G , I ( _.\ y U . C U U ' .’ V",r'~"""'".'"“"' ~- i‘: .- b i— C! In ( 175 A093 Emmi-o 7 171 < r: 00‘) ,‘$ ‘1‘” 6. Q- 1" ":4 Q ‘- AUG 1 7 2004 031804 ABSTRACT A STUDY OF THE HISTORICAL DEVELOPMENT OF CHORAL ENSELBLES AT SELECTED LUTHERAN LIBERAL ARTS COLLEGE IN THE UNITED STATES by Robert Lee Jennings This study was concerned primarily with recording the development of choral ensembles at four Lutheran liberal arts colleges from the time that they were founded through the academic year 1965-66. Augustana College, Rock Island, Illinois; Concordia College, Moorhead, Rinnesota; Luther College, Decorah, Iowa; and St. Olaf College, Northfield, Kinnesota, were chosen because each had a history of out- standing choral tradition. The study was concerned also with a comparison of the programs of choral activities among the four colleges and the influence of those activities upon choral music in Lutheran colleges, schools, and churches, the music publishing industry, and the general development of choral music in the United States. A bibliography ofrpossible sources of information pertinent to the topic was compiled including publications and persons associated with the development of choral music at the colleges. Literature related to the topic and cor- respondence with persons who might be sources of information 2 Robert Lee Jennings was reviewed. A personal search for information at each of the colleges was conducted, as well as interviews with per- sons familiar with the deve10pment of choral music. A questionnaire survey of choral directors in Lutheran col- leges, high schools, and churches and a study of music pub- lishers' catalogs were made regarding the influence of choral activities at the four colleges on the training of choral directors at the institutions mentioned, and on the music publishing industry. One chapter was devoted to each of the four colleges according to the following general outline: the history of the college; the general development of musical activity; the history of choral ensembles; and a table listing the choral ensembles active each year from the founding of the college through 1965-66, and indicating directors' names, tours, and performances. Each of the colleges offered instruction in music from its beginning. The support of the Lutheran Church and the college administration developed a musical atmosphere conducive to the development of choral music., A consistent relationship existed at each of the colleges between the pmmpose of the founders, the purpose of music in the curricu- lum, and the purpose of choral ensembles. Similarly, those purposes were also in agreement among the four colleges as 'wexe the purposes of tours by ensembles. .~‘I n I"... '~.. .‘H' n“ i \ 3 Robert Lee Jennings Five types of choral ensembles were active during the histories of the colleges: a large mixed chorus which per- formed sacred choral works such as oratorios; a mixed choir which toured annually and extensively for many years, and sometimes a second similar ensemble which performed mostly on campus; a men's chorus which often toured extensively and was sometimes directed and managed by students; a women's chorus which performed on campus and sametimes on tours; and small ensembles which varied in size, organization, and directorship, as well as in membership. The repertoire per- formed by all ensembles was predominantly sacred. A comparison of the background of the main choral directors at the colleges revealed that most of them.had received undergraduate training at a Lutheran college, had had training and experience in instrumental music as well as choral music, and had pursued advanced study in various ways in the United States and Europe. Many had received honorary doctorates. Tours by choral ensembles, choral schools and work- shops by the directors, and choral compositions and arrange- ments by the directors and other music faculty extended the influence of choral activities beyond the colleges to choral music in Lutheran colleges, schools, and churches, the music publishing industry, and the development of choral music in the United States. '3 h Robert Lee Jennings The outstanding choral activities at the four colleges and their contribution to the deve10pment of choral music in the United States were possible because of the importance of music in the Lutheran Church resulting from.Martin Luther's philOSOphy regarding music, the importance of music and the consistency of its purposes in the four Lutheran colleges‘ curricula and consequental environment, and the continuous dedicated leadership of the choral directors. A STUDY OF THE HISTORICAL DEVELOPMENT OF CHORAL ENSEMBLES IN SELECTED LUTHERAN LIBERAL ARTS COLLEGES IN THE UNITED STATES By Robert Lee Jennings A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Music 1969 Copyright by ROBERT LEE JENNINGS 1969 11 ACKNOWLEDGMENTS The author wishes to express his appreciation to his Guidance Committee for their invaluable assistance, and especially to his advisors, Dr. William R. Sur (retired) under whom.this study was initiated and Dr. Robert Sidnell under whom.it was completed. He also wishes to acknowledge his indebtedness to the many individuals at the colleges in the study as well as many others who helped him.in various stages of this study. To his wife, Geraldine French Jennings, who edited the completed manuscript and its earlier drafts, the author owes his deepest gratitude and apprecia- tion. iii TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION . . . . . . . . . . . . . . . . . . . 1 Purpose of the Study . . . . . . . . . . . . . . 1 Need for the Study . . . . . . . . . . . . . . . Method of Procedure . . . . . . . . . . . . . . II . ST. OLAF COLLEGE O O O O O O O O O O O O O O I O O O\ 0\ :w HiStory 0f the COllege o 0-. o o o e o o o o e 0 Norwegian Immigration and the Founding of St. 0\ Olaf College . . . . . . . . . . . . . . . . Aims and Objectives . . . . . . . . . . . . . 9 St. Olaf College in 1965-66 . . . . . . . . . 11 General Development of Musical Activity at the College . . . . . . . . . . . . . . . . . . . 15 Early Musical Activities at the College . . . 15 F. Melius Christiansen at St. Olaf . . . . . . 20 Biography of F. Melius Christiansen . . . . 20 Progress under the leadership of F. Melius Christiansen . . . . . . . . . . . . . . . 2h The Christiansen Choral School . . . . . . . 37 Olaf C. Christiansen Succeeds His Father . . . M1 Olaf Comes to St. Olaf as Assistant Director #1 Some Biography on Olaf . . . . . . . . . . . H2 The War-Years and Music Activity at St. Olaf NH Postwar Years and Progress to 1966 . . . . . #8 iv CHAPTER PAGE The Music Program in 1965-66 . . . . . . . .— 51 General Background in 1965-66 . . . . . . . 51 The Music Program in 1965-66 . . . . . . . 52 Choral Ensembles Active During 1965-66 . . 53 Aims of the Music Program Through the Years . 56 The Purpose of the Founders of St. Olaf College . . . . . . . . . . . . . . . . . 56 The Purpose of Music in the Curriculum at St. Olaf . . . . . . . . . . . . . . . . 56 The History of Choral Ensembles at St. Olaf College . . . . . . . . . . . . . . . . . . . 60 The Purpose of Choral Ensembles in the Curriculum . . . . . . . . . . . . . . . . 60 Early Singing Activity at St. Olaf College . 66 Early Choral Ensembles . . . . . . . . . . . 68 The Development of Four Types of Choral Ensembles . . . . . . . . . . . . . . . . . 70 Large Ensembles of Mixed Voices . . . . . . 71 Large Ensembles of Male Voices . . . . . . 86 Large Ensembles of Women's Voices . . . . . 89 Small Ensembles . . . . . . . . . . . . . . 93 III. CONCORDIA COLLEGE . . . . . . . . . . . . . . . . 113 History of the College . . . . . . . . . . . . 113 Norwegian Immigration and Founding of COHCOrdia COllege o o o o o o o o o o o o o 113 V CHAPTER Aims and Objectives . . . . . . . . . . Concordia College in 1965-66 . . . . . . General Development of Musical Activity at College . . . . . . . . . . . . . . . . Early Musical Activity at the College . Choral Music . . . . . . . . . . . . . . Concert Tours by Musical Organizations . The Paul Christiansen Choral School . . Annual Christmas Concerts . . . . . . . Development of the Department of Music . The Music Program in 1965-66 . . . . . . General Background in 1965-66 . . . . The Music Program in 1965-66 . . . . . Choral Ensembles Active During 1965-66 the Aims of the Music Program Through the Years The Purpose of the Founders of Concordia COllegeoooooooeoooooo The Purpose of Music in the Curriculum at Concordia College . . . . . . . . . The History of Choral Ensembles at Concordia COllege o o e o o o o o e o o o o e o o The Purpose of Choral Ensembles in the CurriCUlum o o o o o o o o o o e o o 0 Cultural and Educational Purpose . . . Vi PAGE 111+ 116 139 141 1H1 1H1. um um 145 CHAPTER ' PAGE Religious Influence and Missionary Purpose 1H6 Purpose of Influencing Church Music . . . . 149 Early Singing Activity at Concordia College . 150 Early Choral Ensembles . . . . . . . . . . . . 152 The DevelOpment of Certain Types of Choral Ensembles . . . . . . . . . . . . . . . . . 160 Large Ensembles of Mixed Voices . . . . . . 161 Large Ensembles of Male Voices . . . . . . . 180 Large Ensembles of Women's Voices . . . . . 185 Small Ensembles . . . . . . . . . . . . . . 191 IV. LUTHER COLLEGE History of the College . . . . . . . . . . . . . 210 The Founding of Luther College . . . . . . . . 210 Aims and Objectives . . . . . . . . . . . . . 213 Luther College in 1965-66 . . . . . . . . . . 21% General DevelOpment of Musical Activity at the College . . . . . . . . . . . . . . . . . . . 219 Early Musical Activities at the College . . . 220 The Second Period Under Haldor Hanson's Leadership . . . . . . . . . . . . . . . . . 226 The Third Period: Sperati's Influence Over Thirty-nine Years . . . . . . . . . . . . . 228 Two Short Periods Under Hofland and Steen . . 233 The Sixth Period Under Noble . . . . . . . . . 236 Concert Tours by Musical Organizations . . . . 2H2 vii CHAPTER PAGE The Music Program in 1965-66 . . . . . . . . . 2N6 General Background in 1965-66. . . . . . . . 2H6 The iusic Program in 1965-66 . . . . . . . . 2H7 Choral Ensembles Active in 1965-66 . . . . . 248 Aims of the Music Program Through the Years. . 250 The Purpose of the Founders of Luther College. . . . . . . . . . . . . . . . . . 250 The Purpose of Music in the Curriculum at Luther College . . . . . . . . . . . . . . 251 The History of Choral Ensembles at Luther College . . . . . . . . . . . . . . . . . . . 255 The Purpose of Choral Ensembles in the Curriculum . . . . . . . . . . . . . . . . 255 Early Singing Activity at Luther College . . 256 Early Choral Ensembles . . . . . . . . . . . 258 The Development of Certain Types of Choral Ensembles . . . . . . . . . . . . . . . . . 261 Small Ensembles . . . . . . . . . . . . . . 261 Large Ensembles of Men's Voices. . . . . . 263 Large Ensembles of Women's Voices . . . . . 268 Large Ensembles of Mixed Voices . . . . . . 270 V. AUGUSTANA COLLEGE ‘ History of the College . . . . . . . . . . . . 288 Swedish Immigration and the Founding of AuguStana 0011ege o o o o o o o o o o o o 288 viii CHAPTER PAGE Aims and Objectives . . . . . . . . . . . . . 291 Augustana College in 1965-66 . . . . . . . . 292 General Deve10pment of Musical Activity at the College'. . . . . . . . . . . . . . 295 Early Musical Activities at the College . . 296 The Augustana Conservatory of Music . . . . 299 Events Which Indicated DevelOpment of the Music Program . . . . . . . . . . . 30% Musical Organizations Active After 1900 . . 307 Concert Tours by Musical Organizations . . . 309 The Music Program in 1965-66 . . . . . o . . 31% General Background in 1965-66 . . . . . . 31% The Music Program in 1965-66 . . o . . . . 316 Choral Ensembles Active in 1965-66 . . . . 316 Aims of the Music Program Throughout the Years . . . .9. . . . . . . . . . . . 318 The Purpose of the Founders of Augustana College . . . . . . . . . . . . 318 The Purpose of Music in the Curriculum at Augustana College . . . . . . . . . . 319 The History of Choral Ensembles at Augustana College . . . . . . . . . . . . . 322 The Purpose of Choral Ensembles in the Curriculum . . . . . . . . . . . . . . . . 322 ixfi CHAPTER XII. PAGE Early Singing ACtivity at Augustana College . 325 Early Choral Ensembles o o o o o o o o o o o .326 The DevelOpment of Certain Types of Ensembles.328 Small Ensembles Large Ensembles o o o o o o o o o o o o o o 328 of Male Voices . . . Large Ensembles of Women's Voices . . . . Large Ensembles SUMMARY AND CONCLUSIONS of Mixed Voices . . Purpose of the Study . . . . . . . . . . . Method of Procedure . Early HiStory Of the COllegeSo o o o o o 0 General Development of Musical Activities . Purposes . O O O O O O O O 0 O O O O O O 0 Types Of Choral Ensembles o o o o o o o o 0 Tours by Choral Ensembles o o o o o o o o o Repertoire Performed by the Ensembles . . . Backgrounds of the Choral Directors at the COllegeS o o o o o o o o o o o o o o A Comparison of the Types of Ensembles at the r Large Mixed Ensembles Mixed ChOirS o 0 Men's Choruses . . Women's Choruses . . . Small Ensembles . . X .Our COllegeS o o o o o o o o o o o o 330 335 337 383 383 385 386 389 392 391+ 397 399 #01 #01 W3 107 H08 l+09 CHAPTER PAGE Influence of Choral Ensembles Extended Beyond the Colleges . . . . . . . . . . . . . . . #10 The Questionnaire Survey . . . . . . . . . 412 Study of Music Publishers' Catalogs . . . #15 Reasons for Outstanding Programs of Choral Music . . . . . . . . . . . . . . #19 The Importance of Music in the Curriculum . #19 Dedicated Leadership . . . . . . . . . . . M21 BIBLIOGRAPHY......................’+2’+ Chapter I, Introduction . . . . . . . . . . . . 424 Chapter II, St. Olaf College . . . . . . . . . . #25 Chapter III, Concordia College . . . . . . . . . #29 Chapter IV, Luther College . . . . . . . . . . . 431 Chapter V, Augustana College . .. . . . . . . . #3% Chapter VI, Summary and Conclusions . . . . . . M39 APPE:~IDICES.......................1+l+1 11. An Outline for a Search and Interview Plan . . . HHl 13- Lutheran colleges, universities, high schools and churches that participated in the survey HA5 - Cover Letter . . . . . . . . . . . . . . . . . . M50 . The Questionnaire . . . . . a . . . . . . . . . . H51 . The Questionnaire Survey--General Information . . H52 . Undergraduate Training of Choral Directors and Their Attendance at Choral Workshops . . . . . H53 -411 TABLE I. III. III. IIII. VIE, VII, VIII. IDC- LIST OF TABLES Choral ensembles at St. Olaf College in 1965-66 . . . . . . . . . . . . . . . . . . Chronological chart of choral ensembles at St. Olaf College . . . . . . . . . . . . . . . Choral ensembles at Concordia College in 1965-66 . . . . . . . . . . . . . . . . . . Chronological chart of choral ensembles at Concordia College . . . . . . . . . . . . . . . Choral ensembles at Luther College in 1965-66 . Chronological chart of choral ensembles at Luther College . . . . . . . . . . . . . . . . Choral ensembles at Augustnna College in 1965-66. Chronological chart of choral ensembles at Augustana College . . . . . . . . . . . . . . Historical information about the colleges and the musical activities . . . . . . . . . . . . Information about the five types of ensembles at the four COllegeS o o o o o o o o o o o o o xii 140 200 2M9 277 317 366 390 395 ‘Vo APPENDICES AP PER-DIX PAGE A. An outline for a search and interview plan . . . Ahl B. Lutheran colleges, universities, high schools and churches that participated in the survey. . Hh5 CL Cover Letter . . . . . . . . . . . . . . . . . . 450 I). Questionnaire concerning the training of choir directors in Lutheran colleges, schools, and churches . . . . . . . . . . . . . . . . . H51 13. General information about the questionnaire survey and the repsonse to it . . . . . . . . H52 1?. Undergraduate training of choral directors responding to the questionnaire survey and their attendance at choral workshOps conducted by choral directors from Lutheran colleges . . #53 xiii ". CHAPTER I INTRODUCTI ON Purpose of the Study The histories of the liberal arts colleges and univer- sities affiliated with and supported by the various Lutheran Church bodies in the United States reveal the significant contributions they have made to the deve10pment of this nation and to mankind throughout the world. Several of these institutions have celebrated their centennial anniversaries. Long and stable records of achievement by their faculties and Students reflect the important part these institutions have Played in the development of higher education in the United States. The development of choral ensembles at these col- leges and universities has been a great part of the impetus f0? the development of choral music in this country. The tr'Eldition of performances of oratorios pioneered at Bethany College, Lindsborg, Kansas, as early as 1882, is known to “1°38 who have studied the development of choral music in the United. States, as are the fine choirs developed at other in- stitutions such as Augustana College, Rock Island, Illinois, and 31:. Olaf College, Northfield, Minnesota. The positive impact this type of musical activity has had on the cultural development in the United States is evident, thou-3h it may be difficult to measure. This study was pursued to collect data pertinent to the development of choral ensembles at four Lutheran liberal arts colleges in the United States in order to present in one organized document the history of the development of that particular musical activity at each of the colleges in the study. Only senior (four-year) colleges affiliated with Lu- theran bodies (synods) in the United States were included in the study. The four Lutheran liberal arts colleges selected for the study were: Augustana College, Rock Island, Illinois; Concordia College, Moorhead, Minnesota; Luther College, De- corah, Iowa; and St. Olaf College, Northfield, Minnesota. These particular Lutheran colleges were selected for the Stud-Y because each had a history of outstanding choral tradi- tion. The college choirs at these schools are presently among the most famous of Lutheran college choirs. In conclu- 81°ns information gathered for the study was summarized in- dicating similarities as well as differences in various aspects of the programs of choral activities at the four caleges, and an attempt was made to draw conclusions re- garding the influence of choral ensembles at the colleges upon choral music in Lutheran colleges, schools, and Churches, as well as upon the music publishing industry and the development of choral music in the United States. Wor the Study There is a paucity of literature available in li- braries in the United States which concerns the historical development of choral ensembles in the four-year colleges affiliated with the various Lutheran church bodies, eSpe- cially in the Lutheran colleges which this thesis will seek to prove have contributed to the heightening of choral activity in America. Though there are a few studies related to the topic which deal with the development of music depart- ments in a few colleges supported by one of the Lutheran 1 and another study Church bodies, such as the one by Holvik, by Crawford which deals with music in church supported col- 19888 in a certain geographical area,2 and a very few books such as the one by Simpson which presents part of the his- tory of a specific college choir,3 so far as can be ascer- tained, no systematic study of the development of choral en- 8embles in these Lutheran liberal arts colleges has been attemp ted. As completely as possible within the scope of a “lady of this kind, this thesis seeks to present a more re- plete history of the development of choral ensembles in these \ Ch lKarl M. Holvik, "Music in the Evangelical Lutheran ofuich Colleges" (unpublished Master's thesis, Eastman School Lu~8zic, University of Rochester, Rochester, New York, 19E”. 2Loren Crawford, "A Survey of Music In Church Sup- p°rt9d Colleges and Universities of the State of Kansas (un- In:‘31-3-81’1ed Master’s thesis, Eastman School of Music, Univer- 3 t? of Rochester, Rochester, New York, 1939). (" 3Eugene E. Simpson, 1; History 3; St. Olaf Choir “inneapolis, Minnesota: Augsburg Publishing House, 1921)- four Lutheran liberal arts colleges than has been available here tofore . Method of Procedure A bibliography of possible sources of information pertinent to the topic was compiled which included books, articles in periodicals, theses, and persons associated with the development of choral ensembles at the schools included in the study. Literature related to the tOpic and corre- 8pondence with persons who might be sources of information was reviewed. A personal search for information at each of the four colleges was conducted as well as interviews with Persons familiar with the development of choral ensembles at each of the colleges (choral directors, members of the fac- ulty, managers, etc.). A questionnaire survey of choral directors in Lutheran colleges and universities, schools, and chm'ches, and a study of the choral music catalogs of music publishers were made as additional sources of information re- garding the influence of choral activities at the four col- leges on the training of choral directors at those institu- tions mentioned and on the music publishing industry. Four chapters of the study were devoted to the his- tmica]. deveIOpment of choral ensembles with one chapter covering the development at each one of the four colleges. The °°ncluding chapter is an attempt to summarize the infor- mation gathered from the various sources indicating s.- -.. similarities and differences in the choral activities at the four colleges, and to draw conclusions regarding the in- fluence of the choral ensembles at the colleges upon choral music in Lutheran colleges, schools and churches, the music publishing industry, and the development of choral music in the United States . CHAPTER II ST. OLAF COLLEGE I. HISTORY OF The COLLEGE Ngrwegian Immigration and the Foundin&of St. Olaf Collegg Norse immigration to America had its beginning in 1825 With the arrival of a boatload of fifty-three passengers from Norway. Those people first settled near Rochester, New York, but later moved on farther west. The greatest influx of Nor- Wegians, however, came later in three waves. The period from 1866 to 1871;. is considered the first wave of migration. The Second and greatest period came in the eighties and early nineties, with the third and last wave of migration during 1She early 1900's. Most of those pioneers were Lutheran in I'aith because the Lutheran Church was the official church of l\Torway. Organized church work among Lutherans of Norse descent in America began in 18LI3 when the first Norwegian Lutheran Church was built near Racine, Wisconsin, and two Irlinisters were ordained. Three Norwegian church bodies were soon formed: the United Church, the flange Synod, and the 1\Torwegian Synod of America, but they became merged into one large body in 1917, known as the Norwegian Lutheran Church of Arnerica. Later mergers led to the formation of the American Lutheran Church, the church body to which St. Olaf College is ‘lreiated today. M. k. Because few high schools were established in the Pfiddle'West when the Norwegian pioneers came to settle, there was great concern for the lack of opportunity for frontier boys and girls of Lutheran and Norse parentage to secure an education beyond the eighth grade.1 That prompted a group of pastors and businessmen in Rice, Dakota, and chodhue counties of Minnesota, under the leadership of the Iheverend Bernt, Julius Muus, the Reverend N. A. Quammen, and Harold Thorson, to lay the groundwork for the founding of St. (Ilaf School in 187L|..2 Though the term "college“ was used in connection with the establishing of St. Olaf, what was actmally founded was a high school or academy called St. (Ilaf's School. The earliest edition of the catalog of St. olafis School available for study was the one for the year :188h-85. Holvik quotes the following information about the lfcmnding of St. Olaf's School from that catalog: St. Olaf's School was established in 187h and incor- porated November sixth, with the following clause in the articles of incorporation: The general purpose of the corporation is for the advancement in education of pupils from.fifteen years of age, and upwards, as a college; preserve the pupils in the true Christian faith as taught by the Evangelical Lutheran Church, and 1M. Burnette Thompson, nThe Significance of the St. <31af Lutheran Choir In American Choral Music" (unpublished I’Iaster's thesis, Eastman School of Music, University of Iiochester. Rochester, 1939), pp. 19-21. 2_________ "Historyvof St. Olaf," Catalog _c_>_f_ St. Olaf ~£2g11ggg, Annual catalo of St. Olaf College, Northfield, liinnesota (April, 1966 , 7. nothing taught in contravention with the confession of said church. Unlike many schools established during the same period, St. Olaf's School was founded as a coeducational institu- tion.n Thirty-six students registered on the opening day, Jarmary 8, 1875, and that number was increased in a short tiJne to a total of fifty. The board of trustees set the :first term.of school for a period of five months. The first Inaculty'members were the Rev. Thorbjorn Helson Mohn (salary finsso a year), who remained as president of the institution IRIr twenty-five years; and L. S. Reque, a graduate of Luther C“allege and the University of Iowa. Miss Ella Fiske was the 'fizwt preceptress at St. Olaf, responsible for the care of 'the young women students at the school. Mathematics, English, tSeography, penmanship, and.music were the subjects taught :’I.ne, social work, teaching and theology. Students success- fully completing one of the baccalaureate programs received, appropriate to their major fields of study, the Bachelor of Arts Degree, the Bachelor of Music Degree, or the Bachelor of Science in Nursing Degree. 2 Radio Station WCAL, which began experimental broad- casts in 1918, was owned and operated by St. Olaf College. It was a 5,000 watt station on a frequency of 770 kilocycles Which broadcast approximately 140 hours a week programs of an educational, religious, and cultural character, including the daily college chapel services. 1’4 The Rolvaag Memorial Library was one of the three largest liberal arts college libraries in the five-state Upper Midwest area with 189,L|.89 volumes of cataloged books and bound periodicals. The library was one of the few places where extensive materials could be found for the study of the culture and church life of Norwegian-Americans, partly be- cause the manuscript and book collections of the Norwegian- American Historical Association were available through the Library. The physical facilities of the college in 1965-66 in- cluded nine buildings designated as academic facilities, five residence halls for women and five residence halls for men, eight buildings designated as service facilities, plus an athletic field, all situated on a 250 acre campus west of the City of Northfield, Minnesota (8,000 population) on an ele- vation known as Manitou Heights.13 All the preceding details about St. Olaf College in 1965-66 have been included to draw attention to its develop- ment through the years as part of a continued attempt to meet. within an atmosphere that is both Christian and Lu- theran, the educational needs of students in an increasingly complex society. It has been included here, also, to draw attention to accomplishments in a variety of areas in \ Catal 13 "Catalog of St. Olaf College,“ Annual 1966 08 of St. Olaf College, Northfield, Minnesota (April, -’ 5-11, 14-18, 26, 27, 29, 31, 76-81, 86-97, 105. 