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Tabernacle Choir

The Tabernacle Choir at is a choral ensemble of 360 unpaid volunteer singers affiliated with The Church of Jesus Christ of Latter-day Saints, performing primarily sacred music from the in , . Composed of faithful church members aged 25 to 60, the choir commits to weekly rehearsals and broadcasts without compensation, maintaining a rigorous schedule that includes the long-running program Music & the . Originally known as the Mormon Tabernacle Choir until a 2018 name change to highlight its venue at , it represents a tradition of musical excellence rooted in the church's pioneer heritage. Founded on August 22, 1847, shortly after Latter-day Saint pioneers arrived in the under , the choir held its first formal concert in 1873 and began radio broadcasts in 1929, establishing as the longest continuous network broadcast in the world with over 4,500 episodes aired on more than 2,000 stations. The ensemble has released over 150 recordings, achieving two platinum and five gold records, and has performed at international venues, U.S. presidential inaugurations for ten presidents, World's Fairs, and events like the opening ceremony. Notable achievements include a for its 1959 recording of and an in 1987, underscoring its status as one of America's premier choral groups. Supported by the volunteer Orchestra at , the choir continues to emphasize inspirational music drawn from diverse traditions while adhering to church standards.

History

Founding and Pioneer Era (1847–1899)

The Tabernacle Choir at Temple Square originated on August 22, 1847, when a small ensemble of singers performed at the first general conference of The Church of Jesus Christ of Latter-day Saints in the Salt Lake Valley, occurring just 29 days after Brigham Young's pioneer vanguard entered the valley on July 24. This event, held in a rudimentary bowery on the Temple Block amid the settlers' ongoing efforts to establish a new community, underscored music's role in worship and morale during the pioneers' exodus from Nauvoo and perilous westward trek. The group's formation reflected the emphasis placed by church leaders on choral singing as a communal and spiritual practice, drawing from participants among the initial 143-member pioneer company and subsequent arrivals. The choir's early development accelerated in 1849 with the influx of approximately 85 Welsh converts, whose musical traditions—rooted in robust hymnody and choral expertise—elevated the ensemble's proficiency. John Parry, a Welsh stonemason and convert who immigrated that year, organized a formal for the ensuing general conference, establishing its foundational structure and serving as its inaugural until around 1854. Successors included Stephen Goddard (1854–1856) and James Smithies (1856–1862), under whom the group performed regularly at conferences despite limited resources. The completion of the Old in 1851 offered a dedicated indoor space, replacing outdoor bowery venues vulnerable to weather, while a modest hand-built by convert Ridges was installed in 1857, introducing mechanical accompaniment to vocal efforts. By the 1860s, infrastructure improvements solidified the choir's permanence: the iconic , with its innovative elliptical roof and acoustic design, was finished in 1867, accompanied by an expanded organ constructed by Ridges and Danish craftsman Niels Johnson featuring 700 pipes. In 1869, English musician George Careless assumed direction, alongside organist Joseph J. Daynes, instituting disciplined rehearsals and a core repertoire of hymns, anthems, and pioneer songs that professionalized operations. Ebenezer Beesley, trained in , led from 1880 to 1889, initiating modest tours to nearby settlements to foster regional cultural ties. The decade closed with Welsh director Evan Stephens taking charge in 1890, expanding membership to around 600 voices by recruiting broadly from church congregations and constructing an enlarged choir loft in the to accommodate growth. Under Stephens, touring expanded significantly, with performances reaching distant communities and promoting musical education through part-specific training, though the ensemble remained amateur, comprising volunteer members selected for vocal ability and devotion. These efforts, sustained by resilience and institutional support, transitioned the choir from gatherings to a structured body integral to Latter-day Saint identity by 1899.

