The Marimba in Carnegie Hall and

Town Hall from 1935–62

BY REBECCA KITE

D
uring the 20th century, the ma- have found was the May 16, 1935 concert
rimba was used in the United of the International Marimba Symphony
States in an enormous variety of Orchestra (IMSO) in Carnegie Hall. This
performance situations. These include was the 100-piece group for which the
jazz groups and marimba groups (trios, King George marimbas were made. (For
quartets, etc.) playing popular music and more information about this ensemble,
light classics, Guatemalan and Mexican refer to the extensive and excellent re-
marimba ensembles, and the massed ma- search that has been done by David
rimba orchestras organized by Clair Eyler.)
Omar Musser in the 1930s and ’40s. Ma- A number of IMSO members went on
rimba soloists began performing in formal to have distinguished careers, including
recitals and concerts by the 1940s as well. William Ludwig Jr., Jack Conner, and
While researching the history of the Burt Jackson.1 Fresh out of college,
marimba and marimba concert music for Laurence and Mildred Lacour (who mar-
use as background information in the ried immediately before the IMSO began
Keiko Abe biography I am writing, I dis- touring) were also members of this group.
covered some very interesting facts about In 1950, the Lacours organized and un-
marimba performances in the major New dertook an evangelical missionary tour to
York City venues. By looking at the per- 130 cities in Japan, taking their two King
formances of marimba and xylophone so- George marimbas with them as part of
loists that took place in the two main their musical quartet.
recital venues in New York City between This tour was the first time a marimba Ruth Stuber
1935 and 1962, Town Hall and Carnegie was taken into Japan. Tens of thousands ducted, the Orchestrette Classique. Ruth
Hall, I found that the marimba was of Japanese heard these instruments. Stuber was the timpanist of this group;
known as a solo recital instrument in These King George instruments (num- however, because of her extensive experi-
these venues as early as 1945 and that bers 90 and 91)2 are the marimbas that ence as a marimbist, she wanted a ma-
the xylophone was used in a solo recital Keiko Abe, already a professional xylo- rimba piece to perform for her concerto
instrument as early as 1937. phonist, heard as a young teenager and opportunity with the orchestra. Stuber
I relied on a number of different that so impressed her with their beauti- had performed in the 1933 Century of
sources in my research for this article. ful, organ-like sound.3 Progress marimba orchestra and had
My research materials included the PAS studied marimba with Musser and
publications archives, dissertations, cor- YOICHI HIRAOKA, XYLOPHONE SOLOIST George Hamilton Green. She was living
respondence with the Archivist and Mu- On November 24, 1937 Yoichi Hiraoka, in New York and working as a freelance
seum Director at Carnegie Hall, and a well-known NBC radio artist, per- musician and performing club dates with
online newspaper archives including formed a recital of classical pieces and her marimba trio and as a marimba solo-
www.newspaperarchive.com and the New light classics in Town Hall. The recital in- ist.5
York Times online archives. This article is cluded the “Bach Violin Concerto in E The premiere of the “Concertino for
limited to the history of performances I Major” with string quartet (made up of Marimba” by Paul Creston took place on
could find with these resources. My work members of the New York Philharmonic April 29, 1940 in the Carnegie Chamber
in this subject, 20th century marimba string sections), melodic excerpts from Hall with Ruth Stuber, marimba soloist,
performance in the United States, is not longer classical pieces (probably themes and the Orchestrette Classique with
exhaustive, and this is a research area from famous opera arias, overtures and Frederique Petrides conducting, in a pro-
that should continue to be explored. symphonies) with piano accompaniment, gram during their regular season. The
I would like to thank David Eyler, Jim and Rimsky-Korsakov’s “Flight of the concerto, the first ever written for the
Strain, Randy Rudolph, William Moersch, Bumblebee.”4 marimba, was well received.6
Kathleen Kastner, and Gino Francesconi
for their help in my research for this ar- RUTH STUBER – THE FIRST MARIMBA DORIS STOCKTON – MARIMBA SOLOIST
ticle. CONCERTO Doris Stockton, a native of Chicago
In 1939, Frederique Petrides commis- and student of Musser, was a nationally
INTERNATIONAL MARIMBA SYMPHONY sioned Paul Creston to write a marimba known marimba soloist during the 1940s.
ORCHESTRA concerto to feature one of the members of The first documented performance date
The first documented performance I the orchestra she organized and con- of hers I have found is in 19407 and the