15 addition to the outstanding achievements in choral music, to which greater emphasis is given at a later stage of the re- port of this study. II. GENERAL DEVELOPI’ESNT OF MUSICAL ACTIVITY AT THE COLLEGE Early Musical Activities at the Collegg The background for the evolution of musical activity at St. Olaf was provided by the beginnings of a cultural at- mosphere in the pioneer-town of Northfield as early as 1858 when a singing school, typical of that era in midwestern towns, was held in that community. That interest in instruc- tion in music occurred sixteen years before the founding of St. Olaf's School in 18711. Simpson, in his book, 5 Histogy 952 3113 §_’_0_._ 213:; M, indicates that a study of the files 01' the newspaper, 1133 5193 County Journal, covering a period 01' several years between 1858 and 1881, revealed an interest in music in Northfield in the written accounts of programs and concerts performed by the home talent of the community and by visiting performers. Additional references to events in the early musical life of Northfield included concerts by the "Haydn Chorus,” directed by Professor D. 0. Rice of the music faculty of Carleton College, which performed works by Mozart, Haydn, Rossini, Mendelssohn, Schumann, Meyerbeer, and Raff; the "Norway Choir," presumably made up of singers from the com- munity and not‘of St. Olaf School; and visiting performers 8uc h as the male chorus of twelve men called "Idun" from r‘c ‘I-c I If“. 16 Luther College who sang at Lockwood Hall on July 6, 1877. Further evidence of a progressive public spirit among the people of Northfield is the fact that, as early as September, 1875, during a period when the teaching of music in Arnerican Schools was spasmodic and not universally accepted as an im- portant part of the curriculum, the city of Northfield had already availed itself of a music teacher for the pupils in its school in the person of a Miss May Martin. September, 1875, coincides with the beginning of the second term of in- struction undertaken at St. Olaf's School.lu’ It may be assumed then, that the recorded interest in music demonstrated by the people of Northfield and vicinity provided a cultural climate conducive to the development of musical activity at St. Olaf's School and St. Olaf College throughout their history. It was stated earlier that music was part of the cur- riculum at St. Olaf's School during its first term of opera- 1:1011 in 1875. Proof is available that there has been a tr“adition of uninterrupted activity such as the singing classes just described and instruction in other areas of music from the school's first term of instruction in 1875 to the present time}; \ nee - mEugene E. Simpson, _A_ History 91.; St. Olaf Choir (Min- Polls, Minn.: Augsburg Publishing House, 1921). Po 22- A“ I 1533113011: 25.19,- _C_§L_1§_.; Randall Thompson, M M233: meWigation for the Association 3; American Colleges cit Ork: Macmillan Company, 19357, p. 191; Simpson, op. \: pp - 31-32. II o _. :1 ' a: to 't I .. I. “ngi L 17 For many years the organization and direction of en- sembles was an activity in which the students, not the facul- ty, predominated. The first ensemble to be organized was the St. Olaf's Sangkor (Song Chorus), a mixed chorus of twenty- eight male and nine female student singers, organized on December 3, 1875016 The festival days celebrated during the sdhool year ‘wereLN0vember sixth, Christmas, and May seventeenth. Fes- ‘tivities at Christmas included an all-school program in the chapel and dinner for the whole school family and members frbm1St. John's Church congregation. Programs usually in- cluded performances by student musical organizations. Benson :L ished himself in the musical life of Minneapolis as o‘uc.: o. I \ ulm. I . . ‘ to. "Q n . We ‘1. u.“;‘ ‘a 'A 'Q in . " " .u U .h \‘.\ ‘ . .. I < I 23 organist at Trinity Lutheran Church and finally at Bethany Lutheran Church, and as a member of the violin faculty of Northwestern Conservatory of Music where he had graduated as a theory student five years earlier. He resumed conducting with most of his attention given to male choruses, such as the Kjerulf Club of twenty-five male singers. There seemed to have been a lull in his activity as a composer during the two years at Leipzig.21 His early accomp- lishments as a composer can be viewed as the beginning of a long and prolific career as a conductor and composer (espe- cially of choral works) which found him still composing twenty-five works in the second and third years of his re- tirement.‘22 Throughout his career as teacher, conductor, and com- POSer of music, he met the needs of each situation in which he found himself. His experience in Leipzig and as con- -son succession of the managership with that of the con- Cilictorship of the Choir. Olaf C. Christiansen succeeded his father as director of the Choir in 1911.11. Perhaps these two a11ccessive combinations have contributed much to the con- tinnity and consistency of achievement by the St. Olaf Lu— tlucran Choir and other music ensembles at St. Olaf College through the years. \ & 27Benson, 22. .c_i_t_., pp. 176-177; Frederick A. Schmidt, letter to W. L. Thorkelson of Minneapolis Star supplying 11(111'0rmation for a newspaper article about the Christiansens qorthfield, Minnesota: December 6, 1956). 27 In the summer of 1906, the St. Olaf Band made a thirty-concert tour of Norway preceded by a short tour in the United States. The entire tour was one of fifty-seven days, with about six concerts in the U.S. and thirty in Norway, in- volving some ten thousand miles of travel through the States, over seas, and through Norway. Christiansen spent the following year (1906-07) on leave to pursue further study at Leipzig, Germany. During his absence Byron Morgan came from Minneapolis twice a week to rehearse the St. Olaf Band, and a number of successful concerts were given in Northfield, though no formal tour was made. The St. Olaf Choral Union was directed by Mrs. Edward SChmidt, the wife of a professor of the faculty. The St. Olaf Octet of mixed voices, under the direc- tion of Professor Christiansen, toured forty-nine cities in Minnesota, South Dakota, and Iowa during the sunnner of 1908, and Sang a total of sixty-two concerts to audiences totaling 20.000 people to .raise funds for an organ for the Hoyme I"Iemorial Chapel. It was hoped that, uorganists could be 131‘ ained to develop a more wholesome congregational singing at church services," and that obtaining an organ would make it Possible for the‘college to offer such training.28 In the summer of 1910, the St. Olaf Male Quartet sang eighteen con- certs in eastern and southern Wisconsin on a tour which also \ p 181 28Simpson, 93. cit., pp. 65, 75-78; Benson, pp. cit., C "f N.. J‘- 28 resulted in a financial success. Annual Music Festivals in connection with the May 17 celebrations at St. Olaf began with the one in the spring of 19011 at the end of Christiansen's first year as Director of Music. In 1905 and 1906 similar festivals were arranged, with Handel's "Messiah“ as the principal work. Professor Christiansen was on leave during 1906-07, and there was no festival planned. However, Mendelssohn's "Elijah" was per- formed in the spring under the direction of Mrs. Edward Schmidt, who directed the Choral Union in the absence of Christiansen. Upon his return, Professor Christiansen planned a. festival for the spring of 1908, with the principal work to be 'St. Paul" by Mendelssohn. A smallpox epidemic, inade- quate auditorium facilities, and the financial risks involved caused the college to abandon plans for that festival.‘29 The Music Festival was revived in 1920 with a new college gymnasium to provide ample accommodations. The week- end closest to the seventeenth of May was chosen for the I‘93’01‘781, with the intention that the festival should focus attention upon Norway's Day of Independence, which it had been the custom to observe with a program in the Norwegian language, In time, the musical part became the center of the festival, and observance of the Seventeenth of May was a pr°8ram in the English language. \ c 29Benson, gp. cit., pp. 180-181, 253; The Vikin , pp. 115-. 1910-12, p. 210. 29 In 1920 the festival included a concert by the St. Olaf Concert Band, and another by the Choral Union assisted by the St. Olaf Lutheran Choir and the college orchestra in a performance of "The Prodigal Son," a cantata by Christian- sen. Musical organizations outside of the college were in- vited to participate in a song festival held on Sunday of the festival week-end. Singers from Minneapolis, St. Paul, and Goodhue County churches joined the St. Olaf Choir and the Choral Society to form a mass chorus of approximately seven hundred. Over three thousand people were reported to have been in attendance, and the experiment was considered a I success. In the 1926 festival, the “Centennial Cantata," com- POsed by Christiansen for the Norwegian Centennial celebra- tion at the State Fair grounds, was performed by the chorus, choir, and orchestra. The Spring Festival for Visiting C3hoirs was still being held (on a Sunday) in May as part of the annual Fine Arts Festival in 1965-66.30 The first Christmas concert in the Hoyme Memorial Chapel on the last Sunday evening before the holidays in 1912. initiated the annual Christmas Program at St. Olaf. The choral ensembles, assisted by the band and orchestra, gnartets, and soloists performed in this program. The \ or mat—“m it: at 355221831"; Emma: 01 an rec or o e . a u eran 01r, . 1.; 81’ College, Northfield, Minnesota, Personal interview, arch 30, 1967, Northfield, Minnesota. Q 0.-. . o....: I l I _ . h; ..‘ u. s u, . . I . ‘9 a . ~.. . 30 popularity of the annual Christmas Program has spread far beyond the college community. Increased attendance made it necessary, as early as 1936, to plan for more than one per- formance. Since 1911.8, four evening performances have been given each year in order to accommodate all those who wished to attend.31 Professor Erik Hetle directed experiments in the development of broadcasting as a tool of public relations and publicity begun by the department of Physics in 1918. In April, 1922, the radio station that had been established was granted additional power and designated as WCAL, the only college broadcasting station in Minnesota. Beginning with the first official program given on May 13, 1922, WCAL has Provided numerous opportunities for performance by musical Organizations of the college as well as by individual faculty IMembers and students. Special musical programs, as well as those in which music played a secondary, supporting role, have made a large listening audience aware of the fine pro- gram of instruction in music which existed at St. Olaf Col- lege, Certain musical organizations, such as the Norse Radio Choir which sang at the regular Sunday morning worship ser- vices conducted in the Norwegian language, the WCAL Orchestra, \ ( 31Benson, 0 . cit., p. 199; The Viking lcollege yearbook, St. Olaf College, Northfield, Minnesota, (:93 3-311‘,‘ p. 119; "Christmas Festival at St. Olaf °1Iege (Printed programs), ..St Olaf College, Northfield, mesota, for years 1932-38, 1943-119, 1952-55, 1957-66. . . :I- .9 -0 .u '-- In. “.1 i~w . ‘c“ o a. . .‘ _‘ x A \ 'l u ‘ . §..': I l .1 s.‘ a \ Q. ' \ -: O o ‘- - I !'l - \ '9 :" _ a..- ‘7 ‘- ' A \‘: l 4 .N .K‘, . 1 ~ ’ V. s p .‘C I 31 and the WCAL Quartet, came into being to meet the needs of certain radio programs. The broadcasting of daily chapel services provided another opportunity for those musical or- ganizations which performed at chapel to reach a larger off- campus audience (approximate potential, 350,000 listeners).32 Tours by musical organizations have been a part of the music activities at St. Olaf College since before the turn of the century. The Kjerulf (male) Quartet, composed of three faculty members and one student, probably made the first tour to Kenyon for a performance there on May 18, 1889.33 Prior to the organization of the St. Olaf Choir in 1911-12, small ensembles such as the Kjerulf Quartet, the Kjerulf Octet, the I"'ien's Octet, the St. Olaf Mixed Octet, and the St. Olaf Male Chorus, made tours of varying lengths, usually during vaca- tion periods and on weekends. The longest tours were those carried out during the summers. During the first year of its e.xistence the St. Olaf Choir made two tours: one at Easter time and another tour June 6 to 18, 1912.311 A successful tour to Norway by the St. Olaf Band in 1906 seemed to have been the impetus for the St. Olaf Choir tour to Norway, \ 32Benson,o pp. p__it., pp. 2112-21411; The Viking, TE. cit., 1926-27, p. 130; 1930, pp. 106, 108; 1938, p. 129; 939, pp. 111,116; 1917.0,p. 118; 191.1, p. 168; 19112, p. 128. 33Simpson,o pp. p__it., p. 17.6. 3"1'Leo1a Nelson Bergmann, Music Master p__f the Middle Va. (Minneapolis, Minnesota: The University_ of Minnesota r688, 1914.14,), pp. 117,118; Th6 Vikinflo _Ee Cite, l 913‘15: PP 0 155'157 . 32 Denmark, and Sweden in the summer of 1913.35 A number of summer tours by small ensembles took place between 1911 and 1931 and are listed in Table I. The members of the ensembles representing St. Olaf College on those tours were sometimes students, sometimes faculty, and sometimes a combination of students and faculty.36 Throughout the history of St. Olaf some musical or- ganizations have been organized and directed by students. A Women's chorus has existed for many years under various naneslSt. Olaf Ladies' Chorus, Manitou Chorus, St. Olaf Girls' Choir, Manitou Cirls' Chorus, Ladies' Chorus, and Others), and often has been directed by a student. Occa- sional tours, usually during Spring vacation or on weekends, have provided the opportunity for performances in Minnesota and sometimes in surrounding states. The St. Olaf Viking (male) Chorus was organized with a student director in 1935,37 and has maintained a tradition of performance under a. Student director and a student manager, with the exception or four years (two years during World War II, 1943-1111 and 19184-453 and 1961-62; and 19611-65). Information about twelve SBring tours, usually during Easter vacation, has been re- corded, plus shorter weekend tours. Perhaps the most \ 3SSimpson, pp. cit., pp. 83-116. 36 The Vikin j , pp. cit., 1910-12 pp. 160- 163; 1916-18, pp. 22-5’, 228; 1919-21, (pages not numbered); 1922-23, p. 1117; 1931, p. 112. 37 The Vikin , 220 EEO, 1936-37, P. 920 ”Au. I" 9‘. a“. '. O.~‘: - ~ I ‘0 ' . ‘I I n .“ | *‘ \ \ \e .. . I h \\ Q n s y n a. ' V 33 ambitious tour was the one to New York City in the spring of 1963. Other tours included communities in Minnesota and surrounding states. The eastern tour by the St. Olaf Choir of April 5 to May 10, 1920, seems to signal the beginning of an era of greater tour activity by that Choir and other ensembles, such as the Viking Male Chorus referred to earlier.38 Tours by the St. Olaf Choir seemed to predominate as regular events over the activity of other ensembles. About the year 1921- 22, the Choir began touring in January and February, probably incorporating the time between semesters into the time Spent On. tour in order to keep to a minimum the amount of class time missed by students while on tour. Some years the Choir made two tours, with the second tour in the spring, again Probably involving a spring vacation period. Tours by the Choir outside the United States were those in the summers of 1913 (Norway, Denmark, Sweden), and 1930 (EurOpe), and in the spring of 1957 (Iceland). Extended tours of three weeks and longer throughout the United States were not uncommon for the St. Olaf Choir. The reduced number of male singers on campus c1tiring war years caused some curtailment of tours in 1918-19, Eund 19u2-83.39 The purpose of tours by the musical organizations at S1t. Olaf College, especially tours by the St. Olaf Choir and ‘ 38Fredrick A. Schmidt, 166. cit. 39Benson, pp. cit., pp. 292-293. "I o( _ Q..;‘ ' a ". . - I..‘. 'n «a. J 3’4 other choral ensembles, seemed to be five-fold. First of all, the improvement of church music, especially that of the Nor- wegian Lutheran Church, was a primary motivating force .uO Though perhaps not as strong a motivating force for tours in later years, it certainly was a strong reason for those in earlier years. A second purpose of tours involved their cultural aspect in that they provided the opportunity for Choral ensembles capable of highly artistic performance to be heard by people throughout the country and thereby ac- quaint a much larger audience with the choral literature of the Lutheran church through such performance.”1 Tours by the St. Olaf Choir gradually extended that opportunity throughout the country rather than limiting it predominantly to a cer- tain group of people and a certain geographical area of the United States (namely, Norwegian Lutherans and the northern midwest portion of the country including Minnesota and sur- rounding states).)+2 A third purpose of tours, to raise f11nds, may not have existed until careful management and Planning caused them to become a financial success. The Possibility of success was evident as early as the summers of 1908 and 1910 when tours by the St. Olaf Mixed Octet and Ll-oBenson, pp. cit., p. 255; Simpson, pp. cit., pp. 157, 179; The Vikin , pp. cit., 1926-27, p. 113. (Flo. A. Melby, Saint Olaf College Through Fifty Years 18%-ng (Northfield, Minnesota: St. Olaf College, June 1, 92 g p. 610 ”ZSimpson, pp. cit., pp. 150, 152, 179. o...,. "IL. :5. "v'. “v. u...~ 1‘..- I u. s . .‘z ‘ I '\. O. ‘ '\ p i I t '5 ., \ a '\ 35 the St. Olaf Male Quartet described earlier raised $1100 toward the purchase of an organ for the Hoyme Memorial Chapel, and netted some $1,350, respectively. The financial success of those early tours may have influenced the plan- ning of later tours by the Choir and other ensembles to accomplish a similar objective of even greater proportion. The eastern tour by the St. Olaf Choir in the spring of 1922 resulted in a profit of $10,000. In his report to the annual convention of the Church in 1925, President Boe stated that during the last years the St. Olaf Choir, together with other musical organiza- tions of the college, had accumulate& a fund of about $50,000.00 for a new music building. 3 IRaising funds became a purpose of tours which, by 1926, had 1Tinanced the construction of a new music building for St. Ofl.af College, often called “The House That Song Built."uu 'Tlie following quote reflects the importance of funds raised from tours for the new music building: The music building, completed in 1926 at a total cost of $120,000, carried a debt of $8,000 whifig the music organizations were expected to liquidate. The educational (fourth) purpose of tours was important in that, in the words of the choir manager, Professor Paul Schmidt, tours provide "an opportunity for adequate expression" \ “Bergmann, pp. cit., pp. 131 -132; Benson, pp. cit., ‘pc 181, 2500 1114. _'l_‘_hp Vikin , pp. .c_ip., 19211-25, p. 136; 1928-29, P0 1390 (-l-SBenson, pp. pip” p. 268. ... \ do. . u,_ . “I I-- v. ‘v Ia ‘- h. (Chivlta 36 ( and "stimulate the members of the organization to do their ( be:3t."""6 The public relations value of tours concludes this list of purposes of tours. According to Professor Schmidt, who was manager of the choir for 37 years and sang in the choir for fifty-two years, it is doubtful if public relations has ever been one of the chief purposes of tours. However, the value of tours in publicizing the college and the musical forces of the institution cannot be minimized as a positive . factor in the area of public relations.”7 At this point some mention should be made of the joint concerts given by the St. Olaf Choir and the Minneapolis smuphony Orchestra. It was the practice to celebrate home- cOming at St. Olaf on the weekend nearest Foundation Day, November 6. Dedication of the new music building was sche- duled for Sunday, November 7, 1926, during the homecoming Weekend, with an afternoon concert by the Minneapolis Sym- Phony Orchestra preceding the dedication ceremony. Benson, in his history of the college, describes arrangements for the occasion as follows: The complimentary concert on Sunday afternoon was the result of special arrangements between the St. Olaf Lutheran Choir and the Minneapolis Symphony Orchestra. According to this arrangement the St. Olaf Choir joined the Minneapolis Symphony Orchestra in a return concert 1+6 32.1.1.9. Vikin 3 22. 24-2., 1926-27’ P. 126. 1‘7 1112. Vikin . 22- 2112-, 1935. p. 72; 1926- 27, 1000 C to; Benson, 92. Cite, pp. 198, 2190 ——— 374 given in the Minneapolis Lyceum.Auditorium.1ater in the fall. The appearance of the Minneapolis Symphony Orches- tra was in recognition of the St. Olaf Choir and the com- pletion of the music building "built by song," but little did any one anticipateughat these exchange concerts were to become a tradltlon. Tpp'Christippsen Choral School. The Christiansen (Maoral School was established in the summer of 1935. with the :first session held at Lake Winona, Indiana, July 28 to August 55. The idea for a short summer course for choral directors ‘tllat would combine brief and intensive training with vacation- ]dikp surroundings developed out of discussions about the need I‘Orsuch a course between F. M. Christiansen, his son Olaf, 811d.01af's brother-in-law, Neil A. Kjos, a.music publisher in Chicago.”9 Records in the files of the Neil A. Kjos Music Company revealed that 185 choral directors attended the first Sfbssion and that over one hundred applicants were not accepbd (hue to the limitations of facilities. Those attending the ITiirst session came from twenty-eight states, directed choral ensembles in grade schools, high schools, colleges, and citlurc‘hes, as well as professional and civic choruses, and IVBpresented #7,058 singers who were the members of the choral organizations they directed. For the following six summers, .two sessions of about two weeks in length were held at \ ueBenson, pp. cit., p. 252; Programs of Joint concerts by the-St. Olaf Choir and the Minneapolis SNmphony Orchestra for the years 1926, 1933. 1935, 1938, 19k0-u2, l9uk-5h(Northfie1d, Minnesota: Obtained from files at St. Olaf College on the history of the St. Olaf Choir). ugBergmann, pp. cit., p. 176. C...— O ‘0... i ~,~ 1:.” 38 «different locations with attendance usually totaling 150 or Imore at each session. For twenty-three years, 1935 through 21959 (no sessions were held in 1955), the Christiansen Choral :School attracted choral directors from all over the United titates and some foreign countries. One session was con- ducted during eleven of the summers, two sessions during 'twelve of the summers, and three sessions during one of the Stmmwrs (1958). Total registrations,except for three years hfluen data were not available, indicate that h,810 choral di- Iuectors attended the sessionss.O The business manager for all tile sessions was Neil A. Kjos, Sr. The faculty, headed by FH. M. Christiansen until his retirement when he was succeeded bsr Olaf, included at various times through the years the fcillowing: Olaf C. Christiansen, Carol M. Pitts, J. Forrest “hast, Peter D. Tkach, Hazel Tkach, Morten J. Luvaas, Gerhard Schroth.51 These statistics are mentioned here as an indi- cation of the widespread influence of F. Melius Christiansen, Enid, indirectly, also his work at St. Olaf College on the art <3I‘choral music in the United States. His sons, Olaf and Iyaul, have carried on that tradition of excellence in choral nlusic and in their own ways exerted an influence on choral Itl‘lusic in this country. The following paragraph of a letter I-‘I‘om Neil A. Kjos, Sr., Manager of the Christiansen Choral \ 50 “Christiansen Choral School, 1935-1959" (Park Ridge, Illinois: Files at the Neil A. Kjos Music Company) 0 51Ibid. 39 :School, to the writer comments on that and other aspects of ;sessions conducted.by F. Melius Christiansen and his son, Puiul: You, of course, understand that St. Olaf College had nothing to do with the Christiansen Choral School. This was our own private venture but F. Melius Chris- tiansen exerted more influence on choral singing than any other person from the '20's into almost 1950. We conducted our choral school from.1935 to 1960. Paul started his choral school around 1952. This also is his own private venture with Kurt Wycisk. They still have their ggoral school sessions and we help them ad- vertise it. In spite of the fact that the Christiansen Choral School was a private venture, not affiliated with St. Olaf C<311ege, it was not difficult to realize, from the brief axzcount given of its existence and the statistics included, tlie great influence exerted on choral music by F. Melius ‘Clxristiansen and Olaf Christiansen through their work at St. CIlaf and in the Christiansen Choral School. Neither was it <1ifficult to realize the atmosphere of good public relations Vflhich accrued indirectly to St. Olaf through their work in 'tkm Christiansen Choral School. F. Melius Christiansen received.many honors in recog- Ilition of his outstanding career in, and contribution to, (Xhoral music, including honorary doctorates from Muhlenberg <3ollege, Capitol University, Oberlin College and the ‘ 52Neil A. Kjos, Sr., A Letter from the president of Neil A. Kjos Music Company to Robert Lee Jennings regarding infommation about the Christiansen Choral School (Park Ridge, Illinois: September 15, 1967). ’40 University of Minnesota,53 and being appointed Knight (1921) and Commander of the Royal Order of St. Olav (1924.6) by His Majesty King Haakon VII of Norway.sl" Further recognition came to him in several ways on the occasion of his eightieth birthday, April 1, 1951. Newspapers in Minneapolis and St. Paul featured a special announcement of his birthday and articles about him, and about 5,000 Protestant church choirs throughout the country were expected to pay tribute to him by Singing some of his more than L150 choral compositions and arrangements. Letters and telegrams of congratulations came to him from Le0pold Stokowski, Sigmun Spaeth, John Jacob Niles, Senator Edward J. Thye, Representative Harold C. Hagen, T. P. Giddings, and the Norwegian Ambassador and Con- 8111 at Washington, D. C., and Minneapolis.55 The St. Olaf Choir presented a concert in his honor over the 0.8.3. radio network in a coast-to-coast broadcast on April 8. On April 13 the Choir, directed by Olaf Christiansen gave a concert, including many Christiansen compositions, in Northrop \ 53 "Christiansen, Frederik Melius,n ”who's 1*th 13p America 1 8- xxv (Chicago: The A. N. Marquis—— c5ompany, 19E8), p. . 5L"Siqveland, Th., A telegram of congratulations from the Consul General of Norway to Dr. F. Melius Christiansen 0n the occasion of his eightieth birthday (Minneapolis, Minnesota: March 31, 1951), p. 1. 55John H. Harvey, lpp. cit.& "F. Melius Christiansen, Music Master, 18.-86, Minneapolis Tribune, (April 1, 1951); Letters and telegrams to F. Melius Christiansen on the occasion of his eightieth birth- day (Northfield, Minnesota: Files at St. Olaf College on the history of St. Olaf Choir). 