Early 20th-Century Growth and Recognition (1900–1949)

Under the direction of Evan Stephens until 1916, the choir experienced significant expansion, growing to approximately 600 members by the early 1900s, necessitating the construction of a dedicated choir loft in the . This period marked increased professionalism, with Stephens emphasizing choral training and performances that showcased the ensemble's capabilities. In September 1910, the choir made its first commercial recordings in the Tabernacle with , capturing 12 selections including hymns like "We Thank Thee, O God, for a Prophet," alongside organ solos by J. J. McClellan; these efforts broadened the choir's reach beyond live audiences and aided missionary work through distributed records. Anthony C. Lund succeeded Stephens in 1916 and introduced technological advancements, initiating local radio broadcasts in that enhanced the choir's visibility. Lund's tenure culminated in the choir's first nationwide radio broadcast on July 15, 1929, via NBC's "Music and the Spoken Word," which originated from the and featured choral performances interspersed with spoken messages; this program became a sustained weekly tradition, fostering national recognition for the volunteer ensemble's precision and repertoire blending sacred and classical works. During this era, the choir performed at prominent venues, including and the for President in the early 1910s, underscoring its emerging status in American cultural circles. J. Spencer Cornwall assumed direction in 1935, continuing the broadcast legacy amid the and , with the ensemble maintaining its volunteer structure of around 300 active singers selected for vocal ability and commitment. The Tabernacle's organ underwent significant upgrades, including a 1901 rebuild by the Kimball Company and further reconstruction by the Austin Company from 1914 to 1915, supporting the choir's expansive sound. Recognition peaked with a 1944 Peabody Award for distinguished service to , affirming the choir's role in providing uplifting content during wartime; a special memorial broadcast for President followed his death on April 12, 1945. These developments solidified the choir's reputation as a pinnacle of choral artistry rooted in pioneer heritage.

Mid-Century Expansion and Broadcast Legacy (1950–1999)

During the 1950s, the choir, under director J. Spencer Cornwall, undertook its first international tour to Europe in August 1955, performing in Scotland, Wales, Denmark, Germany, Switzerland, and France, which marked a significant expansion beyond domestic audiences. Richard P. Condie succeeded Cornwall as director in 1957, leading the ensemble through a period of heightened recording activity and acclaim, including the release of albums that earned gold record status and a Grammy Award in 1959 for "The Battle Hymn of the Republic," conducted with the Philadelphia Orchestra. The choir maintained its volunteer membership of approximately 300 to 360 singers, emphasizing disciplined preparation and sacred repertoire to sustain performance quality amid growing demands. The broadcast legacy of "Music and the Spoken Word" solidified during this era, with regular television transmission commencing on , 1962, under Condie, following an initial TV appearance in 1949. A pioneering intercontinental satellite broadcast via occurred on July 23, 1962, from , extending the program's reach globally and reinforcing its status as the longest-running continuous network broadcast. These developments, coupled with weekly radio continuity since 1929, amplified the choir's influence, delivering inspirational music and messages to millions without commercial interruption, even through cultural and technological shifts. Jerold Ottley assumed the directorship in 1974, guiding the choir until 1999 and overseeing further international outreach, including tours to in 1991 (encompassing , , , and ), with the Jerusalem Symphony Orchestra in 1992–1993, and in 1998. Under Ottley, the program released its first in 1981 and conducted over 1,300 "Music and the Spoken Word" episodes, maintaining rigorous audition standards and integrating orchestral collaborations to enhance production values. This period cemented the choir's reputation for technical excellence and , with broadcasts adapting to emerging media while preserving core traditions of volunteer service and faith-based messaging.

21st-Century Developments and Rebranding (2000–present)

In October 2018, the choir underwent a significant , changing its name from the Mormon Tabernacle Choir to The . This adjustment aligned with directives from the leadership of The Church of Jesus Christ of Latter-day Saints to emphasize the church's full name and limit use of the term "Mormon" to references involving the . The rebranding reflected broader institutional efforts to clarify doctrinal identity amid public perceptions shaped by cultural associations with the term "Mormon." Leadership transitioned in 2008 with the appointment of as music director, succeeding Craig Jessop after Wilberg's prior role as associate director since 1999. , a and arranger who contributed extensively to the choir's , continued in this position through at least 2024, marking over 16 years of tenure by that point. The choir received the in 2003, recognizing its cultural contributions. The disrupted operations starting in March 2020, leading to cancellations of concerts, rehearsals, and adaptations in public broadcasts. Live performances of paused for approximately 19 months, resuming in October 2021 after health protocols including testing. The reached its 5,000th episode on July 13, 2025, highlighting nearly a century of continuous weekly broadcasts while expanding digital outreach for global audiences. International touring intensified in the 2020s with the multiyear "Songs of Hope" world tour, featuring stops in in February 2025 and in August 2025, involving the full 360-voice choir and portions of the accompanying orchestra. These efforts aimed to extend the choir's inspirational message amid efforts to grow its international presence.

