan and Fowler, Conscience of a Profession, 9.
47

required reading for every working conductor, the things t h a t p o i n t to H o wa r d S wa n ’ s incredible influence upon the choral traditions of not only Los Angeles, but across the
country. In 1987, Robert Shaw, renowned internationally for his choral work wrote:
T h e r e i s n’ t a c h o r a l c o n duc t or a l i ve w h o d o e s n ’ t ha v e s o m e t hi ng t o l e a r n f r o m Howard Swan about the choral craft – or its passengers. He knows so much about
what makes a conductor good and a chorus great – and how to get there from
here —that i t ’ s a b s o l ut e l y my s t i f y i ng w hy b ot h t hi n gs do n’ t h a ppe n m o r e o f t e n .
162

Charles Fowler, in the preface of Conscience of a Profession, said:
T o b e s t o w t h e t i t l e “ c o ns c i e n c e o f hi s pr o f e s s i o n ” o n Ho wa r d S wa n i s to acknowledge his pervasive influence on choral music during his five decades of
service. This compilation of his teachings – drawn from representative lectures,
articles, interviews, conversations and rehearsals – displays his unique style of
communication. His thoughts reveal the quality of the person and provide
concrete testimony as to the reasons so many have learned from him and been
inspired by him.

At another occasion, Shaw w a s r e f l e c t i n g o n S wa n’ s 37 -year career at Occidental and
said:
[Through Howard Swan we have] witnessed the most distinguished and varied
choral repertoire at the highest levels of performance in American collegiate
musical history.

Or this from Gordon Paine:
163

His greatest achievement was not in performance, but in teaching. His choirs and
summer classes drew students from around the country, who carried his gospel far
and wide. He traveled ever more frequently, giving seminars, adjudicating, and
directing honor choirs. Along with a handful of other greats of his generation, he
transformed choral music and conducting into a serious art and profession. . . .
Howard Swan was the most inspirational man I have ever known. Had we never
met, I would be working for the telephone company. . . . It is a once-in-a-lifetime

162
Swan and Fowler, preface to Conscience of a Profession.

163
P a i ne , G o r don . “ H ow a r d S w a n Tr i but e .”

48

gift to know someone like Howard —e s pe c i a l ly i n o n e ’ s y o ut h . How fortunate that
he chose to teach, and that his career was so long and touched so many.

In his 1995 Los Angeles Times obituary, Myna Oliver said not only that Swan was
a n a t i o n a ll y r e c o gni z e d e duc a t o r , a u t h o r a n d c o n duc to r wh o wa s c o n s i de r e d a “ pr e a c h e r o f m us i c , ” b ut a l s o t h a t h e wa s “ a c c e pt e d a s t h e gr a n d f a t h e r o f c h o r a l m us i c i n s o u t h e r n C a l if o r ni a . ” By looking at his accomplishments, it is easy to see that Swan made
undeniable lasting contributions to the traditions and legacy of choral music not only in
Los Angeles, but in the southern Californian region and nationally as well. The fact that
his contributions have been both tangible – in founding organizations like CCG and
SCVA, ACDA, his books and writings, and instituting high school choral festivals in the
1930s – and also intangible – the stories of inspiring and guiding generations of choral
conductors through the finer points of choral music as art : H o wa r d S wa n ’ s c o n t r i b ut i o n s to the choral culture in Los Angeles are unquestionable and unmistakable. His writings,
as this reader certainly experienced, are timeless and have the ability to spark the
imaginations of even the most jaded.
During his interview with Gordon Paine, Howard Swan credited the surge of
choral music in the mid-20
th
century to F. Melius Christiansen and John Finley
Williamson with being two of the reasons that there was such a rise of choral music in the
United States during that time;
164
and if that is so, then it stands to reason that Howard

164
G o r do n P a i ne , “ A n I n t e r vi e w w i t h H ow a r d S w a n , ” ACDA on Location, An Educational Series
for Choral Directors, DVD vol. 2, Oklahoma City: American C ho r a l D i r e c t o r ’ s A ss oc i a t i on , 1988.
.

49

Swan can be credited as one of the reasons for the continued surge of interest in the
choral arts in southern California. S wa n’ s be l i e f t ha t by e duc a t i n g t h e t a x pa y e r s i n t h e
strength and importance of the arts in California education on all levels should continue
to be a cornerstone for choral music not only locally, but also nationally. If America is
ever to have state-supported —and by state, we are really talking about the tax payers –
m us i c pr o gr a m s i n o ur s c h oo l s a n d c o m m u ni t i e s , th e n S wa n ’ s t h o ugh t i s s t i l l v a li d m o r e than twenty years later.
165

On a personal note, I was fortunate enough to meet Dr. Swan on many occasions
at festivals, workshops and ACDA conventions, and during high school, to experience
singing with him. I know the personal impact of the conductor and more importantly the
impression of the man —he was in his way most humble, with the sharpest of intellects
bubbling just under his eyes, but best of all, Howard Swan always had time to listen and
make everyone feel valued and important; it is one of the reasons he was so successful
managing people. And that is a gift that he gave to everyone he met, and perhaps the true
measure o f t h e wo r d “ m e n t o r .

165
Ibid.
50

CHAPTER TWO
DR. CHARLES C. HIRT (1911-2001)
“Music is not so much a vehicle for conveying specific ideas as it is a conveyer of
emotions and attitudes of mind which permit the growth of ideas. – Charles C. Hirt, 1961

Charles C. Hirt was born in Los Angeles on November 4, 1911 to Adolph and
Della B. (neé Mills) Hirt.
166
He was raised in Glendale, a suburb sandwiched between
Eagle Rock and Burbank. He began teaching at Glendale High School in fall of 1934
167

after earning his BA in a double major of music and education
168
from Occidental
College in spring of 1934.
169
Hirt credits his experiences with John Smallman and his A
Cappella choir i n 1929 ( a n a t i o n w i de to ur ) a l o n g w i t h H i r t ’ s continued study in voice and
conducting with Smallman as major factors in his early musical development.
170
He
credited not only Smallman with his rehearsal technique (as opposed to a collegiate
model), but also his changing choral concepts over the years to observing and absorbing
conductors such as John Finley Williamson, Robert Shaw, Fr. Finn, Olaf and Paul
Christiansen.
171
He also stated that basic choral techniques were learned at Occidental

166
Birth and parental information collected from the 1920 U.S. Federal Census records.

167
Jennifer Garrett, “ El e m e n t s of l e a di ng c o l l e gi a t e c ho r a l programs in the United States ” (DMA
diss., Arizona State University, 2010), 22.

168
McEwen, 57.

169
American Choral Directors Association, “ I n Memoriam : C h a r l e s C . H i r t , ” Choral Journal 41,
no. 9 (April 2001): 63.

170
McEwen, 58.

171
Ibid., 59.
51

C o l l e ge , w i t h s u bs e que n t m o r e “ o r ga ni c ” e x pe r i e nc e s t a ke n f r o m associations with
Smallman and o t h e r i n d i v i dua l s t h a t m e l de d i n t o H i r t ’ s o wn a r t i s t i c identity.
172

Hirt began conducting at the First Methodist Church in Glendale beginning in
1931.
173
Four years later, his high school choirs, known for their excellence, were invited
to sing at a multi-denominational Holy Thursday service at Forest Lawn Memorial Park,
one of the first of such services at the famous park.
174
In that same year, Hirt was also
one of the founding conductors in Los Angeles to establish the Southern California Vocal
Association, as noted in the previous chapter, with Howard Swan, Ray Moremen, and
others. Hirt helped to develop and design the organizational structure that is still used by
several choral institutions today, in addition to his contributions to the SCVA festival
system of adjudication. Also in 1939, along with Swan and others, Hirt founded the
Choral C o n duc t o r ’ s Guild, (CCG) which was previously discussed in the chapter dealing
with Dr. Swan. It should be noted though, that Hirt served as Los Angeles Chapter
President of CCG from 1949-50.
175

H i r t ’ s growing reputation for success with Glendale High School, which came
from nationwide choral competitions, gained him the opportunity through USC faculty

172
McEwen, 61.

173
Oliver , “ C h a r l e s H i r t ”

174
“ H o l y T h ur sd a y S e r vi c e P l a nne d , “ Los Angeles Times, March 29, 1939, A18.

175
Dan L. T h r a p p, “ Mus i c i n W o r shi p S e e n a s H e l p t o A l l C h ur c he s, ” Los Angeles Times, July 3,
1954, A3.

52

member Max Krone
176
to organize choral clinics for high schools at Bovard Auditorium
on the campus of the University of Southern California.
177
Also during this era, Hirt
continued his studies and obtained an Master of Science in Education from USC in
1940,
178
he was subsequently hired by the university in 1942,
179
after rejecting a job offer
from Glendale Junior College. He initially served the department as a lecturer in music
education and as the director of choral organizations.
180
In 1941, Hirt changed church
positions from Glendale First United Methodist to Hollywood Presbyterian Church,
where he remained the director of music for thirty years.
181
His wife, Lucille, whom he
met at Occidental College, also worked in the music program at Hollywood Presbyterian,
developing and directing youth choirs and a handbell carillion. The music program at
Hollywood Presbyterian Church consisted of an organist and a vocal quartet; this grew
over 30 years u n de r H i r t ’ s t u t e l a ge to a 70-voice cathedral choir, several youth choirs, a
chancel choir, handbell choir and also a summer chorus.
182

176
Max T. Krone joined the faculty at USC in 1939 and taught music education, conducting and
choral music. He also conducted several choirs including the Madrigal Singers and the Choral
Union, the latter performing major choral-orchestral works. He was the driving force behind
bringing Hirt to USC in 1941.

177
Alderman, Pauline, We Build a School of Music at the University of Southern California. Los
Angeles, CA: The Alderman Book Commission, University of Southern California, 1989, 165.

178
“In memoriam,” 63.

179
Garrett, 22.

180
Alderman, 165.

181
O l i ve r , “ C h a r l e s H i r t . ”

182
Ibid.

53

Throughout the 1940s, Hirt continued to gain prominence in choral music, and
while teaching at USC, he worked on his PhD in musicology. He passed his qualifying
exams (one the very first doctoral qualifying examinations ever given in music at
USC
183
), substituting Choral Literature for Composition and for his outside field
choosing Education.
184
In 1946, Hirt combined his choirs to sing at the Forest Lawn
Memorial Park Easter special that featured the Janssen Symphony Orchestra;
185
his
Hollywood Presbyterian choir performed The Temple by Joseph Clokey —a work also
performed in this same era by Howard Swan at Occidental College —Hirt received an
outstanding review in the Los Angeles Sentinel: “Dr. Charles C. Hirt, minister of music
and great conductor – he is that and much more – gave us an evening that we shall always
remember. His interpretation of this new work (premiere)
186
was masterful. ”
187

183
Pauline Alderman, the author of We Build a School of Music published in 1989, was one of the
first two PhDs given in music at the school, and the first to every take a doctoral qualifying exam
at the School of Music at USC.

184
Alderman, 211-12.

185
“ M usi c t h i s W e e k , ” Los Angeles Times, April 21, 1946.

186
C l oke y ’ s w o r k The Temple, was premiered by Swan in 1946 (Los Angeles Times); George
Robert Garner of the Los Angeles Sentinel e r r o ne o us l y r e po r t e d H i r t ’ s 1947 pe r f o r m a nc e a s t h e premiere.

187
G e o r ge R o b e r t G a r n e r , “ P r e sby t e r i a n C hoi r S i ng s ‘ T he T e m p l e , ’ ” Los Angeles Sentine, July 3,
1947.

54

Garner
188
g o e s o n i n hi s r e vi e w t o pr a i s e H i r t ’ s pe r f o r m a n c e a s “ s t upe n do us , e v e n c o l o s s a l , ” a n d t o c a l l H i r t hi m s e lf “ a wo n de r f u l c o n duc t o r …m e a s ur e s up to t h e b e s t o f t h e m a n d to we r s o v e r m o s t . ” He goes on to i n t e r e s t i n g ly s a y , “ W i t h H i r t a n d a f e w
ot h e r s , C a l i f o r ni a c a n b o a s t o f he r v e r y f i ne c h o r a l c o n duc to r s . ” Garner also points out
t h a t Hi r t ’ s C a t h e dr a l C h o i r a t H o l ly wo o d P r e s byterian has done more in one season to lift
the standards of church music in southern California than any other similar groups.
C l o ke y wa s i n a t t e n da n c e a t Hi r t ’ s pe r f o r m a n c e a nd wa s a c kn o w l e dge d a t t h e e n d by t h e “ o v e r f l o w i ng” a ud i e nc e . In the same year, Hirt also presented works by Bach, Beethoven
and Brahms with his church choirs,
189
and finished his PhD in musicology from USC.
190

H i r t ’ s USC c h o i r s appeared as special guests i n t h e “ f o ur t h a nn ua l c h o i r f e s t i va l ” at First United Methodist Church downtown LA; Dr. Ralph Lyman of Pomona College
was the organizer.
191
In addition, Hirt t r a i n e d t h e USC wo m e n’ s c h o r us to s i n g e x c e r pt s f r o m M e n de l s s o hn’ s m us i c f o r A Midsummer Night’s Dream for Alfred Wallenstein and
the Los Angeles Philharmonic; also on the program was De b us s y ’ s La Damoiselle Élue,

188
The Reverend George Robert Garner III (1892-1971) was a singer of some acclaim in the
1930s and 1940s who married Netta Paullyn just out of high school. She was a trained pianist and
encouraged her husband to become not just a singer, but a musician, which he worked to do. He
studied in London for six years through the patronage of Lady Astor. He was the first African-
American to appear as soloist with the Chicago Symphony Orchestra in 1927; the first to star in a
production at the Pasadena Playhouse, and established the George Garner Negro Chorus, which
pe r f o r m e d c o nc e r t s a t t h e R o s e B ow l . H e a l so r e c e i ve d a b a c he l o r ’ s de g r e e f r om U S C i n m us i c e d u c a t i on i n 1938 a n d w a s P a s a d e n a ’ s f i r st A f r i c a n -American teacher. He also established the
National Association of Negro Musicians, and in the 1950s became music and arts editor for the
Los Angeles Sentinel.

189
G a r n e r , “ P r e sby t e r i a n C hoi r . ”

190
Alderman, 221.

191
G a r n e r , “ P r e sby t e r i a n C hoi r . ”
55

whi c h f e a t ur e d a w o m e n ’ s c h o r us f r o m L AUSD schools prepared by William C.
Hartshorn.
192
Hirt also conducted the USC Madrigal Singers with a chamber orchestra in
B a c h ’ s Cantata No. 125 a n d S c h ube r t ’ s Mass in G Major at the Los Angeles County
M us e u m i n E x po s i t i o n P a r k a s pa r t o f t h e c o un t y ’ s s e r i es of music in the park in 1949;
193

and he wrote a review in the Journal of Archaeology (Vol. 53, No. 2, 1949) on a book
entitled, Eastern Elements in Western Chant: Studies in the Early History of
Ecclesiastical Music by Egon Wellesz. Hirt, as a recognized expert in the subject —his
PhD dissertation was on the traditions of Russian chants —was asked to review the
book.
194

On e o f H i r t ’ s m o s t i m po r t a n t c o n tr i b ut i o n s t o the legacy of Los Angeles choral
culture took place in 1945, when he helped to establish a degree program in sacred music
at USC,
195
and a year later, founded the Department of Church Music in 1946.
196
In his
early years at USC, Hirt conducted the Madrigal Singers, which were about 12 in
number, and the A Cappella Choir, which was larger in number, although most of the

192
C . S h a r pl e ss H i c km a n , “ Mo z a r t ’ s R e q u i e m , C i v i c a l l y , ” The Christian Science Monitor:
December 18, 1948, 10. William C. Hartshorn (1907-1974) was a music educator and supervisor
of music in the Los Angeles City Schools in the late 1940s through the 1960s; he authored man
articles and books on music education. He was awarded the outstanding alumni award from
Thornton School of Music, although no date or degree is given.

193
“ C h o r a l Mus i c a t E xpo si t i on P a r k , ” Los Angeles Sentinel: October 27, 1949.

194
C h a r l e s H i r t , “ E a st e r El e m e nt s i n W e st e r n C h a n t : S t udi e s i n t he Ea r l y History of Ecclesiastical
Mus i c by Egon W e l l e sz R e vi e w , ” American Jounral of Archaeology 53, No. 2 (April-June
1949): 235-6.

195
Garrett, 22.

196
V a i l , “ A R e t r o sp e c t . ”

56

Madrigals sang in the larger group as well.
197
Hirt changed the name of the Madrigal
Singers in 1956 to the Chamber Singers, to better reflect (then 15) t h e gr o up’ s repertoire.
Eventually the A Cappella Choir became the Concert Choir, again to better reflect the
type of repertoire the choir performed,
198
and this choir became the vehicle for teaching
assistants until 1961, when Dr. James Vail
199
came onto the faculty and became its
permanent conductor.
200

I n H i r t ’ s f i r s t y e a r s o f c o n duc t i n g t h e Madrigal Singers
201
, the choir gained
regional, national and international acclaim.
202
He also directed the A Cappella Choir
until 1956 when disclosed personal health concerns caused him to focus on only one
choir.
203
The Chamber Singers, under the direction of Hirt, became emissaries not only
for the school and university, but also for the State Department in 1964 when they toured
Europe.
204
Hirt conducted the Madrigal Singers at the national convention of Music
Educators National Conference in St. Louis, MO in 1950; at this same convention, Igor

197
Vail, 3.

198
Ibid.

199
Dr. James Vail taught at USC from 1961-1999, he is now Professor Emeritus at SC. He also
chaired the Department of Choral and Sacred Music from 1976-91. In addition to his church work
a s o r g a n i st / c hoi r d i r e c t o r a t S t . A l ba n ’ s C h ur c h f r om 1 969 -2009, Dr. Vail has a vast reputation as
a scholar. He has a BM in organ from Curtis, and his MM and DMA in church music from USC.

200
V a i l , “ A R e t r o sp e c t . ”

201
Chamber Singers and Concert Choir are the names by which both of these choruses are known
in 2011, although Chamber Singers was called Chamber Choir during the William Dehning years,
1991-2007. Jo-Michael Scheibe restored the name to Chamber Singers.

202
Garrett, 22.

203
Ibid., 23.

204
Ibid.
57

Stravinsky conducted his own music in concert with the University of Illinois Sinfonietta;
there was also t h e US p r e m i e r e pe r f o r m a n c e o f B e nj a mi n B r i t t e n ’ s Let’s Make an
Opera.
205

In 1951, the USC School of Music officially withdrew from the Institute of Arts
and became an independent school with the ability to confer degrees.
206
And so in 1952,
USC began to grant doctoral degrees in composition, music education and church
music,
207
adding performance in 1954, and Hirt was at the center of helping to develop
these programs.
208
But it was not until 1971 that the school was able to offer MMs and
DMAs in choral music,
209
and again Charles Hirt was at the heart of the establishment of
offering degrees specifically in choral music.
An article appeared in the Los Angeles Times i n 19 54 o n H i r t ’ s Ho l ly wood
Presbyterian Church choirs —of which he had six at that time with 350 singers. Dan L.
Thrapp, Times Religion Editor, wrote a full-length piece e x t o l li ng H i r t ’ s ability to recruit,
capt i v a t e a n d ke e p s i nge r s , n o t i n g t h a t t h e r e wa s a “ wa i t i ng l i s t to j o i n t h e c h o i rs as long
as your arm. ”
210
Hi r t ’ s phil o s o phy o f c h o r a l m us i c i s e nl i g h t e n e d s l i g h t l y t h r o ugh quot e s in this article, in which he quoted: “ T h e s a m e c o n c e pt s t h a t g o v e r n t h e us e of music in

205
“ M usi c Ed uc a t o r s A ss e m b l e i n C onve n t i on , ” Music Educators Journal 36, no. 5 (April-May
1950): 27.

206
Alderman, 257

207
Ibid.

208
Garrett, 22.

209
V a i l , “ A R e t r o sp e c t . ”

210
Thrapp, A3.
58

the large church should rule it in the small. Music has the same responsibility in worship
and Christian education and its development should be as much an administrative
r e s po n s i b i li t y a s a ny o t h e r pa r t o f t h e c h ur c h pr o g r a m . ” T h r a pp’ s a r t i c l e also mentions
that in 1954, in addition to heading the department at USC, Hirt was conducting the
Madrigal Singers, A Cappella Choir, University Chorus, and the M e n’ s a n d W o m e n ’ s
Glee Clubs.
211
Al s o dur i n g t hi s t i m e pe r i o d, Hi r t ’ s e x pe r t i s e wa s us e d a s a technical
advisor for films and recording companies, in addition to being a sought-after clinician
and guest-lecturer in the US and abroad.
212
On the subject of church music as a ministry
to the church, Hirt also added: “A worship service is both expressive, as with hymn
singing and prayer, and impressive, with organ preludes, choir anthems and other
lubricants to the service. ”
Hirt also participated in a Round Table for Music Educators that published ideas
for Christmas repertoire
213
toward the end of 1955. Several conductors and music
educators were asked to write a short article with suggestions of arrangements and carols
for the season. Hirt wrote a charmingly light article about not only the repertoire of the
holidays, but also of the Christmas spirit:
214

I wonder what the thought of the approaching Christmas season means to you. For
Christmas can mean so many things to each of us. To the market place it means
throngs of people with colored ribbons and gift-wrapped packages; to our children

211
Thrapp, A3.

212
Ibid.

213
Jack M. Watson, “ Mus i c Ed uc a t o r ’ s R o un d T a bl e , ” Music Journal 13, no. 9 (November
1955): 26.

214
Ibid.

59

it is a gay time with popcorn and presents, secrets and surprises; to our churches it
is candle-light worship and caroling; to all of us, a precious season in deed,
heralding the birth of the Prince of Peace. T o m e , a n d I ’ ll b e t to y o u – to us who
choose to sing our sentiments, Christmas is a blessed story to be retold in song.
But, at the same time, to most music educators it means early planning, late
r e h e a r s i ng, pr o c e s s i n g i n “ s t e p” to t h e W e s t m i ns t e r C a r o l . It means not-too-
convincing tableaux, songs of the Nativity from behind scrims, of course Silent
Night, and eventually, but very eventually, vacation!

An i n t e r e s t i n g s ni pp e t s h o wi n g a s i de o f H i r t ’ s pe r s o n a l i t y t h a t wa s pe r h a ps m o r e personal than professional!
Also in 1955, Hirt began his long collaboration with Walt Disney, and that
Christmas at Disneyland in Anaheim, California, there was a small group of 12 Dickens
Carolers who performed at the park, courtesy of USC and Charles Hirt. A quote of a 1993
interview with Hirt about his collaboration with Disney:
215

I trained the Disneyland carolers, which included teaching the singers how to
respond to people in the park … f o r t h e o pe ni n g a f t e r n o o n o f t h e h o l i da y t r a d i t i o n , the Dickens Carolers and a 300-member massed chorus made up of visiting choirs
stood together on the Main Street Train Station steps and sang Christmas carols
accompanied by school bands.

The Dickens Carolers became a tradition at Disneyland and by 1956, the tradition of the
m a s s e d c h o i r s s h o w i n g up to s i n g o f f i c i a ll y b e c a me c a l l e d t h e “ C h r i s t m a s B o w l . ” Under
H i r t ’ s d i r e c t i o n , t hi s e v e n t c o n t i n ue d i n t o 1957 wh e n i t wa s e ve n l a r ge r a n d t h e c h o i r s followed the Christmas Around the World Parade from Sleeping Beauty Castle into the

215
S c o t t R i c h t e r , “ D r . C h a r l e s H i r t : t he Mi r a c l e a t S q ua w V a l l e y , ” Disney News, 1993.
http://marciodisneyarchives.blogspot.com/2010_09_01_archive.html (accessed: November 7,
2011).

60

Plaza where they performed. This continued until 1964 and then revived again from
1980-85.
216
Hirt recalled:
When we first did the ceremony in 1958, the carolers all gathered around the
flagpole in Town Square. It was a beautiful ceremony, but we made a mistake: it
was difficult for people to see since the singers were all in a circle with me in the
center conducting. So the next year, bleachers were constructed adjacent to the
Train Station so that the carolers were facing the spectators on Main Street.

On De c e m be r 22, 1959, t h e “ C a n d l e li g h t C h o i r ” c o n s i s t e d o f 2, 574 s i n ge r s a n d wa s the
largest ever to perform at this annual event.
217
Hirt continued performing at Disneyland
into the 1970s and recalled:
Cary Grant and Rock Hudson both wanted to narrate the ceremony again and
again [narration began in 1961] and they did it for free! In the 1970 ceremony
[this was the year that a huge rain storm threatened to rain on their parade] when
Charlton Heston was the narrator, he looked at me a n d s a i d, “ if I can part the Red
Sea, then I can keep it from raining! ’ J o hn W a y ne h a d a t e r r i bl e c o ug h the day he
was to perform [1971] and he told me he had pneumonia, so I asked him what he
wa s do i n g h e r e a n d h e s a i d, “ I ’ m n o t g o i n g t o l e t a ll t h o s e k i d s do wn . ”

Hirt directed the choral Christmas festivities at Disneyland for some 25 years, in addition
to helping migrate the California tradition to Florida when Disneyworld opened, helping
the company keep it as close to the original Walt Disney vision as possible.
218

In 1960, the Winter Olympic games were held in Squaw Valley, California, and
Walt Disney was commissioned in 1959 by the organizing committee of the games to
stage the pre-games and post-games ceremonies. It was his vision to have a 1,000-piece
band and a 2,000-voice choir to present the Olympic anthem, which had been

216
R i c h t e r , “ D r . C h a r l e s H i r t . ”

217
Ibid.

218
Ibid.

61

commissioned for the event. Longtime friends and colleagues, Disney naturally turned to
Charles Hirt to conduct the 2,000 voices of the choir.
219
Hirt of course accepted the offer,
and on the morning of February 18, 1960 was at the Squaw Valley Chalet of Walt
Disney, sound asleep.
220
I n H i r t ’ s o wn w o r ds :
Walt and Art [Linkletter] woke me and told me that it had started to snow even
though it had been predicted that it would not. There was a real blizzard out
t h e r e ! ” For almost seven hours, Squaw Valley was hit with freezing winds and
ten inches of snow. L a t e r t h a t da y a t r e h e a r s a l , Dr . H i r t r e c a l l s , “ I s too d up t h e r e [at the podium] facing what I thought was the choir – and I hoped and prayed it
wa s , b e c a u s e I c o ul d n ’ t s e e t h e m , t h e snow was falling so hard. Clarence Sawhill
[band director from USC ] r e l a y e d my b e a t to t h e ba n d b e c a u s e he c o ul d n’ t s e e t h e choir either. Walt and the rest of us got together, and we al l s a i d, ‘ W hat in the
wo r l d a r e we g o i n g t o d o i f we c a n’ t s e e t h e c h o i r a n d t h e c h o i r c a n ’ t s e e us ? ’ T h e alternative was to assemble on a skating rink where we would only be able to
select a few choirs and a few bands which would fit in there. Walt turned to me
a n d s a i d, ‘ W h a t do y o u t hi n k we s h o u l d do ? ’ I to l d hi m I c o ul d n’ t s t a n d t h e thought of saying to these people who had worked so hard for so many months
that only some of them could be among the bands and choruses in the skating
rink.
221
Walt was told by the network that it was up to him, and he turned to me
a n d s a i d, ‘ C h a r l e s , I ’ l l go w i t h wh a t e ve r y o u s a y . ’ I to l d him , ‘ I c a n’ t s a y to s e l e c t a few and play it safe. L e t ’ s da r e to h a ve e v e r y b o d y i n t hi s , ’ a n d t h a t wa s a l l W a l t needed to hear. Everyone got into position. The clock ticked down to show-time
and at that moment, the sky parted and the sun shone. It was a miracle. My choir
was in front of me. I could see them. Clarence could see his band, and he could
see me. And the program went off without a hitch. Then, just at the very close of
the final Olympic hymn, the sky covered up again and the blizzard resumed. To
be a part of that miracle of Squaw Valley with Walt was a very special honor and
one of the highlights of my career.

219
Jeane H o f f m a n , “ D i sne y D r e a m i ng up S pe c t a c ul a r P a g e a n t r y f o r W i n t e r O l ym p i c s, ” Los
Angeles Times, April 7, 1959.

220
R i c h t e r , “ D r . C h a r l e s H i r t .”

221
There were 3,700 high school musicians and choir members who had rehearsed and traveled
from 52 California and Nevada schools to perform at the opening ceremonies of the 1960
Olympics. T h e ne t w o r k ( C B S ) w a n t e d t o p l a y i t sa f e f or t he br o a d c a st a n d c ut w hom e ve r c o u l dn ’ t fit into the skating rink.

62

Figure 1. Charles Hirt and Walt Disney. Hirt is 2nd from the left; Disney is center, pointing.
Source: Progress City, USA: http://progresscityusa.com/wp-
content/uploads/2010/02/walt_olympics.jpg, accessed January 18, 2012.
Performing at the opening ceremonies of the first Olympic Games to be held in
the United States since 1932 was a tremendous way to begin a busy decade for Charles
Hirt. Owing to his keen interest in the voice and its technical use, Hirt co-authored a
paper with Dr. Henry J. Rubin c a l l e d “ T h e F a l s e t to: A H i g h S pe e d C i ne m a t o g r a phi c S t udy ” that was published in a medical journal called The Laryngoscope in 1960. In the
article, Hirt looks at the centuries old Italian tradition of singing and the recognized two
registers of the voice, chest and head, and together with Dr. Rubin, filmed the vocal cords
of selected singers of varying abilities from USC. This was the first time
222
the falsetto
break was captured on film because they used 400-foot rolls so that they could film at

222
B e l l T e l e p h one La bo r a t o r y h a d p e r f o r m e d a si m i l a r st u dy but w i t h m uc h sho r t e r f i l m ( 100’ rolls) at faster speeds, and they did not use a laryngeal mirror which is freely manipulated rather
t h a n f i x e d i n t he subj e c t ’ s t h r o a t .

63

6,000-8,000 frames per second.
223
It allowed them to film voices while simultaneously
recording them with a microphone over the thyroid cartilage. It was a ground breaking
study in 1960, and their findings were able to state that a smooth transition from chest to
head voice happens through a sequence which is consistent regardless of gender or
varying levels of intensity. Rubin and Hirt discovered that in a vocally accomplished
singer, passing through the break is handled by thinning the vocal folds, and as they
vibrate they barely come into contact with each other, as opposed to the way cords touch
at the folds in either chest or head voice fully realized.
224
Through their photographic
evidence aided by the newer technology, Rubin and Hirt were able to make new
observations in regard to how singers negotiate the transition from one register to the
next.
Throughout the 1960s, Hirt was putting his vocal knowledge to good use with his
choirs as they continued to perform in Los Angeles and abroad. He appeared on a concert
as part of the Monday Evening Concert Series with the USC Concert Choir and Chamber
Singers performing Dallapiccola ’s Songs of Captivity for double chorus, two pianos, harp
a n d pe r c us s i o n , a l o n gs i de USC ’ s J o hn C r o wn
225
who played the United States premiere
o f I n go l f Da hl ’ s Sonata Pasorale.
226
I n 1963, Hi r t ’ s wo r k wa s e x t o l led by Los Angeles

223
Henry J. Rubin a n d C h a r l e s C . H i r t , “ T he f a l se t t o: A hi gh - sp e e d c i ne m a t o g r a phi c st udy , ” The
Laryngoscope 70, no. 9 (1960): 1307.

224
Ibid., 1308.

225
John Crown taught piano performance at the USC School of Music from the 1940s through the
1970s.

226
“ M usi c Eve n t s, ” Los Angeles Times, Apr 16, 1961.

64

Times critic Walter Arlen
227
in a review of a Chamber Singers concert. Arlen opened his
r e vi e w w i t h t h e wo r ds , “ W h a t a c h o r a l c o n c e r t c a n a n d s h o u l d b e wa s de m o n s t r a t e d i n n o uncertain terms by the USC Chamber Singers [14 in number at this particular concert]
under the direction of Charles Hirt in Bovard Auditorium. ”
228
He went on to praise the
purity of tone and pitch with tremendous dynamics and precise diction; Arlen also
observed that the group was highly flexible vocally in the scope of the repertory it
sang.
229
Following this, revealed in an article by Raymond Kendall
230
from the Los
Angeles Times, the US State Department had decided that while it was great to send
professional orchestras, dance companies and soloists of all kinds abroad to demonstrate
that America was not without culture or talent, the US was also rich in its collegiate
choruses.
231
K e n da ll o bs e r ve d t h a t “ t w o o f t h e c o un tr y ’ s b e s t c h o r a l gr o ups wi ll b e o n tours of European and Middle-Eastern conservatory and university towns: USC and the

227
Born Walter Aptowitzer in Vienna in 1920, Arlen fled Austria in 1939 and escaped to
Chicago, where he changed his name to Arlen. He was assistant to composer Roy Harris for four
years in the late 40s, then moved to Los Angeles and began as a music critic for the Los Angeles
Times in 1952. He became chair of the music department of Loyola Marymount University in
1969 where he remained until 1998 when he retired at the age of 78.

228
Walter Arlen, “ U S C C h a m b e r S i nge r s’ C on c e r t O ut st a ndi ng , ” Los Angeles Times, March 10,
1963.

229
Ibid.

230
Ray Kendall (1910-1980) earned a PhD from Cornell in 1940 in musicology and worked at
Dartmouth, the United States Armed Forces as a coordinator and consultant, and also University
of Michigan. He became Dean of the Music School at USC where he remained for 20 years, after
which he became President of the Performing Arts Council at the Los Angeles Music Center,
where today, the restaurant underneath the Dorothy Chandler Pavilion bears his name.

231
Raymond K e nd a l l , “ U . S . S t r i ke s up B a n d a s C ul t u r e Expo r t , ” Los Angeles Times, November
24, 1963.

65

University of Maryland. ”
232
He goes on to suppose that young American college students
we r e f u lf il li ng a r o l e i n t h e go v e r nm e n t ’ s cultural presentation programs that were filled
with eagerness and enthusiasm that is sometimes lacking in the professional ranks.
233

In February of 1964, 20 singers plus Lucy and Charles Hirt took off on a four-
month extravaganza in Europe sponsored by the US State Department. The group sang
concerts in Germany, France, Belgium, the Netherlands, Monaco, Austria, Italy, and five
cities in Israel, returning on May 5, 1964.
234
Following this once-in-a-lifetime experience
carrying out a state department mission, the members of the USC Chamber Singers wrote
letters and statements about their experiences. It is obvious as one reads this document of
collected letters that it is far more than just a snapshot in time, but rather an experience
that permanently impacted the students in a positive way. Their participation on the
cultural tour not only opened their eyes in regard to other peoples and countries, but also
to the universal power of singing. One student, Darlene Lawrence,
235
referred to the tour
a s h a vi ng m a ny go a l s , b ut t h e m a i n go a l wa s to “ c o m b a t t h e i m a ge o f t h e Ug l y Am e r i c a n . ” She went on to say that she believes that the spontaneous seemingly
insignificant incidents would be more far-reaching than anyone could know at the time,
and she recounted the scene when the choir was leaving Wuppertal, Germany. “As we

232
Ibid.

233
Ibid.

234
“ V a l l e y S i n ge r s i n Eur o p e , ” Los Angeles Times, February 2, 1964.

235
Now Darlene Lawrence Hatcher, she married choral conductor William Hatcher, the conductor
who followed Hirt at Hollywood Presbyterian Church and was director of choral activities at
UCLA in the 1980s.

66

[the chamber singers] boarded the bus, we began singing the German national anthem –
and everyone on the street joined in. ” L a wr e nc e s a i d t h a t i t wa s a m o m e n t t h a t “ n o n e o f us from eithe r c o un t r y i s li ke ly t o f o r ge t . ”
236

The above example from the collection of letters is representative of student
comments throughout, and the perceived value of the tour not only for them as
participants, but also for the people with whom they came into cultural contact was
immense. It is also interesting to note that the Chamber Singers knew the German
national anthem, which could only have come from the forethought on the part of Charles
Hirt to have taught it to them. Such foresight demonstrates his ability to see the
conclusion before its arrival, in addition to a deep understanding of the power of
nationalism, especially in European countries, not to mention the significance of an
American choir in Germany singing the German national anthem only 20 years after
WWII.
The 1960s continued to prove a busy decade for Hirt, including being honored by
Dr. William Hall
237
and his chorus in San Gabriel presenting a Beethoven Missa Solemnis
i n H i r t ’ s h o n o r ;
238
authoring a review for MENC on the Thomas Morley Editions of

236
“ Le t t e r s a n d S t a t e m e n t s w r i t t e n b y t he U n i ve r si t y of S o ut he r n C a l i f o r ni a C h a m b e r S i nge r s, ” an unpublished collection of letters to the US State Department, from the collection held at
ACDA National Headquarters, 1964.

237
William Dawson Hall has been a driving force in southern California choral music for
Decades as the director of choruses at Chapman University, the William Hall Chorale and now as
the founding dean and artistic director at the Center for the Arts Bertea Family Endowed Chair in
Music at Chapman University. Hall studied with Hirt at USC where Hall earned his DMA.

238
“ C h o r a l C l a ss W i l l P e r f o r m , ” Los Angeles Times, May 7, 1966.

67

Italian Canzonets and Madrigals by Catherine Murphy;
239
and certainly what must have
been a highlight, the Chamber Singers performing at the inauguration of then newly-
elected Governor Ronald Reagan at the rotunda of the Capitol building in Sacramento.
H i r t di r e c t e d t h e C ha m be r S i n ge r s i n “ Am e r i c a t h e B e a ut i f u l , ” “ Am e r i c a ” a n d “ A C h o r a l Respon s e ” by E l i z a be t h B ur r o ws .
240
On an interesting note, an obituary appearing in the
Los Angeles Times dated September 12, 1972, mentions that Walter E. Hartley, who
established the Department of Music at Occidental College in 1926 and headed the
department until his retirement in 1948 (when Howard Swan became chair) passed away.
T h e a r t i c l e r e c o un t s t h e “ n o t a bl e pe r s o n a li t i e s ” i n m us i c w h o we r e hi s s t ude n t s a t Occidental, listing: Dr. Raymond Kendall (1932), director of the Center for Performing
Arts and dean of the School of Music at USC, and Dr. Charles Hirt, director of the
Department of Choral Organizations
241
at USC.
242

The 1970s brought with them a lot of exciting activity, not only in the atmosphere
o f t h e “ m e ” ge n e r a t i o n c o m i ng o u t o f t h e po l i t i c a l t ur m o i l o f t h e 60s , b ut with
preparations nati o n w i de f o r t h e c o un tr y ’ s bi c e n t e nni a l c e l e b r a t i o n s . In 1970, after 30
years, Charles and Lucille Hirt retired from Hollywood Presbyterian Church in

239
Charles C. Hirt , “ T h om a s Mo r l e y E di t i on s o f I t a l i a n C a n z o ne t s a nd Ma d r i g a l s 1597 -1598 by
C a t h e r i ne A . Mur ph y R e v i e w , ” Music Educators Journal 53, no. 1 (September 1966): 113.

240
Ann S onne , “ Muc h A do A b o ut S om e t hi ng f o r Inaugural C e r e m oni e s, ” Los Angeles Times,
December 27, 1966.

241
A possibly erroneous listing of the departmental name since Charles Hirt signed his review
t h a t a ppe a r e d i n t he MEN C j o ur n a l a s “ H e a d , D e pa r t m e n t of C h ur c h Mus i c a nd C h o r a l O r g a n i z a t i on s, ” i n 1966.

242
“ D e a t h Ta k e s Ex - P r o f e ss o r , ” Los Angeles Times, September 12, 1967.

68

pr e pa r a t i o n f o r Hi r t ’ s t w o -year term as national president for ACDA followed by serving
for two more years after that as chairman of the board of ACDA.
243
Dr. Raymond
Lindquist, pastor of the 8,000-member church was quoted as saying:
Dr . Hi r t ’ s i nf l ue nc e o n t h e c h o r a l s c e n e b o t h i n c h ur c h e s a n d i n s c h o o l s i s t h u s extended not only through the United States, but a b r o a d…. The church session
voted unanimously to ask them [the Hirts] to reconsider their resignation, but they
felt it was necessary. Each Sunday I have been inspired by Dr. Hirt. Often I have
come into the sanctuary helpless and empty and then Dr. Hirt has filled me with
sacred song and sacred energy and preaching has been a delight. For all of us he
has been the instrument of the Holy Spirit at work to deepen faith, elevate love
and strengthen hope.
244

In 1971, Hirt performed of course with the Disneyland Candlelight Caroling
Ceremonies with John Wayne and Steve Forrest conducting a 2,000-voice choir from
more than 60 schools and churches in southern California,
245
a review that appeared in
the Los Angeles Times described the festivity as “ lege n d a r y ” a n d c a l led the choir under
H i r t “ f a b u l o us . ”
246
The Chamber Singers from USC were invited to sing at the 1973
ACDA national convention in Kansas City, MO
247
and upon their return to Los Angeles,
they gave a concert in Bovard singing repertoire that spanned 400 years.
248
In her review
in the Los Angeles Times, music critic Sharon Winklhofer said:

243
“ H o l l yw ood P a r i sh t o Lo s e Mus i c D i r e c t o r s, ” Los Angeles Times, June 27, 1970.

244
Ibid.

245
“ 2 , 000 t o S i ng i n Y u l e R i t e a t D i sne yl a nd , ” Los Angeles Times, December 17, 1971.

246
Joyce H a be r , “ B i g P a r t i e s Ma r k t h e N e w H ol l yw ood , ” Los Angeles Times, December 21,
1971.

247
“ U S C C h o r a l G r o up G e t s C o nve n t i o n B i d , ” Los Angeles Times, December 23, 1972.

248
Sharon W i nk hof e r , “ C h a m b e r S i nge r s i n C o nc e r t , ” Los Angeles Times, May 24, 1973.

69

Veteran choral director Charles C. Hirt and the USC Chamber Singers enjoyed a
musical romp which spread-eagled four centuries at Bovard Auditorium. . . .
Ha nl e y J a c ks o n’ s e l e c t ronic, whimpering, hissing, tongue- c l uc k i ng “ A C hil d ’ s Gh e t to ” s c o r e d f o r v o i c e s w i t h e l e c t r o ni c t a pe , s too d i n a n u nf a v o r a bl e li g h t n e x t to N o r m a B e e c r o f t ’ s “ T h e L i v i ng F l a m e o f L o v e ” a n d m us i c by V i c t o r i a , Telemann, Handel, Schumann, Hindemith and Brahms.
249

While Ms. Winklhofer was apparently not a fan of avant-garde experimental music, the
review i s a t e s t a m e n t n ot o nl y t o Hi r t ’ s de d i c a t i o n a s a m us i c e duc a t o r to e x po s e hi s students to all eras of music, but also his role in developing what Los Angeles choral
culture is really known for: a love and exploration of new composers and their ideas.
Charles Hirt took a sabbatical leave from USC in 1973-4 as reported in a review
of the Chamber Singers under the direction of Dr. James Vail, in the Los Angeles Times
by Daniel Cariaga in 1974.
250
T h e r e a s o n f o r Hi r t ’ s s a bb a t i c a l wa s n o t di s c l o sed, but
when Hirt returned in fall of 1974, he only remained for two more years, retiring in May
of 1976, after 35 years of teaching at the University of Southern California.
251
During the
1974-5 academic year, Hirt was awarded the Ramo Music Faculty Award in recognition
of his “outstanding contribution to music and education, to the School of Music and the
University of Southern California and to mankind. ”
252
During his final year at USC,
Charles Hirt did not conduct the Chamber Singers, but instead the Concert Choir —at his
own request, he switched choirs with Dr. James Vail, who had conducted for him during

249
Ibid.

250
Daniel Cariaga (1935-2006), a Long Beach native, joined the Times writing staff in 1972
following a Decade long career as a pianist and conductor.

251
Garrett, 23.

252
“In memoriam,” 63.

70

his sabbatical.
253
In that final semester, Charles Hirt conducted the mass choir for the
bicentennial celebration in the opening ceremonies at the Seattle Kingdome, which
opened only a few months earlier.
254
Meredith Willson
255
directed 2,500 orchestral
players
256
alongside Hirt. And also in his final year, the Charles C. Hirt Choral
Laboratory was dedicated in his name (MUS 106) in the new Music Faculty Memorial
Building. Hirt also received three honorary doctorates in the 1970s from Occidental
College (1970), Westminster Choir College (1971) and Pacific University (1976).
In the 1980s Hirt was awarded many honors, among them the 1982 University of
Southern California Distinguished Emeriti Professor Award given to him at the very first
Annual Academic Honors Convocation. He was honored again by USC two years later in
1984 as the recipient of the USC School of Music Centennial Award.
257
In 1981 he
conducted a 50- s t a t e y o ut h c h o i r a t C a r n e g i e Ha ll in Am e r i c a ’ s Yo u t h C o n c e r t , and in a
New York Times r e vi e w, P e t e r Da vi s s a i d, “ t h e c h o r us a n d b a n d d i s t i n gu i s he d t h e m s e l ve s especially in matters of ensemble discipline and zestful musical spirits, ”
258
in addition to
being one of 23 world-renowned choral leaders who met in New Orleans to organize the

253
Garrett, 23.

254
“ M ul t i pur po s e A r e n a , ” Los Angeles Times, March 21, 1976.

255
Meredith Willson (1902-1984) was a famous Broadway composer, best known for writing The
Music Man.

256
“ M ul t i pur po s e A r e n a , ” Los Angeles Times, March 21, 1976.

257
“In memoriam,” 63.

258
Peter G. D a v i s, “ C o n c e r t : 50 - S t a t e Y o ut h E n s e m b l e s, ” New York Times: July 7, 1981.

71

International Federation for Choral Music (IFCM),
259
which successfully planned the first
World Symposium on Choral Music held in 1987; Hirt was the United States delegate
throughout the executive planning meetings.
260
In 1982, Hirt was one of the featured
conductors alongside Weston Noble
261
at the Hartt Choral Symposium (Hartford-
Courant, 1982), a symposium in which participants spend two-weeks working with
renowned choral specialists to improve their skills.
During the 1980s, Hirt presented papers on Graeco-Slavonic Chant
262
at the
Musicological Society of America in Boston, MA and for La Société Français de
Musicologie in Paris.
263
He was also invited to prepare the 1,000-voice chorus for the
opening ceremonies of the 1984 Olympic Summer Games
264
held at the Memorial
Coliseum
265
and in 1986 the rededication ceremony at the renovated Statue of Liberty on

259
The IFCM facilitates communication and exchange between choral musicians throughout the
world through symposiums and master classes.

260
“In memoriam,” 63.

261
W e st o n N o b l e ( b. 1922) w a s t he c ond uc t o r o f Luthe r ’ s N o r d i c C ho i r f o r 57 y e a r s f r o m 1958 -
2005, a n d a l so f o r h i s w o r k i n “ v oi c e - m a t c hi ng , ” w h i c h pl a c e s voi c e s st r a t e gi c a l l y w i t hi n a chorus so that they complement each other and ultimately the blend of the choir.

262
His PhD dissertation was on this subject, specifically how Graeco-Slavonic chants influenced
Russian choral melodies.

263
“In memoriam,” 63.

264
Ibid.

265
Due to ill health, Hirt had to step- dow n a t t h e l a st m i nut e a nd w a s r e pl a c e d by U C LA ’ s
William Hatcher, who prepared the large chorus for the opening ceremonies which were
ultimately conducted by John Williams. Hatcher also chose and prepared the 40 voices that
recorded both the opening ceremony music (which was actually what was heard on the live
broadcast) and also to participate in the closing ceremonies as well with Lionel Ritchie.

72

Liberty Island in New York.
266
In 1988, Charles Hirt was the ACDA Western Regional
conference honoree, receiving the Lifetime Service and Achievement award.
H i r t ’ s h e a l t h b e ga n t o de c l i ne i n t h e 1990s , a n d h e d i d n o t c o n duc t a n d t e a c h a s much, although he was still spotted at conventions and the occasional workshop or clinic;
he was again honored by the ACDA Western Region, which dedicated the 1996
conference to him. In 1991, Charles Hirt was the first recipient of the Robert Lawson
Shaw award from ACDA g i ve n i n “ recognition of outstanding achievement and
distinguished service to the art of choral music. ”
267
Hirt passed away on February 3,
2001 at the age of 89. He had been married to his wife Lucille for 65 years and had a son,
Michael, who passed away in his early 20s, a daughter, Janice Young, two
granddaughters and one great grandson.
268

In examining Charles C. Hirt through his contributions to choral music discussed
on previous pages on not only a local, but national and international level, his
accomplishments certainly speak of someone who made a large impact on choral culture.
His participation in the initial meetings to establish ACDA; his work toward the founding
of IFCM; the many tours he traveled in the United States and abroad with the Chamber
Singers at USC; his scholarly papers published in academic journals; the hundreds of all-
state choirs across the nation, appearances at workshops and clinics —these things all
speak to his contributions on a national and international level. But the focus of this study

266
Oliver, “ C h a r l e s H i r t . ”

267
“In memoriam,” 63.

268
Ibid.
73

is his contribution on a local level —specifically to the choral culture in Los Angeles, so it
will be these items that we shall look at in more depth.
His foresight to establish SCVA and CCG with Howard Swan and others was an
early contribution by Hirt in 1939. It is helpful to remember that Hirt had only began
teaching in 1934, so only five years later he possessed an understanding of the direction
that choral traditions in Los Angeles could go if properly guided – thinking so far ahead
demonstrated tremendous forethought. The other organization he co-founded in 1939, the
CCG, was a driving force for many years in Los Angeles, encouraging meetings of its
membership to discuss how to improve, share repertoire and encourage each other.
269

While it is true that the CCG (now NACM) is not very active on a national level, it still
has nine chapters in the greater Los Angeles area,
270
testament to the legacy of the
organization to the southern Californian choral tradition. Probably more importantly for
greater Los Angeles, was the founding of SCVA with Swan and others. This established
the tradition of choral festivals for choirs of equal levels in the greater southern
Californian region to come together and share singing and musical ideas with each other
in a non-competitive atmosphere, yet still receive adjudication aimed at their
improvement by trained clinicians.
271
The SCVA is still extremely active today,
organizing festivals all over southern California for high school, middle school, and

269
Swan, “ E t h i c s a nd C h ur c h Mus i c , ” 33.

270
Duquette, “ I s A C D A t he r i gh t n a m e f o r us? ”

271
S t a n l e y , “ H i st o r y o f S C V A F e st i v a l s, ”
74

community college level choirs.
272
The popularity of these festivals has not diminished
over the past 61 years, as evidenced by the number of SCVA festivals one sees
advertised —more than forty per year.
Charles Hirt was among the 35 choral conductors from around the United States
who met in Kansas City, MO during the Music Teachers National A s s o c i a t i o n ’ s Biennial
conference in 1959, and out of this meeting, ACDA was founded. It was also Hirt, who in
1971 wr ot e , “ A C D A w il l m a i n t a i n t h e a f f il i a t i o n w i t h M E NC b ut w i l l n o l o n g e r us e the
M E NC c o n v e n t i o n a s t h e m o t h e r s hi p to c a r r y us a l o f t . ” A n d A C D A national
conventions were born.
273
T h e r e l e v a n c e o f t hi s t o wa r d Hi r t ’ s c o n t r i b ut i o n to a n organization that is very large in 2011 is obvious on a national level; yet it has
implications on a local level as well since there are now regional divisions of ACDA and
local chapters; H i r t ’ s leadership affected how ACDA in the Western region and more
specifically to the greater Los Angeles area choral tradition was built into a force that
supplies choirs to almost every national convention. S o s tr o n g wa s H i r t ’ s “ v o i c e ” i n t h e affairs of national choral music by 1971, so well known his contributions to USC in Los
Angeles, that such a statement by him that ACDA needed to move on from its partnership
from MENC was taken to heart.
Charles Hirt also served as national ACDA president from 1970-72; the
contribution of this on a national level is obvious, but what of local culture? It certainly

272
Ibid.

273
Howard Meharg, “ A H i st o r y o f t he A m e r i c a n C h o r a l D i r e c t o r s A ss o c i a t i on i n t he st a t e o f W a sh i ng t o n , ” W A A C D A w e bsi t e , 2011. http://www.waacda.org/history1.html (accessed
November 9, 2011).
75

bolstered the already growing reputation of the choral department at the School of Music
at USC by bringing national attention to a southern California school; it brought attention
to the specific degree program of that school, and certainly attention to the chorus –
which in 1971 and 1973 performed at national conventions. The participation of
outstanding choirs in Los Angeles at ACDA national conventions has become a tradition.
High school choirs, college choirs from universities or community colleges have been
featured from the greater Los Angeles area at every national convention of ACDA since
the 80s – a testament to the work that continues to happen here thanks to “pioneers ” like
Hirt.
274
One Los Angeles choral conductor (Paul Salamunovich) performed at four
consecutive national ACDA conventions, appearing at each one with a different choir:
t h e m e n ’ s c h o r us o f L o y o l a M a r y m o u n t Uni ve r s i t y (1987, San Antonio) ; t h e wo m e n’ s chorus of Loyola Marymount University (1989, Louisville); his St. Charles Church Choir
(1991, Arizona); and finally with the Los Angeles Master Chorale (1993, San Antonio).
The strong tradition of choral music in Los Angeles that was born of men like Howard
Swan, Charles Hirt and Roger Wagner has carried on through the decades and continues
today – at the 2011 ACDA national convention in Chicago, there were more than six
choirs invited to sing, five of which were from southern California.
W e c a n a l s o l o o k a t Hi r t ’ s wo r k a t H o l ly wo o d P r e s by t e r i a n C h ur c h; w hi c h , f o r thirty years, remains indelibly marked as part of our choral legacy in the minds of all who
experienced a concert or service there during his tenure. The quality of singing, repertoire
discovered and the overall arc and scope of the music program (six choirs in all) at

274
O l i ve r , “ C h a r l e s H i r t .”
76

Hollywood Presbyterian was certainly the talk of many music circles in Los Angeles at
the time and even now in 2011, upon entering the choir room upstairs, one is greeted with
pictures from H i r t ’ s e r a . The repertoire and music he provided in that library is still being
used at services today; the once-a-year spectacular that he instituted
275
which involves the
entire music program on a given Sunday, is still a tradition there, as are the cathedral
choir, chancel choir, h a n d b e ll c h o i r , y o ut h a n d c hil dr e n ’ s c h o i r s . It is a living testament to
the work and dedication of Charles Hirt. In fact, his name is still on the office door.
Another area in which Hirt made many valuable contributions is choral music
publishing. He edited, adapted and arranged many early madrigals in addition to classic
r e pe r to i r e s uc h a s Ha ns L e o Ha s s l e r ’ s Now Sing we All this Day; Kyrie from Joseph
Ha y d n’ s Imperial Mass, and Alleluia! Sing Praise, a c h o r a l e f r o m B a c h’ s C a n t a t a N o . 142. His editions of works by Felix Mendelssohn, Dmitri Stepanovich, Pavel Chesnokov,
and Johannes Brahms gave smaller organizations and ensembles access to classic choral
literature that was either unobtainable or in some cases cost prohibitive to purchase an
entire work when looking only to perform one movement. And arguably, his most
important contribution to music editions were bringing to light critical editions of
madrigals and chansons by such composers as Orlando di Lasso, Pierre Certon and
Thomas Morley. Hirt was well known in Los Angeles for his performances of especially
chansons and madrigals, and through offering critical editions of such works, he opened

275
“ H o l l yw ood P a r i sh t o Lo s e Mus i c D i r e c t o r s, ” Los Angeles Times, June 27, 1970.

77

the door for many other choirs of differing abilities to also sing these charming
melodies.
276

H i r t ’ s largest contribution, however, to Los Angeles choral culture really must be
seen through his work at USC. The development of that department, while not without
merit being guided by people like Max Krone,
277
the choral music program at the time
Charles Hirt arrived was still in its infancy. It was Hirt who saw the need to establish a
department and who oversaw the development of the degree programs and instituted the
graduate degrees, and eventually degrees in choral and sacred music. It was at USC that
Charles Hirt established himself as a visionary and foundational leader in the choral arts:
his work with the choirs; his attention to detail in regard to performance practice and text,
as evidenced through the wonderful recordings still obtainable today on the ACDA
website; the education for students in early music, especially French chansons and
madrigals; and the reputation that USC has enjoyed in choral music over the decades.
One can also point to the many successful students who studied with Charles Hirt
who went on to have huge careers of their own – they are too numerous to name here, but
if we look only at those who remained in the greater Los Angeles area who have kept the

276
A l i st of H i r t ’ s e d i t i on s, a r r a n ge m e nt s a n d a d a pt i on s c a n be found in the bibliography.

277
Max Thomas Krone was the Dean of the USC Fine Arts Department in the 40s and was
responsible for bringing Charles Hirt and also legendary Trojan band director Clarence Sawhill to
the university.

78

Hirt culture going we can immediately name: Donald Brinegar,
278
Nick Strimple,
279

William Hatcher,
280
Thomas Sommerville
281
, James Vail, William Hall
282
and William
Dehning;
283
if we move to the next generation who worked with Rod Eichenberger
284
at
USC and who are teaching in Los Angeles, we can add Iris Levine,
285
Grant Gershon
286

and Jo-Michael Scheibe and if we jump another generation, Rob Istad
287
and Karen
Cooksey,
288
who both studied with Bill Dehning and are now working in the greater Los

278
Donald Brinegar has taught at both Pasadena City College and USC conducting, methods, and
choruses at the schools in addition to leading the Donald Brinegar Singers.

279
Nick Strimple has taught choral literature and music history choruses in addition to conducting
his church choir, the Southern California Choral Society and Los Angeles Zimryah Chorale.

280
Bill Hatcher taught at UCLA, Pasadena City College and Santa Barbara High School until he
left CA to go to the University of Iowa, where he retired in 1999. He has since moved back to
California and is active as an adjudicator at festivals and workshops.

281
Tom Somerville conducted the Occidental choral ensembles and is currently Professor
Emeritus at the school. He was also the artistic director of the Los Angeles Bach Festival, and the
music director at First Congregational Church of Los Angeles.

282
William Dawson Hall is the founding dean and artistic director for the Center for the Arts at
Chapman University, and has been a professor of music there for the past 48 years. He has
performed with the Chapman University choruses and his own professional group, the William
Hall Chorale, all over the world.

283
William Dehning was the chair of the USC choral department following Rodney Eichenberger
in 1990 until Dehning retired in 2007.

284
Rodney Eichenberger joined the USC choral department following Charles Hirt from 1976-
1990.

285
Iris Levine is the conductor of Vox Femina in Los Angeles in addition to being chair of the
choral department at Pomona College.

286
Grant Gershon is the current music director of the world-renowned Los Angeles Master
Chorale, and choirmaster of the Los Angeles Opera Chorus.

287
Robert Istad is chair of the department of choral music at Cal State University Fullerton.

288
Karen Cooksey is the assistant conductor of the Los Angeles Opera Chorus.
79

Angeles area. The point is that by creating the program that exists at USC in choral
music, Charles Hirt ensured that the traditions of that department and therefore his vision
would be carried on for generations. If we add the students of the department who are
active nationally, we can add Dale Warland,
289
Jerry Blackstone,
290
Ron Staheli,
291
Ron
Kean,
292
Royce Saltzman,
293
Robert H. Young,
294
Thomas Davies,
295
and Mack
Wilberg
296
to the litany, to name only five.
It must also be mentioned that USC tends to be a feeder of choral singers and
conductors for many professional organizations in the Los Angeles area. A surprising
number of USC graduates work at institutions such as Los Angeles Master Chorale, Los

289
Dale Warland was the conductor of the acclaimed Dale Warland Singers, and a prolific
composer and commissioner of new choral music.

290
Jerry Blackstone is a Grammy®-winning conductor who is the director of choirs and chair of
the conducting department at University of Michigan.

291
Director of Choral Activities at Brigham Young University.

292
An acclaimed composer, Kean is also the chair of the performing arts and director of choral
activities at Bakersfield College.

293
Royce Saltzman founded the Oregon Bach Festival in 1970 with Helmuth Rilling, although
Saltzman was the main administrator of the festival. He was responsible for the commissions of
the Penderecki Credo, P ä r t ’ s Litany, a n d G ol i j ov ’ s Oceana, all of which were premiered at the
B a c h F e st i v a l unde r S a l t z m a n ’ s t e n ur e .

294
Robert H. Young was Emeritus Professor of choral music at Baylor University, retired as the
director of graduate studies in May of 1993. Born in Santa Cruz, CA, Young spent much of his
time as a choral composer. He was the founder of the Baylor University Chamber Singers and
joined the faculty at Baylor in 1962.

295
Thomas Davies is the director of choral activities and vocal studies at California State
University Polytechnic (Cal Poly, San Luis Obispo) since 1983. He conducts three choirs at Cal
Poly in addition to his 100-member ensemble, Cuesta Master Chorale.

296
Mack Wilberg is the composer, conductor and arranger for the Mormon Tabernacle Choir in
Salt Lake City, Utah.
80

Angeles Opera, Los Angeles Philharmonic, Pacific Chorale, Pacific Symphony and many
notable organizations throughout the region. The vision of Charles Hirt continues on very
strongly through the people who either worked with him or through those who studied
with him.
Dr . C h a r l e s C . H i r t ’ s c o n tributions to choral music are without question; he
founded organizations of importance that are still thriving in 2011; he established one of
the largest choral and sacred music departments in the nation that continues to impact
choral music in Los Angeles today through the generations of students who graduate
f r o m USC ’ s c h o r a l m us i c pr o gr a m ; and his philosophy of performance practice and
chamber vocal early music are still being taught in the Los Angeles area through his
students, and most certainly at USC. His name continues to come up in conversation as a
choral master whose ideas can be revisited and still learned from a decade after his
passing. Charles Hirt, like Howard Swan, was a giant in choral music education, an
innovator and pioneer who was ahead of his time in ideas; a force to be reckoned with
during his time; and a legacy after it.
81

CHAPTER THREE
DR. ROGER FRANCIS WAGNER (1914-1992)
Early Years (1914-1964)
Roger Wagner was born on January 16, 1914 in Le Puy, France, his family
moving to Los Angeles in the early 1921, when Wagner was seven.
297
He was taught
organ by his father, who was the organist at Dijon Cathedral
298
when Roger was a boy —
the family moved to Dijon shortly after Wagner was born,
299
and then emigrated to the
United States when Roger was about six years old. They settled in upstate New York then
moved to Los Angeles, California shortly afterward, Roger continuing to study organ and
choral music with his father, although even as a small child, he disagreed with his father
regarding choral sound.
300
At age twelve, Wagner was hired as the organist/choir director
at St. Ambrose Catholic Church in Los Angeles
301
—while he was still singing as a boy
s o pr a n o i n hi s f a t h e r ’ s church choir
302
a t S t . B r e n da n ’ s C a t h o l i c C h ur c h i n Larchmont.

297
Mo r r o w , “ T h e I n f l u e n c e o f t he R o b e r t S h a w C h o r a l e . ”

298
William Belan, ed. Choral Essays: A Tribute to Roger Wagner (San Carlos, CA: Thomas
House, 1995), 2

299
Mo n t a g u e , S t e p he n , “ O bi t ua r y : R oge r W a g ne r , ” The Independent: September 22, 1991,
http://www.independent.co.uk/news/people/obituary-roger-wagner-1552937.html (accessed:
November 15, 2011).

300
Mc Ew e n , 21. I t m i gh t b e no t e d t h a t W a g ne r sa i d he ne ve r a g r e e d w i t h hi s f a t he r ’ s
“ N i ne t e e n t h- c e n t ur y ” a ppr o a c h t o c ho r a l so und , a n d e ve n a t a g e t w e l ve r e c ogn i z e d t h a t style
sho ul d d i c t a t e a si n ge r ’ s “ so u n d . ”

301
Morrow, “ T h e I n f l u ence of the Robert Shaw Chorale, ” 48.

302
Mo r e m e n , R a y a n d R oge r W a g ne r , “ I n Q ue st o f A n s w e r s: A n I n t e r v i e w w i t h R o ge r W a gne r , ”
Choral Journal 13, no. 6 (October 1972): 16.

82

Two years later, when Wagner was fourteen, he began substituting for his father at St.
B r e n da n’ s o n t h e o r ga n ,
303
and this was followed with Wagner entering the Santa Barbara
seminary in 1929.
304
Wagner realized after a few years that the monastic life was not a
choice he wanted to make, and he returned to Los Angeles to attended Fairfax High
School, although his graduation status from Fairfax is unclear.
305
He went in 1932 to
France to study organ with Marcel Dupré.
306
During his study abroad, Wagner was
saturated not only with some of the best organ music of the period, but also with the
catholic traditions of Gregorian chant and Renaissance music; the concentrated exposure
of this ancient music being one of the most significant influences upon his life.
307
He
also closely studied the music of Josquin des Prés and began researching manuscripts of
des Prés ’ m u s i c at a Benedictine abbey
308
in Dijon. In 1935, he briefly returned to the US
due to hi s f a t h e r ’ s i ll ne s s a n d relatively quick death.
309
Wagner returned to France,
eventually r e c e i v i ng a b a c h e l o r ’ s de gr e e , and later a PhD from the University of
Montreal, writing his dissertation on the music of Josquin des Prés.
310
Before returning to

303
B e l a n , “ A n I n t e r vi e w w i t h R o ge r W a gne r , ” 9.

304
Mo n t a g u e , “ O bi t ua r y : R o ge r W a g ne r . ”

305
McEwen, 21. There is a discrepancy as many sources, including Fairfax High School
publications and several Times interviews state, that Wagner did graduate from Fairfax.

306
Mo n t a g u e , “ O bi t ua r y : R o ge r W a g ne r . ”

307
McEwen, 21.

308
Bela n , “ A n I n t e r vi e w w i t h R o ge r W a gne r , ” 9.

309
McEwen, 21.

310
Mo n t a g u e , “ O bi t ua r y : R o ge r W a g ne r . ”
83

the United States permanently, Wagner was drafted into the French army, serving two
years, in addition to competing for France in the 1936 Olympics as a decathlete.
311

Upon his return to Los Angeles in 1937, Wagner could not find work as an
organist, but he was hired as a singer in the Metro-Goldwyn-Mayer chorus.
312
Never one
to be idle, he also studied orchestration at UCLA and instrumental conducting at USC
during this time.
313
Later that same year, he became the organist/choirmaster at St.
J o s e ph’ s C a t h o l i c C h ur c h i n do wn t o wn Los Angeles, where he reorganized the mixed
chorus into a men and boys' choir,
314
eliminating the women.
315
He took philosophy
classes at USC and in the early 1940s, studied conducting with Bruno Walter and Otto
Klemperer along with orchestration from Lucien Callet, Igor Stravinsky and Arnold
Schoenberg.
316
W hil e a t S t. J o s e ph’ s , W a g ne r taught academic classes and also coached
the basketball and football teams;
317
and he established an annual concert series at the
church, which brought him notice in southern California.
318

311
Morrow, “ T h e I n f l u ence of the Robert Shaw Chorale, ” 49.

312
B e l a n , “ A n I n t e r vi e w w i t h R o ge r W a gne r , ” 12.

313
McEwen, 22.

314
Morrow, 49.

315
Mo n t a g u e , “ O bi t ua r y , R o ge r W a g ne r . ”

316
Ibid.

317
Morrow, 49.

318
Ibid.

84

Wagner became a naturalized citizen of the U.S. in 1945 and shortly after, was
appointed supervisor of youth choruses for the City of Los Angeles Bureau of Music.
319

I n a n a r t i c l e da t e d J ul y 29, 1945, I s a b e l M o r s e J o n e s r e po r t s t h a t t h e “ c o o pe r a t i o n between city, county and citi z e ns i n d i c a t e s a n e w tr e n d” i n t h e a r t s i n L o s An geles, that
she hoped would end arts organizations depending upon “ t h e ge ne r o s i t y o f t h e f e w b ut b e the joint responsibility of the many . ” S h e we n t o n to s a y t h a t “ t h e r e a r e t h o s e o f us wh o pin our hopes of a better future for music on this cooperative effort between city, county,
State and n a t i o n . ”
320
T h e a r t i c l e a nn o un c e s t h a t t h e “ pr i n c i pa l o bj e c t i v e o f t h e f i r s t s i x months of the Los Angeles City Music Bureau has been the organization of groups of
singers. Eight districts out of twenty-eight hoped for have reported progress under J.
A r t h ur L e w i s . ”
321
Jones goes on to say that Roger Wagner was appointed youth director
a n d “ h a s b e gu n hi s wo r k i n o u t l yi ng d i s t r i c t s wh e r e de f i ni t e n e e d o f a d y na mi c a n d
i ns p i r e d c h o r a l l e a de r h a s b e e n i n d i c a t e d. ”
322

By February of 1946, the Los Angeles Times reported that there were “ 10 j u ni o r choruses of varying sizes under the overall direction of Roger Wagner, youth choral
director of the City Arts Commission, ”
323
in an article extolling the need for supporting

319
Mo n t a g u e , “ O bi t ua r y : R o ge r W a g ne r . ”

320
Isabel Morse J one s, “ C o m m u n i t y Mus i c P l a n P r o g r e ss i ng , ” Los Angeles Times, Jul 22, 1945.

321
Ibid. At the time of the article, the choruses were preparing for a Beethoven Ninth Symphony
performance at the Hollywood Bowl with Leopold Stokowski.

322
Ibid.

323
Isabel Morse Jones , “ Li f t f o r Mus i c Ta l e n t of S o ut hl a nd U r ge d , ” Los Angeles Times, February
24, 1946.

85

the choruses and orchestras of Los Angeles and not s e e k i n g “ im po r t s ” a s m o r e de s i r a bl e .
It was t h r o ugh t h e B ur e a u o f M us i c a n d W a g ne r ’ s m a ny y o ut h c h o r us e s f r o m a l l over
Los Angeles, that he chose sixteen of the best singers, including Marilyn Horne,
324
Marni
Nixon
325
and Paul Salamunovich,
326
to form his first concert chorus. One of their first
appearances was at the Greek Theater in Griffith Park sponsored by the Municipal Art
Commission. Wagner conducted not only the concert youth chorus but also Werner
J a n s s e n ’ s o r c h e s t r a .
327
Wag ne r ’ s s m a ll gr o up o f s e l e c t v o i c e s wa s a l s o r e s p o n s i b l e f o r a weekly, thirty-minute radio broadcast of madrigal music —that Wagner later credited for
his expanded knowledge of this type of choral literature.
328
It was during this period that
Wagner decided he wished to expand not only the repertoire of his select group of
singers, but also their quality, and he embarked upon a two year intensive rehearsal
period with very few public appearances.
329
From approximately 1946-48, this expanded

324
Now a celebrated mezzo- s o pr a n o , “ J a c k i e ” a s sh e i s c a l l e d by m a ny w a s a se c ond so pr a n o no t only in RWs first concert chorus through the Bureau of Music, but she was one of the original
singers in the Roger Wagner Chorale.

325
Nixon is a celebrated soprano known mostly for her soundtrack work, supplying the voices for
Audrey Hepburn, Deborah Kerr and Natalie Wood in films such as The King and I, An Affair to
Remember, West Side Story and as the mother abbess in The Sound of Music.

326
Salamunovich was a second tenor in both the concert chorus and also the Roger Wagner
Chorale. H e e ve n t ua l l y be c a m e W a gne r ’ s a ss i st a n t conductor of the Los Angeles Master Chorale,
and of course, the music director of that same organization.

327
“ M usi c t h i s W e e k , ” Los Angeles Times, October 20, 1946.

328
McEwen, 23.

329
Ibid.

86

ensemble practiced in a church basement in relative obscurity —until Alfred Wallenstein
and Franz Waxman eventually took notice.
330

By 1947, there were more than twenty youth choruses sponsored through the
Bureau of Music
331
and organized by Wagner, including an all-male chorus in Lincoln
Heights s po n s o r e d by t h e L o s An ge l e s T i m e s B o y s ’ C l u b .
332
By May of 1947, the
concert youth choruses numbered twenty-five and had more than 800 boys and girls of
Los Angeles singing in them.
333
The entire combined groups of all twenty-five choruses
made their Hollywood Bowl debut to celebrate the official opening of “National Music
Week ” in Los Angeles, with Wagner conducting the combined choruses as supervisor,
and seven other conductors leading some of the individual choirs.
334
The program
featured a sixteen-year old coloratura soprano, Marni McEathon (aka Marni Nixon), who
was a recipient of a music scholarship from the Municipal Art Commission for winning
t h e “ A r t i s t s o f t h e F ut ur e ” v o i c e c o n t e s t.
335
Wagner was also invited to bring his newly
formed Concert Youth Chorus and Orchestra as a featured artist to appear at the regular
Behymer
336
matinee at the Barker Bros. auditorium as part of the citywide observance of

330
Ibid.

331
This was reported by J. Arthur Lewis, the music co-ordinator of the Los Angeles Bureau of
Music.

332
“ T i m e s ’ B o y s ’ C l ub t o B a c k Y o ut h C ho r us, ” Los Angeles Times, January 25, 1947.

333
“ M usi c F e t e S e t f o r T om o r r o w , ” Los Angeles Times, May 3, 1947.

334
Ibid.

335
Ibid.
336
L.E. Behymer and his family were responsible for booking acts into venues around Los
Angeles beginning in the late Nineteenth century and into the mid-twentieth century.
87

“National Music Week; ”
337
this was the first unofficial performance of what would
become the Roger Wagner Chorale; they performed the Fauré Requiem.
338

The year 1948 brought with it many city-related appearances for Roger Wagner
along with several versions of the name of his primary blossoming chorus, the Los
Angeles Concert Youth Chorus. In March, the group is referred to as the Madrigal
Singers of the Los Angeles Bureau of Music,
339
when the group appeared along with
Wagner and J. Arthur Lewis when the latter presented an address on the advances Los
Angeles was making in providing music for all of its citizens.
340
But the group is again
listed in May as the Los Angeles Concert Youth Chorus when it appeared for the national
observance of Music Week at the Elks Lodge.
341
By June, the group was listed as the Los
Angeles Concert Chorale when it appeared with Franz Waxman
342
in Jeanne d’Arcy at
the Beverly Hills Music Festival in Royce Hall at UCLA;
343
and in Redlands, at a

337
“ Y o ut h s S i ng T o d a y , ” Los Angeles Times, May 8, 1947.

338
“ M usi c W e e k O bs e r v a n c e H e r e t o b e S t a r t e d T o d a y , ” Los Angeles Times, May 4, 1947.

339
“ M usi c Ta l k S e t by S o r o pt i m i st s, ” Los Angeles Times, March 23, 1948.

340
One might surmise that since the meeting of the Soroptimists was held at the Biltmore
downtown Wagner probably needed to bring only a small 16-voice group from out of the larger
Concert Youth Chorus.

341
“ El k s t o P r e se n t F e st i v a l o f Mus i c , ” Los Angeles Times, May 5, 1948.

342
Franz Waxman (1906-1967) is known primarily for his film scores such as Bride of
Frankenstein, Rebecca, Suspicion, The Paradine Case and Rear Window. He received 12
Academy Award® Nominations in his career for such films as Sunset Boulevard and A Place in
the Sun to name only two. He died at the age of sixty from cancer.

343
“ B e ve r l y F e st i v a l P r e s e n t s ‘ J e a nne d’ A r c ’ O r a t o r i o , ” Los Angeles Times, June 6, 1948.

88

memorial concert at the Redlands Bowl —this performance also listed the chorale as
having forty singers.
344
Later that summer, the LA Concert Chorale appeared for MGM
Night at the Hollywood Bowl as part of the Symphonies Under the Stars series.
345
The
“ L A C o n c e r t C h o r a l e ” a ppe a r s a ga i n i n No ve m be r a t a l a r ge m e m o r i a l c o nc e r t p r e s e n t e d
at Philharmonic Auditorium for L.E. Behymer sponsored by the LA Bureau of Music. In
the latter, the Times mentions that the chorus has seventy voices, that Robert Hunter
played the Mozart Piano Concerto No. 20 in D minor, and that Marni Nixon was the
soprano soloist for the Mozart Requiem.
346

The concert was reviewed by Albert Goldberg of the Los Angeles Times, who
r e m a r ke d t h a t “ a l e s s a us t e r e pi e c e t h a n t h e R e qu i e m M a s s m i g h t h a v e s e r v e d to di s p l a y t h e c h o r us to b e tt e r a dv a n t a ge , ” b ut t h a t i t di s p l a y e d “ s o l i d to n e i n s uc h s traightforward
passages as the Dies Irae and Rex tremendae, which showed t h e c h o r us “ a t i t s b e s t . ” He
we n t o n to s a y t h a t t h e r e “ wa s a go o d s o l i d t o n e but a conviction that was lacking when
c o n t r a pun t a l c o m p li c a t i o ns put a h e a vy s t r a i n upo n t h e gr o up’ s pr e s e n t de gr e e o f s k i ll , but all in all it was a goo d b e g i nni ng. ”
347
It is interesting to note that Goldberg lists the
c h o r us a s “ t h e C i t y o f L o s An ge l e s C o n c e r t C h o r a l e , ” y e t a n ot h e r v e r s i o n o f t h e n a m e o f the group. By the end of 1948, t h e B ur e a u o f M us ic’ s pr o gr a m h a d 1, 000 ki d s
344
“ R e d l a nd s t o P a y C a dm a n H ono r , ” Los Angeles Times, June 20, 1948.