141 Memorial Auditorium at the University of Minnesota. That concert was a salute to Dr. Christiansen from the State of Minnesota, sponsored by the Minneapolis Symphony Orchestra and the University's department of concerts and lectures. Speakers at the concert included the governor of Minnesota and the presidents of the University of Minnesota and St. Olaf College. The church recognized Dr. Christiansen's birthday in its publication, The Lutheran Herald, of April 10 with a picture of him on its cover page and an article, "Salute to a Giant," by Oscar R. Overby.56 Qlaf C. Christiansen Succeeds His Father Olaf comes _t_p St. Olaf pg assistant director. Olaf C. Christiansen's arrival at St. Olaf from Oberlin Conservatory for the 19111412 school year to assiSt his father as director of the St. Olaf Choir was announced in the 1942 edition of the college yearbook, The Viking, with this statement: THE DIRECTORS. This year we record an important milestone in the history of the St. Olaf Choiruthe coming of Olaf Christiansen from Oberlin as assistant director to his father. Dr. F. Melius Christiansen came to St. Olaf almost forty years ago. Since that time he has acquired world reknown as "kapelmeister" and composer. Now his son has come as hisaide, and the choice is a happy one. Our sentiments are best voiced by the words of Herman Devries, dean of American music critics, who said, "He is a worthy son of a famous father.“ We welcome him 560scar R. Overby, "Salute to a Giant,“: Lutheran Wm‘f -15 (April 10, .1951), pp. 358-360. b2 and look forward to a gpntinuation of the great musical tradition at St. Olaf. Jtrrangements to bring Olaf Christiansen to St. Olaf College ‘tc»succeed.his father were initiated by F. M. Christiansen in a letter to the president of the college, described and quoted as follows: After the concert at Buffalo during the Choir's tour in January 1941, Christiansen had written to President Boe: "I wish you would make arrangements with Olaf to become my assistant for next year. I feel that should be done for the security of the Choir and my other work. . . . I don't want the Choir to die with me--not even sag. The sagging process is ggt to begin next year-- the way I feel on this trip." I”. M. Christiansen was about three months short of being Eleventy years of age when that letter was written. Some biography1pp.91p£. Some biographical information zalaout Olaf C. Christiansen is now apprOpriate. He was the ‘tliird son born to the Christiansens on August 12, 1901, while 'tliey lived in Minneapolis. His education included the public S o.m one o.< manoeoaonom sosnnoau Had scannoau oz mazmzmmHndmm .Auoh axon on» no» no». how madame nu .qu soapaosw hm mHmmmmmzmz me o :6 mm :oao: a a 3 w a 1a me a: a a o: we a a mad co mmmmsz mo .oz nouaoz scoped maonmom :uuam nwsanson noussaaoahno moaommHn QNWm ooaHH, oahwnuusm naossmm_ JDMNHmI‘ (I! nouausd pouaasd anyone naomsum HH H aaono aaono nooauuaem woaxa> moaxa> pounce: oeaono Hooono undo .om ,mwoamespan . ocnmowa nu oonHoo undo .pm as uoHnBonno Hoaoso «H mqmr. - \ v 72 continued under various names such as Large Chorus, Choral Society, St. Olaf Church Choir, St. Olaf Choral Club, Second Choir, and during World War II as the St. Olaf Ladies' Chorus. After the war years, the ensemble was reorganized as a mixed chorus with the name St. Olaf Chapel Choir. For two years after the founding of the St. Olaf Choir in 1911-12 there was no mention of the Choral Union. In 1914-15 there was an ensemble called the Second Choir, prob- ably directed by Christiansen. The Choral Union was men- tioned again in 1915-16, and may have been directed by J. Jérgan Thompson who directed the St. Olaf Choir that year during Christiansen's leave.95 During 1916-17 through 1918- 19 there was no mention of activity by the Choral Union, but in 1919-20 it appeared again under the direction of J. Arndt Bergh with a membership of about 200 singers. He continued as director the following year when an attempt was made to involve the whole student body in the membership of the Choral Union. An article in the college yearbook made refer- ences to that innovation. An experiment is being tried this year, namely, that of interesting the whole student body in mass choral singing. Certain days are set aside for the singing exercises and it is hoped that it will meet with such a response that the whole student body may become known as the St. Olaf Choral Union. The object is worthy; the possibilities are great and the influence on the individual student and tgg collective student body elevating and ennobling. 9SBenson, pp. cit., pp. 198, 199; Simpson, loc. cit. 96 The Viking, pp. cit., 1922-23, p. 151. " ' v-A- '“vu ' l en. . ~- ‘~ yn.‘ .. 'l. . -1- I ' (J I an -: (n 73 Again, there was no record of activity by the Choral Union in 1921-22. F. M. Christiansen directed the Choral Union, sometimes referred to as the St. Olaf Choral Society during the next three years, 1922-25. A new phase of activity under a new name began for the Choral Union in the fall of 1925-26, and was reported in the college yearbook as follows: THE ST. OLAF CHURCH CHOIR. Feeling that the success of the large and unwieldy Choral Union was not what it might be, Dr. F. Melius Christiansen and Prof. Oscar R. Overby decided in the fall of 1925-26 to limit its size to seventy members--the constituency of which was to be selected by the director of the choir. The new organi- zation was named The St. Olaf Church Choir. The St. Olaf Church Choir is essentially a complemen- tary Choir to the St. Olaf Choir. Besides furnishing training in choral singing for prospective St. Olaf Choir members, it strives for the same musical ideals in ensemble singing as does the St. Olaf Choir. Each Sunday morning finds it singing at one of the two services at St. John's Lutheran Church in the city of Northfield. It has also taken active parts in the numerogs music festi- vals held every year at St. Olaf College. It was not possible to determine accurately from available sources the director of the St. Olaf Church Choir in its first year of 1925-26, but it appeared that the direc- torship was shared by Dr. Christiansen and Professor Overby. In 1926-27, there was no mention of the Church Choir, but the Choral Union with Christiansen as its director was shown in a picture in the college yearbook for that year. The Church Choir was directed by Professor Overby in the span of years from 1927-28 through 1945-46, with the exception of 1933-34, ....' es... fe-‘I -M in. e...) >A-a - ~VHe Q I '- CD 71+ when there was no indication of activity by the St. Olaf Church Choir. The St. Olaf Choral Club, directed by Carl A. Abraham- son, was organized and active in 1932-33 with seventy-three members, and in 1934-35 with forty-six members. Its per- formances in the annual Christmas Festivals of 1932 and 1934 are the only performances on record for that ensemble. The Church Choir was referred to as The Second Choir in 1937-38, and during the three war years (world War II) of 1943-44 through 1945-46, when the number of men on campus was diminished, the ensemble was composed of women and called the Ladies' Chorus. The Viking, the college yearbook, for 1947 contains the following statement regarding the reorganization of the St. Olaf Church Choir under a new name: "The pre-war Second Choir was reorganized and named the Chapel Choir." That same source of information shows a picture of the Chapel Choir and its director for two years, Lewis E. Whikehart. The member- ship totaled seventy-nine singers--forty-six women and thirty- three men. Between 1946-47 and 1965-66, the Chapel Choir had five directors: Mr. Whikehart for two years (1946-47, 1947- 48), Paul Ensrud for three years (1948-49--l951-52), Sigurd Fredrickson for two years (1952-53, 1953-54), Miles Johnson for two years (1958-59, 1959-60), and Kenneth Jennings for nine years (1954-55--l957-58, and 1960-61--l965-66). The yearbook for 1963-64 had a picture of the Chapel Choir, but . H,“ |...' Aae.‘ “,1 I‘_ n I t. ‘ \n‘ O.‘_- 'b Fr 75 there was no indication there, or in other sources, of the name of the director for that year.98 The music performed by the Choral Union, Church Choir and Chapel Choir at St. Olaf was predominantly larger choral works, such as oratorios, cantatas, passions and masses. Those ensembles, basically the same ensemble through the years but called by different names, occasionally performed off-campus, but were more active in concerts and festivals on campus, in the worship services at St. John's Church in Northfield, and at the college chapel.99 Membership varied from fifty-six singers to over 200 during the years the ensemble was known as the Choral Union, from.sixty to eighty when called the Church Choir, and from seventy-two to 118 during the nineteen years it was active as the Chapel Choir. The following quotations from the 1930-31 and 1965-66 college catalogs, respectively, indicated that the activity of the ensemble remained basically the same al- though it had different names. THE ST. OLAF CHURCH CHOIR is maintained to give ex- perience in ensemble singing to students who are not ad- mitted to membership in the first choir. It also serves as a preparatory organization for the first choir. It sings regularly at the St. John's Church every Sunday 93 The Viking, pp. cit., 19u7; 1964, p. 86. 99 "The St. Olaf Choral Union" (Printed pro- grams), St. Olaf College, Northfield, Minnesota, for the years 1903, 1904, 1906, 1908, 1910, 1917, 1923, 1924; The St. Olaf Church Choir" (Printed programs), St. Olaf College, Northfield, Minnesota, for the years 1928, 1935, 1938, l 2; “The St. Olaf Chapel Choir" (Printed Programs , _1_o_g. pip. e... F! . h . e A 7"- ' V I -‘ e II F 76 morning, and appears from.time to time in local concerts. Tryouts are conducted at the beginning of each school year. CHAPEL CHOIR The Chapel Choir of over 100 selected voices prepares music for the Sunday services and special programs of the Student Congregation as well as a major spring concert. . . . Prixste lessons in voice are recommended for all members. The above quotations revealed two things about the organization of the Chapel Choir and the requirements for membership which were in effect in 1965-66 and in earlier years. They were: that tryouts for membership in the en- sembles were held at the beginning of each school year and that voice study was recommended for all members. There was very little information available regarding the rehearsal schedule of the Choral Union, Church Choir, or Chapel Choir, except for the last few years that the Chapel Choir had been in existence. One may conclude from the regu- larity of performance and the complexity of the music which often was performed that regular rehearsals were the practice. In 1965-66 the rehearsal schedule was three one-hour re- hearsals per week for the Chapel Choir. Performances in- cluded the worship services at the college chapel about every third Sunday during the school year, the annual spring con- cert, and other concerts in which it participated throughout the year.101 100 ”Catalog of St. Olaf College.” 22- Lit-a 1930-31. p. 23; 196S.p- 82. 101Kenneth L. Jennings, Personal interview. 77 The St. Olaf Choir. The St. John's Church Choir, di- rected by F. M. Christiansen, planned a concert tour for Easter vacation in the spring of 1912. The Church and its choir had been closely related to the College since the founding of St. Olaf, as previous references have indicated. Simpson described the birth of the St. Olaf Choir as follows: The faculty record of St. Olaf College shows that at the meeting of Jan. 18, 1912, ”a request was presented by the church choir that students belonging be excused from recitations on Thursday and Friday preceding the coming Easter vacation, in order to take part in a series of concerts to be given by the choir. Granted. From.the above record it is seen that the highly trained organization at St. Olaf College, even then pre- paring a program for a first concert tour, was still known as ppp church choir to the faculty under whose authority it was . . . Notwithstanding the home cognomen as a choir of the St..John's Church, it is easily understood how desirable it was that upon the first journey away from home the choir should carry the name of the educational institu- tion to which all the members owed allegiance, either as students or faculty. Therefore the Easter tour was by the $102018f Choir, as was another tour of the following June. A picture of the St. Olaf Choir organized in 1911-12, and a list of members shows forty-five singers; twenty-six 'women and nineteen men. That was the choir of St. Jehn's Church of which Benson says: ”By the winter of 1911 this choir, with.the exception of three or four members, were students or teachers at the college." It was not unusual then, due to its origin, that the St. Olaf Choir continued loasimpson, pp. cit., p. 81. 'VI 9-,; . 0.. use. :u e'. l ’ e.- 78 to be the choir at St. John's Church each Sunday, for many years. The first tour by the St. Olaf Choir at Easter time in the spring of 1912 followed this itinerary: March 27, Minneapolis; in Wisconsin, 29--Eau Claire, 30--DeForest, 31-- hr. Horeb and Blanchardville, April l--Milwaukee; in Illi- nois, 2--Chicago, 3--Ottawa; and April 4, Albert Lea, Minne- sota. The second tour, June 6 to 18, included sixteen cities in northern Minnesota and North Dakota. The repertoire pre- pared for the tours included twelve works of which it appears that eight were in Norwegian, three in English and one in Latin. With the exception of three numbers by the composer Stdermann, all the compositions were performed in special a cappella arrangements by F. M. Christiansen. The program included: (a) Der ringes paa jord. (b) Deilig er Jordan . . . . . F. M. Christiansen Melody from 12th century (0) Lamb Of GOd e e e e e e e e e e Ae deermann (d) He is blessed . . . . . . . . . A. Sedermann (a) Hosanna e e e e e e e e e Ae deermann ADDRESS e e e e e e e e e e e e PPOSe Je Ne Kildahl (a) I know that my Redeemer liveth From.Handel'sRMesshflf (b) Jeg saa ham.som barn . . . . . . Norwegian folk song (0) 0 Jesus, se . . . . . . . . . . . . Known from.1628 ADDRESS e e e e e e e e e e e e Pres. J. Ne Kildahl (a) O hoved hdit forhaanet . . . . German folk song (b) Som sol garr ned i havet . . . . . P. M. Christiansen (e) Det ringer fra alle taarne . . . . . . . . . Kjerulf (d) Lover den Herre e e e e e e e e Frankfurt-a-M. 1668 Simpson suggests that the impetus for the Choir tour of Norway in the summer of 1913, only fifteen.months after the first short tour by the Choir, was the successful tour to INorway by the St. Olaf Band in 1906. The Choir carried out a J I..,. v. I“ .. .“ v-e U fl. a .1.- i‘ 1‘ .‘i \ .' ns.‘ u.» 79 twelve-concert tour which began on June 13 with a concert in Northfield, and others in Minneapolis, St. Paul, Menomonie, Eau Claire, Madison, Stoughton, Mt. Horeb, Beloit, Milwaukee, Chicago, and Brooklyn en route to New York City to embark for Norway on June 2h aboard the S. S. Kristianiafjord. The Choir performed thirty-eight concerts in Norway, Denmark and Sweden before returning to the United States on August 17th.103 When Christiansen was on leave in 1915-16, the Choir was directed in ten concerts by J. Jdrgen Thompson, who was impresario for the Norway tour. Tours during the years of l9lh-1918 were short and confined to the upper midwest. The effect of the United States' involvement in'World.War I was a reduction in the number of male singers on campus which made it difficult to maintain the Choir according to its estab- lished high standards of performance. No tour was planned for the spring of 1919. Longer tours were again planned and carried out beginning in 1920 with a tour to the east coast. That was the most extensive tour within the country up to that time and did.much to spread the reputation of the Choir outside the upper midwestern states. The tour included about twenty-five concerts in a thirty-six day period ex- 'tending from April 5 to May 10, 1920. Preceding the tour east, the Choir gave concerts in six Minnesota cities.10u 103Benson,_gp. cit., p. 181; Bergmann, 22. cit., pp. 1117, 118; Simpson, loc. cit. 10hSimpsontgp. cit., pp. 150-171. ‘:u‘. owl. ‘ DI I (1' p v n ne‘ \-"" .‘\ , 1 . ~ ‘ 80 . The constitution for St. Olaf Choir was revised and rewritten in English in 1920 (the constitution for St. Olafs Sangkor of 1875 was in Norwegian). An examination of the constitutions of the St. Olafs Sangkor of 1875 and the St. Olaf Choir of 1920 reveal many similarities. Both indicated that the name of the choir should be the St. Olaf Choir. However, that name for the choir was used only twice: in 1875 as the English translation of St. Olafs Sangkor; and during the years 1912 to 1919 when St. John's Church Choir adopted the name, "St. Olaf Choir,n to represent the college on its tours. Beginning in 1920, when the re-written con- stitution again stated that the name of the choir was to be the St. Olaf Choir, printed programs and other printed.matter about the choir bearing the name St. Olaf Lutheran Choir were used. The use of the name St. Olaf Lutheran Choir continued on all programs through 1966, with the exception of two years, 1953-55, when one of the two programs printed during that period used the name, "St. Olaf A Cappella Choir." It is interesting to note that the official name of the Choir has not been used, except in abbreviated everyday parlance, since it was stated in the constitution of 1920.105 The eastern tour in 1920 was made possible by thirty- six.guarantors, including many Easterners, who assumed responsibility for the tour to the amount of $30,000. As 105Simpson, 0 . cit., pp. 27-30; "The St. Olaf Lutheran Choir (Printed programs), op. cit., 1913-1915, 1916-17, 1920-1966.— I .-'0. nuny‘ I I‘.. u... ’-!e 'U-ou I... .‘ t (“I A, 81 mentioned earlier, the spring tour of 1920 marked the begin- ning of more extensive touring by the St. Olaf Choir. The following year two tours were made: one which lasted over three weeks in March and April, and another in June, which included sixteen concerts in Minnesota and the Dakotas. The Choir tour for the year 1921-22 was remarkable for two thingn it was the second long tour to the eastern part of the coun- try, and it ended in financial success; and it was the begin- ning of the practice of scheduling choir tours in the middle of the school year, in January and February rather than in the spring. The following quote from.Bergmann's book tells of the financial success and of how it was the beginning of an accumulation of funds for a music building at St. Olaf College. The heavy costs of the two previous tours had not been fully covered by the yields from.the concerts, but in 1922 the choir returned with material as well as artictic laurels. In a letter to Eugene Simpson, . . . President Boe wrote: "The Choir certainly had a successful year this year. Financially they were able to repay all guarantors of the first trip, paying all expenses, and we have been able to set aside $10,000 for a Music Hall.” From that time on the tours were profitable financially, and in four or five years enough money was accumulated in the building fund to erect a sizable wing of the new limestone Musiiogall which had been in blueprints for several years. The dedication of the new music building took place during homecoming weekend on Sunday, November 7, 1926. An arrangement was made between the St. Olaf Choir and the 106Bergmann, 22. cit., PP- 126: 131: 132° ~-' r; ev— «.4 z" 1 ' u n q 82 Minneapolis Symphony Orchestra whereby the Minneapolis Syme phony Orchestra performed a complimentary concert on the campus of St. Olaf College on the afternoon of the dedica- tion in recognition of the St. Olaf Choir and the completion of the music building. The St. Olaf Choir, to complete its part of the arrangement, gave a return concert with the Minneapolis Symphony Orchestra at the Minneapolis Lyceum Auditorium later in the fall of the year. That was the beginning of annual joint concerts by those two musical organizations which were still occurring in 1965-66.107 Most of the choir tours from 1922 through 1966 were scheduled at mid-year, beginning in January and ending some- time in February, and lasted three weeks or longer. The tours followed the end of the first semester, or the interim term after the college adopted a new curriculum.and calendar based on the 'h-l-h plan,” in 1964. Exceptions to that pro- cedure occurred in the years when there was more than one tour and during the years that the country was involved in ifiorld War II. During the war years tours were limited, especially in 19112-113. In the summers of 1930 and 1955, the (Hmoir toured.Europe, and in the spring of 1957, Iceland. 107Benson, loc. cit.; Programs of joint concerts by the St. Olaf Choir and the Minneapolis Symphony Orchestra, 1_9__c. cit.; The Viking,o _o_p. c__i__t., 1963, p, 63; Frederick_ A. Schmidt, A letter sup lying information abcnrt ensembles at St. Olaf College (St. Olaf College, North- field, Minnesota: September, 196) e\§ u q ‘e.._ "I-eu adv 11- ~v' « 83 It may have appeared to the reader that, from the ex- tensive tours made by the St. Olaf Choir, performances away from campus were its most important activity. That would be a misleading impression, however, because the Choir has al- ways been involved in performances on campus and the sur- rounding area of Northfield. For many years it continued as the regular church choir for the Sunday services at St. John's Church, and in later years performed often as part of the worship services at the college chapel. The Choir has played an important part in the performances by all musical organizations at annual events such as the St. Olaf Christ- mas Festival and the spring Music Festival as well as the homecoming and Founders Day activities in November of each year.108 Two directors and two managers have guided the St. Olaf Choir through its existence. The directorship and the managership have each involved a father-to-son succession ‘which has been covered in another section of this study. The repertoire performed by the Choir was always sacred. Except for performances during its first year of lexistence, when three of the twelve selections programmed were accompanied, the Choir has performed without accompani- ment. Many of the compositions it has performed were composed 108Simpson,o _p. cit., pp. 30, 313 The Viking, lo_g. 9__it.3 Catalog of St. Olaf College,’' 22. c___i_t., 1930-31, p. 23; 1919-50, p. 4831953611, p. 28. A” J. ' e n»,- 8C or arranged for the Choir by its directors, F. Melius and Olaf C. Christiansen.109 Few references were found regarding the rehearsal schedule of the Choir. Simpson quotes the official college newspaper, the Manitou Messenger.for March, 1912, which stated: . . . rehearsals have been held almost daily. . ." Another quote from.a booklet about the Choir, published about 1931-32, gives the following information: The minimum of time utilized for practice and general rehearsal is ten hours per week. All members are re- quired to maintain a high average of scholarship and to make up all time lost during concert tours. Every composition is committed to memory during part practices and no music is used at general rehearsals. . . The following excerpts were from a newspaper article describ- ing a Choir rehearsal under the direction of Olaf C. Chris- tiansen in 1960: Halfway through his 90-minute rehearsal, . . . For this extracurricular activity each choir member attends five rehearsals a week, and takes a weekly pri- vate voice lesson as well. Their loyalty is such that all of them return to the campus several days before Christmas vacation ends, so they can Spend seven1h8urs a day in preparation for their winter concert tour. 109Leonard N. Van Camp, "The DevelOpment and Present Status of A Cappella Singing In United States Colleges and Universitiesu (Unpublished Doctoral dissertation, the Univer- sity'cfi'Missouri at Kansas City, Kansas City, Missouri, 196h) p. 270 11°Simpson loc. cit.,3 The St. Olaf Luther- an Choir (booklet),"c'. 1931-32, 22. cit., p. 10; H'erm sf‘ttar' 'd' ', 1°C. Cit. 85 The rehearsal schedule for the St. Olaf Choir in 1965- 66 included five one-hour full choir rehearsals per week and four half-hour sectional rehearsals. The members were also required to study voice.111 It is obvious from.the information about Choir re- hearsals that the Choir has spent many hours per week in re- hearsals ever since it was organized in 1911-12. The sources also revealed the additional information that for many years all music was memorized, that Choir members were expected to take private voice lessons, and that a high level of scholar- ship was expected ef all Choir members. The number of singers in the Choir averaged forty-five during the first few years of its existence and then gradu- ally increased until the average varied from about sixty to sixty-three from the early 1920's through 1966. About one- third of the members were lost each year by graduation from college. A series of tests and tryouts were held at the be- ginning of each school year, but in recent years they have been held in the spring to select singers for the Choir for the following school year.112 111Olaf C. Christiansen, Personal interview. 112 g_ "The St. Olaf Lutheran Choir" (North- field, Minnesota: Publicity material in files on history of St. Olaf Choir, St. Olaf College, C. 1931-32)3 Olaf C. Christiansen, Personal interview. 86 nggg ensembles 2; men's voices. During the early years of St. Olaf's history, the organization of ensembles of male voices seemed to have confined itself to the formation of small ensembles such as quartets and octets and other combinations of voices totaling not more than twelve or fourteen singers. Prior to the early 1900’s, available statistics about choral ensembles revealedthat there were only two ensembles with a membership of twenty or more men: The Orpheus Male Chorus of twenty men directed by Oluf Glas- oe, in 1887-883 and the Male Chorus of twenty-six men di- rected by John Dahle, in 1891-92. Larger male choruses came into being in 1903-04 with the St. Olaf Male Chorus Which was organized and directed by F. M. Christiansen. It had a membership of ninety men that year, and 100 men in 1904-05. The Junior Glee Club of 1905- 06 had a student director, 0. I. Hertsgaard, and a member- ship of fourteen.men. The College Glee of 1906-07, directed by student H. Hovelstad, had a larger membership of twenty- five men. Two ensembles of male voices were active in 1910- 11: the St. Olaf Male Chorus of fifty men under F. M. Chris- tiansen; and the Freshman Glee of fourteen.men, whose direc- tor is unknown. All through the period from.about 1900 to 1935 many male quartets and a few octets were organized, and some were very active, performing both on campus and off campus. 