Organizational Structure

Membership Composition and Selection Process

The Tabernacle Choir at Temple Square consists of 360 volunteer singers divided among four vocal sections: , , , and . All members serve without compensation, balancing choir commitments with full-time or other personal obligations, and must reside within 100 miles of in , . Membership is exclusively limited to members of The Church of Jesus Christ of Latter-day Saints who maintain , as verified by a bishop's recommendation and eligibility for a temple recommend. Singers enter service between ages 25 and 55, as measured on April 30 of the year their term begins, and retire at age 60 or after 20 years of participation, whichever comes first; this upper age limit was established in 1974 to ensure vocal stamina and scheduling reliability. Prospective members undergo a rigorous, multi-phase selection process spanning approximately nine months, designed to assess vocal quality, musical literacy, and commitment. Applications open annually in early June and close in mid-August for the following year's cohort, requiring submission of an online form with a digital photo, recorded vocal sample, and endorsement from the applicant's . Phase two involves a musical skills evaluation, including tests and basic proficiency, with candidates scoring 80 percent or higher advancing to an in-person vocal audition conducted by choir directors and staff. Those who pass the audition join the at , a training ensemble, for 16 weeks of intensive preparation focusing on ensemble blending, repertoire mastery, and performance discipline before provisional acceptance into the full . While formal musical or degrees are not prerequisites, applicants must demonstrate strong pitch accuracy, tonal quality, and the ability to read complex choral scores, reflecting the 's emphasis on yet highly skilled volunteerism. Selected members commit to weekly rehearsals, frequent broadcasts, and tours, underscoring the process's selectivity to maintain the ensemble's professional standards amid voluntary service.

Leadership and Key Personnel

The presidency of The Tabernacle Choir at Temple Square, a lay leadership structure introduced in 2021, manages administrative operations, volunteer oversight, and alignment with the mission of The Church of Jesus Christ of Latter-day Saints. Michael O. Leavitt, former and U.S. Secretary of Health and Human Services, has served as president since August 1, 2021. His counselors are Elder L. Whitney Clayton, a member of the Presidency of the Seventy, and Gary B. Porter, both called on August 26, 2021, to support strategic and ecclesiastical guidance. Artistic direction falls under the music director, who supervises repertoire, rehearsals, and creative output for the choir's 360 volunteer members. has held this role since July 2008, following his tenure as associate music director, and conducts major performances while composing original works tailored to the choir's capabilities. serves as associate music director, handling rehearsal preparation, score adaptations, and coordination of ensembles since 2017. Accompaniment relies on a team of organists, with three full-time and two part-time members maintaining the tradition of daily recitals and broadcast support on the 11,623-pipe organ. Principal organist Richard Elliott, in the position since 1991, leads solos and choir support with over 34 years of service. Other key full-time organists include Andrew Unsworth, appointed in 2006, and Joseph Peeples, who joined in 2019.

Musical Characteristics

Repertoire and Performance Style

The Tabernacle Choir at Temple Square maintains a centered on sacred and inspirational choral , drawing heavily from hymns in the of The Church of Jesus Christ of Latter-day Saints, classical oratorios, and arrangements of and tunes. Notable selections include "Come, Thou Fount of Every Blessing," a traditional , and "I Am a ," an LDS composition emphasizing doctrinal themes. The ensemble also performs seasonal works such as "" and broader sacred pieces like Handel's in full or excerpts, alongside American standards like "" for patriotic broadcasts. This selection prioritizes uplifting, faith-affirming content suitable for weekly broadcasts and concerts, with occasional collaborations incorporating diverse arrangements, such as Latin American hymns in Spanish and English. Performance style emphasizes precision, homogeneity, and a full-bodied achieved through the choir's 360 volunteer members, who undergo rigorous auditions and weekly rehearsals lasting two hours. The features clean , unified formation, and flawless intonation, enabling seamless blending across sections despite the large size. typically involves the iconic Tabernacle organ with over 11,000 pipes or the at for enhanced orchestral works, though renditions highlight vocal purity. Live presentations, including services and open rehearsals, project a straightforward, unadorned aesthetic rooted in American choral traditions, focusing on clarity over dramatic or operatic expression. This approach supports the choir's mission to convey spiritual messages through accessible, resonant performances broadcast globally.