345
“ B o w l t o H a ve MGM A r t i st s, ” Los Angeles Times, July 24, 1948.

346
“ Mo z a r t ’ s R e q u i e m , ” Los Angeles Times, November 21, 1948.

347
Albert Goldberg, ” A l l Mo z a r t C o n c e r t G i ve n a t A u d i t o r i u m , ” Los Angeles Times, November
27, 1948.

89

participating in it, which sang as a combined choir for the fourth annual Christmas
program sponsored by the City of Los Angeles.
348

The Los Angeles Concert Chorale (which seemed quite interchangeable with City
Concert Chorale in the Times) was also featured in the Los Angeles Times in several
articles appearing in late November and throughout December of 1948. The group sang
daily concerts at Pershing Square as part of the Christmas music programs offered free to
the public under the auspices of the Downtown Christmas Music Festival, co-sponsored
by the Bureau of Music of Los Angeles, Church Federation of Los Angeles, Choral
Directors
349
Guild of Southern California, and the County Music Commission. In one
article, there is a picture (see Figure 2) of several members including Tony Katics and
Paul Salamunovich, both of whom became charter members of the Roger Wagner
Chorale.
350

348
“ Ed w a r d A r nol d a n d C ho r us t o F e a t ur e P a r t y , ” Los Angeles Times, December 16, 1948, 20.

349
Most likely an erroneous listing, the Times in all probability meant Choral Conductors Guild
of Southern California.

350
“ Y ul e t i de Mus i c W i l l be H e a r t , ” Los Angeles Times, November 26, 1948.
90

Figure 2. Concert Chorale Members. Left to right: Tony Katics, Joyce Ferrin, Dorothy Carson,
and Paul Salaunovich.
Wagner also conducted a 400-voice childr e n ’ s c h o r us r e pr e s e n t i n g e i g h t c h ur c h choirs in Los Angeles and its surrounding communities at First Baptist Church of Los
An ge l e s i n A pr i l , whi c h wa s t h e f i na l e v e n t o f t h e S e c o n d Ann ua l C hi l dr e n’ s C h o i r Festival jointly sponsored by the Southern California Choral Conductors Guild and the
music department of the Church Federation of Los Angeles.
351
Two other noteworthy
appearances for Wagner in 1948 were a 2500- v o i c e c h o r us c a l l e d t h e “ R a m s C h o r us , ”
which appears to have augmented the half-time entertainment at a Los Angeles Rams vs.
the Washington Redskins football game at the Los Angeles Memorial Coliseum;
352
and a
pe r f o r m a n c e o f M a hl e r ’ s Eighth Symphony with Eugene Ormandy at the Hollywood
Bowl, which Wagner prepped the chorus of two adult choirs and a boys ’ c h o i r (incidentally, this was only the fourth production of the symphony in the United States
and the first on the West Coast).
353

Probably one of the most important occurrences in 1948 for Wagner was the
appearance of the Roger Wagner Chorale with the San Francisco Opera Company at the
Shrine Auditorium for a matinee of Die Meistersinger in October. It is the first mention
of the Roger Wagner Chorale as such in the Los Angeles Times. Paul Salamunovich, a
charter member of the Roger Wagner Chorale, stated in an article that appeared in the
Choral Journal in 1991 that it was the Los Angeles Concert Chorale that laid the

351
“ M a ss e d C ho i r s O f f e r F i n a l P r o g r a m T o d a y , ” Los Angeles Times, April 25, 1948.

352
“ H a l f- T i m e C ho r us, ” Los Angeles Times, August 25, 1948.

353
Albert Goldberg, “ M a h l e r ’ s Eigh t h T h r i l l i n g Mus i c Eve n t , ” Los Angeles Times, Jul 30, 1948.

91

foundation for the Roger Wagner Chorale to launch as a professional organization in
1949.
354
The exact year of establishment of the Roger Wagner Chorale is slightly
dubious for it has been stated in some sources as 1946,
355
in the Los Angeles Times as
such in 1948, and according to Salamunovich as 1949. For the purpose of this study, the
published year in the Los Angeles Times will be the year of record as first performing as
such since there is no mention of the group prior to that date in the Times and it is clearly
listed as appearing with the San Francisco Opera Company in October of 1948, which
Salamunovich may have forgotten; for this study, the year of 1947 will be considered the
founding year of the Roger Wagner Chorale per the Thirty-fifth Anniversary celebration
which took place in 1982. The other noteworthy item that happened to Wagner in this
year was his work with Alfred Newman.
356
Wagner had of course sung with the MGM
chorus, but to be recognized as an expert choral conductor by a major composer within
the studio machine was invaluable, not only to Wagner, but also to his singers. Newman
asked Wagner to write the Latin text to a chant he wrote for a film starring Loretta Young
called Come to the Stable. This began a new relationship for Wagner with the Hollywood

354
“ I n t e r vi e w w i t h Paul Salamunovi c h , ” Choral Journal 22 (August 1991): 16.

355
This is actually the year that the Bureau of Music established the Concert Youth Chorus,
which was the early version of the Roger Wagner Chorale.

356
Alfred Newman (1900-1970) was an American composer, arranger and orchestrator for films.
His career spanned 40 years and he worked with composers and arrangers like Max Steiner,
Leonard Stein, and Dimitri Tiomkin. He composed music for more than 200 films, winning
Academy® Awards for The King and I (1956), Camelot (1967) and Call Me Madam (1953).

92

film set that was lucrative for both he and the chorale, many of whom went on to become
members of Screen Actors Guild, recording many motion picture soundtracks.
357

In March of 1949, the Los Angeles City Bureau of Music instituted a southern
C a l if o r ni a c o n t e m po r a r y c h o r a l c o m po s e r ’ s c o n t e s t, pr o m i s i ng t h a t t h e accepted new
short choral works would be presented by the Los Angeles Concert Chorale, under the
direction of Roger Wagner. J. Arthur Lewis stated that he and Wagner conceived of the
c o n t e s t to “ a i d i n t h e a r e a ’ s r e c o gni t i o n o f i t s r e s i d e n t c o m po s e r s . ”
358
It is interesting to
note that even though the Roger Wagner Chorale appeared in the previous August at the
Shrine, the Los Angeles Concert Choir was still performing, so Wagner had not yet
begun to turn his full attention to establishing his own professional group. However, in
April of 1949, the Roger Wagner Chorale was received in a glowing review by Patterson
Greene of the Los Angeles Examiner:
359

Roger Wagner last Sunday night conducted his Chorale of mixed voices,
augmented by the St. Joseph Male Choir, in a program of the most beautiful
choral singing I have heard in many years.

Perhaps I should simply call it the most beautiful choral singing I have heard;
because beyond supreme technical and tonal merits, it had a mood of exaltation
t h a t vi s i t s i t s e l f r a r e ly upo n c h o r us e s , o r up o n i n d ivi dua l s , f o r t h a t m a t t e r …
Wagner has achieved a style and tonal quality that is depersonalized without
being dehumanized. He has avoided the operatic emotionalism that besets some
choral groups, and the prim pallor that besets still others. There was no tremolo,

357
American Film Institute, American Film Institute Catalog of Motion Pictures Produced in the
United States; Feature Films, 1941-1950, vol. 1 (University of California Press, 1993).

358
“ C h o r a l W o r k s P r o g r a m D e a d l i ne S e t f o r F r i d a y , ” Los Angeles Times, March 16, 1949.

359
The Los Angeles Examiner eventually became the Los Angeles Herald Examiner when it
merged with the Los Angeles Herald; however, the Herald Examiner went bankrupt in the early
part of the 21st century.

93

no shrillness, no rigidity in the ensemble, and there was a welcome accuracy of
pitch, attack a n d e x e c ut i o n …

The church was filled to its limits, and hundreds had to be turned away. Perhaps
means can be found whereby Wagner, who has given new life to choral singing in
Los Angeles, may be enabled to bring this program to other audiences.
360

The Roger Wagner Chorale appeared at the Bowl with Franz Waxman conducting
Jeanne d’Arc,
361
and also with Wallenstein and the Los Angeles Philharmonic in a
program of Bach.
362
Wagner also performed with the Los Angeles Concert Chorale on
the steps of City Hall for a patriotic Mexican fiesta singing the Star Spangled Banner and
the Mexican national anthem;
363
he conducted an unnamed chorus of sixty-voices at the
Memorial Coliseum in a Stabat Mater (composer was not credited in the Times) for an
audience of 50,000 celebrating the Franciscan priests directed by Hermes Pan; and
conducted a 16- v o i c e gr o up o f “ m a dr i ga l s i nge r s ” f r o m t h e L o s An ge l e s C o n c e r t Chorus
364
for the City of Los Angeles and Mayor Bowron.
365
1949 also marked the year
that Wagner began his long association with the University of California Los Angeles as

360
Patterson G r e e ne , “ C h o r a l G r o up S o a r s , ” Los Angeles Examiner: Apr 5, 1949.

361
“ T w o Novelties, “ B a l l e t o f W e e k’ s B ow l P r o g r a m , : ” Los Angeles Times, July 17, 1948.

362
Morrow, “ T h e I n f l u e n c e o f t he R o b e r t S h a w C h o r a l e . ” 50.

363
“ C i t y ’ s M e xi c a n B a ll e t o f W e e k ’ s B o w l P r o gr a m , ” Los Angeles Times, September 11,
1949.

364
Norma H. G o odh u e , “ C o f C W om e n A do pt C h r i st m a s C a r o l T h e m e , ” Los Angeles Times,
December 6, 1949.

365
Fletcher Bowron (1887-1968) was the 35th Mayor of Los Angeles, from September 1938 –
June 1953; his lengthy tenure as mayor has only been surpassed by Tom Bradley, who served
from 1973-1993.

94

a professor of music teaching conducting and also conducting the A Cappella Choir.
366

His appointment, in addition to his work with Wallenstein, Waxman and his contract with
Capitol Records that began in 1949, were in large part due to the overwhelming success
of his small unit of singers chosen from his youth choruses that became the world famous
Roger Wagner Chorale.
367

The Roger Wagner Chorale (1950-1964)
In 1950, Wagner was still performing with the Los Angeles Concert Chorale,
which received a nice review in the Los Angeles Times following a performance of
S c h u b e r t ’ s Mass in Eb Major. M us i c c r i t i c Al be r t Go l d b e r g s a i d, “ t h e f r e s h y o un g v o i c e s of the City Concert Chorale, a unit of the Municipal Art Bureau of Music, sang under
W a g ne r ’ s d i r e c t i o n w i t h t h e ut m o s t a s s ur a n c e . The attacks were sharp and clean, the
weaving melodic lines were always clear, and the full-throated splendor of the climaxes
was something to remember. ”
368
A n d W a g n e r ’ s r e put a t i o n f o r b u i l d i ng n o t o nl y c h o r us , but choral culture in Los Angeles was growing, as witnessed by an article in the Times
which said:
On the musical side, things might be said to be roaring. Five years ago a bureau of
music was formed on a four-figure budget with the object of spreading more
musical enjoyment among the taxpayers and promoting community participation
in musical activities. ‘ P e o pl e l i ke to s i n g a n d i n L o s An ge l e s t h e y s e e m t o b e fonder of singing than elsewhere, ’ said Mr. Ross, the newly appointed supervisor
o f t h e c i t y ’ s a r t b ur e a u . The music bureau ’ s pr o gr a m f o r pr o m o t i n g c o m m u ni t y singing caught on so well that it is now a $100,000-a-year venture with 40

366
McEwen, 23.

367
Ibid.

368
Albert Goldberg, “ C h o r us a n d O r c he st r a I m pr e ss i ve , ” Los Angeles Times, April 15, 1950.

95

community singing groups. Conductor Roger Wagner, who specializes in choral
work, directs the youth choral activities of the city, and Los Angeles choral
groups have attained not only national but world-wide fame, for twice a year, at
Easter and Christmas, the best of the choristers broadcast the c i t y ’ s gr e e t i n g s to t h e wor l d. ‘ I t ’ s v e r y im pr e s s i ve , ’ s a y s M r . R o s s , ‘ we ge t c o m p l im e n t a r y l e tt e r s f r o m t h e r e m o t e s t s p ot s o n t h e s i n g i n g. ’ Side by side with the choral work, which
is being pushed with great energy, is a band concert program.
369

The Roger Wagner Chorale was also continuing to build an excellent reputation
for quality choral work in Los Angeles, as evidenced by a review of a Monday evening
concert:
E v e ni ngs o n t h e r oo f a ga i n pr o v e d i t s i n d i s p e n s a ble p l a c e i n t h e c i t y ’ s m us i c a l li f e when it assumed the considerable responsibility of presenting two such divergent
m a s t e r pi e c e s a s P a l e s t r i n a ’ s Pope Marcellus M a s s a n d S t r a vi ns k y ’ s Les Noces for
the first local performances in the Wilshire Ebell last night. The forces engaged
were entirely composed of resident musicians, and so excellent and satisfying
were both productions that every member of the large audience present should
have felt pride in the dynamic activity and abundance of talent that makes such
happenings possible on the local scene. The Palestrina Mass was entrusted to the
Roger Wagner Chorale, conducted by Roger Wagner, and one felt that at last Los
Angeles has a resident choral group capable of carrying on the finest traditions of
the art. The voices are young and fresh, and they have been beautifully trained:
the sections are uncommonly well balanced against each other, they sing with
assurance and a confident feeling of independence, and they produce a tone
quality that is often of striking loveliness …

But aside from the historical interest, the work is a perfect example of medieval
church music in its flowing independently voiced style and the calm unearthly
sweetness of its treatment of the traditional text of the Mass. Mr. Wagner had
infused his choristers with a keen perception of the essentials of the style and the
performance became a highly gratifying experience.

S tr a vi ns k y ’ s Les Noces has had only five stage productions since it was first
pr o duc e d… i t i s do ub t f u l i f a c t i o n c o ul d h a v e a dde d a ny t hi n g t o t h e e x c i t e m e n t o f last ni g h t ’ s pe r f o r m a nc e , whi c h , un de r I n go l f Da hl’ s
370
expert direction, reflected

369
Leonard Wi bb e r l e y , “ A r t f o r t he Ta xpa y e r , ” Los Angeles Times, August 21, 1950.

370
Ingolf Dahl (1912-1970) was a German composer who immigrated to the United States in
1939. In addition to collaborating with Stravinsky, Dahl played keyboards on the soundtracks of
man y f i l m s i n t he 1940s, i n a d di t i on t o p e r f o r m i ng t he se c ond m ove m e n t o f B e e t hove n ’ s
96

vast credit upon all concerned. The Roger Wagner Chorale sang its barbaric
chants with nonchalant disregard of the fabulous rhythmic and vocal
difficulties.
371

The sixth annual Christmas broadcast from t h e C i t y ’ s B ur e a u o f M u s i c too k pl a c e on December 23, 1950 and featured almost 1,000 singers from the combined youth
choirs, joined by the Roger Wagner Chorale. In his article about the broadcast, Rev.
George Robert Garner III states t h a t t h e pr o gr a m i s a “ L o s An ge l e s t r a di t i o n ” and that the
concert would include B e e t h o ve n ’ s Hymn to Joy, Ho l s t ’ s Hymn to Jesus, passages from
B a c h ’ s Cantata No. 142, and several Christmas folk songs by John Jacob Niles and Max
Reger.
In the early years of the 1950s decade, the Roger Wagner Chorale performed with
t h e L o s A n ge l e s P hil ha r m o ni c f o r B e e t h o v e n ’ s Missa Solemnis, Mahler ’s Resurrection
Symphony, Romeo and Juliet by B e r l i o z , a n d Or f f ’ s Carmina Burana.
372
The group also
s a n g a t m o r e M o n da y e v e ni ng “ C o nc e r t s o n t h e R oo f , ” a l s o kn o wn unofficially in Los
Angeles as the “new music concerts, ” and Wagner continued to perform works not heard
before on the West Coast. Goldberg reports in 1951 the US premiere o f V i t t or i a ’ s Missa
pro defunctis, which was copied by a chorale member from a manuscript in the San

Pathétique Sonata in the famous 1969 animated film A Boy Named Charlie Brown. He became a
US citizen in 1943 and in 1945 joined the faculty of USC where he taught composition for the
rest of his life.

371
Albert G ol d b e r g , “ P a l e st r i n a , S t r a v i n s ky W o r k s Exc i t i ngl y D one , ” Los Angeles Times,
December 12, 1950.

372
Morrow, 51.

97

Francisco Library,
373
wa s pe r f o r m e d t o a “ c a pa c i t y ho us e ” a n d t h a t W a g n e r a n d t h e s i n g e r s “ e v o ke d a m o o d o f l o f t y r e v e r e n c e r a r e l y e n c o un t e r e d i n t h e c o n c e r t h a l l . ”
374

Wagner also announced the formation of the c i t y ’ s f i r s t i n t e r -racial youth chorus as part
o f t h e B ur e a u o f M us i c ’ s outreach to the communities of Los Angeles; Jester Hairston
was appointed director of the chorus by Wagner.
375
Given that in the early 1950s
segregation was still very much a part of the landscape, of not only Los Angeles, but the
entire nation; African Americans, like future mayor Tom Bradley, who wanted to
purchase homes, still had to go through Caucasian co-signers to get the banks to make the
loans. It was twelve years before a black actor would win an Academy Award for Best
Actor;
376
and the first scripted inter-racial kiss on television was still seventeen years
away
377
—and Roger Wagner, along with J. Arthur Lewis and Jester Hairston, had the
vision to be among the first to institute an interracial “community group. ”
Perhaps one of the most telling articles about Wagner in 1951 was written by Los
Angeles Times music critic, Albert Goldberg. G o l d b e r g’ s a n a ly s i s o f t h e i m po r t a n c e o f
373
Albert Goldberg, “ R o o f C on c e r t s W i l l F e a t ur e C h o r a l W o r k s, ” Los Angeles Times, November
11, 1951.

374
Ibid.

375
“ Y o ut h C ho r us F o r m e d J H a i r st o n D i r e c t o r , ” Los Angeles Times, February 15, 1951.

376
Sidney Poitier was the first black actor to win a Best Actor Academy® Award for Lilies in the
Field in 1963. James Baskett was given an honorary Academy® Award for Song of the South in
1948, and Hattie McDaniel was the very first African American to win an Academy® Award in
any category when she won Best Supporting Actress in 1939 for Gone with the Wind.

377
Gene Rodenberry scripted the first inter-racial kiss on television between the characters of
Captain Kirk and Lt. Uhura (actors William Shatner and Nichelle Nichols) on Star Trek in the
e p i s ode “ P l a t o ’ s S t e pc hi l d r e n , ” w hi c h a i r e d on November 22, 1968. The actual first onscreen
inter-racial kiss was between Sammy Davis Jr. and Nancy Sinatra in 1967 for her TV special
“ Mo vi n ’ on w i t h N a n c y . ”
98

the Bureau of Music includes the humble beginnings from which it came (he tells a story
of both Lewis and Wagner purchasing shirts and shoes for some of the singers for the
very first performance at City Hall in 1945 so that all who wanted to participate, could),
and culminated in Goldberg comparing the 200 children who took part in the very first
performance with the pa r t i c i pa t i o n i n t h e B ur e a u’ s early programs in 1950. That year
included twenty-three youth choruses with a total participating attendance of 27,766;
eighteen adult choruses with 22,170 members; fifteen community sings attended by
160,000 people; and almost 100 band concerts heard by more than 200,000 Los Angeles
citizens, which was nothing short of astounding. I n Go l dbe r g’ s o wn wo r ds :
The musical and social implications of all this activity are far-reaching. On the
s o c i a l s i d e we c a n t hi nk o f n o b e t t e r e x a m p l e t h a n t h e b ur e a u’ s b o a s t t h a t n o
member of its youth choruses has ever been booked on a juvenile delinquency
charge. The music accomplishment, though it must of necessity be secondary in
such a program, has nevertheless been impressive. The Greater Los Angeles
C h o r us , b ur e a u s po n s o r e d, h a s s un g B e e t h o ve n ’ s Ninth Symphony in the
Hollywood Bowl under the direction of both Leopold Stokowski and Serge
Koussevitsky. Also in the Bowl, it appeared in Mah l e r ’ s Eighth Symphony under
E uge n e Or m a n d y a n d s a n g B a c h’ s Saint Matthew Passion with Stokowski. The
same chorus is scheduled in the Bowl again when it will sing the Verdi Requiem
a n d Ha y d n’ s The Seasons…

On e o f t h e b ur e a u’ s gr o ups wa x e d to s uc h pr o f e ssional stature that it severed its
connections and started on its own successful career as the Roger Wagner
Chorale. Before that it had given concerts devoted to the Mozart Requiem, B a c h ’ s Christ lag in Todesbanden, a n d Ho n e gge r ’ s Joan of Arc at the Stake, which it
sang both at the Los Angeles music festival and in the Hollywood Bowl …

There are other cities which carry on more musical activities in proportion to their
size, and others which present more pretentious programs, such as opera and
symphony concerts, but no other large city boasts such a large music-participation
program that permeates all levels of the population.
378

378
Albert Goldberg, “ T he B ur e a u o f Mus i c , ” Los Angeles Times, June 3, 1951.

99

Building upon the successes of his developing organization, the Roger Wagner
Chorale appeared with the Los Angeles Philharmonic and Wallenstein in performances of
the Beethoven Missa Solemnis in April of 1952. Albert Goldberg, in his LA Times review
remarked that it was a performance t h a t “ n o o n e who heard is likely to forget, ” calling the
pe r f o r m a n c e , “ W a ll e ns t e i n ’ s c r o wni n g a c hi e v e m e n t . ”
379
Regarding the Wagner Chorale,
Goldberg waxed poetically:
It was hard to believe that this city, which a few short years ago was a choral
desert, now possesses a chorus like the Roger Wagner Chorale. Yet Mr. Wagner
turned over to Wallenstein an instrument as finely drilled and as capable of
realizing the superhuman difficulties of the Missa Solemnis as any one has ever
heard. To Beethoven, the human voice was only another instrument in his vast
conception. He demanded of it feats of range of rhythm and of flexibility that
lesser composers expect only of instruments of wood and metal. Yet in last
ni g h t ’ s pe r f o r m a n c e a l l t h o ugh t o f t h e s e hazards was lost in the revelation of the
bl a z i ng g l o r y o f B e e t h o v e n ’ s i ns p i r a t i o n … I t w o ul d o nl y h a v e b e e n h u m a n to have faltered here and there, but the chorus was at every instant equal to the task
a n d r o s e to W a l l e ns t e i n ’ s unf l a gg i ng de m a n ds w i t h t h e m o s t t h r i ll i ng vi r t uo s i t y . It
was all there – the overwhelming power, the absolute exactness of execution, the
sudden dramatic contrasts, the taxing accents to define the complicated
po l y p h o ny … T h e r e wa s to n e o f t h e m o s t b e a ut i f u l qua l i t y t o r e a l i z e t h e i ne f f a bl e heights to which Beethoven soared above all earthly considerations.
And if that review was not stunning by itself, C. Sharpless Hickman of The Christian
Science Monitor said:
Jan Peerce, George London, Eileen Farrell and Claramae Turner, and the
reputation of the Roger Wagner Chorale resulted in hundreds of persons being
turned away from the final pair of concert s o f t h e L o s An ge l e s P hil ha r m o ni c … Wallenstein offered an exceptionally good performance, uniformly dominated by
the singing of the Roger Wagner Chorale, expanded for these concerts to 140
voices. The months of choral preparation showed their result in keen-bladed cut-
offs, the most expressive dynamic nuances, and the maintenance of beautiful tone
despite the high range of much of the vocal writing.

379
Albert Goldberg, “ B e e t hove n Ma ss En d s S e a son G l o r i o usl y , ” Los Angeles Times, April 18,
1952.

100

The dominance of the chorale —attributable to M r . W a l l e ns t e i n ’ s i ns i s t e n c e upo n a huge-toned choral mass —resulted in orchestral passages, particularly
transitional ones, seeming pallid in comparison. Actually the Philharmonic was
doing some of its finest playing in a season which has had a number of
memorable performances.
380

It is difficult to imagine receiving reviews of such glowing qualities and not attracting
even more attention than the Roger Wagner Chorale had already begun to attract.
W a g ne r ’ s eventual interest in new works also began to surface in the early 1950s
with an American premiere in May of 19 52 o f E t i e nn e M e h u l e ’ s o pe r a , Joseph, which he
pe r f o r m e d a t H o l ly wo o d Hi g h S c h o o l w i t h t h e c i t y ’ s B ur e a u o f M u s i c combined youth
choruses. Also on the program were works by Bach, Handel, Vivaldi, Palestrina and
Ernest Bloch.
381
Wagner followed up this American premiere with a Los Angeles
premiere of the Cherubini Requiem with UCLA’s A Cappella Choir in July of 1952 as
part of a summer music festival at Westwood Community Methodist Church. The
performance for the Methodists was followed with a second performance of the Requiem
at Royce Hall on the campus of UCLA.
382

As busy as the Roger Wagner Chorale had been up until this point, 1953 proved
to be a year that heightened not only the name recognition of the group in Los Angeles,
but across the nation and internationally. It is also important to note that as of 1953, there
were very few professional choirs in the United States: Fred Waring in Pennsylvania,

380
C. Sharpless H i c km a n , “ W a l l e n st e i n w i t h B e e t hove n a t P h i l h a r m oni c S e a son’ s End , ” The
Christian Science Monitor, April 26, 1952.

381
“ Me h ul ’ s O pe r a , ' Jo se p h ' W i l l b e G i ve n T o ni gh t , ” Los Angeles Times, May 23, 1952.

382
“ R o ge r W a gne r D i r e c t s U C LA S u m m e r C hoi r , ” Los Angeles Times, July 27, 1952, 42.

101

wh e r e h e ’ d b e e n s i nc e 1938; R o b e r t S h a w i n Ne w Yo r k; a n d R o ge r W a g n e r i n L o s Angeles,
383
this fact illustrates the small, selective nature of what Wagner was involved
in establishing in southern California. The year began with the chorale singing at St.
V i bi a n a ’ s C a t h e dr a l f o r a t e l e vi s e d m a ss celebrated by then newly elevated James Francis
Cardinal McIntyre.
384
The significance of the event in Los Angeles was owing to the fact
that McIntyre was only the second Archbishop to be named in Los Angeles, but more
importantly, he was the first Archbishop of the Roman Catholic clergy to be created a
Cardinal in the Western United States.
385
The mass was televised live on KTLA,
followed by a rebroadcast at a later time on a sister channel, and also a broadcast on local
radio classical station, KFAC.
In March, Capitol Records released a recording of the chorale singing the Brahms
Liebeslieder Waltzes that earned the chorale an outstanding review in The Washington
Post:
These charming works have not been more beautifully or sensitively recorded and
sung to our knowledge. True, Brahms wrote them for four singers, a mixed
quartet, not a mixed chorus. B ut W a g n e r ’ s d y n a mi c s , l i k e hi s t e m po s , s e e m perfectly adjusted to the music.
386

383
Ma t t h e w S i gm a n , “ T h e R i s e o f t he P r o f e ss i on a l C ho r us, ” The Voice (Summer 2010),
http://www.chorusamerica.org/publications.cfm (accessed January 24, 2012).

384
W a l t e r A m e s, “ C a r d i n a l Mc I n t y r e i n T w o V i de o A pp e a r a n c e s T o d a y ; I n A u g ust ur a l C o ve r a ge P r a i se d , ” Los Angeles Times, January 22, 1953.

385
Weber, Francis, His Eminence of Los Angeles: James Francis Cardinal McIntyre (Mission
Hills, CA: St. Francis Historical Society), 1997.

386
Paul H um e , “ B r a h m s : Lie b e sl i e de r W a l t z e s, R o ge r W a gne r C h o r a l e unde r W a gne r , ” The
Washington Post, March 8, 1953.

102

This review appeared in a nationally acclaimed newspaper, written by a renowned music
critic, Paul Hume,
387
which arguably called national attention to the Roger Wagner
Chorale.
T h e t i mi ng o f Hu m e ’ s r e vi e w i n t h e Post could not have been better for Wagner,
who less than a month later was invited by the English crown to perform at the
Coronation festivities of Elizabeth II.
388
The chorale appealed to the public in The Los
Angeles Times for funding to make the trip abroad to represent Los Angeles culturally
during the coronation festivities.
389
In the article, Wagner is quoted s a y i ng, “ W e f e e l t hi s will be such an honor to Los Angeles civically that we will not pass up the opportunity to
take part in the British festivities until the very last moment. At present it is entirely
problematical whether we can manage to achieve our goal. Moreover, the time is running
o u t f a s t . ” In the article, Wagner credited the chorale ’ s r e c o r di n g o f t h e P o pe M a r c e l l u s M a s s by P a l e s t r i na , whi c h r e c e i ve d “ hi g h d i s t i n c t i o n ” a b r o a d
390
as the impetus for the

387
Paul Hume was chief music critic for The Washington Post for 35 years beginning in 1947.
H u m e ’ s a ud i e nc e i nc l ude d s om e of the most powerful listeners, including statesmen and kings.
O ne o f H u m e ’ s m o st f a m o us r un -ins was with President Harry Truman in 1950, after Hume
unfavorably reviewed the voice recital of Tr um a n ’ s dA ug ust h t e r at Constitution Hall. Truman
infamously wro t e H u m e a l e t t e r s a y i ng , “ S o m e d a y I hope t o m e e t yo u . W he n t h a t h a ppe n s y o u ’ l l need a new nose, a lot of beefsteak for black eyes and perhaps a sup po r t e r be l ow . ” The Post did
no t pr i n t t he l e t t e r a t H um e ’ s r e q u e st but a r i v a l ne w spa pe r di d ; ye a r s l a t e r , Hume called on
Truman in Independence, MO, and the two reconciled by playing the piano together.

388
It is believed that the 1953 tour to England and mainland Europe was the first international
tour of the Roger Wagner Chorale, although it was not named as such in any of the primary
sources read.

389
Elza S c h a l l e r t , “ W a g ne r C h o r a l e S e e k s A i d f o r C o r o n a t i on T r i p, ” Los Angeles Times, April
10, 1953.

390
Ibid.

103

Council of the City of London to extend the invitation. Eliza Schallert goes on in the
article to announce that the Wagner Chorale would sing two concerts in the summer
Bowl series: B e e t h o v e n’ s Ninth Symphony with Otto Klemperer and Belshazzar’s Feast
with William Walton conducting his own composition. She also states that Wagner had
recently been offered an appointment as head of the choral department of Juilliard
Institute in New York City —this l a s t s t a t e m e n t pr ovi d i ng f ur t h e r e vi de n c e t h a t W a g n e r ’ s reputation for choral work extended from coast to coast by 1953.
391

In April of 1953, an Albert Goldberg article appeared in the Times regarding not
o nl y t h e f u n dr a i s i ng e f f o r t s to wa r d t h e c h o r a l e ’ s i n vi t a t i o n to E n g l a n d, b ut a l s o W a g n e r ’s
assessment of choral music in Los Angeles.
392
The picture of the choral landscape painted
by Wagner (with help from Goldberg) is rather dismal, with Wagner stating that choral
music will not survive if singers continue only to study the technique of the solo voice,
and not learn how to read music, nor learn the flexibility and stylistic nuances needed to
make a living as a professional singer – wisdom still applicable today. Goldberg backs up
Wagner ’ s po i n t o f vi e w w i t h f i gur e s o n how much money was spent by the Bureau of
Music on band concerts versus choral concerts, lamenting the fact that the city might
h a v e b e e n a bl e to s uppl y a “ c o m pe t e n t c h o r us o f 250” f o r the Philharmonic to use at the
Hollywood Bowl.
W a g ne r go e s o n to s a y t h a t h e “ b e li e ve s t h e da y o f t h e o l d -time amateur chorus is
a t a n e n d, ” a n d t h a t “ t h e r e a r e too m a ny d i s t r a c t i o ns f o r pe o pl e to a tt e n d r e h e a r s a l s
391
Ibid.

392
Albert Goldberg, “ C h o r a l Mus i c Ta k es a Beating, Says Roger Wagner –W ho K now s, ” Los
Angeles Times, May 10, 1953.
104

regularly, and such units have a tendency to depend entirely upon the older membership
for stability – a n d b e a ut i f u l c h o r a l s i n g i ng c a nn o t b e pr o duc e d f r o m e l de r ly v o i c e s . ” Yet
Wagner gives some room for hope by saying that young people are still interested in
c h o r a l wo r k, b ut t h a t t h e y wa n t a “ d y n a mi c c o n duc to r to ke e p t h e m i n t e r e s t e d, ” a n d t h a t
t h e y “ de m a n d a n e w r e pe r t o i r e . ” W a gn e r ’ s po i n t of vi e w i n t h e a r t i c l e i s t h a t m o s t c o n duc to r s de pe n d too m uc h o n t h e “ o l d r e pe r to i r e ” or by t ur ni n g c h o r a l m us i c i n t o a n “ e n t e r t a i nm e n t b a s e d o n s upe r f i c i a l e f f e c t s . ” He goes on to lament that most young
choral conductors have little to hope for in regard to making a decent living in Los
Angeles; he states that most conductors are lucky if they have a church job and
particularly lucky if they have a university job. Wagner completes his pessimistic view of
t h e t i m e by s a yi ng, “ t h e b e s t h e [ a c h o r a l c o n duc tor ] c a n do i s to b u i l d a f i r s t c l a s s o r ga ni z a t i o n t h a t wi ll t h e n b e t a ke n o v e r a n d c o n duc t e d by s o m e o n e e l s e . ”
Goldberg closes the article with a few shocking announcements: he states that
W a g ne r i s s t e pp i n g do wn a f t e r s e v e n y e a r s a s t h e B ur e a u o f M us i c ’ s y o ut h s upe r vi s o r ; t h a t W a g n e r ’ s m a i n c o n c e r n i s r a i s i ng $12, 000 f o r t h e c h o r a l e ’ s E ur o pe a n t r i p i n J u n e ; and closes with an attempt of manipulation over popular sentiment:
Mr. Wagner is not altogether discouraged. He loves our town and has faith in it.
But he also has an ace in the hole. William Schuman, president of the famous
Juilliard School of Music in New York, has offered him a position as head of that
i ns t i t ut i o n ’ s c h o r a l de pa r t m e n t . Mr. Wagner is taking his time: the decision still
hangs in the balance.
393

Whether one knew Wagner personally or not, the insinuation in the above paragraph that
he might well leave Los Angeles for a position in New York if funding and support from

393
Ibid.
105

the public for his chorale to accept the coronation invitation is clear. Of course Wagner
and his chorale did receive financial support, accepted the invitation and traveled to
London to sing not only for British royalty, but also to continue the tour on mainland
Europe.

Figure 3. The Roger Wagner Chorale in London, 1953. Wagner is in the back row, 7th from the
left; Marilyn Horne is 2nd from the left in the back row; Salli Terri is 6th from the right in the
back row; Al Oliveri is 4th from the left in the front row; Tony Katics is 2nd from the right in the
front row; and Paul Salamunovich is pictured 5th from the right in the front. Source:
salliterri.org, accessed on January 18, 2012.
In June of 1953, the group appeared at Royal Festival Hall in London, the Salle
Gaveau in Paris, and also in Amsterdam and the Hague. The chorale was broadcast on the
BBC, Radio Paris and Dutch radio.
394
The London Musical Times s a i d, “ T h e r e c a n b e few if any small choirs in this country which can c o m e a ny w h e r e ne a r to t hi s c h o i r ’ s
394
“ H i st o r y o f t he R oge r W a gne r C h o r a l e , ” http://therogerwagnerchorale.com/history.html
(accessed January 18, 2012).

106

quality in matters of balance, dynamic range, rhythmic precision and accurate
i n t o n a t i o n . ”
395

Before heading off for Europe, Wagner conducted M e n de l s s o hn ’ s Elijah at
Hollywood High School featuring 300 members of the musi c b ur e a u ’ s c o m bi ne d y o ut h choruses and an orchestra comprised of Los Angeles Philharmonic and studio players; the
title role of Elijah was sung by Harold Enns, a then young and unknown bass chosen by
Wagner from the University of Southern California.
396
During this time, Wagner also
held auditions for volunteer singers to augment the Wagner Chorale for the upcoming
Bowl performances with Klemperer and Walton, hearing more than 300 singers for 160
positions so that the chorale would be 200 strong for the performance.
397
It should be
noted that the Hollywood Bowl in the 1950s was acoustically just a shell with no
amplification or acoustically placed panels, so choruses (which stood on risers then, not
the specially made Philharmonic Bowl bleachers now used) needed to be quite large to
balance the orchestra on works such as W a l t o n’ s Belshazzar’s Feast and B e e t h o ve n ’ s Ninth Symphony. Wagner appealed to local church and community choirs to entice
singers to audition for the performance.
398
The other reason Wagner wanted so many
singers (he wound up using 250) was because the Hollywood Bowl was celebrating its

395
Ibid.

396
“ S C B a ss o C h o s e n f o r O pe r a R o l e , ” Los Angeles Times, May 14, 1953.

397
“ C h o r a l W o r k s S c he dul e f o r B ow l C on c e r t s, ” Los Angeles Times, May 11, 1953.

398
Ibid.

107

1000
th
performance the night of the Ninth with Klemperer, and like everyone, he was
looking to make it memorable.
399

T h e W a g n e r C h o r a l e a l s o s a n g B i z e t ’ s Carmen that summer in the Bowl during
July and August wi t h J a n P o ppe r , a n d a ppe a r e d a t t h r e e S a t ur da y “ P o ps ” e v e n t s w i t h J a y e Rubanoff conducting.
400
Albert Goldberg of the Los Angeles Times had these comments
following the 1953 Bowl season:
The big choral works were the most notable events of the season, and as long as
the superb Roger Wagner Chorale is available they might well be increased in
number. The Los Angeles Philharmonic Orchestra labored valiantly and produced
results in direct ratio to the merits of the visiting maestros who conducted it; the
merits were uneven and consequently so was the playing.

Goldberg goes on in the same article to discuss the aspersions cast upon Los Angeles as a
musical center by Europe:
Apropos this colum n’ s r e c e n t r e m a r k s c o n c e r ning the disparity between Los
An ge l e s ’ a c hi e ve m e n t s i n m us i c a n d t h e s m a l l c r e d i t i t r e c e i v e s i n t hi s r e ga r d
from the outside world, Roger Wagner submits some extraordinary evidence. In a
letter to Mr. Wagner confirming the engagement of the Roger Wagner Chorale for
appearances i n Ho l l a n d, o n e o f t h a t c o un tr y ’ s l e a d in g i m pr e s a r i o s , kn o w i n g f u ll well that both choristers and conductor were from Los Angeles, wrote to Mr.
W a g ne r : ‘ I think it would be a very good idea to announce the Chorale as coming
from San Francisco, therefore heading, SAN FRANCISCO (big), Roger Wagner
C h o r a l e , e t c , e t c . ’

And in the August issue of the magazine London Musical Events, Mr. Wagner
d i s c o v e r e d t h e f o l l o w i ng i n a r e vi e w o f t h e G l y nde b o ur n e F e s t i v a l ’ s pr o duc t i o n o f M o z a r t ’ s Abduction from the Seraglio: ‘Alfred Wallenstein, a newcomer from
San Francisco, directed the performance and infused the right amount of sparkle
into his singers and players, the whole thing running with complete smoothness
f r o m b e g i nn i ng to e n d. ’ As if the Los Angeles Philharmonic Orchestra were not

399
“ H o l l yw ood B ow l S t a r t s F i n a l W e e k T om o r r ow , ” Los Angeles Times, August 31, 1953.

400
“ H o l l yw ood B ow l P r e pa r e s f o r S i x S e a son C on c e r t s, ” Los Angeles Times, June 11, 1953.
108

soon to embark on its 35th season and Wallenstein entering his 11th year as the
gr o up’ s c o n duc to r !
401

The chorale recorded its second album for Capitol Records on August 23, 1953,
the Fauré Requiem.
402

In September of 1953, Wagner began discussions with ABC to develop a five-
week “TV strip ”
403
that would close the television broadcast day Monday-Friday
featuring the Thirty-two voices of the Roger Wagner Chorale singing hymns. The
network wanted him to produce a series similar to his Sunday choral symphony hour, but
Wagner countered with the closing format, causing the network to send the idea to their
headquarters in New York.
404
Also at this time, the Philharmonic season of 1953-54 was
announced, and the Wagner Chorale was noted as engaged for the Brahms Requiem and
B a c h ’ s Christmas Oratorio, both with Alfred Wallenstein at the podium.
405

An interesting commentary by Albert Goldberg appeared in the Times in
November of 1953, spawned from the recent entertainment that Los Angeles officially
supplied for a visit from the King and Queen of Greece. It is a snapshot of the attitudes of
not only Los Angeles but also the United States in the early decades of the 1950s

401
Albert G ol d b e r g , “ S um m e r S e a son B r e a k s N o R e c o r d s but F ut u r e S e e m s N o t End a nge r e d , ” Los Angeles Times, September 13, 1953.

402
S a l l i T e r r i , “ Salli Terri D i sc og r a ph y , ” http://www.salliterri.org/discog.htm (accessed January
19, 2012).

403
I t i s be l i e ve d t h a t G ol d b e r g ’ s t e r m i s r e f e r r i ng t o t he “ st r i p” o f m usi c t h a t a ppe a r e d a t t h e e nd o f a t e l e vi s i on br o a d c a st d a y a s a “ si gn - o f f ” f o r t h e st a t i on .

404
Walter A m e s, “ I r i sh P r i v a t e Eye R o l e f o r Ev a G a bo r ; J o S t a f f o r d S i gn s f o r T V , ” Los Angeles
Times, September 16, 1953.

405
“ P h i l h a r m on i c G r o ups P l a n T i c ke t C a m pa i gn , ” Los Angeles Times, September 14, 1953. (As
previously noted, Wallenstein became music director of the Los Angeles Philharmonic in 1943.)
109

regarding our classical institutions, artists and musicians. Goldberg pondered the wisdom
o f t h e s t e e r i n g c o m m i t t e e i n c h o o s i n g “ Ho l l y wo o d s t y l e e n t e r t a i nm e n t ” f o r r o y a l t y w h e n our city has organizations like the Los Angeles Philharmonic Orchestra and Roger
W a g ne r C h o r a l e ( whi c h Go l d b e r g s a i d “ m a d e E ur o pe s i t up a n d t a ke n ot i c e l a s t s pr i n g” on their tour) , n ot to m e n t i o n “ s e v e r a l l o c a l c o l l e ge s a n d u ni ve r s i t i e s ” t h a t h a ve “ c h o r a l gr o ups o f r e m a r ka bl e d i s t i n c t i o n , ” wh o m i g h t h a v e di s p l a y e d a “ c l a s s y ” a n d “ c l e a n ” f a c e of Los Angeles. Goldberg also observed t h a t “ E ur o pe a n visitors are constantly amazed at
the musical work accomplished in our public schools, ” and that Los Angeles has resident
m us i c gr o ups o f “ d i s t i n gu i s h e d qua li t y a n d wo r l d - f a m o us vi r t u o s i ” i n a dd i t i o n to “ c o m po s e r s w h o m a ke t h e i r h o m e h e r e a n d a r e pr oud t o be recognized as members of the
c o m m u ni t y , ” a n d t h a t t h e e n t e r t a i nm e n t c o m mi t t e e di s p l a y e d a “ s a d de m o n s t r a t i o n ” o f not only the city culture of Los Angeles, but also the American culture at large. He
continued to take on the United States nationally and internationally in its failure to
recognize major artists and musicians as ambassadors of American culture and art; as
achievements of accomplishment that should be touted and not dismissed. Goldberg
b o l d ly s t a t e s t h a t, “ o nl y t h e Am e r i c a n go v e r nm e n t , a m o n g the great powers, fails to
realize and take official recognition of its artists and their accomplishments and to turn
t h e m to t h e m o s t us e f u l pur po s e . ” He goes on to compare the treatment of artists from
other cultures by their governmental consulates and representatives when they travel
abroad as ambassadors of their nations with those of the United States, and he
110

admonishes the American government for its lack of recognition of its artists and their
accomplishments.
406

Go l d b e r g’ s a r t i c l e i s r e ve a li ng o n many levels, but the one most pertinent to this
study is the fact that he acknowledges not only the Roger Wagner Chorale and its
importance to local southern Californian culture, but also the importance of the choral
programs from colleges, universities and even the public school system in Los Angeles. It
is a testament to the outstanding choral work that began in the southern California region
in the 1930s by pioneers like Ray Moremen, John Smallman and Ralph Lyman,
continued by conductors like Howard Swan, Charles Hirt and Roger Wagner that
established a tradition of choral singing in Los Angeles that continues today through
institutions like the Los Angeles Master Chorale, University of Southern California,
Pasadena City College, California State University Pomona, California State University
Fullerton, California State University Long Beach, Occidental College and California
State University Northridge, to name a few.
In December of 1953, the Los Angeles Philharmonic, for the first time in its
thirty-five-year history, presented the Bach Christmas Oratorio,
407
featuring the Roger
Wagner Chorale, and several soloists that Wagner featured quite often during this era,
Anne Shaw Price —Robert S h a w’s sister, soprano; Katherine Hilgenberg, contralto;

406
Albert Goldberg, “ O n En t e r t a i n i ng R oy a l t y ; o r H a v e W e N o t h i ng Mo r e t o B e P r o ud O f ? ” Los
Angeles Times, November 29, 1953.

407
I t m i gh t b e m e n t i one d t h a t t h e “ C h r i st m a s O r a t o r i o ” by B a c h i s no t a n “ o r a t o r i o ” i n t he t r ue sense of the word, but a grouping of six church cantatas, each intended to be performed during
the service on one of the six festival days of the Lutheran Christmas observance.

111

Richard Robinson, tenor; Ralph Isbell, bass; Patti Reems, Joyce Ferrin, sopranos; and
Howard Chitjian, tenor, with Alfred Wallenstein conducting.
408
Goldberg in his review
stated that, “ a s ha s h a ppe n e d r e pe a t e d l y i n r e c e n t s e a s o n s , t h e c o nj u n c t i o n o f Al f r e d
Wallenstein, the Los Angeles Philharmonic Orchestra and the Roger Wagner Chorale
m a de l o c a l hi s t o r y t h r o ugh t h e i r pe r f o r m a n c e o f B a c h’ s C h r i s t m a s Or a to r i o i n P hil ha r m o ni c A ud i t o r i u m . ” He went to observe the following about the performance
itself:
The performance in every way did full justice to this unique masterpiece –
undoubtedly the greatest Christmas observance in all music, considering that
Ha n de l ’ s Messiah was not primarily intended as a Christmas piece. The Roger
Wagner Chorale sang with magnificent crispness, surety and rhythmic
i nc i s i ve ne s s t h e bi g n u m be r s s uc h a s t h e o pe ni ng “ C h r i s t i a ns b e J o y f u l , ” “Hear,
Ki ng o f An ge l s ” o f P a r t I I a n d “ G l o r y B e t o G o d” of Part V, while the chorales
were intoned with an admirable sustained quality of compelling tonal suavity.
Finer choral singing than this is simply not to be heard anywhere, and Los
Angeles should take unlimited pride in this group.

The city should be proud of the soloists, too, all of them local products. Katherine
Hilgenberg ’s contralto was of velvety smoothness and her mastery of the
excessive range of the part, its long drawn phrases and particularly the emotional
c o m m u ni c a t i o n o f s uc h pa s s a ge s a s t h e l o v e ly “ S l u m be r , B e l o v e d ” we r e a l l o f t h e first order.

Ralph Isbell sang the narrative passages with the utmost dignity, with clarity of
enunciation and splendid tonal quality throughout the equally extended range.
R i c ha r d R o bi n s o n’ s t e n o r wa s m o s t t a s t e f u l ly de p lo y e d, a n d t h e m u s i c i a n s hi p o f Anne Shaw Price in the soprano part was fully the equal of that of her able
colleagues. Incidental parts were also well handled by Patricia Reems, Joyce
Ferrin and Howard Chitjian.
409

408
“ P h i l h a r m on i c W i l l P r e se n t B a c h O r a t o r i o , ” Los Angeles Times, November 30, 1953.

409
Albert Goldberg, “ P r e s e n t a t i on o f C h r i st m a s O r a t o r i o Mom e n t o us T r i um p h , ” Los Angeles
Times, December19, 1953.

112

T h e c h o r a l e pe r f o r m e d B r a hm s ’ Requiem with the Los Angeles Philharmonic and
Wallenstein in March of 1954. Wagner augmented his group with 200 volunteer singers,
and both Wagner and Wallenstein received a nice review in the Times.
410
The review of
the Brahms was followed by an unaccredited review in the same paper ten days later of a
recording on a French import label of the Detmold Academy of Music with the
Collegium Pro Arte, Kurt Thomas conducting the Bach Christmas Oratorio. It is
interesting because the unnamed review (whom one might assume is Albert Goldberg),
b a s i c a ll y pa ns t h e r e c o r di n g a s a “ c o m pe t e n t s t ude n t pe r f o r m a n c e , s to d gy and dull, ” a n d
n o t to b e c o m pa r e d w i t h t h e “ b r il li a n t l o c a l pe r f o r m a n c e by Alf r e d W a ll e n s t e i n a n d s u n g
by the Roger Wagner Chorale. Why import this kind of recording when we regularly
produce an infinitely finer article at home? ”
411

The chorale presented a completely a cappella concert in May including the
Monteverdi Lagrime d’Amante al Sepolcro; Seven Chansons of Poulenc; Five Chansons
on an Old Text by Hindemuth; Three Chansons of Debussy and Two Poems of Mihaud.
The repertoire was primarily that which the chorale had performed in 1953 on its
European tour, and was finally presenting in Los Angeles.
412
Throughout the early 1950s,
Wagner was also teaching at Marymount College (an all- wo m e n’ s s c h o o l n e s t l e d i n t h e hills of Bel-Air), and he presented many concerts with the Marymount College Choral
Club paired with the Roger Wagner Male Chorus (aka the men of the chorale). In May of

410
Albert Goldberg, “ A G e r m a n R e q ui e m M e m o r a bl e Eve n t , ” Los Angeles Times, March 13,
1954.

411
“ R e c o r d R e vi e w s, ” Los Angeles Times, March 28, 1954.

412
“ C h o r a l U ni t t o A pp e a r T om o r r o w , ” Los Angeles Times, May 9, 1954.
113

1954, they presented a concert to benefit the Marymount College Music Scholarship
Fund. The concert consisted of Palestrina, Grieg, Roy Ringwa l d ’ s c a n t a t a , Song of
America, and the first appearance of the set of Stephen Foster songs arranged by Wagner,
which were eventually recorded by the Roger Wagner Chorale.
413

The Roger Wagner Chorale appeared in the 1954 Bowl season at the summer
Pops concert, featuring the music of Richard Rodgers, the composer conducting. They
performed music from State Fair, Carousel, South Pacific and Oklahoma.
414
The ability
of the Roger Wagner Chorale to easily change its sound to accommodate different
singing styles was something of which Wagner was always proud, and pointed to often as
im po r t a n t “ b e n c hm a r k s ” for professional singers to be comfortable in versatility. This
was proven by the chorale when it closed the 1954 Bowl season by joining Alfred
Wallenstein and the LA Philharmonic i n a pe r f o r m a n c e o f B e e t h o v e n’ s Missa Solemnis.
Go l d b e r g’ s r e vi e w o f t h e pe r f o r m a n c e wa s f il l e d w i t h s upe r l a t i ve s f o r b ot h W a ll e ns t e i n and the chorale:
Nor can any praise be too exaggerated for the phenomenal Roger Wagner
Chorale. Mr. Wag n e r ’ s un c a nny u n de r s t a n d i ng o f c h o r a l t e c hni que h a s c r e a t e d i n this group easily the finest chorus this listener has ever heard and one which
merits, and is rapidly achieving, world-wide fame. No difficulties were too great
for these vocalists to master with deceptive ease. The inhuman demands
Beethoven made on his choristers were all executed with the most thrilling power
and accuracy and with a spirit and understanding that far transcended mere
technical virtuosity. The relentless excitement of the Gloria and Credo and the

413
“ M a r ym o un t a nd W a gne r G r o up P l a n C o n c e r t , ” Los Angeles Times, May 16, 1954.

414
“ B o w l P o ps C on c e r t W i l l F e a t ur e R odge r s T o n i gh t , ” Los Angeles Times, July 17, 1954.

114

ineffable beauty of the Sanctus and Agnus Dei were episodes that no one who
heard them is ever likely to forget.
415

The collaboration of Wallenstein and Wagner continued with the opening of the
Los Angeles Philharmonic 1954-55 season and C a r l Or f f ’ s Carmina Burana.
416
The
soloists for the performance were also from the chorale: Phyllis Althof, Richard
Robinson and Heinz Blankenburg, respectively.

Figure 4. Wallenstein (left) and Wagner (right). Source: Los Angeles Times.
Following the Orff performance, in December of 1954, the Marymount College
Choral Club combined with the men of the Roger Wagner Chorale, performed many
traditional Christmas carols and arrangements by Wagner with solos featuring Nancy
Sciacqua, Howard Chitjian and Richard Robinson. With the groups, Wagner also

415
Albert Goldberg, “ R a r e Ma st e r pi e c e C l o s e s B ow l S e a son , ” Los Angeles Times, September 8,
1954.

416
“ P h i l h a r m on i c t o P r e s e n t C ho r a l W o r k P r o g r a m s, ” Los Angeles Times, November 22, 1954.

115

pr e s e n t e d a n e w s t a gi n g by He n r y R e e s e o f B a c h ’ s “ C o f f e e ” c a n t a t a .
417
A few days later,
W a g ne r c o n duc t e d a pe r f o r m a n c e o f Ha n de l ’ s Israel in Egypt with the UCLA A Cappella
Choir and an orchestra of students; the concert featured student soloists, including Robert
(Bob) Smart,
418
who went on to sing with Wagner in the chorale.
419

One of the important historical developments for not only the Roger Wagner
Chorale, but eventually for the Los Angeles Master Chorale, was the establishment of the
Los Angeles Choral Music Association (which eventually became the Southern
California Choral Music Association) in December of 1954. The purpose of the LACMA
wa s to a c t a s f u n dr a i s i ng c o m mi t t e e f o r W a gne r ’ s chorus, which became the mission of
the other association for the Master Chorale.
Also announced in this same article was a concert to be given by the Roger
Wagn e r C h o r a l e o f B a c h’ s B Minor Mass with Marilyn Horne as soprano soloist and
Richard Robinson as the tenor, both of whom had already sung for Wagner in the chorale

417
BMV 211 was composed by Bach for a performance by the Leipzig Collegium Musicum
(founded by G.F. Telemann in 1702) a t Zi m m e r m a n’ s C o f f e e H o us e i n L e i pz i g , be t w e e n 1732
and 1734. The Collegium was made up of students who at the time Bach composed the cantata,
m e t e ve r y F r i d a y ni gh t a t Zi m m e r m a nn ’ s C o f f e e ho us e t o gi ve c on c e r t s . M a n y of B a c h ’ s s e c u l a r works were premiered by the Collegium. T h e “ C o f f e e C a n t a t a ” i s a s c l o s e t o c om i c o p e r a a s B a c h ever comes, as demonstrated by the fun he pokes at both coffee drinkers and their old-fashioned
critics.

418
Bob Smart later became one of the Modern Men, a group of male singers who performed on
som e o f S t a n K e n t on ’ s Kenton with Voices album released in 1957. The other three men in this
group were also Roger Wagner Chorale singers, Al Oliveri, Paul Salamunovich, and Tony Katics.

419
“ N e w S t a g i ng se t f o r B a c h C a n t a t a / C h oi r W i l l G i ve O r a t o r i o , ” Los Angeles Times,
December12, 1954.

116

for ten consecutive seasons; the other soloists on the concert were Harve Presnell,
420

baritone, and Caryl Porter, contralto.
421
Some of the innovative features of this concert
were the departure from the customary seating arrangements of the forces and the fact
that the work was presented in Latin and according to Bach proportions. Wagner merged
the chorus and orchestra together in sections, so that choristers and instrumentalists were
grouped thus: sopranos/violins; altos/second violins; tenors/violas;
basses/cellos/contrabasses and so forth; down center on stage were the vocal and
instrumental soloists, organ and continuo. Wagner also decided to use a 40-voice chorus
and a 28-member orchestra, which he said represented m o r e c l o s e l y t r ue “ B a c h pr o p or t i o ns ” f o r pe r f o r m a n c e pr a c t i c e in regard to force numbers.
422

The question of the appropriate number of performers is of course something for
which there is still not a consensus among scholars. Joshua Rifkin maintains that Bach
expected his choral music to be sung by only one singer to a part, while other scholars
argue that Bach preferred something larger.
423
No matter how one chooses to interpret
the famous Bach memo to the city council of Leipzig complaining about his working
conditions, there is no positive proof for one argument or the other, so conductors still

420
Harve Presnell sang for Wagner for close to a Decade following this concert on national tours,
and was a feat ur e d sol oi st on W a gne r ’ s f a m o us Joy to the World Christmas album, which was
recorded at Capitol Records around this time. Presnell later went on to some notoriety as an actor
in such films as Fargo and as a television series regular on The Pretender, among others.

421
“ C h o r a l e t o B e O f f e r e d a t U C LA , ” Los Angeles Times, December19, 1954.

422
“ C h o r a l e t o P e r f o r m B a c h Ma ss , ” Los Angeles Times, December26, 1954.

423
B e r n a r d D . S h e r m a n , “ P e r f o r m i ng B a c h ’ s B Mi no r Ma ss : T h i r t y Y e a r s o f H I P , ” r e pr i n t e d from Goldberg, (November 1999), http://www.bsherman.net/bminormass.htm, (accessed January
3, 2012).
117

must make a choice regarding the size of forces one is to use to perform the B minor
Mass.
In addition to their already busy holiday schedule, a few days before Christmas
1954, the Roger Wagner Chorale sang in a musical version of A Christmas Carol,
broadcast on live television starring Fredric March and Basil Rathbone. The broadcast
was seen not only in Los Angeles, but also on the East coast.
424

In February of 1955, Wagner and his chorale offered a program of Vittoria; Fauré
Requiem with soloists Helena Sundgren and Harve Presnell; a Los Angeles premiere
pe r f o r m a n c e o f Ge o r ge A n t h e il ’ s Eight Fragments from Shelley; excerpts from the
Berlioz concert version of Romeo and Juliet with Marilyn Horne and Richard Robinson
as soloists; Trois Chansons of Debussy; s o m e f o l k s s o n gs a n d e x c e r pt s f r o m Ge r s h w i n’ s Porgy and Bess on the 22nd at Royce Hall, sponsored by the Los Angeles Choral Music
Association.
425
The review by Albert Goldberg was superlative as they often were in this
era, opening with an interesting comment on choral music in Los Angeles prior to
Wagner:
It was one thing for Roger Wagner to perfect what this department sincerely
believes to be one of the finest choruses on the face of the globe. But it was quite
another thing, in this town where choral music was as dead as the dodo bird only
a few short years ago, to build up a large and loyal public that again nearly filled
UC L A’ s R o y c e Ha ll t o capacity for the season ’ s s e c o n d c o n c e r t o f t h e R o ge r Wagner Chorale and Chorale Chamber Orchestra.

The explanation is really simple: Mr. Wagner and his singers give great
performances of great music and once the fact becomes known there is always a

424
“ S h ow e r o f S t a r s , ” Chicago Daily Tribune, December 23, 1954.

425
“ R o ge r W a gne r C h o r a l e W i l l P r e se n t C on c e r t a t U C L A , ” Los Angeles Times, February 20,
1955.
118

public for that sort of thing. Simple as it is, however – and perhaps it is not so
simple – it is a lesson that many of our music purveyors have yet to learn.
426

Goldberg goes on to praise everything the chorale performed, most especially the Los
Angeles premiere of the difficult Eight Fragments from Shelley by George Antheil.
Go l d b e r g s a i d “ w i t h t h e va gue ly s hi f t i ng ha r m o ni e s i t m u s t b e e x c e e d i ng ly d i f f i c u l t to s i n g t h e p i e c e s , e n d i ng i n a po we r f u l ly d i s s o n a n t t r e a t m e n t o f “ I F a i n t , I P e r i s h W i t h M y L o v e . ”
427

The Roger Wagner Chorale performed with Wallenstein and the Los Angeles
Philharmonic once again on the Verdi Requiem at Philharmonic Auditorium. In the
review, the ever- d i li ge n t c r i t i c , Al be r t G o l d be r g, s a i d, “ F o r t h e wo r k o f t h e R o ge r Wagner Chorale only the most lavish praise is in order. As the group has demonstrated so
o f t e n b e f o r e t hi s wa s c h o r a l s i ng i ng s e c o n d t o n o n e to b e h e a r d a ny w he r e . ”
428
Two days
following the Verdi concert, the 1955 Hollywood Bowl season was announced,
429
and

426
Albert G ol d b e r g , “ W a g ne r C h o r a l e ’ s C on c e r t O ut s t a n di n g , ” Los Angeles Times, February 24,
1955.

427
Ibid.

428
Albert G ol d b e r g , “ V e r di R e q u i e m E nd s O r c he st r a l S e a son , ” Los Angeles Times, April 15,
1955.

429
“ O ut st a n di ng P r o g r a m s S l a t e d f o r B ow l S e a son , ” Los Angeles Times, April 17, 1955.

119

the Roger Wagner Chorale was named for pe r f o r m i ng M e n de l s s o hn’ s Elijah with Eduard
van Beinum
430
a n d Or f f ’ s Carmina Burana with Leopold Stowkowski.
431

In May, Wagner performed a concert with Marymount College Choral Club,
featuring Jeanette MacDonald as the soprano soloist, with music of Brahms, Vittoria,
Palestrina, Gershwin and Strauss;
432
this was followed i n J u ne by a pe r f o r m a nc e o f Or f f ’ s Catulli Carmina, the first American professional performance (so entitled by Albert
Goldberg of the Times), a n d Va ugh a n W il l i a m s ’ Mass in G Minor. The concert was given
by the Roger Wagner Chorale at Royce Hall and represented the end of the week-long
Los Angeles Music Festival. Marni Nixon and Richard Robinson, both long-time singers
o f W a g n e r ’ s s a n g t h e r e s pe c t i v e s o l o s in the Orff, and were joined by Salli Terri and
Charles Scharbach in the Vaughan Williams. Go l d b e r g’ s r e vi e w e x t o l l e d t h e s i n g i ng o f t h e s o l o i s t s , b ut wa s s upe r l a t i ve i n hi s de s c r i pt i o n o f t h e c h o r a l e ’ s pe r f o r m a n c e :
M r . W a gne r ’ s c h o r us da s he d i t [ Carmina Catulli] with amazing gusto and
assurance and left not a trick unrealized. . . . [The Vaughan Williams] is music of
gem-like perfection and it received a performance of fabulous purity. Surely
nowhere this side of Heaven could one hear choral singing of such matchless
beauty of tone, such artistry of phrasing and nuance, and such complete emotional
involvement. In view of past performances it would be hard to say that the Roger
Wagner Chorale surpassed itself, but it would be impossible to imagine choral
singing any finer than this.
433

430
Van Beinum (1901-1959) was principal conductor of the Amsterdam Concertgebouw
Orchestra from 1945 until his sudden death at the podium from a heart attack in 1959. He guest-
conducted at the Bowl with the Los Angeles Philharmonic from 1956 until his death, and served
as its music director from 1956-1959.

431
Leopold Stokowski (1882-1977) was the principal music director for the Philadelphia
Orchestra from 1917-1940; he was a champion of new music, and was well known as an arranger
of orchestral music.

432
“ M usi c t h i s W e e k , ” Los Angeles Times, May 8, 1953.

433
Albert G ol d b e r g , “ S i n gi ng of W a g ne r C ho r a l e Exto l l e d , ” Los Angeles Times, June 15, 1956.
120

The chorale also recorded the albums Folk Songs of the New World and Folk Songs of the
Old World in May of 1955 for release in 1956. These albums featured soloists Marilyn
Horne, Salli Terri, Howard Chitjian and Harve Presnell.
434

The chorale followed the June concert in Royce with the two bowl concerts
mentioned earlier, Carmina Burana (Stokowski) and Elijah (van Beinum). Wagner also
presented a concert with the chorale of Renaissance Choral music in July at UCLA as
pa r t o f a s u m m e r l e c t ur e s e r i e s c a ll e d “ M us i c o f t h e R e n a i s s a nc e . ”
435

In September, the Los Angeles Philharmonic announced its 1955-56 season, and
on the heels of the American Guild of Musical Artists (AGMA)
436
presenting Alfred
Wallenstein with a citation for his “dedication in presenting the great choral works to the
pe o pl e o f s o ut h e r n C a li f o r ni a , ” three choral works were slated for performance with the
Roger Wagner Chorale for the season. B e r l i o z ’ s Damnation of Faust, the first time the
work would be presented in Los Angeles in its complete form; B e e t h o v e n’ s Ninth
Symphony; and Psalmus Hungaricus by Zoltan Kodaly.
437
During November the chorale
sang a t t h e S h r i n e A ud i t o r i u m f o r t h e S a dl e r ’ s W e ll s B a ll e t c o m pa ny performances of
Daphins et Chloe by Ravel,
438
in addition to several members of the chorale supplying

434
, “ D i sc og r a ph y . ”

435
“ M usi c o f R e n a i ss a nc e i s U C LA L e c t ur e T o pi c , ” Los Angeles Times, June 26, 1955.

436
AGMA is the local shop of professional singers nationwide; the guild represented the singers
of the Roger Wagner Chorale, and today represents the singers of the Los Angeles Master
Chorale, the Los Angeles Opera, along with all of the singers of the Metropolitan Opera and New
York City Opera.

437
“ M usi c a l A r t i st s G ui l d i n T r i but e t o W a l l e n st e i n , ” Los Angeles Times, October 18, 1955.

438
“ S a d l e r ’ s W e l l s B a l l e t a t t h e S h r i ne , ” Los Angeles Times, November 13, 1955.
121

the voices for Robert Craft to record the series of Complete Music of Anton Webern
which includes solos, duets, and an octet of virtuosic vocal soloists.
439
The album was
recorded using the Columbia Recording Orchestra (mostly LA Philharmonic players and
studio musicians) between February 1954 through fall of 1956; some of the voices
supplied by Wagner were: Marni Nixon, Grace-Lynn Martin, Richard Robinson, Charles
Scharbach and Paul Salamunovich.
The year finished with Wagner conducting the UCLA A Cappella Choir and
S y m p h o ny Or c h e s t r a i n Ha n de l ’ s Saul at Royce Hall and the annual Christmas concert of
the chorale in various venues around Los Angeles.
440
The recording sessions for the
album Folk Songs of the Frontier also took place in November and December of 1955 for
album release in 1956. Wagner, along with Salli Terri, wrote the arrangements of popular
“ c o wb o y ” s o n gs a n d t h e m e n o f t h e c h o r a l e r e c o r d e d t h e m , f e a t ur i n g s o l o i s t s : Ha r ve
Presnell, Frank Alpers, Howard Chitjian, Richard Levitt, Paul Hinshaw and Earl
Wilkie.
441

The Roger Wagner Chorale was beginning to spend significant time in recording
studios for both film and soundtrack work in the mid-1950s, and sixteen of his core
singers had been given a weekly contract that was as close to a full time job as a singer

439
Robert Craft, “ T h e C om p l e t e W o r k s o f A n t on W e b e r n , ” LP Album, Columbia K4L-232, 1954-
56.

440
“ M usi c t h i s W e e k , ” Los Angeles Times, December 11, 1955.

441
T e r r i , “ D i sc og r a ph y . ”

122

could find —it allowed Wagner to rehearse them for eight hours in a day if he chose,
when they were not recording or performing elsewhere.
442

Wagner took the chorale on a national tour in the eastern United States in March
and April of 1956, which included a performance in Carnegie Hall,
443
returning just in
time to prepare the augmented c h o r a l e f o r B e e t h o v e n’ s Ninth Symphony for the Los
An ge l e s P hil ha r m o ni c ’ s 1955 -56 subscription season with Wallenstein conducting.
444

Wagner also guest conducted a combined choral ensemble of university singers to
dedicate a new performance hall at Santa Barbara College at the end of April.
445

In early May, Wagner led the Marymount College Choral Club combined with the
men of the chorale in a benefit concert for the Novitiate of the Sacred Heart of Mary —the
the order of nuns who run the Marymount school system internationally;
446
and he
conducted the UCLA a cappella choir for the dedication of Arnold Schoenberg Hall in
the Music Building (which was new at the time) in the American premiere of
S c h o e nb e r g ’ s l a s t c o m p l e t e d c o m po s i t i o n De Profundis, a choral work written in 1950
and dedicated to the state of Israel —the c o n c e r t c on c l ude d w i t h S c h o e nb e r g ’ s Op. 8, Six
Songs with Orchestra, performed by the UCLA Symphony under Lukas Foss with

442
“ I n t e r vi e w w i t h P a ul Salamunov i c h , ” 17.

443
“ P h i l h a r m on i c Program to Include Choral Group, ” Los Angeles Times, April 12, 1956.

444
“ P h i l h a r m on i c t o P r e s e n t B e e t h ove n Ma st e r pi e c e , ” Los Angeles Times, April 10, 1956.

445
“ S a n t a B a r b a r a C o l l e ge H a l l t o B e D e d i c a t e d , ” Los Angeles Times, April 30, 1956.

446
“ M a r ym o un t G r o up S c he d u l e s C on c e r t , ” Los Angeles Times, May 3, 1956.

123

Marilyn Horne as the soprano soloist.
447
June found Wagner working at the Pacific
Music Camp, where young singers and orchestral players gathered for a week to polish
their skills through private lessons, workshops and participation in group orchestras,
bands and choirs.
448
Wagner throughout his career always found time to teach; much of
the teaching was at UCLA, although some was at Pepperdine University, California State
University Los Angeles, Marymount College, Mount Carmel High School, St. Joseph
Parish School and of course appearances at workshops, clinics, choral camps and
seminars throughout the nation and the world. It seemed that no matter how busy Wagner
became with professional success and engagements, in the end he would always return to
teaching—to pass on his legacy of choral knowledge and music to others.
In May, the chorale recorded some of the album Joy to the World, which went on
to become a top seller for Capitol; the album was finished in June of 1956; such a faithful
seller, it was re-released on CD by Capitol/EMI in 1990, almost forty years after it was
recorded.
449
Toward the end of June 1956, Wagner took the chorale up to Santa Barbara
to close the Santa Barbara Music Festival with a concert of Brahms works –the festival of
1956 focused on the works of Brahms.
450
This was followed with two performances in
the Hollywood Bowl in August with the Los Angeles Philharmonic: the Verdi Requiem

447
“ U C LA t o O pe n Mus i c H a l l , ” Los Angeles Times, May 13, 1956.

448
Arthur Fare, “ P l a ye r s C o m b i ne C a m p i ng w i t h G r o w t h i n Mus i c , ” Christian Science Monitor,
May 19, 1956.

449
T e r r i , “ D i sc og r a ph y . ”

450
“ S a n t a B a r b a r a F e st i v a l S l a t e d , ” Los Angeles Times, June 24, 1956.
124

with Roger Wagner at the podium; and the Mozart Requiem conducted by Bruno
Walter.
451
The Verdi received an outstanding review:
A m o r e b e a ut i f u l pe r f o r m a n c e o f Ve r d i ’ s Manzoni Requiem than that conducted
by Roger Wagner in the Hollywood Bowl last night can scarcely be imagined.
The choral parts were sung by the Roger Wagner Chorale, the Los Angeles
Philharmonic Orchestra played, and the four eminent soloists were Leontyne
Price, Elena Nikolaidi, Richard Tucker and Giorgio Tozzi.

This was Mr. Wagner ’s first large scale performance in the Bowl, though he has
often prepared his famous choir for other conductors. That he distinguished
himself so greatly was no surprise, for he has frequently conducted masterpieces
of the choral literature elsewhere with equally satisfactory results …. M r . W a gn e r did not permit the dramatic moments to overshadow the profundity of the quieter
episodes, and he preserved the continuity of the form with a splendid sense of
proportion …t h e c h o r us o f 160 v o i c e s s a n g s upe r bly , a s i t a l wa y s do e s , wi t h unanimous precision that made the words always clearly audible, with electrifying
rhythmical impulse, with persuasive beauty of tone and with staggering solidity of
power in the climaxes. The Roger Wagner Chorale with the Los Angeles
Philharmonic Orchestra shares the twin crown of our musical life.
452

In December of 1956, the chorale made the usual rounds of Christmas
performances, but also recorded the album House of the Lord (they recorded some of it
on two dates in November 1956), which featured not only Christian liturgical favorites,
but also some from the Russian Orthodox traditions and the Jewish faith. Wagner brought
in Allan Michelson,
453
the cantor from Temple Adat Ari El in North Hollywood, who was

451
Albert Goldberg, “ W a l t e r t o H o no r Mo z a r t w i t h R e q ui e m a t B ow l , ” Los Angeles Times,
August 12, 1956.

452
Albert Goldberg, “ B e a ut i f u l R e q u i e m C ond uc t e d by W a g ne r , ” Los Angeles Times, August 1,
1956.

453
Allan Michelson (1921-1991) was born in Latvia, but came to the US shortly before WWII,
and served in the US Army for four years. He moved to Los Angeles in 1952 and took a cantorial
position at Temple Adat Ari El in North Hollywood, where he remained until 1984. He sang in
films like The Silver Chalice (1954), Land of the Pharaohs (1955), and Judgment at Nuremberg
(1961). His parents and grandparents were killed in the Holocaust.

125

a veteran of film soundtracks, to sing the solos in Elli, Eilli and the Kol Nidre; Salli Terri
sang the solo for Were you There, arranged by Terri and Wagner; and Paul Salamunovich
sang the solo on Panis Angelicus.
454
The full-page ad that Capitol placed in the New York
Times for House of the Lord is another time capsule snapshot:
Since that first star-filled Christmas night, man has celebrated this great event
with music created by the oldest instrument of all, his own voice.

And now, the famed Roger Wagner Chorale —the finest choral group of our
time —sings of Christmas in what may well be one of the most remarkable albums
of this or any other holiday season. I t ’ s c a l l e d “ J o y to t h e World !”

In it, you hear the most beautiful carols 2,000 years of singing have produced.
You hear more: all the mirth and merriment, all the exultation and awe the human
voice can convey.

For Roger Wagner has a unique understanding of how choral voices record. By
precisely balancing his voices —as a conductor does instruments —he has again
created the intense, dramatic sound that distinguishes his albums from all others.
Equally important, these performances have been captured by Capitol engineers
who know every variable of the human voice.

T h e r e s u l t i s “ F u l l D im e n s i o n a l S o un d, ” a startling realism reproduced with the
hi g h e s t f i d e l i t y k n o wn to t h e r e c o r de r ’ s a r t .

Yo u’ l l f i nd “ J o y to t h e W o r l d ! ” a j o y to o wn o r gi ve —and pretty as Christmas
under your tree.
455

In regard to the recordings of the Roger Wagner Chorale, it should be noted that
Wagner entered into an agreement in 1949 with Capitol Records and began recording on

454
T e r r i , “ D i sc og r a ph y . ”

455
“ D i spl a y A d 901, ” New York Times, December2, 1956.

126

their label in 1950; the first album
456
made for Capitol was the Missa Papae Marcelli
457

by Palestrina, which was released in 1951, recorded in 1950;
458
this was followed by the
Fauré Requiem in 1953; Songs of Stephen Foster in 1954; Folk Songs of the New World
in 1955; Folk Songs of the Frontier, Folk Songs of the Old World, Sea Chanties and Joy
to the World in 1956; House of the Lord, Folk Songs of the Old World, Vol.1 & 2,
Starlight Chorale,
459
and Holst: The Planets, Op. 32
460
in 1957; Songs of Latin America
and the Grammy® Award Winning album Virtuoso!
461
all of which were recorded in
1958; Echoes from a 16
th
Century Cathedral, Reflections, Holy, Holy, Holy, At the Gate
of Heaven, and Voices of the South in 1959 —this is a total of nineteen albums recorded in
a single decade, one of which produced a Grammy® Award; these were the albums that
were recorded and released under the Capitol Records label. Wagner and the chorale also
recorded under the RW, Salvation Army, UCLA, Layos, Candide, Spa Records, and Real
Time Records labels during this time, but these recordings are not well documented.

