Communal Harmony

The history of music at Tabor is a symphony of tradition, talent, and togetherness

By Eliott Grover ’06

Considering how long it takes the world’s most renowned orchestras to find their sound, it’s no small wonder what Tabor’s student ensembles can achieve over the course of a single school year. But as all musicians know, the road to harmony is often paved with dissonance. For Tabor’s 1937-38 orchestra, this lesson came swiftly—and loudly. “On Friday evenings at the beginning of the year, Hoyt Hall was witness to a great musical battle,” the orchestra’s yearbook page began. “Blaring trumpets and shrieking clarinets attempted to drown out the sighing violins and wailing saxophones, while the piano and drums remained neutral, trying to draw the combatants to an harmonious settlement of their difficulties.”

Despite this cacophonous start, the 20-piece band quickly found its rhythm. By the end of the first term, they were performing for the local community and hosting concerts with the glee club. Their progress speaks not only to the quality of the instruction they received but also to a deeply ingrained ethos at Tabor: a commitment to collective effort and the belief that music—like most pursuits worth mastering—is as much about collaboration as it is about individual skill.

This philosophy has shaped Tabor’s musical culture from the very beginning. The 1888-89 school catalog promised “abundant opportunity” for both vocal and instrumental music, offering first-year students courses in “the rudiments of the theory of music,” “the art of respiration,” and “pure quality of tone.” From its earliest days, Tabor saw music not just as a cultural pursuit, but as a cornerstone of a well-rounded education.

A photo in the 1917-18 catalog captures this spirit: six students huddled together in the close but cozy quarters of a dormitory living room, five violinists playing near the fireplace while another student sits at the piano, a teacher conducting them. “The cultural side of a boy’s training should include music,” the caption reads. “At Tabor, a school orchestra helps to develop this interest.”

The orchestra was frequently called upon to provide a soundtrack for major school functions. Quite literally in some cases. They furnished the music for the silent movies that screened on weekends throughout the 1920s. In 1925, Headmaster Walter Lillard hired Edward Albertin, an accomplished musician from Cape Cod, to formally start Tabor’s first classical orchestra. The initiative was well funded, allowing the school to procure quality equipment, and droves of students turned out to play French horns, cornets, cellos, flutes, and drums, among other instruments.

For students drawn to vocal music, the glee club provided an equally vibrant setting. In 1899, it boasted roughly 50 members—more than half the student body, which included boys and girls since Tabor was founded as a Coeducational school. In a reorganization of the school in 1916, a separate girls department called the Tabor Academy Girls’ School was formed. The girls’ school included an active music program under Mr. Albertin, with one class every Friday dedicated to singing. “Besides getting a great deal of enjoyment from this period, we feel that we have really accomplished something in that we have been able to entertain publicly,” the 1926 girls’ yearbook stated. The girls frequently performed with the glee club and other musical groups at the boys’ school.

In addition to performing at dances and concerts, the glee club played an important role in school traditions, such as leading the community in song during Chapel. As the 1935 yearbook put it, the club existed “to cultivate and foster a genuine interest in singing and the good fellowship found therein. As a versatile and earnest group, we will remember this Glee Club whether as a choir at Vespers, in concert, or just a happy throng participating around the piano.”

Beyond performing on campus, Tabor musicians have always had opportunities to share their artistry with the wider world. A particularly memorable excursion occurred in June 1935, when the school orchestra secured coveted jobs performing aboard Majestic, a transatlantic cruise ship.

“These orchestral positions have almost always been contracted by college men,” a Log reporter wrote. “It is with quite a bit of interest that the boys are looking forward to the opportunity to invade this new field.”

But the trip wasn’t all work. Upon disembarking in France, the students set off on a bicycle tour before spending three weeks in Paris, immersing themselves in French culture and language—an experience that underscored music’s ability to broaden horizons. The following summer, Tabor’s dance orchestra seized a similar opportunity to perform on the Berengaria and then travel across France, Germany, and Switzerland.

Instrumental Groups: 1940s - 1960s

During World War II, Tabor introduced military drilling to join the national preparedness effort. The program began under Lillard, who left after the 1942 school year to return to military service. Wickenden wasted no time adding a vital musical component to the drill.