Accompaniment, Venue, and Technical Features

The serves as the primary performance venue for The Tabernacle Choir at , an iconic structure completed in 1867 on in , . Its elliptical design, spanning 150 feet in width with a roof supported by wooden trusses and no interior columns, accommodates approximately 6,500 seated attendees while facilitating clear sightlines and sound projection. The venue's acoustics, enhanced by plaster panels and wooden surfaces, enable a pin drop to be audible from 170 feet away, contributing to its reputation for natural reverberation ideal for choral and performances. Accompaniment for the Choir's performances primarily features the Tabernacle organ, comprising 11,623 pipes housed in a gilded façade of prominent wooden pipes, originally constructed in the late 1860s by pioneer builder Joseph H. Ridges using local materials. Rebuilt and expanded multiple times, including significant restorations in the 20th and 21st centuries, the organ blends seamlessly with the Choir's 360 voices during rehearsals, weekly broadcasts, and concerts, providing a rich, resonant foundation rooted in American Romantic tonal style. Since 1999, the Orchestra at Temple Square has augmented organ accompaniment for many events, drawing from a pool of nearly 200 professional musicians with up to 85 performing weekly to expand repertoire and sonic depth in symphonic collaborations. Technical features of the emphasize acoustic precision and instrumental capability, with the elongated domed producing focused reflections that enhance clarity for unamplified and tones, though early measurements noted variations in intensity distribution across seats. The 's pipe array, including low-frequency up to feet, generates from 13 cycles per second, supporting both solo recitals and choral support without augmentation in the historic hall. For larger assemblies, the nearby Conference Center (7,708 across 130 ranks, built 2000–2003 by Schoenstein & Co.) serves as an alternative, but the 's setup prioritizes intimate, reverberant balance for the Choir's core .

Media Presence and Productions

Music and the Spoken Word Broadcast

Music and the Spoken Word is a weekly 30-minute radio and television program originating live from the , featuring performances by The Tabernacle Choir at , the Orchestra at , and the Tabernacle organ, paired with a concluding spoken message of reflection on themes such as faith, resilience, and human experience. The broadcast airs Sundays at 9:30 a.m. Mountain Time, with public attendance free and no tickets required, drawing crowds to the venue while simulcasting globally. The program debuted on July 15, 1929, via a rudimentary setup where a KSL radio crew extended a wire from their control room to an amplifier in the , capturing the choir's singing under a single positioned on a . It has aired weekly without interruption since inception, spanning economic depressions, world wars, and technological shifts from radio to television and streaming, establishing it as the longest continuously running network broadcast globally. Initially a local KSL production, it expanded to network affiliation by 1932 and later to television in 1962, with current distribution across radio, TV, and digital platforms like . Early episodes were introduced by Edward P. Kimball, the choir's music director, but the format solidified under announcer Richard L. Evans, a KSL staff member who hosted from June 1930 until his death in November 1971, delivering over 1,800 spoken segments during his 41-year tenure. G. Robert Bluth succeeded Evans, narrating from 1972 to 1990, followed by , who has hosted since January 1991, marking more than three decades in the role as of 2025. The portion, typically 5-7 minutes, draws from literature, history, and personal anecdotes to convey uplifting messages without explicit denominational promotion. By July 13, 2025, the series marked its 5,000th episode, reflecting 96 years of consistent weekly output amid evolving media landscapes. It now reaches over 6 million listeners weekly in more than 50 countries through and online streaming, maintaining a focus on choral arrangements of hymns, anthems, and classical works alongside the narrative element. The program's endurance stems from its live production discipline and avoidance of commercial interruptions, funded entirely by donations to the choir's parent organization.