87 The Viking Male Chorus, organized in 1935, was first mentioned in the 1936-37 edition of the college yearbook, as follows: The Viking Male Chorus, a musical group that was or- ganized by the students in 1935, and is still managed by them, has been enthuastically received by the St. Olaf student body. The Chorus has made several weekend trips during the school year, and under-the capable direction of Luther Onerheim.has made a fine reputation for itself and has cast reflected glory on St. Olaf musical organi- zations through its fine interpretation of religious songs. The St. Olaf Viking Male Chorus was active for twenty- four of the thirty years between 1935-36, when it was first organized, and 1965-66. Available sources of information did not show that the Chorus was active in the war years of 1943- At. and 1944-u5, and the years of 1956-57, 1961-62, 1963-64, and 1964-65. Another ensemble of male voices, the Kristmenn Chorus, was organized in 1954-55 with Mr. Sigurd Fredrickson of the faculty as its director. It had a membership of over forty men, and performed in the annual Christmas Festival and Fine Arts Festival, and toured a number of midwestern cities during;Easter vacation. In many ways, the Kristmenn Chorus duplicated the traditional activity of the Viking Male Chorus over ttw previous twenty years. The Viking Male Chorus had takertggreat pride in the fact that it had had student direc- tors eurd student managers throughout its history, and had compljrted thirteen spring tours during Easter vacations. 113 The Vikin , loc. cit., 1936-37o ‘M. 9r 5.. <1 (I) 88 That pride seemed to be reflected in an article in a section of the 1956 college yearbook devoted to the Viking Chorus. The Opening paragraph of that article is as follows: Carrying on the tradition of Solomon's four thousand voice male chorus of Old Testament times, St. Olaf's reknowned Viking Male Chorus aims at spreading the message of God in song throughout the year. The group returned to its original student-directed harmony this year, following last year's schism and Babylonian Cap- tivity of the directorship.11u In addition to the many concerts performed on its tours, the Viking Male Chorus has been active in concerts on campus, in providing music at worship services in the college chapel, in participating in the annual Christmas and spring Music Festivals, and the Founders Day celebrations. Because it has had a tradition of being directed and managed by stu- dents it was not technically an official choral ensemble of the Department of Music or the college. Therefore, members did not receive college credit for their participation, nor did membership in the Viking Chorus fulfill the requirement that music majors must be members of a musical organization for two years. Twenty-three student directors have directed the Viking Male Chorus in its twenty-four years of activity, ‘with the first director, Luther Onerheim, serving as director for the first two years. Repertoire performed by the Viking (Rumpus has included both sacred and secular choral works for malee‘voices, with sacred works predominating. Occasionally, 11“ The Viking, gp. cit., 1956, p. 144. 89 when performing in joint concerts with an ensemble of women's voices, choral works for mixed voices have been programmed. As in the case of other ensembles, there was a lack of information regarding the rehearsal schedule of the Viking Chorus. The few statistics available indicated a range of from.two to five rehearsals per week, with two one and one- half hour rehearsals per week in 1965-66. Membership has varied from twenty-three to fifty men, with an average of forty-one prior to disbanding for two years during World War II, and a post-war average of thirty-nine men between 1945-46, and 1965-66. Information about membership requirements was not available. Large ensembles of women's voices. Several women's choruses existed prior to the establishment of Manitou Sing- ers in 1937:38. The first performance by a chorus of women's voices was recorded by Simpson as follows: The Bivrost had the honor to sing "Takker vor Gud" at the St. Olaf Academy's annual commencement on June 19, 1888. On the same occasion there was also given a cantata, "The Rainbow," for sopranos, mezzo-SOpranos, and altos . There was no indication of the name or size of that women's chorus. The Phi Kappa Phi Chorus of twelve women, organized in the fall of 1909 and directed by Caroline Heltne of the faculty, was the first ensemble to be organized which was larger than a quartet or an octet.115 In the same year, llESimpson, pp, cit., p. 443 The Viking, 22. Cit 0, 1910-12, P. 20 g. 90 1909-10, Christiansen divided the Choral Union into a Male Chorus and a Ladies' Chorus, which rehearsed and performed as two separate ensembles, but also combined as a mixed chorus on certain occasions. That division of the Choral Union into two choruses continued on through 1910-11, with the Ladies' Chorus numbering forty-five singers. In 1911-12, the Choral Union was reestablished as a mixed ensemble, the St. Olaf Choir was formed from.the St. John's Church Choir, and there also existed the Ladies' Chorus of forty-five women directed by Christiansen. Twenty-five years passed before there was a record of activity by another ensemble of women's voices. In 1936-37, the St. Olaf Ladies' Chorus of thirty-eight sing- ers was organized with Helene Loseth as its student director. From that year until 1965-66, with the exception of 1956-57, there was an ensemble of women's voices active at St. Olaf varying in size from.thirty-six to eighty-six singers. The 1938 yearbook described the continuation of the St. Olaf Ladies' Chorus under its new name of Manitou Chorus. The following excerpts are from that description: THE MANITOU CHORUS began the second year of its life in the autumn of 1937 and assembled thereafter three times a week in the Old Main for practice. Under new leadership--that of Lois Druse, Senior choir member and :music major from.Milwaukee--the organization grew to a personnel of seventy-five and developed a surprising excellence of tone quality and execution. . . . The girls performed in conjunction with the other chbaal groups at the Christmas Concert and.the May Festi- 'va1. Alone they sang at three chapel periods and gave a full-evening concert in the spring. Although they did not tour, they represented St. Olaf at a convocation pro- gram.in.the Northfield High School and sang in other local institutions. 91 The term.Manitou came from.the name, Manitou Heights, given to the hill which became the site of St. Olaf College. The term had been used as early as 1897 when in February of that year the Manitou Octet was organized and rehearsed twice a week under the direction of Andrew Onstad. It appears from Simpson's account that the group was not an ensemble of women's vocies but a mixed octet.116 The term Manitou was not used consistently as part of the name for a women's chorus until 1950. Until that time it was used only in three other years: for Manitou Ladies' Chorus, in 1938- 393 for Manitou Girls' Chorus, in 1942-43 and 1945-46. The following names were used to identify the ensemble in other years: St. Olaf Girls' Choir, 1939-40 through 1941-423 St. Olaf Ladies' Chorus (the wartime counterpart of the St. Olaf Church Choir), 1943-44 through 1945-463 Women's Chorus in 1946-473 Ladies' Chorus in 1947-483 and Freshman Women's Chorus in 1948-49. The name Manitou Singers was adopted in 1949-50, and was used through 1965-66. Membership has been limited to Freshman women, a practice evidently established by the Freshman Women's Chorus of 1948-49 which immediately preceded the adoption of Manitou Singers as the name for the ensemble. Between 1936-37 and 1943-44, women's choruses active under various names were directed by student directors. 115 The Vikin , pp. cit., 1938, p. 128; Simpson, pp. cit., p. 49. 92 The Ladies' Chorus formed during the war years (1943-44-- 1945-46) as the counterpart of the St. Olaf Church Choir was directed by Professor Oscar R. Overby of the faculty. Nith only three exceptions, faculty members were directors of women's choruses between 1943-44 and 1965-66. Students were directors during the first semester of 1945-46, and during the two years 1948-49 and 1949-50. Sacred and secular music made up the repertoire per- formed through the years, but sacred choral works predomi- nated. The women's choruses have been active on campus in full concerts, Christmas and spring Festivals, chapel worship services and on other special occasions. There was a record of only eight trips for off-campus performances or tours be- tween 1939-40 and 1965-66. The varying size of the ensemble has been mentioned. During the last sixteen years, while the ensemble was known as the Manitou Singers, the membership had been most often in the seventies. Only a few references were made to the rehearsal schedule or membership requirements for Manitou Singers or any of its preceding women's choruses. It appears from the information which was available that re- hearsals were held three times per week and were probably one hour in length. The requirements for membership that were mentioned were that membership was 1hmited to freshman women 93 and that all members were encouraged to take private voice 117 lessons. Small gasembles. Interest in and activity by small choral ensembles has been evident from the earliest period of choral activity recorded at St. Olaf College. That fact seemed evident from the many small ensembles that have been organized at various times. Available sources of information did not show that small ensembles were organized and active during many of the years between 1887-88, when the organiza- tion of ensembles was first recorded, and the culmination of the study in 1965-66. If such absence of comment can be accurately interpreted as an absence of activity, the con- clusion would be that there were no small ensembles during thirty-four of the seventy-nine years between 1887-88 and 1965-66. However, at no time could one draw the conclusion that activity by small ensembles had ceased completely, and therefore it seemed more accurate to describe certain years as periods of inactivity rather than periods of cessation of activity by small ensembles. The term small ensemble refers, in this study, to ensembles other than those already described as large en- sembles whose membership included equal or mixed voices 117 The Vikin .____mS:.EE. cit., 1939' 19403 19}+2- 19443 1916-19553"196§:€E; 'The Manitdu Singers of St. Olaf College" (Printed programs), St. Olaf College, Northfield, Minnesota, 1938,1939, 1941, 1947, 1950,1956, 1951-19643 Kenneth L. Jennings, Personal interview. 94 totaling not more than approximately twenty singers. Though the membership of small ensembles was usually composed of students, in some instances, eSpecially in earlier years, faculty members performed in them. The Kjerulf Quartet of 1887-88 and the St. Olaf Quartet of 1915-16 each had a membership which included three faculty members and one student. The former was a male quartet and the latter a mixed quartet. The St. Olaf Octet of mixed voices in 1910-11 also included one faculty member.118 An analysis of the small ensembles that existed be- tween 1887-88 and 1965-66 revealed that each could be classi- fied as one of five different types of ensembles. The read- er will discover the various types by careful study of the Chronological Chart of Choral Ensembles at St. Olaf College in Table II. Some examples of each type of ensemble have been pointed out in the following paragraphs. Standard combinations of voices such as trios, quar- tets, sextets, and octets were pOpular throughout the his- tory of choral music at St. Olaf. The following are the names of some ensembles of that type: Bivrost (mixed) Octet, 1887-88, directed by Oluf Glasoe; St. Olaf Sextet, 1915-16, of two women and four men; St. Olaf Quartet, 1949-50, a male quartet (and accompanist); St. Olaf Singers, 1946-47, a mixed quartet; Viking Quartet and Kristmenn Quartet, 1965- 66, both male quartets. llesmpson: 9.2- 2112-. pp. 45, 150; The Vik- 1110', 22. cit., 1910-12, p. 207. 95 Certain ensembles seemed to represent a certain class due to the fact that the students who sang in the ensemble were members of that class. There appeared to be a male octet which was active for four consecutive years, organized as the Freshman Octet under the direction of J. Jargon Thompson in the fall of 1905. Articles in succeeding college yearbooks seemed to indicate that the same octet was perform- ing in 1909, either as the Male Octet or the St. Olaf College Octet '09, and during previous years as the Freshman Octet and the Sophomore Octet.119 Other ensembles named for the classes they represented were the Junior Glee Club in 1905- 06, the Freshman Glee Club and Junior (male) Octet of 1910- 11, each of which had a membership of fourteen men. The names of the following ensembles were evidence that members of fraternities and sororities formed small en- sembles: Phi Kappa Phi Chorus of fourteen women in 1909-10, directed by Miss Caroline Heltne of the faculty; Phi Kappa Phi Chorus of four women in 1910-11, also directed by Miss Heltne; Phi Kappa Phi Quartet of four women in 1913-143 Delta Chi Quartet of four women in 1913-143 and the Sigma Tau Octet of eight men in 1927-28. Certain small ensembles were related to a large en- semble in that their members were chosen from.the membership of the large ensemble. Members of the Choir Octet and the 119 The Viking, p_p. 512., 1918. p- 1553 1919, pp. 137, 188. 96 Choir Quartet of 1916-17 and 1917-18, respectively, were women chosen from the St. Olaf Choir. Another small ensemble chosen from the membership of the St. Olaf Choir was de- scribed in the 1946 edition of the college yearbook as: A smaller group within the choir which has been named the “Shingle Creek Fifteen": composed of five sopranos, four altos, two tenors, and four basses, was :elected to accompany Prof. Christiansen igohis lec- ures on the development of church maelc. Records showed that for eight of the years between l9Su-SS and 1965-66 there were Liturgical Choirs selected from the membership of the Chapel Choir. In l96h-65 and 1965-66 there were two Liturgical Choirs; one of nine or twelve men and another of fourteen or fifteen mixed voices.121 The last type of small ensemble was organized to per- form a certain kind of repertoire or to provide choral music where there was a special need for it. The NCAL Quartette was formed in 1929-30 to perform on the St. Olaf radio sta- tion. Detailed information regarding its membership, reper- toire, or in what kind of programs it performed was not available. The Norse Choirs of 1938-39, l9hO-h1, and 1941- 42 performed anthems in the Norwegian language at the early morning Lutheran church service broadcast each Sunday morning. It appeared that the choir was directed by students and 120 The Viking, 22, cit., 19h5: P0 101° 121 The Vikigg,.22. cit., 1955-19663 "Catalog of St. Olaf College, 22. cit., 1955-56, p. 96. --‘ o' 97 rehearsed twice a week. The Norse Choir provided choral music for a Specialized radio program and in so doing per- formed a certain kind of repertoire in a specific language}22 Several other small ensembles were organized to per- form a certain kind of repertoire. Some of those ensembles were: Madrigals, 19h2-h3 and 19h6-h7; the Norse Quartet of two women and two men who performed swing music sung in Norwegian in l9h3-hh; the Gospel Quartet, whose members were pre-seminarians and sang sacred music in 19h3- ’; "Three Rounds and a Knockout" was a quartet of three men and one woman who sang lighter music in 1944-45; a Quintet of two women and three men sang modern arrangements by one of its members in 19h6-h73 and the Vocal Chamber Ensemble and Opera Workshop was organized to study vocal chamber music and opera under the direction of Mr. Young, in 1954-55. In 1956-57 the Repertory Singers was organized by Miss F. Marian Walker of the music faculty. It was an ensemble of about twenty mixed voices which performed repertoire chosen.mainly from.hefore 1700 or after 1900. The Repertory Singers were active eight of the ten years from 1956-57 through 1965-66 (not in the years 1961-62 and 1965-66). Miss Walker directed the en- semble each year that it was active.123 122 p__ The Viking,‘gp. cit., 1939, p. 116; 19u1, p. 168; 1942, p. 128. ' 123Adolph P. White, Personal interview; Kenneth L. Jennings, Personal interview; I'The Repertory Sing- ers“ (Printed programs), op. cit., 1957, 1958, 1959, 1960, 1961, 1963, 1965; The Vikin , pp. gi§., 1957, pp. pp. 86, 870 98 Information regarding the directors of small ensembles and tours made by them was shown in the chart in Table II, or was covered in another section of this chapter. 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HISTORY OF THE COLLEGE Norwegian Immigration and the Founding of Concordia College Concordia College was founded on April A, 1891, by the Northwestern Lutheran College Association, which was made up of some Lutheran people in the Red River Valley of Kinnesota. The reader is referred to the first two pages of Chapter II for a brief account of Norwegian immigration to the United States. Those Norwegian Lutheran pioneers who settled in northwestern Minnesota in the 1870's and 1880's and eventu- ally in North Dakota and hontana were prompted to establish Concordia College by the same concern for the education of their children as that exemplified by the founders of St. Olaf College. A few years earlier the Bishop Whipple School had been started in Moorhead, Minnesota, but was closed for lack of students. The College Association purchased that property to provide facilities for Concordia College. An enrollment Which increased to over hOO students in a few years seemed to be evidence of the need for the school. It is interesting to :nOte that though many of the schools established during that IPeriod admitted only men, Concordia was established as a 113 11b coeducational institution from its beginning, as was St. Olaf College. During its first twenty-one years Concordia was actually an academy. The need for liberal arts courses on the college level resulted in the organization of a complete college department in 1913 with the first baccalaureate de- grees being granted in 1917. The academy section of the school was disbanded in 1927. Park Region College of Fergus Falls, which gave its first baccalaureate degrees in 1912, was consolidated with Concordia College in 1917. Concordia College has been owned and operated by the congregations of the American Lutheran Church in northern Kinnesota, North Dakota and Montana east of the continental divide. Though the corporate character of the college has undergone some changes through the years, it has always main- tained a definite relationship with the Lutheran congrega- tions of the Upper Plains area. The Board of Higher Educa- tion of The American Lutheran Church has supervised the col- lege and granted a yearly apprOpriation toward its support. The name of the college, "Concordia," signifies peaceful relations, union (literally, hearts together).l Aims and Objectives The founders of Concordia College organized and estab- lished it to provide an education for the sons and daughters 1 nCatalog of Concordia College,a Annual (Zatalog of Concordia College, Moorhead, Minnesota, October, 1966, p. 114.14,. 115 of pioneers and for the large number of immigrant young people that made their homes in the Red River Valley of Minnesota beginning about 1870, and later included those who settled in western North Dakota and Montana in the early 1900's. "Until 1913, it fulfilled the mission of what was then called an academy." That the education provided was to be available in a Christian atmosphere was made evident in a statement in the 1919-20 catalog, quoted by Holvik: Concordia College was established for the Christian education of young men and women. The management be- lieves in combining sound instruction in the principles of the Christian religion with all the secular branches in the various courses offered by the school. On this basis and through its several courses of study, the school aims to give the studentsza thorough and useful training for the duties of life. The support and development of the objectives of the founders of Concordia have been echoed in statements by the President and Dean of the college in recent years. President Knutson, in a statement of purpose of the college found in the seventy-fifth anniversary edition of the college catalog, says: The historic Christian liberal arts education imparts to the student a happy, workable philosophy of life and gives him.the best possible education for his years on earth, no matter what profession or vocation he chooses. The broad knowledge, penetrating insight, sense of evalu- ation, self-discipline, and ability to make adjustments 211001.; Karl M. Holvik, "Music in the Evangelical Lu- theran Church Collegesn (unpublished Master's thesis, East- Inan School of Music, University of Rochester, Rochester, 1914-7): P0 58' 116 which come through a liberal education, are the ingregi- ents of leadership in every worthy field of endeavor. Dr. Carl L. Bailey, Dean of Concordia College since 195h, makes the following statement in a pamphlet describing a liberal arts college, especially a Christian liberal arts college: We try to give the student some understanding of his relationship to God; some understanding of the nature of the world and of his own nature. We want to develop his powers of thought; to make him a critical person, in the best sense, capable of discriminating analysis and inde- pendent reason. 'We want to uncover for him the incred- ible riches of pleasure and enlightenment which lie hidden in art and.music and literature. We want to make him know that his specialty is not the world but only a small part of the world. We want him to be curious; to be questioning; to be thinking; in a word, to be alive.“ Concordia College in 1965-66 A description of the college in 1965-66, the year which marks the end of the period of time covered in this study,is provided here in order to show how it has developed from a small beginning when the first twelve students regis- tered on October 15, 1891. Such a description shows the ac- complishments in a variety of areas since the founding of the college. It also shows an attempt to meet the needs of stu- dents in a changing society within the atmosphere of a Lu- theran Church college. 3Joseph L. Knutson, ”The Purpose of the College," Catalog 2; Concordia Collegg, (October, 1966), pp. 6-7. “Carl L. Bailey, ”What Is the Liberal Arts College?” (Panmhlet), Concordia College, Moorhead, Minnesota, p. S. 117 In 1965-66 the president of Concordia College was Dr. Joseph L. Knutson who came to Concordia in 1951. The offi- cers and thirty-two regents of the college were elected by the congregations and church body which supported Concordia College. The enrollment in 1965-66 totaled 2,101: 1,099 women and 1,002 men. The number of faculty and administra- tors totaled 170, with an additional fifteen part-time faculty and twenty-two faculty emeriti. The college catalog for the year contained the following information about the college and its accreditation: Concordia College is a co-educational college of science, literature and the arts sponsored by the Ameri- can Lutheran Church and the friends of Concordia College. It is accredited by the North Central Association of Colleges and Secondary Schools as a degree-granting institution, and holds membership in the National Lu- theran Educational Conference, the Association of Ameri- can Colleges, the National Conference of Church Related Colleges and the American Council on Education. The De- partment of Music is approved by the National Association of Schools of Music. The teacher education program.for elementary and secondary teachers is accredited by the National Council for Accreditation of Teacher Education (NCATE). The Department of Home Economics is approved by the State Board of Vocational Education for the training of vocational home economics teachers (Smith- Hughes). The college has membership approval of the American Association of University Women. Graduataain accounting are qualified to sit for the Minnesota State Board examinations for the CPA certificate. The Depart- ment of Chemistry is certified by the American Chemical Society for providing professional education in chemistry. Concordia's curriculum.offered to students the possi- bility of majoring in twenty-eight areas, and of minoring in (Ereek, library science, religion, and Russian, in addition to Inost of the areas in which majors were possible. Pre- 118 professional training was available in medicine, dentistry, engineering and law. Opportunities for specialized study were available in medical technology, economics and business administration, elementary and secondary education, and social work. The European Study Center offered another op- portunity to interested students, whereby qualified juniors could spend a year studying in a European setting, taking work which was fully applicable to graduation. A special arrangement between Concordia College and Schiller College in Germany made that possible. There was also an honors pro- gram offered by several departments of the college, which consisted of intensified studies in the area of the student's interest. The college calendar was based upon an academic year of two semesters, plus two six-week summer sessions. Three baccalaureate degrees were given, according to the major fields of study: The Bachelor of Arts degree, the Bachelor of Music degree, or the Bachelor of Science degree. The campus radio station KOBB operated on a frequency of 660 kilocycles and could be heard anywhere on campus. It presented recorded and live programs, including daily chapel services. It was a closed-circuit station Sponsored and operated by the Student Association. The Carl B. Ylvisaker Library, completed in 1956, had Space for 120,000 volumes and seating space for about 500 readers. About 95,000 volumes and about 20,000 pamphlets comprised the total collection with approximately 600 period- icals received regularly. 119 The Hvidsten Hall of Music was completed in 1963. It contained three classrooms, twenty-four teaching studios, forty-four practice rooms, a band rehearsal hall, a choir rehearsal hall which also could serve as a recital audi- torium seating about 225, offices, a library for records and scores, two listening rooms, and the Kresge Lounge, which was also the headquarters for Mu Phi Epsilon. The Memorial Auditorium-Field House Building, which was completed in 1952, could seat in its auditorium.approxi- mately 7,000 at Special events. The College chapel services were held in the auditorium and the annual Christmas Concerts have been held there since 1952. The physical facilities in 1965-66 included thirteen buildings used for academic purposes, eight buildings which could be designated as service facilities, plus two buildings which met both the academic needs of the college and also provided some service facility for the college. There were also three residence halls for men and four for women, plus the athletic grounds. The college campus covered approxi- mately 105 acres, and was located in south Moorhead (23,000 pOpulation) on Eighth Street (Highway 75) between Seventh and S SEighth Avenues. 5 I'Catalog of Concordia College," 22. cit., 1965-66, pp. 9. 9-11, 38410, 127. 133-147. 1&9. 