456
The Roger Wagner Chorale recorded previous albums, but they were recorded live at
performances and published by the chorale itself; this was the beginning of many professional
recording sessions in a top quality studio with the best available equipment and engineers.

457
This recording was inducted into the Library of Congress National Recording Registry in
2010; 25 significant audio recordings are chosen each year for preservation.
http://www.loc.gov/rr/record/nrpb/registry/nrpb-2010reg.html (accessed January 19, 2012).

458
“ T e r r i , “ D i sc o g r a phy . ”

459
T he “ S t a r l i gh t C h o r a l e ” i s t he R oge r W a g ne r C h o r a l e a t t he H ol l yw ood B ow l ; t he r e a r e several recordings with this title, all with different repertoire, usually with RW conducting.

460
Conducted by Leopold Stokowski and with the Los Angeles Philharmonic Orchestra.

461
Virtuoso! is the only album that the Roger Wagner Chorale won a Grammy® Award for
recording; but considering how few choral recordings are actually considered, much less ones that
win in the classical music category, this is a major achievement.
127

T h e c h o r a l e ’ s Sea Chanties album received a review in the New York Times in
1956, which said, “ Sea Chanties are heard in a rousing performance on a Capitol disk as
sung by the Roger Wagner Chorale. The songs heard include Sailing, Sailing, The Erie
Canal, The Golden Vanity, The High Barbaree, Haul Away, Joe and other salty
b a ll a d s . ”
462
I t ’ s a n ot e w o r t hy m e n t i o n n o t o nl y be c a us e i t i s i n t h e New York Times, but
also because it is part of a review of a Spanish choral group specializing in polyphony of
Spanish composers written before 1600 —a subject which began to interest Wagner. His
own twist on it was to bring to light the music of South America, which until he
researched and recorded it with the chorale, was largely unfamiliar in the United States.
The chorale and its members a l s o s e r v e d qu i t e o f t e n a s a “ s t ud i o c h o r us ” du ring
the 1950s and 1960s for both film and television.
463
They recorded the theme songs to
the series I Married Joan (1952),
464
The Loretta Young Show (1954), Shower of Stars
(1954), GE True Theater (1956), The Bell Telephone Hour (1960), Wagon Train (1960),
and supplied soundtracks for Rio Grande (1950), Seven Brides for Seven Brothers (1954),
The Searchers (1956), Cimarron (1960), The Gallant Hours (1960), How the West Was
Won (1962), and Paint Your Wagon (1969).
465

462
John B r i g g s, “ V o c a l P ol y p hony , ” New York Times, May 31, 1959.

463
“ R o ge r W a gne r C h o r a l e , ” I MDB , http://www.imdb.com/name/nm1133460/ (accessed January
19, 2012).

464
I Married Joan ran from 1952-54 and starred Joan Davis and Jim Bachus.

465
This list is most likely incomplete; other suspected works by the Roger Wagner Chorale in
film and television remains unverified.

128

In the early part of 1957, Wagner and his chorus were in the recording studio, and
in March on a national tour. In May, the Times announced that the chorale would sing
Or f f ’ s Carmina Burana with Wagner conducting at the Hollywood Bowl with the Los
Angeles Philharmonic, and they would also sing at the annual Rodgers and Hammerstein
Satur da y “ po ps ” p rogram conducted by Johnny Green.
466
By the end of May, the
Philharmonic finalized its schedule: the chorale was scheduled to sing with Johnny Green
for the Gershwin concert, featuring Leontyne Price, William Warfield and future Los
Angeles Philharmonic conductor, Andre Previn; and also appeared for one of the
“ P e r s o n a li t y ” N i g h t s , s pe c i f i c a ll y a s b a c k -up for Nat King Cole, which eventually led to
many of the chorale singers serving as back-up on some albums recorded in the 1960s as
t h e “ s t ud i o c h o r us . ”
467

June of 1957 saw the only concert of the Roger Wagner Chorale without
appearing with the Los Angeles Philharmonic or some other entity in Los Angeles during
that season. The concert was part of the Los Angeles Music Festival, directed by founder
Franz Waxman. The chorale appeared at Royce Hall, UCLA, with Wagner conducting
“ t h r e e c h o r a l wo r ks wi t h B i bli c a l t e x t s , ” r e p o r t e dl y “ a s s i s t e d by t h e Am e r i c a n Yo u t h S y m p h o ny , ” w hi c h m a de i t s c o n c e r t de b ut . The Times article goes on to report that
Wagner would be conducting the American Youth Symphony during the following

466
“ O r f f W o r k S c he d u l e d , ” Los Angeles Times, May 12, 1957.

467
“ H o l l yw ood B ow l C om p l e t e P l a n s f o r 1957 S e a so n , ” Los Angeles Times, May 30, 1957.

129

season in four programs, sponsored by Statham
468
Productions.
469
The three choral works
on the music festival program were Psalms, for chorus and orchestra by Lukas Foss (this
was the West Coast premiere) with soloists from the Chorale, tenor Richard Levitt and
soprano Claire Gordon; Belshazzar’s Feast, by William Walton (the first Los Angeles
performance since the 1953 performance sung by the Roger Wagner Chorale at the
Hollywood Bowl conducted by the composer), Earl Wilkie was the featured baritone
s o l o i s t a t t h e 1957 pe r f o r m a n c e ; a n d Ho l s t ’ s Hymn to Jesus as the final work.
470

Alfred Goldberg, in a Los Angeles Times article in July of 1957, made several
o b s e r v a t i o ns a b o ut t h e “ s t a r l i t ” s e a s o n a t t h e Ho l lywoo d B o wl , a n d w hi l e h e m a de n o mention of Wagner in the article (he was busy discussing Bruno Walter and Alfred
Wallenstein, the article was adorned by a very large and impressive picture of Wagner
conducting on the stage of the Bowl (see Figure 5).
471
This photograph was also used

468
This is presumably Louis Statham, who went on to be a substantial member of the Los
Angeles Master Chorale board of directors.

469
“ M usi c F e st i v a l W i l l C on t i n u e , ” Los Angeles Times, June 9, 1957.

470
Ibid.

471
Albert Goldberg, “ H o l l yw ood B ow l ’ s S t a r l i t S e a so n Ma ke s i t s B ow T ue s d a y N i gh t , ” Los
Angeles Times, July 7, 1957.

130

asmirrored reflection. of the chorale in the Bowl pool
472
and printed with the caption:
“ M us i c a l R e f l e c t i o n s . ”
473

Figure 5. Roger Wagner conducting at the Hollywood Bowl.

Figure 6. “ Mus i c a l R e f l e c t i on s. ”

472
The reflecting pool was installed in 1953 and used to occupy the very front of the house, just
under the lip of the stage. There were fountains in it that also had colored lights; it was just one of
the unique features of the Hollywood Bowl. The reflective pool was removed in 1972 in favor of
a d di ng m o r e “ pr e m i u m ” s e a t i ng .

473
Albert Goldberg, “ H o l l yw ood B ow l ’ s S t a r l i t S e a so n Ma ke s i t s B ow T ue s d a y N i gh t , ” Los
Angeles Times, July 7, 1957.

131

A further article appeared in the LA Times in August on the day of the
performance, stating that Wagner would be using two sopranos in the Orff, Marni Nixon
and Phyllis Althof-Brill; Richard Levitt, tenor; and Harve Presnell as the baritone, and
included a publicity shot of Wagner (see Figure 7).
474

Figure 7. Wagner publicity photo.
While there was an announcement of the Orff performance at the Bowl, no review
appeared; however, there was a review of the Gershwin Night program, which was also
the closing concert of the season. Albert Goldberg reported that not only was it a
c o m p l e t e l y s o l d o u t pe r f o r m a n c e , b ut t h a t i t wa s on e o f t h e “ b e s t ” pr o gr a m s o f Ge r s h w i n in thirteen c o n s e c ut i ve s e a s o ns o f o f f e r i n g t h e c o m po s e r ’ s m us i c . He noted the highlights
a s “ L e o n t y n e P r i c e , W i ll i a m W a r f i e l d a n d t h e R o g e r W a g n e r C h o r a l e s i ng i ng e x c e r pt s o f
474
“ B o w l C ho r a l P r o g r a m S c he d u l e d f o r T o ni gh t , ” Los Angeles Times, August 13, 1957.
132

Porgy and Bess, and Andre Previn playing the Piano Concerto in F. ” He also crowned
J o h nny Gr e e n a s “ t h e m o s t kn o wl e dg e a bl e c o n duc to r o f Ge r s h w i n t h a t t h e r e i s . ”
475

The day before the Gershwin review, the LA Times published another Goldberg
article about Roy Harris,
476
e n t i t l e d “ R o y Ha r r i s F e e ls Ne g l e c t e d i n L o s Angeles,
S ugge s t s a B o wl P r e m i e r e f o r E i g h t h S y m p h o ny . ” The pertinent part of the article in
regard to Wagner is that Harris explains that his Eighth Symphony would be a 45-minute,
three-movement work for chorus, baritone solo and orchestra based on texts by Walt
Whitman. Harris states that in addition to his personal fondness for Los Angeles, he
wanted t h e pr e m i e r e f o r t h e wo r k to b e i n L A “ b e c a us e y o u h a v e i n R o ge r W a g n e r o n e o f t h e f i ne s t c h o r a l c o n duc t or s i n t h e c o un t r y . ” And he goes on to say that after hearing the
R o ge r W a gn e r C h o r a l e , “ i t wa s l i ke a s h o t i n t h e a r m , ” a l t e r i n g t h e c o ur s e o f hi s p l a nn e d
Eighth Symphony.
477
I t s h o ul d b e n o t e d t h a t Ha r r i s ’ Symphony No. 8 (1961-62) o r “ S a n F r a n c i s c o S y m p h o ny ” t ur n e d o u t to b e f o r or c h e s t r a w i t h c o n c e r tante piano and, as the
title indicates, was premiered in San Francisco, not Los Angeles. The work that Harris
t a l ks a b o ut i n Go l d b e r g’ s a r t i c l e is most likely the Walt Whitman Symphony (composed
1955-58) and is for baritone solo, chorus, and orchestra; it is fragmentary and was never

475
Albert G ol d b e r g , “ P r o g r a m o f G e r shw i n O ne o f B ow l ’ s B e st , ” Los Angeles Times, September
2, 1957.

476
Roy Harris (1898-1979) was an American composer best known for his third Symphony,
although he wrote many other large orchestral works, in addition to writing many small works for
chorus. He was a native of Oklahoma, but his family moved to San Gabriel, California when he
was five (San Gabriel Valley is a suburb of Los Angeles County). Harris wrote primarily on
“ A m e r i c a n ” t he m e s.

477
Albert Goldberg, “ R o y H a r r i s F e e l s N e g l e c t e d i n L o s A nge l e s, S ug ge st s a B ow l P r e m i e r e f o r Eighth Symphon y , ” Los Angeles Times, September 1, 1957.

133

completed. But his viewpoint on the attributes of Wagner and his chorale are duly noted
in regard to this study.
On November 10, 1957, Wagner received mentions in two major newspapers —
both the Los Angeles Times and also the New York Times. In the latter, it is an
announcement for the release of an opera chorus album on Capitol, featuring Verdi,
Wagner, Gounod, Bizet, and Puccini, and it states, “ M r . W a g n e r , o n e o f t h e o u t s t a n d i n g
choral conductors at present, leads his well-disciplined choristers in vigorous
pe r f o r m a n c e s o f o pe r a t i c e xc e r pt s . ”
478
T h e f o r m e r i s Go l d b e r g’ s a nn o un c e m e n t t h a t i n E dua r d Va n B e i n u m ’ s s e c o n d y e a r a s m u s i c d i r e c t o r o f t h e L o s A n g e l e s P hil ha r m o ni c
479

h e wo u l d o f f e r B e e t h o v e n ’ s Ninth Symphony with the assistance of the Roger Wagner
Chorale.
480

Wagner closed out the year with his chorale appearing at the Opera Guild of
Southern California Christmas luncheon, featuring Eleanor Powell reading The Christmas
Story with the chorale singing traditional carols from French, English and American
traditions in between,
481
which makes one wonder if this is when he first got the idea to
compose his Christmas Story According to St. Luke, interspersing the Christmas story
with familiar carols.

478
“ I n B r i e f , ” New York Times, November 10, 1957.

479
Van Beinum replaced Wallenstein in 1956.

480
Albert Goldberg, “ L. A . P h i l h a r m on i c t o O p e n 38
th
Y e a r T h ur sd a y , ” Los Angeles Times,
November 10, 1957.

481
Dorothy Tow n s e nd , “ O pe r a G ui l d o f S o ut he r n C a l i f o r ni a Lun c he on , ” Los Angeles Times,
December9, 1957.
134

An article in March of 1958 lists the best-selling albums of the previous ten years.
The list is organized by label and further demarcated by genre of recording; included are:
Angel, Capitol, Columbia, Concert Hall, Decca, Epic, London, Mercury, RCA Victor,
Vanguard, Vox and Westminster. Wagner has the single most best-selling number of
albums in the choral category of any label with five albums: Christmas Music, Folk
Songs of the New World, Songs of Stephen Foster, Folk Songs of the Frontier and
Religious Music. Shaw had the next largest in the choral category under the RCA Victor
label with four.
482

An interesting article appeared a few weeks later in the Hartford Courant that, in
making a case for the importance of professional choirs in cities of culture, cited both the
Roger Wagner Chorale and the Robert Shaw Chorale as examples:
Small professional choruses such as the Robert Shaw Chorale and the Roger
Wagner Chorale in this country have shown the American public that choral
repertoire can be sung with the same care and love normally associated only with
orchestral music. As a result their music has become a regular part of the musical
diet of most cities where music is important. T h e i r p l a c e i n Am e r i c a ’ s m us i c a l li f e is gradually approaching that of the major symphonies. They have rediscovered a
vast and great literature formerly relegated to the ivory tower or the
conservatory.
483

The article in the Courant demonstrates the wide r e a c h o f W a g n e r ’ s reputation for fine
choruses, and also the importance placed on a city to establish and support a professional
chorus if it was to be taken seriously as a cultural center.
In June of 1958, Wagner announced that he would be conducting the first of what
he planned to be an annual choral workshop at Marymount College, in conjunction with

482
“ B e st- S e l l i ng LP ’ s o f P a st T e n - Y e a r s, ” New York Times, March 16, 1958.

483
“ T h e R i s e of C h o r a l S i ngi ng , ” The Hartford Courant, March 30, 1958.
135

the Los Angeles Archdiocese. “Designed for choral teachers, choir directors and
o r ga ni s t s , ” W a g n e r s t a t e d t h a t t h e wor ks h o p w o ul d i nc l ud e l e c t ur e s o n Gr e gor i a n c h a n t , classic polyphony and modern music. He also said that there would be discussions on
choral techniques, vocal problems, including demonstration and participation in selected
choral works and repertoire for church, school and concert programs, and that college
credit would also be offered.
484
With July came a workshop in southern California at San
Diego State College, where Wagner filled in for an ailing Robert Shaw at the annual
Workshop in Choral Art. W a g n e r c o n duc t e d B e r l io z ’ Damnation of Faust and
B e e t h o v e n ’ s Missa Solemnis, two of the major offerings as part of the San Diego
Symphony Summer Series.
485
It so happened that Wagner conducted Damnation of Faust
again that summer with the Los Angeles Philharmonic and the chorale at the Hollywood
Bowl, in addition to presenting two of the Rodgers and Hammerstein programs
conducted by Johnny Green. Hedda Hopper reported in The Hartford Courant that the
Roger Wagner Chorale was joining Jane Powell and Edward Mulhare in a suite arranged
by Johnny Green of songs of Lerner and Lowe.
486
Also in the Bowl that summer was a
Verdi Requiem conducted by Eugene Ormandy with the Los Angeles Philharmonic.
In a rather lengthy article by Albert Goldberg in the Los Angeles Times, dated
July 27, 1958, primarily about the Hollywood Bowl debut of Van Cliburn, he turns in the
latter half to the subject of choral music having become an “ e s t a bli s he d f a c t o r i n t h e
484
“ R o ge r W a gne r t o H e a d W o r k s ho p, ” Los Angeles Times, June 29, 1958.

485
R o ss P a r m e n t e r , “ W o r l d o f Mus i c : H e l pi ng H a nd s f o r A m e r i c a n s, ” New York Times, July 6,
1958.

486
H e dd a H o pp e r , “ H o l l yw oo d , ” Hartford Courant, August 4, 1958.
136

Hollywood Bowl principally because this city is the home of the Roger Wagner Chorale,
an institution of national fame. ” Goldberg also discusses t h e m e r i t s o f W a g n e r ’ s performance of Damnation of Faust, and mentions that both Marilyn Horne and Harve
Presnell will be soloists in the Berlioz and as “ t wo y o u n g C a li f o r ni a s i nge r s w h o r e t ur n after European successes, both having started with Wagner. ”
487
A mixed review of the
concert appeared in The Christian Science Monitor, in which Walter Arlen states:
No place is better suited for the presentation of choral works than the vast reaches
of [the] Hollywood Bowl, and the imposing proportions of The Damnation of
Faust by Berlioz provided renewed proof of this, even though Roger Wagner
offered an unaccountably undramatic version. Participants were Marilyn Horne, a
Los Angeles soprano with a marvelously rich, lovely voice; David Poleri, tenor;
Harve Presnell and Robert Oliver, baritones; and the always immaculately trained
Roger Wagner Chorale.
488

W a g ne r ’ s a nn ua l c h o r a l wo r ks h o p a t M a r y m o un t C o l l e ge t h e f o l l o w i ng
September featured several guest lecturers that are an impressive list of choral arrangers
of the era: Jester Hairston, Roy Ringwald, Salli Terri, Elinor Remick Warren, Clifford
Bennett, Paul Weston, Norman Luboff, and Noble Cain.
489
At least 105 choral teachers,
directors and musicians from all over the nation and the United Kingdom attended to hear
Wagner discuss techniques and objectives, arrangements, repertoire, and styles.
490
It is a
de m o ns t r a t i o n o f W a g n e r ’ s po we r a n d c h a r m t h a t h e wa s a bl e t o a tt r a c t s uc h bi g n a m e s in choral music from the East and Midwest to come to a small Catholic college in

487
Albert Goldberg, “ V a n C l i bur n W i l l H e a dl i ne B ow l W e e k , ” Los Angeles Times, July 27, 1958.

488
Walter Arlen, “ C l i bur n a t H o l l yw o od B ow l , ” The Christian Science Monitor, August 9, 1958.

489
“ C h o r a l e L e a de r W i l l T e a c h , ” Los Angeles Times, August 2, 1958.

490
“ Le a d i ng C ho r a l T e a c he r s H e a r R o ge r W a gne r , ” Los Angeles Times, September 12, 1958.
137

southern California to teach a one-week choral workshop, and also that he attracted so
many choral musicians from so many locations. It also speaks to the financial backing
Wagner must have had from not only Marymount College, but also the Archdiocese in
Los Angeles in order to pay expenses and salaries to all of those who appeared at the
clinic (see Figure 8).
491

Figure 8. Wagner at a Marymount College workshop.

In December, the chorale appeared in a stage production of Song of Norway
directed by Corey Allen,
492
a n d pe r f o r m e d B a c h ’ s B minor Mass with the Los Angeles
Philharmonic, Wagner conducting.
493
The article regarding the latter performance
mentions that 1958 was the tenth consecutive season that Wagner and the chorale had
appeared consistently with the Los Angeles Philharmonic both at Philharmonic

491
Ibid.

492
“ F i l m l a nd E ve n t s, ” Los Angeles Times, October 21, 1958.

493
“ P h i l h a r m on i c , C h o r a l e t o G i ve B Mi no r Ma ss , ” Los Angeles Times, December 15, 1958.

138

Auditorium, at the Pasadena Civic Auditorium and at the Hollywood Bowl. I t ’ s a l s o interesting to note that in addition to Eva Gustavson and Richard Robinson, long time
singers and soloists for Wagner, William Venard was the bass soloist for the concert.
Vennard went on to chair the voice department at USC, in addition to authoring a
brilliantly technical, still-used textbook on the mechanics of singing.
494
Also that
December, Wagner conducted the UCLA University Choir and Symphony Orchestra in
B a c h ’ s Christmas Oratorio at Royce Hall. I n Go l d b e r g’ s r e v iew of the performance, he
states that, “ n o t m a ny c o n duc t o r s e v e r h a v e t h e o p po r t un i t y o r pr i vil e g e o f d i r e c t i n g t w o o f B a c h’ s m a j o r c h o r a l wo r ks i n o n e we e k, y e t t h a t i s t h e c ur r e n t r e c o rd being set by
R o ge r W a gn e r . ” Goldberg is referencing the B Minor performance with Los Angeles
Philharmonic ; h e do e s t a ke W a g n e r ’ s pe r f o r m a nc e to t a s k slightly in his mixed review:
The chorus was large and had been drilled to a fine degree of exactness and
precision and it negotiated the difficulties with ease. The tone quality was best in
the chorales, which were beautifully and reverently sustained. Otherwise there
was not always the maximum amount of impact, and for a chorus trained by
Wagner the enunciation was often surprisingly foggy.
495

In early 1959, the chorale recorded albums for Capitol, in addition to the annual
national tour in March. Wagner also appeared with Gene Puerling
496
to discuss and
demonstrate the differences between classical and popular choral music on LA radio

494
William Vennard, Singing—the Mechanism and Technic (New York: Carl Fisher, 1967). The
original edition was published in 1949.

495
Albert Goldberg, “ U C LA C hoi r P l e a se s w i t h B a c h O r a t o r i o , ” Los Angeles Times, December
14, 1958.

496
Gene Puerling (1929-2008) was a singer and arranger primarily for the Hi- L o’ s a n d T he Singers Unlimited. He received a Grammy® for Best Vocal Arrangement for Two or More
Voices in 1982 for A Nightingale Sang in Berkeley Square as recorded by Manhattan Transfer.

139

s t a t i o n K B I Q f o r a pr o g r a m c a ll e d “ E x p l o r a t i o n s in M us i c , ” w hi c h wa s a we e k ly series.
497
The chorale appeared in the annual Lerner & Lowe night at the Bowl with
Johnny Green,
498
Rodgers and Hammerstein Night with Alfred Newman,
499
in addition to
W a l t o n’ s Belshazzar’s Feast with Thomas Schippers conducting and Harve Presnell
singing the baritone solo, in July and August respectively.
500
An August article in the
Times interestingly makes one of the early mentions of the Los Angeles Philharmonic
donating all proceeds from the Belshazzar concert and also a piano concerto concert
featuring Van Cliburn a s “ de v o t e d to t h e b u il d i ng fund of the New Music Center; ”
501
this
is five years before the Music Center of Los Angeles County opened in 1964.
W a g ne r ’ s c h o r a l e appeared in the New York Times in March of 1959, in an article
discussing the use of stereophonic sound in choral recordings. The London Symphony
Orchestra i s t h e m a i n f e a t ur e o f t h e a r t i c l e h a vi ng j us t r e l e a s e d a n a l bu m o f Ha n de l ’ s Messiah; but Wagner and his chorale are also mentioned, referencing the Sea Chanties
album, discussing in detail how one can hear the soloists on the left channel and the
chorus on the right. The article also mentions Robert Shaw and his re-released Christmas
album, pointing out the differences in the stereo recording versus the monophonic

497
Ron Tepper , “ F M O ut l o ok , ” Los Angeles Times, February 21, 1959.

498
“ D i spl a y A d 42, ” Los Angeles Times, July 2, 1959.

499
“ D i spl a y A d 20, ” Los Angeles Times, August 26, 1959.

500
Ibid.

501
“ S c h i pp e r s W i l l B e on B ow l P od i u m , ” Los Angeles Times, August 23, 1959.

140

previous version.
502
The chorale is again used in a New York Times article about choral
music in October of 1959, when Robert Shelton compares Luboff , W a g n e r a n d W a r i ng ’ s recordings of folk music with those of choral recordings from the then Soviet Union on
Russian folk material.
503
Shelton uses the comparison to say that the National Soviet
Chorus, the Soviet Army Chorus, and the Volga Chorus are not unlike Luboff, Wagner,
a n d W a r i ng, e x c e pt f o r t h e “ c a ny o n - s i z e d ga p” i n th e qua li t y o f r e pe r to i r e a n d recordings.
Shelton adds that the Soviet recordings are pervaded by national choral and polyphonic
traditions, t h a t t h e s t y l e i s “ t oo pr o f e s s i o na l ” a n d f a r r e m o v e d f r o m t h e i r “ f o l k o r i g i n s , ” and further stating that the American professional choirs are better suited toward sound
flexibility.
504
He a l s o i n t i m a t e s t h a t h e que s t i o ns t h e “ a ut h e n t i c i t y ” o f t h e Soviet material
when compared to that of its American counterparts. The article of course must be put
into historical perspective by realizing that in 1959 America was at the height of the cold
war with Russia, and in that way, the perception coming out of the era of McCarthyism
(which was most certainly still being felt nationally), the article must be viewed with
some skepticism.
The 1959-60 Los Angeles Philharmonic season was announced in September of
1959, and featured major conductors presenting huge works, including a lot of choral-
orchestral ones. Walter, Solti, Wallenstein, and Stowkowski were leading the charge with
soloists like Leonard Pennario, Van Cliburn, Claudio Arrau, and Leontyne Price. The

502
Ross Parmenter, “ C h o r a l Mus i c Ef f e c t i ve on T w o C h a nne l s, ” New York Times, March 1, 1959.

503
Robert Shelton, “ T h e V o l g a a n d o t he r R uss i a n R e c o r di ng s, ” New York Times, October 18,
1959.

504
Ibid.
141

orchestra was presenting works which had never been performed in Los Angeles,
i nc l ud i ng B a c h’ s Magnificat, S tr a vi ns k y ’ s Oedipus Rex, a n d Ha y d n ’ s Creation, all of
which required chorus.
505
Wallenstein was list e d a s c o n duc t i n g b o t h B a c h ’ s Magnificat
a n d Ha n de l ’ s Messiah; with Solti conducting Oedipus Rex and The Creation.
506
In a
separate article appearing in December of 1959, it was revealed that Wallenstein was
conducting 11 programs while visiting in Los Angeles, all with the Los Angeles
Philharmonic. T h e s e pr o gr a m s i nc l ud e d a “ C h r i s t m a s C h o r a l F e s t i v a l ” pr o gr a m at the
Shrine Auditorium, which would feature the Roger Wagner Chorale and according to
W a ll e ns t e i n , “ the Berenreiter edition of the Bach work and Hande l ’ s o r i g i na l e d i t i o n o f Messiah, Part I. ”
507

The importance of Alfred Wallenstein to the success of the Roger Wagner
C h o r a l e , a n d c e r t a i nly t o W a gn e r ’ s c o n duc t i n g c a r e e r , c a n n o t b e o v e r s t a t e d . During
W a ll e ns t e i n ’ s t e n ur e a s m us i c d i r e c t or o f t h e L o s An ge l e s Philharmonic (1943-1956), he
repeatedly programmed choral masterworks during both the winter season of the
Philharmonic and the summer season at the Hollywood Bowl. This not only afforded
Wagner and his singers countless opportunities to perform with the orchestra, but more
importantly gave the organization the attention from the press and public that established
the Roger Wagner Chorale as an institution in Los Angeles. Wallens t e i n ’ s f a r -reaching
vision —to understand the importance of having a well-trained, established chorus to

505
“ T o p M a e st r o s S h a r e P h i l h a r m oni c B a t on , ” Los Angeles Times, September 27, 1959.

506
Ibid.

507
“ W a l l e n st e i n A r r i ve s f o r 11 S o ut h l a nd C on c e r t s, ” Los Angeles Times, December 13, 1959.
142

perform with the orchestra —is still felt today through the association between the Los
Angeles Master Chorale and the Los Angeles Philharmonic.

Figure 9. Alfred and Mrs. Wallenstein.
W a g ne r ’ s c h o r a l e wa s l i s t e d i n t h e Chicago Daily Tribune as a top album pick for
Christmas (Joy to the World!),
508
in addition to a wonderful article by Eric Saltzman of
the New York Times discussing American recordings of early music. Interestingly,
S a l z m a n’ s r e vi e w o f W a g n e r ’ s C a p i t o l r e l e a s e Echos from a Sixteenth-Century Cathedral
are arguably accurate in regard to the sound Wagner produced on this particular album, if
not a little coast-biased:
Echoes from a Sixteenth-Century Cathedral is the Hollywoodish title of a Capitol
recording by the Roger Wagner Chorale of short works by Victoria, Sweelinck,
Palestrina, Josquin, Hassler, Viadana and Nanino. The performances and recorded

508
“ F i ne st R e c o r d S e l e c t i on s i n a l l o f C hi c a go , ” Chicago Daily Tribune, December 17, 1959.

143

sound live up to the promise of the record title —smooth, big, resonant, creamy
and commercial.
509

The interesting observati o n o f S a l z m a n ’ s c o m m e n t s i s t h a t i t wo ul d b e d i f f i c u l t to argue that Wagner did not produce a sound somewhat true to the voices that recorded it —
many were soloistic instruments that had grown used to singing large works at the
Hollywood Bowl. In later performances, Wagner refined the sound of his choirs on
sixteenth century music, although he admittedly preferred a larger, more present sound
than most of his protégés.
The Roger Wagner Chorale also appeared on the radio for Christmas Day as
mentioned in The Hartford Courant; they were played in Connecticut along with the
Robert Shaw Chorale, Fred Waring and the Pennsylvanians, the Mormon Tabernacle
Choir and the Robert Rheims Choir.
510

The chorale was announced in April of 1960 as singing in at least two Bowl
concerts: William Steinberg conducting M a hl e r ’ s Symphony No. 2; and Verdi Requiem
with Eugene Ormandy at the podium. It was also mentioned that the chorale would
appear with Johnny Green for Rodgers and Hammerstein night and with Meredith Wilson
f o r “ F a m il y N i g h t . ”
511
A later article also clarifies that the Mahler is to honor the
c o m po s e r ’ s 10 0th birthday, and that Marilyn Horne would be the soprano soloist, also
a dd i n g, “ The Roger Wagner Chorale is one of the outstanding choral groups in the

509
Eric Salzman, ” “ Ea r l y Mus i c f o r V oi c e , S a c r e d a nd P r o f a ne , ” New York Times, December 20,
1959.

510
“ R a d i o T od a y , ” The Hartford Courant, December 25, 1959.

511
“ 6 W o r l d - F a m e d D i r e c t o r s t o C o nd uc t B ow l C on c e r t s, ” Los Angeles Times, April 8, 1960.

144

United States. It has toured this country several times and has ben heard in Europe,
Mexico and South America. ”
512
Also in April, Leroy Hurte, in an article for the Los
Angeles Sentinel, wrote a large article a b o ut t h e pe r f o r m a n c e o f Ha y d n’ s Creation with
the Roger Wagner Chorale and Solti. He had this to say:
The Roger Wagner group is one of the few choral organizations to build a
repertoire around great works symphonic in scope, thus they are very much in
demand. We were quite impressed not only with the tonal sonorities of the chorus
but their stage decorum was perfect. Once on stage, there was no unnecessary
movement to detract the eye from the center of interest. Many a church choir
member could well have profited by viewing the concert. Georg Solti, the
Hungarian-born conductor, gave a masterful performance with the orchestra and
the 110-voice chorale.
513

The Roger Wagner Chorale recorded the soundtrack for the film Song Without
End: the Franz Liszt Story, for Columbia Pictures with Morris W. Stoloff conducting.
The review in the New York Times s a i d, “ I t [the soundtrack of Liszt] is beautifully and
brilliantly performed by the Roger Wagner Chorale and by the Philharmonic Orchestra of
L o s An ge l e s . ”
514
Following the performances in the summer at the Bowl, the chorale
appeared with Solti (who had recently been appointed music director of Los Angeles
Philharmonic and signed a three-year contract, although he abruptly resigned in 1961)
and the Los Angeles Philharmonic i n a pe r f o r m a n c e o f B e e t h o v e n ’ s Ninth Symphony.
515

The review following the concert c a l l e d t h e pe r f o r m a n c e “ a gr a n d dr a m a t i c ge s t ur e t h a t
512
“ H o l l yw ood B ow l P l a n s F a m i l y N i gh t F e a t ur e , ” Los Angeles Times, July 18, 1960.

513
Leroy E. Hurte, “ H a y dn ’ s C r e a t i on I de a l Ea st e r O f f e r i ng , ” Los Angeles Sentinel, April 21,
1960.

514
B o s l e y C r o w t he r , “ S c r e e n: A n e xc e ss o f Mus i c a l R i c he s, ” New York Times, August 12, 1960.

515
“ H un g a r i a n C o nd uc t o r S o l t i H e r e f o r C o nc e r t s, ” Los Angeles Times, November 4, 1960.

145

set the public on fire with enthusiasm and inspiration ” a n d s a i d t h a t “ t h e R o ge r W a g n e r Chorale lent its full volume of imposing tone and crystal clear diction to the chorale, the
music fairly bl a z e d w i t h f e r v o r a n d e l o que n c e . ”
516

Wagner closed the year out by preparing the chorale for Christmas concerts with
Wallenstein, who was back in Los Angeles, conducting the Philharmonic in R e s p i g hi ’ s Laud to the Nativity , Ha n de l ’ s Messiah, and Monteverdi ’ s Christmas Vespers. The
featured soloists were Marni Nixon, Richard Robinson, and Florence Kopleff.
517
January
of 1961 brought with it a large picture of Wagner in the New York Times for a review of
several recent sacred album releases. Allen Hughes had this to say about the Wagner (see
Figure 10) c h o r a l e r e c o r di n g o f Va ug h a n W il li a m s ’ Mass in G Minor a n d B a c h’ s Christ
lag in Todesbanden:
This mass is for unaccompanied double chorus, and Capitol had the happy notion
of recording it stereophonically in such a way as to make its antiphonal nature
completely clear. Since the expanded Roger Wagner Chorale sings superbly, the
stereophonic version is unusually beautiful. The monophonic version must sound
good, too, but the antiphonal effect could hardly be expected from it. In a
coupling that is both inexplicable and incongruous, Capitol has backed the
Va ugh a n W il li a m s w i t h t h e W a g n e r C h o r a l e ’ s pe r f o r m a n c e ( pe r f e c t l y go o d) o f B a c h ’s Cantata No. 4, Christ lag in Todesbanden. Beyond the fact that both
compositions are sacred in nature and that both involve choruses, they have
nothing whatsoever in common.
518

516
Albert Goldberg, “ S o l t i S pa r k l e s a t P h i l h a r m oni c , ” Los Angeles Times, November 11, 1960.

517
“ N Y C om po s e r t o H e a r P r e m i e r e o f S ym p hony , ” Los Angeles Times, December 15, 1960.

518
Allen Hughes , “ R e c o r d s : T he Ma ss O ve r 500 Y e a r s, ” New York Times, January 29, 1961.
146

Figure 10. Roger Wagner marking a score.
During the spring of 1961, the chorale appeared with the Los Angeles
Philharmonic and William Steinberg for the Bach St. Matthew Passion – the first time it
was ever performed by the Los Angeles Philharmonic;
519
Wagner also conducted both the
Roger Wagner Chorale and the UCLA c h o r us e s a s pa r t o f UC L A’ s F e s t i v a l o f L a t i n American Music; he performed works by Chavez, Ginastera and Villa-Lobos. It is
important to note that Wagner had begun to take an interest in the music of Latin
America in the late 1950s, and recorded Songs of Latin America with the chorale in
1958
520
—he was one of the first conductors of an American choir to realize that Latin
American music was virtually unknown in the United States at the time. He and his

519
“ V i o l i ni st W i l l P r e s e n t C o nc e r t o by Moz a r t , ” Los Angeles Times, March 23, 1961.

520
T e r r i , “ D i sc og r a ph y . ”

147

chorale toured nineteen countries of South and Central America in 1959,
521
and he began
to program South American folk music into his concerts. He was also one of the forces
behind the concept of UCLA hosting a Latin American Music Festival.
522
In April,
Wagner also conducted the combined choirs from Immaculate Heart College, Loyola
Uni ve r s i t y , M o un t S t. M a r y ’ s C o l l e ge , a n d M a r ymo un t C o l l e ge a t t h e P a l os Verdes
campus of the latter school,
523
in addition to performing back-to-back concerts at UCLA
of Latin American music at Schoenberg Hall.
524
In May it was announced in the Chicago
Tribune that the Roger Wagner Chorale would appear as part of the University of
M i c hi g a n M us i c a l S o c i e t y ’ s 1961 -62 season, joining George London and the Boston
Symphony Orchestra.
525

T h e c h o r a l e s a n g M o n t e ve r d i ’ s Magnificat Primo under the direction of
Wagner, and B a c h ’ s Cantata No. 146 under the direction of Lukas Foss at the Ojai
Festival in May of 1961; soloists included Maurita Phillips,
526
Katherine Hilgenberg,
Richard Robinson and James Tippey — m e m be r s o f W a g n e r ’ s c h o r a l e . In his review,
Albert Goldberg said the chorale contributed its usual fine singing, ” i n r e ga r d to t h e
521
Je a nni ne W a gne r , “ T h e R oge r W a g ne r C ho r a l e : A n A m e r i c a n C h o r a l L e g a c y , ” The Roger
Wagner Chorale, http://therogerwagnerchorale.com/ (accessed January 26, 2012).

522
“ V i o l i ni st W i l l P r e s e n t C o nc e r t o by Moz a r t , ” Los Angeles Times, March 23, 1961.

523
“ M usi c Eve n t s, ” Los Angeles Times, April 16, 1961.

524
“ U C LA A c t i vi t i e s, ” Los Angeles Times, April 16, 1961.

525
“ M usi c N o t e s, ” Chicago Daily Tribune, May 21, 1961.

526
La t e r k n ow n a s M a ur i t a P h i l l i ps “ B unny ” T ho r n bur gh , w ho sa ng a n d c ond uc t e d a r o und t he southern California region through the early twenty-first century.

148

Bach, and also that , “ M r . W a g n e r c o n duc t e d hi s gr o up i n a s p l e n d i d pe r f o r m a n c e o f the
M o n t e v e r d i . ”
527
The chorale also sang Elinor Remick W a r r e n’ s c a n t a t a , Abram in Egypt
at the International Los Angeles Festival of Music presented at UCLAs Royce Hall in
June of that same year. The festival featured works of Britain, France, and America,
which is actually more of a statement about the politics of the time than the music —these
we r e t h e “ a c c e pt a bl e ” international nations to feature; the cold war was still in full swing,
only twenty years had lapsed since Pearl Harbor, and only sixteen years since the end of
WWII. Works included those of Iain Hamilton, a Scottish composer, and Darius Milhaud
of France, along with Elinor Remick Warren and Roy Harris representing the United
States. Hamilton, Milhaud, and Harris conducted their own compositions, with Wagner
conducting W a r r e n’ s. In his review, Albert Goldberg said that Warren was
“ e n t h u s i a s t i c a ll y r e c e i ve d by t h e pu bl i c a f t e r a pe r f o r m a n c e i n w hi c h t h e R o ge r W a gn e r Chorale sang brilliantly under Mr. W a gne r ’ s d i r e c t i o n . ”
528

In June W a g n e r ’ s c h o r a l e wa s up h e l d o n c e a ga i n in t h e New York Times as one of
five examples given as “desirable models for professional choruses ” in the United States.
The others named were Margaret Hillis and th e “ n e w” C hi c a go S y m p h o ny C h o r us , New
Yo r k’ s S c h o l a C a n t o r um , he American Concert Choir, and the Robert Shaw Chorale.
529

527
Albert Goldberg, “ F e st i v a l a t O j a i R e g a i n s S t a t u r e , ” Los Angeles Times, May 23, 1961.

528
Albert Goldberg, “ B r i t i sh a nd F r e nc h W o r k s P e r f o r m e d , ” Los Angeles Times, June 9, 1961.

529
Ross Parmenter, “ C h o r a l S i nge r s: Mo r e P r o f e ss i on a l s C o ul d Li f t L e ve l s o f T a st e a n d En r i c h T h e i r A r t , ” New York Times, July 9, 1961.

149

The Los Angeles Philharmonic announced its Bowl season in July, and named
Roger Wagner as one of the conductors for the series, along with Andre Kostelanetz,
Walter Hendl, Zubin Mehta, Alfred Wallenstein, William Steinberg and Howard
Mitchell. They announced three major choral works all featuring the Roger Wagner
C h o r a l e , i n c l ud i ng B e r li o z ’ Romeo et Juliet (Wagner), Ha n de l ’ s Solomon (Wallenstein),
and W il l i a m R u s s e ll B e nn e t t ’ s Stephen Foster: A Commemorative Symphony (Steinberg).
The chorale was also listed as singing on the annual Gershwin and Lerner & Lowe nights
respectively, both conducted by Johnny Green, and featured also in the concluding Bowl
concert for the season entitled America Sings.
530
It was also announced later in another
article that Wagner and the chorale would appear i n t h e B o wl f o r “ F a mi ly N i g h t , ” whi c h wa s t h e m e d a s “ Ho l i da y i n F r a n c e , ” and would feature the pianist Earl Wild with the
Chorale.
531

In the fall, the group was presented on a radio program in New York with a
recording of the Monteverdi Madrigals for Five Voices,
532
in addition to spending time in
the recording studio to work on album releases for the following year. Wagner also
conducted the Marymount Choral Club with the Wagner Chorale in a Christmas concert in
Palos Verdes (see Figure 10) that featured the Britten Ceremony of Carols, the Poulenc

530
Albert Goldberg, “ S um m e r t i m e a nd B ow l L i st e ni n ’ i s Ea sy , ” Los Angeles Times, July 2, 1961.

531
“ S ym p ho ny b y B e r l i o z S e t by B ow l T o ni gh t , ” Los Angeles Times, July 18, 1961.

532
“ R a d i o C on c e r t s, ” New York Times, September 24, 1961.

150

Quatre Motets Pour Le Temps de Noël, and some carols arranged by Robert Shaw and
Alice Parker.
533

Figure 11. Publicity photo of Wagner.
In January of 1962, the chorale was broadcast for the first time on the radio in
Bombay, India.
534
A program of Roger Wagner Chorale recordings was played, although
there was no list of specific albums that aired; this is significant because it speaks to the
ever- gr o wi n g i n t e r na t i o na l r e put a t i o n o f W a g n e r ’ s c h o r us . The Philharmonic announced
in March that the Roger Wagner Chorale and soloists would sing a “ m a j o r c h o r a l ” wo r k during the 1962-3 season with the Los Angeles Philharmonic, although they did not
announce the specific work to be performed.
535
By April, the chorale announced a
concert for the following month featuring a program of Barber, Copland, Harris, Smit,
Toch and Ives as part of the Ojai Festival, in addition to singing the U.S. premiere of

533
“ M usi c , ” Los Angeles Times, December 17, 1961,

534
“ B r o a d c a st P r o g r a m m e s, ” The Times of India, January 22, 1962.

535
“ P a ul K l e t z ki t o Ma ke P h i l h a r m oni c D e but , ” Los Angeles Times, March 11, 1962.

151

S tr a vi ns k y ’ s c h o r a l o r c h e s t r a l wo r k A Sermon, Narrative and a Prayer, along with
excerpts from Idomeneo a n d t h e B e d l a m s c e ne f r om S t r a vi ns k y ’ s Rake’s Progress.
536
On
the same page of the Stravinsky announcement was an Albert Goldberg review of a
William Hall Chorale concert which opened with:
Ever since Roger Wagner revived the art of choral singing from its once
moribund state in these parts it has become an increasingly competitive field of
activity. This is healthy and all to the good, particularly since Mr. Wagner set
such a high standard that mediocrity does not have much of a chance.
537

It must have been slightly perturbing to have the review of Ha ll ’ s de b ut concert open
with a note on how Roger Wagner has changed the world of choral music in southern
California;
538
but for the study of this paper, a pertinent observation.
A follow-up announcement for the final concerts at the Ojai festival refines
further that the Roger Wagner Chorale, with Wagner conducting, would perform sacred
American music, and that the final Ojai Festival concert would be conducted by Lukas
Foss in the Ojai Festival Bowl featuring the Roger Wagner Chorale, Marni Nixon, Grace-
Lynn Martin
539
, Nancy Bramlage, Margery MacKay, Mallory Walker, and James Tippey

536
“ M usi c N e w s, ” Los Angeles Times, Apr 8, 1962, N12. An interesting side note regarding this
a r t i c l e i s t he a nn o u nc e m e nt o f t he W i l l i a m H a l l C ho r a l e si ngi ng a c o nc e r t o f S t r a v i n s ky ’ s
Symphony of Psalms in the final graph – the paper also mentioned that Hall was at the time
finishing his dOctoberorate at USC. G i ve n t he “ f r i e ndl y ” r i v a l r y t h a t de v eloped between Wagner
and Hall, one can only surmise that the staff of the Times was having a little fun at their expense!

537
Albert Goldberg, “ C h o i r R e ve a l s H i gh D e g r e e of A r t i s t r y , ” Los Angeles Times, April 13,
1962.

538
Ibid.

539
One of the featured soloi st s on R o b e r t C r a f t ’ s a l bu m o f W e b e r n .

152

in the U.S. premiere of Stravinsky ’s Sermon, Narrative and Prayer.
540
In addition to the
Ojai Festival with the chorale, Wagner also presented concerts at UCLA with the a
cappella choir and with the combined Marymount College Choral and Instrumental
Ensemble at Royce Hall and Palos Verdes respectively.
541
The works of Ginestera,
Pergolesi, Monteverdi, and Bruckner were presented in-between the two concerts.
Albert Goldberg reported in the Times that the most historic event at the Sixteenth
a nn ua l O j a i F e s t i v a l wa s t h e pr e m i e r e o f S t r a vi n s k y ’ s A Sermon, A Narrative and a
Prayer. He de s c r i b e s t h e m us i c a s b e i ng f r o m “ S t r a vi ns k y ’ s m o s t tor t ur o us a n d
uncompromising late serial manner, rising to active drama only in the brief orchestral
de p i c t i o n o f t h e s t o n i n g o f S t. S t e ph e n . ”
542
He goes on to discuss the lack of merits in the
avant-garde music of Verese, Cage and Berio , b ut g i v e s a l o v e ly n o d to M a r ni N i x o n ’ s singing, and had this to say about the c h o r a l e ’ s o t h e r c o n c e r t a t t h e Festival:
Last but by no means the least rewarding was the Sunday morning concert of
American choral music sung by the Roger Wagner Chorale, conducted by Mr.
Wagner. We can onl y s i ng l e o u t R o y Ha r r i s ’ to uc hi ng Symphony of Tears, the
premiere of Zador ’ s b r i lliant Cantata Technica, C op l a n d ’ s i m pr e s s i ve In the
Beginning a n d I v e s ’ f o r wa r d -looking and poetic 67
th
Psalm. Other works by
Schuman, Smit, Barber and Toch had special virtues and the performances were
exemplary.
543

The fact that Wagner throughout his career continued to give voice to new choral works
must be noted, for performing premieres and fostering new music in the choral genre has

540
“ T w o F i n a l C onc e r t s a t O j a i , ” Los Angeles Times, May 20, 1962.

541
“ M usi c t h i s W e e k , ” Los Angeles Times, May 13, 1962.

542
Albert Goldberg, “ V a r i e t y o f Mus i c H e a r d a t F e st i v a l , ” Los Angeles Times, May 22, 1962.

543
Ibid.
153

become a main raison d’être of the organization that he eventually founded, the Los
Angeles Master Chorale. And on that topic, the other important event in June of 1962,
was the convening of very first organizational meeting of the board of the Southern
California Choral Music Association was held with its original incorporators: Roger
Wagner, Z. Wayne Griffin, Frank Martin, and W e n d i e B e c ke r ( W a g n e r ’ s attorney). This
organization eventually became the fundraising committee for what would later become
the Los Angeles Master Chorale, and the early version of that board.
544
I t wa s W a g n e r ’ s idea to form an organization to promote choral music and establish a chorale that would
perform the great masterworks in a season of its own; however, in the words of Don
No r e s , W a g n e r “ u n c ha r a c t e r i s t i c a ll y held the first meeting and then allowed two years to
go by before taking any further action. ”
545

In June the chorale was mentioned in a review of a new music concert that was
part of the Los Angeles International Music Festival. Harold Schonberg disparaged the
thought that a Tchaikovsky symphony was played at such a festival and continued his
critique of conductor Franz Waxman throughout his review. Shonberg did admit that
Stravinsky ’ s Oedipus Rex “ we n t b e t t e r , t h o ugh t h e whi p l a s h pr e c i s i o n a n d s ha r p a c c e n t s s o n e c e s s a r y f o r a c o m p l e t e r e a l i z a t i o n o f S t r a vi n s k y ’ s i d e a s we r e m i s s i ng. ” He also
we n t o n to c o m m e n t t h a t n a r r a to r Vi n c e n t P r i c e wa s f a r m o r e “ Ho l l y wo o d t h a n Gr e e c e , ” b ut t h a t t h e “ R o ge r W a g n e r C h o r a l e s a n g we ll . ” Also mentioned were soloists from the

544
Nores, “ M a st e r C h o r a l e H i st o r y , ” 3 .

545
Ibid.

154

Roger Wagner Chorale: Ned Romero, Roderick Ristow and Richard Robinson.
546
In July
Wagner conducted the Los Angeles Philharmonic, the chorale and soloists Marilyn
Horne, Peggy Coburn, Carl Olsen, and James Hurst for the annual Rodgers and
Hammerstein Night at the Hollywood Bowl.
547
Following this Bowl appearance, the
national American Guild of Organists (AGO) convention was held in Los Angeles, and
Wagner conducted ninety voices of a combined choir along with the chorale as one of the
featured performances. Also performing with a chorus was David Thorsen from
California State University Fullerton.
548

In fall, the chorale was featured on East coast radio in both Washington DC and
also New York. The former listing in the Washington Post s t a t e d: “ A n e w f e a t ur e presenting the great choirs and choral groups of the world, starts today with the Mormon
Tabernacle Choir and the Roger Wagner Chorale. ”
549
The latter lists Wagner as
“ c o n du c t i n g hi s c h o r a l e i n t r a di t i o n a l m e l o d i e s o f F r a n c e . ”
550
While both listings are
telling in regard to the continued exposure of the Roger Wagner Chorale on a national
platform, the listing for Washington D.C. is far more interesting for the fact that it
announces a new radio program featuring “the great choirs of the world, ” and the first

546
Harold Schonberg, “ R o ge r W a g ne r C ho r a l e S i ng s O e di pus R e x, ” New York Times, June 8,
1962.

547
“ S t e i n b e r g , S t y ne , W a gne r a t B o w l , ” Los Angeles Times, July 8, 1962.

548
“ O r g a n i st s t o Me e t , P l a y , ” Los Angeles Times, June 24, 1962.

549
“ R a d i o H i ghl i gh t s o f t he W e e k , ” The Washington Post, September 9, 1962.

550
“ S e l e c t e d Mus i c a l P r o g r a m s, New York Times, September 30, 1962.

155

broadcast features the Roger Wagner Chorale, in addition to the Mormon Tabernacle
Choir; it points to the high regard with which W a g n e r ’ s chorale was held nationally.
In October, the Music Patroness Group held a luncheon honoring Kurt Adler of
San Francisco Opera, and Wagner was invited to i n t r o duc e a l l o f t h e “ o pe r a s t a r s ” wh o would be attending the luncheon.
551
In November, Capitol Records released a new
recording of the Roger Wagner Chorale singing the Fauré Requiem, featuring Marie
Gibson and Michel Roux as soloists and the Paris Conservatory Orchestra, with Wagner
conducting. The New York Times article announcing the release stated:
A Los Angeles conductor, soprano and chorus meet a French composer, baritone
and orchestra with generally admirable results. M r . W a g n e r ’ s gr o up pr o duc e s poised, well-ba l a nc e d s o un ds , a n d t h e c o n duc t or ’ s e s t i m a t e o f this profoundly
moving score is beyond reproach. This is the first stereo recording of the Requiem
and it is a very good one. It does not quite match the flavor of the older Ansermet
and Cluytens recordings, however, but the differences are minor enough to be
outweighed by the fine sound.
552

The r e vi e w pa i n t e d W a g n e r ’ s wo r k i n a n e x t r e m e ly f a v o r a bl e li g h t yet included what can
o nl y be t e r m e d a s a r a t h e r “ b r o o di n g” picture of Wagner (see Figure 12).
553
In December
o f t h e s a m e y e a r , t h e c h o r a l e ’ s r e c o r di n g Joy to the World was broadcast on Los Angeles
Radio during the holiday season.
554

551
“ D r . A dl e r w i l l b e H ono r e d by O p e r a C l ub, ” Los Angeles Times, October 31, 1962.
.
552
“ I n B r i e f : F a u r é , ” New York Times, November 25, 1962.

553
Ibid.

554
“ T o d a y ’ s F M H i gh l i gh t s, ” Los Angeles Times, December20, 1962.

156

Figure 12. Roger Wagner, from 1962 photograph.
It must be noted that in 1962, a young conductor from Bombay, India, named
Zubin Mehta,
555
replaced Eduard Van Beinum
556
as music director of the Los Angeles
Philharmonic Orchestra. This was following a somewhat stormy courtship with Georg
Solti, who agreed to take the post but then abruptly backed out when he discovered that
the post came with an assistant conductor named Zubin Mehta from Bombay.

555
Mehta, born in Bombay in 1936, founded the Bombay Symphony Orchestra while he was
studying medicine, then quit medical school and went to Vienna where he studied conducting. He
won an international conducting competition in 1958 in Liverpool, then at Tanglewood. By 1961
he had already conducted the Vienna, Berlin and Israel Philharmonic Orchestras. He was music
director of Los Angeles Philharmonic from 1962-1978 when he became music director of the
New York City Philharmonic where he remained until 1985, when he moved to become the
conductor at the Teatro del Maggio Musicale Florentino in Florence, Italy, where he remains at
this writing in 2012.

556
Van Beinum died suddenly in 1959, and the Philharmonic searched and entered into a contract
with Solti in 1961, but he backed out because they had already chosen and appointed Mehta to be
his associate without consulting him, so Mehta won the post.

157

A J a n ua r y 1963 r e vi e w by Al be r t G o l d b e r g de s c r ib e d M e h t a ’ s pe r f o r m a n c e o f S tr a vi ns k y a n d ot h e r c o n t e m po r a r y m u s i c t h e m o s t “ i n t e l li g i b l e a n d pa l a t a bl e as has ever
to b e de m o ns t r a t e d, ” by Los Angeles Philharmonic. He also stated that, “ T h e R o g er
Wagner Chorale and the St. Charles Boys Choir
557
handled the choral parts with ethereal
de l i c a c y a n d b e a ut y o f to n e . ”
558
In April a film called Day of Triumph was released and
the Roger Wagner Chorale received film credit for singing throughout the film on the
soundtrack;
559
the chorale also sang M us s o r gs k y ’ s Boris Godunov with Zubin Mehta, the
Los Angeles Philharmonic and George London in the title role.
560
In his review, Robert
Riley of the Christian Science Monitor said:
In Los Angeles, it has become nearly redundant to compliment the Roger Wagner
Chorale. The ensemble has shown a high standard of discipline, diction,
intonation and general musicality whenever it has performed —and this occasion
was no exception. S i n g i ng i n R us s i a n , t h e c h o r a l e ’ s bi gge s t m o m e n ts came,
naturally, in the thrilling Coronation Scene: here and in later episodes the group
maintained its championship standing.
561

The turn in Boris was followed by a recording release of the Roger Wagner Chorale with
the Paris Conservatory Orchestra performing the Vivaldi Gloria on the Angel label. A
review in The Hartford Courant stated:

557
The St. Charles Boys Choir w a s W a g ne r ’ s c ho i r a s w a s t h e p o si t i o n o f m us i c di r e c t o r a t S t . Charles Borromeo Church in North Hollywood until he became too busy and turned it over to his
protégée Paul Salamunovich in 1949. Salamunovich was music director from 1949-2009.

558
Albert Goldberg, “ Me h t a ’ s S t r a v i n s ky P r o g r a m A ppl a ude d , ” Los Angeles Times, January 12,
1963.

559
“ F i l m on Li f e o f J e sus W i l l b e S how n T o ni gh t , ” Los Angeles Times, April 7, 1963.

560
Robert Riley, “ B o r i s’ S c e ne s H e a r d , ” Christian Science Monitor, April 18, 1963.

561
Ibid.

158

Gloria with the Roger Wagner Chorale and the Paris Conservatory Orchestra
under Mr. Wagner is the finest performance I have heard from the Wagner
Chorale and a reminder that V i v a l d i ’ s c h o r a l m u s ic de s e r v e s m o r e c ur r e n c y ,
unlike chamber music (that receives more than its share). F l o r P e e t e r s ’ Entrata
Festiva (on the reverse) is a work of more than ordinary interest, something
clearly influenced by Dupré. The sound from Angel is spacious and full.
562

May brought with it a U.S. premiere of Der Glorreiche Augenblick by
Beethoven.
563
As unlikely as it may seem, Wagner did in fact give the U.S. premiere of
the work with the UCLA Choral Union and the University Symphony Orchestra at Royce
Hall on May 17, 1963. In his review, Goldberg said, “The chorus can only be praised in
the manner in which it negotiated the high range and unvocal difficulties and the spirit
with which it was projected. ” The second half of the program was Carl Or f f ’ s Carmina
Burana. Goldberg reported that the audience rose to its feet cheering when the concert
concluded, adding that, “ t h e pe r f o r m a n c e f u ll y j us t if i e d t hi s acclaim, for Mr. Wagner
made his young singers and players work with such vitality, sharp contrasts, incisive
rhythmic propulsiveness and stirring power that it was irresistibly exciting.” He went on
to s t a t e t h a t W a gne r wa s “ a bl e t o i ns p i r e hi s s o l o i s t s to a n e qua l de gr e e o f e x c i t e m e n t . ”
564

The chorale was featured on a radio program in Connecticut in September,
playing the Frontier Folk Songs a l b u m , f e a t ur i n g m a ny o f S a l li T e r r i ’ s a r r a n ge m e n t s .
565

562
S t o w e , G e o r ge , “ C ur r e n t l y C l a ss i c a l , ” The Hartford Courant, April 21, 1963.

563
While Goldberg in his review asked the question of how a work by Beethoven could have its
U.S. premiere in 1963, Wagner replied that the publisher said so, and the Library of Congress had
no other record of the work being performed. In addition, since the work was apparently only
pe r f o r m e d on c e i n B e e t hove n’ s l i f e t i m e —when the composer conducted it himself in 1814,
Goldberg agreed that it was indeed the American premiere of the work.

564
A l b e r t G ol d b e r g , “ B e e t hove n W o r k i n U S B ow , ” Los Angeles Times, May 17, 1963.

565
“ F M P r o g r a m H i g hl i gh t s, ” the Hartford Courant, August 11, 1963.
159

September also brought with it the announcement that the Los Angeles Philharmonic
would play its final season (1963-64) in Philharmonic Auditorium as it would move to
the Los Angeles County Music Center in fall of 1964. The article also announced that the
Roger Wagner Chorale would be performing on several programs with the Philharmonic
during the 1963-4 season.
566
About a week later, Goldberg reported that the chorale
wo ul d s i ng Ho n e gge r ’ s King David, K o da l y ’ s Psalmus Hungaricus, and the world
pr e m i e r e o f L u i g i No n o ’ s La Victoire de Guernica.
567
In addition, a large display ad
appeared in the Los Angeles Times from Capitol Records, advertising the c h o r a l e ’ s albums, Reflections, Virtuoso!, Sea Chanties, Vive La France, and Songs of Latin
America.
568

Also in the fall of 1963, Z. Wayne Griffin sought the involvement of the Los
Angeles Junior Chamber of Commerce i n t h e f ur t he r de v e l o p m e n t o f W a g n e r ’ s vi s ion to
creat e a “ m a s t e r wo r ks c h or a l e . ” The Junior Chamber of Commerce in turn, met with
Dorothy Chandler, who was at the time ensconced in the building of the Pavilion bearing
her name, but she agreed that a chorus as a resident company of the Music Center was a
good idea, and that it should be pursued.
569
The Junior Chamber of Commerce pursued
the conept, although it took them some time before they had a solid proposal.

566
Mary Lou Loper , “ P h i l h a r m oni c Er a C l o si ng , ” Los Angeles Times, September 8, 1963.

567
Albert Goldberg, “ 45
th
Y e a r t o H e r a l d N e w P hi l h a r m oni c Er a , ” Los Angeles Times, September
15, 1963.

568
“ D i spl a y A d 106, ” Los Angeles Times, September 29, 1963.

569
Nores, “ M a st e r C h o r a l e H i st o r y , ” 4.
160

December of 1963 proved to be quite busy for Wagner and his choruses. He
offered a holiday concert at UCLA with the Choral Union and Symphony Orchestra at
Royce Hall, featuring Berlioz, Gabrieli, Buxtehude, Schubert, Walton, and Langlais;
570

the review for the concert s a i d t h a t t h e c h o r us s a n g “ w i t h r e f i ne m e n t a n d a ni c e f e e li ng
for the mood; particularly go o d e pi s o de s we r e t h e m e n’ s c h o r us a n d t h e e t h e r e a l c l o s i ng
pa s s a ge s . ” Goldberg also said in the review that, “ M r . W a gne r s a w to i t t h a t a respectable balance was maintained and the musical results were as gratifying as they
always are when he is in com m a n d o f a c h o r us . ”
571
There was also an announcement that
t h e R o ge r W a g n e r C h o r a l e wo u l d pr e s e n t a n “ a nim a t e d v e r s i o n ” o f t h e C h r i s t m a s Nativity with Tennessee Ernie Ford as the narrator. The televised version of what
eventually became The Christmas Story According to St. Luke, arranged by Roger
Wagner, aired as part of the holiday programming around the nation.
572

In his year-end roundup of musical events, Goldberg named both the UCLA
Choral Union with Wagner conducting the Carmina Burana and Der Glorreiche
Augenblick, and Mehta conducting the Roger Wagner Chorale with the Los Angeles
Philharmonic i n K o da y ’ s Psalmus Hungaricus a s a “ m e m o r a bl e e v e n t o f 1963. ”
573

570
“ U C LA C h o r a l U ni on a n d S ym p hon y O r c he st r a , ” Los Angeles Times, December 8, 1963.

571
Albert Goldberg, “ G r a t i f y i ng C on c e r t D i r e c t e d by W a gne r , ” Los Angeles Times, December 13,
1963.

572
Robert E. S t a n sf i e l d , “ B i g C h r i st m a s Line - U p, D e b S t a r s, C a n di d S h ow , ” The Hartford
Courant, December 22, 1963.

573
Albert Goldberg, “ T he Mus i c a l S c o r e f o r L.A. i n 1963, ” Los Angeles Times, December 29,
1963.

161

The chorale recorded in the early part of 1964 and toured nationally in March, as
they did almost every year from 1955 onward.
574
The Los Angeles Philharmonic
announced in March that the Roger Wagner Chorale would be performing at least one
major choral work with the orchestra during 1964 before they moved to the new facility
at the Los Angeles County Music Center.
575
In an article that appeared in the New York
Times in April of 1964, Hugh R o s s s t a t e d t h a t “ a t th e i ns i s t e nc e o f t h e F o r d F o un da t i o n ” he had performed research on choral music in the United States. He cites specifically
both the Robert Shaw Chorale and the Roger Wagner Chorale as “ e m ba r r a s s i ng ly b u s y , ” touring, performing with orchestras and giving concerts in their own cities constantly.
The point of the article was to say that the data, when compared to a study he had
performed on the same subject in the previous decade, showed that choral music in the
US had grown tremendously and that the overall quality of the music had also
improved.
576

The Los Angeles Master Chorale (1964-1986)
By July 1964, the Southern California Choral Music Association had a budget put
together for a resident chorus in the music center, but the group needed a name. Wagner
had wanted to use the name Schola Cantorum, but the board convinced him that the
pr o p o s e d n a m e “ wo u l d n e ve r s e l l . ” Shortly after, Wagner proposed the “Los Angeles

574
It should be noted that t he r e i s no pr e c i s e c o un t of W a gne r ’ s t o ur s; so m e s o ur c e s i n di c a t e t h a t he toured every year, which we know is not true based upon articles that appeared in the Times
indicating the years his choirs did not. Other sources acknowledge that it was not every year, but
do not include precise statistics.

575
“ H e n r y L e w i s W i l l C on d u c t , ” Los Angeles Times, March 10, 1964.

576
Hugh R o ss , “ T h e r e i s N o t hi ng Like a ‘ P r o , ’ ” New York Times, April 5, 1964.

162

Master Chorale, ” and they all knew they had a name.
577
They established an office on
Bixel Street in the Chamber Building, and hired an office assistant who worked at the
single desk with one filing cabinet and a typewriter for the next few years.
578

In August the Roger Wagner Chorale joined Johnny Green in the Hollywood
B o wl f o r “ E nc o r e s o f B e r n s t e i n , W e il l , R o m be r g a n d K e r n , ”
579
and in November it was
announced that the choir would join the Los Angeles Philharmonic in the 1964-65 season
for five major choral-orchestral works at the new Dorothy Chandler Pavilion at the Music
Center. M e h t a wo ul d o pe n t h e s e a s o n i n t h e pa vil io n wi t h B e e t h o v e n ’ s Symphony No. 9,
a n d a l s o No n o ’ s La Victoire de Guernica which Wagner conducted the previous year,
and also the Mahler Second Symphony (Resurrection). Wagner would conduct the
P hil ha r m o ni c a n d hi s c h o r a l e f o r B a c h’ s Christmas Oratorio and Hans Swarowsky would
c o n duc t M a hl e r ’ s Third Symphony.
580

In December, Mehta conducted the Beethoven Symphony No. 9 with the Roger
Wagner Chorale singing in the fourth movement. In the review by Goldberg in the Los
Angeles Times, i t wa s n o t e d t h a t “ t h e c h o r a l e s a n g a s i t a l wa y s do e s – which means a
solidity of choral tone, clarity of definition, splendor of massed quality and hair-raising

577
D o n a l d J. N o r r i s, “ M a st e r C h o r a l e H i st o r y ” ( L o s A nge l e s : Lo s A nge l e s Ma st e r C h o r a l e , 1993), 5.

578
Ibid.

579
“ D i spl a y A d , ” Los Angeles Times, August 15, 1964.

580
“ F i ve C ho r a l W o r k s t o b e P e r f o r m e d , ” Los Angeles Times, November 5, 1964.

163

power, all second to none. ”
581
A week later, Wagner led the Los Angeles Philharmonic
and the Roger W a gn e r C h o r a l e a t t h e P a vi li o n i n B a c h’ s Christmas Oratorio, employing
some of his own singers as soloists, namely Marie Gibson, Richard Robinson, Katherine
Hilgenberg, Melvin Brown, and Archie Drake.
582

Meanwhile, behind the scenes throughout the fall, the members of the Southern
California Choral Music Association had formed a board of directors, including Marshall
Rutter, Donald J. Nores, Z. Wayne Griffin, Charles Luckman, S.R. Boadt, Neil Papiano,
Glenn Wallichs and Louis Statham.
583
The members of the Los Angeles Junior Chamber
o f C o m m e r c e a c t e d a s “ c o l l e c t i ve ge n e r a l m a n a ge r ” f o r t h e f i r s t s e a s o n and through
subcommittees they handled patron support, publicity, logistics for rehearsals, and
Pavilion contracts. Their total budget for the first year of operations for the Los Angeles
Master Chorale was $73,000.
584

Related to the work outlined above, and perhaps the most important
announcement of the 1964 year in regard to Wagner, and arguably the very thing that
makes his contributions to southern California choral music invaluable and still felt
today, was made publicly in October in the Los Angeles Times:
The newly formed Southern California Choral Music Association, under its music
director, Roger Wagner, will offer five concerts in the Pavilion of the Music
Center. The organization, sponsored by the Los Angeles Junior Chamber of
Commerce, is headed by a board of directors composed of Los Angeles social,

581
Albert Goldberg, “ B e e t hove n S ym p ho ni e s C ond uc t e d by Me h t a , ” Los Angeles Times,
December 9, 1964.

582
“ B a c h O r a t o r i o O f f e r e d T o ni g h t , ” Los Angeles Times, December17, 1964.

583
“ Mi n ut e s f r om t he bo a r d m e e t i ng , ” Los Angeles Master Chorale, 1964.

584
Nores, “ M a st e r C h o r a l e H i st o r y , ” 4.
164

business and cultural leaders. A choral ensemble in excess of 100 voices, to be
called the Los Angeles Master Chorale, and an orchestra named the Sinfonia
Orchestra, will be organized to participate in the series. Robert Shaw, noted
choral director, will appear as a guest conductor. The purpose of the Southern
California Choral Music Assn. is the presentation of choral masterpieces on a
permanent basis. The first season will begin Jan 27, 1965, with the Mass in B
Minor by Bach, Roger Wagner conducting, followed by: the Texas Boys Choir,
George Bragg conducting Feb 2; 16
th
and 17
th
century music, Roger Wagner
conducting March 9; B e e t h o v e n ’ s Missa Solemnis, Robert Shaw conducting
March 28; and the first West Coast performance of Moses by Rossini, Roger
Wagner conducting, April 7.
585

T h e s i g ni f i c a nc e o f t hi s m o v e o n W a g n e r ’ s pa r t to s e c ur e n o t o n l y a po s i t i o n f o r a chorus
as a permanent partner with the philharmonic, but also with its own season attached as a
resident company of the Los Angeles Music Center was probably the most brilliant
strategic decision Wagner and his team on the board could ever have made. It is without
question one of the reasons the organization still continues at this writing in 2012,
preparing in two more years to celebrate its 50th anniversary season. Creating a
pa r t n e r s hi p w i t h Do r ot h y C h a n d l e r a n d Z u bi n M e ht a a s s ur e d W a gne r ’ s p l a c e i n hi s t o r y as the founding music director of the Los Angeles Master Chorale. There is a life size oil
rendering of Wagner hanging on the West side gallery o f t h e F o un de r ’ s l e ve l o f t h e Pavilion today that greets all the visitors stepping off the elevator on that side to
commemorate his lasting contributions.
In maintaining historical correctness, it must be noted that the Los Angeles
Master Chorale did not officially debut using that name until January of 1965 in its first
solo concert, which was conducted by Wagner at the Dorothy Chandler Pavilion at the
Music Center; the concerts with the Los Angeles Philharmonic at the end of 1964 were

585
“ C h o r a l e ’ s S c he d u l e a t P a v i l i on , ” Los Angeles Times, October 11, 1964.
165

sung by the Roger Wagner Chorale. It is also important to note that for many years the
nucleus of the Los Angeles Master Chorale was made up of members who toured and
performed as the Roger Wagner Chorale.
The announcement of the new season of the Los Angeles Master Chorale was
reiterated in the Times in January of 1965 stating that the organization would perform the
Bach B minor Mass with Wagner conducting. It also mentions that the series of five
concerts would include the West Coast debut of the Texas Boys Choir.
586
Wagner was
honored along with his wife, Jan, at a luncheon in late January of 1965 hosted by the
wo m e n’ s c o m mi t t e e o f t h e S o u t h e r n C a l if o r ni a C ho r a l M us i c A s s o c i a t i o n c ha i r e d by Mrs. Neil Wilson of Brentwood, supporting LAMCs first concert of the season slated for
three days afterward.
587
The excitement generated by the formation of a permanent choral
entity attached to the new Music Center was obvious in another article that appeared in
the Christian Science Monitor, by Kimmis Hendrick.
Roger Wagner has formed the Master Chorale of Los Angeles to give this city a
permanent singing group dedicated to the performance of great choral works. Dr.
Wagner says he is much pleased with the sound the new chorus is producing. The
public will have a chance to judge on January 27. The Chorale will sing the Bach
B Minor Mass in the Pavilion of the new Music Center. Sponsored by the Los
Angels Junior Chamber of Commerce, the Master Chorale has its own board of
directors. It also has, to work with it, a new Sinfonia Orchestra which Dr. Wagner
is now forming. The famed Roger Wagner Chorale, long established and known
around the world, will continue as a separate enterprise.

Many of the Roger Wagner Chorale singers are part of the new Master Chorale,
which has 80 members carefully selected after exacting auditions. The plan is to
make it possible for Los Angeles audiences to hear many more choral works than
ever previously. Dr. Wagner has already planned eight concerts for next season.

586
“ S e a son o f F i ve C ho r a l Eve n t s S e t , ” Los Angeles Times, January 9, 1965.

587
“ 30 A t t e nd Lun c he on H ono r i ng C o nd u c t o r , ” Los Angeles Times, January 24, 1965.
166

T o t h e que s t i o n “ W h a t m a ke s a goo d c h o r a l s i nge r ? ” Dr. Wagner has a ready
a ns we r : “ I l o o k f o r f o ur t hi n gs , ” h e s a y s , “ M us i c i a n s hi p, m u s i c a l a l e r t n e s s , flexible musicianship, a certain humility. Choral singing is much like playing in a
chamber music ensemble. Many a great artist cannot do it. By humility I mean an
attitude that enjoys blending with other voices. It means being sensitive to the
wh o l e . ”

Somebody remarked recently on the clarity of diction which marks Roger Wagner
Chorale singing. Every word comes clear. It is so on records – the chorale has
made more than 40 – it is so in concert. “ I t de pe n d s o n a uni f i c a t i o n o f v o we l s o un ds , ” s a y s Dr . W a g n e r . “ T he wh o l e gr o up m us t s i n g t h e v o we l s a s o n e . They
must be together on the length of the vowels. There must be precision with
c o n s o n a n t s . ” He adds qu i c k ly , “ B ut I n e v e r wa n t pr e c i s i o n t o s t a n d i n t h e wa y o f the music. T e c hni que m u s t b e a t t h e s e r vi c e o f m u s i c . ” When the new Master
C h o r a l e s i ng s i n t h e M us i c C e n t e r , i t wi ll h a ve t h e h a ll t ha t i s “ li ve ” w i t h s o un d .
Dr. Wagner likes it this way.
588

The article goes on to announce that the Roger Wagner Chorale would undertake
its eleventh national tour in the fall of 1965, and that in 1966 it would travel to Russia.
Hendrick also commented on the fact that the Roger Wagner Chorale had already toured
Europe, Latin America and Japan, and that Wagner was teaching at the University of
California Los Angeles,
589
a position he had held since 1949.
The Los Angeles Sentinel in February of 1965 called the attention of the citizens
o f L A to t h e f a c t t h a t t h e “ n a t i o n ’ s two leading choral directors – Roger Wagner and
Robert Shaw ” w o ul d s h a r e t h e po di u m a t t h e n e w M us i c C e n t e r f o r t w o c o n c e r t s wi t h t h e newly formed Los Angeles Master Chorale.
590
In March, a review of the Los Angeles
M a s t e r C h o r a l e ’ s s e c o n d c o n c e r t o f t h e season appeared in the Times, written by

588
Kimmis H e nd r i c k , “ R o ge r W a g ne r sh a p e s c ho r us, ” The Christian Science Monitor, January
26, 1965.

589
Ibid.

590
“ O c c upy S po t l i gh t a t M usi c C e n t e r , ” Los Angeles Sentinel, February 18, 1965.

167

Raymond Kendall. The concert was a presentation of works from the sixteenth and
seventeenth centuries, featuring the Los Angeles Brass Society, Owen Brady, organist,
and the UCLA A Cappella Choir.
591
Kendall reported that with the exception of a group
of French chansons and three entirely instrumental selections most of the concert was
devoted to the sacred music of Madrid, Barcelona, a n d t h e “ m u l t i -choired galleries of the
C h ur c h o f S a n M a r c o i n Ve ni c e . ”
592

What marked the concert as a musical event of significance was the unbelievable
manner with which Roger Wagner succeeded in blending anywhere from three to
seventeen strands of sound, most of it choral, some of it brass, some of it organ;
some of it on stage, some of i t b a c k s t a ge or i n t h e “ w i ng s ” o f t h e F o un de r ’ s Circle. It would be easy to account for part of the handsomely integrated result by
acknowledging the acoustics of the Music Center, but Roger Wagner deserves
most of the credit.

There was drama in the first moments of the concert – an Ave Maria was intoned
i n Gr e go r i a n c h a n t f r o m t h e F o un d e r ’ s C i r c l e : a n d wa s i mm e d i a t e l y a n s w e r e d by a Victorian setting of another Ave Maria from the stage … A bi t l a t e r J a n S we e l i nc k ’ s qu i e t , m o vi ng Hodie Christus Natus est had a refinement and beauty
almost beyond description …t h e hi g hli g h t o f t h e o p e ni ng h a l f o f t h e c o n c e r t wa s Ga b r i e li ’ s t r i p l e c h o r us Magnificat.