PERCUSSIVE NOTES 50 AUGUST 2005

 cluded Chopin’s “Prelude in C minor” and
Musser’s “Etude in E-flat” for marimba.11

CELSO HURTADO – SOLO MARIMBA IN

CARNEGIE HALL
I have found documentation for only
one solo marimba recital in Carnegie
Hall, not only in the time period covered
in this article, but up to 1980. This re-
cital was performed by Celso Hurtado,
who was a member of the Hurtado Broth-
ers Royal Marimba Band of Guatemala.
They began performing together around
1900. Over the years, this group changed
personnel and eventually split into differ-
ent performing groups. The members of
this ensemble and its offshoots had per-
forming careers of over 50 years. Celso
was very gifted as a soloist as well as en-
semble player and gained fame in Guate-
mala and in the United States for his
Doris Stockton
virtuosity.12
last is in 1962.8 Over the span of these 22 On April 7, 1947 Hurtado performed a
years, she performed across the United solo program on marimba at Carnegie
States with several appearances in New Hall, accompanied by Narciso Figueroa
York, numerous appearances through the on piano. The program included tran-
Midwest, and at least one appearance in scriptions of music by Paganini, Brahms,
California at the Hollywood Bowl. She Saint-Saëns, Sarasate, Lecuona, Chopin,
also recorded a four-record set of tran- and Liszt.13
scriptions of classical music as a ma-
rimba soloist accompanied by Russ Case
and his orchestra for RCA Victor in 1948,
titled Marimba Classics.9
Stockton performed a solo marimba re-
cital on January 31, 1945 at Town Hall,
accompanied by a pick-up orchestra
made up of members of the New York
Philharmonic and, on some selections, by
a pianist. Clair Omar Musser conducted
the orchestra. The program included
“Perpetual Motions” of Weber and
Paganini, “Introduction and Rondo
Capriccioso” by Mendelssohn, “Polonaise
Brilliante” by Weber, an etude and the
“Scherzo Caprice” by Musser, and short
works by Paradies, Pachulsky, Chopin,
and Tchaikovsky. This concert included
transcriptions of classical pieces and
works written specifically for the ma-
rimba.10
On June 7, 1946, Stockton was one of Celso Hurtado
three featured soloists on a New York
Philharmonic pops concert in Carnegie JACK CONNER – VIBRAPHONE AND
Hall. She performed a number of tran- MARIMBA IN TOWN HALL
scriptions and, in an encore, a piece writ- John (Jack) Conner was a versatile
ten specifically for marimba. The musician, at home in his roles as an or-
program included the “Scherzo” from chestral percussionist, a jazz vibes player
Litolff ’s Fourth Piano Concerto-Sym- (he played an hour’s worth of jazz with a
phony and Paganini’s “Moto Perpetuo,” trio at the West Point Marimba Festival
both with orchestra. Her encores in- in March 1998), a featured marimbist

PERCUSSIVE NOTES 51 AUGUST 2005

 On September 27, 1950, Conner pre-
sented a solo recital at Town Hall, accom-
panied by Edwin McArthur on piano. The
program—transcriptions and music writ-
ten specifically for the instrument—in-
cluded one movement from the Milhaud
“Concerto for Marimba and Vibraphone,”
a Mozart sonata, part of Bach’s “B-flat
Partita,” and compositions by Tartini,
Paganini, Chopin, Mendelssohn, Albeniz,
and others.16