120 II. GERERAL DEVELOPMERT OF MUSICAL ACTIVITY AT THE COLLEGE Early Musical Activity at the College Instruction in music has been a part of the curriculum at Concordia College since its first year of operation with classes in vocal music available free to all students. Be- cause of his talent for singing, one of the first twelve students to register in the fall of 1891 was employed as the school's song leader. Until 1906-07 group singing was quite informal. Most students attended Concordia for brief periods, and therefore no permanent choral organizations were estab- lished. During four of those early years there was recorded evidence of some choral activity, however. John Dahle, who taught singing at Concordia in 1892-93, conducted the Con— cordia College Choral Class in Haydn's Creation in March of 1893 with seventy-five voices and guest soloists being accom- panied by the Union Orchestra. The Concordia Octette of four women and four men, probably organized and directed by Wilhelm Rognlie who was a nmmber of the ensemble and director of vocal music in 1896- 97, performed a concert at Halstad on the evening of March 1, A1897. "This first Concordia singing group to go outside Pkaorhead to present a concert not only sang but presented deuzlamations and instrumental music as well." The following year, 1897-98, Miss Annette Peterson taught piano and led 121 singing and organized the Mendelssohn Quartette of four women which sang at public functions in hoorhead and Fargo. The entertainment for the tenth anniversary celebra- tion of Concordia College in October, 1901, included an octet and a choir of students. Detailed information about those ensembles was not available. They may have been organized and rehearsed especially for that occasion by Miss Mollie Martinson who was the music teacher at that time. Due to the fact that the history of choral ensembles at Concordia is covered in detail in another section of this chapter, only certain developments in that area of music activity were in- cluded in this section of the chapter. Rolfsrud, in his report of the first seventy-five years of Concordia's history, supports the fact that in- struction in music has been a part of the curriculum since its beginning by saying: . . . in every one of its 75 years there have been student piano recitals and at least one piano teacher on the faculty since Miss Caroline Finseth taught the first piano lessons in 1891. The Moorhead News in 1897 told readers that Concordia's new piano teacher, Miss Annette Peterson, "can also give lessons on the pipe organ and the guitar.” Miss Norma L. Olson, head piano instructor in 190h, was the first to teach music theory at the school. Early lessons were given on parlor reed organs and on large upright pianos. No regular instruction in pipe organ was available until the Esty organ donated by Norman D. Black of Fargo was installed in the auditorium of Main in December, 1929. The first electronic organ was purchased in 19h8 and other practice organs have been ,0 \hi‘! ' ‘JI‘ \‘u 122 added since so that Concordia new trains a n ber of music students to serve as church organists. The music organization presenting instrumental ensem- ble music consistently over a period of years since it was first organized was the Band. The Concordia Echo Band made its initial appearance in February, 1900, under the direction of Professor Rognlie using instruments purchased with funds donated by Moorhead businessmen. Year after year, ROgnlie worked with raw recruits for his band, for the average Concordia student then attended school only a.matter of months. Few band members re- turned the following year to serve as a nucleus of the organization, so what tha organization accomplished it learned in a short thme. The Band continued to be active under the conditions dasscribed above, with a new director almost every year. It appears that those who were designated as the music teacher, choir director, or band director during the first eighteen years 01’ Concordia's history must have been involved in that type of ilastruction on a part-time basis along with, or perhaps even 11: addition to, a full schedule of other teaching assignments as members of the faculty. That conclusion was based upon tfile fact that Oscar I. Hertsgaard joined the faculty in the I’all of 1909 as the first full-time director of music. \ 6Erling Rolfsrud, The Cobber Chronicle: An Informal Eistog of Concordia Collegg (Moorhead, Minnesota: Concordia C .— _7 v Ollege, 1966), pp. 175, 185-186; Rasmus Bogstad, Concordia 9°11e e, Moorhead, Minnesota, Throu h Fifty Years (hoorhead, blinnesota: Concordia College, 19111;, pp. 68:69. 7Rolfsrud, 92. cit., p. 176 123 purchased with funds solicited from I-xoorhead businessmen. The Band also made a summer tour as soon as the school closed for the summer, performing concerts in six towns in the upper Re (3. River Valley, returning to Moorhead to perform for the Young People's League Convention and later for the city's Fourth of July celebration. In 1915 Herman W. Monson became the band director and began to develop it into a full-sized concert organization mltil he joined the army in the winter of 1917. Between 1917-1923 the Band had five different directors. For all but two of those years it went on spring tours and continued to present concerts. Herman Monson returned to Concordia in the fall of 1923 as head of the music department and director of the Choir and the Band. In the spring of 192M. three secondhand busses were purchased from the Buxton, North Dakota, schools to provide transportation for the Band and Choir on their tours. The Band travelled in them for the first time on its twelve-day tour of central North Dakota in June of that year. In the fall of 1926 Johan A. Holvik, professor of Nor- Wegian, took over the Band and was its director for twenty- two years. During that period the Band made several long tOurs during the summer, including a trip to Norway in 1935. Holvik was succeeded in 19119-50 by Leif I. Christian- SOn, who, in addition to directing the Concert Band, organ- iZed a new marching band, called the Cobber Band. The Con- cordia Concert Band continued to tour through the Upper 12h 11:1.Clwest and occasionally into Canada, gave several series of I‘Eegggular radio broadcasts, and made its first long-play record in 1958. An orchestra was organized by Miss Annette Peterson twljtfi_ch made its debut with the first Band in February, 1900, 13111; did not survive long. String groups at Concordia have Yaeeexn active for only brief periods throughout the years since 1900. Prior to World War I four directors led orchestral EEIFOups. Professor holvik revived the orchestra in 1926, and Cyther musicians have endeavored to develop an orchestra at C:Oncordia since then. No permanent orchestra has been estab- ZLished however. Many students who played stringed instru- Inents have played in the Fargo-Moorhead Symphony Orchestra thich Professor Sigvald Thompson has conducted since 1937. ESmall string ensembles, such as string quartets, have oo- 8 C=asionally originated and performed on campus. £Z_orallMusic The choral ensemble that was active for the longest Ithinterrupted period of time was the Concordia Choir. That Inixed choir was first directed by hiss Agnes Skartvedt in 1920, and had three other directors during its first three Zywaars of existence. The next two directors, Herman w. Monson Eirld Paul J. Christiansen, provided more consistent leadership 1111der which the Concordia Choir developed a reputation as one 8Ibid., p. 175, 177-185. 125 of the finest choirs in the United States and abroad.9 A de- tailed. account of the development of that ensemble is included in a later section of this chapter dealing with the develop- ment of certain types of choral ensembles at Concordia Col- lege - Choral activity prior to 1906-07 was described earlier in thiis section of the chapter under early musical activity a‘3 tbie college. J. P. Bohlin organized the first l‘iomen's Glee Club and 1".en's Chorus in 1906-07 which were active at various times throughout the next fifty-nine years. The Wcm'len's Choruses were active during nineteen of the years under twelve faculty directors with most performances on cam- 131.13 or in the Fargo-Moorhead area, and occasional short trips to neighboring towns for concerts. The men's choruses were active for eleven of the years, 1906-07 through 19535-56, under both faculty and student directors. Performances were predominantly on campus or in the surrounding communities with only one concert trip on record in 1953-94410 The basis for the establishment of the Choral Union in 1909—10 by O. I. Iertsgaard had been laid by the performances °1? ‘tlle Creation by Haydn in 1893, directed by John Dahle, and in 1906, directed by Andrew Onstad. After a few annual \ Hi 9Ariel R. Molldrem and Kenneth L. R. Halvorson, "A 2381301? of the Concordia Choir 1920-1931". (Term paper, April 19’ 1931), Concordia College, Moorhead, Minnesota, p. 9, 12, ’ SL4”; ROlfSI’Ud, _O‘Eo 9—1-12}, Pp. 190-1910 loRolfsrud, ibid., p. 187. 126 choral festivals involving the Choral Union and church choirs in the Red River Valley, the Choral Union began a series of annual performances of larger works such as cantatas and oratorios. The annual Choral Union Festival was discontinued because of World War I, but Professor Rognlie organized a chorus of forty students to perform an Easter cantata at '1‘? inity Lutheran Church in the spring of 1919. On Palm Sun- day- in March of 1920, Agnes Skartvedt directed the Choral Union in a performance of The Seven Last Words of Christ. The last reference to the Choral Union was made in the 1922- 23 C atalog.11 The Second Choir, sometimes called The Chorus or The I"liked Chorus, was established in 1925-26 by Herman Monson as a training choir for the Concordia Choir. It was active for abollt twelve of the next fifteen years under the direction of PI“(Dresser Monson and Ivliss Clara B. Duea. In January of l9u2 the Chapel Choir was organized and dire cted by C. M. Running of the art department. It carried on the same type of choral activity as that of the Second Choir under eight different faculty directors during most of the following years through 1965-66. There was a record of activity by twenty-three small ensembles during eighteen years of Concordia's history. KIr‘o‘up singing during the first years at Concordia was mostly \ C lllbid., pp. 188-189; "Catalog of Concordia D3~3_e:ge," p_p. cit, 1922-23, Po 7. 127 on an informal basis, and there was no record of Specific ensenibles during the first five years. Thereafter, from 1896) through 1966, activity was sporadic. how many faculty and s tudent directors were in charge of the ensembles that were active it was not possible to determine.12 Concert Tours by Musical Organizations The Concordia Band and the Concordia Choir have toured more extensively than the other musical organizations at Concordia College. The Band, organized in the winter of 1900, made its first concert trip to perform at Comstock and WOILVerton, Minnesota in May, 1910. In the summer of that year, it toured six towns in the upper Red River Valley. Band tours have been an annual event almost every year since that time. An invitation to play for Norway Day at the Century of Progress Exposition in Chicago resulted in a tour which took the Band there in the summer of 1933. In the 81111Rider of 1935, the Band toured Norway, with a month-long tour in the United States before leaving for Norway and with several concerts enroute from the east coast to Moorhead \ 12 The Scout (College yearbook), Concordia féllegea Warhead, Minnesota, 1926, p. 146:1929. PP- 158, 9 170 - "Catalog of Concordia College," pp. c__i_t., 1925-26,’ pp. 25, 63; Rc(>1fsrud, _p. cit.$pp. 175, 186; The Cobber College year ook Concordia College, I:{g\01“klriead, Minnesota, 1937: Po 114.6; 1939, p. 90; 191;.1, p. 78; LLB ’ p. 1500 128 after returning from Norway. Band tours have most often been through the upper Midwest and occasionally to Canada. Concordia Choir's tours have taken it to all areas of the c ountry and most of its major cities and occasionally to cities in Canada. On two trips abroad concert tours were conducted in Norway in 19149 and in Europe in 1958. With the exception of three years during World War II, l9LL3-l9liS, the ChOir has toured annually since 1921. During the first Ye are the Choir was active its tours were usually conducted in the spring or summer. As the years passed, the time for touI‘s shifted to a period covering the end of January and the beginning of February. The length of tours increased to three weekS, and sometimes longer, in the mid l9h0's and has cont inued to average about three weeks in length. In some years more than one tour has been conducted, and one of the tours, with the exception of the tours to Norway and Europe, was for a shorter period than three weeks in length. The women's and men's choruses that were active at C0110 ordia throughout its history performed most of their Cone erts on campus or in the Fargo-Moorhead area, and con— fined their tours to short trips to neighboring towns. In like manner most of the performances by small ensembles were on campus or in the Fargo-Moorhead area, with occasional short trips to neighboring towns. However, some small en- sembles made longer tours during the summers. Five such t 0111’s were carried out, one as far as the west coast. Three 129 addi tional tours were planned but there was no record of their being carried out. The purpose of tours, especially of tours by choral enseezzllales, seemed to coincide with the purpose of choral en- semfl3C1_ees in the curriculum. That purpose will be investigated in.tn1c>2?e detail in the section of this chapter dealing with the history of choral ensembles at Concordia. Another pur- POSe , during at least one period in the history of the Choir, “38 the purpose of raising funds needed by the college. The following two quotations were taken from Rolfsrud's descrip- tiJDII of the Choir and Band activity about 1923, regarding 1:‘C’Ddi‘s: Proceeds from band and choir concerts now enabled the young musicians to purchase a Chickering concert grand piano for the chapel. Meanwhile, college musicians started a fund which would, they hoped, provide a new three-manual organ for the college. To help them earn toward this fund, the band and choir in the fall of 1923 contracted for the purchase of the Model T Ford busses ghich would enable them to extend their concert tours.1 The purpose of choral ensembles in the curriculum S“Seemed to be three-fold in character: a cultural and educa- ticrial purpose, a religious influence and missionary purpose, and the purpose of influencing church music. Tours were a mearls of accomplishing those purposes by influencing a great- er- nUaneI' of people in a larger area of the country than \ 13Ro1rsrud, 92. cit., 190-191. 130 could be reached by performing concerts on campus or in the commnities of IVioorhead and Fargo.l)+ The P aul Christiansen Choral School The work of Paul J. Christiansen in the field of chor- 8.]. music at Concordia College and through the Paul Chris- tians en Choral School has influenced choral music in this COuntry in the same manner as the Christiansen School estab- 15- Shed by his father and brother. Since 1948 Paul Christian— sen and his brother-in-law, Kurt “w‘ycisk, who is Music Co- ordinator at Concordia College, have conducted sessions of the Paul Christiansen Choral School at various places in the Uhited States.15 The average number of sessions each summer has been four. Undergraduate and graduate credit often has been available for attendance at the sessions through the SpOnsoring colleges or universities where many of the ses- Signs have been held. Instructors in the sessions of the Choral School, in addition to Paul Christiansen, have in- c:luded outstanding leaders in the areas of school music and \ l 14 The Cobber, loc. cit., 19m; 92. cit., 19LL9, p. l; 1953, p. 80; The Scout, pp. cit., 929.9 P0 LI-hfl Ne - 15Neil A. Kjos, Sr., A Letter from the President of 1113—1 A. Kjos Music Company to Robert Lee Jennings regarding Rigomation about the Christiansen Choral School (Park letee, Illinois: September 15, 1967), 1; Kurt J. wycisk, A 00 her from the Coordinator for the Inusic Department, Con- tibdia College, supplying information about the Paul Chris- COB-Ilsen Choral School and choral ensembles at Concordia llege (Concordia College, Moorhead, Minnesota: November 2hr, 1968). 131 church music such as Carl 0. Thompson and Richard hoffland. The sessions of six or seven days included intensive train- ing in several aspects of choral music including school music methods and materials, conducting and interpretation, voice testing, rehearsal techniques, choir organization, church choir, sectional rehearsals, ensemble rehearsals, and reper- toire for all types of choral groups.16 The Paul Christian- sen Choral School was a private venture of Paul Christiansen and Kurt Wycisk. Though it was not connected with Concordia College, it was evident that the influence of the choral ensembles which were under the direction of Paul Christiansen at Concordia has been extended through the summer sessions of the Paul Christiansen Choral School. WJ Christmas Concerts The annual Christmas Concerts at Concordia have become its "Christmas Gift to the Midwest“ with peOple attending from five states; some of them driving 700 miles to attend a Czoncert that blends music, art, and scripture in an appro- priate observance of Christmas. In 1961 three performances were given to audiences totaling 15,000 people. The Christmas concerts began in 1927 when hiss Clara ‘ Duea, who was professor of piano and organ at that time, \— Co 16 "The Concordia Choir" (Printed programs), ncOI‘dia College, Moorhead, Minnesota, 1963, 19614., 1965; M “Paul Christiansen Choral School Sessions" (Pub- clty pamphlet), I‘doorhead, Minnesota, 1967. 132 organized the Concordia Music Club which decided to promote better music in the community by using the best college talent in an annual Christmas program. Students and faculty gathered in the chapel on December 15 for the first program. Professor lilonson directed the first and second choirs in Christmas anthems, students pantomimed a nativity tableau to the accompaniment of an off-stage sextet, President Brown read the Christmas story, and the Rev. Carl B. Ylvisaker talked about the origins and meanings of Christmas hymns. The next year the prOgram was held at Trinity Lutheran Church in Ivioorhead and the following became traditional parts of the PTO-gram for several years: the nativity pantomime, reading Of the Christmas story, the "Gloria" from Inozart's Twelfth M‘aig sung by the entire Concordia student body, and a SiXteen-voice men's chorus singing The Heaven's Resound by Beethoven. The singing of the "Gloria" was discontinued in lc335.. That year a flute and horn duet was played by two S’tuClents. Beginning in 1937, the place of performance for the Concert alternated between First Lutheran Church in Fargo and Trinity Lutheran Church in Moorhead. Increased attend- Slice made it necessary to move to the Moorhead Armory in 1943 in order to accomodate the large audience. Beginning in 19215 two or more performances were given each year to e‘c’comodate the large audiences, with five being given in 1951. In 1952 the Silver Anniversary Christmas Concert was held in Concordia's new memorial Auditorium-Field House B - . L1llcfiing where 11,500 persons could be seated for each 133 performance. The number of tickets distributed required three performances that year and each year thereafter. The art department began to take an active part in the Christmas Concert in 19h0 by creating and providing special scenery for the concerts so that, “fear by year, the art be- came an integral part of the concert." The choral ensembles of Concordia assisted by instrumental ensembles have per- formed annually in the concerts. Since 1911.0, Professors Christiansen and Running have conceived the general music and art ideas, the theme, for each concert. Then they have brought their ideas to pastor friends for help in welding music and art with a Biblical script. Major contributors in this have been President Knutson and Dr. Oscar Anderson while he was pastor of Trinity. In this, Concordia's annual "Christmas Gift to the Iviidwest,n it is a giving in which individual contribu- tions of hundreds of students and staff members lose themselves in the larger purpose of glorifying God. 7 De&]_.opment of the Department of Music There was not much available information about the deVelopment of the Department of Music at Concordia College, and what there was often seemed incomplete and, therefore, perhaps not reliable. The following information was gleaned from available sources. \ .. 17Rolfsrud, 93. _c__1_;c_., pp. 198-200; Tom Lundquist, tEuccess of Concordia Christmas Concerts Typical of Chris- 1 arisen Accomplishments," The Sunday Fargo Forum, (December, 96%), Back of p. c-11; . "Concordia College Annual 1,]: lStmas Concert" (Printed programs), Concordia College, Oorhead, Minnesota, For the years 1936, 1937. l9}12-1965. 1314- The Fargo College Conservatory of husic was estab- lished in 1877. That fact indicated that formal instruction in music was available to early residents of that area of the country several years before the establishment of Concordia College in 1891. It is also possible that the Fargo College Conservatory of liusic may have eventually become the Dakota Conservatory of music which was purchased by Concordia Col- lege in 1929.18 The 19011-05 Concordia College catalog men- tioned "School of Music" for the first time, and under that heading listed several items of information about the study Of :music at Concordia including three courses of study: nThe Preparatory Course, The Teachers Course, Degree Course." That information seemed to imply that there was at that time a division of the college known as the "School of Music" W» 1011 offered three courses of study for those who wished to major in music and that one of the courses led to the earning of a degree. The first Music Diploma graduate was Miss Mathilde Askegaard, in 1906, and the first Bachelor of Music degree was awarded to Edna hae Hector in 19.29.19 The Dakota Conservatory of Music was founded in 1918. In the summer of 1929 the Dakota Conservatory of Music located in Fargo was purchased by the Board of Directors of \ C) 18 nConservatory Has Notable HistoryI (Part C1: an article found in ”Miscellaneous Materials for the Music apter, Cobber Chronicle"), Archives, Concordia College bPary, Moorhead, Minnesota. 19 19 1’Catalog of Concordia College,n pp. cit., 04-05, pp. 36-39; Rolfsrud, pp. cit., pp. 175-176. Li 135 Concordia College to be operated under the direct management of Concordia College, and was to be known as the Concordia College Conservatory of Music. The 1929-30 college catalog contained two lists of music faculty members: "The School of Music Faculty;n and the "Faculty of the Concordia College Conservatory of Music, Stone Building, Fargo, North Dakota." Tllat seemed to imply that there was a "School of Music" with its own faculty active on the campus of Concordia College in I-Ioorhead, and another Conservatory of Music with its own faculty in Fargo, both operated at the same time by Concordia. College. That catalog also contained the statement that, Entrance requirements for students working for a certificate or a Bachelor of Music degree in the Conservatory are the Sallie." That statement, plus the fact that the first Bachelor of Music degree was awarded to Miss Edna Iiae Hector in 1929, made it obvious that such a degree program was available at that time, and probably had been for at least four years Prior to 1929. The Concordia College Conservatory of Music became an accredited institution in 1932 and 19311., as indicated by the following quotation: An Accredited Institution . . In addition, the Conservatory is a member of the National Association of Schools of Music, being admitted to accredited membership in 1932 and advanced to associate 136 membership two years later, following an examinaggon by Dr. Earl V. Moore, president of the Association. Phi Iota chapter of Mu Phi Epsilon,a national profes- suional honor society in musig'was established at Concordia Another quotation supplied some information about the Conservatory of Music in 1937. The Conservatory of Music, since 1937 an integral part of Concordia College, embodies in its history the pioneer efforts of lovers of good music in the Fargo—Moorhead area of the Northwest. Three distinct agencies have been merged in the course of the years to form.what is now the Concordia College Conservatory of Music. The following excerpt from a newspaper article in the ESLlIlday Fargo Forum contained additional information about I’eitzl J. Christiansen and the music faculty in 1937, and in 31‘9652: At 22, he came to Concordia in the fall of 1937 to head a music department that had a four-man faculty. Today, he heads a department that has 18 faculty members (including the Concordia Conservatory of Music in Fargo) and on-campus music programs Ehat involve nearly 450 students in one or more ways. In summarizing the factual information known about the development of the music department at Concordia one noted t11a13 instruction in music was available to the residents of tfle :Fargo-Moorhead area as early as 1877 with the founding of tile LFargo College Conservatory of Music. A I'School of Music" \ <31 20 uConservatory Has Notable History," 100. 3751i.; "Catalog of Concordia College,” 92. cit., 29-30", pp. 30'; 66-67. 74-75; Rolrsrud. 122- an. 0:1 21 nConservatory Has Notable history,“ loc. \to ; Tom Lundquist, loc. cit. 137 was listed as a part of Concordia College as early as 190g- 05, offering three courses of study in music, one of which led to a degree. In 1906 the first I-Lusic Diploma was awarded to a graduate. The Dakota Conservatory of Music was founded in 1918 in Fargo, and in the summer of 1929 it was purchased by the Board of Directors of Concordia College and became known as the Concordia College Conservatory of Music. The first Bachelor of Music degree was conferred upon a grad- uate in 1929. The Conservatory was accredited by the Na- tional Association of Schools of Music in 1932, and became an associate member of that Association in 1931;. A Chapter Of Phi Mu Epsilon was established at Concordia in 1935. Paul J - Christiansen became the head of the Department of Music in 1937, which had a faculty of four members. In 1962 that fa~C>ulty had increased to eighteen, including the Conservatory of I'lusic in Fargo. By 1966 the Bachelor of Music degree had been conferred upon 1214. graduates. Music Program in 1965-66 General background in 1965-66. The following informa- tion about the music program in 1965-66 is recorded here in Order to provide a means of measuring the deveIOpment of that p3903;:ram from its beginning, or any point in its history, to the year 1965-66, the point of conclusion for this study. The number of students enrolled at Concordia in 1965- 66 Was 2,101. There were 132 students majoring in music and 138 forty-one students minoring in music. The total number of students taking music courses, including music majors, music minors and students majoring and minoring in other areas totaled 1,809. Of that total, 517 were taking applied music, 867 were enrolled in other types of music courses, 2h0 par- ticipated in choral ensembles, and 185 were participating in instrumental organizations. It should be noted that the grand total of 1,809 represented much duplication due to the fact that many students were enrolled in more than one course or organization and, therefore, were counted more than once. There were eighteen full-time, three part-time, and three emeriti music faculty in 1965-66. Two of the full-time faculty members directed choral ensembles. Neither of those faculty members were involved in teaching voice. Programs of study with The mic program in 1265-é6. a major in music were offered leading to the Bachelor of Arts and the Bachelor of Music degrees. Programs of study with a minor in music were offered leading to the Bachelor of Arts and the Bachelor of Science degrees. The areas of Speciali- z‘5’ltz’ion within each degree program were as follows: Bachelor or Arts, A. Non-teaching Major, B. Public School Music Major; Bachelor of Music, A. Public School Music Major, B. Instru- mental Major, 0. Voice Major, D. Theory Major. Membership in an ensemble was required for two years or all music students. One credit per year was granted to IneI-‘lbers of the first (Concert) Choir, Band, and Orchestra at 139 the end of second semester. The 1965-66 catalog listed the following music organizations: Concordia Choir, Concordia College Band, Cobber Band, Chapel Choir, Men's and Women's Chorus, and Orchestra.