Recordings, Films, and Digital Outreach

The Tabernacle Choir at initiated commercial recordings in 1910 with a group of 300 singers, marking the beginning of an extensive that spans classical, sacred, and patriotic repertoires. By the mid-, the choir had released numerous albums under labels including and RCA Victor, with over 200 recordings produced by the late , distributed through and later digital platforms. Specific releases include "Consider the Lilies" in 2003, featuring orchestral arrangements of hymns, and "Love Is Spoken Here" in 2005, emphasizing choral works with the at ; these are available via streaming services like and . The choir's recordings often highlight its signature sound, supported by the Tabernacle organ, and continue to be sold through the Church's official store, prioritizing high-fidelity captures of live and studio performances. In film and documentary productions, the choir has appeared in works documenting its history and performances, such as "America's Choir: The Story of the Mormon Tabernacle Choir" released in 2004, which examines 75 years of its weekly broadcasts and evolution as a . The 2023 documentary "HOPE: The Tabernacle Choir World Tour" provides footage of concerts, showcasing logistical challenges and musical execution during a global tour. Additional features include the 2018 short "A Week in the Life: ," detailing broadcast preparation, and annual Christmas specials aired on since the 1990s, integrating choir performances with thematic narratives. These productions, often produced in collaboration with the Church of Jesus Christ of Latter-day Saints' media outlets, emphasize the choir's volunteer structure and artistic discipline without doctrinal proselytizing. Digital outreach expanded significantly with the launch of the choir's YouTube channel on November 8, 2012, enabling global access to "Music & the Spoken Word" broadcasts and archived performances, amassing millions of views. The official website, thetabernaclechoir.org, streams live events and hosts a repository of recordings, while social media platforms including Facebook and Instagram disseminate clips, reaching audiences in over 50 countries as of 2025. This shift to digital formats has amplified the choir's non-denominational inspirational content, with livestreamed concerts from Temple Square and tour highlights contributing to sustained engagement beyond traditional radio and television. By 2025, digital metrics indicate weekly broadcasts garner substantial online viewership, supplementing physical attendance limited to 360 volunteer members.

Tours and Special Performances

International and Domestic Tours

The Tabernacle Choir at Temple Square initiated its touring activities with domestic excursions in the United States, primarily tied to major expositions and regional performances in the late 19th and early 20th centuries. Its first major tour occurred from August 29 to September 12, 1893, to the , where the choir competed in the contest and performed selections emphasizing choral precision. Subsequent domestic tours included a March 14–24, 1902, itinerary across California cities such as , Sacramento, , and Palo Alto, coinciding with preparations for the ; an August 21–September 1, 1909, journey to the Alaska-Yukon Pacific Exposition in , , with stops in ; and a extensive 5,500-mile tour from October 23 to November 26, 1911, featuring 50 concerts from to , including a White House performance for President . In later decades, domestic travel became less frequent but included a 2001 tour of Southern U.S. states, where concerts drew praise from local leaders for elevating community spirit through performances attended by civic, religious, and musical figures. More recently, the choir incorporated U.S. stops into its global initiatives, such as the September 5–12, 2024, concerts in and as part of the Southeast leg, emphasizing accessible, message-driven music. International tours marked a significant expansion beginning in 1955, when the choir, comprising 361 voices, embarked on a seven-week European journey from August 19 to September 17, presenting 14 concerts across 12 cities in the , , , the , , and , with capacity audiences and contributions to events like the groundbreaking. Follow-up European tours occurred in 1973 (, , , including recordings with the Royal Philharmonic Orchestra); 1982 (, Sweden, Finland, , the , ); 1991 (, , , Austria, Hungary, , , , enhancing visibility in post-communist regions); and 1998 (, , , Italy, , , , featuring notable receptions like the "Miracle of " with 2,000 attendees). Beyond Europe, the choir toured the Pacific region in mid-June 1988, performing in , , and to share music aligned with its volunteer ethos; from December 26, 1992, to January 6, 1993, collaborating with the Symphony Orchestra; and in June 1991 as part of broader continental outreach. In 2023, the choir launched its "Songs of Hope" world tour, planned to span four years through 2027, with the objective of amplifying global visibility, conveying messages of hope and divine love via free concerts, and extending reach through live streams. This initiative includes international destinations such as , , and , , in 2025, and , , in February 2026, reflecting a shift toward more frequent, multi-continental travel compared to prior sporadic tours every few years. These tours typically involve the accompanying at , drawing large crowds and fostering cultural exchanges while prioritizing performances of sacred and inspirational repertoire.