“Numerous Taborites are now blowing their own horns in the newly inaugurated Bugle and Drum Corps,” The Log reported in April 1943. “All fooling aside, the pace setters have added a lot of snap to the drill.”

By the late 1940s, this corps had evolved into a full-fledged marching band, a testament to both Wickenden’s vision and the school’s growing musical ambition. The band formed under the direction of Mr. Messenger, a teacher described in the yearbook as “a skilled trumpeter and the possessor of an ability to organize.” Their performances became an essential feature of football games and major school events such as United Nations Day and Commencement, adding both spirit and spectacle to these occasions.

By the 1950s, the band expanded to 40 members when music instructor John Pandolfi took the baton. A gifted clarinetist who had been a solo performer with the New Orleans Symphony, Pandolfi’s impact extended far beyond the marching band. Known for his cheerful disposition and deep commitment to his students, he was a beloved and respected figure across campus. “In seven years at Tabor, Musician Pandolfi has made himself a place here as solid as the Stone Gymnasium,” a Log writer observed in 1964.

The swing band, led for many years by Pandolfi, became a fixture at school dances and received invitations to perform off campus. One notable engagement took place in April 1961, when the band played a dinner dance at Otis Air Force Base.

Under his tutelage, Tabor’s musicians flourished. The marching band received acclaim beyond campus, winning first place in the 1962 Wareham Veterans’ Day Parade. Students were not only playing music but performing at a level that garnered outside recognition, reinforcing Tabor’s reputation as a school where the arts thrived.

Evolving Ensembles

Throughout the second half of the twentieth century, vocal groups became more specialized, instrumental ensembles diversified, and new traditions took shape, ensuring that music remained a defining element of student life.

The arrival of Headmaster Peter Webster in 1976 marked another significant shift in Tabor’s approach to music education. As participation in the marching band declined through the 1970s, Webster ended military drilling and redirected resources to strengthen the school’s choral groups and concert band. A full-time music program was established with scholarships to attract musicians, and academic credits were awarded for coursework, ensembles, and lessons.

“The aesthetic thrust of music is uniquely non-verbal and personal,” Music Instructor Michael Pavone wrote in a 1977 Log article. “The humanizing influences of music focus on feelings, values, emotions, and imagination—necessary components of a liberal education and its emphasis on human development.” Under Pavone’s leadership, the music department expanded, creating more opportunities for students to formally study and engage with music.

Choral Music After the 1960s

In the fall of 1976, a reimagined Tabor chorus performed with girls’ choirs from Notre Dame Academy and the Lincoln School. In the spring, they sang with the chorus from Old Rochester Regional, the local high school. An updated select group, the Tabor Tones, featured a repertoire of sea shanties and pop songs. Their active 1978 schedule included performances at local churches and the New York Yacht Club and The Spence School.

In 1981, a new a cappella ensemble—the Madrigal Singers—formed and quickly became a signature Tabor sound. Their blended repertoire of traditional and contemporary arrangements distinguished them from their predecessors, and their performances at All-School meetings, Chapel, and recitals showcased their dedication to musical excellence.

Throughout the group’s history, the Madrigals have been defined by their commitment as much as their talent, treating rehearsals with the same discipline as an athletics team. Under the direction of David Horne, they embarked on spring training trips, refining their craft through intensive practice sessions and performances.

“After years of cajoling and pleading to just try going some place warm for our annual spring training event, the director succumbed to his singers’ blandishments,” Horne wryly noted after their trip to Florida in March 2004. “The result was five days of perfect weather, focused attention to singing, and complete relaxation.”

Horne retired in 2018 after 23 years of dedicated service to Tabor. During his tenure, he elevated the school’s choral program, increased opportunities for students to lift their voices in song, and served as musical director for all 23 winter musicals—all while welcoming the community to Chapel with his evocative organ playing. As the dedication in the 2018 Fore ‘n’ Aft summarized his impact, “There are not enough words to say, songs to sing, or notes to play to express all that Mr. Horne has done for our school.”