‘22 Choral ensembles active during 1965-66. A more de- tailed account of the choral ensembles that existed during 1965-66 at Concordia College is given in Table III which follows. Membership in choral ensembles, which began in the fall semester, was encouraged to continue through second semester. There was no overlapping of membership among the Choral ensembles except for some special events such as the COmbining of Women's Chorus and Men's Chorus for the per- formance of an oratorio. All choral ensembles performed Occasionally at chapel services and for special occasions on caIrijus and in the community. In addition to performing in the Annual Christmas Concert with the Chapel Choir and the W0Inen's Chorus, the Concordia Concert Choir also participated in the Annual Spring High School and Church Choir Festival in April of 1966.23 \ l 22 "Catalog of Concordia College," loc. cit., A965-66; op. cit., 1965-66, pp. (ML-97, 1293 ROY E. Stahl, sSociate Professor of Music, Concordia College, Moorhead, llgffnnesota, Personal interview, June 14, 1967, Moorhead, 1111116801330 23 "Annual Christmas Concert“ (Printed Pro- jéfrm), Concordia College, Moorhead, Minnesota, Dec. 10, 11, 2., 1965; Roy E. Stahl, Personal interview. oaom oEom oaom omoz oaom meow oEom omoz uaoodoo odoz HH¢ oaom poo: mnfipp Unoxooz 080m pmoz HH< oEom omoz ooficwmsooo¢ UoHchEOoomqD wouapoaoz HmHSoom conowm mmHoammmmm .pmmoo ammo op meme Fm ..oom ”H309 mddswo HMO .hpflcdfiaoo on» CH one madame no mQOHmmooo Hwfioomm mom hHHonHmmooo onHoMHod moHnaomCo anyone on» Had Hm>apmom wcfinmm unoosoo Hoamno mwax .Homwno mmsx .Hodmao .pnoocoo mmax .Hogmno madame no mmoz mmax no .xz pmmq afiouuonm no .non .woh GH\3 .noa .moa :H\3 .xz pom .uzrlm .x3 Hog .GHE o:nm quofipoom Mu .MB pom .Hn mum .xs god .9: mum .33 you .Hsrnm .33 non .mnn wwnm oHQEomGo Hank mammmdmmmm mow heapm oowob Hm>oH swam mfinmnwaonom .meoudpm Ham ow mono ma moHnEomam Hwaono Ham 2H ganmnonaoz mazmzmmHDomm wow wow new new :ofipHUSm hm mHmmmmmzmz mm mm :m noaoz mm mm om ooz mm mm mo so mmmosz mo .02 comaawo Comanwo Gomahmo Gomqmflpmaano moaommHn .m Goohoo .m Cochoo .m Goohoo oh Hfimm msHono‘mrdoz ashonu m.nosoz nHonoaomdno nacho unmadoo mwcmoocoo OOIWGOWGH dNMH-HOO MHUHOOCOU #6 Wmflpfimmdm SO «HHH Bmxwfl. 1" .1. ’ Una o v-A. 9" . A‘ .v. is pv ~v.. h.- u“. 1 ‘~ I!) c 1' pr (1.) r- 1&1 Aims of the Music Program Through the Years The pgrposeigf the founders 23 Concordia College. The purpose of the founders of Concordia College in 1891, as noted earlier in this chapter, was to provide an opportunity for the education of their sons and daughters in an environ- ment which would combine instruction in the principles of the Christian religion with all the secular branches in the var- ious courses offered in the school, foster spiritual and in- tellectual growth and an awareness of the riches in art, music and literature. 222 purpose gf’mugig‘ig the curriculum at Concordia College. Music has been a part of the curriculum at Con- cordia College since its first year of operation when classes in vocal music were scheduled free to all students. The study of instrumental music was also available to those stu- dents who were interested by the beginning of the third year (1893-91L) . In later years the aims and objectives of instruction in.music were defined by statements in the college catalogs. Quotations from the l903-0h and the 1907-08 catalogs indicate the purpose of training teachers to be able to teach vocal music, to direct chorus classes in the schools, and to serve as directors of church choirs and other singing organizations in the community. '1h2 Special pains are taken to prepare those who are to teach to be able to teach singing in their schools and to direct singing or chorus classes elsewhere. Special pains are taken to prepare those who expect to teach public and parochial schools that they may be able to give instruction in vocal music in their schools and to direct church choirs and other singing organizationsgu It should be noted that the quotation from.the 1907-08 catalOg shows a concern for providing competent leadership in the area of church music. Another source of evidence of that concern was found in the course outline for the study of singing in the 1919-20 catalog, quoted by Holvik, as follows: The singer is expected to know a number of sacred solos, and should spend at least a year, beforgScomr pleting his course, singing in a church choir. An examination of prOgrams by the Concordia Choir re- vealed that the repertoire performed by the Choir on its tours throughout the country has been predominantly sacred works. That fact seemed to indicate, in another manner, that one of the objectives of music instruction as part of the curriculum.at Concordia has been to provide leadership in the area of church music. Statements in the catalogs of Concordia College de- clared even more specifically the objectives of the music program.with special emphasis on the preparation of pro- fessional musicians and teachers of music, and an 2“ "Catalog of Concordia College," 22. cit., l903-0h; 1907-08. 25Holvik, 22. cit., p. on. 143 understanding and appreciation of music by liberal arts stu- dents. The following quotation from the 1937—38 catalog is such a statement: The Objectives of the School of Music are: 1. To provide Opportunities for regular liberal arts students to develop an understanding and appreciation of music; 2. To provide a major in music leading to the Bache- lor of Arts degree for liberal arts students who wish to become teachers of public school music, and; 3. To provide for students who desire to become pro- fessional performers and teachers, a comprehensive pro-2-6 gram in muSic leading to the Bachelor of Muelc degree. A paragraph by the Dean of Concordia College, Dr. Carl L. Bailey, was quoted earlier in this chapter to outline the aims and objectives of the college. It was necessary for music to have an integral place in the curriculum at Con- cordia College in order to accomplish one of the objectives which he mentioned in his statement, nWe want to uncover for him. thefstudent] the incredible riches of pleasure and en- lightenment which lie hidden in art and.music and literaturey Dr. Joseph L. Knutson, the president of Concordia since 1951, has outlined, at the conclusion of an article dealing with the purpose of Concordia College, those charac- teristics which a liberally educated Christian person should possess. Music in Concordia's curriculum is related to three of those characteristics, which are quoted as follows: 26 "Catalog of Concordia College,” 2E- cit., 1937-38, p. 87 0 ..‘ as. \ \lt um In our view, the liberally educated Christian person possesses the following characteristics: He accepts responsibility for the perpetuation of the best in our social and cultural heritage, and in particu- lar for the preservation of the Christian faith. He appreciates and loves that which is beautiful, in whatever form.he may find it. He is prepared to take his place as azuseful and pro- ductive member of an occupational group. The involvement of students in musical activity and the study of music were necessary for the achievement of those charac- teristics just quoted. III. THE HISTORY OF CHORAL ENSEMBLES AT CCNCORDIA COLLEGE The Purpose of Choral Ensembles in the Curriculum The preceeding sections of this chapter have outlined the purpose of the music program in general and the aims and objectives of the college, and have shown that those aims and objectives were reflected in the music program. In like many ner, the choral ensembles that have existed within the gen- eral program of music at the college have reflected the purpose of that program.and the aims and objectives of the College. The purpose of choral ensembles at Concordia Col- lege can be divided into three main areas: the cultural and educational purpose, the religious influence and missionary Ipurpose, and the purpose of influencing church.music. 27Joseph L. Knutson, "The Purpose of the College," 231341193 9}: Concordia Colle e, 22. cit., 1966, p. 7. lu5 Cultural and educational purpose. Mr. Rolf Espeseth, who was director of two of the choral ensembles at Concordia during 1946-47, was quoted in the 1947 edition of The Cobber, the college yearbook for that year, regarding the purpose of those ensembles, as follows: "To stimulate interest in and appreciation of the best available choral music of various periods, styles, and composers is one of the main objectives of both choirs. A similar statement was noted in the 1949 edition of the yearbook describing the Chapel Choir and the Girls' Choir. One of the prime objectives of the Chapel Choir and of the Girls' Choir is to sing choice and sometimes un- usual music from.the choral repertoire. In this way the singers come in contact with this music and will become good potential listeners. Over a period of time the music capacity of the public should then be improved to the extent that they canzgppreciate other than the usual "run-of-thedmill“ music. An examination of programs by the Concordia Choir over a per- iod of years supplied additional evidence that the purpose was being accomplished. Its accomplishment was commensurate with the objectives of the music program in general and those of the college, namely, to provide for the training of stu- dents majoring in music in preparation for careers as pro- fessional musicians and teachers of music, and to provide an opportunity for the development of understanding and appre- ciation.of music by liberal arts students. 28 The Cobber (College yearbook), Concordia College, Moorhead, Minnesota, 19h9. 1&6 Religious influence and missionary pugpose. Excerpts from an article on music at Concordia College in the 1953 edition of The Cobber provide statements indicating the value of choral music as a religious influence in the lives of the performers and listeners, as well as implying its missionary purpose. Should music have an important place in the Christian life? Can it bring more of the spiritual into our lives? Is it an effective and acceptable means of praise? Luther, could we question him directly, would answer an emphatic "yes" to these questions. . . Luther believed that man's every talent is given by God to be returned in praise for His salvation. The Lutheran church became a singing church. "A Mighty Fortress is Our God,“ became its battle song as it led the Protestant Reformation. Then, in the same sphfit, a tradition of great Lutheran music was founded, a tra- dition which found its fruition in Johann Sebastian.Bach, whose faith led him to create some of the greatest music ever written. Surely the part that music played in the lives and faith of these Egn is some indication of the value it can have for us. Many statements have been found in the sources of in- formation about choral ensembles at Concordia College throughout its history which seem to answer the questions posed at the beginning of the above quotation and to supple- ment the assumption of the last sentence regarding the reli- gious value of music. 'A few of those statements follow. Every official organization has its requirements. For the Concordia Choir the voice is tested out. The voice and the amount of training is not the only qualification. A true Christian character is also considered; in this way the choir becomes an organization of high rank. 29 The Cobber, ibid., 1953. 1&7 To a disinterested person the "missionary" value of the choir seems rather far-fetched--and yet we believe that by the help of God and singing in the light of His own blessing, it is accomplishing its great purpose. In the spring of 1937 . . . Director Monson counselled his singers for the last time: "The purpose of this choir is to spread the Word of God through song. We make this trip not merely to have a good time but to publish the Gospel.‘1 Winter, spring or summer the Cobber choristers have proclaimed God's praises to thousands of peOple every year. On their risers, or off, they have Ehrilled them- selves and others with the joy of singing. Dr. Brown had been in Norway in 1935 with the Con- cordia college band. This was his first trip abroad with the choir. I had to go with the choir to find out what it can mean to a college," he said . . . "Leading critics said our choir is a forcg in influencing music. It is also a spiritual force." 2 . . . But the highlight of every tour is not the new country and novel sights but rather the experience in concert when the joy of singing unto the Lord touches the heart of every singer as he realizes the power with which He uses the Shoir to work in the hearts of both singers and hearers. 3 A man of apparent strong faith, much of whose work has been in the field of religious music. . . Professor Christiansen feels that religion and music are two ab- stracts that enhance one another. Choir members who participate in programs like the Christmas concert share in an emotional experience that helps stimulate their religious growth, he says. "You 30 The Scout, gp. cit., 1929, p. 157. 31Rolfsrud,_qp_. cit., pp. l93-19h. 32Roy P. Johnson, "Brown Says Choir's Triumph Over- whelmin ," The Fargo Forum (Four-page newspaper on choir tour), July, 19h9), l. 33 The Cobber, 22. 21.3., 1955, p. 91. 148 can't put your Einger on it but it is an experience that is very real."3 Music is an international language, communication coming not from words, but from.experience and spiritual impact. Touring annually the Concordia Concert Choir under the direction of Paul J. Christiansen spreads its message throughout the country. . . The ideas and ideal for which Concordia stands are understood 9% others through the language of the Concert Choir.“ Holvik has been quoted earlier in this study in the chapter on St. Olaf College regarding the relationship of the music program to the religious program of the college. It was appropriate to quote him again at this point because he referred specifically to the Concordia Choir and Concordia College when he said: Proceeding to the music work in the church colleges we find that music continues to play its important role in the religious services. It is my belief, however, that the relationship lies deeper than that. . . . While studying the music in rehearsal our director was con- stantly trying to help us understand the content of what we were endeavoring to sing. It is certainly true that in any musical performance the heart must feel and the mind understand the music which is being performed. Without such feeling and understanding the performance would be a shallow one, indeed. This fact is one of my conclusions in evidence of this relationship; that the singing of sacred songs in the atmosphere of a church college becomes an actual form of worship as well as a musical performance. I do not mean to say that such a situation is not possible in a non-sectarian college or school, but I do maintain that in a church school the possibiigties of this relationship are greatly en- hanced. 3“TomLundquist, "Success of Concordia Christmas Con- certs Typical of Christiansen Accomplishments," The Sunday Fargo Forum, (December, 1962). 35 11.1.2 W! éEO £120, 19614., p. 166. 36Holvik,_c_>p. cit., p. 228-229. 1&9 It was obvious from.the number of sources selected for quoting (and from.an even greater number available) that it has been the purpose of choral ensembles at Concordia to ex- ert a religious influence upon those who have sung in the choral ensembles and those who have listened, and to carry out a kind of musical missionary work among singers and listeners. Purpose 2£.influencing church music. The statement by Dr. Brown, former president of Concordia, quoted earlier in this chapter, implied that the Concordia Choir was influenc- ing church music and choral music in general. In addition, the following statement quoted from.the 1926 edition of the college yearbook called The Scout, outlines the purpose of the choir to influence church music. The work of our choir is of a sacred nature. It aims to present Biblical themes in the highest musical form. It endeavors to present the great Lutheran hymns and chorals, because these carry a beautiful gospel message. The Lutheran belief and practice of spreading the gospel through song as well as through the spoken and written word, has developed songs of dignity, purity, and devo- tional earnestness which are in accord with the dignity and reverence of our church service. The choir has as its mission the work of reviving the interest of the people in these chorals. Singing them.in eight parts the choir interprets and brings out the gen- uine beauty of sacred music in a.manner that is not pos- sible otherwise. If from hearing and appreciating the old chorals, congregations are led to return more and more to this type OS hymns, the purpose of the choir will have been achieved. 37 The Scout, gp. cit., 1926, p. uh. 9. ,q l-H uL- 150 Examinations of available programs by the Concordia Choir and other ensembles at Concordia College throughout its history revealed that the repertoire performed was predomi- nantly sacred works and that it represented choral literature of a high calibre by reputable composers. Reviews by leading music critics who have evaluated the choir's performance on its tours substantiate the high level of artistic performance of fine repertoire that it has maintained.38 The extensive annual tours by the Concordia Choir have taken it to almost every section of the United States where many of its concerts have been sponsored by churches. Audi- ences at concerts have often included the directors of church and school choirs and those who sang in choirs, thus exposing them to the artistic performance of fine repertoire. Early Singing Activity at Concordia College It has been pointed out earlier in this chapter that instruction in music was a part of the curriculum.from the founding of Concordia College. Classes in vocal music were offered free to all students during the first two years according to announcements in the college catalogs for those years. Beginning in 1893-9h the statement, "Drill classes in vocal music are free to those taking instrumental music," seemed to limit membership in those classes as indicated. 38 “See What the Nation's Critics Are Saying About Paul Christiansen's Concordia Choir" (Publicity bro- chure), Moorhead, Minnesota. 151 Similar statements appeared in catalogs through 1906-07. The 1907-08 catalog had the following statement: "THE VOICE CLASS. A Class in vocal music is given free of charge to all the students in the school." The catalog for 1904-05 had used the terminology "School of Music" for the first time, and listed under that heading a new and more detailed outline of music courses and fees. In light of that fact, the state- ment quoted above from the 1907-08 catalog which indicated that a class in vocal music was free to "all the students in the school,n might have limited the membership in those vocal music classes only to those taking courses in the "School of " rather than having it open to the entire student en- Eusic, rollment of the college. Still another statement regarding voice class in the 1907-08 catalog indicated that, "All stu- dents in the musical department are required to take this class unless excused by the director." The areas of instruction listed in the 1903-Oh catalog added to the usual statements about vocal music that there would be instruction in ear-training and sight-singing, and that in the vocal music class the elements of notation would be taught in addition to the study of part songs and the singing of choruses. It may be concluded then, that there was instruction in vocal music free to all students during the first two years at Concordia College, that such instruc- tion was available thereafter to those students enrolled in instrumental music or other courses in the school of music, and that instruction in vocal music was required of all 152 students majoring in music unless excused by the director 8.39 beginning in 1907-0 Early Choral Ensembles The first group singing at Concordia was led by a young Norwegian Who was among the first twelve students to register on October 15, 1891. Because of his talent for singing, O. S. Dyrkoren was employed as the school's song leader a Professor John Dahle joined the faculty in the fall of 1892 to teach singing. Early in October of that school year he laid plans to perform Haydn's Creation in the spring by inviting "American, German, Swedish and Norwegian Lutherans who sing" to become members of the Concordia College Choral Class. A review of the performance in The Daily Fargo Forum of March 9, 1893, was quoted by Rolfsrud as follows: . . . the first presentation of a complete oratorio in this city. . . by the Concordia College Choral Class, assisted by the Union Orchestra and with Thomas Taylor Drill as baritone, Miss Esther Butler, soprano, and Willard B. Heath, tenor. . . a large meed of praise cannot but be rendered to Professor Dahle for his con- ducting of the choruses of some 75 voices, and for the whole evening's entertainment, which would have re- flected great credit on a much larger city and on musicians of much longer experience. . . The Armory was filled with a large and appreciative afigience, many of them.being countrymen of the director. 39‘ “Catalog of Concordia College,” 3p. cit., 1891-92 through 1907-08. LLOROlfSI'Ud, 220 Cite, p0 1860 153 No one was hired to replace Professor Dahle when he resigned in 189h to accept a position in St. Paul, Minnesota. Two years later, in 1896, Nilhelm.Rognlie was hired to direct vocal music. He had been a member of the first Commercial graduating class of 1893 and had returned to earn the Normal School diploma. During the first decade or so, group singing was quite informal. No permanent organizations were established be- cause attendance at the college by most students was for only a brief period of time. Small ensembles, often organized and led by students, did exist preceeding the school chorus and choir of later years. The trip to halstad on March 1, 1897, to perform an evening concert by the Concordia College Octette may be considered the first concert tour by a choral ensemble in the history of Concordia College. Miss Annette Peterson taught piano and led singing in 1897-98. She organized the Mendelssohn Quartette of four women, including herself, which sang at public functions in Moorhead and Fargo. She was succeeded by Hrs. H. K. Gebhart who taught piano and led singing until the spring of 1901. Sources provided conflicting information about choral activity during the next five years from l90l-02 through 1905-06. Rolfsrud states that no faculty member was provided as song director during that period, but then goes on to state that Andrew Onstad came to teach violin and voice in 15h the fall of 1905ou1 Bogstad, in his history of Concordia Col- lege through its first fifty years, describes the tenth anni- versary celebration on October 31, 1901, as follows: Miss Mollie Martinson, the music teacher at that time, entertained with instrumental music; Mr. Otto J. Morten- son with a vocal sohg; and an octet and a choir of stu- dents with singing. Rolfsrud reports that plans of a more ambitious nature were carried out in the 1905-06 school year under the direc- tion of Andrew Onstad, culminating in a performance of Haydn's Creation on June 12, 1906, at Moorhead Normal Audi- torium. He quotes the Moorhead News as saying, "Onstad di- rected the production, and Rupert's Orchestra of Fargo, with Kiss Norma Olson at the piano, provided the accompaniment."u‘3 J. P. Bohlin followed as director of orchestra and choruses in 1906-07, and a Women's Glee Club of twenty sing- ers and a Men's Chorus of thirteen singers were organized and directed by him. In the following year, 1907-08, it appeared that he directed a Girls' Glee Club of fourteen singers and a chorus class which met for rehearsal once a week. In the fall of 1908, after Bohlin's resignation, Mildred Romsdahl came to Concordia to teach voice culture, Alibid. AZRasmus Bogstad, Concordia College, Moorhead, Minne- sota, Through Fifty Years (Moorhead, Minnesota: Concordia College, lghl), pp. 55-59. u3Rolfsrud, loc. cit.; 22. cit., p. 187. 155 and directed ". . . the usual vocal groups at the school, and it is to be noted that each of the three debating and liter- ary societies boasted having its own choir that year." A Girls' Glee Club of twenty-three singers was active and di- rected by Miss Romsdahl in 1908-09. The first full-time director of music was Oscar I. Hertsgaard, who joined the faculty in the fall of 1909 and initiated a massed choral concert which became an annual music highlight in the area. As an outgrowth of his experi- ences as a student at St. Olaf, "he suggested to President Shurson that Concordia invite neighboring Lutheran church choirs to prepare a program of anthems and unite with Con- cordia groups in a "Grand Massed Chorus Concert."uu The two main sources of information about the organization and estab- lishment of the Concordia Choral Union, the college catalogs for the period 1909 through l9lu, and Rolfsrud's The Cobber Chronicle, were not in agreement. Statements in the college cata10gs seemed to indicate that the Choral Union was first active in 1909-10 with 160 singers giving two performances of F. Melius Christiansen's Sanggudstjeneste fig,[i in Fargo and Moorhead, and that the Choral Union with 200 singers per- formed the same composer's Sanggudstjeneste EQ-.l: together with church choirs in the Red River Valley, in a festival at the college in 1911-12 with additional concerts in the two uhRolfsrud, loc. cit.; "Catalog of Con- cordia College," op. cit., 1909-10. 