Roger Wagner is a musici a n’ s m us i c i a n w h o s uc c e e ds i n c o m m u ni c a t i n g hi s enthusiasms to audiences who begin as unbelievers; end up loving what they hear.
Just before the second half of the concert began, Roger Wagner was presented
with the Cross of the Grand Officer of St. Brigitte, an honor bestowed to
recognize outstanding leadership in the humanities and the arts. Making the
presentation for the Knightly Order, founded in the 14
th
century was Mr. Lauritz
Melchior.
593

591
Raymond Kendall, “ W a g ne r C o nd uc t s S a c r e d Mus i c , ” Los Angeles Times, March 11, 1965.

592
Ibid.

593
Ibid. Note that Lauritz Melchior (1890-1973) was a Danish opera singer who later became an
American. He was the pre-eminent Wagnerian tenor of the 1920s, 30s, and 40s, who also
performed in numerous films in the mid-20th century. Melchior moved to Santa Monica,
California in the mid-1950s, started a scholarship fund for heldentenors at Julliard in the 1960s,
and began conducting in the late 1960s. His last public appearance was conducting the San
Francisco Opera in 1972.
168

Also in March, the Roger Wagner Chorale ’s Echoes of a 16th Century Cathedral
was played in Chicago as part of a choral music broadcast,
594
and the group appeared as
part of the Centennial Choral Festival s po n s o r e d by t he S a l v a t i o n A r m y ’ s l o c a l c o r ps held at the Scottish Rite Masonic Auditorium on Wilshire Blvd in Los Angeles on March
27, 1965. Wagner served as honorary chairman of the event.
595

An article an t i c i pa t i n g t h e upc o m i ng W e s t C o a s t p r e m i e r e o f R o s s i ni ’ s Moses
appeared in the Times in April 1965. Albert Goldberg said that the performance would be
t h e “ c l o s i ng e v e n t o f t h e o r ga ni z a t i o n’ s [Los Angeles Master Chorale] o pe ni n g s e a s o n , ” and that Vincent Price would narrate an abridged concert version conducted by Wagner
with the LAMC and Sinfonia Orchestra; Jerome Hines would sing the title role and it
would include soloists from the chorale —Marie Gibson, Maralin Niska, Paul Hinshaw,
and Chris Lachona. Gol d b e r g we n t o n to e x p l a i n t h e “ i nv o l ve d p l o t ” and the history of
the work in a lengthy Times article.
596
The concert was dedicated to the late President
John F. Kennedy.
597
The Allied Arts corporation of Chicago announced its 1965-66 series
of music attractions which listed choirs from Budapest, Krakow, and Poznan, and also the
Robert Shaw and Roger Wagner chorales, in addition to Fred Waring and the
Pennsylvanians and the Norman Luboff choir.
598

594
“ T h ur sd a y F M P i c k s, ” Chicago Tribune, March 25, 1965.

595
“ C a l e nd a r o f Eve n t s, ” Los Angeles Times, March 25, 1965.

596
Albert Goldberg, “ I n vol ve d P l o t , a n d t he H i st o r y of O pe r a Moses, ” Los Angeles Times, April
4, 1965.

597
“ R o ss i n i O p e r a C o m i ng t o Mus i c C e n t e r , ” Los Angeles Times, April 1, 1965.

598
“ A l l i e d A r t s Li st s 20 Ev e n t s on Mus i c a nd D a n c e S e r i e s, ” Chicago Tribune, April 11, 1965.
169

In May, the first annual meeting of the Southern California Choral Music
Association was held and reported that, “ t h e f i r s t s e a s o n o f t h e As s o c i a t i o n wa s a n a r t i s t i c a n d f i na nc i a l s uc c e s s i n e v e r y r e s pe c t . ” The group also reserved the Pavilion for the
following season for six chorale concerts, and hired Dale Van Natta as their first General
Manager.
599

With the summer came performances at the Hollywood Bowl as part of the
“Symphonies under the Stars ” series. The Roger Wagner Chorale was listed as
performing with Johnny Green for Rodgers and Hammerstein night in July as part of the
Pops series; B e r li o z ’ Damnation of Faust with Wallenstein on August 17; and the Verdi
Requiem with Mehta on August 26.
600
Wagner was also the guest speaker in Bel Air for
the Gold Key Awards, scholarship prizes pr e s e n t e d by t h e UC L A W o m e n’ s Gr o up a t an
annual tea.
601

In fall, the Southern California Choral Music Association announced that six
Sunday concerts would be presented by the Los Angeles Master Chorale and Sinfonia
Orchestra, under the direction of Roger Wagner, beginning in December of 1965 and
continuing through June of 1966. On the schedule wa s R e s p i g hi ’ s Laud to the Nativity;
B r a hm s ’ German Requiem; Ha y d n ’ s Lord Nelson Mass; Friede auf Erden of Schoenberg,
B r a hm s ’ Nänie, and B a r t o k’ s Cantata Profana to be conducted by guest conductor,
Robe r t S h a w ; a wor l d pr e m i e r e o f E l i n o r R e m i c k W a r r e n’ s Requiem; B l o c h’ s Sacred

599
Nores, “ M a st e r C h o r a l e H i st o r y , ” 7.

600
“ D i spl a y A d 122, ” Los Angeles Times, June 20, 1965.

601
“ G o l d K e y A w a r d s P r e s e n t e d a t T e a , ” Los Angeles Times, July 18, 1965.

170

Service; B a c h’ s St. John Passion; a n d t h e s e a s o n wa s to c l o s e w i t h Ha n de l ’ s Esther.
602
In
the same article, UCLA announced a new music course in its curriculum to be taught by
Wagner, “ C h o r a l An a ly s i s a n d T e c hni que s , ” a n d i n t e r e s t i n g ly a c o ur s e c a l l e d “ T h e H i s t o r y o f M u s i c P e r f o r m a n c e ” t h e l a t t e r to b e t a u gh t by Times critic, Albert Goldberg.
603

The Roger Wagner Chorale opened the Santa Ana Community Concert
As s o c i a t i o n’ s 1965 -66 season on October 6, 1965. The announcement for the concert
stated , “ T h e R o ge r W a gn e r C h o r a l e , c o n s i de r e d o ne o f t h e wor l d ’ s o ut s t a n d i n g c h o r a l groups, became famous through its performances with the Los Angeles Philharmonic at
the Hollywood Bowl and from its r e c o r di n gs . ”
604
The Roger Wagner Chorale also
o pe n e d t h e “ C a n d l e li g h t C o n c e r t ” s e a s o n a t t h e P e a b o d y C o n s e r v a t o r y in late October in
Baltimore, Maryland, a press release s t a t i n g: “ t h e R o ge r W a gn e r C h o r a l e h a s e s t a bli s h e d
itself in less than two decades as o n e o f Am e r i c a ’ s foremost singing groups. Its
popularity, attested to by frequent tours of North and South America and Europe, has
been reinforced by the sales of record albums. ”
605
In an article in The Sun, B a l t i m o r e ’ s Elliott Galkin reported that Wagner wa s a “ r e c o gnize d pe da go gue i n t h e f i e l d o f v o c a l music and its performance, conducting many seminars about choral conducting
throughout the United States .”
606
Galkin also listed the program for the Peabody

602
“ M a s t e r C h o r a l e S c he d u l e Li st e d , ” Los Angeles Times, September 12, 1965.

603
Ibid.

604
“ C h o r a l e w i l l O pe n C onc e r t S e r i e s October 6, ” Los Angeles Times, September 26, 1965.

605
“ C a n d l e l i gh t C o nc e r t , ” The Sun, October 24, 1965.

606
Elliott W. G a l k i n , “ F i ve Mus i c a l E ve n t s, ” The Sun, October 31, 1965.

171

Conservatory: Hodie Nobis, Nanin; Salve Regina, de Lienas; In dulce jubilo, Praetorius;
Alleluia, Handl; Je l’ayme bien, Lassus; Se nel partir da Vol, Monteverdi; Le chant des
oiseaux, Jannequin; Five New Love Waltzes, Brahms; Laud to the Nativity, Respighi;
Three Israeli Folksongs, arr. Goldman; Three French folksongs, arr. Wagner; Two Sea
Chanties, arr. Wagner; Two Negro Spirituals, arr. DeCormier; and Alleluia, Mozart/arr.
Wagner.
607

Wagner spoke to the assembled 100 members of the Southern California Choral
M us i c A s s o c i a t i o n ’ s wo m e n’ s c o m mi t t e e s in early October of 1965 at the Blue Ribbon
Room of the Music Center to thank them for their work in addition to stating the
importance of promoting the LAMCs second season in their regional communities.
608

Other speakers at the meeting included Mrs. Frank Seaver, c h a i r m a n o f t h e W o m e n’ s Committees, Curtis Tamkin, chairman of the Los Angeles Junior Chamber of Commerce
Committee for the Association; Lyle Dye, executive director of the Performing Arts
Council of the Music Center; Z. Wayne Griffin, first vice president of the association and
Dale Van Natta, general manager of the Los Angeles Master Chorale.
609
It was also
reported that the committee members would arrange for the Meistersingers Ball in June,
which would highlight the close of the chorale season, and that they would host special
guests at the after-concert receptions in The Founders.
610

607
Ibid.

608
“ R o ge r W a gne r S pe a k s t o C h o r a l Mus i c A ss o c i a t i on , ” Los Angeles Times, October 3, 1965.

609
Ibid.

610
The Founders is a room off the Founders Circle Level of the Dorothy Chandler Pavilion at the
Los Angeles Music Center.
172

An article appearing in The Sun in October 1965 about the appearance of the
Roger Wagner Chorale at the Peabody, confirms that as of 1965, Wagner was still music
director at S t . J o s e ph ’ s C a t h o l i c C h ur c h i n do wn t own L o s An ge l e s , and that the Roger
Wagner Chorale was twenty-eight in number in 1965 , a n d t h a t “ whil e o n to ur i n M e xi c o , he [Wagner] learned that Pope Paul VI had conferred on him the title of Knight
Commander of the Order of St. Gregory in recognition of his services to church
music. ”
611
A n d f i na ll y , t h e a r t i c l e c o nf i r m e d W a g ne r ’ s a ppe a r a n c e a s a gue s t l e c t ur e r a t
the Peabody Conservatory during its summer session of 1965.
612

Perhaps the most interesting item about all the articles in the local Baltimore
newspapers regarding the Roger Wagner Chorale appearance at the Peabody is the sheer
number of articles (at least seven), thereby indicating the level of interest in the chorale
and its conductor. The final article, dated November 1, 1965, was a review of the concert
by Elliott W. Galkin, who said:
It was an enigmatic afternoon of music-making at the Peabody Conservatory
yesterday, technically impressive and rewarding but aesthetically regrettable
because of an incompatible fusion of the elements of art and entertainment as
Roger Wagner and his Chorale appeared in the first Candlelight Concert of the
season. Twenty-eight strong, abetted by an orchestra primarily of winds, the
Roger Wagner chorale is one of the outstanding organizations of its type, either in
this county or abroad, now appearing before the public.

The male voices sing with robustness and richness, the females with comparable
svelteness and luxuriousness. T h e gr o up’ s pr e c i s i o n o f e n s e m b l e i s a r e f l e c t i o n o f M r . W a gne r ’ s a ut h o r i t y a s a c h o r a l c o n duc to r . Attacks are precise and at the same
time graceful, and nuances from delicate pianissimo to powerful forte are always
under his control. If there are any characteristics on the debit side of the ledge,

611
“ R o ge r W a gne r C h o r a l e : P e a body C on c e r t , ” The Sun, October 21, 1965.

612
Ibid.

173

they lie in a certain sameness of articulation, and a similarity of tone quality and
speed of vibrato, which remained relatively unchanged throughout the afternoon.

Among the outstanding works in this initial group of compositions was an elegiac
Salve Regina by Juan de Llenas, A Spanish composer whose name remains
missing in even the most sophisticated musical reference works. The first half
concluded with a reading of the rarely heard Lauda per La Natività de Signore by
Resphighi, which was performed with majesty, the florid vocal writing elegantly
executed, the voices and instruments in ideal balance.

It was in the second part of the program that the incompatibility of the musical
offerings was revealed. The chorale devoted itself to arrangements of Israeli and
French folk songs, Negro spirituals, and sea chanties. The program in effect
ceased to be one of art and became one of entertainment. The arrangements
bordered on the commercial and the cliché, reminiscent in content mood and spirit
of the arrangements of Hollywood and Broadway. It appears strange that such
offerings debatable in appropriateness for a concert audience in the hyperborean
hinterlands far from radio, recordings or television should have been presented
b e f o r e a publi c i n o n e o f t hi s n a t i o n’ s m o s t important conservatories in one of
Am e r i c a ’ s m a j o r c i t i e s .
613

Kn o w i n g pe r s o n a ll y W a g n e r ’ s pr o c l i v i t y t o wa r d entertaining his audiences, one must
accept the truth in this review; however, one must also consider, given the final paragraph
of the review, that the critic certainly considered Baltimore and the Peabody
C o n s e r v a t or y o n e o f t h e n a t i o n’ s last vestiges of culture, which can hardly be seen as the
case in 1965 or today: there are many centers of cultural excellence, and invoking
“ Ho l ly wo o d” a s s o m e k ind of stamp on any performing group that calls Los Angeles its
home (unless it actually is a studio chorus and orchestra) is cliché. No matter how one
chooses to interpret the actual review, the fact that the chorale was continuing to perform
across the nation to many diverse audiences is clear.
In November the New York Times printed an article about the upcoming cultural
exchange between the U.S. and Russia, citing that the Soviet Union was jeopardizing the

613
Elliot W. Galkin, “ P e a body C on c e r t , ” The Sun, November 1, 1965.
174

agreement with their reluctance in continuing the exchange since the onset of the
Vietnam War. The U.S. a c c us e d t h e S o vi e t s o f “ r e a c t i n g t o C hi n e s e C o m m u ni s t c r i t i c i s m that the Kremlin was continuing to cooperate with the United States even while North
Vietnam was under air attack. ” The Soviets cancelled a tour of the Broadway show, Hello
Dolly!, and the New York Times reported that the US was seeking to substitute a tour by
the Roger Wagner Chorale during the 1966-67 season. The Soviets stated that they could
not accept the choral group in January of 1966 as long as the war with Vietnam
continued. They also canceled visits by W. D. Snodgrass, Benjamin Lees and Richard
Hunt, and stated that they would not send the Moscow Philharmonic or the Bolshoi Ballet
to visit the US.
614

Meanwhile, the Los Angeles Master Chorale opened its second season on
December 12, 1965, a t t h e M us i c C e n t e r wi t h a C hr i s t m a s pr o gr a m e n t i t l e d, “ No e l :
Renaissance to Respighi. ” The program was noted in the announcement as slated also for
the Pasadena Civic Auditorium two days before the Pavilion.
615
In mid-December,
following the opening Christmas concerts, members of the Master Chorale, conducted by
Wagner, performed at a reception for the members of the Southern California Music
Association at the home of the association president, Louis D. Statham (see Figure 13).
616

614
“ U S C h i de s S ovi e t s on A r t s A c c o r d , ” New York Times, November 3, 1965.

615
“ M a s t e r C h o r a l e t o O pe n S e a son , December 12, ” Los Angeles Times, November 28, 1965.

616
“ M a s t e r C h o r a l e t o P e r f o r m a t Mus i c A ss n . R e c e pt i on , ” Los Angeles Times, December 13,
1965.

175

Figure 13. Wagner (center) with members of the SCCMA.
A favorable review by the Pulitzer-prize-winning music critic Martin Bernheimer
appeared in the Los Angeles Times on December 14, 1965, for the Los Angeles Master
Chorale. He o b s e r ve d t h a t t h e r e pe r to i r e wa s “ s e l d o m he a r d Christmas music from the
Renaissance to the 20th centur y , ” a n d t h a t i t “ a dde d up to a pr o g r a m o f t a s t e a n d
im a g i na t i o n , i m m a c u l a t e l y p e r f o r m e d. ” He went on to say that, “ t h e R o ge r W a g n e r approach to choral singing represents no mystery. It strives from an extraordinary clarity
and spit-polish precision, but thank goodness, the inherent meaning and individual style
of the works being performed are never obscured in the proce s s . ”
617
Bernheimer also
st a t e s t h a t t h e a ud i e n c e n e v e r f e e l s “ t h a t to n a l pe r f e c t i o n i s a n e n d i n i t s e l f , ” a n d t h a t i n t h e de pa r t m e n t o f v o c a l d i s c i p li ne , “ M r . W a g n e r ’ s 100 s i n ge r s n e v e r l e t us do wn . ”
He praised the antiphonal effects Wagner created by placing units of the chorale
in different places in the Pavilion, including off- s t a ge a n d i n t h e F o un de r ’ s C i r c l e .

617
Martin Bernheimer, “ T a st e , I m a g i n a t i on i n C ho r a l e P r og r a m , ” Los Angeles Times, December
14, 1965.
176

B e r nh e im e r n o t e d t h a t i t m i g h t s o un d l i ke “ c h o r a l g i mm i c kr y , b ut i t wa s n ’ t . The end
justified the means and the means justified the end. ” He s a i d t h a t t h e “ c h o i r s ba l a n c e d
each othe r m a g nif i c e n t l y , ” a n d t h a t t h e diction was beyond reproach and sensitivity to
verbal and mu s i c a l n ua n c e wa s a l s o “ s t r i k i ng. ” The review recounted the music
performed, including the final Bach motet, Singet dem Herrn.
618

Across the nation, the Roger Wagner Chorale was referenced as the group to be
compared to i n a r e vi e w o f t h e Ho wa r d Uni v e r s i t y’ s C h r i s t m a s C o n c e r t a n d a performance of the Respighi Laud to the Nativity that had recently been released on
Capitol and had also been heard live with the Roger Wagner Chorale on tour in the
eastern United States. In his review, Thomas Putnam praised Jessye Norman (at this time
an unknown choral singer with the Howard University Chorus) and was disappointed at
the tone and blend of the choir, lamenting that it was perhaps too large a group to sing the
work , a n d s a i d a f t e r h e a r i n g W a g n e r ’ s gr o up, i t wa s d i s a ppo i n t i n g .
619
The Roger Wagner
Chorale was also featured in the final two weeks of December on WXNY New York in
several holiday programs advertised in The New York Times.
620

1966 opened with an article on the fifth of January a nn o un c i ng t h a t t h e “ c h o r a l e f a c e s a b us y s l a t e , ” e x p l a i n i ng t h a t W a gn e r would be presenting LAMC for the Brahms
Requiem at the Pavilion, and then he would take thirty-two voices from the 100 voices of

618
Ibid. Having read many reviews by Martin Bernheimer, this one is certainly one of the most
complimentary he must have ever written —there is not a single hilarious phrase composed at the
expense of any artists anywhere.

619
T h om a s P ut n a m , “ Y ul e S pi r i t F i l l e d C h r i st m a s C o n c e r t , ” The Washington Post, December18,
1965.

620
“ R a d i o L e a di ng Eve n t s, ” New York Times, December 19, 1965.

177

LAMC on a ten-week government-sponsored tour of the Near East and Europe. The
article states that Wagner would return toward the end of March to start the rehearsals
with LAMC for the world premiere of Elinor Remick W a r r e n ’ s Requiem and Ernest
B l o c h’ s Sacred Service.
621
An article the next day expanded the information saying that
the Brahms performance would be sung in English, conducted by Wagner appearing with
the LAMC and Sinfonia Orchestra and that the soloists would be Brunella Mazzolini and
Archie Drake.
622
A few days later, on January 11, M a r t i n B e r nh e im e r ’ s r e vi e w a ppe a r e d
in the Times, with mixed comments.
Judging from the performance Sunday evening at the Dorothy Chandler Pavilion,
Roger Wagner interprets the Brahms Requiem as a celebration of the vitality of
the human spirit in which the choral pronouncements dominate all else. This
reviewer do e s n’ t qui t e s e e i t t h e s a m e wa y . He prefers a mellower, more somber
a ppr o a c h to B r a hm s ’ ly r i c i s m , gr e a t e r s t r e s s o n t h e s o l o p o r t i o n s a n d m o r e
sensitive give and take between the chorus and orchestra. When the chorus
involved is as splendorous as the Los Angeles Master Chorale, however, and
when the leadership is as clear- h e a d e d a n d c o nf i d e n t a s W a g n e r ’ s pr o v e d to b e , i t is impossible to remain unmoved.

Wagner chose to mold the work as one long crescendo (the sacrifice of an
i n t e r m i s s i o n h e l pe d him t o wa r d t hi s e n d) , s t a r t i n g w i t h a h u s h e d “ B l e s s e d a r e t h e y t h a t m o ur n ” a n d s t e a d i ly p i c k i ng up m o m e n t u m i n s pe e d a n d v o l u m e un t i l a rousing climax wa s r e a c he d i n “ F o r t h e T r um pe t s h a ll s o un d. ” This is a difficult
thing to do with a work that invites such emotional involvement from the vocal
participants. But the tone never became harsh, the fugues never became mushy,
the pianissimos never faded out, the diction (an English version was used) never
lapsed into nonsense syllables. And, throughout all this, the balance between
choirs was nearly perfect, the discipline beyond reproach.
623

621
“ C h o r a l e F a c e s B usy S l a t e , ” Los Angeles Times, January 5, 1966.

622
“ R o ge r W a gne r C o nd uc t s L. A . Ma s t e r C h o r a l e , ” Los Angeles Times, January 6, 1966.

623
Ma r t i n B e r nhe i m e r , “ R e q u i e m G e t s Joyo us T r e a t m e n t , ” Los Angeles Times, January 11, 1966.

178

W hil e B e r nh e im e r c o n c e de d t h a t W a gn e r ’ s i n t e r pr e t a t i o n wa s v a li d and that the chorale
sang beautifully, he did not care for the soloists or the playing of the Sinfonia Orchestra,
whi c h h e s a i d wa s a “ p i c k - up b a n d o f go o d pl a y e r s , ” b ut t h a t t h e “ subtleties of shading
and p h r a s e o l o g y we n t pr e tt y m uc h by t h e wa y s i de . ”
624

Wagner and the thirty-two voices of the Roger Wagner Chorale were gone for the
rest of January, all of February and most of March on tour in Europe, Hungary, Turkey,
Israel and Egypt, including a performance for Pope Paul in the Sistine Chapel at the
Vatican, returning in time to rehearse the world premiere of Eilnor Remick Warren ’ s Requiem a n d B l o c h’ s Sacred Service for a Palm Sunday concert on April 2 with the
LAMC at the Pavilion.
625
In a preview article of the Remick Warren work, Walter Arlen
of the Times reports that Wagner would be conducting the LAMC and Sinfonia Orchestra
at the Pavilion with Carol Neblett and Paul Hinshaw singing the solos (both were
members of LAMC and the Roger Wagner Chorale at the time).
626

There was a display ad that appears from Angel records for the Roger Wagner
C h o r a l e ’ s a l bu m Salve Regina: Choral Music of the Spanish New World,
627
and an article
a nn o un c i ng t h e M a s t e r C h o r a l e As s o c i a t e s ’ f i r s t a nn ua l M e i s t e r s i nge r B a l l t o b e h e l d i n the Beverly Hills Hotel Crystal Room on June 11, 1966. It states that the guest of honor

624
Ibid.

625
“ R o ge r W a gne r t o P r e se n t N e w R e q u i e m Ma ss , ” Los Angeles Times, March 17, 1966.

626
Walter Arlen, “ W a r r e n R e q ui e m t o P r e m i e r e T on i gh t , ” Los Angeles Times, April 3, 1966.

627
“ D i spl a y A d 121, ” Los Angeles Times, May 15, 1966.

179

would be Roger Wagner and that the proceeds would benefit the Southern California
Choral Music Association —the group that supported the Los Angeles Master Chorale.
628

The Meistersingers Ball received a lot of notice in the newspaper, including a
feature in the Times on May 29, 1966, which also highlighted then board president of the
Southern California Choral Music Association, Louis D. Statham, the affiliates of the
association, and t h e M a s t e r C h o r a l e A s s o c i a t e s ( a wo m e n’ s group supporting the
fundraising efforts of the association). The theme for the Meistersingers Ball that year
was a medieval one, complete with costumed pages to greet the guests, and replicas of
antique instruments and scores. The dinner itself was lit solely by candlelight with a
costumed Meistersingers trio performing softly while guests dined. The chairman of the
ball was Mrs. Bob Hope, who also served as the director of the Choral Music
Association. Other well-known patrons involved with the event were: Charles Schneider,
Patrick Doheny, Z. Wayne Griffin Jr., Richard Seaver, Guy Wadsworth, Vern Knudsen,
Ray Kendall, Charles Luckman, Meredith Wilson, Marshall Rutter (who at this writing is
still a member of the board of directors of LAMC) and Dr. Howard Swan.
629

The Allied Arts corporation in Chicago announced in May that the Roger Wagner
Chorale, Robert Shaw Chorale, and the Vienna Boys Choir would all be part of a choral
series in the 1966-67 season, in addition to the Los Angeles Philharmonic and Zubin

628
“ B e ne f i t S e t f o r C h o r a l Mus i c A ss n . , ” Los Angeles Times, May 13, 1966.

629
Ann Sonne, “ Me i st e r si nge r s T un e U p, ” Los Angeles Times, May 15, 1966.

180

Figure 14. Wagner at the Meistersinger Ball.
Mehta, and Robert Craft conducting Stravinsky.
630
Also in May, Wagner conducted the
LAMC and Sinfonia Orchestra in a performance of Bach ’s St. John Passion at the Music
Center.
631
In June, Wagner conducted the West c o a s t pr e m i e r e o f Ha n de l ’ s Esther, in
addition to sponsoring a fifty-voice high school choir that performed at the final Choral
P r e vi e w o f t h e S o u t h e r n C a l if o r ni a C h o r a l M u s i c As s o c i a t i o n’ s s e a s o n in the Eldorado
Room of the Music Center.
632

W a g ne r ’s Choral Music of the Spanish New World album was reviewed by
Thomas Willis in the Chicago Tribune in June, who said , “ t h e c h o r a l e i s e xa c t l y r i g h t f o r
630
T h om a s W i l l i s. “ A l l i e d A r t s A nno u n c e s S e a son ’ s S e r i e s, S i ngl e s, ” Chicago Tribune, May 8,
1966.

631
“ R o b e r t [ R o ge r ] W a g ne r D i r e c t s C on c e r t , ” Los Angeles Times, May 5, 1966.

632
“ C h o r a l G r o ups, Los Angeles Times, June 16, 1966.

181

the sensuous and opulent vocalism, with three Peruvian Negro kings particular
s t a n do u t s . ”
633
Another review by Martin Bernheimer appeared in August for the Spanish
a l b u m , s a y i ng, “ T h e R o ge r W a g n e r C h o r a l e h a s don e a m a j o r s e r vi c e to t h e r e c or d
c o l l e c t o r wi t h i t s l a t e s t r e l e a s e , de d i c a t e d to “ C h o r a l M us i c o f t h e S pa ni s h Ne w W o r l d. ” It is difficult to decide which is more stimulating: the inventiveness of the works
represented or the communicativeness of the performances. Scholarship, in short, has
b e e n m a t c h e d by m u s i c i a n s hi p. ”
634

In late August, Wagner (who was a member of the board of directors of the
Church Music Assn. of America), along with colleagues Salli Terri and Paul
Salamunovich were featured musicians at the fifth International Church Music Congress,
which took place in Milwaukee. Wagner and the Roger Wagner Chorale, John Biggs
635

and his six-member Consort, Salli Terri, and Paul Salamunovich all participated in the
four-day long workshop. A t t h e o pe ni n g o f t h e P o n t i f i c a l M a s s i n S t . J o h n ’ s C a t h e dr a l , Wagner directed a 200-voice cathedral choir and the world premiere of Herman
S c h r o e de r ’ s Mass in Honor of St. Cecilia. Wagner also conducted the Roger Wagner
Chorale performing the Magnificat by Flor Peeters and the world premiere of Max
B a u m a nn ’ s Psalmi a t t h e C o n gr e s s ’ f o r m a l o pe ni n g . At the end of the congress, the
chorale also performed the Duruflé Requiem a n d a n a b r i dge d v e r s i o n o f Ha n de l ’ s
633
Thomas Willis, “ V o c a l A n t hol ogi e s; R i c h S t r e i c h , N e w S pa i n , a n d Eve n S o a p O p e r a , ” Chicago Tribune, June 12, 1966.

634
Martin Bernheimer, “ N e w LP s, ” Los Angeles Times, August 7, 1966.

635
John Biggs was one of Richard Keys Biggs (organist and choir director at Blessed Sacrament
Church in Hollywood) children. John was married to Salli Terri for 25 years; they had two
children together and toured as the John Biggs Consort.

182

oratorio, Esther. The Biggs Consort played and sang music of the Medieval, Baroque,
Renaissance and contemporary periods, and Salamunovich conducted the music for the
closing Pontifical Mass.
636

Figure 15. Salli Terri.
And as it had been announced in the spring, Wagner led the Chorale (see Figure 15) in a
concert at Orchestra Hall in Chicago on October 16, 1966,
637
performing Esther by
Handel, the Duruflé Requiem, and some Renaissance motets.
638

636
“ LA Mus i c i a n s S t a r i n I n t e r n a t i on a l C on g r e ss , ” Los Angeles Times, August 21, 1966.

637
Robert Wagner, “ C h a m b e r S e r i e s, Mus i c a n d D a nc e , ” Chicago Tribune, August 28, 1966.

638
“ C o nc e r t s a n d R e c i t a l s, Chicago Tribune, October 9, 1966.
183

Figure 16. Wagner leading the Chorale in Chicago.
The chorale also appeared at Carnegie Hall in October of 1966, as part of its fifty-two-
concert, forty-state fall tour (included were the performances in Milwaukee and
Chicago).
639

Upon returning to Los Angeles, Wagner prepared the Christmas concerts in
a dd i t i o n to c o n duc t i n g t h e C h o r a l M us i c As s o c i a t i o n ’ s pr e vi e w i n t h e B l ue R i bb o n r oo m of the Pavilion with soloists Claudine Carlson and James Tippey, most likely performing
parts of the Duruflé Requiem.
640

It was announced in December that Wagner agreed to conduct a concert of the
Los Angeles Master Chorale and Sinfonia Orchestra in January of 1967 which would
replace the canceled Los Angeles Philharmonic concert at the Pasadena Civic Auditorium

639
“ T o P l a y i n N e w Y o r k , ” Hartford Courant, October 30, 1966.

640
“ C h o r a l Mus i c A ss n . P r e v i e w , ” Los Angeles Times, December 21, 1966.

184

as a gala for the Pasadena Philharmonic Committee of the Southern California
Symphony-Hollywood Bowl Association.
641

Wagner finished the year by conducting the Duruflé Requiem a n d W a l t o n’ s Belshazzar’s Feast at the Music Center for a concert that took place at the very end of
December 1966 with the LAMC and Sinfonia Orchestra.
642

In what appeared to be an effort to extend the reputation of the Los Angeles
Master Chorale, Wagner featured some high-caliber soloists on concerts early in 1967.
He conducted a concert at the Music Center in January of 1967 with the LAMC and
p i a ni s t L e o S m i t , f e a t ur i n g B a c h’ s Cantata No. 146 and Concerto in D minor , B r a hm s ’ Liebeslieder Waltzes a n d B e e t h o v e n’ s Choral Fantasy.
643
This was followed within three
weeks by a concert in early February that featured Metropolitan Opera baritone, Martial
Singher. Wagner conducted Singher and the Los Angeles Master Chorale in a
pe r f o r m a n c e o f Ho n e gge r ’ s La Danse des Morts. In a brief interview, Wagner was
quoted in the Times as saying that he chose to perform La Danse b e c a u s e “ we h a v e n ’ t heard it out here , ” a n d t h a t Joan at the Stake and King David were performed regularly.
He s ur m i s e d t h a t i t wa s b e c a u s e t h e “ F r e n c h i n La Dance i s d i f f i c u l t . ”
644
On the same
program as the Honegger, Wagner featured B r uc kn e r ’ s Te Deum , Va ugh a n W il li a m s ’
Flos Campi a n d a pr e m i e r e o f C h e n o w i t h’ s Lobe den Herrn. ” It was reported that Carol

641
“ P h i l h a r m on i c C on c e r t t o F e a t ur e Ma s t e r C h o r a l e , ” Los Angeles Times, December 21, 1966.

642
Walter Arlen, “ W a g ne r t o C o nd uc t W a l t on , ” Los Angeles Times, December 25, 1966.

643
“ S m i t Soloist on Chorale Program,” Los Angeles Times, January 13, 1967.

644
“ M a r t i a l S i n ghe r i n C o a st A ppe a r a n c e , ” Los Angeles Times, February 2, 1967.

185

Neblett, Claudine Carlson, Brian Sullivan, and Richard Milius would also sing in the
Serenade to Music.
645

The review in the times of the Honegger concert was mixed:
The p ur po s e o f t h e L o s A n ge l e s M a s t e r C h o r a l e ’ s pr o g r a m , c o n duc t e d by R o ge r Wagner in the Music Center Sunday night, may have been to illustrate as many
styles of choral singing as possible. Or it may have been to give a chance to
worthy smaller works of the literature otherwise denied representation. It worked
both ways, although in the end it proved to be a bit too much of a good thing.

T h e f o c a l po i n t o f t h e pr o gr a m wa s Ho nn e ge r ’ s La Danse des Morts, which was
apparently a local premiere … t hi s i s t h e t y pe o f mus i c W a g ne r ’ s choristers thrive
on and the impact was stunning. They also produced stunning floods of tone in
B r uc kn e r ’ s Te Deum. The fact that they had to sing fortissimo most of the time
was no fault of theirs and they were quite equal to i. . . . When the chorus had a
m o m e n t ’ s r e s t t h e qua r t e t too k over to good effect.
646

In late February, Wagner conducted the Los Angeles Master Chorale and Sinfonia
Or c h e s t r a a t t h e M us i c C e n t e r i n Ha n de l ’ s o r a to r i o , Solomon. The performance was
greeted by a scathing review in the Times:
Ho w ni c e i t wo ul d b e t o b e a bl e t o r e p o r t t h a t Ha nde l ’ s Solomon as performed by
R o ge r W a gn e r ’ s L o s An ge l e s M a s t e r C h o r a l e a n d S i nf o ni a Or c h e s t r a W e d n e s da y night was a triumph: the oratorio, after all, is one of the glories of the genre and
the Wagner forces are among the most ambitious on the local musical scene. But
perhaps, like Caesar, they are too ambitious. Too ambitious, at any rate, to do
justice under present conditions to a work as demanding and as evasive as
Solomon:

A decent performance of a large-scale Handel oratorio requires many things: a
chorus of tremendous flexibility and emotional power; a chamber orchestra of
equal flair and precision; a group of virtuosi who, as soloists, can walk the vocal
tightrope and impart dramatic vitality to their lines at the same time; a conductor
who is a Baroque scholar –i.e. stylist –as well as a solid technician . . . even if these

645
Walter Arlen, “ C h o r a l e W i l l P e r f o r m R a r i t i e s T o ni gh t , ” Los Angeles Times, February 12,
1967.

646
Albert Goldberg, “ H o ne gge r O r a t o r i o h a s S t r o ng I m pa c t , ” Los Angeles Times, February 14,
1967.
186

ingredients are pulled out of the musical hat, they would still count for little
unless there is ample time for rehearsing and polishing. . . . The strongest element,
predictably, was the chorus. Even though it failed to sing with the freedom and
security that marks its best nights, it still revealed fine tone, sensitive internal
balance and remarkable contrapuntal aplomb. . . . Even more distressing were the
cuts in the score. . . . Wagner seemed so busy keeping time and giving cues that
the most crucial quality, dramatic expression, assumed the function of an
afterthought.
647

Bernheimer liked little about the concert save for the tone of the chorale, and wasted no
space in the article saying as much. On the heels of this unfavorable review by
Bernheimer of Wagner and the chorale, came an article by the same author featuring the
same subjects.
In an article dated March 26, 1967, Bernheimer acknowledges that in Wagner and
the Master Chorale, L o s An ge l e s i s “ l uc k y e n o ugh to h a v e i n r e s i de n c e o n e o f t h e f i ne s t c h o r us e s a ny w h e r e , a n d o n e o f t h e f i ne s t c h o r a l c o n duc t o r s . ” But he tasks both for not
“ m a k i ng t h e m o s t o f i ts unique o pp o r t uni t i e s . ” He also chastises the community at large
f o r n o t r e c o gni z i ng t h e n e c e s s i t y f o r a “ s e a s o n o f c h o r us -dominated concerts , ” c i t i n g t h a t gr o up s i n g i ng t e n ds t o c a r r y w i t h i t t h e “ s t i g m a o f a n a m a t e ur e f f o r t or t h e i m a g e o f a supporting f o r c e un wo r t hy o f pr i m a r y , i n de pe n de nt a tt e n t i o n . ” He calls such attitudes
“ pr e po s t e r o us m i s c o n c e pt i o n s , ” a n d a pp l a ud s t h e S o u t h e r n California Choral Music
Association for helping Los Angeles Master Chorale to become a permanent resident of
the Performing Arts center. He c o r r e c t l y pr e d i c t s i n 1967 t h a t i t i s “ i ne vi t a bl e t h a t t h e chorale will find a significant niche in the local musical scene beside that of the
P hil ha r m o ni c , ” b ut t h a t a t t h e pr e s e n t t i m e W a g n e r h a d “ s e r i o us h ur d l e s to s ur m o un t ”
647
Martin Bernheimer, “ P r o bl e m a t i c H a n de l b y W a gne r C h o r a l e , ” Los Angeles Times, February
24, 1967.
187

even before he began the journey –especially in having to fill a 3200 seat house six or
s e v e n t i m e s a y e a r i n a ge n r e t h a t d o e s n ot h a v e a “ r e a d y -made tradition like that of
Ge r m a ny o r E n g l a n d. ”
Bernheimer comments that Wagner could not necessarily do what he does best,
“ s t r a i g h t f o r wa r d c h o r us -dominated concerts in which all other musical contributions
wo ul d be o f s e c o n da r y im po r t a n c e ” a n d t h a t s uc h thi ngs l a c k t h e “ g l a m o ur ” t o a tt r a c t t h e masses. Bernheimer laments this because he believed it caused Wagner to perform works
t h a t h a d m o r e “ b o x - o f f i c e a ppe a l ” ( l a r ge c h o r a l -orchestral works with soloists), and that
Wagner ventured beyond his own expertise and scope as a director. He also takes Wagner
to t a s k r e ga r di n g t h e B a r o que r e pe r to i r e po i n t i n g o ut t h a n a n “ e nli g h t e n ed performance
a c kn o w l e dge s t h e s t y l i s t i c pr a c t i c e s o f t h e pe r i o d” a n d t h a t W a g n e r do e s n ot un de r s t a n d
the performance practices involved to apply them in any effective manner. In addition, he
c r i t i c i z e s W a g n e r ’ s t e n de n c y t o c a s t l o c a l y o u n g s in ge r s w i t h l arge roles that Bernheimer
judges to be unbeneficial to both singer and composer alike.
He s t a t e s t h a t t h e “ s h o r t c o m i ngs ” o ut l i ne d i n hi s a r t i c l e m i g h t be of minimal
concern if the Master Chorale were flourishing at the box office. But that the series “has
yet to establish a sizeable public of its own. ” He s tat e s t h a t “ pe r h a ps t h e c h o r a l e ’ s f uz z y a r t i s t i c i m a g e ” i s t h e r e a s o n t h a t i t h a s n o t y e t f o und a s i z eable public of its own, or that
t h e “ bl a m e l i e s i n t h e f a c t t h a t i t s pr e s e n t i m a ge l a c ks s n o b a ppe a l .” He speculates that
t h e s c h e du l e d c o n c e r t o f B r i tt e n ’ s War Requiem that Wagner was planning to perform at
the much larger (6500 seats) Shrine Auditorium might be overreaching. He acknowledges
that for this concert Wagner has employed well known and established opera stars (Claire
188

Watson of Munich, Vienna and San Francisco Operas; Jan Peerce and Chester Ludgin)
although in the same sentence Bernheimer back steps by saying that he is not sure if the
“ ge n t l e me n a r e s u i t a bl e ” f o r t h e B r i t t e n .
Bernheimer also states that the Master Chorale is faced with a financial crisis. If
t h e or ga ni z a t i o n i s t o c o n t i n ue , i t n e e ds “ m o r e c o m m u ni t y s uppo r t , ” a n d h e a c k n o w l e dge s t h a t l o s i ng t h e c h o r a l e wo ul d b e “ t r a gi c .” He tasks the public by saying, t h a t “ t o h a v e a superb ch o r us i n o ur m i ds t a n d n o t t a ke a dv a n t a ge o f i t wo ul d b e s t up i d, ” b ut t h a t o f equal importance is W a g ne r ’ s r e s po ns i bil i t y n o t to mi s u s e t h e i n s t r u m e n t a t hi s h a n ds
t h r o ugh “ un r e a li s t i c a m b i t i o n s . ” One interesting note in this article is that Bernheimer
obse r v e s t h a t h e wo ul d l i ke t h e c o n c e r t s to b e “ m o r e e v e nly s pa c e d, ” a n d s a y s t h a t “ o n e has the impression that the chorale is given whatever dates happen to remain free after all
t h e ot h e r m e m be r s o f t h e m u s i c c e n t e r h a v e t a ke n th e i r s . ”
648
Not only was this true in
1967, it is still true in 2012 in that LAMC is subject to fit its schedule around that of the
L o s An ge l e s P hi l ha r m o ni c ’ s m a s s i ve us e o f t h e h a ll t h e t wo o r ga ni z a t i o ns s h a r e .
649

Bernheimer closes his large article with the thought that “ i t i s c l e a r t h a t a valid,
stimulating series cannot take place if the protagonist is treated like an ugly stepchild at
the Music Center. It is equally clear that meaningful progress cannot be made if that
progress is pinned on faulty dreams of glory. If the project should falter, for either reason,

648
Martin Bernheimer, “ LA ’ s C h o r a l D i l e m m a : S e a r c h f o r a n I m a ge , ” Los Angeles Times, March
26, 1967.

649
The two organizations moved to Walt Disney Concert Hall, which is on the southern-most part
of the Music Center campus in 2003.
189

t h e publ i c wo u l d b e t h e bi gge s t l o s e r . ”
650
In many ways, his final sentence is still true
forty-five years later.

Figure 17 . “ R o ge r Wagner —Chorale goes begging . ” S o ur c e : Los Angeles Times, 1967.

It was sadly reported by Walter Arlen in April 1967, that the performance at the
S h r i ne o f B r i t t e n ’ s War Requiem wo ul d b e c a n c e l e d due to “ f i na nc i a l pr o bl e m s . ”
651
A
few weeks later it was announced that the Roger Wagner Chorale would be engaged for
four choral-orchestral works with the Los Angeles Philharmonic and Mehta for the 1967-
68 season, including Stravinsky ’ s Oedipus Rex, W a l t o n ’ s Belshazzar’s Feast, M o z a r t ’ s Requiem, and A Survivor from Warsaw by Schoenberg.
652
And in June it was announced
that Mehta would conduct Carmina Burana in the Bowl in August with the Roger
Wagner Chorale a n d S t e i nb e r g wo ul d c o n duc t t h e m i n B e e t h o ve n ’ s Ninth in July. It is
interesting to note that the Gregg Smith Singers appeared with Lawrence Foster
conducting in August in a world premiere cantata by Lalo Schifrin c a l l e d “ T h e R i s e a n d

650
Bernheimer, “ LA ’ s C h o r a l D i l e m m a . ”

651
Walter Arlen, “ Mus i c N e w s, ” Los Angeles Times, April 16, 1967.

652
“ P h i l h a r m on i c W i l l T o ur E a st i n ’ 67, ” Los Angeles Times, May 7, 1966.

190

F a ll o f t h e t hi r d R e i c h . ”
653
The Roger Wagner Chorale also sang for the Hollywood Bowl
Rodgers & Hammerstein night in August with Harold Glick conducting.
654

In August, while the Gregg Smith Singers were performing the West Coast
pr e m i e r e o f S t r a vi n s k y ’ s Requiem Canticles (the last piece he composed for chorus) with
R o b e r t C r a f t i n h o n o r o f t h e c o m po s e r ’ s 8 5th birthday, the Roger Wagner Chorale was
singing a benefit concert sponsored by the Southern California Choral Music Association
e n t i t l e d “ A F e s t i va l o f R o ge r W a gn e r F a v o r i t e s , ” f e a t ur i n g t h e p i e c e s t h e e n s e m bl e b e c a m e i de n t i f i e d w i t h l i k e V i t tor i a ’ s Ave Maria , d i L a s s o ’ s Echo Song a n d B r a hm s ’ Liebeslieder Waltzes.
655
The announcement was followed up with an explanation that the
proceeds of the benefit would help launch the forthcoming season of LAMC in Dorothy
Chandler Pavilion, scheduled to open with a Christmas concert on December 22nd.
656

Arlen reviewed the benefit concert at the end of September in a very favorable
light.
The program may have offered little that was new or different. It even seemed
designed to present the chorus and the conductor in music they have made their
own and which their audiences have come to like and expect. But it all sounded so
spontaneous (yet so meticulously controlled), so delightfully fresh and immediate
(yet so seasoned), one followed each piece with helpless fascination rather than
merely renewed interest.

It would be hard to pick a favorite. The best piece was always the one at hand:
Victor i a ’ s Ave Maria and Vere Languores in the quiet, introspective vein;
S we e k l i nc k ’ s Hodie, Ga b r i e li ’ s Jubilate Deo and a charming duet for sopranos

653
“ D e t a i l s A nno u n c e d f o r B ow l S e r i e s, ” Los Angeles Times, June 11, 1967.

654
“ D i spl a y A d 74, ” Los Angeles Times, August 16, 1967.

655
Walter Arlen, “ O pe r a P a i r a t La g un a F e st i v a l , ” Los Angeles Times, August 27, 1967.

656
Walter Arlen, “ C h o r a l e W i l l G i ve B e ne f i t C on c e r t , ” Los Angeles Times, September 17, 1967.

191

a n d c o n t r a l t o s f r o m B a c h ’ s Cantata 78 in the extrovert department; the Lacrimosa
f r o m B r i t t e n ’ s War Requiem in a class by itself; the juicy Brahms waltzes, and
P i n k h a m ’ s Sinfonia Sacra an example of modern Americana with a twist.

Intonation without blemish, phrases without seam, faultless voice production,
projection of words and meaning were so much part of the picture, one hardly
singled them out for mental praise.
657

T h e L o s An ge l e s M a s t e r C h o r a l e ’ s 1967 -68 season was announced in the Times
as including a Christmas concert featuring Gabrieli, Pinkham and the Tallis 40-voice
motet Spem in Alium; Ha y d n’ s The Creation; 20
th
century works by Debussy, Poulenc,
H i n de mi t h a n d G i n a s t e r a ; Or f f ’ s Carmina Catulli pr o g r a m m e d w i t h Va ug h a n W il li a m s ’ Mass in G Minor; and the final concert would feature music of the Baroque, including
B a c h ’ s Magnificat and Christlag in Todesbanden.
658

At the end of October, while the Roger Wagner Chorale was on a national tour,
K e i t h C l a r k a ppe a r e d w i t h W a g n e r ’ s UC L A A C a ppe lla Choir in a benefit appearance to
support the Los Angeles Master Chorale at a musicale sponsored by the board of the
chorale and the Southern California Choral Music Association.
659

As pa r t o f t h e R o ge r W a gn e r C h o r a l e ’ s a nn u a l n a t i o n a l to ur , t h e gr o up pe r f o r m e d
at Orchestra Hall in Chicago in October as evidenced by a picture and caption that
appeared in the Tribune.
In a December review in the New York Times, the Roger Wagner Chorale album
entitled A Christmas Festival was pr a i s e d f o r b e i ng a “ s upe r i o r c o l l e c t i o n o f c h o r a l
657
Walter Arlen, “ W a g ne r C o nd uc t s t he Ma st e r C h o r a l e , ” Los Angeles Times, September 25,
1967.

658
“ C h o r a l e T i c ke t s G o on S a l e , ” Los Angeles Times, October 24, 1967.

659
“ C h o r a l P r e vi e w S e r i e s t o B e gi n , ” Los Angeles Times, October 30, 1967.
192

music. The album includes Renaissance favorites of Wagner ’s and also the Pinkham
Christmas Cantata. The reviewer goes on to state that, “ ot h e r r e c e n t di s k s by t h e R o ge r Wagner Chorale are worth investigating, since they too include music appropriate to the
Christmas season. Salve Regina, a fascinating look at choral music of the Spanish New
World and also the album Magnificat.” E r i c s o n a l s o s a y s t h a t t h e “ pe r f o r m a n c e s a r e technically flawless, sometimes almost too glossily so, and they are smoothly
r e c o r de d . ”
660

Figure 18. Wagner rehearsing.
I n J a n ua r y o f 1968, W a g n e r pr e s e n t e d Ha d y n’ s Creation at the Music Center with
LAMC and the Sinfonia Orchestra to a mixed review from Martin Bernheimer.
Roger W a gn e r ’ s spit-polish vocal ensemble coped masterfully with the multi-
f a c e t e d c h a ll e n ge s o f Ha y d n ’ s wo n dr o us o r a tor i o and performed as expected,
superbly. The great fugal choruses emerged with striking flexibility of line and
fullness of texture. The internal blend remained sensitively poised at all times.

660
R a ym ond Er i c son , “ A ‘ L’ Enf a n c e f o r a l l S e a son s, ” New York Times, December 3, 1967.

193

Attacks were razor sharp, and mass expression emerged with remarkable
conviction. There can be little doubt at this point in history, that the chorale is one
of the best of its kind, and that Wagner has few peers as a choral specialist.

Unfortunately, splendid choral singing (and conducting) is not enough to produce
a splendid performance of The Creation. The chorus, in fact has only four of the
wo r k’ s 3 8 numbers exclusively to itself . . . the soloists were not the virtuosi
required but a collection of hard-working local talent; the orchestra not a practiced
team of finesse experts, but a collection of fine instrumentalists who have not
played together often enough. Most important, the conductor was a musician who
wields genuine persuasive power only over the chorus. The result was a Creation
that adhered to earthbound correctness rather than soaring inspiration.
661

W a g ne r ’ s twentieth century concert featuring Debussy, Poulenc, Hindemith, Ives,
Stravinsky, Ginastera, Schoenberg, and Webern was presented at the end of February
with LAMC at the Dorothy Chandler Pavilion.
662
The Roger Wagner Chorale toured in
the spring, a n d i n J u n e W a g n e r a r r a n ge d a n d c o n d uc t e d t h e c h o r a l m us i c f o r P a r a m o un t ’ s Paint Your Wagon, Nelson Riddle scoring and conducting the orchestra for the film.
663
It
also appeared in four Bowl concerts in the summer of 1968, including the annual Rodgers
and Hammerstein night and Lerner and Lowe night, both with Wagner at the podium;
Steinberg conducted the women of the chorale with the Los Angeles Philharmonic in
M e n de l s s o hn ’ s A Midsummer Night’s Dream; the fourth program was mentioned but the
music was not announced.
664

In August, the Los Angeles Master Chorale announced its new Board of
Directors, which included officers Z. Wayne Griffin, Louis D. Statham, Donald J. Nores,

661
Martin Bernheimer, “ W a g ne r C o nd uc t s a t P a v i l i on C o n c e r t , ” Los Angeles Times, January 29,
1968.

662
Walter Arlen, “ Mus i c N e w s, ” Los Angeles Times, February 18, 1968.

663
Betty Martin , “ T e a m W i l l F i l m t he S t r a p, ” Los Angeles Times, June 15, 1968.

664
“ H o l l yw ood B ow l C on c e r t s O pe n , ” Los Angeles Times, July 11, 1968.
194

Ha r r i s o n A . P r i c e ( R o b e r t S h a w’ s b r ot h e r -in-law), Marshall A. Rutter, and Dale Van
Natta. Many other strong supporters of the chorale were also named as continuing to
serve on the board, including Howard Swan, Dolores Hope, Meredith Wilson and Frank
Seaver.
665

T h e R o ge r W a gn e r C h o r a l e a ppe a r e d a ga i n a t C hi c a go ’ s Or c h e s t r a Ha l l i n early
October,
666
while the Master Chorale Associates held a benefit for Los Angeles Master
Chorale on the grounds of the Blarney Castle restaurant with a small group from the
chorale pr e s e n t i n g a “ po ps c o n c e r t . ”
667
Another article in the Chicago Tribune further
illuminated a concert the Roger Wagner Chorale presented as part of the Allied Arts
choral series at Orchestra Hall: they would perform excerpts of t h e B r a hm s ’ Requiem in
honor of the 100th anniversary of the completion of the masterpiece, in addition to the
Chichester Psalms of Bernstein (relatively new at this time having been completed in
1965), and that the chorale would perform other works from other epochs of western
music history.
668

665
“ C h o r a l G r o up e l e c t s B o a r d o f D i r e c t o r s, ” Los Angeles Times, August 7, 1968..

666
“ H o r o w i t z Expe c t e d f o r R e t ur n V i s i t on A l l i e d A r t s S e r i e s, ” Chicago Tribune, September 8,
1968.

667
“ C a r , Mu si c F e st i v a l S e t by A ss oc i a t e s, ” Los Angeles Times, October 1, 1968.

668
“ C o nc e r t s a n d R e c i t a l s, ” Chicago Tribune, October 13, 1968.

195

Figure 19. Wagner conducting.
The Roger Wagner Chorale participated in a massive celebration of the Thirtieth
a nni ve r s a r y o f t h e f i r s t pr o duc t i o n o f Ha n de l ’ s Messiah at the Garden Grove Church
669

conducted by Sheldon Disrud,
670
with many choirs from the Orange County area singing
in the production.
671
Wagner finished out the year with a Christmas concert at the
Dorothy Chandler Pavilion with 100 voices of LAMC performing Gabrieli, Tallis, Bach,
Britten, Vaughan Williams, and Pinkham.

669
Also known as the Crystal Cathedral, currently in bankruptcy.

670
Disrud conducted the Garden Grove Community Church choir in the 1960s in addition to the
Orange County Choraleers. At this writing he is still conducting at the Regent Pointe Chorale, the
group founded by the late Howard Swan, in addition to the First Presbyterian Church in Anaheim.
Disrud received the ACDA Howard S. Swan award in 2010 for lifetime achievement.

671
Marie Driscoll, “30th Annual Presentation of The Messiah S un d a y , ” Los Angeles Times,
November 28, 1968.
196

1969 opened with concerts in January and February with LAMC in the Dorothy
Chandler Pavilion, continu i ng w i t h a c o n c e r t i n M a r c h o f Ha y d n’ s Te Deum, M o z a r t ’ s Vespers Solemnes de Confessore and the Fauré Requiem. In his review of the March
concert, Walter Arlen revealed that the March program was LAMCs annual Choir Night,
which meant that the Pavilion was filled with local choral groups who were there to
observe Wagner in action. A r l e n s a i d t h e b e s t “ l e s s o n o f W a g n e r ’ s pe r f o r m a n c e pr o v e d to
be its drive and its full healthy sound. There was never any doubt where the music was
going. Everything appeared logically blocked out, with perspective of line and form
always in evidence. ” He also noted that the Fauré was stylistically the highlight and it
wa s o b vi o u s t h a t t h i s m u s i c wa s W a g n e r ’ s best expressiveness of the night. He also gave
nice kudos to both long time choral soloists baritone Earl Wilkie and Maurita
Thornburgh.
672
The Roger Wagner Chorale participated in a program with the Glendale
Symphony, Carmen Dragon conducting, at the Dorothy Chandler Pavilion in a pops
concert that included songs from Sound of Music, Carousel and The King and I.
673

At the end of March, Wagner conducted more than 200 students of the Centinela-
South Bay high schools in a choral workshop at El Camino College. It included students
from Palos Verdes, Rolling Hills, Torrance, North Torrance, South Torrance, Redondo,
El Segundo and Leuzinger High Schools. Wagner listened to the groups perform and
offered constructive criticism, and then he conducted the combined choirs at the end of

672
Walter Arlen, “ W a g ne r C o nd uc t s C ho r a l e P r o g r a m , ” Los Angeles Times, March 24, 1969.

673
Walter Arlen, “ G l e nd a l e ’ s S ym p hony on G r e e k S t a ge , ” Los Angeles Times, September 23,
1969.

197

the day. The workshop was sponsored by the Master Chorale Associates of Palos Verdes
headed by Mrs. William Webster, who was quoted as saying: “ T h e pr o gr a m w il l pr o vi de t h e s t ude n t s wi t h a n o ppo r t un i t y t o s i n g un de r t h e tut e l a ge o f o n e o f t h e wo r l d ’ s gr e a t e s t pr o f e s s i o n a l c h o r a l d i r e c t o r s . ”
674

In June Wagner joined Sonny Burke, music director for Warner Bros. Pictures;
F r a n k d’ A c c o n e , UC L A m us i c pr o f e s s o r ; J o h a nn a Ha r r i s , c o n c e r t pi a ni s t a n d UC L A music lecturer; Nelson Riddle, conductor-arranger for Frank Sinatra; Walter H.
Rubsamen, UCLA music department chairman; and Lalo Schifrin, film composer and
UCLA lecturer to judge the 1969 Frank Sinatra Musical Performance Awards at Royce
Hall. Sinatra established the awards in 1966 to help support promising students in their
education by awarding four first-place awards of $2,000 and four second-place awards of
$500.
675

Meanwhile, Paint Your Wagon, which had been written and recorded in 1968,
was released in the fall of 1969 to dismal reviews – except for the singing of the Roger
Wagner Chorale and specifically Roger Wagner Chorale member Harve Presnell, who
sang the unforgettable version of They Call the Wind Mariah.
676
The male chorus sound
is unmistakenly the men from the Wagner chorale including Earl Wilkie, Paul
Salamunovich, Richard Robinson, Tony Katics, Al Oliveri, Howard Chitjian, and of
course, Harve Presnell.

674
“ H i g h S c ho ol C ho r a l G r o up W o r k sho p S e t , ” Los Angeles Times, March 30, 1968.

675
“ S i n a t r a A w a r d W i nne r s W i l l G i ve C on c e r t , ” Los Angeles Times, June 1, 1969.

676
Gary A r no l d , “ W a g on i s G i l de d , ” Washington Post, October 30, 1969.
198

A very interesting article dated December 7, 1969, brings to light the climate of
the choral culture in Los Angeles at that time better than any picture could have. Written
by the always colorful Martin Be r nh e im e r wh o de l i g h t f u ll y po i n t s o u t t h e “ s il li ne s s ” o f “ d i v i de d l o y a l t i e s ” b e t we e n t h o s e i n W a g n e r ’ s c a m p a n d t h o s e i n W i ll i a m Ha ll ’ s , t h e article takes to task the embarrassment of choral riches in Los Angeles. Bernheimer
points out that, “ un t i l n o w, t h e internationally glamorous image of the LAMC based upon
the lofty reputation of the Roger Wagner Chorale has monopolized choral music in
s o u t h e r n C a li f o r ni a . ” He goes on to tell his readers that an upcoming concert of William
Ha l l ’ s C h o r a l e ( us ua l ly b a s e d i n Or a n ge C o un t y ) wo ul d “ i nva de ” t h e “ t e r r i t or y ” o f LAMC both geographically and musically when they would appear in the Dorothy
C ha n d l e r P a vil i o n pr e s e n t i n g B e e t h o v e n’ s Missa Solemnis – this concert a few months
before a scheduled performance of the same work with the resident chorus and orchestra
conducted by Zubin Mehta, much to the displeasure of all at the Music Center.
Bernheimer indicates that t h e “ r i va l r y ” b e t we e n t he t w o gr o ups h a s e s c a l a t e d a n d
quot e s Ha l l a s s a yi ng, “ T h e r e i s p l e n t y o f r o o m i n this town for more than one chorus and
more than one musical approach. An d I d o n ’ t t hi n k a ny o n e o wn s a monopoly on the
Missa Solemnis. ”
677

There is something inherently impish r e ga r d i n g B e r nh e im e r ’ s s t i r r i n g of the
proverbial pot between Hall and Wagner through his position as a staff writer for the Los
Angeles Times. Yet one suspects this ploy sold a lot of papers in its time; it does,

677
Martin Bernheimer, “ T h e C ho r a l G o sp e l A c c o r di ng t o W i l l i a m H a l l , ” Los Angeles Times,
December 7, 1969.

199

however, give us a look into the slightly blown-out-of-proportion rivalry between the two
men, and certainly the idea that there were enough good choral singers in southern
California to create many good choruses, not just the one at the Music Center, which was
m o s t l i k e ly B e r nh e im e r ’ s po i n t , h e j us t had a little fun with everyone on his way to that
end.
In 1970, the LAMC pre s e n t e d B a c h’ s B Minor Mass in March to a superb review
by Albert Goldberg in the Times.
S e l do m h a s B a c h’ s m a s t e r p i e c e b e e n m a de to s e e m s o c o n c i s e a n d s o i n t e gr a t e d, or for that matter so overwhelmingly majestic. Wagner uses his own methods to
obtain these ends. He employs choral and orchestral forces of a size Bach
probably never dreamed of. He abandons the lugubrious tempos of tradition in
favor of consistently brisk pacing, with a minimum of pause between sections,
and he sees to it that his chorus completely masters the increased difficulties of
this approach. He does not let his soloists dawdle and treats them as part of the
instrumental ensemble.

The results justified the means. For all its hugeness the chorus negotiated the
contrapuntal complexities with a maximum of clarity and security, with imposing
power and excitement, tenderness and mellowness where required. All sections of
the chorus merit credit, but when tenors sing as they did they deserve a special
word of praise.
678

No v e m b e r R o bi ns o n’ s de partment stores, as part of the 2-for-1 Christmas
campaign featured the Roger Wagner Chorale albums A Tennessee Ernie Ford Christmas
Special, and the Great Choral Music of Christmas in a large ad in the Times;
679
this was
the same deal being offered by Capitol records in ads across the nation that December.
680

678
Albert Goldberg, “ M a st e r C h o r a l e S i ng s B a c h ’ s B Mi no r Ma s s, ” Los Angeles Times, March
30, 1970.

679
“ D i spl a y A d 80, ” Los Angeles Times, November 27, 1970.

680
“ D i spl a y A d 74, ” Hartford Courant, November 29, 1970.
200

F i g ur e 20. “ R o ge r W a g ne r . . . f a v o r s br i sk pa c i ng . S o ur c e : Los Angeles Times, 1970.

Wagner guest conducted with the New York Choral Society at Philharmonic Hall
In February of 1971,
681
to a review in the New York Times:
With firm, unforced tempos and clearly marshaled choral forces, Mr. Wagner
e m p h a s i z e d t h e wa r m t h a n d h u m a nn e s s o f B a c h’ s de v o t i o n a l wo r k . There was no
sense of drive or hypertension. The Mass seemed to happen organically. Mr.
W a g ne r ’ s l arge chorus enunciated crisply and rose to the high moments with
blazing tone. T h e o r c h e s t r a , m a de up o f t h e s o m e of t h e c i t y ’ s b e s t f r e e l a n c e musicians, was perfection. All in all, this was a satisfying B Minor, if not a
transporting one, to be admired and felt.
682

On the heels of the job in New York, Wagner flew to Phoenix to conduct the
Phoenix Symphony,
683
and upon returning to Los Angeles, Wagner began preparing
LAMC for the original B a r o que v e r s i o n o f Ha n de l’ s Messiah for the end of March at the

681
“ W h o Ma ke s Mus i c a n d W he r e , ” New York Times, December 21, 1971.

682
Theodore S t on gi n , “ W a g ne r Le a d s Ma ss by C h o r a l S o c i e t y , ” New York Times, March 1, 1971.

683
John R o c kw e l l , “ R o ge r W a g ne r C ho r a l e a t 25–P r o ud Me m o r i e s a n d a F e w R e g r e t s, ” Los
Angeles Times, January 15, 1972.
201

Music Center. The announcement in the Los Angeles Sentinel dubb e d W a g n e r “ t h e de a n of choral directors, ” as he embarked upon conducting the complete oratorio for the first
t i m e i n hi s “ l o n g a n d il l u s t r i o us c a r e e r . ”
684
Also at the end of March, the Roger Wagner
Chorale appeared at Disneyland as part of the Sunday Afternoon Musicale series.
685

I n t e r e s t i n g ly , R o ge r ’ s b r o t h e r J a c k ( s e e F i gur e 20) was the original voice of Disneyland
as the announcer of all the rides at the theme park in Anaheim in addition to many other
announcements and shorts.
686

Figure 21: Roger Wagner (left) and his brother Jack Wagner (right).

684
“ Me ss i a h i s S e t f o r S un d a y V i si on , ” Los Angeles Sentinel, March 11, 1971.

685
“ D i spl a y A d 465, ” Los Angeles Times, March 21, 1971.

686
“ J a c k W a g ne r , L e ge n d s , H i s t o r y , ” Disney Insider,
http://disney.go.com/disneyinsider/history/legends/jack-wagner (accessed February 2,
2012). The above photo of Roger Wagner appeared in The Sun article, and is interesting
as it is one of the few pictures in which one can see the family resemblance to his brother.

202

The LAMC closed its season with a performance of Joan of Arc at the Stake in April at
the Dorothy Chandler Pavilion.
687

The eighth season of the Los Angeles Master Chorale was announced in August
a s b e g i nn i ng i n No v e m be r a n d f e a t ur i n g Ve r d i ’ s Requiem, with Wagner conducting the
Verdi and four other concerts during the season. The annual Christmas concert was
scheduled for December 19th, i n a dd i t i o n t o a “ choral classic s a n d l i g h t m u s i c c o n c e r t ” f o r J a n u a r y a n d a “ S t . M a r k’ s F e s t i v a l ” f e a t ur i n g a n t i p h o n a l e f f e c t s o f R e n a i s s a n c e c h o r a l
and instrumental music for February. The season ended w i t h B e e t h o v e n ’ s Missa Solemnis
in April.
688

November 1971 was a busy m o n t h b e t we e n t h e c ho r a l e ’ s own Verdi concert and
its appearance with the Los Angeles Philharmonic for the Mahler Second Symphony.
Bernheimer ’s review of W a g n e r ’ s o pe ni n g Ve r d i Requiem concert in November with the
s t a t e m e n t , “ R o ge r W a g n e r h a s n e ve r b e e n k n o wn as a musician who does things in small,
un de r s t a t e d, h e s i t a n t wa y s …” An ominous opening when added to the litany of things
that o n e ’ s m i nd t hi n k s o f a f t e r r e a di n g i t ; but the review was quite positive as he
i nd i c a t e d wh e n he wr ot e , “ B ut –happy day! –there was nothing disastrous about this
Requiem. ” He went on to say:
The chorale may have been tired from its afternoon encounter with the
Philharmonic [they sang the Mahler Resurrection Symphony] but it hardly
sounded that way. In fact, it sounded spectacular – beautifully balanced,
marvelously flexible in linear and dynamic scale, deeply expressive but never
strident … A s a n u nn e c e s s a r y ( a n d u n pu bli c i z e d) c ur t a i n r a i s e r , W a g ne r o f f e r e d

687
Ibid.

688
Fredric Milstein, “ A ki y a m a t o C o nd uc t , ” Los Angeles Times, August 1, 1971.

203

the local premiere of a Stabat mater of John Vincent. In such exalted company, it
sounded superficially petty, hopelessly slick and movie-musicish.
689

In addition to the annual chorale Christmas concert, Wagner also conducted the
UCLA Schola Cantorum (the group name that Wagner originally wanted to call LAMC)
and chamber orche s t r a i n Ha n de l ’ s Messiah at the Museum of Natural History at
Exposition Park.
690

1972 was the twenty-fifth Anniversary year of the Roger Wagner Chorale and the
year Wagner himself turned fifty-eight. John Rockwell authored a piece for the Los
Angeles Times that took stock of both subjects. F r om a de s c r i pt i o n o f W a g n e r ’ s E n c i n o e s t a t e to t h e s t a c k o f m e m o r a bil i a t h a t a l w a y s l i t t e r e d hi s l i v i ng r oo m f l o o r , R o c kwe l l ’ s assessment is a snapshot of Wagner at that time.
“The memorabilia –reviews, articles, letters and pictures –reflected the variety of
a c hi e ve m e n t s whi c h h a ve m a de up t h e m a n’ s c a r e e r ; a career which is almost
synonymous with the story of professional choral activity in this city. ”
691
That Wagner
would have kept such things around him tells us much about the man. Rockwell also
discusses all of the pictures of Wagner with the Pope (Paul VI) at the Vatican, some
pictures with various chorale members from years gone by, and many pictures of Wagner
conducting; conducting all of his many choirs from St. Josep h ’ s M e n a n d B o y s C h o i r to the Roger Wagner Chorale to the Los Angeles Master Chorale.

689
Martin Bernheimer, “ V e r di R e q ui e m O p e n s C ho r a l e S e a son , ” Los Angeles Times, November
9, 1971.

690
“ U C LA C a n t o r um O f f e r s Me ss i a h , ” Los Angeles Times, December 25, 1971.

691
John Rockwell, “ R o ge r W a g ne r C ho r a l e a t 25 – P r o ud Me m o r i e s a n d a F e w R e g r e t s, ” Los
Angeles Times, January 15, 1972.

204

With that observation not to be taken lightly then or now, Rockwell went on to
remind the reader of Wagner as an impresario of talented young voices by recounting the
parade of singers who began in his chorale and ended up as world class soloists: Marilyn
Horne, Marni Nixon, Karan Armstrong, Claudine Carlson, Carol Neblett, Richard
Robinson, and Harve Presnell, to name the most prominent of that era. Rockwell also
cites this curiously sentimental (for Wagner) mention:
The neatly tabulated results of a musicianship quiz Wagner had given his chorus
in the late 40s, in which first place had been won by his present assistant
conductor, Paul Salamunovich (now conductor of several local amateur choruses
in his own right), Miss Horne had placed 47th out of 50.
692

Rockwell alludes to the slightly cloudy launch year of the Roger Wagner Chorale, but
says that January 16, 1972, was chosen as the silver anniversary –the date also happens to
c o i n c i de w i t h W a g n e r ’ s bi r t h da y . Rockwell observes Wagner himself:
Wagner has withstood the years with his accustomed vigor. Tanned, fit, arrayed in
a blue patterned shirt unbuttoned to six inches from the belt, purple herring-boned
slacks and white loafers, he looks easily good for another 25 years.
693

Rock we l l ’ s e s t i m a t e , s a dl y , d i d n o t pa n o u t, W a gne r pa s s i n g a wa y twenty years later at
the age of 78.
“ I ’ m pr o ud o f my c a r e e r , ” W a g n e r a d mi t s , gr a n d ly . “ I ’ m pr o ud o f h a vi ng be e n
able to present the great choral masterpieces in professional performances. I ’ m proud of having cultivated individual talents within my organizations. I’m proud
o f o ur r e c or ds . ” Wagner assert s t h a t hi s r e c o r ds ha v e s o l d “ 40 t i m e s ” a s m uc h a s t h e L o s A n ge l e s P hil ha r m o ni c ’ s .
694

692
Ibid.

693
Ibid.

694
Ibid.

205

Rockw e l l c i t e s t h a t W a gn e r ’ s c a r e e r h a s b e e n v a r i e d, i n c l ud i ng c h ur c h a n d c o l l e ge c h o r a l conducting to professional choirs, tours, movies, television shows, symphonic
conducting, 22 years of teaching at UCLA, hundreds of arrangements, a few scholarly
articles and even the occasional appearance at a rock concert, as he did with Pink Floyd
in San Francisco in 1972.
695
Rockwell a l s o s a y s t h a t de s p i t e a l l o f W a g n e r ’ s s uc c e s s , i t has not all been pleasant:
While critical acclaim for his work as a trainer of choruses has been almost
unanimous, there have been some doubts expressed about his accuracy in the
observation of proper performance practice for old music, and about his skills as
an orchestra conductor. Wagner is defensive about the former charge. “ F o r e v e r y bad r e vi e w I ’ ve gott e n a b o ut m y pe r f o r m a n c e s o f e a r l y m u s i c , ” h e c l a im s , “ t h e r e h a v e b e e n 20 goo d o n e s . ” Yet, surprisingly enough, he admits his interpretations
sometimes clash with the stylistic demands of the older music he performs. “ I a m basically a Romant i c , t h a t ’ s tr ue . I suppose that the way I perform : pre-Romantic
music reflects an over-enthusiasm on my part, in trying to make it live again. I
must avoid imposing my personality on that music. As I get older and older, I
t hi n k I ’ m do i n g be tt e r a t i t . ”

Figure 22. “ R o ge r W a gn e r —a career synonymous with the story of professional choral
activity in Los Angeles. Source: Los Angeles Times, 1972.

695
Ibid.

206

W a g ne r wa s a l s o quot e d s a y i ng t h a t h e f e l t “ t a ke n f o r gr a n t e d” i n L o s An g e l e s , and also that Carol Neblett was not as appreciative of everything he did for her, but that
a l l i n a ll , h e wo ul d n’ t wa n t to b e a ny w h e r e e l s e .
696

Martin Bernheimer wrote a review of a L A M C F e b r ua r y c o n c e r t , “ S t. M a r ks ” a t the Pavilion, and from the opening phrases he told us where he was headed:
On paper it promised to be a wonderful evening at the Music Center. Roger
Wagner, our redoubtable choral paterfamilias, had scheduled an intriguing survey
of Venetian sacred music from the 15th to 18th centuries –with incidental
excursions into Gregorian chant, instrumental dances and even a quasi-operatic
scena. The Los Angeles Master Chorale, which long ago proved its exceptional
mettle in this sort of challenge, was on hand in full force, complemented by the
St. Charles Borromeo Choir, a multi-faceted Sinfonia Orchestra, and a generous
collection of homegrown vocal soloists.
697

Bernheimer also wrote that while there were hi g h s p i r i t s a n d “ c ha r m i ng a n t i p h o na l eff e c t s , ” t h e c o n c e r t h a d too m uc h music and too much in the same vein.
Furthermore, Wagner seemed willing to settle for rather arbitrary solutions to
s t y li s t i c pr o bl e m s : o n e n e ve r kn e w w h e n to e x pe c t t h e “ answering ” c h o i r s to b e i n the balcony and when on the stage; ornamentation remained very much a
sometime thing; vocal type-casting proved unpredictable.

He a l s o s a i d t h a t t h e pe r f o r m a n c e l a c ke d t h e “ c e l e b r a t e d W a g n e r s pa r k l e ” a n d h a d f a u l t y diction, balance, and timid attacks. He suggested that someone from the chorale office
spoke off the record and offered that there was not enough rehearsal time; Bernheimer
felt it was probably more accurate to think that the singers were fighting a losing battle
with over-ambition from the conductor. He ended his review with a backhanded
compliment:

696
Ibid.

697
Martin Bernheimer, “ S t . M a r k s a t t h e P a v i l i on , ” Los Angeles Times, February 15, 1972.

207

Do n ’ t ge t m e wr o n g . We heard lots of superlative music, and healthy patches of
superlative music-making, at the Pavilion Sunday night. It is just that Roger
Wagner and the Los Angeles Master Chorale have taught us to expect more.
698

And in April Bernheimer once again took “Wagner & Co ” to task in the
newspaper by q ue s t i o ni ng a n a d f o r t h e upc o m i ng c h o r a l e c o n c e r t o f B e e t h o v e n’ s Missa
Solemnis, i n w hi c h s o m e o n e i n t h e c h o r a l e o f f i c e c h o s e to w r i t e “ t h e gr e a test of all choral
masterpieces ” i n t h e a d, to which Bernheimer took umbrage, s a yi ng, “ Ho w do e s o n e
make absolute comparative judgments among Beethoven, Bach, Verdi, Handel and
P a l e s t r i n a a ny wa y ? ”
699
The man certainly had a point.
In May of 1972, the Roger Wagner Chorale appeared at the Ojai Festival with
Michael Zearott conducting the Los Angeles Chamber Orchestra in Berlioz, Bach and
Beethoven.
700
And in June Wagner conducted the Los Angeles Master Chorale sharing
the podium with Robert Shaw and Howard Swan, in a concert at the end of a weeklong
choral workshop. The workshop was designed to provide an opportunity to study and
perform with master teacher-conductors, according to the article.
701

Interestingly, Bernheimer reviewed the culmination concert of the choral
workshop at UCLA:

698
Ibid.

699
Martin Bernheimer, “ La S t upe nd a Tr i e s H a nd a t T V O pe r a , ” Los Angeles Times, April 7,
1972.

700
“ O j a i F e st i v a l P r o g r a m s, ” Los Angeles Times, May 21, 1972,

701
“ U C LA S l a t e s 2 F i ne A r t s P r o g r a m s, ” Los Angeles Times, June 18, 1972.