VIDA CHENOWETH – MARIMBA SOLOIST

Vida Chenoweth, originally from Enid,
Oklahoma, attended college in Chicago,
where she studied with Musser and be-
gan her professional marimba performing
career. She obtained professional man-
agement and concert booking services by
the Columbia Lecture Bureau, and by the
mid-1950s she had moved to New York
City.
The Columbia Lecture Bureau booked Vida Chenoweth
Jack Conner, PASIC 1977 and publicized Chenoweth’s Town Hall cert of its 1959–60 season, Korn pro-
touring for years with Andy Williams, debut concert, which she performed on grammed the premiere of a composition
and a marimba soloist. November 18, 1956. Her program in- written in 1956 by a promising young
On February 12, 1949 Conner pre- cluded marimba solo works, a duo piece composer who had recently passed away:
miered the “Concerto for Marimba and with flute, and pieces accompanied by pi- the “Concerto for Marimba and Orches-
Vibraphone” by Darius Milhaud with the ano.17 The works that were written for tra” by Robert Kurka. Chenoweth, for
St. Louis Symphony at Kiel Opera House the marimba are “Chorale Prelude on whom the piece was composed, premiered
in St. Louis, Missouri.14 Conner commis- Hassler’s Melody” by Eugene Ulrich, “Mi- it on November 11, 1959 at Carnegie
sioned Milhaud to write this concerto for rage” by Bernard Rogers, and the Hall. This orchestra concert also included
him several years earlier, prior to his “Concertino for Marimba and Orchestra” the premiere of “Symphony Three” by
work with the symphony, while he was a by Paul Creston. Works written for other Charles Wuorinen.19
staff musician for KWK Radio in St. instruments that she transcribed for ma- Chenoweth performed the “Concertino
Louis. In the 1948–49 concert season rimba are “Petizada” by Heitor Villa-Lo- for Marimba and Orchestra” by Creston
Conner was Principal Percussionist of bos (a piano suite) and “Canonic Sonata on the final concert of the second season
the St. Louis Symphony, and the opportu- III” by George Telemann (performed with of Korn’s Orchestra of America on March
nity arose to premiere this new concerto flute).18 22, 1961.20
when conductor Vladimir Golschmann The Orchestra of America, an en- On January 15, 1962 Chenoweth pre-
programmed a concert featuring concerti. semble founded by director Richard Korn, sented her second Town Hall recital. This
Violinist Zino Fransiscotti performed two performed concerts devoted to music of concert included transcriptions of music
violin concerti on this same program.15 American composers. On the second con- written for other instruments and compo-
sitions written specifically for the ma-
rimba. Transcriptions included music by
Bach and “The Martyrdom of the Insects”
by Villa-Lobos. Music written specifically
for the marimba included “Suite for Ma-
rimba” by Alfred Fissinger, and “Minia-
tures” and “Three Country Dances” by E.
Matthies.21

HIRAOKA RETURNS TO CARNEGIE HALL

Yoiichi Hiraoka returned to his
adopted home country of the United
States after a 20-year absence. He con-
certized and taught in Japan during
these intervening years. Upon his return
to New York, his musician friends in the
New York Philharmonic booked a concert

PERCUSSIVE NOTES 52 AUGUST 2005

at Carnegie Recital Hall in order that
they could perform together again. On
November 27, 1962 Hiraoka and his
friends performed a concert of xylophone
music, which included most of the favor-
ites he had performed almost 30 years be-
fore.22

AFTER 1962
There seems to have been a 15-year
gap in marimba performances in major
New York City venues. The next perfor-
mance I have documented is Keiko Abe’s
appearance on a concert presented by Mu-
sic from Japan at Alice Tully Hall in 1977.
The 1970s also brought the addition of
new venues for marimba solo perfor-
mances including Alice Tully Hall, Merkin
Hall, and Kauffman Concert Hall.

ENDNOTES
1. David Eyler, “Interview with Jack Conner,
William F. Ludwig, Jr. and Herschel Stark,
Members of the International Marimba
Symphony Orchestra of 1935,” Percussive
Notes 31, no. 7 (1993).
2. Lawrence Lacour, Adventuring with God in
Evangelism, First ed. (Lima, Ohio: Fairway
Press, 2000), 34–35, 92–97, 106.
3. Rebecca Kite, “Interview with Keiko Abe,
April 18, 2000,” (Amsterdam: Tape A1, Kite
personal collection, Leesburg, VA., 2000).
4. P.R., “Xylophone Recital - Town Hall,”
Barnard Bulletin, December 3, 1937.
5. Sarah Smith, “The Birth of the Creston Ma-
rimba Concerto: An Interview with Ruth
Jeanne,” Percussive Notes 34, no. 2 (1996).
6. Howard Taubman, “Concert Offered by
Orchestrette,” New York Times, April 30,
1940.
7. “Des Plaines Community Fair Next Week,”
Dupage County Register, August 16, 1940.
8. “Dinners Set New Record,” Herald-Times,
May 12 1962. 2 (1978). 21. Eric Salzman, “A Marimba Recital by Vida
9. Howard Taubman, “Records: Vocal,” New 16. H.C.S., “John Conner in Recital,” New York Chenoweth,” New York Times, January 16,
York Times, October 31, 1948. Times, September 28, 1950. 1962.
10. “Marimbist in Recital,” New York Times, 17. Laura LeAnn Phillips, “Vida Chenoweth 22. Raymond Ericson, “Yoichi Hiraoka Per-
February 1, 1945. and Her Contributions to Marimba Perfor- forms on Xylophone,” New York Times, No-
11. “Mascherini Sings at ‘Pop’ Concert,” New mance, Linguistics, and Ethnomusicology” vember 28, 1962.
York Times, June 8, 1946. (The University of North Carolina at
12. David Eyler, “The Hurtado Brothers’ Royal Greensboro, 2000), 40. BIBLIOGRAPHY
Marimba Band of Guatemala,” Percussive 18. Kathleen Sherry Kastner, “The Emergence “Des Plaines Community Fair Next Week.”
Notes 31, no. 3 (1993): 52. and Evolution of a Generalized Marimba Dupage County Register, August 16 1940.
13. H.T., “Celso Hurtado Heard,” New York Technique” (University of Illinois at Ur- “Dinners Set New Record.” Herald-Times, May
Times, April 8, 1947. bana-Champaign, 1989), 44–45. 12 1962.
14. Thomas B. Sherman, “Symphony Soloists 19. Harold C. Schonberg, “Music: Unusual Ericson, Raymond. “Yoichi Hiraoka Performs
in Three Concertos,” St. Louis Post-Dis- Concerto,” New York Times, November 12, on Xylophone.” New York Times, November
patch, February 13, 1949. 1959. 28, 1962.
15. Ron Fink, “An Interview with Jack Conner, 20. Allen Hughes, “American Works Offered by Eyler, David. “The Hurtado Brothers’ Royal
Marimba Virtuoso,” Percussive Notes 16, no. Korn,” New York Times, March 23, 1961. Marimba Band of Guatemala.” Percussive