156 cities during the school year.LLB However, according to Rolfsrud, the first Choral Union concert was held at Con- cordia in February, 1911, as follows: A band concert opened the event on Saturday evening. . . On Sunday forenoon, Hertsgaard rehearsed student singing groups and guest choirs together, and in the afternoon and evening the combined group sang to a full house. Most of the anthems were sung a capella, and the Con- cordia band accompanied a few. Such annual Choral Union pgncerts continued until America entered World War 1.4 No specific information about the activities of choral ensembles was available for the year 1912-13. The college catalog for l9l3-1h gave a general description of the Choral Union, and listed Oscar I. Overby as director of chorus and band. An account of the annual band concert and song festi- val on March 20 and 21, 1915, described three choral concerts on Sunday, with Hertsgaard directing the grand chorus of eighty voices in the morning and afternoon concerts, and Overby directing the evening concert when the cantata 3222 was performed by the college chorus. Thereafter, the annual Choral Union concerts involved the performance of cantatas and similar works. In 1915-16 222‘E2ly'gity'was directed by O. J. Hanson. Miss Mildred Romsdahl directed Isaiah by Patton in 1916-17, and Victor Liska directed St. Paul by #5 "Catalog of Concordia College,n 22. cit., 1910-11, p. In; 1911-12, p. 1h. uéRolfsrud, loc. cit.; 22. cit., p. 188. 157 Mendelssohn in 1917-18. The annual Choral Union festival was discontinued because of World war I, but Professor Rognlie organized a chorus of forty students and performed an Easter cantata at Trinity Lutheran Church in the spring of 1919. In 1919-20 the Choral Union had limited its membership to stu- dents and totaled about 100 voices. Under the direction of hiss Agnes Skartvedt, it performed The Seven Last Words 2f Christ on falm Sunday, March 28, 1920. Professor wilhelm P. Rognlie, who had organized the first band at Concordia in 1899, was again its director in 1919-20. He organized within the band a Band Chorus or Band Glee Club of sixteen members to add variety to concert pro- grams given by the band. There was also a Men's Chorus of eighteen singers and a Girls' Glee Club of approximately thirty singers under the direction of Miss Skartvedt. Miss Skartvedt had taught at Park Region Luther Col- lege before joining the Concordia faculty as a voice teacher in the fall of 1919. "While she continued training the Girls' Glee Club and the Men's Chorus at Concordia, she now set about organizing sixteen young men and women to sing anthems without accompaniment.u7 According to a term paper on the early history of Concordia Choir, it was she who originated the Concordia Choir in the fall of 1920 with eight women and eight men as members. It was later enlarged to “7 “Catalog of Concordia College," ‘22. cit., 1916-17, p. 1h; 1917-18, p. 16; Rolfsrud, 22. cit., pp. 179. 189; The Scout, 22. cit., 1920, pp. 23, 28-29. 158 fifty singers by Professor Paul H. Ensrud, who was its di- rector on its first tour which lasted one week following a concert at Trinity Lutheran Church on Sunday, harch 21, 1921, and included the towns of Perley, Hendrum, Ada, Fertile, Hitterdahl, Ulen, and Hawley, Minnesota. It was noted that with the establishment of the Con- cordia Choir and the enlargement of its membership, the Girls' Glee Club and the Men's Chorus soon died out. It was further noted that the Men's Chorus and the Girls' Glee Club were not organized "for the purpose of rendering concerts but merely as an instrument through which one could train his own voice," and that in the case of the choir, "it was not the intention to train these voices for public appearances but to develop a neucleus for the later choral union." Regardless of the intended purpose of their organization, the record of their involvment in public appearances seemed to indicate that they were destined to perform concerts.“8 The following paragraphs provide a summary of choral activity during the first thirty years of the history of Concordia College. Choral singing was not a continuous, organized activity with consistent faculty supervision. No permanent choral organizations seemed to be established dur- ing the first decade due to the fact that attendance at uaAriel R. holldrem and henneth L. R. Halvorson, "A History of the Concordia Choir 1920-1931" (Term paper, April 23, 1931), Concordia College, Moorhead, Minnesota, pp. 6-9. 159 college by most students was for only a brief peiiod of time. The first choral singing was informal group singing led by a student song leader. Small ensembles, often organized and led by students, were active from time to time. A more formal type of singing activity and instruction took place in the vocal music classes, which were part of the curriculum from the first year of operation, and occasionally in ensembles such as the College Choral Class which performed andn's Creation under the direction of John Dahle in 1893. That appeared to be the first ensemble organized under faculty direction. After a period of inactivity, a similar ensemble seemed to have been organized again in 1905-06 by Andrew Onstad when a second performance of the same oratorio was given, and again in the years 1909-11 under 0. I. herts- gaard when it participated with Lutheran Church choirs of the 1‘1 area in the Kassed Chorus restivals he established and con- ducted. That ensemble came to be known as the Choral Union. With Oscar I. Overby as director, it gave a performance of the cantata, 5222, in l9lh, which initiated a period of annual performances of cantatas or oratorios through 1917-18 when the choral festival was discontinued due to world War I. That did not mark, however, the complete cessation of such choral activity. Wilhelm Rognlie carried on the practice of performing larger works by organizing a chorus to perform an Easter cantata at Trinity Lutheran Church in the Spring of 1919. he also organized, during the year of 1919-20, a Glee Club within the membership of the band. The college yearbook 160 for 1920 contained a picture of the Choral Union and an article describing its history and activity indicating that it was again active in 1920, having performed The Seven Last ;§g£22 23 Christ with Miss Skartvedt as the director on Palm Sunday. The Choral Union was mentioned for the last time in the 1922-23 college catalog.1L9 The Women's Glee Club and the Men's Chorus were organ- ized and directed by J. P. Bohlin in 1906-07, and were active under faculty supervision for various periods of time during the next thirteen years. A Men's Chorus and a Girls' Glee Club, directed by Miss Skartvedt, were active in 1919-20, the year she organized the mixed choir of sixteen voices. As the choir became an established ensemble, the glee clubs and Choral Union ceased to be active. Rolfsrud's indication that O. I. Hertsgaard, who Joined the faculty in 1909, was the first full-time director of music leads one to believe that his predecessors either taught in other areas of the curriculum in addition to di- recting musical organizations or were employed on a part- time basis.50 The Development of Certain Types of Choral Ensembles A summary of approximately the first three decades of activity in the area of choral ensembles, including the “9 The Scout, loc. cit., 1920; ‘Catalog of Concordia College,” op. cit., 1922-23. 50Rolfsrud, 22. cit., p. 176. 161 history of the Choral Union, has been covered. The estab- lishment of a mixed choir in 1919-20 by Miss Skartvedt and Mr. finsrud has been mentioned. From this point on in this chapter of the study, the history of choral ensembles at Con- cordia College has been pursued by following the development of certain types of choral ensembles. Those types of en- sembles are: (1) Large ensembles of mixed voices,(2) Large ensembles of male voices,(3) Large ensembles of women's voices, and(h) Small ensembles. £22g2 ensembles 2§Dmixed voices. The Concordia (Con- cert) Choir. The Concordia Choir was the choral ensemble that had the longest history of consecutive, annual activity of the various choral ensembles that have been active at Concordia College. It was not inactive during any years be- tween its organization in 1920-21, and 1965-66. Its first director was Miss Agnes Skartvedt, who was succeeded by Paul H. Ensrud, the Rev. Walter Johnshoy, and A. O. Christenson as directors during the Choir's first three years of exist- ence. More consistent leadership was provided by the next two directors: Herman W. Monson, from.1923-2h through 1936- 37, a total of thirteen years; and Paul J. Christiansen, from 1937-38 to the present time. Under the leadership of those two men the Concordia Choir developed a reputation in the United States and abroad as one of the finest choirs.51 51Molldrem.and Halvorson, 22. cit., PPo 9. 12: 19: 5&3 ROlfSI’Ild, Op. Cite, pp. 190-1910 162 Paul Ensrud left Concordia to pursue further study, and in 1921-22 two men succeeded him as director of the Choir. The Rev. J. Walter Johnshoy, pastor of Olivet Lu- theran Church in Fargo, agreed to direct the Choir at the beginning of the school year and organized a choir of forty- four singers after auditioning fifty students. A few weeks later he left to take another charge. Mr. A. O. Christenson, a local bank official, then assumed the directorship of the Choir. He auditioned the singers again, and selected forty of them.to make the Choir's second tour to five towns in southern Minnesota, which began on April 8, 1922. The pro- gram for that tour was as follows: Hail to the Brightness . . . . . But the Lord Is Mindful of His Own If With All Your Hearts. . . . . . SabbathCall........... Intermission Silent Voice . . . (Tenor $010) . . . . . . F. A. Rissinger . . Mendelssohn . . Mendelssohn . . C. Kreutzer Intermission Today There Is Ringing . . . . . . F. Melius Christiansen The Promised Land . . . . . . . . . . . . A. S. Soderman Hm.... . ........F.SChU.bert 'Tis the Evening's Holy Hour . . . . . . . . . Beethoven Intermission Arise Shine . . . . Send Out Thy Light . Now the Day Is Over Landsighting . . . . . . Soprano Solo . . C. H. Gounod . . . Oscar Bor O O 0 Ed. Grieg 2 .... *.... Mr. Christenson continued as director the following year, 1922-23, and took the choir on a tour of thirteen towns S2Molldrem and Halvorson, 22. cit., p. In. 163 in northern Minnesota, between April 29 and.Kaf lO. Addi- tional weekend trips were made during tne school year to per- form other concerts. In the fall of 1923 Herman Monson took over the direc- tion of the choral ensembles and the band upon his return to Concordia to resume being head of the music department. When he had first taught at Concordia in 1915 to 1917 he was head of the music department and had been hired eSpecially to direct the band. He directed both the choral ensembles and the band from.1923 until 1929 when Professor Holvik agreed to take the leadership of the band. Professor Monson graduated from.Luther College in lth. During World War I he was a band director in the army. After the war, as a disabled veteran, he received musical training under government support at Louisville Conservatory of Music and McPhail School of Music in 1919. He then taught and supervised the music departments in Minneapolis high school during 1922-23 before rejoining the faculty at Con- cordia. He became increasingly devoted to choral music and arranged.many choral works for the Choir to perform. Some of his arrangements were published as the Concordia Choir Series. The first choir tours were to towns in Minnesota. Those in the spring of l92h and 1925 were extended to North Dakota, and in 1926 to Montana. The spring tour of 1927 was again confined to towns in Minnesota. The first extended tour of six weeks to the west coast was conducted in the‘ 16¢ summer of that year. It was the longest Choir tour within the United States during the history of the Choir and took the Choir to Seattle, Washington, performing twenty concerts between June 1 and July 10. The Choir gave fifteen concerts in North Dakota on its spring tour of two weeks in 1928, and visited towns in northern.Minnesota on a two-week tour in the Spring of 1929. In the fall of 1929 Professor Monson began a new practice. In order to give the smaller towns an op- portunity of hearing the choir he split it into two parts and toured throughout the territory surrounding éggghzagfioighgfizegggesgggions were called fThe Con- The first Concordia Choir Ensemble toured northwestern Minnesota the first week in November, 1929, in one choir bus and Mr. Monson's car. The second Concordia Choir Ensemble began a tour of northeastern North Dakota on November 15. After performing three concerts, the balance of the trip had to be cancelled due to heavy snow. ”The programs for both tours included a number of group songs by the choir and numr bers given by quartets, sextets, and individual piano and vocal solos." The annual spring tour in 1930 was made by the whole choir of forty-eight singers to eleven towns in northern Kinnesota. The following year, 1930-31, a Choir Ensemble of twenty-five singers performed about seven concerts on a tour 53Rolfsrud, loc. cit.; Molldrem.and Halvorson, 22. Cit., 19-20, LL50 of North Dakota that egan on November 10. No tour was made by the second Choir Ensemble because the tour by the first Choir Ensemble was so late in the fall. The annual Choir tour of 1931 took the Choir through Minnesota, Wisconsin, and Iowa to perform.twenty concerts in sixteen places. Moldrem and Halvorson conclude their history of Con- cordia Choir from 1920-1931, with the following summary. It is interesting to watch the growth of the choir. From a choir of sixteen voices it has grown to one of fifty voices. Its trips have been lengthening yearly. The first year it travelled but 125 miles, while in the last year it travelled about 2,000 miles. Its longest tour--that to the coast-~covered approximately 3,500 MISS. The quality of the choir has been steadily increasing. From.a practically insignificant organization it has be- come known as the "Pride of the Northwest" and is in tgfl opinion of many on par with the famous St. Olaf Choir. A Choir tour of two weeks' length planned for March of 1936 had to be cancelled due to hazardous travelling condi- tions caused by spring thaws. A second trip was then planned ‘which took the Choir to Canada for the first time. A six-day trip to Winnipeg with concerts enroute was scheduled for early June after Commencement.55 The year 1936-37 marked the end of an era for the Con- cordia Choir under the direction of Professor Monson. Rolfs- rud.makes these comments on his retirement: S”Molldrem and Halvorson, ibid., pp. us-su. 55 The Cobber, _9_p_. cit., 1937, p. 138. 166 . . . He had taught 16 years at Concordia, travelled 35,000 miles with the choir, most of the time with stu- dents driving the busses and often through areas where a stretch of gravel was a welcome sight. Belwin of New York had published his Concordia Choir Series, and he left behind.him.the music for |‘Hymn to Concordia," the words and music for “Concordia Forever." He now re- linquished his choir to a young and talented musician who would bring to pass the prophetic words written in 1926 in the Harvey Herald. The Harvey, North Dakota, Herald applauded them: ”Friday evening's concert was to most people present like breathing fine, high mountain air. Let us be grateful, in spite of all that is said of Nain Street, that such consummate art as Prof. Monson's chorus exemplified is still possible. And may it not be safely predicted that from these brilliant beginnings, the Concordia Choir-- which has found the material for its ranks from the farms and little towns--may yet reap its laurels from far and wide and at some future thme'be heard with the same de- gree of respectful attention within the concert halls of Europe's musical centers as they argénow being heard in the prairie towns of North Dakota.” In the fall of 1937 Professor Monson's successor, Paul J. Christiansen, Joined the faculty of Concordia College as head of the department of music and director of the Concordia Choir. He was twenty-two years of age. His study of music began in grade school with.his father in piano and music theory and composition. That education was continued through three years of high school and three years at St. Olaf Col- lege, where his father, F. Melius Christiansen, was head of the department of music and director of the St. Olaf Choir. After receiving his Bachelor of Music degree from St. Olaf, he pursued graduate study in composition under Norman Lock- wood at Oberlin Conservatory for two years and then studied SbRolfsrud, 92. cit., pp. 192 -193. 167 orchestral composition and conducting at Eastman School of Music where he received his liaster of Iiusic Degree in 1939. While on leave of absence from Concordia College during the spring and summer of 19h6, he studied and composed in New York City. Adams State College, Alamosa, Colorado, awarded him an honorary doctorate in 1966 in recognition of his con- tribution to choral music. He is known as a composer for choir and for orchestra, as well as for his success as a choral conductor and the Paul Christiansen Choral School sessions he had conducted each summer at various places throughout the country.57 There was no information available about a choir tour or other choir activities during 1937-38, Paul Christiansen's first year as its director. In 1938-39, the Choir made numr erous short trips to perform.in neighboring cities and a seventeen-day tour in April of Minnesota, Wisconsin, and Illinois. An eighteen-day tour was conducted in March and ‘April of l9h0 through.Minnesota, Iowa and Wisconsin involv- ing twenty-one concerts. Again in l9h0~hl, the Choir made weekend trips for appearances in addition to performances on campus and a twenty-three day tour of the midwest. Until that time, few tours had exceeded two weeks in length. 57 “Story B, Concordia Choir,” Press Book; fflhe Concordia Choir iggg, The Year of the European Tour, Con- cordia College, Moorhead, Minnesota, p. ”I; Rolfsrud, loc. cit.; Lundquist, loc. cit.; ”The Concordia Choir, ZFaul.J} Christiansen, Director, (Publicity brochure), Con- cordia College, Moorhead Minnesota, 1959, 1966. 168 Rolsrud's book, The Cobber Chronicle, contained the following information about developments under Christiansen. . . . Choir aspirants at Concordia quickly learned that if they survived initial tryouts and became one of the sixty selected they must then rehearse daily from.S to 6 in the afternoon. Plus this, the new director required 'woodshedding" twice a week--"part practice" led by a student section leader. The annual concert tours had lengthened to 23 days when World War II brought an end to trips for the dura- tion. So the choir sang at home for annual Christmas concerts, the Concordia Music Hour broadcasts, home- coming, commencement and other local appearances. But with peace declared, the choir planned for its resumption of tours, and the choristers returned early during Christmas vacations for extra practice. This shortening of Christmas vacations for choir members be- came customary, sometimes deducting as many as 5 days from their time at home. By 19h8 there were hOO aspirants trying out for choir, a number which steadily increased with the college on- rollment. As tour succeeded tour, the length increased to nearly four weeks and brought Concordia's singigg ambassadors to every section of the United States. The choir tour for the year l9hl-h2 took the Choir to North Dakota and.montana for sixteen concerts January 31 through February 15. As indicated in the above quotation, no tours were planned for the years 19h3 through 19h5 during World War II. The length of tours increased to an average of three weeks or longer beginning with the 19h6 tour during January and February which involved over twenty concerts in 58 The Cobber, 22. cit., 1939. p. 88; 191m, Pp. 7b., 7537ROISPUC1, 100. C1t.‘ 22. Cit.’ p. 191+. 169 North Dakota, Montana, Idaho, Oregon, washin Cton, and British Columbia. As the years passed, the extensive tours took the Concordia Choir to every section of the United States and most of its major cities. Shorter, weekend trips were con- tinued to perform concerts within distances determined by the time available for travel during those periods. The time for the annual choir tour changed from spring to a period cover- ing the later part of January and the beginning of February. EurOpean recognition of Concordia Choir, predicted in 1926 in the Harvey, North Dakota, Herald, came on its tours to Norway in l9u9 and to Europe in 1958. On October 22, l9h7, the Board of Directors of Concordia College accepted an invitation from.the Nordmanns Forbundet for the Concordia Choir to make a trip to Norway in the spring of l9h9. A committee was elected to assist the administration of the college in making plans for the tour, and tentative arrange- ments were made for passage on a steamship for the choir members, with each one expected to pay one-half his fare, a possible two hundred dollars. An effort was made to secure 150 guarantors who would be willing to accept liability of one hundred dollars each in order to protect the choir in case of unusual expense. Professor L. A. Moe was the busi- :ness manager for the tour to Norway.59 59Rolfsrud, loc. cit.; l'Norway Tour,” The 1?” mg oForum and.MoorheadDaily News, (No date or page given). 170 The eight-week tour to Norway began when the choir members wrote semester examinations three weeks early, then entrained for New York City, singing concerts in eight cities enroute. Of the fifty-nine singers aboard their ship, the Stavangerfjord, the number present for daily rehearsals dur- ing the voyage was reduced by the affects of rough seas. However, the Choir gave a benefit concert during the trip for Norwegian sailors. The first and major concert in Norway was in the auditorium at the University of Oslo to an audience of about 800, which included ". . . the officials and bluebloods and the severest critics in Norway. Seated in the center aisle on chairs of state were Crown Prince Olav and Crown Princess Martha, and their daughter, Princess Astrid."60 Concerts were given in thirty cities throughout Norway before the Choir returned to the'United States aboard the same ship. Before returning to Moorhead, the Choir gave concerts at Con- stitution.Hall in Washington, D. C., and at Brooklyn, New York. The annual choir tour for 1958 was a twenty-five day tour to the west coast. For the seven-week.European tour in the summer of 1958, Governor Orville Freeman proclaimed the Concordia Choir the Minnesota Centennial Ambassadors to Europe. Seasickness was avoided on that tour by travelling on a chartered eighty-passenger Trans-ocean Airlines Con- stellation. The sixty-five singers were accompanied by 60R01f8md, 920 Cite, P0 1950 171 President and Mrs. Joseph L. Knutson, Director and Mrs. Paul J. Christiansen, Music Coordinator Kurt Nycisk and his wife, Dr. and.hrs. A. E. Hansen, and Dr. David Berge (choir physi- cian) and his wife. The plane left from Hector Airport in Fargo on June a. Engine trouble caused a six-hour delay at Shannon, Ireland, that night. The Choir arrived in Norway the next morning and sang a command performance before King Olav and Princess Astrid in Oslo's new Town Hall that same evening. Thirty-two concerts were given to large audiences during the four-week tour of Norway. Eight concerts were given in the leading cities of Holland, at the American Pa- vilion at the Brussel's World's Fair in Belgium, and five concerts in West Germany. In Vienna the Choir sang on the first day of the Vienna Music Festival, where 116 choirs from eight countries were to perform. A Vienna music critic re- ported in a newspaper article the next day: The first day of the music festival in Vienna brought us a sensation we shall especially remember. Never be- fore in Vienna have we heard a choir sing in such a musical way. Very conorous and homogenous. Seldom be- fore have we heard a concert that from the first to the last tone was so perfectly sung. There was mthing more to wish. It is impossible to sing more artistically. The trip home was not uneventful. Austrian officials ob- jected to an American plane coming to take the American stu- dents home. After American diplomats interceded, permission was finally obtained and the chartered plane departed at 1:30 a.me, July 23, and arrived at 9:30 p.m. that evening at the Fargo airport where 300 relatives and friends were 172 waiting to welcome the Choir.61 At home the Choir has been active in performances on campus for chapel services, the annual Christmas Concerts, homecoming concerts, at the annual spring festival for high school and church choirs, and on other occasions.62 The repertoire performed by the Concordia Choir has been predominantly sacred, and usually has been performed without accompaniment and from memory. The 1959 college yearbook states that, ”Weekend tours tested reaction to a group of songs from.the musical "Oklahoma." This type of music was tried for the first time this year on a concert program.” Secular music of a different type was performed on concert tours of other years, such as William.Schuman's I'Prelude for Voices," in 1956; "Five Folk Songs,‘ by Brahms in 1958 on the tour to Norway; the 'Liebeslieder Waltzer, Opus SZ,‘ by Brahms in 1959 and 1960; Samuel Barber's 'Let Down the Bars, 0 Death," in 1960; and the "Five Flower Songs," by Benjamin Britten, in 1963. The Concordia Choir has recorded nine high fidelity-monaural records and three stereOphonic records, which are also available on stereo- ‘phonic tape, on the Concordia Records label available from the college and through record dealers.63 61Rolfsrud, 22. cit., pp. 196-198. 62'Molldrem.andlialvorson, 92, cit., pp. 3h, 35; Roy E. Stahl, Personal interview. 63 The Cobber, gp. cit., 19u8, p. 1N6; 1959, p. 3b.; 'The Concordia Choir" (Printed programs), 173 Accurate information about the rehearsal schedule of the Concordia Choir during its early years and on through the period during which it was directed by Professor Monson.was not available. At the time the Choir was first organized by Miss Skartvedt, the Women's Glee Club rehearsed twice a week. One might assume from that practice that the Choir also re- hearsed twice a week during the first years. The catalogs for l923-2h and 192h-25 indicated that the chorus, under the direction of Professor Monson, rehearsed three times per week. If that reference to a chorus meant the Choir and not another ensemble or class, another assumption might be made that the Choir had now increased its rehearsals to three per week. A quotation from.2hg Cobber Chronicle made earlier indicated that the schedule of rehearsals when Professor Christiansen became director of the Choir in 1937-38 included daily rehearsals of the full choir plus two part-practice rehearsals per week led by a student section leader. That rehearsal schedule has been followed through l965-66.6u Choir members were selected through auditions with the direc- tor to fill vacancies resulting from.the graduation of choir Concordia College, Moorhead,, Minnesota, 1956,1958-60, 1963, I'The Finest in Choral Music: Concordia Choir Re- cordings'I (Publicity brochure), Concordia Records, Concordia College, Moorhead, Minnesota, pp. l-16. 6u-‘Molldrem.and Halvorson, 10 c. cit., ”Cata- log of Concordia College," [_p.‘_%t. ., 1923 23-2h, pp. 7, 15, 33; l92k-25, pp. 6, 15, 33; Roy‘E.S m1, Personal interview. 