THE COLLABORATIVE ARRANGEMENTS OF ALICE PARKER AND ...

only need to see Shaw as a realist. He knew that the Parker-Shaw pieces are not masterworks in
the full sense of the word, but simply good arrangements of fine folk melodies and texts,
decidedly leaning to the practical and popular, and created for commercial appeal. They are
good as far as they go, but they are not good indicators of artistic growth in young people. For
this we have to turn to music that is truly artistic, that was composed by master composers, and
that time has proven to be profound in its expression. A look just at the Carnegie Hall Series of
the Robert Shaw Chorale from January to May 1952, and the quality and quantity of music about
which he was passionate, helps us to see his perspective:
Chart 2: Robert Shaw Chorale Carnegie Hall Series, 1952 35
Jan. 6 Mozart Requiem; Ravel, Trois chansons; Debussy, Trois chansons;
Bartók, Cantata profana (American premiere)
Jan. 27 Bach, Mass in B Minor
Feb. 3 Hindemith, Apparebit repentina Dies; Brahms, Nänie; Josquin, Miserere;
Dello Joio, Psalm of David (New York premiere)
Feb. 17 Beethoven, Missa solemnis
April 13 Bach, Christ lag in Todesbanden; Bernard Rogers, The Passion
April 27 Stravinsky, Symphony of Psalms; Schütz, three motets; Poulenc, Stabat
mater (American premiere)
May 11 Haydn, The Creation
It must be remembered that Shaw only initiated the Parker-Shaw catalogue at the insistence of
the RCA Victor Corporation. If he had his preference, he would not have had to deal with it at
all. 36 It was a chore that he had to perform in order to have the recording contract that would
allow him to record the legendary performances of classical music that are monuments in vinyl.
But, as Parker has said, he worked tirelessly on these arrangements, because he made sure that
everything he put in front of his choir was excellent. 37
35 Mussulman, Dear People, 104-105.
36 Parker, interview with author, 11 Mar. 2011.
37 Ibid.
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