Holiday and Commemorative Concerts

The Tabernacle Choir at conducts annual concerts, typically spanning three evenings in mid-December at the Conference Center in , featuring the choir, Orchestra at Temple Square, guest soloists, narrators, and dancers in productions centered on and seasonal hymns. These events, which draw live audiences of up to 21,000 per night, have incorporated prominent guest artists since 2000, including performers such as and , with broadcasts airing on since the early 2000s—marking the 21st annual special in December 2024. For 2024, concerts occurred on December 19, 20, and 21, emphasizing sacred music alongside international holiday traditions. Easter performances include dedicated concerts such as the 2022 "He Is Risen: A Special Easter Celebration," held on April 19 and 20 at the and , focusing on the through choral works and oratorios. The choir has also rendered full performances of Handel's for observances, including multiple iterations to commemorate the holiday, alongside annual editions of broadcast from . Independence Day engagements feature patriotic repertoires, such as the 2015 Fourth of July gala at West Point with the Band, performing works like "" overlooking the . Additional collaborations include appearances with the Orchestra for national holiday celebrations. Commemorative concerts mark significant milestones, including a 2020 worldwide broadcast for the 90th anniversary of Music & the Spoken Word, uniting guest performers with the choir in reflective programming. In September 2024, the choir performed at the Georgia State Capitol for a 9/11 remembrance ceremony, delivering selections honoring the event's victims. Other events encompass the October 2024 celebration of the Tabernacle Orchestra's 25th anniversary and preparations for the July 2025 5,000th broadcast of Music & the Spoken Word, each incorporating special live elements to highlight historical achievements.

Awards and Recognitions

Major Honors and Milestones

The Tabernacle Choir at Temple Square received the National Medal of the Arts from the in 2003, recognizing its enduring contributions to American musical heritage. The ensemble earned a Grammy Award in 1959 for its recording of "The ," conducted by Richard P. Condie, marking one of its early industry honors for classical and inspirational performance. The choir has secured four Emmy Awards for its television specials and broadcasts, including one in 1987 for the holiday program "Christmas Sampler." Its long-running radio program, —the longest continuous network broadcast in the world since its debut on July 15, 1929—received Peabody Awards in 1944 and 1962 for distinguished service to broadcasting. The program reached its 5,000th episode on July 13, 2025, a milestone highlighting its uninterrupted weekly presentation amid global disruptions like world wars and pandemics. Additional recognitions include two awards from the Freedoms Foundation and the Medal of Freedom, affirming the choir's role in promoting patriotic and inspirational themes. The group has performed at 13 World's Fairs and for seven U.S. presidents, underscoring its status as a with appearances spanning over 170 years since its founding in 1847.

Controversies and Criticisms

Political Performances and Public Backlash

The Tabernacle Choir at Temple Square, formerly known as the Mormon Tabernacle Choir, has performed at seven U.S. presidential inaugurations spanning six presidents from both major , beginning with Lyndon B. Johnson's in 1965 and including Republican Richard Nixon's second inauguration in 1973 (with a subset of 30 members), Ronald Reagan's in 1981 and 1985, George H.W. Bush's in 1989, and Donald Trump's in 2017. These appearances were framed by church representatives as civic engagements honoring the office of the presidency rather than endorsing specific candidates or policies. Prior to 2017, such performances elicited minimal public controversy, despite including Democratic presidents. The choir's acceptance of an invitation to perform at Trump's inauguration on January 20, 2017—announced on December 22, 2016—generated significant backlash, primarily from critics who viewed it as implicit support for Trump's personal conduct and campaign rhetoric, which they argued conflicted with teachings on morality, , and respect for others. An urging the choir to decline the invitation amassed over 18,000 signatures, citing concerns that the performance would associate the choir—and by extension the Church—with Trump's recorded comments on and mockery of a disabled reporter. Jan Chamberlin resigned from the choir on December 30, 2016, after 27 years of service, stating in a public letter that she could not "belittle" her faith by participating and drawing parallels to historical complicity in , though she did not explicitly name figures like in the original text despite some media characterizations. and opinion pieces amplified divisions within the Mormon community, where Trump had garnered only 46% support among voters in 2016, lower than typical candidates. Despite the outcry, 360 choir members performed "America the Beautiful" and other pieces at the event, with church leaders defending the decision as consistent with longstanding tradition and neutrality, noting that declining would politicize future appearances. No similar resignations or petitions emerged from prior inaugurations, suggesting the 2017 reaction was uniquely tied to partisan polarization over Trump rather than the act of performing itself. The choir was not invited to Trump's second inauguration in January 2025, avoiding potential repeat controversy. Other political engagements, such as performances at national commemorations, have not produced comparable public backlash.