Many student choral groups have flourished over the years. The Tabor Tones, the Nightingales, and others found their own musical niches, performing at chamber music recitals and special events like Lessons and Carols. Each group offered a unique voice while reinforcing the camaraderie and joy that have always defined Tabor’s musical culture.

Instrumental Music After the 1960s

Instrumental music has charted a similar evolution. Just as the glee club gave rise to specialized vocal groups, the school’s orchestra morphed into various ensembles dedicated to different genres.

Pandolfi’s swing band paved the way for the Studio B Band, which formed in 1976 and eventually evolved into Tabor’s jazz band. Outside of Tabor, Studio B developed a reputation for its outstanding musicianship. In the spring of 1977, the group made a strong impression on judges at a jazz competition at Berklee College of Music. Reflecting on their progress, the band credited the school’s administration for revitalizing the music program. “As we look back over the year’s successes, we remember the enthusiastic reception for Tabor’s Jazz Combo,” they wrote in a letter to The Log, adding, “We have Mr. Webster to thank for providing the time and opportunity for the group, which has met every afternoon this year.”

Over the decades, Tabor’s music program has grown not only in size but in depth. As student interest in different styles and instruments has evolved, so too has the school’s commitment to cultivating a vibrant and inclusive musical community.

Phil Sanborn joined the music department in 1985, working alongside Pandolfi, his son, Orlando, and later Matt Richard to further expand and enrich Tabor’s music offerings. Sanborn’s deep knowledge and dedication to the jazz band had a transformative impact on many student musicians. During his tenure, the string and wind ensembles took shape, adding new dimensions to the program. Springfest, which predated Sanborn’s arrival, grew into a signature Tabor event where music played an increasingly central role.

Nurturing Creativity

Throughout Tabor’s history, one constant in its musical evolution has been the school’s commitment to providing students with the space—both physically and programmatically—to explore their creativity. Whether through improved facilities, new programs, or faculty and peer support, Tabor has continually fostered an environment where students can discover and develop their musical passions.

Hoyt Hall, now the center of Tabor’s performing arts program, was built in 1928 and served primarily as an athletics facility. It was also the main venue for dramatic and musical performances. While a small theater occupied the third floor, larger events took place in the gymnasium, where the setting was anything but theatrical.

One of the most acute problems which has always been presented by the gym has been that of acoustics,” noted The Log in 1964. “This was never solved, and the only way we could correct it was to hang a gauze ceiling, which every Tabor alumnus who has graduated since 1930 has seen.”

The completion of Stone Gymnasium in 1963 provided an opportunity to repurpose Hoyt Hall as a creative space, leading to the opening of Alumni Auditorium in early 1965. With its 32-foot stage and acoustical plaster ceiling, the new auditorium dramatically improved the school’s musical and theatrical productions.

A second major Hoyt renovation was underway when Jay Stroud succeeded Peter Webster as headmaster in fall of 1988. Stroud oversaw an extensive project to expand and repurpose the building to house both the music and drama departments, incorporating a new theater, classrooms, and rehearsal spaces.

The Fireman Performing Arts Center opened in 1991. This state-of-the-art, 650-seat auditorium—equipped with industry-grade lighting and sound systems—elevated the quality of student performances and made Tabor an enticing destination for professional artists.

Stroud’s commitment to creative expression strengthened Tabor’s arts curriculum by increasing the number of required arts units, ensuring artistic engagement was a core part of the student experience. This shift expanded course offerings and after-school programs, providing greater opportunities to explore music, performance, and visual media as alternatives to athletics. Merit-based scholarships were awarded to student musicians through competitive auditions.

The Tomlinson Fellowship, established in 1986 in memory of trustee Joseph Tomlinson, provided dedicated funding for the visual and performing arts department, enabling Tabor to host a diverse array of visiting artists. Through Tomlinson Fellow performances and workshops, students were exposed to a wide range of musical influences, from Richie Havens to the New England Brass Band.

Beyond formal ensembles and structured performances, Tabor has long supported student-driven musical exploration. Generations of students have formed their own bands, experimenting with different styles and genres, which you can read more about on page 20. The school has also encouraged musical appreciation through various clubs. In 1947, the Tabor Music Club was founded to oversee a new phonograph and record collection, ensuring students had access to a curated library of recordings.