PERCUSSIVE NOTES 53 AUGUST 2005

 Notes 31, no. 3 (1993): 48–54. bana-Champaign, 1989. Salzman, Eric. “A Marimba Recital by Vida
———. “Interview with Jack Conner, William Kite, Rebecca. “Interview with Keiko Abe, Chenoweth.” New York Times, January 16,
F. Ludwig, Jr. and Herschel Stark, Members April 18, 2000.” Amsterdam: Tape A1, Kite 1962.
of the International Marimba Symphony personal collection, Leesburg, VA., 2000. Schonberg, Harold C. “Music: Unusual Con-
Orchestra of 1935.” Percussive Notes 31, no. Lacour, Lawrence. Adventuring with God in certo.” New York Times, November 12, 1959.
7 (1993): 66–76. Evangelism. First ed. Lima, Ohio: Fairway Sherman, Thomas B. “Symphony Soloists in
Fink, Ron. “An Interview with Jack Conner, Press, 2000. Three Concertos.” St. Louis Post-Dispatch,
Marimba Virtuoso.” Percussive Notes 16, no. “Marimbist in Recital.” New York Times, Feb- February 13, 1949.
2 (1978): 26–27. ruary 1, 1945. Smith, Sarah. “The Birth of the Creston Ma-
H.C.S. “John Conner in Recital.” New York “Mascherini Sings at ‘Pop’ Concert.” New York rimba Concerto: An Interview with Ruth
Times, September 28, 1950. Times, June 8, 1946. Jeanne.” Percussive Notes 34, no. 2 (1996):
H.T. “Celso Hurtado Heard.” New York Times, P.R. “Xylophone Recital - Town Hall.” Barnard 62–65.
April 8, 1947. Bulletin, December 3, 1937. Taubman, Howard. “Concert Offered by
Hughes, Allen. “American Works Offered by Phillips, Laura LeAnn. “Vida Chenoweth and Orchestrette.” New York Times, April 30,
Korn.” New York Times, March 23, 1961. Her Contributions to Marimba Perfor- 1940.
Kastner, Kathleen Sherry. “The Emergence mance, Linguistics, and Ethnomusicology.” ———. “Records: Vocal.” New York Times, Oc-
and Evolution of a Generalized Marimba The University of North Carolina at Greens- tober 31, 1948.
Technique.” University of Illinois at Ur- boro, 2000.
Rebecca Kite is a marimba soloist and
educator who lives in Northern Virginia
near Washington D.C. She teaches at the
University of Maryland - College Park
and at her private studio. Kite has served
on the PAS Board of Directors, as a mem-
ber of the WPN committee, for which she
received the 1999 PAS Outstanding Ser-
vice Award, and as Chair of the PAS Ma-
rimba Committee. PN

SUBMITTING
PROGRAMS
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submit formal printed percussion
solo and ensemble programs for
inclusion in program listings.
Please include:

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Date of Performance . State . Country
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(including director & any guest artists)
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E-mail: englandw@indiana.edu

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PERCUSSIVE NOTES 54 AUGUST 2005