Name Changes and Institutional Realignments

In 1929, the choir formally adopted the name Mormon Tabernacle Choir, reflecting its association with The Church of Jesus Christ of Latter-day Saints and its performances in the . This name persisted for nearly nine decades, during which the ensemble gained international recognition through broadcasts, recordings, and tours. On October 5, 2018, the choir changed its name to The Tabernacle Choir at , eliminating the term "Mormon" to align more closely with its sponsoring organization, The Church of Jesus Christ of Latter-day Saints. The redesignation followed directives from church president , who in August 2018 urged members and affiliates to cease using "Mormon" or "" as shorthand nicknames for the church, emphasizing that such terms could mislead by implying the faith is a separate entity rather than centered on Jesus Christ. The new name retains reference to the choir's historic venue in City's while supporting the church's broader rebranding effort to promote its full official title. Institutionally, the choir remains under the direct sponsorship of The Church of Jesus Christ of Latter-day Saints, with membership restricted to faithful adult church members aged 25 to 55 who hold a current recommend, ensuring alignment with doctrinal standards. In November 2022, the choir undertook a mission redefinition, introducing pilot programs aimed at expanding outreach to diverse global audiences while maintaining its volunteer-based structure and emphasis on sacred music. This adjustment reflects ongoing adaptations to modern media and cultural contexts without altering core operational ties to the church.

Religious and Cultural Impact

Integration with LDS Church Doctrine and Practices

The Tabernacle Choir at Temple Square traces its origins to August 22, 1847, when Church President directed the formation of a small to perform at a pioneer conference in the , embodying the Latter-day Saint emphasis on music as a form of and community edification amid settlement challenges. This founding aligned with doctrines articulated in revelations to , such as 25:12, which instructs that "the song of the righteous is a prayer unto me, and it shall be answered with a blessing upon their heads," positioning choral music as a conduit for spiritual expression and divine communication within church practices. Membership in the choir requires individuals to be faithful members of The Church of Jesus Christ of Latter-day Saints, at least 25 years old, with vocal proficiency and adherence to standards of worthiness, reflecting doctrines of covenant-keeping, personal righteousness, and voluntary without . Choir members commit to weekly rehearsals and performances, mirroring the church's practices of disciplined devotion and observance, as they contribute unpaid labor in line with teachings on consecration and building through collective effort. The choir integrates deeply with church doctrine through its performances at semiannual General Conferences, where it renders hymns and sacred selections from the that expound core tenets like in Christ, , and eternal families, thereby reinforcing prophetic messages to a global audience of over 16 million members. Repertoire prioritizes Christ-centered anthems and hymns, selected to evoke the Holy Ghost—a key element of Latter-day —while avoiding secular or doctrinal-inconsistent material, as evidenced by broadcasts like , which pair choral works with spoken reflections on scriptural principles. This practice sustains the church's view of music as an ordinance-like tool for edification, with the choir's home in the on symbolizing its role in facilitating temple-adjacent sacred gatherings.

Influence on American Music and Broader Society

The Tabernacle Choir at has shaped choral music by exemplifying large-ensemble and a broad repertoire that blends sacred hymns, classical compositions, and patriotic anthems, establishing it as a benchmark for choral standards since its in 1847. Its recordings and live performances, including collaborations with major orchestras, have popularized choral arrangements of folk tunes and , contributing to the evolution of sacred music traditions in the United States. Directors such as have advanced innovative arrangements that emphasize dynamic range and emotional depth, influencing contemporary choral groups in technique and presentation. The choir's weekly radio and television program, Music and the Spoken Word, launched on July 15, 1929, holds the distinction of the world's longest-running continuous network broadcast, with over 5,000 episodes aired by July 2025, reaching an estimated audience of two million weekly listeners historically and introducing choral music to diverse households across generations. This program has embedded choral traditions into American media, providing a counterpoint to commercial entertainment by prioritizing uplifting, non-partisan content that sustained public interest even during economic downturns like the . In broader society, the choir functions as a cultural , dubbed "America's Choir" by in reference to its renditions of national anthems and its role in presidential inaugurations starting with in 1953, fostering a sense of national unity and patriotism. Its performances, including at the in , have reinforced themes of resilience and communal harmony, while the broadcasts have offered inspirational messaging that aligns with traditional values of and , influencing public on moral upliftment amid societal shifts. The ensemble's volunteer structure and emphasis on volunteerism mirror American ideals of civic participation, embedding it as an enduring symbol comparable to national landmarks in .

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