208

It would take a lot more than a severe back ailment
702
to keep Roger Wagner
away from the podium if there happens to be a choral festival in town. Ergo, the
redoubtable hero of and for the local vocal masses conducted the Duruflé
Requiem –and conducted it beautifully from a wheelchair at Royce Hall, UCLA,
Saturday night. . . . The dauntless and devoted maestro sprang out of traction, and
out of the hospital, just in time to oversee the gargantuan pedagogical festivities.
Wagner enjoyed the rare advantage of being able to share his podium with three
rather spectacular colleagues. F o r B a c h’ s Cantata No. 4, there was none less than
Robert Shaw. . . . F o r Ha y d n’ s Te Deum, there was Paul Salamunovich, assistant
director of the Master Chorale and an unsung hero behind many of that
o r ga ni z a t i o n’ s triumphs. For Brahms ’ Schicksalslied there was Howard Swan,
mastermind of choral music at Occidental College for more than 25 years and a
specialist with few peers. . . . There was no denying the spiritual dedication and
redeeming interpretive c o nvi c t i o n o f W a g ne r ’ s r e a d i n g. . . . It was, in all, a grand
night for singing. And conducting.
703

In November the Los Angeles Master Chorale announced its ninth season at the
Music Center, which would include Christmas with the Chorale, featuring the Christmas
Oratorio of Schütz; A Salute to Lerner and Lowe, with Lerner and Lowe attending; a
concert version of Faust; Latin American Night; and the final concert, Music Sacra et
Profana. The chorale also scheduled a series of choral chamber music concerts for the
Mark Taper Forum, including the John Biggs Consort; an evening of Bach; and an
evening of world premieres.
704

In January 1973, Wagner and the Los Angeles Master Chorale performed as part
of the inaugural concerts celebrating the reelection of President Richard M. Nixon. A

702
It is more likely that Wagner was recovering from a surgery related to a prostate cancer
diagnosis he had received in 1972. Over the years, Wagner suffered bone cancer that was treated
through radiation in his back, causing stiffness and immobility. He also suffered from lung cancer
(1990s), testicular cancer (1980s), and a reappearance of bone cancer (late 1980s and early 90s),
which metastasized and eventually took his life.

703
Martin Bernheimer, “ C h o r a l S pe c t a c ul a r a t U C LA , ” Los Angeles Times, July 3, 1972.

704
“ LA M a st e r C h o r a l e , ” Los Angeles Sentinel, November 16, 1972.

209

review by Richard D. Freed in the Chicago Tribune panned W a g n e r ’ s portion of the
inaugural celebrations.
Excerpts from the opera The Tender Land constituted the only respectable part of
the choral contribution, an otherwise pathetic medley of songs sung by the Los
Angeles Master Chorale under Roger Wagner, leading to Charl t o n He s to n ’ s declamation of the Declaration of Independence against an unbelievable
background of choral humming and folksy fiddling. The recitation was capped by
a few cymbal clashes a n d c h o r a l y e l ps o f “ F r e e do m ! F r e e do m ! ” i de n t i f i e d as Mr.
W a g ne r ’ s own compositions, Heritage of Freedom.
705

The review also included an interesting commentary on the ceremonies in general and the
political feelings regarding the ongoing Vietnam War at the time and how inappropriate it
was to perform Tchaikov s k y ’ s 1812 Overture despite the fact that the President requested
it. Eugene Ormandy conducted the Philadelphia Orchestra with Wagner and the LAMC
on the stage of the Kennedy Center. Paul Hume, in his review in the Washington Post,
had little good to sa y , dubbi ng i t , “ a s o r r y m e s s f u ll o f f e e l i ng s o f h o s t i l i t y … and leading
m us i c i a ns o f t hi s c o un t r y b e i ng a b u s e d. ”
706
Hume recalled the interplay between
Ormandy and a Secret Service agent to illustrate his point:
“ W h o a r e y o u ? ”
“ I a m E uge n e Or m a n d y . ”
“ A r e y o u w i t h t h e o r c h e s t r a ? ”
“ Ye s . ”
“ W ha t d o y o u do ? ”
“ I c o n duc t i t . ”
707

705
Richard D. Freed , “ A n e xa m i n a t i on o f the arts and the Presidency now, ” Chicago Tribune,
January 28, 1973.

706
Paul Hume, “ T h e I n augural: I n N o W a y a Mu si c a l O c c a si on , ” Washington Post, January 28,
1973.

707
Ibid.
210

Kn o w i n g W a g n e r ’ s pe r s o n a li t y , o n e wo n de r s wh a t m i g h t h a v e t r a n s p i r e d w h e n h e t r i e d
to enter the theatre . . . Hume also took Wagner to task:
As for the printed program, it perpetrated two grievous injustices. Under the
umbrella heading of A Choral Suite of Americana, Roger Wagner conducted the
Los Angeles Master Chorale and the orchestra in music proclaimed to be
“ a r r a n ge d by R o ge r W a g n e r . ” Both Aaron Copland and John Jacob Niles should
s ue W a g n e r , f o r t h e “ s u i t e ” wa s m a de up pr i n c i pa ll y , a n d g l o r i o us l y o f t w o e x c e r pt s f r o m C o p l a n d ’ s o pe r a , The Tender Land , a n d N il e ’ s s o n g, Black is the
Color of My True Love’s Hair. I h a ve a l e t t e r f r o m Ni l e s t h a t s t a t e s f l a t l y , “ T h e fact that Black is the Color is my composition, duly copyright by G. Schirmer was
obviously no deterrent —any m o r e t h a n M r . C o pl a n d ’ s c o p y r i g h t ga v e M r . Wagner pause.

That Wagner used copyrighted material to arrange a suite is not that surprising, but it
certainly does show a character flaw that was part of him by all accounts throughout his
working life: that the end justified the means. His capacity for doing what he thought
needed to be done (this part by his own admission) with little regard for what many
people might consid e r “ r i g h t ” o r “ wr o n g” was one part of his personality that probably
contributes to his success, but would never be accepted by either an arts organization or
musicians today.
On the heels of the appearance of the Los Angeles Master Chorale in Kennedy
Center on January 19, Wagner appeared on January 26 in Carnegie Hall in New York
City with the New York Choral Society and members of the New York Philharmonic in
M o z a r t ’ s C Minor Mass. He flew immediately back to Los Angeles post-concert to
appear at the Music Center with LAMC for A Salute to Lerner & Lowe.
708
The Roger
Wagner Chorale appeared at UCLA on February 4 at Royce Hall with the California

708
Daniel Cariaga, “ M usi c a n d D a n c e N e w s, ” Los Angeles Times, January 14, 1973.

211

Chamber Symphony conducted by Henri Temianka in an all Brahms concert, including
the Liebeslieder Waltzes.
709
As part o f t h e “ c h a m be r c o n c e r t s e r i e s ” a dv e r t i s e d by t h e LAMC at the Mark Taper Forum, the Los Angeles Master Chorale Chamber Singers
710

and the Little Sinfonia Orchestra under the direction of Wagner performed four
contrasting Bach cantatas at the Taper on February 12. The cantatas chosen for the
program entitled, “ T h e I n t i m a t e B a c h , ” we r e No s. 95, 32, 53; and 26; Wagner also
included the Fourth Brandenberg Concerto on the program.
711

The review of the Bach concert by Albert Goldberg was neither good nor bad. He
did not care for the fact that the chorale had to use the set that was in place for the run of
B e r ns t e i n ’ s Mass, and he felt that the orchestra was really the main presence of the
evening, although he was complimentary of their playing n o t i n g t h a t i t wa s “ c r isp and
pr e c i s e ” a n d “ o f n o t a bl y s upe r i o r qua l i t y , e s pe c i a ll y t ha t o f J a c o b K r a c hm a l ni c k, J o h n Ellis and Robert Hunter. ”
712
He also went on to say that the soloists were of uneven
qua l i t y w hi c h h e de e m e d “ a s us u a l ” pa r t i c u l a r ly d is a ppr o vi n g o f t e n o r s J o n a t h an Mack
and Kenneth Westrick.
713

709
“ D i spl a y A d 416, ” Los Angeles Times, February 4, 1973.

710
It is hard to tell if that title was created specifically for this event or not, but it was the first time
in print to the knowledge of this author, but the name is still in use as of this writing.

711
“ F o ur B a c h C a n t a t a s S l a t e d b y C h o r a l e , ” Los Angeles Times, February 2, 1973.

712
Robert Davison Hunter (1929- 2010) w a s f o r y e a r s W a gne r ’ s a c c om pa n i st , a n d t he n l a t e r , P a ul Salamunov i c h ’ s. H e w a s know n l o c a l l y a s “ a n o r c he st r a a t t h e pi a no . ”

713
Albert Goldberg, “ I n t i m a t e B a c h a t Ma r k T a pe r F o r um , ” Los Angeles Times, February 14,
1973.

212

Wagner announced on February 24 that Walter Cunningham, the astronaut who
flew with Apollo 7, would serve as a narrator for Latin American Night with LAMC the
following Sunday. Cunningham was the lunar module pilot on the first manned Apollo
mission; he narrated a group of poems by Ray Bradbury in a work called Madrigals for
the Space Age, which was written and orchestrated by Lalo Schifrin for the performance.
It was the world premiere of not only the madrigal piece, but als o S c hi f r i n’ s Rock
Requiem.
714
In a review that appeared in the Times a few days later, Walter Arlen said
that, “ t h e o nl y o bvi o us ly c o m m o n L a t i n -American denominator of the program was the
o r i g i n o f i t s c o m po s e r s . ” It seems like he might have missed the poin t o f W a g ne r ’ s programming, but it was frankly, ahead of its time –it is quite common today to find a
program tied together through geography. A r l e n w a s c l e a r l y l o o ki n g f o r “ s o ut h -of-the-
b o r de r ” m us i c ( A r l e n ’ s wo r ds ) , s o t h e o n l y t hi ng he r e a l l y li ke d o n t h e program was
Villa- L o b o s ’ Nonetto , whi c h h e de e m e d t h e “ m o s t e t h ni c i t e m . ” It seemed Arlen found
t h e B r a db ur y M a dr i ga l s “ s im p l e k i t s c h” a s he too k to t a s k t h e p o e m s t h e m s e l ve s a s “ pr e t e n t i o us . ” Schifrin took the largest lump of the evening from Arlen, who referred to
the Rock Requiem a s “ de a f e ni ng n o i s e , ” s a yi ng t h a t , “ W a g ne r c o ul d do n ot hi n g a b o ut t h a t. ” He also found the Ginastera Lamentations of Jeremiah’s Prophets to be equally
“ n o n de s c r i pt ” b ut s a i d i n c o m pa r i s o n w i t h t h e r e s t o f t h e c o n c e r t it turned into a
“ t o we r i n g m a s t e r p i e c e . ”
715

714
“ Lun a r Mo d u l e P i l o t G ue st A r t i st i n C h o r a l e C on c e r t , ” Los Angeles Times, February 24, 1973.

715
Walter Arlen, “ L a t i n N i gh t a t t he P a v i l i on , ” Los Angeles Times, February 27, 1973.

213

Wagner conducted the Downey Choral Festival on March 3 which was comprised
of 11 choruses and 300 voices at the Downey Theater. The festival was sponsored by the
Downey Civic Chorus and participants included the Bellflower Choral Belles; South Gate
S e ni o r C i t i z e n’ s C h o r us ; W hi t t i e r W o m e n’ s C h o r us ; and choruses from Baldwin Park, El
Monte, Glendale, Hawthorne, Huntington Beach, Pomona and Santa Monica. The
combined choral pieces included Alleluia, Of the Father’s Love Begotten, Lullaby and
W a g ne r ’ s a r r a n g e m e n t f o r t h e P r e s i d e n t i a l i na ugur a t i o n o f America the Beautiful.
716

The Roger Wagner Chorale recordings of American folksongs were used in a
documentary called The Land by Alan Landsburg that was broadcast in March of 1973 on
ABC,
717
a n d a f e w da y s l a t e r s uppl i e d t h e m e n ’ s c h o r us us e d f o r Z ubi n M e h t a a n d t h e Los Angeles Philharmonic ’ s pe r f o r m a n c e o f Lisz t ’ s Faust Symphony at the Pasadena
Civic Auditorium.
718

Wagner also conducted a Verdi Requiem a t UC L A’ s R o y c e Ha ll in March, to a
fascinatingly mixed review from the occasionally acerbic pen of Martin Bernheimer, who
opened his review with: “ W h e n i s a s t ude n t pe r f o r m a n c e n o t a s t ude n t pe r f o r m a n c e ? ” He
we n t o n to que s t i o n W a g n e r ’ s t a c t i c s o f a ug m e n t i ng t h e UC L A A C a ppe ll a C h o i r w i t h
members of the Los Angeles Master Chorale, and the University Symphony Orchestra
with members of the Sinfonia Orchestra, in addition to supplying the quartet of soloists
from those who sang the Verdi with him at the Music Center in 1972. Bernheimer

716
“ R o ge r W a gne r t o D i r e c t D ow ne y C ho r a l F e st i v a l , ” Los Angeles Times, February 1, 1973.

717
“ S pe c i a l W i l l F o c us on U . S . P i o ne e r s, ” Los Angeles Times, March 6, 1973.

718
“ D i spl a y A d 229, ” Los Angeles Times, March 4, 1973.
214

admitted that t h e r e wa s n ot hi n g “ s ne a k y ” a b o ut i t a s t h e r i n ge r s we r e “ b o l d ly ” c r e d i t e d i n the program, but que s t i o n e d t h e “ pe d a go gi c a l v a l u e ” o f s uc h a pe r f o r m a n c e in addition to
wondering why, during an educational crisis in LA public schools at the elementary level,
the NEA would extend a grant to UCLA for such a performance. After pointing out the
foibles of the pedagogy, he had this to say about the actual performance:
I must admit that the performance turned out to be remarkably satisfying – so long
as Verdi legitimized loud, fast and lusty, music-making. Wagner got his massed
voices to produce a fine, deafening roar in the Dies Irae and Tuba Mirum. He got
them to produce nice, poised contrapuntal lines in Libera me domine and he
sustained a rich blend, a delicate balance and surprise - fine clarity of diction
throughout.

It may be a bit late in the day to say it, but the man has an uncanny way with
voices.He does not, unfortunately, have an uncanny way with instruments. For the
most part, Wagner contented himself with beating time insensitively for the
orchestra, which responded dutifully and sluggishly.
719

Doyle Phillips, general manager of the Los Angeles Master Chorale, actually clarified
funding for the UCLA concert a few days later in the Times by saying:
These funds were made available to the Southern California Choral Music
Association (not to UCLA), and one of the objectives of this grant is to foster
student productions in other communities and on college campuses where
auditorium facilities are available and production costs are kept at a minimum.
This association felt we would do well to apply the sum of $749 to reinforce the
University Symphony Orchestra with several professional musicians and thus
provide exposure and experience for the young and talented to work with
professionals rather than observe them at work, as is the case most often.
720

719
Martin Bernheimer, “ R o ge r W a g ne r C on d u c t s V e r di a t U C LA , ” Los Angeles Times, March 9,
1973.

720
Doyle P hi l l i ps, “ A Q ue st i on o f F und s, ” Los Angeles Times, March 25, 1973. The LAMC
continues to foster this type of professional-academic relationship today through its annual high
school festival, in which an honor choir, comprised of students chosen from each participating
high school, join members of the LAMC Chamber Singers to perform several choral pieces
together. The students can experience singing with professionals who can help the young singers
develop better habits and techniques. It is an experience that every year brings the students great
joy, and provides a valuable lesson in making music that cannot be learned through observation.
215

As the fourth concert in the season series at the Music Center on March 31,

W a g ne r c o n duc t e d t h e L o s A n ge l e s M a s t e r C h o r a l e i n a c o n c e r t v e r s i o n o f Go un o d’ s Faust; Dorothy Kirsten, Norman Treigle and William DuPre were the headliners singing
the principal roles.
721
The review in the Times was more concentrated on the high-
powered soloists than the chorale itself, and also the fact that while not staged, there were
lighting effects employed and the orchestra played from the pit. Goldberg liked all the
soloists with the exception of the local ones assigned to the minor roles.
722
Also at the
e n d o f M a r c h , W a g n e r a n d t h e L o s An ge l e s M a s t e r C h o r a l e pr e s e n t e d a “ y o ut h c o n c e r t ” at the Mark Taper Forum;
723
this performance wa s pr e s u m a bly t h e “ c h a m be r s i nge r s , ” although this was not specified in the article.
In a feature article about the annual high school choral festival at Mount St.
M a r y ’ s C o l l e ge , C h a l o n C a m pus , director of music at the Mount, Paul Salamunovich,
talked quite a bit about mentor and at that time still employer (Salamunovich was still the
assistant conductor of the Los Angeles Master Chorale at that time), Roger Wagner. In
the article by Doug Smith, Salamunovich talks about his experiences with Wagner as a
young singer and the training he received by watching Wagner work as a choral
conductor. Salamunovich m e n t i o ns t h a t i f W a g n e r h a d n’ t pus h e d him , h e mi g h t n ot h a v e become a conductor.
724
It is an important connection that Wagner spotted

721
Daniel Cariaga, “ M usi c a n d D a n c e N e w s, ” Los Angeles Times, March 18, 1973.

722
Albert Goldberg, “ F a ust by M a st e r C h o r a l e , ” Los Angeles Times, April 2, 1973.

723
“ T o d a y ’ s C a l e nd a r , ” Los Angeles Times, March 24, 1973.

724
Doug S m i t h , “ B a ke r ’ s D o z e n C ho r use s U n i t e d U nde r O ne B a t on f o r C o n c e r t , ” Los Angeles
Times, April 5, 1973.
216

S a l a m u n o vi c h’ s a bil i t y a n d l o ve f o r m us i c e a r ly o n ( S a l a m u n o vi c h s t a r t e d s i n g i ng f o r Wagner at age 13) and helped to develop and encourage by providing opportunities for
Salamunovich to conduct; Salamunovich eventually became the music director of the Los
Angeles Master Chorale in 1991, where he remained until 2001 when he became music
director emeritus.

Figure 23. Paul Salamunovich.
The final concert of LAMCs 1972-73 season was on April 15 at the Dorothy
Chandler Pavilion, in which Wagner paired the Mozart Mass in C Minor wi t h Or f f ’ s Carmina Burana.
725
The review by Martin Bernheimer tells t h e r e vi e we r ’ s o pi ni o n ve r y well in the opening statement:
Roger Wagner and his Master Chorale went blithely from the sacred and sublime
to the profane and ridiculous. The ridiculous came off better.
726

725
Daniel Cariaga, “ M usi c a n d D a n c e N e w s, ” Los Angeles Times, March 15, 1973.

726
Martin Bernheimer, “ C h o r a l e C on c l u de s S e a s o n , ” Los Angeles Times, Apr 17, 1973.

217

Bernheimer took umbrage with the male soloists for the Mozart, citing that they caused
t h e qua r t e t to b e “ o dd l y ba l a n c e d. ” He felt that the Sinfonia played with too much weight
and that the ch o r a l f o r c e s we r e too l a r ge f o r M o z a r t ; h e a l s o s t a t e d t h a t W a gn e r “ o pt e d
for a rather curious modification of the Landon edition, and he weakened its impact with
r o m a n t i c i n du l ge n c e s . ” He a l s o s a i d t h a t W a g n e r di d “ not indulge in the rhetorical
expansion favored by some German authorities in the score, nor did he strive for
rhythmic razzle- da z z l e . ” On the plus side, he felt that Wagner had firm control of the
Orff and that the soloists were far more appropriate in those roles. Also that Wagner
“ c a p i t a l i z e d o n ge n e r o us i nv e s t m e n t s o f vi t a li t y a nd dr a m a . ” The best praise he had to
lavish was saved for the chorale itself:
The chorale outdid itself in power and communal thrust, and never sang less than
beautifully. Actually it could be argued that the chorale sang too beautifully at
times, that the leering erotica would have benefited from less pearly tone. But one
must be thankful for large favors.
727

T h e pr o gr a m f o r t h e Ho l l y wo o d B o wl ’ s Fifty-second season was made on April
29, and was proclaimed by then artistic director, Ernest Fleischmann
728
to b e “ a summer
f e s t i v a l , ” t h a t w o ul d i n c l ude “ m a r a t h o n ” c o n c e r t s . Fleischmann did indeed manage to
bring with him talent LA had not seen in the Bowl for years, including Regine Crespin,
Beverly Sills, Luciano Pavarotti, Alfred Brendel, Earl Wild, Van Cliburn, Eugene

727
Ibid.

728
Ernest Fleischmann (1924-2010) was the impresario who dominated the Los Angeles
Philharmonic for almost thirty years as its general manager. He was well-known as a talent scout
and was a micro-manager regarding almost every Decision that was made during his tenure at the
Philharmonic which he ran from 1969-1998. It might be noted that Fleischmann was first a
symphonic conductor and in the early years conducted occasionally at the Bowl, and put a picture
of himself conducting as the summer festival ad for 1973.

218

Ormandy, James Levine, Lukas Foss, Lawrence Foster and Arthur Fiedler. Roger
Wagner was confirmed as conducting the fourth event of the season with the Los Angeles
Philharmonic, a pe r f o r m a n c e o f B a c h’ s B-minor Mass.
729

Wagner conducted the Roger Wagner Chorale on the 2
nd
of May to celebrate the
opening of the Whittier Mall – which was one of the first indoor air-conditioned malls in
southern California,
730
after which he left for a South American tour that took him to Sao
Paulo, Rio de Janeiro, Buenos Aires and Santiago, San Jose and Costa Rica. The tour
lasted from May 10-24, and Wagner conducted symphony orchestras in all of the cities
he visited.
731

Wagner was one of the guest lecturers at UCLA for a three-week series called
“ T h e Hu m a n Vo i c e ;” t h e ot h e r gue s t s we r e H o r s t Gue n t e r , J a n P o ppe r , A r t h ur J a c o b s , Hans von Leden and Paul Sperry.
732
The LAMC announced its six-program Tenth
anniversary season for 1973-4, including Wagner conducting the annual Christmas with
the Chorale, a Renaissance concert, Dur uf l é ’ s Cum Jubilo Mass, with the Holst Hymn to
Jesus, a n d W a l t o n’ s Belshazzar’s Feast, Bach ’ s St. Matthew Passion that was performed
in two parts separated by a ninety-minute dinner intermission, and the final concert The

729
Daniel Cariaga, “ P r o g r a m f o r t he 52
nd
B ow l S e a s o n , ” Los Angeles Times, April 29, 1973.

730
“ D i spl a y A d 169, ” Los Angeles Times, May 31, 1973.

731
“ W a g ne r t o T o ur S o ut h A m e r i c a , ” Los Angeles Times, March 30, 1973,

732
“ Le c t ur e r s N a m e d f o r V oi c e S e r i e s, ” Los Angeles Times, June 6, 1973.

219

Roger Wagner Chorale on Tour; Robert Shaw guest-conducted the Brahms Requiem that
season.
733

The Los Angeles Master Chorale sang the Beethoven Symphony No. 9 with
Eugene Ormandy conducting the Los Angeles Philharmonic at the Bowl on July 10
th
,
734

and on July 19
th
, the chorale sang Damnation of Faust by Berlioz with James Levine
conducting the Los Angeles Philharmonic at the Bowl, Regine Crespin and Kenneth
Riegel singing.
735
These concerts were followed by the Resurrection Symphony of
Mahler, James Levine conducting the Los Angeles Philharmonic, Jessye Norman and
Claudine Carlson were the soloists.
736
Wagner also taught a two-week workshop course
called Choral Workshop for Singers and Conductors at UCLA; the second week of the
workshop was led by Douglas McEwen from Arizona State University, who incidentally
wrote his doctoral dissertation on Roger Wagner in 1961.
737

T h e r e vi e w o f W a g n e r ’ s B a c h B-Minor Mass at the Hollywood Bowl with the
Roger Wagner Chorale and forty members of the Los Angeles Philharmonic stated that
W a g ne r ’ s pe r f o r m a n c e h e l d a “ m e d i u m - s i z e d a ud i e n c e i n r a pt a tt e n t i o n un t i l 11 p. m . , ” which is indeed a compliment. In his evaluation of the concert, Albert Goldberg said that

733
Daniel Cariaga, “ M usi c a n d D a n c e N e w s, ” Los Angeles Times, June 10, 1973.

734
“ D i spl a y A d 80 , ” Los Angeles Times, June 4, 1973.

735
“ D i spl a y A d 97, ” Los Angeles Times, June 6, 1973.

736
“ D i spl a y A d 142, ” Los Angeles Times, June 7, 1973.

737
“ W a g ne r t o T e a c h C ho r a l C o ur se , ” Los Angeles Times, June 23, 1973.
220

W a g ne r ’ s e m p h a s i s i n t h e c o n c e r t wa s o n “ i n t i m a c y a n d r e v e r e n c e , ” a n d t h a t
“ t h e a t r i c a li t y p l a y e d n o pa r t i n hi s c o n c e pt i o n . ”
738

Though small in scale his approach was rich in detail and imbued with the kind of
devoutness more often encountered in a religious service than in a concert
performance directed to a large audience.

It was chancy for an outdoor arena and it proved that understatement can be as
effective as grandiloquence when skillfully proportioned … W a g n e r i n t e r m i ng l e d
the choral and instrumental forces. The 44-member chorus was distributed freely
among the 40 orchestral players, with performers on the obbligato instruments
playing a sort of game of musical chairs by moving down front to be close to the
vocal soloists they accompanied … A t t h e b e g i nn in g, E r n e s t F l e i s hm a n [ n ] pa i d
tribute to the late Otto Klemperer, conductor of the Philharmonic 1933-39, and
dedicated the performance to his memory.
739

B e r nh e im e r ’ s r e vi e w o f B e r l i o z ’ Faust at the Bowl with Levine and the Los
Angeles Philharmonic and the Master Chorale was colorfully opinionated about all of the
singers and ce r t a i nly L e vi ne ’ s i n t e r pr e t a t i o n . He had this to say about the Los Angeles
Master Chorale:
And certainly in the forefront of the heroes was Roger Wagner, whose chorus
sang with a maximum of bite and dramatic impact, a vast array of imposing
choral color, and fantastic precision.
740

I n A ugu s t , t h e f i r s t o f t h e B o wl M a r a t h o n’ s t oo k pl a c e ; L u c a s F o s s d i r e c t i n g
members of the Los Angeles Philharmonic and the Bowl Marathon Chorale, Roger
Wagner, director in a program of Bach, Vivaldi and Telemann.
741

738
Albert Goldberg, “ B a c h Ma ss C l o s e s B ow l P r e s e a son , ” Los Angeles Times, Jul 9, 1973.

739
Ibid.

740
Martin Bernheimer, “ B e r l i o z V e r si on o f ‘ F a ust , ’ ” Los Angeles Times, Jul 21, 1973.

741
“1
st
B o w l Ma r a t h on o f ’ 73 S e t W e dne s d a y , ” Los Angeles Times, August 11, 1973.
221

September saw L uka s F o s s c o n duc t i n g B a c h ’ s St. John Passion at the Bowl with
the Philharmonic and the Roger Wagner Chorale. In the review, Bernheimer generally
panned Foss for everything but the acoustical design of the Hollywood Bowl with
a d j e c t i v e s s uc h a s “ s t y li s t i c pe r v e r s i o n s ” a n d c h o r a l e s s o un d i n g li ke “ P a r s i f a l ” and an
“ o v e r dr e s s e d M e n de l s s o hn . ” He also said that, “ F o s s f o un d hi m s e l f c o nf r o n t e d by a ragged-sounding (under-rehearsed?) Philharmonic and a surprisingly shaky Roger
Wagner Chorale. ” B e r nh e im e r ’ s pa r t ing shot was one of his most amusing observations:
If the orchestra really is interested in this sort of discovery, perhaps, next time, it
might consider a more authoritative leader for the musical expedition. Nikolaus
Harnoncourt, after all, is available in Vienna, Charles Mackerras is in London.
Robert Shaw is in Atlanta. And oh yes, William Hall is in Orange County.
742

Bernheimer reviewed the Roger Wagner Chorale men with Lukas Foss on the
po di u m f o r S tr a vi ns k y ’ s Oedipus Rex with Mallory Walker and Claudine Carlson singing
the solos in September. He indicated that the only weak link in the performance was
E r n e s t F l e i s c hm a nn him s e l f , wh o c h o s e “ i n a to wn f u ll o f pr o f e s s i o n a l a c t or s ” to act the
part of the narrator.
743
In October Wagner was the guest speaker for the Orange County
P hil ha r m o ni c S o c i e t y ’ s be n e f i t ga l a , whi c h f e a t ur e d a c o n c e r t by Z u bi n M e h t a a n d t h e Los Angeles Philharmonic. Wagner presented a preview program about the concert that
Mehta conducted in Crawford Hall on the University of California Irvine Campus.
744

742
Martin Bernheimer, “ T h e P a ss i on A c c o r di ng t o F o ss , ” Los Angeles Times, September 6, 1973.

743
Martin Bernheimer, “ A 20
th
C e n t ur y P a t c hw o r k Q ui l t , ” Los Angeles Times, September 14,
1973.

744
“Los Angeles Philharmonic t o P l a y S a t ur d a y , ” Los Angeles Times, October 26, 1973.

222

Albert Goldberg reviewed Wagner and the LAMCs opening concert of the 1973-4
s e a s o n , c e l e b r a t i n g t h e c h o r a l e ’ s t e n t h a nni ve r s a r y s e a s o n . Goldberg had this to say:
Ten years is a good round number in the life of any musical organization. In the
case of the Los Angeles Master Chorale it not only spells survival of a risky
venture; it is the equivalent of a longevity more meaningful than the number
might indicate, a life span rarely achieved by a choral group of such ambitious
aims …. T h e c h o r u s was brought up to its full strength of 117 voices, to which on
o c c a s i o n wa s a dde d t h e UC L A A C a ppe ll a G i r l ’ s C h o r us , a n d t h e i n s t r um e n t a l forces were augmented to comparatively extravagant symphonic size. It all made
for a mighty sound and at its maximum it proved mighty exciting.

The program was all 20th century, although the aim was to please rather than to
startle, to provide grateful opportunity and a certain amount of theater more than
to argue a point. From a purely musical point of view the evenin g’ s m o s t satisfying experience was an anachronism that has no relation to the 20th century
whatever, except that beauty and proportion are forever timeless. That was
Dur uf l é ’ s Cum Jubilo mass. . . . It is the sort of thing that Wagner can conduct
with particular insight and sympathy, and both the valiant group of baritones and
the orchestra responded with exceptional sensitivity. . . . The big stunt of the
evening was Belshazzar’s Feast a piece that has been around for 41 years without
showing too many signs of wear. Wagner and his forces gave it the all-out kind of
theatrical treatment it requires, unrelenting in drive, dramatically alert, with the
tireless chorus piling resounding climaxes one on the other.
745

Figure 24. Opening Night.

745
Albert Goldberg, “ C h o r a l e C e l e br a t e s a Mi l e st o ne , ” Los Angeles Times, November 5, 1973.
223

There was a brief announcement in the Times stating that Roger Wagner had
composed and conducted the music for an NBC special production by Alan Landsburg
for In Search of Ancient Mysteries that aired on January 25, 1974.
746
And Roger Wagner
made his first appearance, of many, i n B e r nh e im e r ’ s e n d o f t h e y e a r “ B e c k m e s s e r A wa r ds ” i n De c e m be r o f 1973 . He a ppe a r e d i n t h e “ M o s t gratifying, better-late-than-
never debuts ” section for bringing Mady Mesple from Paris to sing Mozart and Orff with
Wagner and the Los Angeles Master Chorale.
747

Wagner started 1974 by conducting a choral festival at Pepperdine University for
college choirs associated with the Church of Christ throughout the nation;
748
soon after,
he made an appearance on Luncheon at the Music Center to discuss Renaissance music
on KFAC radio as part of the advertising strategy for the Master C h o r a l e ’ s J a n ua r y 19
th

concert at the Music Center.
749
The January concert of LAMC featured Josquin, Machaut,
Gabrieli, and Palestrina with antiphonal placement in the balconies of the Music
Center.
750
W a l t e r A r l e n ’ s r e vi e w o f t h e c o n c e r t n ot e d t h a t W a gne r “ t r a c e d t h e a s c e n d i ng
curve of musical development from 1350- 1650” i n c h r o n o l o g i c a l s e qu e n c e . Arlen also
s a i d t h a t “ f r o m t h e s o un d, o n e h a d r e a s o n t o a s s u m e t h a t a g r e a t e r t h a n us ua l a m o u n t o f
r e s e a r c h a n d c a r e ha d go n e i n t o t h e pr e s e n t a t i o n . ” He observed that the size of the choir

746
“ R o ge r W a gne r W r i t e s N B C S pe c i a l Mus i c , ” Los Angeles Times, December 6, 1973.

747
Martin Bernheimer, “ T h e B e c km e ss e r A w a r d s o f 1973, ” Los Angeles Times, December 30,
1973.

748
“ W e st S i de C ol l e ge s, ” Los Angeles Times, January 3, 1974.

749
“ W a g ne r t o D i sc uss Mus i c O ve r K F A C , ” Los Angeles Times, January 11, 1974.

750
Daniel Cariaga, “ M usi c a n d D a n c e N e w s, ” Los Angeles Times, January 13, 1974.

224

changed depending upon the period and a style and that the Roger Wagner Chorale
Chamber Singers sang some antiphonal parts. P a ul S a l a m u n o vi c h’ s S t. C h a r l e s B o r r o m e o Church Choir also augmented the 100 voices of LAMC in the very large works. Also
joining the concert was the John Biggs Consort with contributions from medieval Italy
and Tudor England. A r l e n c l o s e d o u t t h e r e vi e w by s a yi ng, “ W he n W a g ne r b e c a m e t h e batonless choral director, everything fell into place . . . t h e s u b t l e t i e s o f W a g n e r ’ s bl e n d s of tone color and dynamics assumed a level of virtuosity beneficial to every type of
m us i c . ”
751

In February Wagner conducted the Master Chorale and Sinfonia orchestra in
B a c h ’ s St. Matthew Passion. Albert Goldberg, in his review, observed that the piece can
be done with cuts or whole, with modern instruments or period instruments, operatically
or religiously —and h e c l a i m e d t h a t W a gn e r “ g e n e r a l ly s e t t l e d f o r t h e m o r e d i f f i c ult
o p t i o n s . ” Wagner performed the work uncut and reduced both chorus and instruments to
a n “ a ppr o xi m a t i o n” o f B a c h’ s pe r s o nn e l , w i t h t w o o f e a c h p l a c e d a n t i p h o n a ll y a t o pp o s i t e s i de s o f t h e s t a ge “ a s i f t h e y w e r e i n B a c h’ s S t . T h o m a s C h ur c h . ” Wagner also
us e d pe r i o d i ns t r um e n t s i n c l ud i ng o b o i d’ a m o r e , ob o i da c a c c i a , and viola da gamba. He
a l s o “ a ut h e n t i c a l ly i nv i t e d a ud i e n c e pa r t i c i pa t i o n ” in the places where this would have
transpired in a service. Goldberg had this to say about the interpretation:
Wagner has frequently been charged with over-romanticism but this time he went
in for classical restraint. Tempos and dynamics were modest in scope and always
discreetly balanced. The drama was forceful without ever verging on the operatic.

751
Walter Arlen, “ R e n a i ss a n c e P r og r a m a t P a v i l i on , ” Los Angeles Times, January 22, 1974.

225

It all moved with a fine sense of pacing: there was no lagging over pauses in the
chorales, and recitatives, solos and ensembles meshed smoothly.
752

The soloists listed were Douglas Lawrence, Michael Sells, and Claudine Carlson.
Robert Shaw conducted LAMC and the Sinfonia Orchestra at the March concert
and was greeted with a mixed review by Bernheimer. The significance here is that the
r e vi e we r too k m a ny o f t h e s a m e i s s ue s w i t h S ha w’ s pe r f o r m a n c e t h a t h e o f t e n do e s w i t h W a g ne r ’ s , and admitted that much of his criticism comes down to the lack of extra
funding to provide more rehearsals with the orchestra and to import high-powered
soloists as opposed to local talent.
753
Also in the month of March, while Shaw was guest-
conducting, Wagner took the Roger Wagner Chorale on a twelve-state national tour and
presented a concert in April of the tour material as part of the LAMC concert series at the
Pavilion. In her review, Melody Peterson noted that Singet den Herrn by Bach was
“ r e f l e c t i v e a n d we l l s h a pe d, ” a n d s t a t e d t h a t t h e c ho r a l e wa s “ hi g hly po l i s he d” and
“ e x qu i s i t e ly c o n t r o l l e d” i n a ll d y na mi c s a n d ph r a s e s . Robert Hunter served as the
accompanist for both the concert in the Pavilion as well as the national tour.
754
It was
e x c e l l e n t p l a nni ng o n W a g n e r ’ s pa r t to perform the tour repertoire over and over before
embarking on a State Department sponsored trip which was announced just days later.
In April, plans were announced for the Los Angeles Master Chorale and Wagner
to embark on a twenty-four-day tour of the Soviet Union in May as part of a cultural

752
Albert Goldberg, “ W a g ne r on P o di u m f o r B a c h ’ s P a ss i on , ” Los Angeles Times, February 12,
1974.

753
Martin Bernheimer, “ B r a hm s C on d uc t e d by S h a w , ” Los Angeles Times, March 19, 1974.

754
Melody P e t e r son , “ W a g ne r C h o r a l e a t P a v i l i on , ” Los Angeles Times, April 19, 1974.

226

presentation of the US Department of State. Thirty-six members of the chorale would
tour the Soviet Union, assisted by a Soviet recruited orchestra of twenty-three players.
The contingent would play fifteen concerts in six cities: Minsk, Kiev, Riga, Tallinn,
Leningrad, and Moscow. The chorale would sing at the Bolshoi Concert Hall and be
honored at a luncheon reception at the American consulate. Moscow performances were
scheduled for the Moscow Conservatory and Tchaikovsky Hall. The chorale planned to
present works be Bach, Honegger, Antheil, Brahms, Schifrin, Gershwin, Britten and
Corelli – a n d a l s o E l i n o r R e m i c k W a r r e n ’ t s Legend of King Arthur.
755
The group planned
to travel with a Soviet interpreter and two members of the State Department.
756
The
Master Chorale Associates honored the LAMC members about to embark on the Soviet
trip at Greystone Mansion in Beverly Hills; Wagner conducted them in a few pieces that
would be sung on the tour.
757

In the first week of May, Wagner conducted the world premiere performance of
E uge n e Z a do r ’ s The Judgment, at UCLA with the UCLA A Cappella Choir at
Schoenberg Hall.
758
The review of the concert acknowledged that Zador was in the
audience – it was an eightieth birthday tribute to him to premiere his work; the group also
premiered Organum 1-5 by Paul Des Marais, who was also present, and they closed with

755
Christy Fox , “ U C LA ’ s D yn a m o on W he e l s, ” Los Angeles Times, April 28, 1974.

756
“ LA M a st e r C h o r a l e P l a n s R uss i a n T o ur , ” Los Angeles Times, April 16, 1974.

757
“ P r o g r a m t o F e t e Ma st e r C h o r a l e , ” Los Angeles Times, April 16, 1974.

758
“ M a h ony ’ s Judgm e n t W i l l H a ve P r e m i e r e , ” Los Angeles Times, May 1, 1974.

227

Dur uf l é ’ s Requiem. The review of the seventy-one-voice group was very positive.
759
He
also conducted a group that was billed as the Los Angeles Master Chorale for Carmina
Burana with the Pennsylvania Ballet at UCLA that according to Martin Bernheimer was
actually a small nucleus of Master Chorale members augmented by UCLA’s A Cappella
Choir.
760
In the same article, Bernheimer takes Wagner to task about the announcement
that the Master Chorale “ w a s a b o ut to un de r t a ke a to ur o f R us s i a u n de r t h e S t a t e Department auspices, although they ha v e n e v e r b e f o r e b e e n o n to u r . ” Bernheimer
reminded everyone that they had indeed traveled to Washington D.C. to sing for the
Presidential inauguration in January of 1973.
761

Bernheimer went on to point out that while the Master Chorale numbers 100
vo i c e s a n d m a y ne v e r h a v e “ t o ur e d , ” t h e Roger Wagner Chorale toured regularly. His
point seemed to be that the nucleus of the Russian tour was the Roger Wagner Chorale
augmented by twelve singers from LAMC, but traveling under the name of LAMC —he
took umbrage.
762

759
Melody P e t e r son , “ U C LA A C a pe l l a C h oi r a t S c h oe n b e r g , ” Los Angeles Times, May 6, 1974.

760
Martin Bernheimer, “ Mi n i m a st e r T o ur o f R uss i a S e t , ” Los Angeles Times, May 10, 1974.

761
Ibid. Of course, f r om w i t h i n t he i nd ust r y , t h a t w o u l d no t be c on s i de r e d a “ t o ur ” but a c o nc e r t appearance. A “ t o ur ” usu a l l y i ndi c a t e s m u l t i p l e p e r f o r m a n c e s i n m ul t i pl e c i t i e s, no t m e r e l y t h a t the chorale traveled to one location to sing one concert.

762
Ibid. An argument can certainly be made that the line between the Roger Wagner Chorale and
t he L A MC d ur i ng W a gne r ’ s tenure blurred most definitely. However, it makes one wonder why
one of the most powerful music critics not only in Los Angeles, but also the nation, felt the need
to make an issue of something that happened on a regular basis days before a cultural exchange at
the behest of the State Department was to take place. An interesting choice of timing and, it could
be argued, possibly a bit self-serving.

228

After also announcing in the article that LAMC would sing two performances
with the Los Angeles Philharmonic in the Bowl, as would the Roger Wagner Chorale
sing two performances with the Los Angeles Philharmonic in the Bowl, Bernheimer
commented that such facts were inexplicable. At the end of the article, the critic also
mentioned that Wagner would be leading a conducting workshop at UCLA in August for
“ W o m e n D i r e c t or s . ”
763

Figure 25. Wagner in concert. Source: Los Angeles Times.
In another short report, Bernheimer noted that the “Roger Wagner Chorale [his
use of Roger Wagner Chorale, as opposed to the press release that said it was LAMC on
tour] enjoyed a huge success last week when it opened in Minsk and a man took out a
fluttering baby sparrow from his pocket and held it high while the chorale sang Little
Bird. ” It was revealed by the State Department that the man had found the bird dazed on
the sidewalk when coming in past the crowds of people looking for tickets, so he put it in
his pocket.
764
In reading the short article, the paragraph really looks like a vehicle for

763
Ibid.

764
Martin Bernheimer, “ A no t he r P o r g y , A no t he r B e ss , ” Los Angeles Times, May 24, 1974.
229

Bernheimer to publicly refer to the touring group in Russia as the Roger Wagner Chorale
since he managed to write it no less than four times in a total of approximately 65 words!
An article by Murray Seeger of the Times gave a different angle:
Mixing an unusual assortment of musical ingredients, Roger Wagner of Los
Angeles put together one of the most successful exhibitions of American culture
displayed in the Soviet Union since the cultural exchange program between the
two countries was initiated in 1958. The heart of the ensemble which completed a
three-week tour last weekend with a warmly received concert in Moscow, was
made up of 34 singers and nine musicians assembled under the name of Los
Angeles Master Chorale. M o s t o f t h e m h a d pr e vi o us l y pe r f o r m e d a s W a g n e r ’ s professional chorus. To this group, Wagner added 24 Soviet musicians whom he
met for the first time when he arrived in Moscow in early May. The concept of
mixing American and Soviet performers had never before been attempted on such
a scale in the history of the cultural exchange program.

In each city, the group received demonstrations of affection and appreciation
which veteran State Department cultural officers had rarely seen before. They
concluded that the 1974 leg of the exchange program, for which the Wagner
group was the first representative, was off to a rousing start.
765

Seeger reported that Wagner said the rehearsals with the Soviet musicians started
out a bit roughly in that the translator provided to him did not know the Russian words
for most musical terminology, which greatly limited his ability to communicate to the
players. Ho we v e r , a f t e r “ i n i t i a l s hy ne s s ” t h e s e c o nd vi o l i n i s t r e v e a l e d h e wa s f l ue n t i n English, and from that point on Wagner was able to communicate easily with the players.
Wagner also said that he was disappointed that the Soviet government would not allow
him t o p r e s e n t m o r e “ s e r i o us a n d r e l i g i o u s m u s i c ” dur i n g t h e to ur , but the State
De pa r t m e n t c l a r i f i e d t h a t t h e S o vi e t s “ d i s c o ur a ge a ll r e li g i o n - o r i e n t e d pe r f o r m a n c e s . ”
Wagner said that the audience response was terrific everywhere they went, but most

765
Murray S e e ge r , “ W a g ne r C o nd uc t s U S , R uss i a n Mi x o n T o ur , ” Los Angeles Times, June 5,
1974.

230

especially in Latvia, where choral traditions are “well-preserved. ” He said that the
audience refused to leave even after the choir left the stage, and he had to return after
c h a n g i ng i n t o c a s ua l c l o t h e s to “ s a y a f i na l f a r e we ll . ”
766

“ T h a t h a ppe n e d to m e o nl y o n c e b e f o r e i n m y li f e , ” W a g n e r s a i d l a t e r . The Soviet
cultural deputy minister also commented to W a g n e r , “ Yo ur s i n g e r s c a n do e v e r y t hi n g
f r o m t h e c l a s s i c s to s pi r i t ua l s . ” S e e ge r s u m m e d up t h e to ur a s a “ s uc c e s s , ” c l o s i n g by sayin g t h a t o n e s o pr a n o i n t h e c h o r a l e c o m m e n t e d t h a t s h e “ c o u l d ha v e s t a y e d o u t t h e r e [ s t a ge ] a l l ni g h t . ”
767

The fact that Roger Wagner and the Los Angeles Master Chorale were asked by
the State Department to represent the United States in the Soviet Union during the early
1970s when relations between the two super powers were shaky to say the least, is not
only an honor, but also speaks to the reputation of the conductor and his organization as
some of the best culture the United States had to offer. It attests to W a g n e r ’ s i m po r t a n c e not only nationally, but also in southern California.
In mid-June the LAMC announced that it would use the third NEA grant it had
received in as many years, for an educational filmstrip to publicize the work of the
chorale. The film wo u l d de p i c t t h e p l a nni ng a n d pr o duc t i o n o f t h e c h o r a l e ’ s y o ut h concerts. A second project also made possible by the grant would be a conducting
workshop for women directors to be given at UCLA in August 1974 (similar to the one in
1972). The workshop would feature Margaret Hillis of Chicago Symphony Chorus,

766
Ibid.

767
Ibid.

231

Howard Swan from Occidental and Wagner. The clinic would culminate in a public
performance by all the participants.
768
Unfortunately, in early August the workshop was
canceled because the NEA indicated its reluctance to support a project that could be
vi e we d a s “ d i s c r i mi na t o r y . ”
769

Al be r t G o l d b e r g r e vi e we d a pr e s e a s o n B o w l c o n c e r t dub b e d, “ T h e S p l e n do r s o f Ve ni c e , ” c o n duc t e d by Raymond Leppard with the Los Angeles Philharmonic and the
Roger Wagner Chorale. Goldberg stated:
The usually dependable Roger Wagner Chorale, divided into two equal antiphonal
sections, sounded thick and turgid most of the time, the soloists selected from the
chorus added little distinction, precise ensemble was a sometime thing, and
Leppar d’ s e f f o r t f u l c o n duc t i n g o nly s e r ve d to e m ph a s i z e t h e ge n e r a l im pr e s s i o n
of weighty laboriousness.
770

The 1974-75 Los Angeles Master Chorale season was announced in early August
stating that Wagner would conduct four concerts on the season, but that two guest
conductors would conduct the February and March concerts. Paul Salamunovich would
c o n duc t “ M us i c —Majestic a n d M y s t i c ” i n F e b r ua r y a n d R o b e r t S h a w w o ul d c o n duc t B a c h ’ s St. John Passion in March.
771

In an August review of the Bowl Marathons, Melody Peterson noted that a
“ t e nni s- s h o e d” R o ge r W a ge r c o n duc t e d fifteen voices of the Roger Wagner Chorale in
Brahms ’ Liebeslieder Waltzes, and that the singers were gathered “ c o nvi v i a ll y a r o un d t h e
768
Daniel Cariaga, “ W a r m- up f o r B ow l O p e n i ng , ” Los Angeles Times, June 30, 1974.

769
Martin Bernheimer, “ S F P l a y e r s G e t O ne - Y e a r R e pr i e ve , ” Los Angeles Times, August 9, 1974.

770
Albert Goldberg, “ B ow l C o nc l ude s P r e se a son , ” Los Angeles Times, July 8, 1974.

771
“ 2 C o n d u c t o r s t o B e G u e st s W i t h C ho r a l e , ” Los Angeles Times, August 16, 1974.

232

piano ” whil e t h e duo o f p i a ni s t s p l a y e d o n a s t h e y s a n g . She a s ke d t h e que s t i o ns , “ W a s V i e nn a e v e r l i ke t hi s ? ”
772
P r o b a bly n o t , i t ’ s s o ut h e r n C a l i f o r ni a .

Figure 26. Wagner. Source: Los Angeles Times.
In September, the Roger Wagner Chorale sang with guest conductor and guest
orchestra, Lorin Maazel and the Cleveland Symphony in the Hollywood Bowl. In his
review Bernheimer compared the Los Angeles Philharmonic with Cleveland and found
the former to be lacking, but liked the chorus. I n a r e a d i n g o f De b us s y ’ s Daphnis et
Chloe, the chorale “ de a l t de f t l y w i t h o t h e r wor l dly vocal effects. ”
773
Bernheimer also
we n t o n , i t i s i n t e r e s t i n g to n ot e , i n t hi s r e vi e w d i s c us s i ng t h e “ n e w a m p li f i c a t i o n” system
in the Bowl.
774

772
Melody P e t e r son , “ W a s V i e nn a Eve r Like T h i s? ” Los Angeles Times, August 9, 1974.

773
Martin Bernheimer, “ A B e n c hm a r k S o u nd a t t he B ow l , ” Los Angeles Times, September 12,
1974.

774
A system that has been refined over the years but is still in use today —and still met with
controversy.
233

A non-musical article appeared in the Times, replete with a picture of Wagner at
the net of a tennis court, ret ur ni n g a v o l l e y , a s pa r t o f t h e “ R o ge r W a g n e r T e nni s E xhi bi t i o n , ” noted in the Times a s t h e “ f i r s t c e l e b r it y t e n ni s e ve n t e v e r pl a y e d to t h e a c c o m p a ni m e n t o f r e c o r de d c l a s s i c a l m u s i c . ” The tennis event was held to launch the
season ticket sales of the Los Angeles Master Chorale, sponsored by the Southern
California Choral Music Association, held at a private residence in Beverly Hills that had
two tennis courts on its premise. Doyle Phillips, manager of the Los Angeles Master
Chorale, explained that since W a ge r wa s a n “ a vi d tenni s b u f f , ” t h e s uppo r t i n g
organizations of LAMC decided to c o m bi ne t h e m a n’ s t wo l o v e s i n t o a f u n dr a i s i ng e v e n t .
Wagner changed partners throughout the afternoon of tennis, ending up with son Richard,
a tennis pro at that time. Celebrities in attendance included: Jonathan Winters, Rosemarie
Stack, Berry Gordy Jr., Strother Martin and Z. Wayne Griffin.
775

T h e o pe ni n g o f t h e L o s An ge l e s P hil ha r m o ni c ’ s 1973 -4 season of Mehta
conducting a program of Verdi, Schoenberg and Ives, with the Los Angeles Master
Chorale and a quartet of Martina Arroyo, Mignon Dunn, Luciano Pavarotti and John
Macurdy, replacing the indisposed Ruggero Raimondi, was reviewed by Martin
Bernheimer. T h e c r i t i c f o un d m u c h f a u l t w i t h M e ht a ’ s r e a d i n g a n d t h e o r c h e s t r a ’ s playing of the Verdi Requiem; he lamented that the Ives played was Decoration Day
instead of a seldom heard Psalm; and noted Schoen b e r g’ s De Profundis; and, he paid
nothing but compliments to the Los A n ge l e s M a s t e r C h o r a l e f o r “ a bly s e c o n d i ng t h e mighty motion s w i t h f r e n z y a n d po we r . ” He also praised the chorale for rendering the

775
Sharon Fay K o c h , “ C e l e br i t y T e nn i s t o a C l a ss i c a l B e a t , ” Los Angeles Times, September 18,
1974.
234

Sprechstimme and lush vocalism from the six-part chorus required in the Schoenberg
s a yi ng, “ t h e y t r e a t e d t h e s c o r e m a s t e r f u ll y , a n d o ne wa s gr a t e f u l t h a t M e h t a h a d
abandoned his inten t i o n to d o ubl e t h e v o i c e pa r t s w i t h w i n d i ns t r u m e n t s . ”
776

I n a n a r t i c l e e n t i t l e d “ He r t z a n d Avi s o f C h o r a l C o n duc t o r s , ” Da ni e l C a r i a g a attempts to compare William Hall and Roger Wagner. Cariaga finds the men extremely
similar in their lifestyles and also in their overall approach. He quotes one veteran of the
Wagner Chorale as stating , “ Yo u j us t d o n ’ t s a y n o to R o ge r , n ot i f y o u wa n t to s t a y i n hi s li f e . ” Cariaga maintains that similar statements about Hall are not unusual. He compares
the facts that both m e n h a v e “ go o d pi a n o s , goo d w i ne a n d goo d c o m pa ni o n s t h a t s t e m f r o m t h e i r c h o r a l e s . ” He also points out that fact that both men were “ba c h e l o r s ” –
Wagner having been separated f r o m hi s w if e f o r a “ n u m be r o f y e a r s , ” [in fact, Wagner
never divorced his wife Jan, and continued to provide her with financial security – they
were still legally married at the time of his death] and Hall had recently divorced his
wife; both had passions outside of choral music – for Wagner, tennis, for Hall, sailing.
Both men taught at institutions —Wagner at UCLA, Hall at Chapman College. Cariaga
a l s o m a ke s a po i n t o f t h e f a c t t h a t “ wo r k c o m e s f i r s t i n b o t h t h e i r l i ve s , ” a n d e v e n t h e m o s t “ c ur s o r y c h a t wi t h W a g n e r o r Ha l l m us t r e v ol ve a r o un d hi s l a t e s t r e pe r to r y discovery, or the new soloist for whom he predicts success —or t h e n e x t c o n c e r t. ”

776
Martin Bernheimer, “ R e q u i e m O p e n s S e a s o n , ” Los Angeles Times, October 26, 1974.
235

Figure 27. Wagner was an avid tennis player.
Cariaga writes that W a gne r wa s “ o n t o u r wi t h t h e W a g ne r C h o r a l e t h r o ugh t he
end of the month, Roger —his first name is universally used, even by music critics —will
fly in this week for final rehearsals and the Saturday concert, leaving the tour conducting
in the hands of his daughter, Jeannine. ” In the interview portion of the article, Cariaga
quotes Hall as he takes a small swipe at Wagner:
Some pe o pl e j o i n c h o r a l gr o ups b e c a us e t h e y ’ r e m a s o c hi s t s —they like to go there
once a week and be yelled at. W e d o n ’ t wor k t h a t wa y . I j u s t d o n ’ t t hi n k i t ’ s necessary to berate the singers to get the results I want.
Cariaga then states:
236

Though neither musician tries to stress it, there is a tangible rivalry here, not only
between the two chorale leaders but equally between their two ensembles. I t ’ s a fair rivalry, too, for the rule of thumb which says the Master Chorale is fully
professional and the Hall Chorale is fully nonprofessional is not accurate, though
it gets repeated often enough.

The truth of the matter is that when the Master Chorale performs at the Music
Center –a union house, obviously –only about 65 of its 101 members (according
to the American Guild of Musical Artists) are paid, the remainder being
nonmembers of AGMA. When the William Hall Chorale performs in the same
place –as it will again next March —the same union rule prevails: singers who are
members of AGMA –60 out of 150 at that time —will be paid. The only
difference here —and it clearly is not an artistic one —is that AGMA members
performing in church sanctuaries with the Hall Chorale are at liberty to work for
nothing –and they do so.

Privately, Hall and Wagner like to take swipes at each other. Wagner described
Ha l l ’ s c o n duc t i n g to t h i s r e po r t e r a s “ c o l d, ” a n d Ha l l c a ll e d W a g n e r ’ s “ s l o pp y ” —
but, officially, they are reserved and polite.

“ R o ge r a n d I a r e gr e a t b uddi e s , ” t h e y o un ge r m a n s a y s r e s pe c t f u ll y , “ a n d I certainly think he has one of the finest ensembles in the world. B ut i t ’ s u l t i m a t e ly limited in its scope, because Roger does the same old standard repertory all the
t i m e . ”
“ B i ll a n d I l i ke e a c h ot h e r a n d a d m i r e e a c h ot h e r ’ s wo r k , ” W a gn e r t o l d m e t h e day as we talked at his be Encino house. “ P e o p l e li ke to i m a g i ne s o m e bi g r i v a l r y b e t we e n us , b ut i t j us t i s n’ t s o, I l i ke Bill. I think he is an excellent university
c o n duc to r . ”
777

The rivalry that the article paints is an interesting snapshot of the relationship and
the era. Choral rivalries seem to be a natural outcropping in southern California as they
continue to this day between large institutions –perhaps it is just an outgrowth of having a
strong tradition here of not only outstanding choirs but also outstanding competition.

777
Daniel Cariaga, “ H e r t z a n d A v i s o f C ho r a l C o nd uc t o r s, ” Los Angeles Times, November 3,
1974.
237

Figure 28. Wagner rehearsing the LAMC.
In a review of the opening concert of the 1974-5 Los Angeles Master Chorale
season, Albert Goldberg stated:
A concert that begins with the Fauré Requiem and ends with America the
Beautiful tends to be schizophrenic t o s a y t h e lea s t … T o b e f a i r , h o we ve r , i t cannot be said that the austere beauties of the Fauré and the lesser satisfactions of
a couple of other items along the way went unrecognized. The audience was
large, testimony to the growth of interest in choral music fostered by this
organization, and if it responded unduly to a bit of theatrical chauvinism, that was
probably no more than normal for the course.

Goldberg judged the reading of the Requiem to b e “ pa r t i c u l a r ly a f f e c t i o n a t e a n d
a f f e c t i n g, ” a n d f o un d t h e c h o r us wa s i n “ f i ne f o r m f o r t h e t a s k, s i n g i ng w i t h pur i t y o f to n e a n d e l e v a t i o n o f s p i r i t . ” He pointed out that when drama was suggested it was done
w i t h “ t a s t e a n d di s c r e t i o n; n o t hi n g wa s o v e r do n e or un de r do n e . The composer and the
style could hardl y h a v e b e e n be tt e r s e r v e d. ” He acknowledged that the orchestra matched
the spirit and delicate nuance of the chorus, and he also praised the soloists, Mary
238

Rawcliffe and Harold Enns. He dub be d W a g ne r ’ s c o n c e r t e n d o f a pa t r i o t i c s u i t e o f hi s own arrangeme n t , whi c h t h e c o n duc to r a n n o un c e d a s “ w ha t t h e S o vi e t a ud i e n c e s e nj o y e d, ” a s “ c a m p y , n a t ur a l ly , b ut h a r m l e s s a n d not b a d f u n . ”
778

R o b e r t R i l e y r e vi e w e d t h e L AM C s C h r i s t m a s c o n c e r t, s a y i n g “ As c o n duc t e d by Roger Wagner, the glorious chorale provided many good reasons why practically nobody
s h o u l d h a v e go n e d i s s a t i s f i e d f r o m t hi s y e a r ’ s e v e nt. ” He especially liked the Gabrieli O
Magnum Mysterium , B r i t t e n ’ s Hymn to the Virgin and Rejoice in the Lamb, and Greer
Ga r s o n n a r r a t i n g W a g n e r ’ s Christmas Story According to St. Luke. He was especially
t a ke n w i t h A r i e l R a mi r e z ’ Nuestra Navidad for 15 ensemble singers, two soloists and a
“ b a n d ” o f gu i t a r , pe r c us s i o n a n d h a r ps i c h o r d.
779
And finally in December of 1974, an ad
appeared in the Times for the January 1975 concert , “ A F e s t i v a l o f M a s t e r S a c r e d
C h o r us e s , ” a dve r t i s i n g t h a t “ l e a d i ng s o ut h e r n C a l if o r ni a c o l l e g e s i n g e r s ” wo ul d j o i n t h e Master Chorale in presenting great choral works.
780

The year 1975 opened with a review from Martin Bernheimer on the January
concert Wagner conducted that mixed the Los Angeles Master Chorale and Sinfonia
Orchestra with eighteen southern California colleges, and he asked the entire audience to
join in singing Ha n de l ’ s Hallelujah chorus. Bernheimer gave a nice enough review
e x t o l li ng W a g n e r ’ s a bil i t y t o ge t e v e n a l a r ge c h o i r to s i n g w i t h “ f l e xi b il i t y , c l a r i t y a n d

778
Albert Goldberg, “ LA Ma st e r C h o r a l e O pe n s ’ 74 - 75 S e a son , ” Los Angeles Times, November
11, 1974.

779
Robert R i l e y , “ M a st e r C h o r a l e S e a son a l C on c e r t , ” Los Angeles Times, December 23, 1974.

780
“ D i spl a y A d 256, ” Los Angeles Times, December 29, 1974.

239

b a l a n c e d r e s o n a n c e l i ke a s upe r i o r c h a m be r gr o up. ” He praised the Sinfonia Orchestra for
p l a yi ng V i va l d i ’ s Winter from the Four Seasons w i t h “ b r e e z y a c c ur a c y . ” He said that the
“ u n d il ut e d” Master Chorale ’ s o nly o f f e r i n g f o r t h e ni g h t wa s Ha n de l ’ s Dixit Dominus
whi c h i t h a n d l e d “ vi r t uo s t i c a ll y . ” He e n de d by a c k n o w l e dg i ng t h a t t h e “ a pp l a us e wa s a s a l wa y s , de a f e ni ng, ” a n d t h a t W a g n e r l i ke d n o t hi n g b e tt e r t h a n to “ whi p up a gl o r i o us , massive sound —and f e w c a n do i t b e t t e r t h a n h e . ”
781

In February, while Wagner was on tour with the Roger Wagner Chorale, Paul
Salamunovich teamed up with long-time accompanist, colleague and dear friend, Robert
Hunter, to guest-conduct in concert the chorus he often trained, the Los Angeles Master
Chorale. In an article about the concert, Daniel Cariaga interviewed Salamunovich who
s a i d t h a t t h e upc o m i ng c o n c e r t wa s t h e “ c u lm i na t i o n o f 35 y e a r s ’ wo r k, ” and Cariaga
observed that the “ pr o s pe c t di d n o t s e e m to f r i g h t e n him . ” Cariaga noted that
Salamunovich had been associated with Wagner since 1941 as a boy alto in the St.
J o s e ph’ s M e n a n d B o y s C h o i r , t h e n a s wha t S a l a mun o vi c h de s c r i be d a s a “ s h o r t t e n o r ” i n the Roger Wagner Chorale, and then for more than twenty y e a r s a s W a g n e r ’ s a s s i s t a n t conductor. He de s c r i b e d S a l a m u n o vi c h a s “ r e l a xe d , t a l ka t i v e a n d e a s y go i n g” w hi c h he n o t e d m i g h t b e “ t h e e xa c t o pp o s i t e o f t h e s t e r e ot y p i c a l h a r d -driving mercurial and ego-
oriented c o n duc t or ” for whom he worked. In discussing the Wagner chorales over the
years, Salamunovich observed:
We were talking just the other day about how Roger used to give surprise sight-
reading tests to the chorale at its weekly rehearsals. He h a s n ’ t do n e t h a t i n a number of years. You know, at one time we had some fabulous sight-readers. I
am not too sure the present chorale could meet those standards.

781
Martin Bernheimer, “ W a g ne r Le a d s S upe r c ho i r , ” Los Angeles Times, January 13, 1975.
240

Cariaga noted that at the time, Salamunovich was conducting nine choirs a week with his
two teaching positions at Loyola Marymount University and Mount St. Mary ’s College;
two church jobs at St. Charles Borromeo and St. Basils; the Los Angeles Master Chorale,
the Roger Wagner Chorale, and conducted no less than 250 choral workshops and clinics
around the country in the past year. When Cariaga asked him if he had been given
e n o ugh r e h e a r s a l t i m e f o r hi s upc o m i n g c o n c e r t , h e s h r ugge d a n d l a ug h e d, “ Do we e v e r h a v e e n o ugh r e he a r s a l t i m e ? ”
782

In March, UCLA announced that Wagner recorded a collection of historical Latin
American masterpieces that would be issued by UCLA ’s Latin American Center under its
own label. It stated that the album would cover works from Columbia in 1584 to a
Brazilian piece from 1809. The album was recorded in Schoenberg Hall with the Los
Angeles Master Chorale and Sinfonia Orchestra.
783

Also in March, Albert Goldberg reviewed the LAMC concert guest-conducted by
R o b e r t S h a w, pe r f o r m i ng B a c h ’ s St. John Passion, with Michael Sells as the Evangelist.
Go l d b e r g pr a i s e d S h a w ’ s a ut h e n t i c i t y i n r e ga r d to pe r f o r m a n c e pr a c t i c e , e d i t i o n , and use
of period instruments. He also loved the spirit of the piece, and reported that Wagner was
there and came out on stage with Shaw at the very end.
784
In early April, Wagner and
some of the LAMC singers gave two performances of special youth concerts in the Mark

782
Daniel Cariaga, “Salamunovich a t t h e P a v i l i on , ” Los Angeles Times, February 14, 1975.

783
“ C e n t e r W i l l I ss ue A l bu m , ” Los Angeles Times, March 16, 1975.

784
Albert Goldberg, “ S h a w C o nd uc t s Ma st e r C h o r a l e , ” Los Angeles Times, March 24, 1975.

241

Taper Forum,
785
a n d R o b e r t R i l e y r e vi e w e d t h e c h o r a l e ’ s c o n c e r t a t t h e P a vi li o n i n l a t e April of Hayd n’ s The Seasons.
It was a triumphant moment among many contributed by the chorale which
provided the focal distinctions of the performance conducted by Roger
Wagner. . . . On e c o ul d a d m i r e t h e C h o r a l e ’ s wa y w i t h t h e a f o r e m e n t i o ne d f i na l chorus, its meltingly lovely warbling and the rousing vitality and internal clarity
brought to some of the more contrapuntally elaborate outbursts. . . . Wagner
equated his instrumental and vocal forces with admirable complimentary
awareness.
786

Figure 29. Salamunovich guest-rehearsing chorale members. Robert D. Hunter is at the piano.
In May, the Roger Wagner Chorale appeared with the Los Angeles Philharmonic
singing the Hallelujah chorus by Handel on a television special with Mary Tyler Moore,
conducted by Arthur Fiedler of the Boston Pops on a hydraulic lift.
787
The special was
called the Birth, Life and Rebirth of the Entire World, had no dialogue for an hour, and

785
“ C h o r a l e i n Y o ut h C on c e r t , ” Los Angeles Times, April 4, 1975.

786
Robert R i l e y , “ H a y d n W o r k by Ma st e r C h o r a l e , ” Los Angeles Times, April 29, 1975.

787
Joyce H a b e r , “ M T M S pe c i a l T o uc he s A l l B a s e s, ” Los Angeles Times, May 14, 1975.

242

put toget h e r a s tor y t h r o ugh “ 40 m u s i c a l pr o duc t i o n n u m be r s . ”
788
A few short days later,
the 1975-76 season of LAMC was announced, promising a U.S. premiere performance of
R o m a n M a c i e j e ws k i ’ s Requiem , a wor k “ un p l a y e d a n d uns u n g, according to Roger
Wagner, because of its enormous size and difficulty, since its first hearing in Warsaw in
1960. ”
789
The Polish composer, then a resident of Santa Monica, was announced as
attending the concert which would feature Karan Armstrong, John Guarnieri, and Harold
Enns. Also on the docket for the season, according to Cariaga, were two performances of
the annual Christmas concert: Ha y d n ’ s Creation, which would feature soloists to be
chosen from the 1975 western regional Metropolitan Opera auditions; Aaron Copland,
conducting a bicentennial concert that would feature works by Copland on the first half
and Wagner conducting the second half with a world premiere performance of works of
William Kraft and Paul Chihara; John Nelson, guest conducting a concert performance of
M us s o r gs k y ’ s Boris Godunov with Cesare Siepi in the title role; and, the final concert of
W a g ne r c o n duc t i n g M e n de l s s o hn’ s Elijah. It was noted that the chorale would also give
more youth concerts at the Mark Taper Forum.
790

In June, Wagner served as a judge for UCLA ’s Frank Sinatra Awards in
Schoenberg Hall, along with Les Brown, Sonny Burke, Edwin Hanley, and Johana
Harris.
791
He a l s o c o n duc t e d a pe r f o r m a n c e o f B r i t t e n’ s War Requiem at UCLA ’s

788
“ I n si de T V , ” Los Angeles Times, May 14, 1975.

789
Daniel Cariaga, “ M usi c a n d D a n c e N e w s, ” Los Angeles Times, May 18, 1975, R65.

790
Ibid.

791
“ U C LA Mus i c i a n s W i n T o p S i n a t r a P e r f o r m a n c e A w a r d s, ” Los Angeles Times, June 4, 1975.
243

Schoenberg Hall with the UCLA Chamber Orchestra, and UCLA ’s A Cappella Choir. As
a substitute for a large orchestra, Wagner used Robert Hunter at the piano, which Robert
Riley in his review s a i d “ p l a y e d w i t h f o r c e f u l a ut ho r i t y . ” Nine sopranos called the
“UCLA Singers ” served as the Boys Choir. Riley said that, “ de s pite such modifications,
the numerous body of participants nearly spilled offstage. ” He went on to say that in
a dd i t i o n to t h e “ pe r va s i ve ur ge nc y a n d de d i c a t i o n , ” a l m o s t e v e r y t hi ng m a de f o r a “ m e m o r a bl e ” r e c r e a t i o n o f t h e p i e c e a s it was meant to be heard. “ A t t he heart was the
finely balanced, impeccably drilled choir which managed the abrasive part writing
a dr o i t l y . ”
792

And in July, while Wagner was on tour in Europe, an article by Martin
Bernheimer appeared in the Times that perhaps signaled the official beginning of a public
war that had been brewing privately for some time between Hollywood Bowl impresario
and Los Angeles Philharmonic General Manager Ernest Fleischmann and Roger Wagner.
Bernheimer reported that the Scottish National Orchestra Chorus, 250 in number, would
appear in the Bowl during the 1976 season for Mehta to conduct a special performance of
B e e t h o v e n ’ s Ninth Symphony. He went on to say that the SNOC would also return to sing
with Alexander Gibson in the Bowl on the music of Ives, Walton and Bach. He quoted
Fleishmann as stating that the chorus was being funded by “British sources, ” but
Bernheimer complained that Fleischmann d i d n o t “ e x p l a i n t h e c o nn e c t i o n b e t we e n t h e vi s i t o f a c h o r us f r o m G l a s go w a n d o u r s pi r i t o f ’ 7 6. ” Bernheimer went on to complain

792
Robert R i l e y , “ W a r R e q u i e m S u ng a t U C LA , ” Los Angeles Times, June 2, 1975.

244

that not only was the SNOC visiting in the Bowl, but that also in 1976, a workshop
chorus led by Robert Shaw would also appear.
Both groups will, in effect, usurp a position heretofore monopolized at the Bowl
by Roger Wagner and his Master Chorale. Since Wagner is currently in Europe,
we were unable to learn his immediate reaction to the projected invasion. The
voluble maestro can be expected, no doubt, to issue a few well-chosen words
upon his return next month.
793

The Roger Wagner Chorale appeared in the Bowl in August with Raymond
Leppard conducting the Los Angeles Philharmonic i n B a c h ’ s Magnificat, a n d F a ur é ’ s Requiem. Cariaga had this to say:
The 90-plus members of the chorale made warm, creamy sounds, blended
magnificently and delivered understandable words. They also delineated clearly
the two contrasting styles represented in this program, the Baroque directness of
B a c h ’ s Magnificat and the Gallic introspection of the Fauré Requiem . . . the
apparently well-rehearsed collaboration of the Los Angeles Philharmonic in
support, the Wagner chorale gave another demonstration of its musical versatility,
tonal superiority and extreme flexibility under all manner of conductors. Hearing
the group is usually rewarding; hearing it after a hiatus, Tuesday, one was
reminded anew of the strength of its achievements and the solidity of its
professionalism.
794

On the heels of the performance and review f r o m C a r i a ga wa s t h e “ r i po s t e f r o m R o ge r W a gn e r ” to E r n e s t F l e i s c hm a nn r e ga r d i n g th e r e p l a c e m e n t o f W a g n e r ’ s c h o r us e s in the Bowl for 1976, as reported by Martin Bernheimer:
Returning from a European trip, Roger Wagner discovered that amateur choruses
from Scotland and a USC summer workshop would celebrate our Bicentennial at
the Bowl next summer. The benign dictator of the Los Angeles Master (Roger
Wagner) Chorale was not amused.

“ E r ne s t F l e i s c hm a nn , ” h e de c l a r e d i n a n o f f i c i a l s t a t e m e n t , “ ha s t h e r i g h t to
c h o o s e a ny b o d y h e w i s h e s to s i n g o r pl a y … W ha tev e r u ni o n pr o bl e m s m a y a r i s e
793
Martin Bernheimer, “ S c o t t i sh C ho r us S e t f o r ’ 76 B o w l , ” Los Angeles Times, July 11, 1975.

794
Daniel Cariaga, “ C h o r a l e S i ng s B a c h a n d F a ur é , ” Los Angeles Times, August 21, 1975.
245

a r e t h e r e s po n s i b i li t i e s o f M r . F l e i s c hm a nn … Na t u rally, I would like to see my
pe o pl e ge t a s m u c h wo r k a s p o s s i bl e … I t i s my o p i ni o n t h a t t h e cause of
celebrating the Bicentennial should involve an American chorus rather than a
foreign one. Also, the workshop to be held at USC is not in keeping with the
professional atmosphere we have tried to create h e r e …”

Ot h e r f a c t o r s h a v e a ppa r e n t l y a dd e d to W a g n e r ’ s di s gr u n t l e m e n t . He claims he
had to borrow $10,000 to get through the last Master Chorale season at the Music
Center, and that he has not yet received his own salary. He complains that no
official commitment has been made for his own participation at the Bowl next
summer beyond a query about a single mid-season program. And he admits
resentment about the fact that Raymond Leppard, a British Baroque specialist, has
been engaged to conduct the Fauré Requiem at the Bowl this summer. “ I h a v e c o n duc t e d t h e F a ur é 600 t i m e s , ” h e s a y s , “ a n d n o o n e kn o ws i t b e tt e r t h a n m e . ”

Expanding on the rather ominous reference in his initial statement regarding the
union, Wag n e r a dde d: “ I a m n o t pr e s i de n t o f t h e uni o n . But, in my opinion,
p i c ke t i n g i s a s t r o n g l i k e l i h o o d. ”
795

One can only imagine the secret glee of Bernheimer as he helped to fan the flames
between Fleischmann and Wagner at this time; it was well-known that the two men did
not see eye to eye on many issues and that the power struggle between them was a
coming to a head, although that took another eleven years, as discussed later in this study.
Meanwhile, the Roger Wagner Chorale opened the forty-fifth season of the
Claremont College music series at the Garden Theater in October of 1975.
796
In
November, Wagner conducted the US premiere and second performance ever of the
Roman Maciejewski Requiem (written between 1944-1959). In an article appearing in
late October, Daniel Cariaga interviewed both composer and conductor regarding the
upcoming performance of the two hour and twenty minute work. The composer claims in
t h e i n t e r vi e w t h a t “ m u s i c i s po i s o n ” to him. That he, a vegetarian and health-nut, smokes

795
Martin Bernheimer, “ H i s C r e a t i ve G e n u i s O ve r c a m e , ” Los Angeles Times, August 15, 1975.

796
Daniel Cariaga, “ M usi c a n d D a n c e N e w s, ” Los Angeles Times, August 31, 1975.
246

constantly and drinks coffee when he composes. It becomes clear in the article that he
really does not like the idea of music as a profession or career. He goes on to say that he
wo ul d c o n s i de r him s e l f “ m e n t a l ly d i s t ur b e d ” i f h e c o m po s e d da i ly . He claims in the
article that music and composition are poisonous to all who engage in them, citing that
B a c h “ dr a n k b e e r a l l t h e t i m e ; ” B r a hm s “ wa s a dr u n ka r d ; ” C h o p i n d i e d y o u n g “ be c a us e o f t h e s we e t s h e a t e ; ” a n d t h a t S i b e li us “ a t e t w o bi g c i ga r s a da y . ” Maciejewski stated
that he sleeps on a board with his head eight inches lower than his feet outside on his
deck at his Redondo Beach apartment every night —such insights give one pause as to the
idea that M a c i e j e w s k i ’ s predile c t i o n s we r e a ny m o r e “ sane ” t h a n t h e composers he
named—just different. Wagner had this to say:
Twelve years ago, this strange little man appeared on my doorstep. He may, or he
m a y n ot , h a v e m a d e a n a ppo i n t m e n t , I c a n ’ t r e m e m be r . He was accompanied by
another Polish gentleman, he was carrying a huge suitcase, and he told me his
name. I wanted to know what was in the suitcase. ‘ T h a t ’ s m y wo r k, ” he said. And
it was. It was a large and bulky score of his Requiem, and with it he had brought a
tape of the only performance it had ever had, three years before, in Warsaw. I
heard the tape and studied the score. It was overwhelming. There was no doubt in
my mind, then or now. It is a masterpiece.

A couple of years ago, I met Roman again, somewhere, and I thought, you know,
neither of us is getting any younger. I ’ m g oing to do that Requiem.
797

The cost of performing the piece turned out to be ten times the average cost of a Master
Chorale concert because of the expanded forces required; a chorus of 140 and an
orchestra of ninety. Cariaga reported that Seaver (widow of Frank Seaver) donated the
largest single amount of $10,000 to perform the work.
798

797
Daniel Cariaga, “ C om p o si ng D i st ur bs H i s C om po sur e , ” Los Angeles Times, October 26, 1975.

798
Ibid.
247

Bernheimer reviewed the work in early November, calling the Maciejewski
Requiem a “ m u s i c a l w hi t e e l e p h a n t . ” Suffice it to say that Bernheimer did not care for the
composition, but regarding the performance stated:
Wagner and his massive forces, reportedly totaling 235, began rather timidly, but
soon gave Maciejewski every benefit of devotion and virtuosity. They could not
make a long evening seem short, and they could not make sugar of saccharin. But
they did perform nobly.
799

The Music Center Opera Association presented a gala event celebrating the New
York City Opera Company in mid-November. Wagner attended the performance of La
Traviata, s t a t i n g to t h e r e por t e r , “ I brought m y s c o r e i n c a s e t h e c o n duc to r ge t s s i c k. ”
800

A fairly typical example of the thought process at work and perhaps one of the reasons he
was so successful —he was always thinking about the next career move he should make.
Robert Riley reviewed the annual Christmas concert referring to the chorale as the
“ m a g nif i c e n t e n s e m b l e ” u n de r t h e d i r e c t i o n o f R oge r W a g n e r . They paired with a
wo m e n’ s h a n d -bell choir and the California Boys Choir to sing works of Charpentier,
Handel, Bach, Pinkham, a n d W a g n e r ’ s o wn Christmas Story, narrated by William
Conrad, who also conducted the choir for the Hallelujah Chorus.
801
A few days later, the
Times announced that the American Ballet Theatre was planning a Stravinsky trio of
ballets , i nc l ud i ng t h e r e vi va l o f J e r o m e R o bbi ns ’ Les Noces, featuring the Roger Wagner

799
Martin Bernheimer, “ W a g ne r I n t r od uc e s Ma c i e j e w s ki , ” Los Angeles Times, November 3,
1975.

800
Jody Ja c o bs, “ G a l a G r e e t i ng f o r N Y C O , ” Los Angeles Times, November 14, 1975.

801
Robert R i l e y , “ Y ul e S pi r i t a t Mus i c C e n t e r , ” Los Angeles Times, December 15, 1975.

248

Chorale for February 1976.
802
The year closed out with the 1975 Beckmesser Awards, as
designated by the redoubtable Martin Bernheimer. W a g ne r wa s n a m e d a s t h e “ Eccentric
eclectic o f t h e y e a r ” f o r hi s pe r f o r m a nc e o f R o m a n M a c i e j e ws k i ’ s Requiem, which in the
wo r ds o f B e r nh e im e r , ga v e “ W a g n e r a n d f r i e n ds a k i t s c h s p e c t a c u l a r vi r t ua l ly w i t h o ut
modern parallel. ”
803

The Bicentennial year of 1976 opened for “Wagner and company ” with a review
in the LA Times of a program at the Ambassador Auditorium, which featured Aaron
Copland conducting his own music with the LA Master Chorale and Sinfonia Orchestra,
a n d W a g n e r “ c o n s p i c uo us ly c o m m ut i n g be t we e n th e wings and his front- r o w s e a t. ” Wagner also conducted two pieces on the program, and he and Copland co-conducted
C o pl a n d ’ s Old American Songs and Lalo Schi f r i n’ s Madrigals for the Space Age. But
Bernheimer stated that, “ t h e e v e ni ng b e l o n ge d t o P a u l C hi ha r a . ” The world premiere of
C hi ha r a ’ s Missa Carminum Brevis was given at the concert, although Bernheimer failed
to mention who actually conducted the work. Later it was revealed in an interview
previous to the review that it was Wagner who conducted the folksong-based mass.
804

J i mm y S t e wa r t n a r r a t e d C o pl a n d ’ s Preamble. Bernheimer found the co-conducting of
Wagner and Copland to be a distraction and found the Schifrin Madrigals t o b e “ n e a t , a tt r a c t i v e a n d s upe r f i c i a l . ” He a l s o c o m m e n t e d t h a t “ t h e s i n g i ng, vi r t ua l ly a ll ni g h t l o n g,
802
Martin Bernheimer, “ A B T P r om i s e s S t r a v i n s ky B i l l , Los Angeles Times, December 19, 1975.

803
Martin Bernheimer, “ T h e B e c km e ss e r A w a r d s o f 1975, ” Los Angeles Times, December 28,
1975.

804
Daniel Cariaga, “ C om p o s e r P a ul C h i h a r a , ” Los Angeles Times, January 15, 1976.

249

was virtuosic ” f r o m t h e c h o r a l e .
805
The program was repeated at the Dorothy Chandler
Pavilion.
B e r nh e im e r a l s o pe nn e d a n a r t i c l e r e ga r d i n g a “ d i s put e ” o v e r wh a t w as to be the
pr e m i e r e o f W il li a m K r a f t ’ s The Innocents on January 17 at the Music Center. According
to the Pulitzer Prize-winning writer, the semi-staged dramatic scene with a libretto by the
c o m po s e r ’ s w if e , B a r b a r a , for four vocal octets, four percussionists, harmonium, celeste
and chorus, and based on the witch trials at Salem, Massachusetts in 1692, was canceled
due to a disagreement over funding between Kraft and the chorale. The Krafts announced
“ w i t h pr o f o un d s o r r o w a n d di s a ppo i n t m e n t ” t h a t th e y h a d to wi t h dr a w “ due t o t h e f a i l ur e of the commissioner, Curtis Tamkin, and the members of the board of the Master Chorale
to support the commitment made by the general man a g e r F r a nc i s T h r e a dg il l t o ‘ t a ke c a r e o f c o py i ng a n d r e pr o duc t i o n . ’ ” The Master Chorale management retorted that the
pr e m i e r e wa s “ c a n c e l e d b e c a u s e o f i ns u f f i c i e n t pr e pa r a t i o n t i m e a n d e x t r a c o s t s i nv o l v e d
i n i t s pr e pa r a t i o n . ” Threadgill claimed that there was no advance estimate regarding
copying costs, which would have totaled more than $3,500.
806

T h e c o m po s e r s t a t e d t h a t t h e s c o r e wa s “ de li ve r e d to t h e c h o r a l e i n S e pt e m b e r , ” which would have given enough preparation time, and that the copying costs were more
in the arena of $1,972, not $3,500. Both parties agreed that there was no written
a gr e e m e n t b e t we e n t h e c o m po s e r a n d t h e c h o r a l e t o whi c h t h e c o m po s e r s a i d, “ w e a s ke d

805
Martin Bernheimer, “ A S t a r S pa n g l e r a t A m ba ss a d o r , ” Los Angeles Times, January 17, 1976.

806
Martin Bernheimer, “ D i sput e O ve r K r a f t P r e m i e r e , ” Los Angeles Times, January 2, 1976.

250

f o r o n e , b ut n o n e wa s f o r t h c o m i n g. ” T h r e a dg il l r e p li e d, “ W e h a v e hi g h r e ga r d f o r K r a f t ’ s wo r k , a n d h o pe t h a t i t c a n b e pe r f o r m e d by t h e c h o r a l e a t a l a t e r t i m e . ”
807

At the end of January, Wagner and the Los Angeles Master Chorale were featured
on KCET as part of the Great Performances series on PBS for Aaron Copland in
Performance.
808
Bernheimer reviewed Wagner on February 9 in a performance of
Ha d y n’ s The Creation at the music center with the Los Angeles Master Chorale, some
“ n o ns t e l l a r ” s o l o i s t s a n d a “ r e s h u f f l e d” S i nf o ni a Or c h e s t r a . Bernheimer found the
performance unsatisfactory although he stated that, “ o n e c a nn o t bl a m e t h e c h o r a l e . Even
in the mush, bass-deficient acoustical ambience of the Ambassador Auditorium, it
impressed with extraordinary fluidity of phrase, opulence of tone and breadth of
d y n a mi c s . ” Bernheimer found the soloi s t s a n d t h e c o n duc to r to b e “ l a c k i ng. ”
809
He went
on to say:
Roger Wagner is a choral technician with few peers. But he does not seem to
demand much beyond the right notes from his instrumentalists and he does not
probe very far in quest of poetry. His Creation proved essentially brisk, loud and
brusque. It was pleasant enough: but it lacked lyrical repose to set the thunderous
drama in proper relief. And it lacked pathos.
810

In mid-February, Wagner was in Minneapolis at the University of Minnesota,
conducting a 335- v o i c e c h o r us a n d o r c h e s t r a i n a pe r f o r m a n c e o f B e e t h o v e n’ s Missa

807
Ibid.

808
“ I n si de T V , ” Los Angeles Times, January 30, 1976.

809
Martin Bernheimer, “ W a g ne r C o nd uc t s “ T h e C r e a t i on , ” Los Angeles Times, February 9, 1976.

810
Ibid.

251

Solemnis.
811
At the end of the month, Wagner conducted UCLA ’s A Cappella Choir with
an instrumental ensemble in a bicentennial concert of American composers at
Schoenberg Hall.
812
Also at the end of February, the Roger Wagner Chorale sang
S tr a vi ns k y ’ s Les Noces in performance with the American Ballet Theater at the Dorothy
Chandler Pavilion. The review noted that, “ t h e i n t r i c a c i e s o f Les Noces suffered from
some tentative singing by the Roger Wagner Chorale, not to mention distortion through
amplification, the lusty, convoluted, quasi- r us t i c r i t ua l s o n c e a ga i n da z z l e d. ”
813

March of 1976 saw the death of the classical music executive who was
responsible for bringing not only the Roger Wagner Chorale to Capitol and then
Columbia Records, but also Laurindo Almeida, Leonard Pennario, the Hollywood Bowl
Symphony and Carmon Dragon. Robert E. Myers also directed the production of a
twenty-two-volume survey for Time- L if e I n c . c a l led “ T he S tor y o f Gr e a t M us i c ” whi c h f e a t ur e d t h e R o ge r W a g n e r C h o r a l e a n d wa s s a i d t o b e “ t h e b e s t -selling series of classical
r e c o r ds i n hi s t o r y . ”
814

Daniel Cariaga reviewed Wagner and the LA Master Chorale in the closing
concert of the twelfth season at the Music Center which presented Elijah.
The chorale has seldom sung with more purity of tone and richness of sound. If it
spit words out only very infrequently, the general lack of text understandability
was a less serious offense in this work than it might have been in one from

811
Daniel Cariaga, “ M usi c a n d D a n c e N e w s, ” Los Angeles Times, February 15, 1976.

812
“ C o l l e ge N o t e s, ” Los Angeles Times, February 22, 1976.

813
Martin Bernheimer, “ B a l l e t T h e a t e r C e l e br a t e s S t r a v i nsky , ” Los Angeles Times, February 25,
1976.

814
“ O bi t ua r y , C l a ss i c a l Mus i c Exe c ut i ve D i e s, ” Los Angeles Times, March 17, 1976.

252

another period. Balances were even, high-flying phrases were negotiated
effortlessly, and inner sections matched in thrust and mellowness the virtues of
the outer ones.
815

Cariaga did take to task the unnamed person or persons who put together the
printed program: “ t h e f i r s t -desk player of the cello obbligato went uncredited, an
undeserved ignominy —also uncredited in the program —which did list all forty-three
members of the board of directors of the Southern California Choral Music Assn. —were
the performer- m e m be r s o f t h e M a s t e r C h o r a l e a n d S i nf o ni a Or c h e s t r a . ”
816

April also saw the close of the Los Angeles Philharmonic ’ s 1975 -76 season with
Zubin Mehta conducting the Mahler Symphony No. 8, with the a combined chorus of 300
prepared by Roger Wagner joining the symphony for three back-to-back performances.
The choirs were: Los Angeles Master Chorale, California Boys Choir, the Irvine Master
Chorale, Los Angeles Chamber Singers, Metropolitan Festival Singers, and the
Collegiate Chorale. The soloists for the consecutive evening performances were Heather
Harper, Clarice Carson, Delcina Stevenson, Claudine Carlson, Nina Hinson, Seth
McCoy, Douglas Lawrence, and Simon Estes:
817
Cariaga noted that the Philharmonic had
played at that point in history the Mahler Eighth only one other time, in 1948 with
Eugene Ormandy conducting a single performance at the Hollywood Bowl. B e r nh e im e r ’ s review on May 1 was equal parts explanation of why the Mahler Eighth is a bit more than
necessary as a work mixed with explaining the def i c i e n c i e s o f “ r o m a n t i c t r a f f i c -cop

815
Daniel Cariaga, “ LA M a st e r C h o r a l e S i ng s El i j a h , ” Los Angeles Times, April 13, 1976.

816
Ibid.

817
Daniel Cariaga, “ M usi c a n d D a n c e N e w s, ” Los Angeles Times, April 25, 1976.

253

c o n duc to r s , ” a n d t h e a c o us t i c s o f t h e P a vil i o n , whic h wa s de s i g ne d f o r “ n o r m a l performing resources, not swollen musical aberrations.” He also said that, “ t h e m a s s i ve choral forces —prepared by (who else?) Roger Wagner —sang with dauntless
de d i c a t i o n . ”
818

About a month later in May, Wagner supplied members of the Los Angeles
Master Chorale, Roger Wagner Chorale and UCLA A Cappella Choir to join Mehli
Mehta and the American Youth Symphony at Royce Hall in a performance of the Mahler
Second Symphony, which met with a hopeful, but unconvinced review from Martin
Bernheimer.
R o ge r W a gn e r ’ s va gue ly i de n t i f i e d c h o r us —it apparently enlisted members of the
Roger Wagner Chorale, the Los Angeles Master Chorale, and the UCLA A
Cappella Choir —managed the soft utterances magnificently, the loud ones with
less fervor than one expected.
819

B e r nh e im e r wa s e v e n l e s s a f a n o f t hi s pe r f o r m a n c e t h a n h e wa s o f Z u bi n M e h t a ’ s ( M e hli ’ s s o n ) pe r f o r m a nc e o f t h e Eighth in the previous month, although he could not
resist a reference to the “ u nf o r t un a t e M a hl e r 8 l a s t m o n t h ” i n hi s r e vi e w.
820

At the end of May, the Los Angeles Unified School District sponsored a
“ B i c e n t e nni a l P a g e a n t ” a t t h e L o s A n ge l e s M e m o r i a l C o l i s e u m w hi c h f e a t ur e d a “ n u m be r o f we ll -known e n t e r t a i n e r s a n d c e l e b r i t i e s . ” This list included Sandy Duncan,
Jim Backus, Robbie Rist, Arte Johnson, Gloria Loring, astronauts James Irwin and
Gordon Cooper, Roy Rogers & Dale Evans, Evel Knievel, KC and The Sunshine Band,

818
Martin Bernheimer, “ Me h t a C o nd uc t s Ma h l e r Eigh t h , ” Los Angeles Times, May 1, 1976..

819
Martin Bernheimer, “ Me hl i Me h t a Le a d s Ma h l e r S e c ond , ” Los Angeles Times, May 11, 1976.

820
Ibid.
254

Mark Spitz, and Meredith Willson. In the midst of all of that, the city announced that
“ f a m o us ” L A USD a l u m n i wo u l d a l s o a ppe a r , i n c l u d i n g US District Judge Manuale Real,
District Court of Appeals Justice Bernard Jefferson, U.S. District Judge Harry Pregerson,
composer Herb Alpert, choral director Roger Wagner, move director Frank Capra, Mayor
Tom Bradley scientist William Corcoran, astronaut Walter Cunningham, and designer
Edith Head. The announcement did not mention what Wagner and the other LAUSD
alumni were to contribute to the celebration.
821

In a review of an Americana concert presented by Wagner and the Roger Wagner
Chorale at El Camino College in June, Albert Goldberg opened with a quote from
W a g ne r , “ W e ’ ve a l l h a d o ur f il l o f t h e B i c e n t e nni a l , ” s a i d R o ge r W a gn e r a t t h e E l Camino College Saturday night, and then proceeded to lead the fifty singers of his
c h o r a l e t h r o ugh a pr o gr a m t i t l e d, “ A S a l ut e to t h e Am e r i c a n B i c e n t e nni a l . ” \Goldberg
reported that the event was to help pay the costs of the group traveling to Israel to
represent the United States a t I s r a e l ’ s c e r e m o ni a l o b s e r v a nc e o f t h e American
Bicentennial. The program (which was reported as being the same for the upcoming
Israel adventure) included Stephen Foster, George Gershwin, Aaron Copland, Gail
Kubik,, and some sea chanteys arranged by Wagner in addition to his cowboy medley for
m e n’ s v o i c e s . Goldberg s t a t e d t h a t “ e n t e r t a i nm e n t ” s e e m e d to b e t h e m a i n o bj e c t i v e and
h e a l s o pr a i s e d R o b e r t Hun t e r f o r hi s “ t a c t f u l wo r k a t t h e p i a n o . ”
822

821
“ C e l e br i t i e s W i l l A pp e a r i n B i c e n t e nni a l P a g e a n t , ” Los Angeles Times, May 24, 1976.

822
Albert Goldberg, “ A l l-Americana by W a g ne r C ho r a l e , ” Los Angeles Times, June 7, 1976.
255

Bernheimer mentioned in a sub-section re po r t e n t i t l e d “ Do -It-Yourself
Requiems, ” that Robert Shaw would be conducting first the Verdi, then the Berlioz
Requiem at the Hollywood Bowl i n J u ly a n d t h a t i n b o t h c a s e s , t h e “ c r uc i a l c h o r a l dut i e s will fall, not to the Roger Wagner Chorale or its alter ego, the Los Angeles Master
Chorale; not to an established visiting organization such as the Scottish National Chorus;
but to an ad hoc assembly of nonprofessionals labeled the USC National Workshop
Chorale. ” He we n t o n to s a y t h a t a ny o n e w il l i ng t o s i g n up and pay to sing would be
a c c e pt e d to “ pa r t a ke o f t h e g l a m o r a n d e x c i t e m e n t o f s i n g i ng a t t h e B o wl . ” It was a non-
auditioned chorus and that there were no formal requirements – and Bernheimer said that
a Uni ve r s i t y s po ke s m a n a s s ur e d him t h a t “ whil e t he r e were no formal requirements for
admission, he was certain, however, that the ensemble would somehow reflect the
customary balance of sopranos, altos, tenors and basses, and that the quality would be
hi g h . ” Bernheimer went on to observe that despite Shaw ’ s c h o r a l r e put a t i o n f o r wor ki n g
“ c h o r a l m i r a c l e s , ” i t s h o u l d b e n o t e d t h a t t h e “ n o ve l a r r a n ge m e n t ” wa s ga r n e r i ng
choruses for two major works for free while USC was collecting tuition from 150-200
singing students. He c l o s e d t h e a r t i c l e o u t by s a yi n g, “ I f the performances turn out well,
everyone will benefit – except, of course, the underemployed, underpaid professional
choristers of Los Angeles. ”
823

Bernheimer was most certainly fanning the fire already aflame between Ernest
Fleischmann and Roger Wagner; but his point regarding the “underemployed and
underpaid professional singers, ” and the fact that USC was gaining quite a tidy sum in

823
Martin Bernheimer, “ D o-it- yo ur se l f R e q ui e m s, ” Los Angeles Times, July 30, 1976.

256

tuition were pertinent comments upon a situation that caused upheaval between the music
center operating companies that were intended to perform together.
With August came the Israel Festival in Tel Aviv that featured the Roger Wagner
Chorale singing a program marking the American Bicentennial. The program included
Gershwin, Copland, Kubik, and F o s t e r i n a dd i t i o n to W a g n e r ’ s arrangements. The
chorale also traveled to Caesarea to sing the world premiere of Jerusalem by M. Seter
a l o n g w i t h a pe r f o r m a n c e o f M o z a r t ’ s Davidde Penitente conducted by Gary Bertini.
824

T h e c h o r a l e a l s o s a n g E l i n o r R e mi c k W a r r e n’ s Abram in Egypt, along with songs of
Charles Ives and Barber. Wagner took forty-four singers with him to Israel.
825
It was also
later reported that Wagner would conduct not only in Tel Aviv but also Jerusalem in
addition to performing in the 2,000 year-old amphitheater of King Herod in Caesarea.
826

A very interesting letter-to-the-Editor appeared in the Times in September from
Ruben R. Lastra Jr. of Los Angeles, who was incredibly annoyed by some singers from
the Roger Wagner Chorale at a July Bowl concert:
Recently, the most disrespectful [Hollywood Bowl] annoyance was caused by a
group of performers. During the intermission of the all-Prokofiev program (July
22), members of the Roger Wagner Chorale began filtering into the audience
(having completed their participation). A group of four seated themselves about
five rows behind me. Let it suffice to say that the concert could not be heard as a
result of their childish giggles, laughter and incessant chatter. While they charmed
each other with jokes and conversation, the rest of us moved. Had we not moved,
Wagner would be minus four voices now (one soprano, two tenors and one bass),
as I was on the verge of taking drastic action.

824
Daniel Cariaga, “ M usi c a n d D a n c e N e w s, ” Los Angeles Times, March 28, 1976.

825
Daniel Cariaga, “ A S a m pl i ng of S um m e r E v e n t s, ” Los Angeles Times, May 23, 1976.

826
Daniel Cariaga, “ O r m a ndy R e t ur n s t o H ol l yw ood B ow l , ” Los Angeles Times, July 11, 1976.

257

If this is the kind of behavior we get from performers (who should know better),
what can be expected from the public at large? Roger Wagner, are you
listening?
827

The timing of the letter and of the concert within which the inciting incident took place is
of great interest —July 1976 of course was the month in which the Scottish National
Chorus was appearing in the Bowl for the American Bicentennial celebrations, and just
before t h e S h a w “ a d -hoc chorale, ” a s B e r nh e im e r dubb e d i t , wa s a b o ut to pe r f o r m i n s t e a d
of the chorale. It does lead one to wonder if this was a type of retribution from the singers
upon the Philharmonic for the snub or of it was simply poor behavior. In either case, it
backfired in that it served Ernest Fleischmann for such a letter to appear in the Times at
that moment.
Daniel Cariaga reported in September that the Los Angeles Master Chorale
s e a s o n wo u l d c o m m e nc e w i t h t h e W e s t C o a s t p r e mi e r e o f Ga il K u bi k ’ s A Record of our
Time on a program that would also include Brahms Alto Rhapsody a n d K o da l y ’ s Psalmus
Hungaricus. The five-concert series would also feature two Christmas concerts, a
program of a cappella music in January, a single performance o f B e e t h o v e n’ s Missa
Solemnis c o n duc t e d by Al f r e d W a ll e n s t e i n , a n d t wo pe r f o r m a n c e s o f Ha n d e l ’ s Messiah.
828

In October, W i ll i a m K r a f t ’ s The Innocents: The Witch Trial at Salem received its
delayed premiere, but not by Roger Wagner and company following their financial
dispute. William Kraft conducted the Neighborhood Chorus and the LA Percussion

827
Ruben R. L a st r a J r . , “ W a g ne r T o ng u e - W a gge r s, ” Los Angeles Times, September 12, 1976.

828
Daniel Cariaga, “ N e w S e a son s A nno u n c e d , ” Los Angeles Times, September 19, 1976.

258

Ensemble as part of the International Society of Contemporary Music series at the
Ambassador Auditorium.
829

In an October interview with Gail Kubik regarding the west coast premiere of his
work A Record of Our Time
830
by Roger Wagner and the Los Angeles Master Chorale,
Daniel Cariaga reported that K ubi k, wh o c o n s i de r e d hi m s e l f a “ c o m po s e r o f r e l a t i v e ly conservative ori e n t a t i o n ” a d m i t t e d t h a t hi s n e w wo r k wa s c o n s i de r e d “ c o n t r o v e r s i a l i n some quarters . ” The seven-part work , a c c o r di n g to t h e c o m po s e r wa s a “ pr o t e s t pi e c e ” summing up his personal feelings about contemporary Western civilization. In one
m o v e m e n t e n t i t l e d “ T h e Ha t e M a c hi ne , ” t h e c h o r us wa s a s ke d to r e c i t e a l o n g a n d
terrifying list of war slogans. B ut t h e wo r k d o e s e n d o n a “ po s i t i v e n o t e ” o f “ f a i t h , h o pe a n d c h a r i t y . ”
831

Wagner conducted the premiere performance with 120 voices of the LA Master
Chorale and the Sinfonia Orchestra, with Claudine Carlson as the soloist for the final
section; the program also featured Carlson as the alto in the Brahms Alto Rhapsody.
832

The 1976-77 season opened to a review by Albert Goldberg of the Kubik
premiere at the Dorothy Chandler Pavilion. T h e t e x t o f K u bi k’ s wo r k wa s a s s e m b led by
Harvey Swados from unrelated sources including Mark Twain, the Book of Isaiah,
William Butler, Vanzetti, John Jay Chapman, war slogans and other musical quotations.

829
“ K r a f t ’ s The Innocents W i l l P r e m i e r e Mond a y , ” Los Angeles Times, October 15, 1976.

830
The Kubik work was commissioned by Kansas State University in 1970 for the opening of a
new performance hall on their campus.

831
D a n i e l C a r i a g a , “ K ubi k ’ s R e c o r d t o P r e m i e r e , ” Los Angeles Times, October 24, 1976.

832
Ibid.
259

In his review, Goldberg notes that the chorus sings and recites and that the narrator,
R o s c o e L e e B r o wn e , wa s a m p l if i e d “ b e y o n d a l l r e a s o n . ” Goldberg admitted that morally
t h e wor k wa s “ b e y o n d d i s put e : t h a t ’ s h o w i t wa s a n d i s , ” a n d t h a t a ny “ s e n s i t i ve l i s t e n e r ” wo ul d ha v e to “ wr i t h e i n a n gu i s h ” at the r e c o l l e c t i o n o f s o m a ny “ s i ns a ga i ns t m a n k i nd. ”
He a l s o s t a t e d t h a t t h e “ wo r k f a ll s a f o u l o f i t s n o ble i n t e n t i o ns ” musically. Goldberg felt
t h a t i t wa s a dr a m a t i c t h e a t r e pi e c e a s o ppo s e d to a “ c o nvi nc i ng m u s i c a l s t a t e m e n t . ”
Suffice it to say, he did not care for the work; he did, however, praise the “ gr a n d i o s e ” performance, saying that, “ W a g n e r c o n duc t e d a s i f h e we r e e n t r us t e d wi t h t h e v e r i e s t masterpiece, and his choristers and instrumentalists responded with indefatigable energy
and en t h us i a s m . ” He loved the Brahms, and the Kodaly a little less although he thought it
wa s “ t he a t r i c a l ly we ll c o n c e i ve d. ”
833

In November, the Master Chorale had a gala performance which featured a dinner
a t P e r i n o ’ s pr i o r to t h e c o n c e r t a t t h e P a vi li o n . Jody Jacobs in her society page reported
t h a t W a g n e r “ c o ul d o nly t a r r y l o n g e n o ugh a t P e r i n o ’ s f o r a b o wl o f s o up . But his Master
C h o r a l e wa s a t t h e M us i c C e n t e r wa i t i n g f o r hi m . ” She reported that Geraldine Healy, Z.
Wayne Griffin, and Doyle Phillips (general manager at the time of LAMC) were not only
a t P e r i n o ’ s b ut a l s o a t t h e United Hostesses Oriental gala for the chorale following the
concert. She also mentioned that “Mrs. Paul Salamunovich whose husband is second
music director of the chorale ” was also in attendance. The title she bestowed upon
Salamunovich was of course erroneous as he was assistant conductor at the time.
834

833
Albert Goldberg, “ M a st e r C h o r a l e O p e n s S e a son , ” Los Angeles Times, November 1, 1976.

834
Jody Ja c o bs, “ A T o uc h o f V i e nn a f o r P a v i l i on , ” Los Angeles Times, November 3, 1976.
260

Following the gala concert, Wagner embarked with thirty voices of the Roger
Wagner Chorale on an eighteen-concert western United States tour which launched in
Scottsdale, Arizona.
835
In December, Wagner and the LA Master Chorale presented a
Christmas program in the Music Center back-to-back, featuring not only the chorale, but
also the California Boys Choir, the Handbell Choir of the Neighborhood Church of Palos
Verdes in music of Victoria, Bach, Holst, Britten, and Handel. The concert also featured
Nancy Mehta
836
as the narrator for W a g n e r ’ s Christmas Story.
837

The Beckmesser Awards of 1976, written by Martin Bernheimer, named Roger
Wagner in t h e “ D i s c o ve r i e s ” s e c t i o n f o r t h e L o s An ge l e s C o m po s e r o f t h e Ye a r a wa r d f o r “ f i nd i ng” P a u l C hi ha r a ’ s Missa Carminum Brevis:
The superprolific Paul Chihara, who writes good film music, good tree music and
perhaps best of all, good whimsical music (e.g., Missa Carminum as introduced to
us by Roger Wagner and friends.) was the toast of the evening.
838

In January of 1977, the LA Master Chorale announced that it would present the
U.S. pr e m i e r e o f He n r i L a z a r o f ’ s Canti at an end of January concert that also offered
Vaughan Williams, Ginastera, Schoenberg, Victoria, Gabrieli, and Lassus.
839
The Master

835
Daniel Cariaga, “ M usi c a n d D a n c e N e w s, ” Los Angeles Times, November 28, 1976.

836
Née Nancy Kovack, an actress from 1959-1976, married Mehta in 1969 and are still married.
His first wife, Carmen Lasky (1958- 1964) pr o d uc e d Zu bi n ’ s t w o c h i l dren, Mervon and Zarina
(named after brother Zarin). C a r m e n m a r r i e d Zubin’ s br o t he r Za r i n t w o ye a r s a f t e r he r d i vo r c e t o Zubin.

837
“ W a g ne r , Ma s t e r C h o r a l e i n P a v i l i on C h r i st m a s P r o g r a m , ” Los Angeles Times, December 10,
1976.

838
Martin Bernheimer, “ T h e B e c k m e ss e r A w a r d s o f 1976, ” Los Angeles Times, December 26,
1976.

839
“ C a n t i t o H a v e U S P r e m i e r e , ” Los Angeles Times, January 27, 1977.
261

Chorale also performed with James Levine and the Los Angeles Philharmonic i n B e r li o z ’ Romeo et Juliette at the end of January. In his review, Bernheimer suggested that the
a ud i e n c e wa s s m a ll i n n u m be r pe r h a ps b e c a u s e “ t he y we r e s t i l l r e e li ng f r o m t h e c u l t ur a l s h o c k o f t h e i r e n c o un t e r wi t h J o hn C a ge ” a f e w we e ks pr i o r ; or , perhaps because the
“ l o c a l aficionados preferred not to jostle memories of the Roger Wagner Romeo of a
de c a de a go , o r o f L e vi n’ s Ho l ly wo o d b o wl v e r s i o n i n 1972 , o r t h a t t h e “ m a s s e s c o ul d n’ t resist the lurid television lure of Roots. ” He i nf o r med t h e “ m a s s e s ” t h a t t h e y mi s s e d a “ vi t a l e v e ni ng o f gr a n d i o s e , b r a v ur a m us i c - m a k i ng . ”
840

Bernheimer went on t o s a y t h a t “ L e vi ne a c c e n t ua t e s t h e positives (of the
c o m po s i t i o n ) a n d m i n im i z e s t h e ne ga t i ve s . ” He praised the soloists, Delia Wallis,
Michael Sells, a n d J o s e Va n Da m , a n d s a i d t h a t t h e “ L o s An g e l e s M a s t e r C h o r a l e provided strong support —even though the singers responded directly to Levine. In 1972,
f o r s o m e bi z a r r e r e a s o n , R o ge r W a g n e r h a d i n t e r ve n e d t o r e l a y t h e c o n duc to r ’ s b e a t to hi s c h a r ge s . ”
841

Al be r t G o l d b e r g r e vi e we d t h e c h o r a l e ’ s o wn a c a ppe l l a c o n c e r t that was
sandwiched in between performances of Romeo et Juliette with Levine —two Romeos
T h ur s da y a n d F r i d a y , t h e c h o r a l e ’ s o wn c o n c e r t o n S a t u arday night and the final Romeo

840
Martin Bernheimer, “ Le vi ne C ond uc t s B e r l i o z ’ s Romeo, ” Los Angeles Times, January 29,
1977.

841
Ibid.

262

on Sunday. He a c k n o w l e dge d t h a t “ s o m e s i g ns o f we a r i n e s s a t i t s c o n c e r t o f a c a ppe l l a m us i c ” m i g h t h a ve b e e n i n o r de r , b ut t h a t “ n o t hi n g o f t h e k i n d o c c ur r e d. ”
842

The group was in the pink of condition throughout a long and taxing program.
These are professionals who know how to rise to an occasion, and they seemed to
be of one mind about not letting down either their large public or their conductor,
Roger Wagner, on whom the final responsibility rested.
843

T h e n o v e l t y o f t h e e v e ni ng wa s t h e Am e r i c a n pr e mi e r e o f He n r i L a z a r o f f ’ s Canti,
written in 1971 and dedicated to Wagner and the Master Chorale. It is easier to
describe what happened than to explain what the piece is about. The multilingual
text by the composer seemed mainly to consist of meaningless gibberish,
projected by conventional singing, spoken declamation, whisperings, mutterings,
and confidential conversations, all punctuated by frequent foot stomping. It was
entertaining in an outré manner but it was not terribly original. Schoenberg,
Krenek, Penderecki and others have tilled the same territory before. More
remarkable than the bizarre effects were the absolute surety and precision with
which the chorus negotiated them, and the control that the conductor exerted over
the happenings. That took quite a bit of doing. B ut t h e c o n duc tor ’ s a po l o ge t i c r e m a r ks a t t h e e n d o f t h e c o n c e r t we r e m i s gu i d e d; i t wa s n’ t a l l t h a t i m po r t a n t .
844

T h e b a l a nc e o f t h e r e pe r to i r e o n t h e c o n c e r t wa s S c h o e nbe r g’ s Friede auf Erden, which
Go l d b e r g s a i d “ s o un de d o l d - f a s hi o ne d” f o l l o w i ng t h e L a z a r o f ; G i na s t e r a ’ s Lamentaciones de Jeremias Propheta , Va ugh a n W il li a m s ’ Mass in G Minor, and a few
motets of Victoria, Gabrieli and Handl and three secular songs in French by Lassus and
Passereau. Go l d b e r g a l s o e s pe c i a l ly li ke d t h e Va ugh a n W il l i a m s , s a y i ng, “ l o n g a R o ge r Wagner specialty, again performed with moving affection and exquisite blend of melting
h a r m o ni e s . ”
845

842
Albert Goldberg, “ LA Ma st e r C h o r a l e i n C on c e r t , ” Los Angeles Times, January 31, 1977.

843
Ibid.

844
Ibid.

845
Ibid.

263

In March, Wallenstein, who had not conducted in Los Angeles since 1969,
returned to conduct the Los Angeles Master Chorale and Sinfonia Orchestra for
B e e t h o v e n ’ s Missa Solemnis. Wallenstein was the conductor who first performed the
work in Los Angeles with the Philharmonic and the Roger Wagner Chorale in 1961,
repeating it subsequently several times in the Hollywood Bowl during his tenure as music
director of the philharmonic. Goldberg muses in his review that because of Wallenstein,
Los Angeles had heard the work fairly frequently —Wagner himself performed the work
several times.
I n hi s r e vi e w, Go l d b e r g s t a t e s t h a t W a l l e ns t e i n’ s in t e r pr e t a t i o n o f t h e s c o r e wa s “ f a i t hf u l ” a n d r e a li z e d w i t h “ c l e a r o bj e c t i vi t y , ” a nd t h a t t h e dr a m a wa s n e ve r “ s li g h t e d. ”
The chorus, Goldberg reported, was prepared on this occasion by Paul Salamunovich and
t h e r e vi e we r f o un d i t to b e “ ge n e r a ll y s o l i d a n d r e l iabl e i n t h e c o n t r a pun t a l c o m p l e xi t i e s t h o ugh t h e hi g h r a n ge o c c a s i o n a ll y t oo k i t s to l l o f th e s o pr a n o s . ” And as was almost
always the case with the Sinfonia Orchestra through the Wagner years at the Music
C e n t e r , r e vi e we r s a l m o s t n e v e r f a il e d t o r e m i nd us t h a t i t wa s a “ p i c k - up” o r c h e s t r a ,
causing cohesiveness and quality to be slighted. He did point out that concertmistress
D o r ot hy W a d e ’ s
846
playing of the solo in the Benedictus was the exception and was very
“ s e n s i t i ve . ”
847

846
Dorothy Wade (1923-2007) was a well-known violinist in Los Angeles who played on
virtually every studio call from film (ET, Indiana Jones, etc.) to television (i.e., LA Law) to
a l bu m s l i ke N a t a l i e C ol e ’ s Unforgettable to the Beach Boys. She also played in the Los Angeles
Philharmonic and was often concertmistress in the Sinfonia Orchestra.

847
Albert Goldberg, “ W a l l e n st e i n L e a d s L A C h o r a l e , ” Los Angeles Times, March 14, 1977.
264

One of the most important points of the review historically, is to note that even
Wallenstein, wh o wa s a n a c k n o w l e dge d e x pe r t i n n o t o nl y B e e t h o ve n ’ s r e pe r to ire, but
certainly as an experienced and exceptional orchestral conductor, could not bring a
quality to the playing of the Sinfonia Orchestra of which a reviewer of the Times
approved. I t i s im po r t a n t b e c a us e i t wa s a po i n t o f c o n s t a n t m e n t i o n i n W a g n e r ’ s reviews
a s a “ we a k ne s s ” o f hi s o wn c o n duc t i n g t h a t h e c o u l d n o t ge t t h e o r c h e s t r a to pl a y consistently and cohesively; perhaps it wa s n’ t s o m uc h t h e c o n duc to r , especially since
both Wallenstein and Shaw also received less than stellar mentions in regard to the
orchestral playing when they were guests. It is hardly fair to judge the Sinfonia Orchestra
with the same measure as the Los Angeles Philharmonic or the chorale itself; groups that
play together on a regular basis as a unit.
848

W a g ne r c o n duc t e d Ha n de l ’ s Messiah in April at the Music Center with the
chorale, although the review stated that, “ de s p i t e th e s p l e n d i d s i ng i ng o f b o t h t h e c h o r us and soloists, uneven conducting, lackluster orchestral playing and inconsistent stylistic
decisions made the performa n c e o nly a n i n t e r m i t t e n t s uc c e s s . ” Ara Guzelimian (currently
the Provost and Dean of the Julliard School) went on to say in his review that while
W a g ne r c h o s e “ a pe r f o r m i ng e d i t i o n b a s e d o n o n e pr e pa r e d by B r i t i s h s c h o l a r B a s il L a m , which attempts to recre a t e t h e pe r f o r m a nc e a s c l o s e to Ha n de l ’ s ” a s po s s i bl e , was
a d m i r a bl e b ut t h e “ h a p h a z a r d” a pp li c a t i o n o f i t was not. He did not care for the

848
This is still the policy today, the orchestra for the Los Angeles Master Chorale is essentially a
group of players contracted for a particular concert, given one preparation rehearsal of their own
plus the tutti and dress to get used to each other and understand the music, and not an orchestra
that plays together on a regular basis.
265

ornaments chosen nor the fact that Wagner used a chorus of 40 for smaller choruses but
then an augmented group of 100 for the larger ones.
He also said that, “ W a g ne r ’ s c o n duc t i n g va r i e d dr a s t i c a l ly f r o m m o ve m e n t to
m o v e m e n t , ” a n d t h a t t h e f a s t e r movements were better than the slower ones. He did say
that, “ f e w c h o r us e s c a n m a t c h W a g n e r ’ s in articulating those endless runs with such
precision and still make them seem so effortless. ” He noted that the chorale brought
m uc h “ po we r ” to t h e l a r ge r c h o r us e s b ut t h a t t h e Hallelujah c h o r us wa s “ j o y l e s s . ” And
like all reviewers, he took apart the playing of the orchestra pointing out that it had
“ e ns e m b l e pr o bl e m s . ”
849

Eight voices from the Roger Wagner Chorale sang the Brahms Liebeslieder
Waltzes on a Los Angeles Philharmonic Chamber Group performance at the Mark Taper
at the end of April. Ara Guzelimian in his review said:
The show was stolen by the crisp and lilting piano duet playing of Zita Carno and
Calvin Simmons. The Roger Wagner Chorale Vocal Ensemble of eight voices
found it difficult to meet the competition; the quality of their voices was not
particularly engaging and the men were weak and timid, the rhythms sluggish and
only occasionally could the English be understood.
850

The 1977 Bowl Season was announced in early May, stating that it would open
with Erich Leinsdorf conducting M a hl e r ’ s Symphony No. 8, featuring the Los Angeles
Master Chorale , C a l if o r ni a B o y s C h o i r a n d t h e USC Na t i o n a l W o r ks h o p C h o r a l e ( S ha w’ s summer choir that Fleischmann began using in 1976) with Delcina Stevenson, Florence

849
Ara Guzelimian, “ W a g ne r C on d u c t s H a n de l M e ss i a h , ” Los Angeles Times, April 11, 1977.

850
Ara G uz e l i m i a n , “ P h i l h a r m o ni c C h a m b e r G r o up a t Ta pe r , ” Los Angeles Times, April 27,
1977.

266

Quivar, Seth McCoy, Doug Lawrence and Paul Plishka. It was also announced that Shaw
and his workshop choir, with Shaw on the podium, would perform on the preseason
“ B a c h F e s t i v a l ” pe r f o r m i ng t h e St. Matthew Passion. However, the LA Master Chorale
wa s to a l s o s i n g B e e t h o v e n’ s Ninth with Eugene Ormandy, and the Roger Wagner
Chorale wou l d a ppe a r w i t h E t h e l M e r m a n f o r J o h nny Gr e e n ’ s “ M us i c a l s N i g h t . ”
851

The Roger Wagner Chorale along with the UCLA A Cappella Choir and the
UCLA Brass Quintet appeared with the UCLA Dance Company at Pauley Pavilion in a
s pe c i a l pe r f o r m a nc e o f He n r i L a z a r o f ’ s Canti in May of 1977. Lazarof was serving as
composer-in-residence at the time. (He went on to teach composition at UCLA and is
now Professor Emeritus at the school). The pe r f o r m a n c e wa s c o n duc t e d by W a g n e r ’ s daughter Jeannine,
852
while Wagner was on a national tour.
The Master Chorale ’ s 1977 -78 season was announced in July, and promised to
i nc l ude a wo r l d pr e m i e r e pe r f o r m a n c e o f L i o n e l G r e e nb e r g’ s ( I s r a e l i c o m po s e r ) o r a tor i o Masada (1970) featuring Marvellee Cariaga,
853
Enrico di Giuseppe and Ezio Flagello;
Damnation of Faust by Berlioz with Maureen Forrester, Harry Theyard and Paul Plishka;
a C h r i s t m a s c o n c e r t w i t h R h o n da F l e mi ng a s n a r r a to r ; B r i t t e n ’ s Cantata Misericordium;
S tr a vi ns k y ’ s Les Noces and M o z a r t ’ s Requiem conducted by Wagner and daughter
Jeannine with soloists Lynn Cole-Adcock, Sheila Antoine, Jonathan Mack and Doug

851
“ P h i l h a r m on i c B ow l S e a son S e t , ” Los Angeles Times, May 7, 1977.

852
Daniel Cariaga, “ U C LA D a n c e r s i n P a ul e y P a v i l i on , ” Los Angeles Times, May 15, 1977.

853
Marvellee Caraiga sang for many years with Los Angeles Opera in secondary and tertiary
roles as a mezzo-soprano, and is married to critic Daniel Cariaga.

267

Lawrence; Bach Mass in B Minor conducted by guest conductor Richard Westenberg
with Mary Rawcliffe, Beverly Wolff, Byron Wright, and Raeder Anderson; and the
season finale concert with Wagner conducting, featuring folk singer Burl Ives.
854

Following the Bowl season, Wagner conducted a concert with the Roger Wagner
C h o r a l e a s pa r t o f t h e E l S e gu n do C i t y R e c r e a t i o n De pa r t m e n t ’ s C o n c e r t i n t h e P a r k
series, performed in Library Park.
855
The Master Chorale season opened in early
November with Damnation of Faust at the Pavilion. Go l d b e r g’ s r e vi e w s ugg e s t e d t h a t Wagner purposefully programmed Damnation as a prelude to an opera season in Los
An ge l e s t h a t wa s f e a t ur i n g B o i t o ’ s Mefistofele, and Goldberg determined that such
pr o g r a m mi ng “ s e r v e d h a n ds o m e ly . ”
In the sense that it involved dramatic impact, the treatment Roger Wagner and his
f o r c e s e x t e n de d to B e r l i o z ’ m a s t e r pi e c e c o u l d w i t ho u t de r o ga t i o n b e de s c r i be d a s operatic. There was no dilly-dallying; it was paced swiftly and coherently, and so
l o g i c a ll y t h a t i t de f t l y e va de d t h e c o m po s e r ’ s f r e qu e n t l a c k o f l o g i c . And it was
ever mindful of those contrasts, both built in and implied, that are the lifeblood of
vivid performance.

Whether it was seraphically intoning an Easter hymn, indulging in the
boisterousness of soldiers and students or ticking off the gibberish of
pandemonium, the chorus sang with compelling virtuosity of tone and precision.
Since opera houses rarely boast such a group, one could be thankful Berlioz did
not designate his work an opera.

While the Sinfonia Orchestra could not scale equal heights of virtuosity, it
n e v e r t h e l e s s ga v e a hi g hly r e s pe c t a bl e a c c o un t i n g o f B e r l i o z ’ da z z li ng s c o r e .
856

854
Leonard Feather, “ Ma s t e r C h o r a l e t o P r e m i e r e L i o ne l G r e e n b e r g’ s Ma s a d a , ” Los Angeles
Times, July 15, 1977.

855
“ R o ge r W a gne r C h o r a l e C on c e r t , ” Los Angeles Times, September 1, 1977.

856
Albert Goldberg, “ Lo s A n ge l e s Ma st e r C h o r a l e O p e n s S e a son w i t h D a m n a t i on o f F a ust , ” Los
Angeles Times, November 14, 1977.

268

The balance of the review discussed the soloists; he liked Plishka and Lawrence, not as
much Beverly Wolff, who substituted for Maureen Forrester. He also noted that the
performance was sung in French.
857

In a Hollywood Bowl concert in November that featured Zubin Mehta and the
Los Angeles Philharmonic playing Strauss, Holst, a n d J o hn W il li a m s ’ r e c e n t hi t s c o r e from Star Wars, the women of the Roger Wagner Chorale supplied the voices for The
Planets, the reviewer referred to t h e m a s “ f l o a t i n g ” a n d “ po l i s he d. ” The concert was
e n t i t l e d “ M u s i c F r o m Out e r S pa c e , ” a n d a l s o f e a t u r e d s o m e o f E r n e s t F l e i s c hm a nn’ s additions to the Bowl: fireworks, laser light shows, and an expanded amplification
system. The reviewer, Lewis Segal, was not impressed with the histrionics of either the
techno show, the amplification, nor the opening of the concert, which was actor William
Shatner
858
reciting Whales Weep Not by D.H. Lawrence and War of the Worlds excerpts
by H.G. Wells.
859

In mid-December, Wagner conducted the Master Chorale in three performances
of their annual Christmas concert at the Pavilion, featuring Rhonda Fleming narrating
W a g ne r ’ s Christmas Story.
860
In his review, Robert Riley stated that he preferred the
“ l e s s pa c ka ge d ” m us i c pe r f o r m e d s uc h a s Ga b r i e li and Schütz. He did not care for the
Bach cantata Christen ätzet diesen Tag nor much of the caroling that was had. He did like

857
Ibid.

858
T he o r i gi n a l C a pt a i n K i r k f r om G e ne R ode n b e e r y ’ s Star Trek television series, which aired in
the early 1960s.

859
Lewis S e g a l , “ Me h t a Le a d s S t a r W a r s a t t h e B ow l , ” Los Angeles Times, November 22, 1977.

860
Daniel Cariaga, “ C om p o s e r s i n t he S po t l i gh t , ” Los Angeles Times, November 27, 1977.

269

the Christmas Story arranged by Wagner saying that, “ t h e magnificent C h o r a l e ’ s s i ng i ng
in particular formed an appropriate background tapestry for R h o n da F l e mi ng ’ s c l e a r ly projected r e t e l li ng o f t h e C h r i s t m a s s t o r y . ”
861

And in early December, the Roger Wagner Chorale appeared with Wagner
conducting Christmas carols at the annual Christmas Luncheon sponsored by the Opera
Guild of Southern California at the Beverly Wilshire Hotel.
862
In late December, the
Master Chorale appeared with the Los Angeles Philharmonic with Andrew Davis in a
pe r f o r m a n c e o f B e r l i o z ’ L’Enfance du Christ. In his review, Martin Bernheimer said:
The Los Angeles Master Chorale, trained by Roger Wagner, performed in its
usual noble fashion, the assembled ladies bringing special distinction to the
angelic passages in which they simulated the straight, pure tone of boy sopranos.
It was not their fault, of course, that the ringing of a backstage telephone added
earthbound punctuation to the exquisite benedictions of “Hosanna. ”
863

Bernheimer added that before the performance, Davis asked the audience to stand for a
moment of silence in memory of the late Thomas Schippers, who had conducted in the
area from 1959-1969.
864

In the final days of the year, an article appeared offering more information
regarding the upc o m i ng J a n ua r y 1978 pr e m i e r e o f L e o n a r d Gr e e nb e r g ’ s o r a to r i o Masada.

861
Robert R i l e y , “ Y ul e C on c e r t by Ma st e r C h o r a l e , ” Los Angeles Times, December 20, 1977.

862
Kim B l a i r , “ O n V i e w , ” Los Angeles Times, November 29, 1977.

863
Martin Bernheimer, “ D a v i s C o nd uc t s B e r l i o z C a n t a t a , ” Los Angeles Times, December 23,
1977.

864
Ibid.

270

It was announced that Leonard Nimoy
865
would narrate the story, which tells of the
defense by the Hebrews of the fortress of Masada against the Roman army in 67 AD. The
c h o r a l e wa s a l s o p l a nni ng o n o f f e r i ng a “ pr e vi e w” o f t h e wor k ( r e a l l y a pr e -concert
lecture) hosted by Nimoy, Dr. George Fischbeck,
866
and the composer, Greenberg, who
was the music department chair at the time at Pierce College.
867

Martin Bernheimer reviewed the performance of Masada; actually, panned it
would be more accurate. There was not much that he found redeeming aside from the
subject itself —the massacre of thousands of Jews at Masada; Marvele e C a r i a ga ’ s “ c o nvi c t i o n; ” a n d L e o n a r d N i m o y ’ s “ s o l e m ni t y . ” He had this to say about Wagner and
the chorale:
Wagner conducted with apparent concern for detail, and he did his best to
reinforce the drama —more successfully in the lyrical moments than in the
passages depicting violent emotion. The chorale sang powerfully much of the
time, gingerly some of the time, and occasionally got submerged in contrapuntal
mush.

The audience, which shrank appreciably at intermission, applauded the
performers politely at the end. The composer, however, was awarded the
obligatory standing ovation.
868

865
Leonard Nimoy appeared in the television series Mission: Impossible and then gained
ho us e ho l d f a m e a s Mr . S po c k i n R ode n b e r r y ’ s o r i gi n a l Star Trek television series in the 1960s.

866
Fischbeck was a well-known weatherman at the time working on ABCs Eyewitness News in
Los Angeles from 1972-1997. He was also an elementary school science teacher, now retired. He
currently volunteers at the Los Angeles Zoo.

867
“ M a s t e r C h o r a l e , S i n f on i a t o P r e m i e r e G r e e n b e r g ’ s ‘ Ma sa d a , ’ ” Los Angeles Times, December
28, 1977.

868
Ma r t i n B e r nhe i m e r , “ W a g ne r Le a d s ‘ Ma sa d a ’ P r e m i e r e , ” Los Angeles Times, January 6, 1978.

271

Bernheimer found Gr e e nb e r g’ s t r e a t m e n t o f t h e s u bj e c t m a t t e r to n ot b e “ po i g na n t . ” He
also criticized Wagner f o r c h oo s i n g t h e p i e c e w h e n t h e r e i s a “ v a s t r e s e r v e o f n e g l e c ted
m a s t e r pi e c e s , b o t h n e w a n d o l d, a t hi s d i s po s a l . ” He loudly complained that instead of
c h o o s i n g d i f f e r e n t m o r e de s e r vi ng r e pe r to i r e , W a g n e r “ c h o s e a n o t h e r c o s t l y , o b s c ur e a n d
potentially dangerous repertory exploration. A couple of years ago he visited the
Maciejewski Requiem upon us. N o w t hi s . ”
869
It is impossible to know if Martin
Bernheimer found W a g n e r ’ s “ e x p l o r a t i o ns ” specifically distasteful or if he simply did not
care for avant garde music in general, as over the years, his reviews tended to scoff at
music written after a certain period in history no matter who performed them.
Roger Wagner showed up in the LA Times in late January as part of the popular
column in the 1970s called, “ L A C u l t ur e Qu i z , ” wr i tt e n by Da vi d P e c k a n d Da vi d F i ne .
The categ or y wa s m a t c hi ng “ m us i c m e n ” w i t h t h e ir i n s t i t ut i o n s . The others sharing the
list were: Zubin Mehta, Henry Lewis, Henri Temianka, and Alvin Mills.
870
At the end of
the month, the wo m e n o f t h e R o ge r W a gne r C h o r a l e “ s a n g w i t h t h e i r c us t o m a r y assuranc e , ” a c c o r ding to Ara Guzelimian, in a performance of Zubin Mehta conducting
the Los Angeles Philharmonic i n M a hl e r ’ s Third Symphony. Cynthia Munzer made her
local debut in this concert.
871

At the end of February, the Master Chorale pr e s e n t e d B e nj a mi n B r i t t e n ’ s Cantata
Misericordium, S tr a vi ns k y ’ s Les Noces a n d M o z a r t ’ s Requiem. W a g n e r ’ s da ugh t e r ,
869
Ibid.

870
D a v i d F i ne a nd D a vi d P e c k , “ LA C ul t ur e Q ui z , ” Los Angeles Times, January 10, 1978.

871
A r a G uz e l i m i a n , “ Me h t a C o n d u c t s Ma h l e r ’ s T h i r d , ” Los Angeles Times, February 1, 1978.
272

Jeannine conducted the former two, and he the latter on the program. In his review,
Goldberg mentions that while she had conducted elsewhere, the performance was her
Music Center debut, and he m us e d t h a t “ i t i s too e a r l y t o de c i de whe t h e r t h e m a n t l e o f t h e f a t h e r h a s de s c e n de d upo n t h e da ugh t e r , ” a l s o m e nt i o ni ng t h a t s h e h a d t a ke n o v e r f r o m Paul Salamunovich as assistant conductor of the chorale.
872
Goldberg goes on to observe
t h a t t h e r e i s a “ d i s pa r i t y ” b e t we e n wha t J e a nnine showed at the podium and what the
listener h e a r d, c a l li ng h e r c o n duc t i n g “ diffident and obtrusive, correct and assured, but
li mi t e d i n vi s ua l e x pr e s s i ve ne s s . ” That stated, he praised the sound of the chorale in the
review on the Britten, as well as a d m i r i ng t h e “ c l e a r l y a r t i c u l a t e d” r hy t hm s o f t h e Stravinsky.
F o r W a gne r ’ s po r t i o n , Goldberg had this to say:
Roger Wagner is one of the few conductors who can make the Mozart Requiem
live up to its exalted reputation. He accomplishes the feat by means of his own
unshakable conviction, by tempos that never lag, by stressing what is obviously
Mozartean inspiration and minimizing the questionable elements and by exhorting
his forces to fervent performance.
873

In March, the Roger Wagner Chorale joined the newly formed Pacific Chamber
Orchestra, directed by Dr. Keith Clark, under the auspices of California State University

872
Salamunovich had an infamous falling out with Wagner in 1977, shortly after the death of
S a l a m unovi c h ’ s d a ut h t e r i n A pr i l o f t h a t ye a r , a l t h o u gh t h e a ni m o s i t y be t w e e n t he t w o h a d b e e n building for several years. Salamunovich, through a letter to Wagner, revealed that he did not feel
it equitable that he constantly prepared both the RWC and the LAMC for concerts only to have
W a g ne r “ f l y i n ” t o c ond uc t a t t h e l a st m i n ut e . I t w a s a c on t i n u e d s o ur c e o f c on t e n t i on b e t w e e n t he t w o m e n , a n d o ne t h a t r e po r t e dl y S a l a m u n ovi c h’ s d a ugh t e r r e se n t e d , w hi c h q ui t e p o ss i b l y c a use d him t o t a ke t he a c t i on of r e si gni ng a s W a g ne r ’ s s e c ond upon he r une xp e c t e d a n d t r a g i c de a t h .

873
A l b e r t G ol d b e r g , “ T w o W a gne r s Le a d LA Ma st e r C h or a l e , ” Los Angeles Times, February 28,
1978.

273

Fullerton, in an inaugural concert at Plummer Auditorium.
874
The article mentioned that
the orchest r a wa s o n e o f t h e “ f e w o f i t s k i n d, a n d t h e f i r s t a t a m a j o r uni ve r s i t y c a m pu s . ”
875
T h e p i e c e to b e pe r f o r m e d wa s B a c h ’ s St. John Passion with Jonathan Mack,
James White, and John Matthews, soloists. Also in March, the Los Angeles Master
Chorale joined the Los Angeles Philharmonic in a local premiere performance of Sir
Michael Tippet t ’ s oratorio, A Child of Our Time, with the composer at the podium.
Bernheimer in his review was quick to point out that t h e c o m po s e r ’ s m us i c h a d l o n g b e e n ignored by LA audiences , a n d t h a t whi l e i t m i g h t h a v e b e e n b e t t e r to h a v e a “ m a e s t r o ” a t the podium , T i ppe t t ga r n e r e d “ c o m mi t m e n t ” f r o m hi s f o r c e s . The LA Master Chorale
was joined in the performance by the Interdenominational Choir, which Bernheimer said
a ppe a r e d to b e “ for no r e a s o n i n t h e s c o r e . ” He went on to say that while the Master
Chorale performed with “admirable gusto, lyrical security and reasonable accuracy, ” the
added choir, while ensuring “ethnic authenticity, compromised the balances and clarity. ”
He also said that, “ r a c i a l go o dwi ll , i n t hi s unf o r t una t e i n s t a n c e , b r o ugh t wi t h i t a hi n t o f m us i c a l g im mi c kr y . ”
876

Sandwiched somewhere in between the other March appearances, the Master
Chorale sang its own concert at the Pavilion with guest-conductor Richard Westenburg
o f f e r i ng B a c h’ s B Minor Mass. B e r n h e im e r ’ s r e vi e w o pe n e d wi t h “ T h e L o s An ge l e s
874
It is a curious choice of CSUF to have Wagner and company perform with their newly formed
orchestra when John Alexander was already in the area with the Pacific Chorale since 1972,
although he did not join the faculty of CSUF until 1996 when he left CSUN.

875
Jack Boettner, “ C a l S t a t e F i l l s a Mus i c a l V oi d , ” Los Angeles Times, March 10, 1978.

876
Martin Bernheimer, “ T i ppe t t Le a d s ‘ C h i l d of O ur T i m e , ’ ” Los Angeles Times, March 25,
1978.

274

Master Chorale —Roger W a g n e r ’ s L o s An geles Master Chorale —ventured the mighty B-
minor Mass. W i t h o ut R o ge r W a g n e r . ” Wagner was on tour with the nucleus of the
Master Chorale, also known as the Roger Wagner Chorale.
Bernheimer noted that Westenburg was currently director of Musica Sacra and the
Collegiate Chorale at the Cathedral of St. John the Divine, and the head of the choral
department at Mannes College in New York. Bernheimer wa s t a ke n w i t h W e s t e nb ur g’ s dramatic interpretation and no-nonsense style of conducting; however, he f o un d “ m u c h o f t h e pe r f o r m a n c e a c o m p l e x o f c o m pr o m i s e s . ” He went on to say that the chorale sang
“with its customary breadth and opulence some of the time, and with timidity and
apparent ins e c ur i t y t h e r e s t o f t h e t i m e . ” And once again, the Sinfonia Orchestra was
singled out for its poor playing. He l i k e d W e s t e nbur g’ s “ o ve r vi e w ” o f t h e wo r k , b u t f e l t that “ t h e f o r c e s wh o pl a nn e d a n d c o n c e i ve d t hi s c o n c e r t m ight have tried a little
h a r de r . ”
877

Of interesting note in April was an article that appeared d i s c u s s i ng S a l li T e r r i ’ s battle with Fullerton College, who sent her a dismissal letter. The letter accused her of
not using the department-adopted text in voice classes and of talking too much in choral
rehearsals, in addition to moving too fast in teaching material, assigning work that was
too difficult, a n d m a k i ng “ d i s pa r a g i ng r e m a r ks ” a bo u t ot h e r f a c u l t y m e m be r s . In reading
the article, which also discusses her association with Roger Wagner, his chorale, and her
arranging work for it, it is clear that the author was wondering if Terri learned some of

877
Martin Bernheimer, “ W e st e n bur g Le a d s B - Mi no r Ma s s, ” Los Angeles Times, March 21, 1978.
275

the behavior from her mentor, Wagner.
878
At the beginning of May, another article
appeared on the subject, stating that Salli Terri lost the suit to keep her teaching job at
Fullerton College —a suit that went to the California Superior Court. Terri claimed the
real reason they fired her was because she taught sight-singing through a 15th century
method
879
instead of the prescribed method used by the music department.
880

In an incredibly erroneous review for the Times ( “ R o ge r W i ll i a m s C h o r a l e ” a t o n e point, a n d “ R o bert W a g n e r C h o r a l e ” i n a n o t h e r whe n h e wa s r e a l ly r e vi e w i ng t h e L o s Angeles Master Chorale), Robert Riley decided that chorale guest, Burl Ives (the only
name he managed to consistently name correctly), stole the show. In a concert pairing
Ives folksy style with folk songs from around the world, an odd concept to say the least,
Riley actually praised most highly t h e “ b r il li a n t l y a da pt a bl e p i a ni s t t h r o ugh o u t t h e e v e ni ng, R o b e r t Hun t e r . ”
881

At the end of May, Richard Slater reviewed the UCLA A Cappella Choir concert
w i t h W a g n e r c o n duc t i n g B a c h’ s St. John Passion at Royce Hall. Slater acknowledged
t h a t W a g n e r h a d “ pa r e d do wn ” t h e wo r k i t s e l f m a k i ng c ut s a n d de l e t i o ns , b ut t h a t “ t h e i r abse n c e d i d n ’ t i m p e de t h e a c t i o n . ” He also mentioned that, “ un de r W a g n e r ’ s d i r e c t i o n ,
878
Sherry A nge l , “ T e a c he r W i n s R o u nd O ne , ” Los Angeles Times, April 20, 1978.

879
One wonders if she was actually referring to the 11th century hexachordal solmization method
introduced by Guido of Arezzo, or if she was referring to the use of tonic sol-fa; either way, it
might be acknowledged that in LA singing circles of the era, Salli Terri was known for her ability
to sightsee virtually anything placed in front of her.

880
Steve E m m ons, “ T e a c he r Lo s e s S ui t t o K e e p J o b, ” Los Angeles Times, May 9, 1978.

881
Robert Riley , “ B ur l I ve s , and the Roger Williams Choral e , ” Los Angeles Times, April 24,
1978.

276

t h e pe r f o r m a n c e h a d c o n s i de r a bl e c o h e s i ve ne s s a nd t h r us t . ” Slater only liked some of the
soloists (who were mostly from either the Roger Wagner Chorale or Los Angeles Master
Chorale) s o m e o f t h e t i m e , b ut t h o ugh t t h e c h o i r ha d “ c o n t r a pun t a l c l a r i t y , pr e c i s i o n a n d
generally well- bl e n de d t o n e , ” whi c h “ s h o we d t h e c a r e t h a t W a gne r h a d l a vi s he d i n preparation .”
882

The fifteenth season of the Los Angeles Master Chorale was announced in August
of 1978. This promised the Verdi Requiem, featuring Johanna Dordick, Marvellee
Cariaga, Misha Raitzin, and Ezio Flagello; the annual Christmas concert with Jane Wyatt
as the narrator; a Renaissance/Baroque program; a French program of P o ul e n c ’ s Gloria,
Ho n e gge r ’ s Danse des Mort, a n d De b us s y ’ s Printemps and Invocation; David
F a n s ha we ’ s African Sanctus in its U.S. premiere; a n d Or f f ’ s Catulli Carmina, featuring
soprano Delcina Stevenson.
883

In October, Carlo Maria Giulini made his debut as the new music director of the
Los Angeles Philharmonic Orchestra, choosing as his first major work the Beethoven
Ninth Symphony. In his review, one of Be r nh e im e r ’ s m o r e e c s t a t i c o n e s , the critic said
that Giulini “ a ppr o a c h e d t h e s ym p h o ny a s i f t h e i n k o n t h e m a n us c r i pt we r e s t i ll wet. He
explored, he probed, he analyzed. He ignored empty tradition, and yet he never imposed
i nde pe n de n t i n t e r pr e t i v e c o n c e pt s t h a t we r e n ’ t s up po r t e d by B e e t h o v e n , n ever allowed
t h e r e s u l t s to s e e m s t udi e d r a t h e r t h a n s po n t a n e o us . ” He went on to say that it was the
m o s t “ s i ng i ng” Ninth he could remember and that in the choral finale, the conductor

882
Richard S l a t e r , “ W a g ne r C o nd uc t s ‘ S t . Jo hn P a ss i on , ’ ” Los Angeles Times, May 27, 1978.

883
Daniel Cariaga, “ ’ 78- ’ 79 S e a son , ” Los Angeles Times, August 6, 1978.

277

“ pr o duc e d a bi t m o r e s o un d t h a n t h e P a vil i o n a c o u s t i c s c a n a c c o m m o da t e without
d i s t o r t i o n . ” Bernheimer found it exciting, and apparently so did the audience when it
accorded the new maestro with a “ f r e n z i e d 15-minute standing ovation ” when it was
over. The Los Angeles Master Chorale (trained by Wagner), 100 in number, was
augmented by California State University Fullerton (trained by David Thorsen), sixty in
number , a n d a c c o r di n g t o B e r nh e i m e r “ s a n g l us t i ly, t i r e l e s s l y , a n d y e s , s e ns i t i ve ly . ”
884

November included a performance of the Verdi Requiem with Wagner (see

Figure 28).
885
The Verdi performance received an outstanding review by Goldberg:
A requiem is nominally a celebration of the dead. But as vividly performed by the
Los Angeles Master Chorale and Sinfonia Orchestra conducted by Roger Wagner
in the Dorothy Chandler Pavilion Saturday night, the Verdi Requiem became
equally a celebration of the living.

Given a respect a bl e pe r f o r m a n c e , n o t hi n g e v e r f a d e s o r da t e s a b o ut Ve r di ’ s memorial to the novelist, and poet Alessandro Manzoni. And this was more than a
merely respectable performance. It was authoritative, it proclaimed urgent fire and
drama, it realized the emotional appeal inherent in text and music. In short, it did
justice to a masterpiece.

By nature of the work, first honors must go to the chorus. From the hushed
entrance of the Requiem aeternam to the final climax of the Libera me the
unanimity was virtually flawless, the variety of dynamics and color consistently
impressive. The Dies Irae raged in grand style, there were beautiful textures and
balances in the Lacrymosa spirited incisiveness in the fugues. Since these matters
do not happy be chance, credit for this choral virtuosity must be awarded to
W a g ne r ’ s t r a i ni ng, a s we ll a s to h i s une r r i n g c o n c e pt i o n o f t h e f o r m a n d c o n t e n t of the entire work.
886

884
Martin Bernheimer, “ I naugur a t i o n o f G i u l i n i Er a , ” Los Angeles Times, October 28, 1978.

885
“ W a g ne r R e he a r se s V e r di , ” Los Angeles Times, November 3, 1978.

886
Albert Goldberg, “ V e r di R e q u i e m b y LA Ma st e r C h o r a l e , ” Los Angeles Times, November 6,
1978.

278

Even the Sinfonia Orchestra was not given its usual detestable review, but instead was
praised for its dependability.

Figures 30. Wagner conducting, with Robert Hunter at the piano.
In December, Wagner took a twenty-six voice group of the Roger Wagner
Chorale to the El Cajon Performing Arts Center in San Diego for two programs of
Christmas music, including the Christmas Story and classic French, German and Latin
carols.
887
They also performed four Christmas concerts in the Pavilion featuring Handel,
Monteverdi, Britten, Berlioz , Bach and Christmas carols. There were three evening

887
“ R o ge r W a gne r C h o r a l e t o P e r f o r m i n El C a j on , ” Los Angeles Times, December 11, 1978.

279

concerts and one matinee. Jane Wyatt was the narrator and the chorale was joined by a
handbell choir and the California Boys Choir.
888

Figure 31. Roger Wagner.
In their opening concert of 1978, the Los Angeles Master Chorale and Roger
Wagner performed Victoria, Schütz, and Pachelbel to a mixed review by Paul Gibson,
wh o s a i d t h a t t h e c o n c e r t “ pr o v e d f r u s t r a t i n g de s p it e s o m e s p l e n d i d s i ng i ng. ” Gibson
bl a m e d W a g n e r ’ s us e o f “ o v e r -polished sign a t ur e p i e c e s ” c o n t r a s t e d wi t h “ r o ughly pe r f o r m e d wo r ks t h a t hi s f o r c e s s e e m e d t o b e j us t r e a d i n g t h r o ugh . ” He went on to state
t h a t t h r o ugh o u t t h e “ pe r f o r m a nc e s we r e e n do we d w i t h go r ge o us c h o r a l to n e , f i r s t -class
intonation and good-to-excellent diction and blend. ” He found the Victoria Ave Maria to
b e “ s li c k vi r t uo s i t y ” a s o pp o s e d to “ r e v e r e n t , ” a l t ho ugh h e r e po r t e d t h a t there was

888
“ LA M a st e r C h o r a l e S e t s F o ur C h r i st m a s C o n c e r t s a t P a v i l i on , ” Los Angeles Times, December
8, 1978.

280

“ s upe r b e ns e m b l e s i ng i n g a n d a m a z i ng ly li g h t to n e . ” He panned the Baroque works but
mentioned the anonymous Portuguese works as “ l e s s t h a n s e l f - a s s ur e d” b ut “ we l c o m e . ”
889

Figure 32. Wagner —another stock photo.
It was announced on March 2

that Wagner would speak at a luncheon celebrating
the Columbia University Glee Club, which was performing at the UCLA Faculty Center
on St. Pat r i c k’ s Da y .
890
The day following this there was an absolutely huge article about
Wagner that appeared in the Times, full of pictures taken of him rehearsing for an
upcoming concert. The article, by-line uncredited, states:
Husky and vigorously energetic, with piercing dark blue eyes and a disciplined
manner that demands perfection, Wagner is a superb showman who constantly
drives himself and his singers at a frantic pace. He is criticized at times as too

889
P a ul G i bson , “ LA Ma st e r C h o r a l e a t t h e P a v i l i on , ” Los Angeles Times, February 6, 1979.

890
“ C o r o F o und a t i on A w a r d s D i nne r , ” Los Angeles Times, March 2, 1979.
281

ambitious, too self-centered, too dominating. But he dismisses such remarks as
“sniping from jealous charac t e r s wh o s i m p l y do n’ t kn o w wh a t t h e y ’ r e t a l k i ng
a b o ut . ” T h e n , w i t h a b r o a d s m i l e a dd s , “ S ur e I ’ m a di s c i p li na r i a n , m a y be somewhat too strict. But the important fact is, my singers and I really love and
respect each other. We know what counts most is making our music better and
better. I think we have the finest chorale in the world and I want to keep it that
wa y . ”
891

Figure 31. The Los Angeles Master Chorale, 1979. Photographs by Paul Slaughter, coordinated
by Teri Fox.

In the article, Wagner discusses his avid love for tennis and for keeping in shape, stating
that nothing is more taxing than conducting a two-hour concert. He also explains that
staying fit helps him and his singers to avoid illness, sayin g, “ Y o u c a n’ t e x p l a i n t o a n audience that your singers are sick; t h e y b u y t h e i r ti c ke t s a n d t h e y do n’ t wa n t to b e to l d

891
“ A r t i c l e 5 —N o t i t l e , ” Los Angeles Times, March 4, 1979.

282

y o u ’ v e got p r o bl e m s ; t h e y j us t wa n t t h e s h o w to g o o n . ” He says that he finds this to be
t r ue i n a ll a s pe c t s o f hi s li f e : “ I do l o t s o f guest conducting. I also have recording
contracts. I teach choir and advanced conducting at UCLA. None of these groups wants
to get involved in my problems —they j us t wa n t t h e b e s t I c a n o f f e r i n e v e r y a c t i vi t y . ”
892

Figure 32. Wagner conducting. Photographs by Paul Slaughter, coordinated by Teri Fox.

T h e a r t i c l e a l s o s h e d s l i g h t o n W a g n e r ’ s pe r s o n a li t y a n d t h e de v e l o p m e n t o f i t . When
asked if he is spreading himself too thin, he responded:
When we first came to California [he and his parents] and my parents found it
very rough to make a living, two things happened. My father would sit home and
s a y , “ This is a t e r r i bl e s i t ua t i o n , ” and he would write a poem about it or he would
go to church and play some sad music on the organ. He d i d n ’ t kn o w m o n e y existed.

892
Ibid.
283

My mother, on the other hand, went door-to-door selling handmade laces. She
simply would not allow herself to be defeated, no matter how bad things became.
She had the strength and determination of 20 men, and in the same way I ’ m li ke a mountain goat. Nothing keeps me from doing what needs to be done.

Now when I stop to analyze it, this is what enables me to be a leader, to take
charge of two chorales and so forth. Without downgrading my artistic side, I have
to be very practical and tough, making decisions and taking actions where
somebody else might just sit down and write a poem. I ’ d put i t a l l u n de r t h e heading of directed energy.

I pay attention to dozens of details, and yet I must n’ t lose sight of my own
showmanship. . . . It [his showmanship] had better not be lost in the shuffle. Take
Zubin Mehta. W h e n he ’ s i n f r o n t o f a n o r c hestra, sparks fly and the audience is
electrified. Or take Leonard Bernstein. Personally, I find him too flashy, but he
does have tremendous charisma. Maybe 40 percent of his motions and actions are
intended not for the orchestra but for the audience. T h a t ’ s o ka y , i t ’ s his style and
the people who buy tickets just love it.
893

W a g ne r a l s o a d m i t s t h a t h e us e d to “ b r a g t oo m uc h, i n a m o s t r e pu l s i ve m a nn e r b e c ause I
was terribly inse c ur e . ” He then expounded:
Lacking confidence, I studied and practiced and rehearsed like a madman with
incredible diligence, and ultimately this became an important ingredient of
success. You see, many people claim all they need is a chance. But when the
c h a nc e a r r i v e s , t h e y a r e n ’ t r e a d y . This is something I try to share with my singers,
b ut I kn o w I ’ m n o t t h e wor l d ’ s gr e a t e s t t e a c h e r . People tell me I have a very
d y n a mi c wa y o f s pe a k i ng, a s i f I ’ m t r y i ng to b e pos s e s s i ve o r i n t i mi da t i n g.

I t ’ s pa r t o f m y n ature to be impatient, to project my feelings with excessive force,
and especially to be intolerant of singers who are habitually late for practice or
miss rehearsals altogether. T h e y t e l l m e I ’ m t oo s t r i c t . B u t I c a n ’ t w o r k wi t h pe o pl e w h o a r e n ’ t t h e r e . I know there are accidents and illnesses and crises at
h o m e , b ut I h a v e n’ t m i s s e d t h r e e r e h e a r s a l s i n 25 ye a r s , a n d i t s tr i ke s m e a s o dd
how some people run into rehearsal time problems almost as if tardiness or
absence is classified as a virtue.
894

893
Ibid.

894
Ibid.

284

Figure 33. Wagner at work. Photographs by Paul Slaughter, coordinated by Teri Fox.
When asked about the virtue of kindness, Wagner replied:
Oh , I ’ m s upe r k i n d t o m y s i nge r s . W e ’ r e c l o s e i n m a ny wa y s . F o r e x a m p l e , I ’ m free about lending them money; if they all p a i d m e b a c k, I ’ d n e v e r h a ve to wor k
again. I help them deal with all kinds of problems. I recommend them for jobs.
B ut I ’ m s t r i c t a b o ut r e h e a r s a l a tt e n da n c e , b e c a us e t hi s i s a b s o l ut e l y e s s e n t i a l t o the quality of our performance. That marvelous comedian Woody Allen wears a
T-shirt that carries an eloquent appeal to his fellow artists, a straightforward
message that says it all in three little words: JUST SHOW UP.

285

Figure 34. Roger Wagner, conductor.series. Source: Photographs by Paul Slaughter, coordinated
by Teri Fox.
The article gives the reader a look inside at Wagner, not only discussing some of
his philosophies and thoughts about choral music, but also a picture of how he viewed
himself at that time. To be sure, some of his observations are accurate to a fault; and
perhaps others were viewed with an internal filter that could not quite see past some of
his own inherent personality quirks. Either way, it is a snapshot of Wagner as he was in
1978.
286

The Los Angeles Music Center Unified Fund held its Radiothon in March of
1979, benefitting all of the resident companies of the Music Center. In addition to
chances to conduct the Los Angeles Philharmonic at the Hollywood Bowl for the
“ F i r e wo r ks P o ps F i n a l e , ” the Roger Wagner Chorale was auctioned for an evening
performance, a set of tennis with Rod Laver, or a round of golf with Jack Lemmon –all
were part of the 54-hour fundraiser with a goal of $300,000.
895

In mid-March it was announced that the Roger Wagner Chorale, along with the
Vienna Symphony Orchestra and the Johann Strauss Ensemble, would be performing as
part of the 1979-80 season of the La Mirada Community Concert Association,
performing at the La Mirada Civic Theatre.
896

Wagner conducted an all-French program with the LA Master Chorale at the
Music Center in April. According to critic Walter Arl e n , “ W a g ne r d i d n o t di s a ppo i n t . ”
He observed t h a t t h e pr o gr a m wa s “ e x qu i s i t e ly t ur n e d o ut, de l i c a t e l y ba l a n c e d a n d
sumptuous. ” Although Arlen was disappointed with the repertoire choices, including the
W e s t C o a s t p r e m i e r e o f Dur u f l e ’ s o r c h e s t r a l Trois Danses. Also on the program were
Ho n e gge r ’ s La Danse de Morts, a few small Debussy pieces, a n d P o u l e n c ’ s Gloria.
I n t e r e s t i n g ly , t h e n a r r a t i o n i n t h e Ho n e gge r wor k wa s g i v e n i n “ a c c e n t l e s s F r e n c h” by Robert S t a c k, a c c o r di n g to A r l e n , w h o c o n c l ude d by s a yi ng t h a t “ W a g n e r c o n duc t e d a joyful performance marked by sensuousness, sophistication and urbanity. ”
897

895
James B r ow n , “ R a d i o t hon ’ 79 t o B e ne f i t Mus i c C e n t e r , ” Los Angeles Times, March 21, 1979.

896
“ C o nc e r t A ss n . t o La un c h C a m pa i gn , ” Los Angeles Times, March 18, 1979.

897
Walter Arlen, “ W a g ne r C o nd uc t s F r e nc h P r og r a m , ” Los Angeles Times, April 3, 1979.
287

A “ s pe c i a l w i ne t a s t i n g” e v e n t wa s a nn o un c e d i n A pr il 1979 . It was c a l l e d “ T he
Great Europe-vs-California Taste- Of f , ” f o r t h e b e ne f i t o f t h e R o ge r W a g n e r C h o r a l e , and
slated for the end of April at the Grand Trianon Room of the Beverly Wilshire. Dennis
Overstreet was to guide the blind tasting, the chorale was to sing and the guests of honor
were to be Mr. and Mrs. Robert Stack.
898
It is interesting to note that they called it
“ E ur o pe vs. California ” i ns t e a d o f France vs. California —French wine was Overstreet ’ s expertise; that, a n d i t wa s o nl y t h r e e y e a r s a f t e r t h e i nf a m o u s “ J udg m e n t o f P a r i s ” at
which the California wine industry delivered an unprecedented blow to the ego of French
wine makers when, in a blind tasting for annual medals in Paris, two California wines
took the gold —much to the surprise and incredible irritation of the French.
899
Wagner
was well known for his French wine snobbery —so much so that one cannot imagine that
he was unaware of the 1976 judgment against the French.
At the end of April, Wagner and the Master Chorale presented a concert of Carl
Or f f ’ s Catulli Carmina and the U.S. premiere o f Da vi d F a n s h a we ’ s African Sanctus,
which combines African tribal melodies with the text of the Latin mass. Delcina
Stevenson was scheduled as the guest soprano.
900
The gimmick of the Fanshawe piece is
that it requires performance with a tape upon which live music-making is overlaid.
F a n s ha we f l e w t o L o s A n ge l e s t o e n g i ne e r t h e pe r f o r m a n c e s , a s s i s t e d by W a g ne r ’ s s o n ,
898
“ R e st a ur a n t N e w s, ” Los Angeles Times, April 15, 1979.

899
T he w i nne r s w e r e t he 1973 S t a g ’ s Le a p W i ne C e l l a r s C a be r ne t S a uv i gnon a nd t he 1973
Chateau Montelena Chardonnay. This single judgment did more to boost the California wine
industry than all of the development and technology that had come before it in three decades.

900
Marc Shulgold, “ Mus i c a n d D a n c e N e w s, ” Los Angeles Times, April 22, 1979.

288

Richard, from a table on stage at the Pavilion. Wagner wore headphones to conduct the
seven-piece band and the chorale. F a ns h a we s a i d “ i t ’ s j u s t a m a t t e r o f s y nc h r o ni z a t i o n , ”
the score includes many tape cues with which the conductor must coordinate his forces.
F a n s ha we c o m bi ne d “ n a t ur a l s o un ds ” r e c o r de d i n hi s t r a v e l s o f E g y pt , t h e S uda n , Uganda, Kenya. and Tanzania with his composition sung by a live choir and soloists.
901

He had also collected field recordings of more than fifty tribes, beginning in 1969. The
final version of his African Sanctus received its world premiere performance in Toronto
in 1978. Wagner also suggested and subsequently added the fourteen- m e m be r s R ’ W a n da Lewis Afro- Am e r i c a n Da n c e C o m pa ny t o “ dr a m a t i z e ” t h e wo r k i n t h e pe r f o r m a n c e .
902

The review of the concert by Lewis Segal of the Times noted that the performance
was a “ k i nd o f c e l e b r a t or y , c r o s s -cultural extravaganza —one more notable for theatrical
c o l o r t h a n s p i r i t ua li t y . ” Segal pointed out t h e “ s h r e wd c h o i c e ” o n W a g n e r ’ s pa r t o f programming the Orff on the same program both for maximum overlap of forces, but also
b e c a us e F a n s h a w e ’ s “ c o m po s i t i o n a l s t y l e de r i v e d i n l a r ge m e a s ur e f r o m Or f f ’ s s c e ni c c a n t a t a s . ” S e ga l n o t e d t h a t “ a t w or s t ” t h e p i e c e r e s e m bl e d a b r o a dc a s t o f i n t e r f e r e n c e o f signals , b ut t h a t “ s o m e s e c t i o n s r e a l ly wo r ke d; t h e unli ke ly f us i o n o f t e x t s a n d m u s i c s produced an ecumenical hybrid, rich and complex and e x c i t i ng. ”
903
He also commented
t h a t W a g n e r “ c o n duc t e d wi t h e a s y a p l o m b” a n d “ f e l l i n t o n o t r a ps o f s y nc h r o ni z a t i o n b ut c o a x e d b o t h e n e r g y a n d pr e c i s i o n f r o m hi s v o c a l a n d i ns t r um e n t a l ” f o r c e s . Segal found

901
Daniel Cariaga, “ C om p o s e r C r o ss e s a C o n t i ne n t , ” Los Angeles Times, April 26, 1979.

902
Ibid.

903
S e g a l , L e w i s, “ A f r i c a n S a n c t us I n t r od uc e d a t P a v i l i on , ” Los Angeles Times, April 30, 1979.

289

the Catulli to b e l a c k i ng “ a d i m e ns i o n o f s h e e r s a va g e r y ” w hi c h he bl a m e d o n W a g n e r ’ s leadership.
Wagner also performed a concert of Israeli Songs in early May at the Stephen S.
Wise Temple in West Los Angeles toward the end of the month with the Roger Wagner
Chorale.
904
June found the Roger Wagner Chorale singing a concert at UCLA ’s
Schoenberg Hall as a prelude to an upcoming tour of South America, including
folksongs, Renaissance, Baroque and also Broadway musicals.
905
And July saw the
releases of three albums: Sigmund R o m be r g’ s The Student Prince, The Desert Song and
The New Moon, all featuring Gordon MacRae, Dorothy Kirsten, and the Roger Wagner
Chorale and orchestra conducted by Van Alexander.
906

In August the LA Master Chorale announced the 1979-80 season with a concert
of Gershwin, Randall Thompson, Bernstein and Copland; the annual Christmas
programs; a concert of folk music, gospels and spiri t ua l s ; Ha n de l ’ s Queen Caroline and
Benedicte by Va ug ha n W il li a m s a n d V i va l d i ’ s Dixit Dominus; and a program of Bach,
Haydn, and Mendelssohn with the Los Angeles Chamber Orchestra conducted by guest
Robert Page. The final concert was a c o n c e r t v e r s i o n o f S t r a us s ’ Die Fledermaus.
907

September brought with it a Runathon for the LA Master Chorale e n t i t l e d “ R u n w i t h M us i c , ” a 10 -kilometer run at Dodger Stadium. Classical music would be piped through

904
“ P r o g r a m o f I sr a e l i S ong s, ” Los Angeles Times, April 22, 1979.

905
“ R o ge r W a gne r C h o r a l e a t U C LA , ” Los Angeles Times, June 1, 1979.

906
“ Lps: A l l a B r e ve , ” Los Angeles Times, July 8, 1979.

907
“ M a s t e r C h o r a l e Li st s S c he d ul e f o r 1979 - 80 S e a so n a t P a v i l i on , ” Los Angeles Times, August
21, 1979.

290

t h e s t a di u m ’ s amplification system and on KUSC radio. The co-chairs of the event were
Thomas F. Kranz and Anne Shaw Price. Runners included Harrison Price, former chair of
the board, Jeannine Wagner,and other board members.
908

In an amusing commentary appearing in the Times, uncredited, but highly
suspected to be the work and humor of Martin Bernheimer, the Roger Wagner Chorale,
along with the Mormon Tabernacle Choir and the West Point Glee Club, were used as
fodder for the rant against the singing on commercial jingles in the 1970s versus. that
which used to be commonplace in the 1940s. The author lamented the fact that it used to
be simple, and now ads had b e c o m e “ B a r o que i n th e i r e l a b o r a t e n e s s , ” w i t h h a m bur ge r chains putting their m e s s a ge s a c r o s s w i t h w h a t “ s o un ds li ke i n n u m be r s i f n o t qua l i t y , t h e combined vocal talents of the Mormon Tabernacle Choir, the Roger Wagner Chorale and
t h e W e s t P o i n t G l e e C l u b . ” T h e a ut h o r continued on to say that the commercial that
incited the writing of the article used the Hallelujah Chorus as the sales pitch for what
turned out to be chicken. T h e wr i t e r s a i d h e c o u l d n’ t r e m e m be r t h e n a m e o f t h e c hi c k e n he heard with Handel two days prior, but could still remember the thirty-year-old jingle
a b o ut “ t h e b e s t b r e a k f a s t f o o d i n t h e l a n d. ”
909
The importance of the article is that it
points to the fact that the Roger Wagner Chorale, and indeed Wagner himself, had a
brand that was so strong in southern California that it was used quite often as a point of

908
K i m B l a i r , “ Mus i c a l R un a thon Set September 23, ” Los Angeles Times, September 6, 1979.

909
“ C h i c ke n o f C h a m p i on s, ” Los Angeles Times, October 15, 1979. In an extra strange note, there
i s c ur r e n t l y ( 2012) a c om m e r c i a l f o r t ur k e y t h a t use s H a n de l ’ s Hallelujah Chorus, most likely
sung by members of the LAMC.

291

reference; as it was used in the article, it was synonymous with quality and power in
choral music.
A few days later Bernheimer reviewed Carlo Maria G i u l i n i ’ s pe r f o r m a n c e o f t h e Verdi Requiem with the Los Angeles Philharmonic and started the review with the words,
“ A d i s a ppo i n t m e n t . ” He lamented that on paper the performance had promised a lot,
given the talent of the forces, naming es pe c i a ll y “ the wondrous Los Angeles Master
Chorale, trained by Roger Wagner, could once again reinforce the Verdian thunder and
contrapuntal serenity. ” The performance, however, he described a s “ l i s t l e s s ” and
“ s k i m p y . ” Bernheimer took to task the orchestra and the soloists for performing
“ r a gge d ly m u c h o f t h e t i m e . ” The only thing he appeared to like was the chorus:
Under the circumstances, one still could admire the ever-reliable virtuosity of the
chorus (stationed high up-stage, on a new platform of its own). One could wallow
in the unbridled power of the Dies Irae and the rousing impact of the Rex
tremendae. One could relish the shimmering string tone hovering over the sudden
ritard at the close of the Offertorium. One could be swept away by the soulful
utterances in the final Libera me.
910

Bernheimer closed by wondering aloud if perhaps the performances would get better as
the weekend progressed.
The Master Chorale also presented an all-American concert at the end of October,
on the heels of the Verdi Requiem. Albert Goldberg, in his review, muses ominously
a b o ut wh e t h e r “ t h e Master Chorale a n d R o ge r W a gn e r ’ s e n dur i n g h a n d i c r a f t and possibly
the leading choral effort of the nation, is forsaking its high standards and going Pop on
us ? ” He appreciated the Chichester Psalms of Bernstein, but virtually panned the

910
Martin Bernheimer, “ G i ul i ni C ond uc t s V e r d i R e q ui e m , ” Los Angeles Times, October 20, 1979.

292

Gershwin (Porgy and Bess) and the Copland songs. He also felt that the instrumental
Chester by William Schuman was a n “ i n t r us i o n . ” He f o un d R a n d a l l T h o m p s o n ’ s Testament of Freedom to b e “ a d i g nif i e d p i e c e o f m us i c , ” a l t h o ugh h e s a i d n o t hi n g to t h e performance of it.
911

Wagner had a fairly busy Christmas season in 1979, including the Master
Chorale ’ s a nn ua l c o n c e r t s a t t h e M us i c C e n t e r , f e a t ur i n g t h e W e s t m i ns t e r Ha n d b e ll Choir, the Pasadena Boys Choir, with actress Lee Meriwether as narrator. The concerts
f e a t ur e d R e s p i g hi ’ s Laud to the Na t i vi t y i n a dd i t i o n to W a gn e r ’ s Christmas Story and
other favorites.
912
Also, the Roger Wagner Chorale sang a Christmas concert at Arlington
Theatre in Santa Barbara as part of the Arlington Celebrity Series.
913

Figure 35. The Roger Wagner Chorale.

911
Albert Goldberg, “ M a st e r C h o r a l e S i ng s A m e r i c a n Mus i c , ” Los Angeles Times, October 30,
1979.

912
“ C h r i st m a s P r o g r a m by Ma st e r C h o r a l e , ” Los Angeles Times, December 14, 1979.

913
“ W a g ne r C ho r a l e P e r f o r m s a t A r l i n g t on , ” Los Angeles Times, November 17, 1979.

293

The Roger Wagner Chorale also sang a Christmas concert at Orange Coast College in
Costa Mesa, offering tradition carols and music from the eighteenth, nineteenth and
twentieth centuries.
914

Martin Bernheimer reviewed the Christmas concert at the Pavilion by the LA
Master Chorale, saying:
The chorus sang gloriously as always. The balances were virtually perfect. The
sopranos soared and shimmered. The basses boomed mellifluously. The tenors
sounded limpid yet assertive, and the altos added just the right fervent tone of
mellowness to the blend. This, in case you have been out of the planet during the
past couple of decades, is the chorus that floats the most ethereal of pianissimos,
the chorus that can raise rafters without stridency, the chorus that spins out long
and convoluted contrapuntal lines with uncanny accuracy, security and sensitivity.
When it comes to the manipulation of massed voices, Roger Wagner is a master.
Period.

When it comes to making coherent, tasteful, focused Christmas programs,
however, he does not always side with the angels.
915

It is at this juncture that Bernheimer parted ways with Wagner and panned the
programming with absolutely enlightened observations, and incredibly witty writing. For
as much as he obviously admires and adores the sounds Wagner produces from his
chorus, he abhored t h e m a n’ s pr o gr a m mi ng . But the entertainment value of the review
itself cannot be underplayed:
The choir acknowledged applause with well-oiled mechanical precision. And
Wagner added to the general aura of wonder with his now-famous eyeglass trick.
With virtuostic speed and panache, he managed to get the spectacles on whenever
he faced his musicians and off whenever he faced his audience.
916

914
“ C h r i st m a s Mus i c on T a p f o r t h i s W e e k , ” Los Angeles Times, December 19, 1979.

915
Martin Bernheimer, “ D e l i r i o us Me l a nge , ” Los Angeles Times, December 18, 1979.

916
Ibid.
294

A few days before Christmas, oddly enough, the Roger Wagner Chorale actually
hired itself out by an average man in a small town who had always dreamed of being a
maestro for one evening and conducting the Roger Wagner Chorale. And so Michael
Ross conducted forty members of the Roger Wagner Chorale and an orchestra at the San
Bernardino California Theater of Performing Arts with soloists Delcina Stevenson,
Marilyn Savage, John Guarnieri, and W il li a m F e l b e r i n a pe r f o r m a n c e o f Ha n de l ’ s Messiah. R a e M a c do n a l d, t h e c h o r a l m e m be r wh o h a n d l e d m uc h o f W a g n e r ’ s administrative tasks since 1955 said that the group had never hire d o u t to a n “ u n k n o wn c o n duc to r ” a n d said that she doubted it would happen again due to the costliness of such
an endeavor. It cost Ross well over $15,000 to have the experience that he said he had
“ dr e a m e d a b o ut s i n c e I wa s a l i t t l e b o y . ”
917

On December 30, 1979, Bernheimer published a decade recollection, citing Roger
Wagner and hi s “ wo n dr o us M a s t e r C h o r a l e ” a s ha vi ng “ s e r v e d Ho n e gge r ’ s Joan of Arc
n o bly , ” i n 1971 ; “ C o n t e m po r a r y m u s i c too k a m a jo r s t e p b a c kwa r d when Roger Wagner
unearthed a kitsch spectacu l a r c a ll e d R o m a n M a c ie j e w s k i ’ s Requiem, ” i n 1975 ; and in
1976, Bernheimer recalled the premiere performance of Wagner and the chorale of Paul
C hi ha r a ’ s Missa Carminum; a n d f i na ll y i n 1978, he s a i d, “ t h e M a s t e r C h o r a l e un e a r t h e d
another elaborate dud, this one by Lionel Greenberg (Masada). ”
918
It might be noted that
B e r nh e im e r a l s o m e n t i o ne d t h e e v e r t e s t y E r n e s t F l e i s c hm a nn ’ s f e ud n ot o nl y w i t h
917
Constance D ’ a u V i n , “ A Y ul e Mi r a c l e E nd s on S w e e t N o t e , ” Los Angeles Times, December
25, 1979.

918
Martin Bernheimer, “ I n t e r e st i ng Y e a r s: Mo r e A nd / O R Le ss , ” Los Angeles Times, December
30, 1979.

295

Wagner, but also Erich Leinsdorf, and the statement Fleischmann made regarding the
l o c a l pr e s s : “ W e ha v e to s ubj e c t ourselves to the curmudgeonly, slick, superficial
o u t p o ur i n g s o f L o s An ge l e s ’ m us i c a l c o m m e n t a to r s . ”
919
Wagner also made the 1979
B e c k m e s s e r A wa r d s f o r “ S pe c i a l S ur vi va l A wa r d, ” B e r nh e im e r s a i d: “ t o R o ge r W a g n e r , for sustaining a top-notch resident chorus at the Music Center, even when ambition has
o b s c ur e d a r t i s t i c pr i o r i t i e s . ”
920

During the winter of 1980, Wagner teamed up with the conductor of the
California Chamber Symphony, Henri Temianka, to compose a cantata (tongue-in-cheek)
for a fundraiser for the symphony. It was called the Fiasco Cantata and was composed
for the purpose of the fundraiser only. Wagner composed the music and Temianka the
libretto. Celebrities who participated were: Johnny Green, Shelly Manne, Marni Nixon,
Emfrem Zimbalist Jr., and Carl Princi. Ray Bradbury was the master of ceremonies for
the event, and Yehudi Menuhin (former concertmaster of the Los Angeles Philharmonic)
c o n duc t e d B a c h ’ s Do ubl e C o n c e r to f o r t h e e v e n t .
921
In mid-February, Los Angeles
Master Chorale gave a concert at the Pavilion of Vivaldi, Handel and Vaughan Williams.
In his review, Albert Goldberg noted that t h e c o n c e r t wa s v e r y “ a u s t e r e ” a n d t h e m o s t j o y o us p i e c e wa s t h e Va ugh a n W il li a m s ’ Benedicite. He went on to say that, “ R o ge r Wagner and his valiant choristers and Sinfonia Orchestra shook off the somnolence that
had occasionally afflicted them earlier in the evening and came through with a rousing

919
Ibid.

920
Martin Bernheimer, “ T h e B e c km e ss e r A w a r d s o f 1979, ” Los Angeles Times, January 6, 1980.

921
Jody Ja c o bs, “ F i a sc o C a n t a t a a t A l l e g r o B a l l , ” Los Angeles Times, February 4, 1980.

296

r e n d i t i o n . ” In comparing it to the rest of the program, Goldberg found the Vaughan
Williams to have much better diction and crisper attacks, although he mentioned that,
“ s t a n da r d B a r o que pr a c t i c e s we r e o b s e r v e d” i n r e g a r d to t e r r a c i n g t h e d y na m i c s in the
Vivaldi.
922

In an interview with Robert Page, who was guest-conducting the Los Angeles
Master Chorale for its March concert while Wagner was on tour with the Roger Wagner
Chorale, Daniel Cariaga noted some extremely interesting comments from the conductor:
Amateur singing is alive and healthy in this country [said Page]. Professionalism
is in trouble. Again. Choral standards are not the problem, survival of the
individual professional singer is.
923

Page went on to discuss that the National Endowment for the Arts was about to legitimize
choral music with its first grant awards for the genre ($350,000). The guest conductor
als o o b s e r v e d t h a t “ i n L o s An ge l e s , y o u h a v e a un ion tradition, and the union rate for
singers reflects t h e c ur r e n t l o c a l c o n d i t i o n . ” Page compared this to Cleveland where there
was no such tradition so his 220 singers were all volunteers. He went on to say that
communities needed to develop a core of professional singers in an amateur group, and
pointed out that the NEA, through grants, wanted to help foster such development. He
also observed that as head of a conservatory program (Carnegie-Mellon at the time), he
was concerned that their graduates would not be able to find employment as professional
singers. “ W e a r e gr a dua t i n g v o i c e m a j o r s i n l a r ge n u m be r s e v e r y y e a r , a n d t h e s e pe o pl e
922
Albert Goldberg, “ T r e a su r e s by Ma st e r C h o r a l e , ” Los Angeles Times, February 11, 1980.

923
Daniel Cariaga, “ S i ngi ng S i nge r s’ P r a i se s, ” Los Angeles Times, March 21, 1980.

297

have no arena to aspire to; if they want to sing, they have to do it by giving away their
s e r vi c e s . ”
He also commented that there is a distinction between the chorus member who
does it for his own fulfillment, which in itself is the absolute definition of an amateur, and
the singer dedicated to the art and his own development as an artist. The article also
s t a t e d t h a t J e a n ni ne W a g ne r pr e pa r e d t h e c h o r a l e f o r P a ge o n B a c h’ s Cantata No. 150
a n d Ha y d n’ s Lord Nelson Mass.
924

T h e i m po r t a n c e o f P a ge ’ s o b s e r v a t i o n t h a t L o s A nge l e s h a d a “ u ni o n t r a di t i o n ” in
1980 cannot be understated. This tradition must be directly credited to Wagner, who
specialized in developing and fostering professional singers and choral music in Los
Angeles. More than anyone else in southern California, and there were many at the time
with fine volunteer choruses, Wagner honed in on the chorus as being the equivalent to
an orchestra, not only in its ability to sight read anything put before it, but also in its
approach to rehearsal and performance. He also cultivated the idea that a professional
singer is a musician not in any way inferior to an orchestral player.
“Wagner and Company ” had become so much a part of the Los Angeles culture
that, in a review of the film The Changeling, Times film critic Charles Champlin cited
them, commenting that the protagonist in the f il m “ l e a s e s a m a n s i o n t h a t w o ul d
comfortably house the Los Angeles Philharmonic and the Roger Wagner Chorale
s i m u l t a n e o us ly a n d mi g h t gi v e C o un t Dr a c ul a s o m e pa us e . ”
925
This type of mention has

924
Ibid.

925
Charles C h a m p l i n , “ A G h o st l y O f f - F o r m S ho c ke r , ” Los Angeles Times, March 26, 1980.
298

been outlined previously in this chapter, demonstrating in a very clear way how much
Wagner and his choruses had become not only known, but also recognized popularly in
the same way that the Los Angeles Philharmonic was, as a focal point of culture in Los
Angeles.
At a birthday celebration for Dorothy Chandler at the Music Center, part of the
C hil dr e n’ s A r t s F e s t i va l s po ns o r e d by t h e B l u e R i bb o n Committee of the Music Center,
the LA Master Chorale, led by Wagner, performed two Japanese songs (they were about
to head off on a tour of the Far East), Aaron Copland ’s I Bought Me a Cat among others
and America the Beautiful. In his report on the event, Jack Smith of the Times
commented that all of the children on the plaza were invited to sing America and he was
“ s ur pr i s e d ” a t h o w m a ny o f t h e m knew the words.
926
One wonders if it would have been
news to Mr. Smith that, at the time, the music programs in the LAUSD were still
tremendously strong. The 1978 Proposition 13 tax cuts, which tragically cut arts funding
in the public schools in California, had yet to plummet the music programs that produced
many of the choral musicians who are in their fifties, sixties, and seventies, and still
working today.
Daniel Cariaga announced in mid-May that The Roger Wagner Chorale was
leaving for its third tour of Japan. He reported that twenty singers and two
instrumentalists [this would have been a pianist and an acoustic bass player] were
travelling with Wagner for a four-week tour of Japan and Korea. They were planning
stops for concerts in Tokyo, Seoul, Yokohama, Osaka, and Kyoto. The tour featured

926
S m i t h , Ja c k , “ W h e r e T h e r e ’ s a W i l t …, ” Los Angeles Times, May 11, 1980,

299

singers Salli Terri, Maurita (Bunny) Phillips-Thornburgh, Jane Thorngren, Jeannine
Wagner, David Myrvold, and Paul Hinshaw.
927
It might be noted that Hinshaw, who
started in the Roger Wagner Chorale and sang for many years in the Los Angeles Master
Chorale, only recently retired from the chorale at the end of the 2010-11 season--he had
just celebrated his eighty-third birthday.
928

I n a po ps p r o gr a m c a ll e d “ A r o un d t h e W o r l d i n 40 S o n gs , ” t he Roger Wagner
Chorale appeared with the Los Angeles Philharmonic in the Hollywood Bowl in July of
1980, with Johnny Green at the podium. The concert was reviewed by Lewis Segal of
the Times, who found it to be unfortunate due to the arrangements that the Philharmonic
played and the chorale sang, which he calle d “ s o und - tr a c k s l u s h . ” He took the chorale to
task for turning the chanson Alouette i n to “ m a r s hma l l o w s a uc e ” t h r o ugh a “precious and
overblown ” arrangement. At the end, he said that the orchestral playing and choral
s i n g i ng r e m a i ne d “ s li c k ly pr o f e s s i o na l a n d Gr e e n ’ s l im i t a t i o ns a s a c o n duc to r disappeared ” whenever he accompanied soloists. At the end, he noted the official
attendance numbers: 12,264 on Friday and 14,736 on Saturday.
929
If we consider that the
B o wl ’ s c a pa c i t y i s a ppr o xi m a t e ly 18, 000, it is easy to see why the Philharmonic
management (namely Ernest Fleischmann at that time) continued to have Green produce
his annual pops night —it sold tickets.

927
Daniel Cariaga, “ S um m e r F a l l s i n t o P l a c e , ” Los Angeles Times, May 18, 1980,

928
H i n s h a w ’ s r e t i r e m e n t a nd a ge w e r e announced at his final concert in May 2011 at Disney Hall.
Paul had sung with the Master Chorale since 1964 and was the longest-standing paid member of
LAMC at the time of his retirement.

929
Lewis S e g a l , “ A r o und t he W o r l d a t t h e B ow l , ” Los Angeles Times, July 14, 1980.

300

Leonard Slatkin conducted a series of concerts in August at the Bowl consisting
of Brahms, Bartok, Liszt, William Schuman, Mendelssohn, and Gershwin.
930
S l a t k i n’ s all-Gershwin program featured Zita Carno at the piano for Rhapsody in Blue and the
Roger Wagner Chorale for several arrangements of Gershwin songs. In his review, Chris
Pasles reported that Slatkin ’ s i n t e r pr e t a t i o n s “ s t r e s s e d s m o ot h ne s s a n d b a l a n c e a t t h e e x pe ns e o f e n t h us i a s m a n d s po n t a n e i t y . ” He commented on the amplification as being
“ t oo- c l o s e ” c i t i n g b o t h s o l o i s t s L e o n a M i t c h e ll a n d Do n ni e R a y Al be r t a s b e i ng o v e r -
amplified in addition to the c h o r a l e , whi c h h e s a i d, “ s e e m e d to e m a n a t e f r o m t h e b o tt o m of a water pail --and w h o s e d i c t i o n wa s h o pe l e s s ly m udd y . ”
931
The official attendance
was reported at 16,163.
The Los Angeles Master Chorale appeared in the Bowl with guest conductor
Jesus Lopez-Cobos i n a pe r f o r m a n c e o f B e r l i o z ’ Damnation of Faust in August. In his
r e vi e w, B e r nh e im e r r e po r t e d t h a t t h e c h o r a l e , tr a i ne d by R o ge r W a gn e r , “ h a d m o m e n t s o f g l o r y o f f s e t by m o m e n t s o f r a gge dn e s s . ” He a l s o c o m m e n t e d t h a t h e t h o ugh t , “ we he a r d, from all concerned, some pretty strange French . . . I t h i n k, b ut I ’ m n o t s ur e . ” He went
on to say that he considers t h e B o wl t o b e “ b e s t f o r m u s i c -not-to-think- by , ” pa r t l y du e to
the muddy and unaesthetic acoustics of the amphitheater, the “ w i ne b ott l e s ” b o un c i ng
and c r a s hi ng o n t h e c o n c r e t e s t a i r s , “ n u m e r o us pa pe r a i r p l a n e s ” flown at inopportune
moments , “ s t r a y s i r e ns wa i li ng, a s s o r t e d f r e e wa y no i s e s , a n d t h e r e s i d e n t c r i c ke t - c h o r us ” which easily drowned out Berlioz. He a l s o s a i d t h a t t h e “ p i c ni c k i ng n a t i v e s t ur n e d o u t to

930
“ S l a t k i n t o C ond uc t F o ur B ow l C on c e r t s, ” Los Angeles Times, August 4, 1980.

931
Chris Pasles, “ G e r shw i n N i gh t a t t h e B ow l , ” Los Angeles Times August 11, 1980.
.
301

b e u n us ua ll y r e s t l e s s . ” Bernheimer also noted that attendance was small (reported by the
Philharmonic as 6,508, which Bernheimer c a ll e d “ o p t i mi s t i c ” ) and became smaller as the
e v e ni ng “ dr a gge d o n . ” He a l s o too k to t a s k t h e “ n e w l y r e n o va t e d, o v e r r a t e d s ound
s y s t e m , ” c i t i n g t h a t s o l o i s t Da vi d R e n da ll ’ s t e n o r “ pe e pe d a l l b ut i n a ud i b ly a t f i r s t , t h e n came at us in tinny blasts. Plishka [Paul] sounded as if he were singing through a
m e ga p h o n e i n a n e c h o c h a m be r . ” Suffice it to say, Bernheimer was less than thrilled with
the entire evening.
932

The Roger Wagner Chorale sang an all-Bernstein concert with John Mauceri and
the Los Angeles Philharmonic in the Bowl in late August, including excerpts from West
Side Story, On the Town and Candide.
933
In his review, Martin Bernheimer took great
e x c e pt i o n o n c e a ga i n t o t h e B o wl ’ s “ s o un d - d i s t or t i o n ” s y s t e m , r e p o r t i n g t h a t it destroyed
the sound of the singers. He went on to say that, “ th e n e w -fangled amplification
apparatus, in its latest configuration, is reasonably kind to the Los Angeles Philharmonic
Orchestra. But it is cruel, undeniably cruel, to the human voice. ” He went on to report
that despite the awful sound system, whi c h m a de t h e “ e a r n e s t v o c a l i s t s s o un d l i ke vi c t i m s of 78 rpm records on a windup gramophone ” t h e e v e ni ng wa s s t i ll “ be gu i li ng. ” He
complimented the soloists, t h e R o ge r W a g n e r C h o r a l e a n d t h e “ t e m po r a r i ly pr o m o t e d
qua r t e t o f c h o r i s t e r s ” wh o a l l b r o ugh t “ s p i r i t a n d f in e s s e ” t o t h e e v e ni ng . He also found

932
Martin Bernheimer, “ B e r l i o z ’ F a ust v s. H o l l yw oo d B ow l , ” Los Angeles Times, August 14,
1980.

933
“ T h r e e C o nd u c t o r s D ue a t t h e B ow l , ” Los Angeles Times, August 15, 1980.

302

M a uc e r i ’ s “ po unc i n g a n d j u m p i ng” like a “ grande jete a t t h e b a ll e t ” to l o o k “ p l a i n s il ly ” on the Philharmonic podium.
934

Daniel Cariaga reported that Wagner and the LA Master Chorale would open their
seventeenth season a t t h e P a vi li o n w i t h a pr o gr a m e n t i t l e d “ M u s i c f r o m t h e O l d
T e s t a m e n t , ” i n c l ud i ng Ho n e gg e r ’ s King David a n d E r n e s t B l o c h’ s Sacred Service. The
soloists were Kar i W i nd i n g s t a dt, Na n c y O ’ B r i e n , J onathan Mack, and Paul Hinshaw.
935

I n a n i n t e r vi e w w i t h “ R o ge r ” i n t h e Times, Daniel Cariaga points out several
things:
There are leitmotifs in the conve r s a t i o ns we ’ v e h a d wi t h R o ge r W a g n e r o v e r t h e years. Some are developed, some not.

The colorful choral conductor, who Saturday night opens the 17th Music Center
season of the Los Angeles Master Chorale – the organization founded when the
Center opened its doors in 1964 – usually mentions the now-famous singers who
began their careers in his Roger Wagner Chorale; often bemoans the second-class
status of the American choral singer; regularly catalogues his latest personal and
choral successes in recent national and foreign tours, and always reiterates the list
of living composers whose works he is currently championing.

In a recent visit, Roger – everybody calls him Roger: stagehands, fellow
conductors, critics, waitresses – in his newish condominium overlooking Beverly
H i ll s , Ho l ly wo o d a n d p o i n t s e a s t ( “ I t ’ s a m a z i ng h o w m u c h $2500 a m o n t h w i ll b u y ” ) , h e s o un de d t h e o l d t h e m e s a n e w, a n d e x po s e d a f e w n e w o n e s .

“ I ’ m r e t i r i ng f r o m UC L A A pr i l 1, ” h e a nn o un c e d c h e e r i ly , po ur i n g c o f f e e f o r hi s guest. “ I ’ m n o t un h appy, because teaching at the university has tied me down for
a long time. I ’ v e n e v e r be e n a bl e t o d o l o n g w i n t e r to ur s b e c a us e o f t h a t j o b . Now,
since the university requires retirement at 67 (an age Wagner will achieve Jan.
16), it all works out. I can travel more. But I will have been at UCLA 31 years.
T h a t ’ s a l o n g t i m e . I a l w a y s ke e p j o bs a l o n g t i m e . ”

934
Martin Bernheimer, “ B e r n st e i n N i gh t a t H o l l yw ood B ow l , ” Los Angeles Times, August 25,
1980.

935
Daniel Cariaga, “ En d-of- m ont h F l ur r y F o r e c a st , ” Los Angeles Times, October 26, 1980.
303

An o t h e r n e w t h e m e i n W a gne r ’ s li f e i s hi s pa r t i c i p a t i o n o n t h e c h o r a l pa n e l advising the National Endowment for the Arts on its grants programs. This is a
recently formed arm of NEA funding.

“ O f c o ur s e i t ’ s o nly a dr o p i n t h e b uc ke t wh e n y o u c o n s i de r h o w m a ny m il li o n s t h e NE A g i v e s t o o r c h e s t r a s , ” W a gne r s a y s , not without a s n e e r , “ b ut i t ’ s gr o wi n g .
Our first year, we administered only $75,000. Last year, that increased to
$350,000. No w we ’ r e up to half a million, and next year it will be a million. That
may sound like a lot, but r e m e m be r , wh a t we ’ r e de a l i ng w i t h i s t h e f ut ur e o f professional choral music in this country. T h a t ’ s why I do n ’ t m i n d f lyi ng a ll over
the place to hear choruses and to attend meetings. I t ’ s a c o n t r i b ut i o n I h a ve to
m a ke . ”

T h e l o t o f t h e pr o f e s s i o na l c h o r a l s i nge r , a s ubj e c t c l o s e to W a gn e r ’ s he a r t s i n c e he founded his own chorale more than 30 years ago, remains one of his
obsessions.

“ S ym p h o ny m a na ge r s a n d a ud i e nc e s a li ke c a n ’ t s e e m to s e e h o w wr o n g i t i s t h a t a m a t e ur c h o r us e s s i n g w i t h pr o f e s s i o na l o r c h e s t r a s , ” h e r e pe a t s , a ddi n g, o n c e a ga i n , “ W h y , t h e gu y w h o pul l s t h e c ur t a i n ge t s m o r e m o n e y t h a n t h e s i n g e r s . I t ’ s a tradition by now –and i t ’ s wr o n g . The management resents having to pay
singers. That has to change. We hope —Bob Shaw,
936
Margaret Hillis, Bob Page,
myself and the rest of the NEA choral panel —to raise the level of choral singing
by recognizing and assisting good wor k . ”
937

Wagner also discussed the fact that he felt the Master Chorale wa s “ s t i l l s t r uggl i ng” to m a ke i t f i na n c i a ll y . He stated that each concert cost was $30,000-$35,000
and they had trouble selling out the house and the subscriptions. He also stated that he
wa s “ e n c o ur a ge d” b e c a u s e t h e c h o r a l e s i nge r s he s a i d we r e “ s o m e o f t h e b e s t I ’ v e h a d i n
936
It has to be noted here, that even though Wagner names Shaw in this group, and Shaw was a
part of the committee on the NEA, Shaw was quite famous for believing in fact that singers
should not be paid. To this day, his Atlanta Symphony Chorus is still an all-volunteer chorus,
despite the fact that it has supplied numerous quality recordings for the Atlanta Symphony
Orchestra, who was most certainly paid. W a gne r m a y no t h a ve know n o f S h a w ’ s ow n p e n c h a n t for believing in all-volunteer choirs, or perhaps he was simply being collegial, but in any case, the
fact that Shaw did not pay his own choristers speaks for itself, and in the opinion of this writer,
misguided.

937
Daniel Cariaga, “ W a g ne r ’ s La t e st Le i t m o t i f s, ” Los Angeles Times, October 31, 1980.

304

a l o n g t i m e , ” a n d b e c a u s e o f n e w a d m i n i s t r a t i v e l e a de r s hi p t h a t h e f e l t wo ul d b e m o r e aggressive in selling the product of their subscriptions.
938

Wagner also discu s s e d t h a t “ po ps ” c o n c e r t s di d n ’ t sell as well with chorale
subscribers (this is still true today) , a n d h e r e i t e r a t e d t h a t “ s e ll i ng s u bs c r i pt i o ns ” wa s “ c r uc i a l , ” a s i t also remains today. He closed the article by s a yi ng: “ A s a musici a n , I ’ m at my peak now. At my age, a conductor is just starting to grow. You know, one conducts
b e t t e r wh e n o n e n o l o n ge r ha s t h e d i s t r a c t i o ns o f t h e y o un g. ”

Figure 36. Robert Wagner, about to being his 17th season with the Master Chorale.
Photograph by Iris Schneider.

938
It might be noted that at the time, the Los Angeles Master Chorale was a resident at Dorothy
Chandler Pavilion, a 3200-seat hall; it has now moved with the Philharmonic to Walt Disney
Concert Hall, where the capacity is only 2200.
305

In hi s r e vi e w o f t h e c h o r a l e ’ s o pe ni ng c o n c e r t f o r i t s seventeenth season, Cariaga
notes that, “the two works [ H o n e gge r ’ s King David , a n d B l o c h’ s Sacred Service]
c o un t e r b a l a n c e d e a c h ot h e r ni c e l y . ” He reported that both works received the benefit of
“ ur ge n t pe r formances and sympathetic interpretation from all concerned, but the
Ho n e gge r de f i n i t e ly h e l d i t s o wn b e t t e r t h a n t h e B l o c h . ” He said that Wagner and the
c h o r a l e c a ug h t t h e “ t h e a t r i c a l i m p a c t a n d i m a g i na t i v e s ugge s t i v e n e s s o f t h e Ho n e gge r ” and that the ch o r us s a n g w i t h “ f u ll s c o pe o f c o l o r , po we r a n d de l i c a c y . ” He also praised
the Sinfonia Orchestra, which was slightly unusual as most critics in the Times almost
always found the orchestra lacking in some regard. Cariaga stated that the chorale sang
the Blo c h “ w i t h a ppr o pr i a t e f e r v o r a n d de v o t i o n , ” b ut f e l t t h a t t h e b e s t e f f o r t s did not
a l wa y s “ b o l s t e r t h e c o m po s e r ’ s f l a gg i ng i ns p i r a t i o n . ”
939

In early November, the Roger Wagner Chorale supplied Christmas music for the
Christmas luncheon given to benefit the Opera Guild of Southern California at the
Beverly Wilshire Grand Ballroom. They were joined by then unknown baritone, Thomas
Hampson, who was a winner of the Regional San Francisco Opera Finals.
940
In mid-
December, Wagner led the annual Messiah Sing-a-long,
941
a tradition he instituted for the
Master Chorale that still continues today.
The annual chorale Christmas concert (in a series of three performances), did not
receive a good review from Cariaga a day later, finding it to be f u ll o f “ r e du n da n c i e s .” He

939
Daniel Cariaga, “ M usi c R e v i e w s, ” Los Angeles Times, November 3, 1980.

940
Jody Ja c o bs, “ A B usy Tr a n si t i on f o r N a n c y R e a g a n , ” Los Angeles Times, December 5, 1980.

941
Marc Shulgold, “ Mus i c a n d D a n c e N e w s, ” Los Angeles Times, December 14, 1980.

306

felt that, n ot o nl y wa s i t “ too l o n g a t 136 m i nut e s i n c l ud i ng i n t e r m i s s i o n , ” b ut t h a t programming the Vaughan Williams Hodie w i t h W a g ne r ’ s o wn Christmas Story to be
textually redundant. He took Richard Trame
942
to task as well for apparently referring to
Hodie a s a “ m a s t e r p i e c e ” i n hi s pr o gr a m n o t e s –Cariaga did not agree wi t h T r a m e ’ s assessment i n hi s “ o t h e r w i s e c l e a r - h e a de d pr o gr a m n ot e s . ” Cariaga did comment that
whil e t h e d i c t i o n wa s n’ t a l w a y s pe r f e c t f r o m a l l t he pe r f o r m e r s “ f u ll -out professionalism
in sound and e x e c ut i o n i nf o r m e d t h e e n t i r e pe r f o r m a n c e . ” Shirley Jones, serving as the
narrator, also joined in the singing with some solos ornamented by the chorale in the
background.
943

In his 1980 Beckmesser Awards at the end of the year, Bernheimer gave a
“c he e r s ” to Wagner (and in the same breath, William Hall) i n t h e f o r m o f t h e “ f a i t hf u l s he p h e r d a wa r d, ” s a y i ng:
To Roger Wagner, for upholding the highest traditions of choral singing during
lean as well as fat years, in ethereal programs and in schlock; to William Hall, for
continuing, especially in the Britten War Requiem, to prove that fine choral
singing is not a matter of a one-group monopoly in lucky Southern California.
944

Wagner appeared in many Beckmesser Awards over the years, and almost
consecutively from 1978-1986 , but he was not mentioned in 1982 or 1984 during those
years. It is an important benchmark in that culturally, Bernheimer handed out the

942
Fr. Richard H. Trame, S.J., PhD, was a well-known music historian and researcher of choral
obscurities at Loyola Marymount University for many years. Fr. Trame was also the person who
lured Paul Salamunovich to the school in the early 1960s to join the faculty. Trame later became
an LAMC programming advisor during Salamunovich ’ s t e n ur e a s m usi c d i r e c t o r , a n d w r o t e program notes for the organization for many years.

943
Daniel Cariaga, “ C h o r a l e ’ s C h r i st m a s P r o g r a m , ” Los Angeles Times, December 15, 1980.

944
Martin Bernheimer, “ T h e B e c km e ss e r A w a r d s o f 1980, ” Los Angeles Times, December 28,
1980.
307

“ a w a r ds ” o nl y t o t h e top echelon of LA musicians o r t h e v e r y f l e dg i ng a s “ pr o m i s i ng n e w
t a l e n t . ” That he focused on Wagner so often is in its way a n o d to W a g n e r ’ s i m po r t a n c e in the development and continuing musical culture in southern California.
The year 1981 opened with a review by Chris Pasles in the Times o f t h e “ F o l k
J ubil e e ” concert at the Music Center which also featured the Albert McNeil Jubilee
Singers of Los Angeles. Pasles found the Master Chorale to h a v e “ i t s us ua l pur i t y o f t o n e , sheen and dynamic variety [in] arrangements of folk music that refined out any real
ge o gr a phy . ” He went on to s a y t h a t de s p i t e c h a n ge s i n l a n gu a ge , t h e “ h a r m o ni c c o l o r ” l a c ke d “ da bs o f e x ot i c s o un d” a n d “ l a c k e d i n d i v i d ua l pr o f il e ” n o m a t t e r wh e r e t h e s o n gs originated, and t h a t “ t h e c h o r a l e pr e v e n t e d m o n o tony o nly b e c a u s e o f t h e hi g h l e v e l o f i t s vocalism, but not for a minute could anyone believe this was music of any particular
f o l k. ”
Pasles found the Jubilee Singers to be far more authentic w i t h t h e i r “ u n t r a i n e d
s o un d, ” whi c h h e li ke d f o r s p i r i t ua l s b ut n ot i n F o ns e c a ’ s Missa Afro-Brasileira, but he
found them su pe r i o r i n “ c o nvi c t i o n , i n t e ns i t y , vi t a li t y a n d e l e c t r i c s t a ge ” pe r s o n a . He also
stated that, “ M c Ne il ha s f a s hi o n e d a modern ensemble, ” t h e r e by i n d i c a t i n g t h a t W a g n e r ’ s gr o up wa s s o m e h o w “ o ut da t e d . ”
945

945
Chris Pasles, “ F o l k Jubi l e e a t t h e P a v i l i on , ” Los Angeles Times, January 27, 1981. The
interesting part about reading the review so many years later is realizing that the reviewer was
trying to compare apples and oranges. T h e Lo s A nge l e s Ma st e r C h o r a l e i s no m o r e a “ f o l k si ngi ng g r o up ” t h a n Peter, Paul, and Mary could be considered classical, so comparing them with
a group that specializes in the music of black America is slightly one-sided; furthermore, Wagner
h a d t o kn ow t h a t Mc N e i l ’ s c ho r us w o u l d o ut s h i ne t he Ma st e r C h o r a l e i n t he f ol k i d i om , especially American spirituals, but was not afraid to feature them in any case, and Pasles failed to
acknowledge this aspect of the concert.
308

In February, a benefit for the Los Angeles Master Chorale was held at the Beverly
Wilshire Grand Ballroom, honoring one of the founding board members, Z. Wayne
Griffin. The roll call for the event was an impressive list of some of the most well-known
donor families in Los Angeles, including the Chandlers, Ahmansons, Kendalls, Henrys,
Wachtells, Strausses, Griffins, and Annenbergs; Dorothy Chandler herself served as the
event chairperson. Robert Stack was the master of ceremonies, Marni Nixon sang, and
Roger Wagner conducted members of the Los Angeles Master Chorale singing a
composition of Elinor Remick Warren, who had been married to Z. Wayne Griffin for
forty-four years at that point. Ne l s o n R i dd l e ’ s Or c h e s t r a wa s t h e “ da n c e b a n d. ” The
a r t i c l e do e s e r r o n e o us l y c a ll R o ge r W a g n e r “ R o b e r t ” wh e n discussing the 1964 addition
of Z . W a y ne Gr i f f i n t o W a g n e r ’ s c a s t o f s uppo r t e r s f o r a r e s i de n t c h o r us .
946

In March, the Los Angeles Master Chorale Association hosted a reception
honoring Margaret Hillis, conductor of the Chicago Symphony Chorus [founded by Hillis
in 1957], at the residence of Roger Wagner. Hillis guest-conducted the Master Chorale in
M a r c h o f 1981 f o r B r a hm s ’ Requiem in her southern California debut.
947
An interview of
Hillis in the Times revealed that she was fifty-nine at the time, a chain-smoker because
she “ ha s to s e e pe o pl e , ” and straight-forwardly simple. She said that the notoriety brought
to her from filling in for an ailing Solti in a concert of the Chicago Symphony, Chorus
and soloists of Mahler Eighth brought with it more guest-conducting opportunities. She
a l s o s a i d a b o ut h e r c h o r us t h a t s h e “ c a n’ t l e a v e i t too o f t e n . Choruses, more so than

946
Mary Lou Lo p e r , “ A Mus i c a l Tr i but e f o r Z. W a y ne G r i f f i n , ” Los Angeles Master Chorale,
February 3, 1981.

947
Mary Lou Lo p e r , “ O n V i e w , ” Los Angeles Times, February 26, 1981.
309

o r c h e s t r a s , a r e b u i l t a r o un d a de v ot i o n t o a di r e c t or . ” Regarding her personal life, she
simply said that “ m y pe r s o n a l l if e i s r e a l ly my pr o f e s s i o n a l l if e , ” go i n g on to explain that
it would be impossible to have what i s pe r c e i ve d a s a “ n o r m a l ” f a mi ly li f e g i v e n h e r chosen field of work and the level at which she performed it. She also addressed the
“ s t r o n g pr e j ud i c e a ga i ns t w o m e n” i n t h e c o n duc t i ng f i e l d , especially in the 1940s when
she was first starting out in her career. She also made a couple of general statements that
bear quoting in this paper, albeit a slight turn from the topic, but worth reading even now
in 2012:
Why does the prejudice against women conductors persist? “The reasoning is that
the person on the podium should be a man be c a us e h e ’ s c o m m a n d i ng, ” she
replies. “Well the command thing is in the mind. I f y o u kn o w wh a t y o u’ r e do ing,
then the command is there. ”

B e c a us e H i ll i s f i nd s “ n o t a gr e a t di f f e r e n c e ” between choral and orchestral
conducting, she a d m i t s s h e i s o f f e n de d by t h e ‘ s t i g m a ’ associated with being a
choral conductor. “ I n Am e r i c a , y o u’ r e too often typecast. I d o n ’ t l ike the
limitations of being regarded only as a choral person. A n d I ’ m f inally beginning
to break out. When I conduct at Indiana University now, I only do orchestral
works. And of c o ur s e , I h a v e m y o wn o r c h e s t r a , ” she adds, referring to the Elgin
Symphony, which has been hers since 1971.

No w, i n R o ge r W a g n e r ’ s l i v i ng r oo m , with the late afternoon sun dying, she says,
“Music is elevation, the elevation of the human spirit. The word has lost its
meaning now, but I feel a certain Humility in that something so great as music can
live in the world and that I can be a part of it. Ye s , ” s h e a dds , “ I am a conduit. ”
948

I n M a r c h , t h e L o s A n ge l e s M a s t e r C h o r a l e wa s to s i n g R o s s i n i ’ s Stabat Mater
with the Los Angeles Philharmonic, Giulini conducting; however, due to the serious
illness of his wife, he canceled all remaining engagements for the balance of the season,
and the Los Angeles Philharmonic ’ s As s o c i a t e C on duc t o r , M y u n g -Whun Chung, stepped

948
Jack S l a t e r , “ H i l l i s: Mus i c i s Ele v a t i on o f S pi r i t , ” Los Angeles Times, February 27, 1981.
310

in. In his review in the Times, Bernheimer commented that this was unfortunate for all
parties given the fact that Giulini is steeped in the Italian repertoire, and Chung, for all his
twenty-eight- y e a r o l d t a l e n t , wa s a “ vi r t ua l ne o phyt e ” f o r r e pe r to i r e of the stature of
Rossini.
Bernheimer observed that Chung lost control of the balance, allowing the
o r c h e s t r a to pl a y t oo l o ud f o r t h e “ c o m f o r t o f t h e c h o r us ” o n s e v e r a l p a s s a ge s , and he was
too “ s e n t i m e n t a l ” e nf o r c i n g “ e x t r e m e s hi f t s ” o f t e m p i . That said, Bernheimer also said
t h e y o un g m a n wa s “ pr o m i s i ng” a n d d i d hi s “ b e s t wo r k” with the mezzo-soprano soloist,
Frederica von Stade, and the Master Chorale. He r e po r t e d t h e c h o r a l e a s “ m a s t e r f u l t h r o ugh o u t, ” s h o wi n g “ s pe c i a l wa r m t h , r e s o n a n c e , l u c i d i t y a n d s e c ur i t y o f i n t o n a t i o n ” i n especially the recitative with the bass and the final prayer. He went on to say that in the a
cappella choruses, they were “ f r e e d f r o m c o n c e r ns r e ga r di n g t h e o rchestra and soloists,
Chung mou l de d t h e l i ne a n d bl e n de d t h e t i m br e s w i t h e x qu i s i t e f i ne s s e . ” The soloists for
the occasion were Leona Mitchell, Frederica von Stade, David Rendall, and Paul
Plishka.
949

The Times announced in March that KUSC would produce four of the Master
Chorale ’ s c o n c e r t s i n t h e 1980 -81 season. A $15,000 grant from the Tosco Corporation
came just in time to give the radio station the support it needed to meet its obligations to
the chorale, which had yet to perform the Bach St. John Passion conducted by Wagner
and a pr o gr a m o f o pe r a c h o r us e s o n t h e c h o r a l e ’ s s e r i e s c o n duc t e d by K ur t A d l e r .
950

949
Martin Bernheimer, “ C h un g C ond uc t s R o ss i ni , B a r t o k , ” Los Angeles Times, March 7, 1981.

950
James B r ow n , “ R a d i o , ” Los Angeles Times, March 8, 1981.
311

In a review by John Henken in the Times, the critic noted that, “ w i t h t h e responsive, vibrant choral sound, predictably varied contributions from seven soloists and
stolid support from the Sinfonia Orchestra, conductor Roger Wagner brought the
monumental work in with appropriately intense grandeur. ” He lamented some of the cuts
Wagner made in the piece, most notably the C-minor tenor aria. He especially liked
Jonathan Mack as the Evangelist and Holly Shaw-Price
951
of the aria singers.
952
And
B e r nh e im e r , a t t h e e n d o f a r a t h e r dr e a df u l r e vi e w o f L uka s F o s s c o n duc t i n g B e e t h o v e n’ s Fifth Symphony, managed to mention that Roger Wagner was taking the chorale that
b e a r s hi s n a m e o n “ i t s l a t e s t c r o s s -country tour to include 41 stops in the Midwest, West
Coast and Canada, with Roger Wagner at the helm. ”
953

The Master Chorale announced its eighteenth season in July, promising to sing
nine different programs in fifteen performances. The chorale would sing a world
pr e m i e r e pe r f o r m a nc e o f L o u i s Gr ue nb e r g’ s A Song of Faith; a French program for the
Christmas concert; a Gilbert & Sullivan Gala featuring John Reed; two performances of
The Fairy Queen; an appearance by the Albert McNeil Jubilee Singers; and a Thirty-fifth
Anniversary concert of the Roger Wagner Chorale.
954

951
Holly Shaw-Price is the daughter of Anne Shaw & Harrison Price, both long-time board
members of Los Angeles Master Chorale, and the niece of Robert Shaw.

952
John H e nke n , “ S t . Jo hn P a ss i o n b y LA Ma st e r C h o r a l e , ” Los Angeles Times, March 23, 1981.

953
Martin Bernheimer, “ S o m e T ho u gh t s o n P l a yi ng B e e t hove n , ” Los Angeles Times, April 5,
1981.

954
Daniel Cariaga, “ M usi c a n d D a n c e N e w s, ” Los Angeles Times, July 12, 1981.

312

In August of 1981, members of the Los Angeles Master Chorale, the Roger
Wagner Chorale, along with Roger Wagner, gave a master class and demonstration
lecture-performance at the Verdugo Hills Hebrew Center, including interaction with the
audience.
955

In September a rather amusing article appeared as a special to the Times recalling
a 1951 Bowl production of Die Fledermaus, which infamously almost caused the
collapse of the Bowl both physically and fiscally. Robert Kuyber, the author of the
recollection, was the assistant director on the production of Fledermaus, conducted by
Franz Waxman, played by the Los Angeles Philharmonic, the chorus supplied by Roger
Wagner. Apparently the production was plagued with more than one problem, including
sick principals that resulted in a surprise guest soloist, sets designed for the Bowl that
refused to function properly, and loud, raging arguments backstage during the intervals.
One such argument that Kuyber recalls was between Waxman and Wagner:
The long interval between the first and second act was not entirely wasted,
however. [The first Act set had frozen and would not come away for the
stagehands to do the change out.] Waxman used it to great advantage. He picked
an argument with the chorus master, Roger Wagner (not a difficult thing to do),
and subsequently refused to cue the chorus at all during the second act. The
chorus members, ble s s t h e i r h e a r t s , di d n’ t m i s s a thi ng . This further enraged
Waxman, causing him to flub more principal cues than usual during the
remainder of the performance.
956

955
“ T h e A r t s, ” Los Angeles Times, August 2, 1981.

956
Robert K uy b e r , “ C o m i c O pe r a A bo ut a C o m i c O p e r a , ” Los Angeles Times, September 13,
1981.
313

One can only imagine W a g n e r ’ s r e a c t i o n t o t h e r e c o l l e c t i o n , m uc h l e s s t h e o r i g i na l instance; nonetheless, it is yet one more example of the well-known, volatile nature of
Wagner –but also an example of how well-trained his choruses usually were.
Also in September, came the sad news that a founding board member of the Los
Angeles Master Chorale, Z. Wayne Griffin, had passed away at age seventy-four. The
obituary appearing in the Times r e c a l l e d a ll o f Gr i f f i n’ s p hil a n t h r o pi c wo r k, whi c h included the Community Redevelopment Agency, the Los Angeles Philharmonic,
Hollywood Bowl Association, and Los Angeles Master Chorale. A graduate of Pasadena
High School, Griffin was also a music graduate student at USC, but made his eventual
fortune in film (Lone Star, Key to the City, etc.), television (Burns and Allen) and real
estate (he was responsible for Bunker Hill in downtown Los Angeles). Griffin was a
driving force fiscally at the beginning of LA Master Chorale, when Wagner enlisted his
help, and Griffin in turn enlisted the help of the Los Angeles Junior Chamber of
Commerce to found the chorale. His efforts were carried on within the Master Chorale
through his daughter, Elayne Techentin.
957

October included performances a world premiere performance of Louis
Gr ue nb e r g’ s A Song of Faith by the Master Chorale , with Lorne Greene serving as the
narrator for world premiere performance given the following Sunday. Marc Shulgold
reported that the composer had written the work twenty years before, and that it was a
fifteen- m o v e m e n t “ s p i r i t ua l r h a ps o d y , ” with its t e xt i s b a s e d o n “ wr i t i ngs f r o m t h e B ible,

957
Jack Jo ne s, “ B usi ne ss m a n Z. W a y ne G r i f f i n , 74, D i e s, ” Los Angeles Times, September 12,
1981.

314

Koran, Talmud, Bhagavad-G i t a , Ne gr o s p i r i t ua l s a n d a Na va j o m o un t a i n s o n g. ”
958
Daniel
C a r i a ga e x po un de d o n S h u l go l d’ s i nf o r m a t i o n a f e w da y s l a t e r , s a y i ng that the work was
t h e c o m po s e r ’ s “ dr e a m wo r k” and was completed shortly before his death in 1964. The
three-time Academy Award-winning composer wrote an eighty-five-minute work that his
w i do w, I r m a , f e l t m i g h t b e “ m i s u n de r s t oo d a s r e l i g i o us —he did not intend this work to
be religious at all. It is exactly the o ppo s i t e o f r e l i g i o us , i n f a c t , ” s a i d I r m a Gr ue nb e r g .
She als o e x pr e s s e d c o n c e r n t h a t “ f o ur r e h e a r s a l s ” mi g h t n ot b e e n o ugh to gi v e t h e wo r k a “ f a i r pe r s pe c t i ve f o r t h e c o m po s e r ’ s vi s i o n . ”
Wagner, on the other hand, stated t h a t “ f o ur r e h e a r s a l s w i t h o r c h e s t r a i s m o r e than we usually have, but we need them when we do a new work, because there are
always mistakes in the parts, and that takes time. But the chorale has been preparing the
work for a long while now, and we are ready. I think the work has something to say. Is it
gr e a t ? Onl y t i m e w il l t e l l t h a t . ” He went on to praise the orchestral colors, which he
found to be reminiscent of Debussy and Ravel; and also the use of the choir. Robert
Willoughby Jones, then executive director of the chorale, was credited with bringing the
wo r k a n d t h e c o m po s e r to W a gn e r ’ s a tt e ntion. The widow Gruenberg said that her
h us ba n d wa s “ n ot a r e l i g i o u s m a n , b ut h e wanted to create something for peace,
s o m e t hi n g f o r t h e b r o t h e r h o od o f m a n . ” The premiere of the work was dedicated to the
memory of the late Z. Wayne Griffin.
959

958
Marc S h ul g ol d , “ Mus i c a n d D a n c e N e w s, ” Los Angeles Times, October 25, 1981.

959
Daniel Cariaga, “ Lo ui s G r ue n b e r g W o r k i n P r e m i e r e on S und a y , ” Los Angeles Times, October
30, 1981.
315

In his review of the world premiere of the Gruenberg, Martin Bernheimer called
L o ui s Gr ue nb e r g a “ t r a gi c f i gur e , ” wh o i n t h e l a s t y e a r s o f hi s li f e , c o m po s e d i n o bl i v i o n , neither having his works acknowledged nor performed. And yet the composer wrote in
his diary on Thanksgiving Day, 1962 (two years before he died at eighty): “In spite of
the benumbing, lethal, demoralizing fact that there is not one single professional musician
in this world, whether he or she be conductor, pianist, singer, cellist of triangle player,
who is interested in me or my music, still this is a day of thanksgiving for me. I am
profoundly grateful for having music as my profession. ” B e r nh e im e r s a i d t h a t “ R o ge r Wagner and the LA Master Chorale attempted to make s m a ll a m e n ds f o r gr e a t s l i g h t s , ” by belatedly pr e mi e r i ng t h e c o m po s e r ’ s wo r k . T h e c r i t i c a c k n o w l e dge d t h a t “ i t wa s n ’ t exactly the premiere the composer e nvi s i o ne d, ” s a yi ng t h a t Gr ue n b e r g h a d wa n t e d 400
voices, dancers, and multimedia dramatic effects, and Wagner could only provide 125
voi c e s i n a n “ u na do r n e d” c o n c e r t . Wagner also cut a “ l a r ge c h u n k” o f m us i c i n t h e “ S t a r s ” s e c t i o n , 1:30 total from the work, according to Cariaga. Bernheimer said that
while t h e “ c o n duc t or called it repetitive; the composer would have argued that it was
cru c i a l t o t h e e v e n t ua l c l im a t i c im pa c t . ”
Nevertheless, Bernheimer c a ll e d t h e pe r f o r m a n c e “ serious and generally attentive
o f a wo r k t h a t de s e r v e d to b e h e a r d a t l a s t . ” And in the next sentence, the critic wonders
h o w m u c h “ a tt e n t i o n ” t h e wo r k “ r e a l ly ” de s e rves as a musical composition. He felt that
the composer was trying to create something along the lines of the Beethoven Ninth
Symphony or Missa Solemnis, b u t B e r n h e im e r f e l t t h a t t h e e n d pr o duc t “ s o un ds m u c h , too much, like old-fashioned, Technicolored fi lm m u s ic. ” He acknowledges that the piece is
316

“ we ll- c r a f t e d, i n t e l l i ge n t l y p l o tt e d, l o vi n g ly de li ne a t e d, ” b ut t h a t i t s e e m e d “ i n t e n de d t o
s pe a k to t h e l o we s t c o m m o n de n o m i na t or . ” His main complaint seems to be that the
p i e c e wa s “ t oo c o m m o n ” a n d o f f e r e d n o “ vi s t a s , s tr e t c h e s ” o r “ i n t e l l e c t ua l i nv o l ve m e n t s . ” He a l s o s t a t e d t h a t t h e “ b e s t pa r t of t h e M u s i c C e n t e r pe r f o r m a n c e involved, not surprisingly, the chorus. The Master Chorale sang, for its seasoned
chieftain, with the power, polish, flexibility, and authority that long ago made it an
ensem b l e w i t h f e w e qua l s a ny w he r e . ” No s ur pr i s e either was the fact that Bernheimer felt
the Sinfon i a Or c he s t r a wa s “ t oo t i mi d , ” a s wa s “ W a gn e r ’ s h a l t i n g b a t o n . ” He also felt
t h a t L o r n e Gr e e n e ’ s n a r r a t i o n was ignorant of Gr u e nb e r g ’ s “ a d m o ni s hm e n t , reported in
Richard H. T r a m e ’ s e x c e ll e n t a nn o t a t i o n , t h a t t h e i n t e r pr e t e r s ‘ pe r f o r m w i t h pr e c i s i o n a n d h u m il i t y a n d w i t h o ut a ny t r a c e o f a r t i f i c e . ’ ”
960

Figure 37. Promotional phot o a dve r t i s i ng L o ui s G r e e n b e r g ’ s Song of Faith.

960
Martin Bernheimer, “ W a g ne r Le a d s S ong o f F a i t h , ” Los Angeles Times, November 3, 1981.

317

In early December, Wagner was quoted in the Times as paying tribute to a UCLA
colleague, Sven Reher, by s a yi ng “ I t ’ s i m po r t a n t to s h o w gr a t i t ude f o r t h e m a ny t hings he
h a s do n e f o r m a ny pe o p l e n o t o nl y b e wo r ds b ut b y d e e ds . ” Reher was considered by
many to b e “ a n uns u n g he r o ” f o r the musical destiny of Los Angeles, not only by the
sheer number of concerts he played violin in, but by the sheer number of concert halls
throughout the southern California area in which he played. W a g n e r ’ s c o m m e n t acknowledged his understanding of a deeper level of R e h e r ’ s contributions that was not
present in the others quoted in the article;
961
for all his reported faults, one of the things
that comes through in quotes from Wagner, are the very enlightened humanistic
observations he would make about those around him. He rarely failed to notice the good
in people, and he never hesitated to offer kind words for those whom he felt gave
selflessly in the service of music. The man was a paradox in many ways.
Also in December, the Roger Wagner Chorale hired itself out for the second year
in a row to sing a performance of the Messiah at the Crystal Cathedral, with Michael
Angelo Ross conducting. In his Times review, Chris Pasles said that generally speaking
R o s s too k “ b r i s k” t e m p i t h a t we r e “ too i nf l e xi b l e , ” a n d whil e h e r a r e l y i ndu l ge d i n “ m a nn e r i s m s, ” h e a l s o d i d n o t “ i ll u mi na t e t h e s c o r e i n s h a p i ng o f l i ne ” o r “ c l a r if yi ng
architecture.” T h e pe r f o r m a n c e wa s a l s o a ppa r e n t l y m a r r e d by “ n o r e a l e f f o r t to f o l l o w
authentic Baroque performance pr a c t i c e s , ” a n d t h a t t h e C a t h e dr a l ’ s a m p li f i c a t i o n s y s t e m made the chorale sound li ke “ a c a c o ph o ny of individual voices of an MGM Old
T e s t a m e n t ” gr o up o f pr o ph e t s . I n a dd i t i o n , t h e C a th e dr a l ’ s vaunted glass panels

961
Janice B e r ge r , “ T r i but e i n T une w i t h Mus i c i a n ’ s Li f e , ” Los Angeles Times, December 5, 1981.
318

malfunctioned and could not be closed so the temperature was something approaching
frigid inside.
962

Wagner also presented the Los Angeles Master Chorale in three Christmas
c o n c e r t s f e a t ur i n g po r t i o n s o f B e r l i o z ’ L’Enfance du Christ, French carols from the
provinces, a n d W a g ne r ’ s Christmas Story. As of a few days prior to the concert, the guest
narrator had yet to be announced.
963
Chris Pasles reviewed the concert as “ dr e a r y , f u ll o f f l a bbi ne s s ” a n d c o n t a i n e d “ u n c l e a r de s i g n i n t h e o r c h e s t r a l pa s s a ge s a n d l a c k o f t e n s i o n in the choral sections that e v e n t h e C h o r a l e ’ s r e m a r ka bl e c o h e s i o n , e qua l i t y a n d vi br a n c y could provide only a few memorable moments —the offstage Hosannas and the final
c h o r us . ” He also took Wagner to task for cutting the tenor solos, The Holy Family’s
Resting Place, citing that this s o l o i s “ hi s t o r i c a ll y im po r t a n t f o r t h e v e r y e xi s t e n c e o f t h e wh o l e wo r k. ” He n ot e d t h a t t h e s e c o n d h a lf wa s “ m o r e s p i r i t e d” w i t h a s m a ll e r c h o r us o f twenty-four voices [possibly the nucleus RWC], singing works by Guillaume Costeley
and some other traditional French noels. He commented that during a portion of the
Christmas Story, the amplification for narrator Jane Powell f a il e d, a n d “ t h e c ha n ge wa s startling: from a chorus that had no particular characteristics, to an individual ensemble
unique in its im p a c t . ”
964

The annual Sing-A-Long Messiah was reviewed by Dave Smith in the Times a
few days before Christmas. Smith reported that Wagner opened the sing-a-long with

962
Chris Pasles, “ Me ss i a h W a r m s C h i l l e d A u di e nc e , ” Los Angeles Times, December 11, 1981.

963
Daniel Cariaga, “ O bse r v a n c e s of Y u l e t i de S pi r i t , ” Los Angeles Times, December 13, 1981.

964
Chris Pasles, “ M a st e r C h o r a l e H ol i d a y C on c e r t , ” Los Angeles Times, December 21, 1981.

319

“ Go o d e v e ni ng, I h o pe y o u’ r e b e t t e r t h a n y o u we r e l a s t y e a r . ” The Dorothy Chandler
Pavilion was packed; at a reported number of 3,220, it was about capacity and considered
a sell-out. The singing audience purportedly sang extremely well, so much so that
W a g ne r “ i ns i s t e d o n a n e n c o r e o f t h e Hallelujah chorus. At the end of the evening,
Wagner stat e d, “ Yo u we r e b e tt e r t h a n l a s t y e a r . ” An d s o m e o n e i n t h e h o us e y e ll e d, “ S o we r e y o u, ” to whi c h W a g n e r r e to r t e d , “ No w I wa n t y o u to ke e p d o i n g i t un t i l y o u l e a r n i t . ” Smith also reported that Wagner was leading two nights of the sing-along Messiah,
965

that the tickets were $5 and the scores $3, which he c a l l e d “ a m o n g t h e b e s t e n t e r t a i nm e n t b a r ga i ns a ny w h e r e a n d, n o t s ur pr i s i ng ly , s o l d o ut b ot h ni g h t s . ”
966

In the Beckmesser Awards 1981, Martin Bernheimer ga v e W a g n e r a “ j e e r s ” f o r “ s wo l l e n r h e t o r i c o f t h e y e a r ” f o r o f f e r i n g t h e wo r l d pr e m i e r e o f L o u i s Gr ue nb e r g ’ s A
Song of Faith “ a s e xh u m e d by t h e e v e r -charming Roger Wagner and his ever-masterful
C h o r a l e . ”
967

I n F e b r ua r y o f 1982, M a r t i n B e r nh e im e r r e vi e we d W a g ne r a n d c o m p a ny ’ s concert of Gilbert and Sullivan ’ s Trial by Jury and Pinafore. No sooner had Bernheimer
lamented the fact that Los Angeles barely has an opportunity to hear Gilbert and Sullivan
(apparently he did not count the Pirates of Penzance production running at that time at

965
It should be noted that the Messiah Sing-a-Long is still a Master Chorale staple, still features
in-house soloists and a chamber-sized orchestra, although it is performed in Walt Disney Concert
Hall now, sometimes one night, in some years, two. This br a i n c hi l d o f W a gne r ’ s h a s be e n a consistently good seller for the chorale over the years and is a way to offer the public a chance to
si ng i n “ one o f t he j e w e l s” o f Lo s A nge l e s.

966
Dave Smith, “ A Ma ss i ve Me ss i a h a t P a v i l i on , ” Los Angeles Times, December 17, 1981.

967
Martin Bernheimer, “ T h e B e c km e ss e r 1981, ” Los Angeles Times, December 27, 1981.
320

the Ahmanson in the north end of the music center complex worthy of being included), or
that one might be grateful for the fact that Wagner and the Master Chorale “ v e n t ur e d”
into t h e t e r r i t o r y a t t h e P a vi li o n , h e a s ke d t h e que s t i o n , “ W h a t do e s W a gne r kn o w a b o u t G& S ? ” True to himself, Bernheimer proceeded to answer his own question:
What kind of singers could he assemble for the central roles? Did the operas in
question offer sufficient employment for the chorus which, after all, represents the
raison d’etre for this series? How would the ritualistic comedies fare on a bare
stage, without the aid of scenery, costumes or basic dramatic scheme? And,
finally, if our benefactors really were intent on trying on something form the
S a v o y a r d c l o s e t , w o ul d n’ t i t h a ve m a de sense to select one of the more operatic
and less familiar repertory challenges?

The answers, as they emerged at the second G&S outing, Sunday night, could at
best inspire modified rapture.
968

Bernheimer then proceeded to c o m p l e t e l y pa n t h e pe r f o r m a n c e , f r o m W a g n e r “ a pp e a r i n g
to b e s i g h t r e a d i n g t h e s c o r e , ” to t h e “ m i c r o ph o n e d s o l o i s t s some of whom confused the
sophisticated British satire with a workshop spoof or a summer-camp extravaganza , ” to t h e f a c t t h a t t h e c h o r us wa s a l t e r n a t e l y “ o v e r w h e lm e d by e i t h e r t h e s o l o i s t s o r t h e
o r c h e s t r a . ”
969

A s h o r t t w o we e ks l a t e r , Al b e r t G o l d b e r g r e vi e w e d t h e c h o r a l e ’ s concert guest-
conducted at the Pavilion by Paul Hill.
970
Go l d b e r g r e po r t e d t h a t t h e c o n c e r t “ pr o v e d to b e o n e o f t h e m o s t a tt r a c t i v e e ve n t s o f t h e s e a s o n , ” a n d o b s e r ve d t h a t , “ H i l l, who appears

968
Martin Bernheimer, “ W a g ne r C o nd uc t s G i l b e r t , S ul l i va n , ” Los Angeles Times, February 2,
1982.

969
Ibid.

970
Paul Hill (1934-1999) was conductor of the Paul Hill Chorale, which became the Master
Chorale of Washington (D.C., not state) when Donald McCullough took over after Hill became
too i l l f r om L o u G e h r i g ’ s di s e a s e . S a d l y t he o r g a ni z a t i on , c i t i ng f i n a n c i a l l y di st r e ss , f i l e d bankruptcy and dissolved in May of 2009. H i l l w a s a f r i e nd of W a g ne r ’ s.

321

to be the Washington D.C. version of Roger Wagner, expended large amounts of
expertise and ingenuity on the proj e c t . ” He a l s o n o t e d t h a t t h e “ choral group sang with
seraphic purity, with impressive power –just as they do when chief Roger Wagner is at
t h e h e lm . ” The chorale was prepared by Assistant Conductor Jeannine Wagner who took
a “ b o w a t t h e e n d o f t h e e v e ni ng. ”
971

F i g ur e 38. “ R o ge r W a g ne r l e a d s P a v i l i o nf ul o f si ng - a l onge r s i n H a nde l o r a t o r i o . ” S o ur c e :
Los Angeles Times.

971
Albert Goldberg, “ M a st e r C h o r a l e S i ng s a t P a v i l i on , ” Los Angeles Times, March 1, 1982.

322

The concert that was to follow, in the Pavilion by the Los Angeles Master Chorale
of Haydn-Stravinsky about a month later in April, was reported in the Times as being
canceled due to “ s t a g i n g pr o bl e m s c a u s e d by t h e Los A n ge l e s P hil ha r m o ni c ’ s pr o duc t i o n of Falstaff. A “ c o m pa ny s po ke s m a n” said that an “ a ppe a r a nc e by t h e 170 -member chorus
a n d o r c h e s t r a ” wa s n o t f e a s i bl e g i ve n t h e l o g i s t i c s . It was also announced that a concert
of the twenty-five-member Roger Wagner Chorale would instead present a program in
celebration of the W a g n e r C h o r a l e ’ s thirty-fifth anniversary including works by Bach,
Monteverdi, Brahms, and Bizet five days after the scheduled April 25 date, but that
tickets for the original concert would be honored on April 30.
972
Understanding the
logistics and costs, it is reasonable to surmise that the issue was cost. Considering the
Master Chorale had to pay the union stagehands to remove the Falstaff sets and pit for the
c h o r a l e ’ s concert set-up, and then pay to restore Falstaff for the Philharmonic
performance that was most likely only hours later, and given potential overtime fees and
meal fines, the Master Chorale budget probably could not absorb the extra costs.
An article by Daniel Cariaga in the Times about Wagner and the thirty-fifth
anniversary of the chorale that bore his name. opened with a quote from Wagner saying,
“ I s t i c k to t h i n g s . I wa s a t S t. J o s e ph ’ s f o r 30 y e a r s . I taught at UCLA for 32 years. And
t h e n t h e r e ’ s t h e c h o r a l e . ” Cariaga entertaining ly c o mm e n t e d t h a t “ de pe n d i n g upo n Wagner’s arith m e t i c o f t h e m o m e n t , ” t h e c h o r a l e wa s c e l e b r a t i n g s o m e w he r e b e t we e n thirty-four and thirty-six years, but was being celebrated as thiry-five during the week of

972
“ M a s t e r C h o r a l e C o nc e r t a t t h e P a v i l i on C a n c e l e d , ” Los Angeles Times, April 16, 1982.
323

April 25, 1982.
973
T h e pa r t y c e l e b r a t i n g t h e c h o r a l e wa s h e l d a t t h e Am ba s s a do r H ot e l ’ s Cocoanut Grove, which presented the twenty singers who were current at the time on the
roster.
The article confirms that Wagner had been on an eight-and-a-half week tour with
the chorale during February, March, and the beginning of April. Cariaga reported:
Roger Wagner himself, trim and vigorous at 68 —and still driving a Cadillac
convertible with the top down —expresses disbelief that the numbers have grown
so large, so fast. “ All m y li f e , I ’ v e b e e n s o b us y , ” h e t e l l s a vi s i t o r to t h e unimposing little Beverly Hills house where his mother lived until her death last
y e a r , “ I ne v e r pa i d a tt e n t i o n t o t h e s e t hi n g s . But a lot of people think these 35
y e a r s s h o u l d b e c e l e b r a t e d. ” Hi s t o n e i s p l a yf u l , n o t un c h a r a c t e r i s t i c a ll y , “ S o , what the heck. ”
974

Wagner recalled for Cariaga that when he was appointed supervisor for the Bureau of
Music, he went all over the city working with choral groups, and admitted that in each
gr o up t h e r e we r e “ o n e o r t w o o u t s t a n d i n g s i nge r s . I b e ga n to b r i n g t h e m t o ge t h e r . ”
Cariaga cites that one of W a g n e r ’ s m o s t i m po r t a n t a bil i t i e s wa s hi s “ g if t f o r f i nd i n g, i de n t i f yi ng a n d de v e l o p i ng y o u n g v o c a l t a l e n t , ” a n d t hi s h a s c e r t a i nly pr o v e n itself throughout these pages given the list of soloists who came from his chorus. Salli
Terri was interviewed
975
for the article and talks about the early days of the chorale
(1950s) when many of the singers also sang with Wagner at his church jobs:

973
It should be mentioned as a reminder that the group that became the RWC made its first public
appearance in 1947, but nothing appeared in the Los Angeles Times a s “ T h e R oge r W a g ne r C h o r a l e ” u n t i l 1948 . Of course, Wagner had begun rehearsing the group two years before he
allowed it to perform publicly, so it is likely that the founding year is 1946 —but there have been
no documents that have proved that absolutely.

974
Daniel Cariaga, “ 35 Y e a r s ( o r so ) o f t he W a gne r C ho r a l e , ” Los Angeles Times, April 25, 1982.

975
Ibid.
324

Every Sunday morning was an adventure. We would sing our service in
Westwood [ S t. P a u l ’ s ] , t h e n r us h do wn to wn ( t h i s wa s i n t he days before the Santa
Monica freeway) as fast as possible. W e c o ul d n’ t a f f o r d to hi t a r e d l i g h t . If we
did, we would do things like cut through service stations in order to keep going.
T h e n we wo ul d c o n gr e ga t e i n t h e pa r k i n g l o t a t S t. J o s e ph ’ s , a n d s i ghtread the
music before that service. We were the best sightreaders in town –I c a n ’t
document that, I j us t kn o w i t ’ s t r ue . ”

Besides herself, Terri remembers Paul Salamunovich, Richard Robinson, Tony Katics,
Maxine Winge and Claire Gordon among that group.
We were a double quartet, often singing music for double chorus, one to a part.
Roger could be so sweet, but miss one note.

Another singer , R o b e r t “ L i nd y ” C o l l i ns , recalled in the article that Roger was always
“ o r ga ni z e d o n to ur , ” a n d “ k n e w w h a t h e wa n t e d, ” t h a t “ h e wo ul d s c a l e do wn t h e to n e a n d
volume for 16th-century music, but use the voices full- o ut f o r B r a hm s , ” and that he was
“ a l w a y s f i g h t i n g a n d s c r e a m i ng w i t h hi s s i n g e r s , y e t tr e m e n do us ly c o nc e r ne d w i t h t h e i r we l f a r e . ” Collins went on to say that he kn e w o f “ n u m e r o us i n s t a n c e s ” i n w hi c h W a g n e r l o a n e d hi s s i nge r s “ t h o us a n d s a n d t h o us a n ds ” o f d o l l a r s a n d wa s “ n e v e r r e pa i d. ” He also
o b s e r v e d t h a t W a g n e r “ m a d e t h e m us i c i n t e r e s t i n g a n d s t i c k s to c h o r a l m us i c , ” a n d t h a t was the reason Collins felt Wagner was still touring successfully.
C a r i a ga r e po r t e d t h a t T e r r i c h a l ke d up W a g n e r ’ s “ s t i c k -to- i t i v e ne s s ” a s pa r t o f hi s ability to persuade singers to stick with him as he quoted her:
I t ’ s t r ue t h a t R oger has given singers the guts and chutzpah to stay with music and
to express themselves —even to unionize. B ut i t ’ s a l s o t r ue t h a t a l o t o f pe o pl e have sacrificed to be with him. You work in an office for 25 years and at the end
there is something, a pension perhaps, a gold watch, some kind of recognition.
Ch o r a l s i nge r s do n ’ t ge t g o l d wa t c h e s . They get to say, as in Chorus Line, I have
done all these things for love.
976

976
Ibid.

325

Cariaga asked Wagner if he had any regrets:
Only one thing –that I became known as a choral specialist. That has hindered me,
especially here in Los Angeles. The skills, the abilities, are the same. Actually,
conducting an orchestra is simpler, because instrumentalists, as a group, are more
routine than singers, and take less preparation.

The article closed with Wagner reminiscing a bit about his past “ i n a n e r a w i t h t h e gr e a t s , ” a n d t h e n h e i mm e d i a t e l y t ur n e d b a c k t o t h e f ut ur e :
And guess what? The Roger Wagner Chorale is doing a Rodgers and
Hammerstein night at the Bowl this summer (after a long hiatus). John Green
called me and said, “ He y , I g ot us o n e r e h e a r s a l . ” C a n y o u b e l i e ve i t ? One
rehearsal? Why, one Rodgers and Hammerstein program is harder to do than the
Beethoven Ninth! ”
977

Figure 39. Roger Wagner conducting at the Pavilion. Source: Los Angeles Times, Marsha
Traeger.

977
Ibid.
326

Albert Goldberg reviewed the thirty-fifth anniversary extravaganza at the
P a vil i o n , r e c o un t i n g t h a t t h e “ hi s t o r y o f m us i c b e g a n w i t h e x qu i s i t e l y s u n g e x a m p l e s o f R e n a i s s a n c e ” a n d m o ve d t h r o ugh t h e e po c h s to e n d t h e s e c o n d ha l f w i t h f o l k m us i c a n d
spirituals. He said t h e e v e n t “ c li m a xe d whe n t h e l i gh t s we n t l o w a n d W a g n e r s e a t e d
him s e lf a t t h e pi a n o to i m p e r s o n a t e M a ur i c e C h e v a li e r , ” whi c h Go l d be r g s a i d, “ i t m a y sound awful, but it w a s n’ t. W a gn e r wa s b o r n to e n ter t a i n o n e wa y o r a n ot h e r . ”
978

Wagner toured for most of spring, and in June was honored along with William
Crutchfield,
979
Tovah Feldshuh,
980
Bella Lewitzky,
981
John Rubinstein,
982
Ernest
Thompson,
983
Henry Winkler
984
and Martin Workman
985
by Club 100 of the Music
Center for its first annual Distinguished Artists Award Luncheon.
986

John Henken reviewed the opening chorale concert in the Pavilion for what he
er r o n e o us l y r e f e r r e d to a s i t s “ 17t h ” s e a s o n —it was in fact the eighteenth season opener.
T h e c h o r a l e o pe n e d w i t h t h e c h o r a l v e r s i o n o f T c ha i ko vs k y ’ s 1812 Overture, which

978
Albert Goldberg, “35th B i r t h d a y f o r W a g ne r C ho r a l e , ” Los Angeles Times, April 27, 1982.

979
Los Angeles based sculptor and artist.

980
A c t r e ss a nd w i nne r o f “ n u m e r o us a w a r d s. ”

981
Artistic Director of the Bella Lewitzky Dance Company.

982
Actor, composer, and winner of a Tony award at the time for Children of a Lesser God.

983
Playwright and winner of the 1982 Academy® Award for the screen adaption of On Golden
Pond.

984
A c t o r be st k now n a s “ T h e F on z ” on Happy Days.

985
Commentator on the arts and host of Luncheon at the Music Center on now defunct classical
radio station KFAC.

986
Mary Lou Lo p e r , “ C l ub 10 0 H o no r s D i st i ng u i s he d A r t i st s, ” Los Angeles Times, June 28, 1982.
327

Henken said, “ h a s b e e n t r i e d b e f o r e b ut s e l do m w i t h s uc h n a t ur a l ne s s a n d v e r v e . ”
W a g ne r ’ s 127 -voice chorus s a n g “ w i t h po i n t e d, s u pp l e p h r a s i ng a n d a b u n da n t po we r –in
R us s i a n . ” He n ke n f o u n d t h e “ f u l l s o un d s a n d t un e f u l e x u b e r a n c e ” s uc c e s s f u l a n d
lamented th a t i t wa s a r a t h e r “ s pa r s e ” c r o wd t h a t t u r n e d up f o r t h e m a t i n e e pe r f o r m a n c e .
Al s o o n t h e pr o g r a m wa s B e e t h o v e n’ s Choral Fantasy, which Henken found to have
“ f u ll- t h r o a t e d e n t h us i a s m , ” sung with good German and played by Albert Dominguez.
The concert also included the Haydn Harmonienmesse, whi c h “ a nn o unc e d pe r f e c t l y po i s e d f e r v o r ” according to Henken ,who also stated that, “ W a g n e r s a w t o i t t h a t t h e p i e c e h a d t h e r e qu i s i t e m a j e s t y a s we ll a s r a pt ur e . ”
987

Figure 40. Wagner at awards luncheon with Mrs. Paul Selwyn and William Crutchfield. Source:
Los Angeles Times.

987
John H e nke n , “ M a st e r C h o r a l e a t t h e Mus i c C e n t e r , ” Los Angeles Times, October 18, 1982.

328

T h e c h o r a l e ’ s a nn ua l C h r i s t m a s c o n c e r t wa s r e vi e we d by Chris Pasles of the
Times, who said t h a t t h e c h o r a l e “ s a n g w i t h t y p i c a l ly b r i g h t , wa r m a n d r i c hl y n o ur i s h e d
s o un d. ” He further observed that “ R o ge r Wagner has honed his 125-member ensemble to
sing, with equal effect, repertory ranging from the Gregorian chant O Come, O Come
Emanuel to the Negro spiritual Jesus, Jesus, Rest Your Head, f r o m P a c h e l be l ’ s mellifluous nun Danket Alle Gott to Daniel P i nk h a m ’ s m o de r ni s t i c Christmas Cantata. ”
His o n e c o m p l a i n t wa s t h a t “ t h e gl o r i o us s o un d r e m a i ne d vi r t ua l ly t h e s a m e f o r e v e r y t hi ng. ” He e s pe c i a ll y li ke d Do r ot hy M c Gu i r e a s t h e n a r r a tor f o r W a gn e r ’ s Christmas Story.
988

The 1982 sing-a-long event of Messiah once again was reported as selling out,
and the price of the tickets had risen to $6 —one dollar more than 1981, but at the
numbers would have brought in an extra $3200. The reporter from the Times related that
W a g ne r o pe n e d t h e c o n c e r t by s a yi ng, “ I hope you learned the music since last year!
W e ’ r e go i ng to have a lot of fun doing the greatest oratorio in the world. L e t ’ s e nj o y , b ut l e t ’ s r e a l ly do g oo d m us i c . P l e a s e do n ’ t dr a g . Keep with the rhythm. Do n’ t t a l k a f t e r e a c h chorus, even if you did manage to h i t t h e hi g h A ! ” The event was replete with large
b ut to n s t h a t pr o udl y pr o c l a im e d, “ I s a n g Messiah w i t h R o ge r W a gne r . ”
989

January of 1983 saw the Los Angeles Master Chorale sing a performance of
M e n de l s s o hn ’ s Elijah.. John Henken, in his review, states that all of the compositions,

988
Chris P a sl e s, “ C h o r a l e G r e e t s H o l i d a y w i t h G l o r i o us S o u nd , ” Los Angeles Times, December
20, 1982.

989
Connie K oe ne nn , “ Me ss i a h : I t ’ s S i n gi ng - I n i n t he H i ghe st , ” Los Angeles Times, December 25,
1982.

329

“ t un e s , ” h a r m o ny a n d de v e l o p m e n t a r e s e c o n da r y to “ s o un d i t s e lf –the full-throated
sound of a large, well-drilled chorus.” The performance was in the Ambassador
Auditorium, and Henken took umbrage with the diction of everyone, disappearing bass
lines, and uneven soloists, but liked “ t h e g l o r i o us l o ud , s o f t s us t a i ne d t e n de r n e s s , sputtering fury —the chorale treated it all with supple, attentive point. He also stated that,
“ f r o m t h e l a r ge r t h a n us ua l S i nf o ni a Or c h e s t r a , W a gn e r e l i c i t e d assured, occasionally
o v e r wh e lm i ng p l a yi ng. ”
990

Wagner toured all of February and March, and in April, the Roger Wagner
Chorale (i.e., t h e “ t o ur ” gr o up) h a vi ng r e t ur n e d, s a n g a pe r f o r m a nc e f o r t h e S h e r r i ll C . Corwin Memorial concert at Temple Israel in Hollywood. Terry McQuilkin, in his
review, stated that, “ t h e 19 - v o i c e d gr o up de l i ve r e d wi t h c l a r i t y , pr e c i s i o n a n d c h a r m . ” He went on to observe that, “ o n e o f t h e c h o r a l e ’ s m a ny s a li e n t qua l i t i e s i s i t s a bil i t y t o shape each phrase in complete syn e r g y . ” He especially liked the Neue Liebeslieder of
Brahms a n d f o un d t h e gr o up to b e “ vi go r o us a n d t i gh t . ”
991

Also in April, the Los Angeles Master Chorale sang a performance of Carmina
Burana at the Pavilion. In his review, Albert Goldberg commented upon the fact that
wh e n t h e p i e c e f i r s t pr e m i e r e d, i t too k t h e w o r l d l ike “ pr a i r i e f i r e , ” a n d t h e n “ r e v u l s i o n ” set in. He a l s o s a i d t h a t t h e c ur r e n t s t a t us o f t h e wor k wa s “ we ll de f i ne d” by t h e performance of the chorale:

990
John H e nke n , “ LA Ma s t e r C h o r a l e S i ng s Eli j a h , ” Los Angeles Times, January 31, 1983.

991
Terry Mc Q ui l ki n , “ B r o w ni ng , W a gne r C h o r a l e a t T e m pl e , ” Los Angeles Times, April 26,
1983.

330

When it is done like this, with zest, fire and guts, Carmina still works as well as it
ever did, though here it was a bit too immobilized. The singers too often had their
noses buried in their scores when the music called for movement and abandon. It
would probably be impractical for such a huge chorus to memorize its lines, but it
would not be asking too much of the soloists.

But the performance had a punch, and audience members loved it as much as the
first time they heard it. Wagner, who seems to limit his appearances nowadays,
was back in top form, urging his forces to mutter, to whisper, to vie with the
percussion in bounce and exactness of rhythm, and to split their throats in a
fortissimo that still was never harsh. The orchestral support was in kind.
992

The first half of the concert was Florent Schm i t t ’ s Psalm 47 , de d i c a t e d to t h e “ m e m o r y o f the late arts patron Louis D. Stath a m , ” f o r m e r b o a r d pr e s i de n t f o r t h e Master Chorale.
Go l d b e r g f o un d i t to b e e f f e c t i ve w i t h i t s “ t hi c k, e x u l t i ng t e x t ur e s a n d i t s m u s i c a ll y m o r e pe r s ua s i ve i s l a n ds o f c a l m . ”
In S e pt e m b e r o f 1983, a t r a gi c f i r e r a ge d t h r o ugh S t. J o s e ph’ s C h ur c h i n downtown Los Angeles, destroying almost everything. The fire did destroy the Aeolian
organ Wagner had reconstructed for Baroque music –the same organ on which an
$87,000 restoration project had begun just the year before. Wagner was quoted in the
a r t i c l e a s s a yi ng, “ T h a t ’ s w h e r e I b e g a n , t h a t ’ s whe r e I g ot m y na m e . . . . That place was
my inspiration. ’
993
It was also noted in the article that it had been the church that Wagner
had been married in, and was head organist and choirmaster for thirty years. The
founding members of the Roger Wagner Chorale had rehearsed in the old school next
door, and had even b e e n t h e r e wh e n s e v e r a l o f S t. J o s e ph’ s c h o i r b o y s ha d b e e n dr a f t e d a s
992
Albert Goldberg, “ C h o r a l e si ng s C a r m i n a B ur a n a , ” Los Angeles Times, April 26, 1983.

993
Patt Mo r r i son , “ O l d S t . Jo se p h ’ s C h ur c h R a z e d i n P r e da w n F i r e , ” Los Angeles Times,
September 5, 1983.

331

“ m u n c h k i ns ” i n t he 1939 film, The Wizard of Oz..
994
Upon seeing the completion of the
new S t . J o s e ph ’ s C h ur c h t h a t r e pl a c e d t h e 1903 G ot hi c -towered building that had been
used in films like True Confessions and The Thorn Birds, Wagner reportedly quipped,
“Well, it looks like a taco .”
995

For the annual chorale Christmas concert, Betty White narrated the Christmas
Story that year, and he Chorale was supported by the Paulist Boys Choir, and the Ardis
F r e e m a n’ s U ni ve r s i t y Ha n d be l l C h o i r f r o m C a li f o r ni a S t a t e Uni v ersity, Long Beach. The
concert was reviewed by Chris Pasles of the Times, wh o s a i d, “ R o ge r W a gne r h a s b e e n sending Los Angeles the same kind of musical Christmas card for years, but audiences
n e v e r s e e m t o t i r e o f i t . ” And from there Pasles panned the concert, finding nothing
redeeming in it , ot h e r t h a n t h e f a c t t h a t “ t h e a ud i e nc e c e r t a i nly e nj o y e d i t , ” whi c h P a s l e s c r e d i t e d to W a gn e r ’ s “ s h o w m a ns hi p. ” He a l s o c omm e n t e d t h a t t h e c h o r a l e a ga i n “ pr o v e d
capable of producing a gorgeous, full-bodied sound ranging from the softest to the
l o ude s t m a r k i ngs . ” B ut P a s l e s wa n t e d to h e a r i t “ u n de r t h e d i r e c t i o n o f s o m e o n e m o r e sensitive to the words and the varying styles of the music .”
996

In January of 1984, John Henken reviewed t h e L o s An ge l e s M a s t e r C h o r a l e ’ s concert of Wagner signature pieces of Palestrina, Victoria, Viadana, Peeters, Langlais,
Pinkham, and Vaughan Williams. He opened the review with the words: “ R o ge r W a gn e r is 70 this month, ” and continued to point out that such a fact was hard and not hard to

994
Ibid.

995
Paul Salamunovich , “ A ud i o R e c o r di ng o f R e he a r sa l a t LMU , ” private collection, (North
Hollywood, CA, 1986.).

996
Chris P a sl e s, “ W a g ne r Le a d s Y u l e P r o g r a m , ” Los Angeles Times, December 20, 1983.
332

believe. On the one hand, he a d m i t t e d t h a t W a gn e r wa s s t i ll “ m o r e i n t e n s e , vi go r o us a n d
demanding a conductor than many half his age ; ” a n d o n t h e ot h e r , t h a t i t s e e m e d a s i f “ h e h a s a l w a y s be e n he r e . ” He a l s o s t a t e d t h a t W a gn e r “ l e d t h e L o s An ge l e s M a s t e r C h o r a l e –his Master Chorale —in a f e s t i v e c o n c e r t b e f o r e a pa c ke d h o us e . ”
There was the obligatory Salli Terri arrangement of Happy Birthday and also a
s ur pr i s e t r i b ut e i n t h e pr e m i e r e o f Ki r ke M e e c he m ’ s Choral Tribute, that Henken called
“ w i t t y a n d wa r m . ” Jeannine Wagner conducted the two tribute pieces for her father.
He n ke n a l s o r e por t e d t h a t W a gn e r “ g a v e hi s b e s t –the totally committed sculpting of
li v i ng s o un d. ” T h e r e vi e we r po i n t e d o u t t h a t “ t h e r e a r e n o w ot h e r wa y s o f do i n g t hi s r e pe r tor y , ” r e f e r r i n g t o t h e R e n a i s s a n ce, but that W a g ne r “ de m o n s t r a t e d t h e pe c u l i a r s o ni c g l o r i e s o f hi s o wn a ppr o a c h , ” s t a t i n g t h a t t h e c h o r a l e s a n g “ vi br a n t l y , w i t h i nn e r s t r e n gt h s us t a i ni ng l u m i n o u s l i ne s . ” Henken extolled Wagner not only for his
achievements —really on a lifetime level —for choral sound, but also that his choruses
h a v e a l wa y s b e e n “ n o t a bl e f o r f l e xi b il i t y a n d v e r s a t i li t y . ”
Henken also o b s e r v e d t h a t t h e “ de d i c a t i o ns o f F l o r P e e t e r s ’ Magnificat and Jean
L a n g l a i s ’ Psalm No. 1 to W a gne r t e s t i f y t o h i s a d vo c a c y o f m o de r n wo r ks . ” Henken also
liked the performances of these works and also Pinkham ’s Gloria. Wagner also
programmed the Vaughan Williams Mass in G Minor, one long associated with the
conductor throughout his career. Wagner also featured two long-time singers Paul
Hinshaw and Salli Terri, both of whom received positive m e n t i o n s i n He n ke n’ s r e vi e w,
333

and the critic also raved about soprano Annie Kim, who sang the solo in C he n o w i t h ’ s
Vocalise.
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Figure 41. The Art of Conducting. Source: Los Angeles Times, Ian Dryden.
Wagner toured with the Roger Wagner Chorale all through the spring, leaving
much of the Los Angeles Master Chorale duties to his daughter, assistant conductor
Jeannine Wagner, including a Bach B Minor Mass performed with the Los Angeles
Philharmonic. In October, John Henken wrote a feature article on Wagner that appeared
in the Times. Typical to the articles that appeared over the years, Wagner talked about his
house —at that time, it was the house in Woodland Hills that turned into a mega-rebuild
topping two million dollars. W a g n e r r e f e r r e d to i t a s “ C h a t e a u W a g n e r ” a n d r e v e a l e d t hat
the property included a fifteen-hundred-bottle collection of wine in a stone cellar and a

997
John Henken , “ W a g ne r : Ma st e r o f H i s C h o r a l e , ” Los Angeles Times, January 23, 1984.
334

clay surface tennis court. Henken observed that the home also included an office, which
“f o u n d W a g n e r ’ s de s k c o v e r e d w i t h s c o r e s . ”
“ I ’ ll n e v e r want to r e t i r e , ” Wagner says. “When I conduct, I feel like a duck in the
water. I never get tired, I only get tired when I don’t c o n duc t . ”

A notorious perfectionist, Wagner works his singers as hard as himself. He is a
stern —some would say abusive —taskmaster. He spares no feelings in the pursuit
of excellence. Yet despite the stinging humor he may use on his musicians, he
also stressed compassion.

“I d o n ’ t wa n t to s e e m l i k e a n o gr e , ” Wagner insists. “ T h e r e ’ s n o t hi n g pe r s o n a l i n it. I may hate the singing, but n e v e r t h e s i n ge r . ”

Most seem to understand that. S o m e o f W a g n e r ’ s s i nge r s c a n m e a s ur e t h e i r t i m e with him in decades. An d W a g n e r h a s b e e n a c o n s is t e n t a dv o c a t e o f s i nge r s ’ rights, to better pay and professional respect, in an instrumentally oriented society
that tends to regard choral singing as the province of amateurs.

Henken also reveals in the article that the Master Chorale was giving a concert that
e v e ni ng o f F a ur é ’ s Requiem and Belshazzar’s Feast by William Walton. Wagner
admitted his affinity for the repertoire, especially the Fauré, which most likely came as no
shock to anyone who had followed his career. Henken ended this way:
T h e y e a r s o f f a mi li a r i t y h a v e n o t di mm e d W a g n e r ’ s enthusiasm for these pieces
and other standard items in the repertory. ‘ T h a t m u s i c i s like old wine —and I
kn o w w i n e , ’ he exclaims. And, as the years have taught us, a thing or two about
choral singing.
998

In December of 1984, an article by Donna Perlmutter appeared in the Times,
e n t i t l e d “ R o ge r W a g n e r –Nearly Out b ut N ot D own . ” The large feature was an exposé of
a situation that had been brewing at the Master Chorale for some time –how long to keep
Wagner on as music director? The article opens:

998
John H e nke n , “ R o ge r W a g ne r a t 70: A V i n t a ge L i f e , ” Los Angeles Times, October 27, 1984.
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Roger Wagner, whose name has been synonymous with superb choral singing for
nearly four decades, seems —outwardly —the same as always: authoritative,
energetic, gregarious. Inside, however, he is a man whose dominion is threatened.

The ruling body of the Los Angeles Master Chorale, which Wagner founded 20
years ago has directed ever since (the chorale is among five Music Center resident
organizations supported by the Performing Arts Council), wants to replace him.
Not now, and not in one fell swoop. But come next season, the board hopes to
have named a director designate, one whom Wagner can groom as his successor.

T h a t ’ s t h e p l a n . I n f a c t , i t ’ s a l l i n wr i t i ng i n a t w o -year contract Wagner signed
this September. However, the French-born choral master no longer takes kindly to
being replaced, now that he has had time to reconsider.

“ I do n ’ t wa n t to s t e p d o wn , ” Wagner says flatly. “ An d I r e gr e t t h e b o a r d’ s decision to look for my successor this soon. After all , y o u c a n ’ t tr e a t a c o n duc to r like a JC Penney clerk —just replace him. ”

“ No b o d y , ” counters board President Marshall Rutter,
999
“is talking about firing
Wagner, just gradually and systematically phasing him out. This is not an ouster.
Our talks with him (on the subject of r e t i r e m e n t ) b e ga n 2 ½ y e a r s a go , ” he says.

“All we wan t i s a n o r de r l y t r a ns i t i o n , ” board chairman Cliff Miller explains,
“ W e ’ r e n ot o m ni s c i e n t , a n d n o o n e i s e x e m pt f r o m n a t ur e ’ s l a w . So we must plan
f o r t h e f ut ur e . ”

Perlmutter also reported t h a t W a gne r wa s qu i c k to s a y t h a t t h e r e wa s “ n o a n t a go ni s m ” from either party, and that he “ a ppe a r s ” to b e i n “ r o b us t ” h e a l t h . Even though Perlmutter
r e por t s t h a t hi s “ b o ut wi t h c a n c e r i n 1972” s e e m e d a “ t hi n g o f t h e pa s t , ” and she had no
wa y o f k n o w i n g wha t wa s to c o m e i n t h e l a t t e r pa r t o f t h e 1980s i n r e ga r d to W a gne r ’ s
health. Wagner had only recently completed a seventy-six-concert, eighty-eight-day tour
across twenty-four states in the United States during the spring, which many a third of his
age today would have trouble completing.

999
Marshall Rutter is still on the board of directors of the Los Angeles Master Chorale (as of
2012) and is married to the current President and CEO of the Master Chorale, Terry Knowles.
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F i g ur e 42. “ R o ge r W a g ne r h a s a spe c i a l a f f i n i t y f o r F r e n c h r e p e r t o r y . ” S o ur c e : Los Angeles
Times, Ken Lubas.
C l if f M il l e r , wh e n a s ke d if W a g ne r wa s s u f f e r i n g f r o m “ a de c li ne o f s o m e k i nd, ” a t f i r s t s t a t e d t h a t h e wa n t e d to s pe a k “ o f f t h e r e c o r d, ” b ut qui c k ly r e c a n t e d, s a y i ng t h a t , “ I see no decline behind the scenes —either in the rehearsal process or in the organization
a s a wh o l e . ” M a r s ha l l R ut t e r c l a r i f i e d w i t h , “ W e do n ot wa n t t h e c h o r a l e t o b e proprietary, rather, it should exist apart from its founder, as the Philharmonic does, for
i ns t a nc e . ” Rutter went on to admit that Wagner had funded the organization at the
b e g i nn i ng, s a y i ng t h a t h e wa s “ s ur e R o ge r h a s to l d e v e r y o n e t h a t by n o w, b ut i t ’ s o u t gr o wn b e i n g o n e m a n’ s b a by . W e wa n t to e n s ur e i t s pe r pe t ua l e xi s t e n c e . ”
Rutter cited that perhaps one of the issues that riled up Wagner was the fact that
Columbia Artists Management had not booked the Wagner Chorale for a tour in the
upcoming season (1984-85), indicating that the group was not scheduled to tour again
until 1986-87. He suggested that the loss of income and work may have contributed to
337

m a k i ng W a g n e r “ u n d e r s t a n da bly up s e t . ” F o r W a g n e r ’ s pa r t , h e s a i d t h a t h e “ wa n t e d to
b e h e r e , n o t o n to ur , to h e a r t h e gue s t c o n duc tor s , ” wh o wo ul d po s s i bly s uc c e e d him .
What followed in the article were comments f r o m s i n g e r s r e ga r d i n g W a g n e r ’ s r e h e a r s a l b e h a vi o r , s o m e f i nd i ng i t “ o ut r a ge o us , ” whil e ot h e r s f o un d i t “ m a g i c a l . ” T h e opinions were as contrary as the man himself. Perlmutter commented that, “ W a g n e r i s not known for his tolerance, tact or even-handedness. And no matter how extravagant the
praise for his gifts as a music director, many singers have thrown down the choral
gauntlet in response to rehearsal behavior. ” Some compared him to Toscanini saying he
wa s “ u nm a na ge a bl e , ” ot h e r s s tati n g t h a t “ W a g n e r i s hi s o wn wo r s t e n e m y . ” W a g n e r de ni e d t h a t h e wa s “ a b us i ve ” b ut r a t h e r t h a t h e us e d “ d i s c i p li na r y a c t i o n t o ge t t h e r i g h t m us i c a l r e s po ns e . ” He also acknowledged that he had been reprimanded regarding his
rehearsal practices by the American Guild of Musical Artists union. Interestingly,
chairman Miller went as far as to assert that, “ t h e r e wo ul d b e n o c h o r a l e i f R o ge r we r e n o t de m a n d i ng. ”
T h e n e xe c ut i v e d i r e c t o r , R o b e r t W i ll o ug hby J o n e s , s a i d t h a t “ R o ge r i s a vi t a l , vital conductor, and awfully difficult to replace. His God-given talent is quite staggering,
a n d I do n ’ t bl a m e him f o r wa n t i n g to h a n g o n . T h e r e ’ s a l s o n o d o ub t t h a t h e i s i n c r e d i b ly h a r d to de a l w i t h . ” Perlmutter also said that possible candidates and guest conductors for
the following season would be Robert Page, William Hall, and Robert Duerr.
Much is still undecided as regards the Los Angeles Master Chorale. How long it
w i ll t a ke to f i nd a s u c c e s s o r to t h e m a n r e s po ns i bl e f o r t h e c i t y ’ s f i ne s t s uc h
ensemble remains a question, although most candidates apparently are eager and
available. W h o W a g ne r ’ s s uc c e s s o r w i ll b e a n d ho w t h e p i c t ur e w i ll c h a n ge , a s a result, cannot yet be known either. Regardless of the outcome, though, one fact is
clear —Wagner will inevitably be calling some of the artistic shots.
338

“ I ’ ve b e e n d e c o r a t e d by k i ngs a n d pr e s i de n t s a n d e v e n t h e P o pe , ” he says. “I have
a star on Hollywood Boulevard. I put up $150,000 of my own money for the
Chorale. I am at my peak. Most people think my leaving is around the corner, but
i t ’ s n o t .”
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A letter to the editor regarding the above article appeared a few days later entitled,
“ A R o ge r W a g n e r i a n , ” wr i tt e n by Da vi d B a u m ga r ten , a f o r m e r s i nge r s i nc e 1952 . He
f o u n d t h e a r t i c l e to b e “ d i s t ur bi ng, ” c i t i n g t h e f a c t t h a t “ Roger Wagner has for 30 years
produced a chorus that is a jewel in the Los Angeles cultural community and, as Leopold
S to k o ws ki o n c e s a i d, “ S e c o n d t o n o n e i n t h e wo r l d . ” Baumgarten added that he was
“ a m a z e d a t t h e n u m be r o f c h o r a l e m e m be r s wh o ha v e s t uc k o u t R o ge r ’ s ‘ a b us i ve t r e a t m e n t , ’ ” saying that the complaints were always there and so were the singers who
made them. He concluded with this:
The Los Angeles Master Chorale is a Wagner tradition of choral excellence and a
unique sound that must be preserved and handed down by the master himself. A
b o o k c o ul d b e wr i t t e n a b o ut t h e e go o f R o ge r W a g ne r , b ut i t w o ul d n’ t t e l l t h e whole story. Neither did Perlmu t t e r ’ s a r t i c l e .
1001

The stories o f “ R o ge r ” h a v e l i ve d we ll p a s t W a g n e r ’ s t i m e o n e a r t h , b ut his legend and
the legacy of his work certainly lives on.
January of 1985 brought a review in the Times by Donna Perlmutter on the
c h o r a l e ’ s pe r f o r m a n c e o f Israel in Egypt by Handel, conducted by Robert Duerr.
Perlmutter opened her review by saying:
The Los Angeles Master Chorale was in fiercely fine fettle Saturday night at the
Dorothy Chandler Pavilion, but Roger Wagner could be found nowhere near the

1000
Donna P e r l m ut t e r , “ R o ge r W a gne r —Nearly O ut B ut N o t D ow n , ” Los Angeles Times,
December 9, 1984.

1001
David B a u m g a r t e n , “ A R o ge r W a gne r i a n , ” Los Angeles Times, December 23, 1984.

339

podium. T h a t ’ s s o m e t hi n g o f a go o d o m e n i n t hi s s e a s o n i n t r o duc i n g a pa r a de o f guest conductors, most of them candidat e s t o s uc c e e d t h e c h o r a l e ’ s m u s i c d i r e c t o r and founder. After 20 years of being nurtured, the music center singers certainly
showed no disinclination to separate from their paterfamilias; their performance
was irreproachable.
1002

Perlmutter gave the concert a glowing review for both the chorale and guest conductor
Robert Duerr.
The opening of the twenty-second season in November of the Los Angeles Master
Chorale at the Dorothy Chandler Pavilion featured Wagner conducting a performance of
M o r t e n L a ur i ds e n ’ s Mid-Winter Songs with poetry by Robert Graves. The work was
composed for the 100th anniversary of USC, and was premiered by Rodney
Eichenberger, then the major choral attraction at the university, in 1981. Robert Duerr in
turn heard the performance and commissioned an orchestral version of the piano part and
performed that at a concert in 1983 with the Pasadena Chamber Orchestra and Chorus.
That performance was in turn heard by members of the LA Master Chorale Board, who
then recommended it to Wagner, who added it to the 1985-86 season. In an article in the
Times, L a ur i ds e n wa s quot e d a s s a y i ng, “ M y a i m s i n wr i t i ng t h e wo r k we r e to c r e a t e something flattering for the Chamber Singers [of USC], and something they would enjoy
s i n g i ng a ga i n a n d a ga i n . ”
1003

1002
Donna P e r l m ut t e r , “ I s r a e l i n Egy pt a t P a v i l i on , ” Los Angeles Times, January 14, 1985.

1003
Daniel Cariaga, “ Mo r t e n La ur i d se n – A L y r i c A ppr o a c h , ” Los Angeles Time, November 3,
1985.

340

Morten Lauridsen
1004
has a long-lasting connection with the Master Chorale that
began with the 1985 performance of his Mid-Winger Songs. The premiere of the work by
Rod Eichenberger included a young pianist then studying at USC named Grant Gershon,
who played the premiere performance. Gershon went on to become the music director of
the Los Angeles Master Chorale in 2001, and has since performed much of Laur i d s e n’ s music, including the Mid-Winter Songs. Dur i n g mus i c d i r e c t or P a ul S a l a m u n o vi c h’ s tenure (1991-2001), Lauridsen found himself composer-in-residence, and it was for the
Master Chorale and Salamunovich that he composed what is probably his most
recognized work, O Magnum Mysterium. Salamunovich also recorded the Mid-Winter
Songs with the Master Chorale on the Grammy®-nominated Lux Aeterna album.
A mere week following the opening chorale concert, press and members of the
board gathered in the main conference room at the Music Center to formally
acknowledge the appointment of the director-designate of the Los Angeles Master
C h o r a l e , S c ott i s h Na t i o n a l C h o r us ’ J o hn C ur r i e . Donna Perlmutter reported in the Times
t h a t t h e o c c a s i o n c o u l d “ h a r d ly s e e m h a pp i e r , ” un t il a dw i nd li ng pr e s s c o r ps h a d l e f t t h e room, and Wagner b e n t d o wn a n d a s k e d t h e b o a r d m e m be r s , “ W a s t h a t OK ? ” His query,
according to Perlmutter was “met with silence. ”
Several days following the press conference, Perlmutter visited with Wagner at
his home in Woodland Hills. S h e o b s e r v e d t h a t “ W a g ne r , 71, among the best-known

1004
Lauridsen is a three-time alumnus of the University of Southern California, faculty member,
and former composer-in-residence of the Los Angeles Master Chorale during Paul
Salamunovich ’ s t e n ur e a s m usi c di r e c t o r .
341

names in the choral business for f o ur de c a de s , ” c omm e n t e d t h a t h e wa s “ g l a d i t ’ s over. “
He went on to add the following:
“ I do n ’ t h a v e to t h i n k a b o ut t h e f a c t t h a t I s t i ll h a ve a l o t to gi v e . The matter is
finished. ” Wagner pauses, when asked why, after a year of noisy protests over his
ouster, he has decided to go quietly.

“The board has made certain financial concessions to me for agreeing to accept all
of this gracefully, ” he explains. “Oh, everyone tells me lots of nice things, but the
b o tt o m l i ne i s , I ’ m o ut . The great Roger Wagner can no go and eat an ice cream
cone in front of h i s s t a r o n H o l ly wo o d B o ul e v a r d. ”
1005

Questions, questions, questions. What were the circumstances of a move that
struck some, as Chorale membe r Ge o r ge S t e r n e pu t i t , a s “ ha s t y ? ” If most singers
were expecting to e v a l ua t e t h e s e a s o n ’ s upc o m i ng gue s t c o n duc to r s a s c a n d i da t e s before facing a new chief, wh y d i d n’ t t h e y ge t t h a t c h a nc e ? Was the act of
replacing Wagner part of a grand design involving cultural politics at the Music
Center? Did the acclaimed choral director do anything to warrant his removal
both from the podium and the rehearsal hall where he prepared the Master
Chorale for Philharmonic concerts?

The urgency to name a successor crested this summer when the board, learning
that Currie was available, and not being satisfied with the other candidates —
William Hall, Paul Hill, Paul Salamunovich, Robert Porco, and Robert Page
(most of whom were familiar to chorale members) —decided to go for Currie.
That meant denying Wagner any role in naming his successor, even though
chorale board chairman Cliff Miller told the Times in November, 1984, that the
“transition would be made with Wagner fully involved. ” Furthermore, the terms
o f W a g n e r ’ s c o n t r a c t hold that the Association and its music director would
determine the selection.

“ I wa s n e v e r a s ke d a b o u t C ur r i e , ” says Wagner of the man who will replace him.
“I was simply told, after the fact, that he had been chosen, and was then asked to
comment on the decision. I never heard him conduct. Neither did any of the board
members. ”

1005
An amusing side note to this quote was that shortly after this appeared in the newspaper, one
of Wa gne r ’ s l ong -time singers, tenor Brooks Arnold, a s a j oke w e n t t o W a gne r ’ s st a r o n t he boulevard (which incidentally at the time was in front of a Haagen-Dazs ice cream shop, hence
the reference in Wagne r ’ s q u o t e ) . H e w e n t i n t o t he H a a ge n -Dazs, bought an ice cream cone,
w a l ke d o ut si de a nd s m a she d i t i n t o W a gne r ’ s st a r , t o o k a photograph of it, made a tee-shirt out of
it, and presented it to Wagner.
342

Currie has never stood before the LA Master Chorale. His local presence was
limited to preparing, but not conducting, the Scottish National Chorus when it
performed with the Philharmonic at the Hollywood Bowl in July, 1976, and again
in July, 1980; and to conducting the Scottish chorus at Immanuel Presbyterian
Church in Los Angeles on that visit.

In early August, two emissaries —Robert Jones, who was hired five years ago by
Wagner as executive director, and William Triplett, a board member —were sent
as auditioners to Edinburgh, where Currie was preparing his chorus. “They had
their s o c ks kn o c ke d o f f by t hi s m a n , ” says chorale president, Marshall Rutter.
“And when we subsequently brought him here to make a presentation to the
board, we were enor m o us l y im pr e s s e d by hi s m a nn e r . ”
1006

The article goes on to inform its readers that most of the members of the board
made the decision regarding C ur r i e ’ s a bil i t y t h r o ugh a vi de o tape provided by Triplett of
Currie conducting a performance in Scotland. Cliff Miller indicated that most of the
singers in the chorale f e l t t h a t t h e s uc c e s s o r to R o g e r wa s “ n o t i n t h e n e i g hb o r h o o d; t h a t t h e r e wa s n o o n e h e r e wh o c o ul d o v e r whe l m t h e m . ”
1007
Miller and Marshall Rutter
contradicted themselves in the Times, Miller saying that Wagner was not invited on the
S c ot l a n d t r i p be c a us e h e wa s b us y t o u r i n g ; R ut t e r s t a t e d s i m p ly t h a t i t wa s b e c a u s e “ t h e j udg m e n t s o f J o n e s a n d T r i p l e t t we r e m o r e r e l i a bl e . ” A former board member at the time,
William Struebing, wa s quot e d a s a ddi n g, “ that the board never had any intention of
i nv o l v i ng R o ge r i n t h e de c i s i o n m a k i ng. ” Several singers interviewed by Perlmutter
e x pr e s s e d “ d i s m a y ” a n d “ a n ge r ” a t t h e wa y i n w hich W a g n e r l e a r n e d a b o ut t h e hi r i ng o f Currie.

1006
D o nn a P e r l m ut t e r , “ W a g ne r ’ s Er a En d s w i t h a W h i m p e r , ” Los Angeles Times, November 17,
1985.

343

Tenor George Sterne
1008
was again quoted as saying “he believed ‘it would have
been courteous for the board to give the singers some consultative option ” and said he
regretted “ a pr e m a t ur e de c i s i o n ” that robbed them of the chance to evaluate the
candidates. But he a l s o s a i d he i s “ particularly displeased with the Phi l ha r m o ni c ’ s t r e a t m e n t o f R o ge r . ” Perlmutter explained that on July 23, Robert Harth issued a memo
confirming that, “ f r o m t h e 1985/6 s e a s o n f o r wa r d, t h e pr e pa r a t i o n o f t h e c h o r us f o r performance with the Los Angeles Philharmonic would not be undertaken by either Dr.
W a g ne r or ( hi s da ug h t e r ) J e a nni ne W a g n e r . ” Perlmutter quoted Executive Director
Ernest Fleischmann regarding the decision: “ W e ’ ve h a d unf o r t un a t e e x pe r i e nc e s w i t h him (Wagner). He wa s n’ t a l wa y s t h e r e wh e n n e e d e d, whi c h m e a ns the chorus lacked
solid preparation. More than once we had to call him back from tour and often there was
antagonism between him and the various conductors. ”
P e r l m ut t e r a l s o s a i d t h a t S tr ue bi n g i nd i c a t e d t h a t th e c h o r a l e b o a r d wa s “ n o t
always in charge of its destiny, ” s a y i ng, “ Fleischmann instigated the changeover. He
wields tremendous power at the Music Center above and beyond Philharmonic affairs. ”
I n m a ny wa y s S t r ue bi n g ’ s a c c us a t i o n wa s proven to have been born in truth; not
only was Currie connected to Fleischmann via the Scottish National Chorus
(Fleischmann was well-known for preferring to hire guest artists from the U.K)., but the
move to oust not only Wagner, and with it the Master Chorale itself from performing
with the Philharmonic, surely would have put the board over the edge in bending to
F l e i s c hm a nn’ s w i ll t o ke e p t h e i r c o n tr a c t e d w o r k w i t h t h e r e s i de n t or c h e s t r a .

1008
Sterne is one of the few remaining members of the Master Chorale who has sung for all four
of the music directors of the chorale, and at this writing is still singing in the chorus.
344

Sterne commented that there was “ t oo m uc h b udd y -buddy between the two
b o a r ds ” a n d t h a t t h e r e h a d been an attempt on the part of the Philharmonic to make the
Master Chorale a t y pe o f “ s a t e l li t e ” o r ga ni z a t i o n . And indeed, a year prior, Fleischmann
had been quoted in the Times as saying, “ i f t h e c h o r a l e do e s n’ t n a m e s o m e o ne a c c e pt a bl e to (incoming Philharmonic music director Andre) Previn, we just might start our own
a m a t e ur c h o r us . ” At the time of the shake-up in 1985, it was no secret that the
Philharmonic was lobbying to seat a representative on the chorale board, according to a
“ m e m o f r o m Ha r t h da t e d J u l y 23, 1985. ”
1009

It is curious that the Master Chorale hired someone who had never conducted the
group even in a rehearsal —virtually without audition. So, given that Fleischmann had
been the one to bring John Currie and his Scottish National Chorus to the Bowl in the
first place, it is not much of a leap to see how the hiring happened, or why. That it turned
out to be a poor fit became relatively clear relatively quickly. Perlmutter also reported
that, “ s e v e r a l c h o r a l e s o ur c e s i n t e r vi e we d by t h e Times have raised their eyebrows over
the s i t ua t i o n i n w hi c h M a r s h a ll R ut t e r ’ s da ugh t e r , De borah Rutter, works for
Fleisch m a nn a s o r c h e s t r a m a n a ge r . ” Both Sterne and Struebing pointed out in the article
t h a t “ F l e i s c hm a nn , s t i ll a B r i t i s h c i t i z e n w i t h i m po r t a n t L o n do n a f f il i a t i o ns , recommended countryman Currie as well as a host of other Anglo appointments
h e r e . ”
1010

1009
Donna Perlmutter, “ W a g ne r ’ s Er a En d s w i t h a W h i m p e r , ” Los Angeles Times, November 17,
1985.

1010
Ibid.

345

Perlmutter also references the “ B r i t i s h C o nn e c t i o n” at the Music Center,
highlighting that Michael Newton, president of the Music C e n t e r ’ s Performing Arts
Council is from England; Hu m p h r e y B ur to n , wh o s e r v e d a s F l e i s c hm a nn ’ s Ho l ly w ood
Bowl replacement summer of 1983, was also from England; the appointment of British-
born Previn, as Los Angeles Philharmonic Music Director; the appointment of Peter
Hemmings (also from England) as the head of Music Center Opera; the visitation of the
Royal Covent Garden Opera; and finally the appointment of Currie to the Master
Chorale.
Still others offered that it was Robert Jones who pushed for an early successor,
a n d o n e a n o ny m o u s “ de f e a t e d c a n d i da t e for Wagner ’s po s t ” s a i d t h a t , “ t h e l o n ge r Wagner h a s c o n t r o l , t h e gr e a t e r t h e t h r e a t to J o n e s ’ j o b s e c ur i t y . Therefore, quickly
naming a successor would work to his benefit. In effect, he was charged with
recommending to the board his own choice of his fu t ur e b o s s . ” Rutter refuted such
notions saying that Jones had already signed a three-year contract prior to the naming of
Currie.
1011

Many chorale members expressed excitement, according to Perlmutter, at a new
d i r e c t or , b ut e v e n t h e n f e l t “ n e r v o us a b o u t t a k i n g C ur r i e o n s o m e o n e ’ s s a y -so , ” a n d
“ u nh a pp i ne s s ” a t “ t a ki n g a wa y a ll po we r f r o m R o ge r ” i n r e ga r d to t h e s e a r c h f o r a successor.
For the remaining Bowl and Philharmonic contractual performances, Miller stated
t h a t “ i t wa s d i f f i c u l t t o f i nd a c o m pe t e n t l o c a l pe r s o n , ” and so they hired Robert Porco

1011
Ibid.
346

from the University of Indiana to prepare the singers for Britten ’s Spring Symphony,
Or f f ’ s Carmina Burana, a n d B e e t h o v e n’ s Ninth.
At the close of the article, Perlmutter wrote:
In this, his valedictory year as music director, Wagner is scheduled to preside
over four Master Chorale programs and thereafter to be guaranteed two per season
for the next five years, bec a u s e i n t h e wo r ds o f R utt e r , “ He deserves more than a
handshake, a gold watch and a heigh-ho Silver .”

Meanwhile, Fleischmann denies any grudge against the chorale founder. “People
have been trying to stir up a b a t t l e b e t we e n us f o r y e a r s , ” he says. “The truth is we
share a great l o v e o f f o o d a n d w i n e a n d m us i c . ”

As to t h e pr o s pe c t o f “ being listed as founder and l a ur e a t e c o n duc to r ‘ t i l I d i e , ”
Wagner assumes a relatively benign attitude. “And th e n I ’ l l do Ge o r ge B ur n s ’ j o ke s , ” he says. “What a way to end a c a r e e r . ”

In a particularly low blow, especially considering who wrote it, Martin Bernheimer said
the following in his 1985 Beckmesser Awards:
Transitional award: to Roger Wagner, whose musical dedication, undoubted
artistic achievement, egocentric personal politics and sometimes abrasive manner
have earned him quasi-banishment from the chorale he created.
1012

In January of 1986, John Henken reviewed a concert at Pepperdine University
which featured the California Chamber Virtuosi, directed by Henri Temianka, and also
the Roger Wagner Chamber Chorale. Temianka offered the evening as a sort of
“ c o l l e a gu e ’ s v o t e o f c o nf i de n c e ” in po i n t i n g o u t t h a t “ W agner has suffered a palace
revolt of sorts in the Los Angeles Master Chorale, an organization that most Angelenos
a s s o c i a t e w i t h W a g n e r a s c l e a r l y a s t h e c h o r a l e t h a t b e a r s hi s n a m e . ”

1012
Martin Bernheimer, “ T h e B e c km e ss e r A w a r d s o f 1985, ” Los Angeles Times, December 29,
1985.
347

Henken observed that the gathered twelve v o i c e s l e f t n o d o ub t a b o u t W a gn e r ’ s ability to find talented voices and make them sing effectively together. Wagner took the
podium for the second half of the concert, leading performances of Brahms Liebeslieder
Waltzes.
1013
John Voland reported in the Times o n W a gn e r ’ s f i na l outing with the chorale:
Exit Roger Wagner, grumbling —with S a t ur da y ’ s L o s Angeles Master Chorale
pe r f o r m a n c e o f B e e t h o v e n’ s Missa Solemnis.

The founder of the group and its music director for the last 21 years –known to
speak whatever was on his mind to singers, administrators and media alike —is
even less enthused about the prospect of becoming music director laureate than he
was last November, when his successor John Currie of Scotland, was introduced
to Los Angeles amid much fanfare.

“To me, the Missa Solemnis represents the most monumental work in the
o r c h e s t r a l /c h o r a l r e pe r to i r e , ” says the 71-year old Wagner. “ Vo c a l ly , i t ’ s t h e m o s t taxing thing I can think of. I think the Credo is an exercise in survival. So when I
go, I ’ m go i n g to s e e to i t L A ge t s m y b e s t s h ot . ”

But Wagner, sitting comfortably in his Woodland Hills home with his feet up,
finds the manner of his parting a rankling –even insulting —thing.

“The stupidity of the administration is something I will not miss, ” he growls,
referring to a rehearsal schedule that has the chorale practicing twice within the
48 hours prior to S a t ur da y ni g h t ’ s c o n c e r t . “ T h a t ’ s why I ’ m s o r e l i e v e d t h a t a f t e r S e pt e m b e r I wo n ’ t h a v e to de a l w i t h a ll t h a t ga r b a ge . I t ’ s l i ke ( E a s t German guest
conductor Kurt) Sanderling said when we c h a t t e d dur i n g hi s vi s i t : ‘ I t ’ s b e t ter to
be free (of music directorial contracts) when you finally grow up. ’ ”

When questioned about his prior reluctance to fight his ouster, Wagner pauses,
then becomes philosophical.

“It ’s all a political situa t i o n , y o u kn o w wh a t I ’ m s a yi ng ? ” he asks rhetorically,
relighting his pipe. “And I really think that I have too much talent to screw around
with politics. T h e t hi n g i s , y o u j us t c a n’ t f i g h t t hi s k i n d o f t hi n g, because by the
time you tell people the real s t o r y , i t ’ s t i m e t o g o . ”
1014

1013
John H e nke n , “ T e m i a nk a , V i r t uo s i i n R oge r W a g ne r Tr i but e , ” Los Angeles Times, January 6,
1986.

1014
John V ol a nd , “ W a g ne r t o D e pa r t o n a S o u r N o t e , ” Los Angeles Times, April 18, 1986.
348

Vo l a n d go e s o n to r e por t t h a t a c c or di n g to W a gne r , “ t h e r e a l s t or y ” i s t h a t h e wa s “ m a n e u ve r e d” by the board of directors and Ernest Fleischmann. Wagner also stated that
they violated his contract in the way in which they hired Currie, saying that in his
contract, it was to be a two-pronged decision between he and the board, and that the
de s i g n e e wa s t o “ s e r v e a s a s s o c i a t e m u s i c d i r e c t o r
1015
for one year. Wagner also said that
he kept “ r ecommending Paul (Salamunovich of Loyola Marymount University), but they
d i d n’ t wa n t to h e a r t h a t . Everyone on the board think s t h e y ’ r e m us i c c r i t i c s . . . . The
wh o l e wa y t he y hi r e d C ur r i e wa s s h a m e l e s s . ”
1016

Wagner went on to accuse Robert Willoughby Jones of saying that the Master
Chorale had to follow the P hil ha r m o ni c ’ s l e a d, whi c h J o n e s a n d b o a r d pr e s i d e n t R u tt e r denied. Given that Fleischmann and the Philharmonic were unhappy with the
preparations of the chorale for their joint ventures would certainly have been more of a
catalyst toward his demise t h a n a ny “ b a d bl o o d ” b e t we e n W a g ne r a n d F l e i s c hm a nn —the
latter was far too solid a business man, albeit, a bigger-than-life personality just like the
former, to have allowed his personal feelings whatever they may have been, to have
caused such an action.The article closed with these thoughts:
Whichever way Wagner sees himself leaving the Master Chorale ’s helm — “ w i t h t h un de r , ” he calls it —the conductor will still have plenty of things to keep him
occupied, [such as] teaching at Cal State LA, continuing to tour with his own
Roger Wagner Chorale, and a five-year contract as music director laureate
(providing him with the opportunity to conduct a few performances per year) of
the cho r a l e , o f whi c h he s a y s dr y ly : “ As laureate, they put a wreath around my
head like Nero and tell m e t o s to p by a ga i n r e a l s o o n . ” He ’ l l a l s o h a v e m o r e t i me

1015
The Los Angeles Master Chorale did not have an associate conductor until July, 2011.

1016
John Voland, “ W a g ne r t o D e pa r t o n a S o ur N o t e , ” Los Angeles Times, April 18, 1986.

349

for thinking. W a g n e r a dds , ‘ That in c l ud e s l o o ki n g i n t o t h e f ut ur e , ’ h e j o ke s . ‘Like
t hi s : I ’ m v e r y wo r r i e d a b o ut t h e M us i c C e n t e r ’ s f u ture. O r a n ge C o un t y ’ s a l r e a d y started the ball rolling. T h e f ut ur e i s t h e i r s , n o t E r n e s t F l e i s c hm a nn’ s . ’
1017

Figure 42. Roger Wagner, post- Ma st e r C h o r a l e . “ I ’ m goi n g t o se e t o i t L. A . ge t s m y b e st sho t . ”
Source: Los Angeles Times.
I n hi s r e vi e w o f W a g n e r ’ s final concert as music director of the Los Angeles
Master Chorale, Times Music Critic, Martin Bernheimer, had this to say:
Just a few days ago, Roger Wagner –choral conductor extraordinaire —was
making noises like the feisty old walrus he is. Loud noises. Acrimonious noises.
Public noises.

No , t h e f o un de r o f t h e L o s An ge l e s M a s t e r C h o r a l e , n o w 72 , r e a l ly d i d n’ t wa n t to
relinquish his post as music director. Retirement was being foisted upon him. His
new title, music director laureate, was a slap if not an insult.

His board of directors had dealt him dirty. The Philharmonic management had
plotted against him. The Music Center administration was falling apart. It all
sounded like doom, gloom and vinegar.

Saturday night, however, Wagner epitomized gracious bonhomie at his official
valedictory. (Starting next season, he will be a guest, as it were, in his own
house.) First he led his mighty chorus, a not-so-mighty orchestra and an uneven
s o l o qua r t e t t h r o ugh t h e l o f t y r i go r s a n d vi go r s o f B e e t h o v e n ’ s Missa Solemnis.

Then he basked in standing ovations from a Pavilion full of admirers not to
mention speech tributes from some of the very people about whom he had

1017
Ibid.

350

groused. The c h a i r m a n o f t h e b o a r d gus h e d o f “ the end of an era of fabulous
e x c e l l e nc e . ” An executive of the Performing Arts Council helped unveil a
commemorative portrait of the maestro,
1018
declaring: “ W e do n ’ t i n t e n d to let him
go —e v e r , e v e r , e v e r . ”

E v e r y o ne ’ s m o m e n t a r y he r o b e a m e d, i n du l ge d i n a l i t t l e W a g n e r i a n h o r s e p l a y and basked in hemidemisemi-funereal adulation. A tiny child brought him
flowers. Carmine Marinelli, the resident Toscanini of stage management and
pasta, brought him champagne. The house crew unfurled a banner that proclaimed
him : “ Wor l d’ s Gr e a t e s t. ” His vocal flock chanted a rousing “hip-hip- h o o r a y . ”

When it came time for the inevitable acknowledgement, Wagner blew kisses,
c o n v e y e d un d yi ng gr a t i t ude , un de r s c o r e d t h e t i m e li ne s s o f B e e t h o v e n’ s p l e a f o r peace, reminded the throng that h e wo ul d “ be a r o u n d, l i ke Ne r o , ” and, perhaps,
bit his tongue. It was a splendid performance.

That, alas, is more than one could say for the Missa Solemnis.The music making
reflected an all-too familiar combination of virtues and vices. The primary virtue:
magnificent, rousing, flexible, wide-ranging, untiring, full-throated, resonant,
passionate, ultraresponsive singing by the Master Chorale. Wagner always knew
how to deal with voices.

The primary vice: generalized, loud, sometimes muddled, often unconducted
playing by the Pacific Symphony of Orange County (which for some reason has
masqueraded this season as the Sinfonia Orchestra). Wagner never knew how to
deal with instruments.

G i v e n a po e t i c c h o r us a n d a pr o s a i c o r c h e s t r a , B e e t h o v e n’ s c o m p l e x a n d n o bl e rhetoric had to be compromised from the start. Compounding the inequities,
Maruita Phillips-Thornburgh (replacing a reportedly indisposed colleague) lacked
the wonted force and freedom for the daunting soprano solos, and the sweet,
tasteful lyric tenor of Jonathan Mack occasionally evaporated in the ensembles.

There was much to admire, on the other hand, in the virile basso of John Cheek
and the sumptuous mezzo-soprano of Alice Baker, not to mention the elegant
violin of Endre Granat in the Benedictus.

This may not have been a great night for Beethoven, but it mattered little in
context. It was a great night for socio-musico-political nostalgia.
1019

1018
This is the portrait that s t i l l h a ng s on t he F o u nde r ’ s l e ve l of t he D o r o t hy C h a n dl e r P a v i l i on .

1019
Martin Bernheimer, “ W a g ne r B i d s A N o st a l gi c F a r e w e l l , ” Los Angeles Times, April 21, 1986.

351

In the following July, it was announced in the Times that Wagner was named by
P e ppe r d i n e Uni ve r s i t y t o b e a “ d i s t i n gu i s he d pr o f e s s o r o f c h o r a l m u s i c , and would serve
as conductor of the Seaver College Singers, a 40-voice student concert choir. ”
1020

I n hi s B e c k m e s s e r A wa r d s f o r 1986 , M a r t i n B e r nhe i m e r , ga v e a “ j e e r s ” to the Los
Angeles Master Chorale f o r “ M i s c a l c u lation of the year: The debut of John Currie, new
Scottish mastermind of the LA Master Chorale, in an over-ambitious, underpowered
performance of the Verdi Requiem. ” And a few paragraphs later: “ M o s t i nf a m o us l a s t words: The public benediction from a Music Center bigwig at the last concert before
Roger Wagner was eased out as director of his Master Chorale — “ W e do n’ t i n t e n d to l e t him go, ever, ever, ever .” But i f h e wa s n ’ t f i n i s he d , t h e n : “ W a s-this-move-necessary?
Award: To the new leader of the Master Chorale, for changing 60% of the personnel
1021

before v e n t ur i n g s o m uc h a s a n i n t r o duc to r y do wn b e a t . ”
1022

The Final Years (1986-1992)
Wagner slowed down a bit following his forced retirement at the Master Chorale,
at least in terms of being constantly in the limelight in Los Angeles. Teaching at
Pepperdine and California State University Los Angeles tied him more to being in town
than he had been since he left UCLA, when he was forcibly retired at age sixty-seven in
1981. While he still toured with the Roger Wagner Chorale, which often occurred in the

1020
“ R o ge r W a gne r Jo i n s P e pp e r d i ne , ” Los Angeles Times, July 13, 1986.

1021
This unprecedented blood-letting of personnel led the union, AGMA, to begin including a
clause in the CBA requiring the Master Chorale to go through a process of warning, critiquing,
and then re-auditioning personnel who are about to be cut from the roster, all under the watchful
ears of a union representative.

1022
Martin Bernheimer, “ T h e B e c km e ss e r A w a r d s o f 1986, ” Los Angeles Times, December 28,
1986.
352

fall of the year, in addition to guest conducting here and there, he stayed a little closer to
home than he had in more than fifteen years. He was also once again battling cancer, a
fact that was kept fairly quiet except within choral circles involved with him. In February
of 1987, he conducted the first of what was to be several concerts with the Los Angeles
Master Chorale as music director laureate over the following five years; however, in the
final chorus of the first half of that program, an all-opera choruses concert, Wagner
collapsed.
In a report by two Times staff writers, it was noted that during the first half of the
c o n c e r t , W a gne r wa s “ s we a t i n g pr o f us e ly ” a n d b e ga n t o l o o k “ gr a y . ” Eventually the
concertmaster, Stuart Canin, stopped the orchestra, although Wagner continued to
conduct. Paul Geller, stage manager, came onstage and together with Canin took a hold
of a very rigid Wagner, who began to lean forward. He was helped to lie down on the
stage, and then several men carried him offstage to await paramedics. Jeannine Wagner
wa s quot e d a s s a y i n g t h a t h e r f a t h e r “ h a d b e e n i n p oo r h e a l t h f o r a l o n g t i m e , b ut h a d
b e e n f e e li ng b e t t e r l a t e l y . ”
It was noted in the report that “ W a g n e r ’ s n a m e h a s been virtually synonymous
with choral singing for four decades. The Roger Wagner Chorale, founded in 1947, is
considered one of the wor l d ’ s great choral groups. ” The writer also stated that, “ b e c a us e of the group [Los Angeles Master Chorale], Los Angeles has enjoyed a unique reputation
353

as the first major city in the United States to have its own professional resident chorus in
a r e gul a r a nn ua l s e r i e s o f pr o gr a m s . ”
1023

It was finally determined that Wagner suffered a subdural hematoma above his
brain, from which he recovered surprisingly quickly and fully.
It is interesting to note that many reviews of the new conductor of the Master
Chorale, John Currie, found most of his performances to be lacking in one way or
another, usually in regard to the sound and power (or rather lack thereof) of the chorale.
But in a review of the Britten War Requiem from January of 1988, Daniel Cariaga said:
The kinds of resonant choral power and direct musical thrust that have seemed
lacking in recent performances by the Master Chorale materialized in the
important climaxes. . . . All that was missing was the fullest spectrum of soft
singing —an area in which the chorale of yore (yore being the era of Roger
Wagner) excelled.
1024

The Roger Wagner Chorale appeared in March with the Japan Philharmonic
Orchestra of Los Angeles at the Pavilion with conductor Akira Kikukawa. Chris Pasles of
the Times f o un d t h a t t h e “ a m p li f i e d R o ge r W a g n e r C h o r a l e , ” s i n g i ng i n F r e n c h , E n g l i s h and Japanese, delivered an unrelated selection of songs from various countries. Pasles
found the amplification to be a huge mistake, causing odd balances, but he also believed
t h a t t h e e ns e m b l e “ s a n g w i t h pur i t y , l i g h t n e s s a n d f o c us . ” He reported that Kikukawa
i nv i t e d W a g n e r , t h e “ gr a n d o l d m a n o f L o s An ge l e s c h o r a l m u s i c , ” to conduct the final

1023
Gerald Faris a n d A l a n G ol d st e i n , “ R o ge r W a g ne r , 73, C o l l a pse s W hi l e C o nd u c t i ng C on c e r t , ” Los Angeles Times, February 1, 1987.

1024
Daniel C a r i a g a , “ C ur r i e , Ma s t e r C h o r a l e Tr y W a r R e qui e m , ” Los Angeles Times, February
29, 1988.

354

piece himself – W a g n e r ’ s a r r a n g e m e n t o f America the Beautiful. Wagner then indulged in
two more pieces as encores: Comin’ Through the Rye and Danny Boy.
1025

The Roger Wagner Chorale also joined the Pacific Symphony at Segerstrom Hall
f o r a pe r f o r m a n c e o f Ha y d n’ s Creation, which Martin Bernheimer reported was sung to a
house that was maybe 25% full, leaving the critic wondering whether it might have been
owing to the fact that it was Easter Sunday.
1026

In August of 1988, it was announced that The Roger Wagner Center for Choral
Studies had been established at California State University, Los Angeles, to promote the
“ t e a c hi ng a n d r e s e a r c h o f c h o r a l m u s i c . ” Named for the then 74-year old conductor, the
c e n t e r wo ul d “ h o us e r e c o r di n gs , l e t t e r s , pub l i c a t i o n s a n d p h o togr a ph s f r o m hi s c o l l e c t i o n , ” a n d t h a t W a g n e r would teach courses in choral music at the college as well.
William Wells Belan, associate professor of music at the time and a co-founder of the
c e n t e r , wa s qu ot e d a s s a y i ng t h a t t h e c e n t e r w o ul d “ a ddr e s s t h e publi c ’ s dw i nd li n g
interest in and support of choral music. The center will somehow make choirs re-fit into
to da y ’ s e n t e r t a i nm e n t w o r l d, whi c h i s c o n s i de r a bly d if f e r e n t f r o m 1959, when Wagner
began his choirs,
1027
” B e l a n s a i d.
1028

1025
Chris P a sl e s, “ W a g ne r C h o r a l e w i t h Ja p a n P h i l h a r m oni c a t P a v i l i on , ” Los Angeles Times,
March 16, 1988.

1026
Martin Bernheimer, “ S p a r se l y A t t e nde d C r e a t i on o n Ea st e r i n O r a n ge C o u n t y , ” Los Angeles
Times, April 5, 1988.

1027
1959 i s a c om p l e t e l y e r r o ne o us ye a r i n r e f e r e n c e t o w he n W a gne r “ be g a n hi s c ho i r s” si n c e t he Roger Wagner Chorale was founded in 1947.

1028
“ C a l S t a t e C h o r a l C e n t e r , ” Los Angeles Times, August 11, 1988.
355

Martin Bernheimer, in October of 1988, reviewed a Los Angeles Master Chorale
concert with John Currie that the critic c a ll e d, “ s t r a n ge . ” He commented that the Master
Chorale “ s e e m s to b e a n i ns t i t ut i o n i n t h e s t a t e o f f l u x . The flux, alas, may not be for the
b e t t e r . ” He continued:
Even in the worst of the good old days, the Master Chorale could be counted upon
to produce an extraordinarily big, sensuous and flexible sound. That, of course,
was the Roger Wagner sound.

One could sometimes grouse about interpretive matters. One certainly could gripe
a b o ut W a gn e r ’ s wa y w i t h t h e a c c o m p anying Sinfonia Orchestra. There was no
arguing, however, about the power and the polish of the chorus. Now there is
arguing.

John Currie, who assumed the podium during a rather acrimonious changing of
the guard in 1986, is a very different sort of musician. Boldly, impetuously, and
perhaps foolishly, he swept out a large percentage of (Roger) Wagnerian voices
the moment he came through the Music Center door. He seems to favor a leaner
sound and a less refined, more spontaneous manner.
That of course, is his prerogative. Unfortunately, the results, as encountered on
this would-be festive occasion, inspired little optimism.
1029

Bernheimer liked virtually nothing about the concert from the programming to the
playing to the singing. He spent more time lamenting t h e “ go o d o l d da y s ” o f R o ge r Wagner.
In November, Wagner conducted the Roger Wagner Chorale combined with the
S t. C y r i l ’ s c h o i r a n d t h e c h o i r o f S t. P hi li ps t h e A p o s t l e i n a pe r f o r m a n c e o f Dur u f l é ’ s Requiem. T h e r e vi e we r s a i d t h a t W a gne r “ l e d t h e m a s s e d voices with his usual attention
to s h a p i ng o f v o c a l l i ne . ” Wagner was suffering from a particularly bad round of

1029
Martin Bernheimer, “ S t r a n ge O p e ni n g f o r C ur r i e a nd C h o r a l e , ” Los Angeles Times, October
31, 1988.

356

chemotherapy at the time, and appeared bloated and had lost all of his hair from the
treatment of lung cancer.
1030

About a month later, Wagner closed out the year by returning to S t . C y r i l ’ s t o
conduct a Sing-a-long Messiah with orchestra and chorus,
1031
in addition to conducting
another Messiah Sing-a-long at Hollywood Presbyterian Church, the latter concert
completely selling out the 1700-seat church.
1032

With his ongoing battles of cancer (at this point it was bone and lung cancers),
Wagner had slowed down some, still doing the occasional guest-conducting turn; at this
point mostly locally, yet touring for six weeks in fall (September-October) and presenting
Christmas concerts and sometimes a Messiah sing-along as a guest.
In October of 1989, upon the death of conductor Akira Kikukawa of the Japanese
Philharmonic of Los Angeles, with whom Wagner had previously collaborated, the 75-
year old conductor stepped in to conduct a s c h e du l e d c o n c e r t f o ur da y s a f t e r Ki kuka wa ’ s death of a heart-ailment , a t t h e l a t e c o n duc to r ’ s o w n r e que s t .
The Sunday concert at the Orange County Performing Arts Center went on as
planned. Wagner conducted the Japanese Philharmonic Orchestra of Los Angeles and his
own chorale on the choral-orchestral pieces that had been planned and rehearsed for the
program. Frederic Balzas, however, substituted two pieces for the previously planned

1030
G r e g , H e t t m a n sb e r ge r , “ R o ge r W a gne r C o nd uc t s a t S t . C y r i l ’ s, ” Los Angeles Times,
November 23, 1988.

1031
“ 54 H o ur s: A c t i vi t i e s f o r a F a m i l y W e e ke nd , ” Los Angeles Times, December 11, 1988.

1032
David C ol ke r , “ H e a ve nl y C ho r us S i ng s Me ss i a h , ” Los Angeles Times, December 17, 1989.

357

first half, which proved to have been a poor idea given the circumstances, according to
the reviewer. W a g n e r ’ s s e c o n d h a l f t h o ugh , “ pr o v e d l i g h t e r a n d e a s i e r to m a n a ge , ” according to the critic , wh o a l s o s a i d t h a t “ c onducting from a chair, Wagner expertly led
the choir and orchestra in a series of folk t un e s f r o m a r o un d t h e w o r l d. ” Wagner
concluded the concert with his own arrangement of America the Beautiful.
1033

In December of 1989, Wagner conducted a concert of all-Nowakowsky in Royce
Hall at UCLA. According to the article in the Times, it was the first time that
No wa k o ws k y ’ s m u s i c wo ul d b e presented in a secular setting. M o s t o f No wa k o ws k y ’ s music had been hidden during the Nazi occupation of Europe by family members and
changed hands within the family several times over the decades, safely stored, and
protected, but unplayed and unheard. It came to rest at the Park Avenue Synagogue in
Ne w Yo r k vi a No wa ko ws k y ’ s gr e a t -grandson, Alexander. When approached to conduct
the concert, Wagner said he had never heard of Nowakowsky, a n d t h a t “ t hi s i s a n especiall y c h a ll e n g i ng c o n c e r t f o r m e b e c a us e e v e r y t hi ng i s n e w. ” Wagner, while not
a gr e e i n g t h a t N o wa k o ws k y wa s t h e “ J e w i s h B a c h , ” s a i d t h a t t h e c o m po s e r wa s i m po r t a n t in the realm of Jewish liturgical music, saying that, “ s o m e o f t h e p i e c e s a r e o u t s t a n d i n g. ”
1034
Wagner conducted a Messiah Sing-a-long at the Crystal Cathedral in
December of 1989 to finish out the