174 members. They were required to study voice and to maintain a high level of scholarship which would allow them.to be away from.campus for extended tours and other performances without adverse affects upon their academic work in other areas of study. Sixteen singers made up the membership of the first Choir organized and directed by Miss Skartvedt in 1920. Be- ginning with its second year its membership has varied from about forty singers to approximately sixty-five singers in l965-66.65 The Second Choir and the Chapel Choir. The Second Choir, established in 1925-26 and sometimes called The Chorus or The Mixed Chorus, was active for at least twelve of the next fifteen years. During the 19hl-h2 school year the Chapel Choir was organized, which carried on the same type of choral activity under that name throughout the remaining years in the period covered by this study. The 1926 edition of the college yearbook, Th2.§ggg§, shows a picture of the Second Choir during its first year of activity. About fifty singers were members of the Second Choir during that year, and it is assumed that Professor Henson, who was the director of the First (Concordia) Choir, 65Roy E. Stahl, Personal interview; “Cata- log of Concordia College,'.gp. cit., 1920-21 through 1965-66; The Scout, 2p. cit., 1926, 1929; The (groper, pp."c'_1§_".,"1932, 19357 1937, 1939. 19m, 1914.3, lam;- 175 was the organizer and director of the new ensemble. The 1925-26 college catalog contained the following two state- ments regarding the purpose of the Second Choir: . . A second choir is organized every year partly to train voices for the first choir and partly to extend the benefits of systematic choral training to a greater number. ENSEMBLE DEPARTMENT Choirs A first and second choir are maintained at the college. The first choir is a vested, a capella organization and nwmbers about forty; the second choir is maintained to give further training to those gho are not qualified for membership in the first choir. Information was not available regarding the activity of the Second Choir, by that name or either of the others mentioned above, during the academic years 1926-27, 1927-28, 1931-32. Information was available indicating that the Second Choir was active during twelve of the years between 1925-26 and l9hO-hl. There is also evidence that Professor Ionson was the director of the Second Choir during 1928-29. In the following year, 1929-30, Miss Clara B. Duea be- came its Director. Under her direction in 1930-31, the sixty singers performed in a Christmas concert, according to an article in the student newspaper, The Concordign. She is mentioned again in a February, 1933. edition of that news- paper, as the director of that choir with a membership of fifty-four singers. The 1935 edition of the college yearbook The Cobber, contained the information that the Second Choir, 66 The Scout, l'10c. cit., 1926,1929, "Catalog of Concordia College,” loc. cit., 1925-26. 176 under the direction of Miss Duea, had staged the operettas The Mikado in the spring of l93h, and E;.§am§a Pinafore during 193u-35. The membership in l93h-35 was seventy-one singers. During the years 1936-37 and 1937-38, catalogs indi- cated the existence of a second mixed choir called The Chorus in addition to the Concordia Choir, and in 1938-39 through l9hO-ul, called The Mixed Chorus. It has been assumed that these ensembles were the ”Second Choir'l for those years due to the fact that they carried on the same type of choral activity as the Second Choir of preceeding years. Accurate information indicating the director during 1936-37 and 1937- 38 was not available. Mr. Engebret Thormodsgaard, Instructor in Concordia Conservatory of Music, was the director in 1938- 39. During that year the Second Choir performed on WDAY Radio station on the Concordia Sunday Afternoon Music Hour and sang Grieg's opera, gig! Trygvasson, with.a forty-piece orchestra on Norse Independence Day, May 17. In l939-h0, the Mixed Chorus directed by Miss Duea, performed.Eli1ah, and in the following year, l9hO-ul, she directed the 103 singers in the Mixed Chorus in a performance of Mendelssohn's EIEB g; 67 Praise 0 67 The Scout, $23, gi3.; The Con- cordian.(5311ege student newspaper), Concordia College, Moor- jhead, Minnesota, Oct. 10, 1930; Dec. 5, 1930; Feb. 1, 1933; The Cobber, 23. gig., 1935, p. Inn; 1939. P. 91; 19hl, p. 76; Catalog of Concordia College," 22. Gite; 1936‘37 through 19140-141. 177 Programs of concerts by the Second Choir were not available. References to the type of repertoire performed by the Second Choir, its rehearsal schedule, and its perform- ances were few. It was concluded from.that small amount of information available that the Second Choir rehearsed three times per week, performed in at least one annual concert, and performed both sacred and secular music with the amount of 68 sacred music predominating. There may have been an inter- ruption of activity by the Second Choir during the first half of the l9h1-h2 school year, because there was no information about it for that period of time. The Chapel Choir was organized in January of l9h2 with C. M. Running of the art department as its director. The Chapel Choir carried on through 1965-66 the same type of choral activity as that which had been established by the Second Choir during an earlier period. Fifty-two singers sang in Chapel Choir during 19h2-h3, but there was no inform- ation about its activity or its director during the following two years l9h3-hu and l9uurus. It may have been necessary to discontinue the Chapel Choir or to continue its activity as a ‘women's ensemble. That was the case in the next year, l9h5- A6, as indicated in the yearbook for that year by the follow- ing quotation: The chapel choir, under the direction of Rolf Espe- seth, is composed entirely of women's voices. Prior to 68 The Cobber, 22. 933., 1932: 19353 19373 1939; 19u1; 1943. 178 the war it was a.mixed chorus but the departure of men to the armed forces resulted in a women's chorus. The same source contained the additional information that in the same year, 19kS-u6, there were sixty-one singers in the ensemble, which rehearsed daily with additional sectional re- hearsals, performed for chapel, local churches and schools, at the Veterans HOSpital in Fargo, in the annual Christmas concert, and made short weekend trips to neighboring towns for concerts.69 There was a definite record of activity by the Chapel Choir from l9hS-h6 through 1965-66. In 19h6-h7, with the pre-war percentage of male students on campus restored, two Chapel Choirs were in existence: one a mixed ensemble of approximately sixty voices, and one a women's choir with forty members. The 19h? yearbook quotes the director of the Chapel Choirs, Mr. Espeseth, regarding the purpose of the Chapel Choirs as saying: To stimulate interest in and appreciation of the best available choral music of various periods, styles, and composers is one of the main objectives of both choirs.70 In l9h7-h8, however, there was only one Chapel Choir of mixed voices again. The ensemble of women's voices became known as the Women's Choir. The directors of Chapel Choir were: Earnest N. Harris, 19h7qh8 through 1950-513 Donald JPrindle, 1951-52 through 1953-5H3 Mr. Harris again, 195u-55 69 The Cobber,'gp. cit., 19u6, p. 118. 70 The CObber’ 220 Cite, 1914-70 179 through 1959-60; Randolph F. Jones, 1960-61 and 1961-62; Elliot R. Wold, 1962-63; Paul Dove, 1963-6h; Gordon H. Carl- son, l96h-6S and 1965-66. Membership in Chapel Choir during the years l9h7-h8 through 1965-66 varied from.fifty-seven to ninety singers. Daily rehearsals, five days per week, appear to have been the practice; some years there were five full-choir rehearsals plus additional sectional rehearsals, and other years three full-choir rehearsals and two sectional rehearsals. Per- formances by the Chapel Choir included chapel services, the annual Christmas concert, concerts on campus and in the communities of Moorhead and Fargo, and short trips for per- formances in other cities. The repertoire performed by the Chapel Choir was predominantly sacred.71 The Cobber Choir and the Oratorio Choir. Two other choral ensembles of the type discussed in this section of the chapter were active for only short periods of time. They were the Cobber Choir and the Oratorio Choir. The Cobber Choir, directed by Mr. Harris,was a.mixed choir of sixty-four singers from.the freshman class. It was active during the years 1955-56 through 1957-58, and performed in the annual Christmas concert. No information was available regarding the rehearsal schedules or the repertoire of the Cobber Choir or the Oratorio Choir. 71 "Catalog of Concordia College,"gp. cit., l9u7-h8 through 1965-66; __ The Cobber, 22. cit., 180 The Oratorio Choir was active during 1958-59 under the direction of Wendell D. Buckley. The following quotation from the 1959 yearbook seems to indicate that it may not have been active throughout the entire school year: Mr. Buckley's Oratorio choir, cpen to any member of the student body, acquainted participants with longer, heavier choral works during the time it practiced before being squeezed out by the Norseman and the musical. The Oratorio Choir was active again under the direction of R. F. Jones in 1960-61 and 1961-62. Excerpts from.an article in the 1961 yearbook supplied the following information about its organization and activities: The Chapel and Oratorio Choirs under the direction of R. F. Jones participated in the Christmas Concert, sang in chapel and for Lenten services in nearby churches. Together with this full load of activities, time was spent in presenting the annual Spring Concert at Trinity Lutheran Church. . . Meeting in the Chapel of Old.Main . . . the Oratorio Choir has about 120 members some of whom also belong to Chapel Choir. All the members had to undergo stiff try- outs at the beginning of the year. Through the experi- ence gained in ghese choirs many advance to the ranks of Concert Choir.7 It was concluded from the above quotation that the repertoire performed for those concerts was sacred. Large ensembles 3;,male voices. The memberships of the first male choruses organized at Concordia College were not large and, in that sense, they might have been considered 72 The Cobber it 1 ‘ 9.2. c . 957 p. 151 1958. pp. 76-77; 1959. p. 37; 1931. 5p. 103:I0%; 19é2. pp. i16-117. 181 in another section of the chapter which covers small ensem- bles. However, those first male choruses seemed to mark the beginning of a rather sporadic history of men's choruses at Concordia College and, therefore, were included in this sec- tion of the chapter. Rolfsrud.mentions that, "Professor J. P. Bohlin started the first regular organizing of mixed choruses, boys' and girls' glee clubs, in 1906." Later, in a section of his book devoted to the deve10pment of vocal music at Concordia, he refers specifically to the Male Chorus directed by J. P. Bohlin and shows a picture of that chorus of thirteen men and its director. He also quotes a newspaper article from.the Moorhead.§gg§ which indicates that the Male Chorus must have performed in at least one concert before the public during 1906-07. There was no available information about any other performances during that year. The next indications of an active men's chorus were in Rolfsrud's account of the development of the first choir, and in.Molldremls and.Ha1vorson‘s account of activity by glee clubs at the time the first choir was organized. They relate the fact that Miss Agnes Skartvedt Joined the Concordia fac- ulty as a voice teacher in the fall of 1919, that she con- tinued training the Girls' Glee Club and the Men's Chorus at Concordia, and that the Men's Chorus had a membership of eighteen men. The statement that Miss Skartvedt continued training a.men's chorus implies that such a choral ensemble 182 was active the preceeding year, or years. There was, how- ever, no information available to support such an impli- cation. During the same year, 1919-20, Rolfsrud tells of another male chorus organized within the membership of the band: I'Director Rognlie, ever the innovator, had originated a Band Glee Club of 16 voices whose songs varied the concert program.“ Women students were not often.members of the band during its early history and several references to the ”bands- men" and the "band boys‘ during the years 1918 through 1920, led to the conclusion that the Band Glee Club of 1919-20 was a male chorus; not a mixed choir or a.women's chorus.73 There was no record of activity by a.male chorus during the next fourteen years, from 1920-21 to l93h-35. In 193u-35, however, there was a male chorus directed by Enge- bret A. Thormedsgaard, a voice instructor, as indicated by the college yearbook for 1935. That male chorus of approxi- mately no singers, was organized in late March or early April after the Choir's tour, and planned a spring concert. During the three-year period of 1935-36 through 1937-38, there was no record of a male chorus at Concordia College. In 1938-39, a Male Chorus was again active, under the direction of Mr. Thormedsgaard, taking part in performances on the Concordia Sunday Afternoon.Music Hour over radio station‘WDAY. 73Rolfsrud, pp. cit., pp. 175, 179, 187, 189; Molldrem and Halvorson, gp. cit., pp. 6-7. 183 After a period of fifteen years when there was no male chorus at Concordia, the Norsemen male chorus was organized in 1953-5#. under Robert Prescott, its student-director. The thirty members of the Norsemen made several public appear- ances during the year, including chapel services and perfor- mances for other local organizations and one out-of-town concert. In l9Sh-SS, the thirty-two Norsemen were directed by Keith Taft, also a student. Performances included pro- grams for Mission Crusaders, Cobber Wives, Luther League Day, and chapel programs. The Norsemen's performances for 1955-56 included appearances in chapel services and at local churches and student gatherings. They performed under the direction of a student whose name was not recorded. Although the col- lege catalog listed a Male Chorus for 1956-57 and 1957-58, there was no mention of its existence, its performances, or the names of its directors for those years in any other sources of information. It was therefore concluded that there was no male chorus active during those two years. The following quotation from the 1959 yearbook supports that conclusion as well as describes the revival of male chorus activity for 1958-59: Student director Larry Fleming revived the Norsemen this year with enthusiastic campus approval. The men's chorus gave remarkable performances at chapel and at the Christmas Concert. During the Winter Carnival the fifty members appeared with the royalty on television, sang at the coronation and at the variety show. A picture of the Norsemen in the same yearbook showed fifty- nine members. The Norsemen had the same student director, 184 Larry Fleming, in 1959-60. An article in the 1960 yearbook described the chorus as having about sixty members, but a picture showed only twenty-nine members. After another inactive period of three years, activity by a.male chorus was resumed in 1963-6u by an ensemble called The Northlanders, under the direction of Paul Dove. The l96u edition of The Cobber described its activity in the following paragraph. Women's Chorus and Northlanders, formed from Oratorio Choir, are open to students who like to sing. Partici- pating in the annual Christmas Concert and singing in Chapel are among the activities of each. Spring finds each chorus diligently practicing for their spring con- cert. There was no mention of a male chorus during l96h-65 in any available sources. Gordon H. Carlson directed a Men's Chorus of 33 voices during 1965-66. Rehearsals were held two eve- nings per week for a two-hour period in which a sectional re- hearsal and a full-chorus rehearsal were scheduled.7u The recorded history of ensembles of male voices at Concordia College was not one of continuous activity over a period of many years, nor was it always organized and di- rected by members of the faculty. During the fifty-nine-year period between 1906-07, when the first Male Chorus was organ- ized by J. P. Bohlin, through 1965-66, when a.Men's Chorus 7“ The Cobber, i ' ° ____ ‘22..g_§. 1935 P- 1&5 1939. 195u. P. 10;; 198?. p. 993 1936. P. 1203,1959.,PP0 36-573 1960, p. 92; 196k, pp. 168-169; ”Catalog of Con- cordia College," 92. cit., 1953-5h. l96h-6S; 1965-66, p. 129; Roy E. Stahl, Personal interview. 185 was directed by Gordon H. Carlson, there was a record of only eleven years When.male choruses were active. During six of those years they were directed by faculty members and during the remaining five years they were directed by student di- rectors. Performances included chapel services, radio and television programs, spring concerts, the annual Christmas Concerts, appearances in local churches, numerous perfor- mances for various activities on campus and one trip for an out-of-town concert in 1953~Sh. There was no definite in- formation available regarding the repertoire performed by the various male choruses. It might be concluded that from the variety of occasions for which.the choruses performed, their repertoire included sacred and secular choral works. The only available information about rehearsals was that for 1965-66, when two two-hour rehearsals per week were scheduled during the evening hours; each included a sectional and a full-chorus rehearsal. The procedure for selecting members and membership requirements were not stated in any of the available sources of information. The number of singers in the male choruses varied from thirteen, sixteen, and eighteen in the first three male choruses organized, to approximately thirty, forty, and sixty singers in other male choruses that were active. Large ensembles ngwomen's voices. The organization of the first Women's Glee Club at Concordia College paralhfled that of the first Male Chorus described in the preceding 186 section of this chapter. In 1906-07, the same year that he organized and directed the first Male Chorus, J. P. Bohlin directed a Women's Glee Club of twenty singers. The follow- ing year, 1907—08, the Girls' Glee Club was active under his direction with a membership of fourteen singers. Miss Mfldrai Romsdahl became its director in 1908-09, with an increased membership of twenty-four.75 Information regarding the re- hearsal schedule or performances by those first three women's choruses was not available. For the next ten years, from 1909-10 through 1918-19, available sources made no mention of any activity by a.women's chorus. In 1919-20, however, Miss Skartvedt directed a Girls' Glee Club of approximately thirty voices which rehearsed twice a week. The Glee Club made its first public appearance at the Reformation and Foundation Day exercises in the College Auditorium, October 31, 1919, and later in the year performed in several programs in Moorhead and Fargo, including the annual meeting of the Northwest Minnesota.Educational Association held at Moorhead Normal, and a spring concert.76 A second, longer period of years when there was no in- dication of activity by a women's chorus covered the twenty- five years from.1920-21 through l9hh-h5. It was mentioned in an earlier section of the chapter that the activity of choral 7SRolfsrud, loc. git. 7‘5 The Scout, 22. cit., 1920, p. 21; Moll- drem.and Halvorson, loc. cit. 187 ensembles was somewhat curtailed during World War II due to the fact that a number of men left the campus to serve in the armed forces. As a result, in l9hS-h6, the sixty-one singers who composed the membership of the Chapel Choir were all women. The next year, l9h6-h7, there was again a Chapel Choir of forty women's voices called the Women's Choir, in addition to the reestablished Chapel Choir of mixed voices. Mr. Rolf Espeseth was the director of those groups during both l9hS-u6 and l9h6-h7. Thus, the necessity of having a Chapel Choir of women's voices in l9hS-h6 seemed to have re- established a large ensemble of women's voices at Concordia. By l9h7-h8, the Women's Choir was no longer considered a division of the Chapel Choir, and it continued its activity under various directors through 1955‘56. During l9h7qh8, the Nemen's Choir of thirty-one singers rehearsed daily under the direction of Mr. Earnest Harris, and sang repertoire that was predominantly sacred, three-part arrangements for unaccompanied women's voices. It performed for chapel and the annual Christmas concert, and made other appearances on campus. Mr. Harris continued as director of the Girls' Choir in 19h8-h9. In addition to the Christmas concert, performances included an annual spring concert with the Chapel Choir, occasional appearances and broadcasts and several weekend trips. Membership was approx- imately forty women. The catalog for l9h8-SO listed the women's ensemble in l9h9-5O as the Ladies Chorus, and the 1950 yearbook listed it 188 as the Women's Choir. According to the yearbook, the forty singers had two directors during that year: Mr. Robert Huhn, first semester; and.Mr. Richard Hoffland, second semester. It continued to participate in the Christmas concert and various other campus and church events singing three-part choral works without accompaniment. Mr. John.Moan, instruc- tor in Concordia Conservatory, directed the forty-one singers in Women's Choir in 1950-51. A spring concert performance with Chapel Choir was indicated in addition to the usual ap- pearances at chapel and in the Christmas concert. Mr. Donald Prindle became the director of Women's Choir for the next two years, 1951-52 and 1952-53. In 1951- 52, the yearbook described the group as having twenty-five members who sang "a capella in three parts" in the Christmas concert, at chapel services, and in a spring concert. The membership increased to approximately forty singers in 1952- 53, with rehearsals held twice a week on Tuesday and Thurs- day. Performances that year were at chapel services, for Lenten services within the community, a Joint concert with Chapel Choir on April 17, and a performance of two cantatas by Bach with the choir of First Lutheran Church. The 1953 "a training group year book indicated that Women's Choir was for participation in the chapel or concert choir." Mr. Harris was again the director of Women's Choir in 1953-5h. and rehearsals continued to be scheduled twice a week. Membership increased to fifty-three singers, and HC is at ac Co Ii0 H0 189 performances during the year were the same. Mr. Harris di- rected the Women's Choir in the same types of performances described for preceding years in 195h-55. with the exception of the spring performance of Bach cantatas with the Chapel and church choirs. Membership was forty-eight women, and the repertoire listed was mostly sacred choral works. The col- lege catalog for 1955-56 listed a Ladies' Chorus, but since none of the other sources of information indicated an active women's chorus for that year, it was concluded that there was none.77 For seven years, from.19SS-S6 through 1961-62, there was again no large choral ensemble of women's voices active at Concordia College. The beginning of the fourth period of activity by a women's chorus during the history of Concordia College was indicated in the 1963 yearbook by pictures of the Women's Chorus directed by Mr. Elliot R. Wold, but there was no information regarding the number of singers in the chorus or performances during that year, 1962-63. A statement from.the 196M yearbook which has been quoted earlier indicated that the Oratorio Choir which ex- isted in 1960-61 and 1961-62 had been divided into two new 77 The Scout, loc. cit., 1920, 1926, 1929; The Cobber, loo. cit., 1932, 1935. 1937. 1939, 19h1. 1943: 1946: 19h73 0P0 Cit-s 19h8. P0 1&3; 19 9. P0 523 1950: P0 128: 19519 P0 503 1952: p0 1353 19539 P0 A; 195“: . 1ou; 1955. p. 98; 1956, pp. 112-113, 118, 120; Catalog of Concordia College,‘I op. cit., l9h9-SO; lgg.'gi§., 1950-51 through 1955-56. 190 choral ensembles: the Women's Chorus and the Northlanders, a male chorus. That quotation also indicated that the Women's Chorus performed at chapel services, in the Christmas concert and presented a spring concert during l963-6h, under the di- rection of Mr. Paul Dove. In l96h-6S, the Women's Chorus of thirty-nine voices was directed by Mr. John d'Armand in the same performances that were listed for the previous year. The 1965-66 catalog and the 1966 yearbook indicated the con- tinued existence of that ensemble, but performances other than the annual Christmas concert were not mentioned. Mr. Gordon H. Carlson was the director of that seventy-five voice chorus, and rehearsals were scheduled two days per week, from h:00 p.m. to 6:00 p.m., which included two sectional re- hearsals and two full-chorus rehearsals.78 A summary of the history of women's choruses at Con- cordia College showed that women's choruses were active dur- ing various periods of time from 1906-07 through 1965-66, the same time span of fifty-nine years during which male choruses were active for various periods of time. Twelve faculty mem- bers were directors of the Women's Chorus. Bohlin, Espeseth, and Prindle each directed for two years; Harris for a total of four years, in two different two-year periods; Robert Huhn 78__ The Cobber, loc. cit., 1957 through 1962; op. cit., 1963, pp. th-IOS; 196;, p. 83; 1966, p. 87; ”Catalog of Concordia College," loc. cit., 1956-57 through 1965-66; Roy E. Stahl, Personal interview. 191 and Richard.Hoffland each for one-half a year; and each of the remaining six for one year. There was little definite information regarding the type of repertoire performed by the Women's Chorus, but it was concluded that, from the kinds of performances in which it participated, sacred choral works predominated. Several statements were made indicating that the music performed was often arranged for three-part women's voices and that it was often performed without accompaniment. Performances included chapel services, radio broadcasts, Christmas concerts, spring concerts, concerts with Chapel Choir and with a local church choir, weekend trips for con- certs in other towns, and.many appearances at various occa- sions on campus and in the local communities. The schedule of rehearsals was mentioned for only four of the years: two per week in 1919-20; daily, in l9h7‘h8; two per week, in 1952-53; and two per week, in 1965-66, with the explanation that each two-hour session included a sectional rehearsal and a full-chorus rehearsal. No information was available re- garding the process of selecting members or membership re- quirements. Between 1907-08 and 1965-66, the membership of Women's Chorus varied from fourteen to seventy-five women. Small ensembles. Available sources of information re- corded activity by small ensembles of singers during eighteen of the sixty-two years between 1896-97, when the Concordia College Octette performed a concert at halstad, Minnesota, 192 and 1958-59, when a mixed quintet called The Undergrads made several appearances on campus and on television. Rolfsrud's book, Th3 Cobber Chronicle, provides a record of the Concordia College Octette, the first small ensemble organized at Concordia College during the 1896-97 school year, and tells of its trip to Halstad to present an evening concert on.March l, 1897. The director of vocal music at Concordia at that time was Mr. Wilhelm.Rognlie, who had returned to Concordia to earn the Normal School diploma after graduating with the first Commercial class in 1893. He was a member of the Concordia College Octette; the other three men and four women in the Octette were students. Rolfsrud also described the women's quartet organized the following year, 1897-98, as follows: ”The following year Miss Annette Peterson taught piano and led singing. She also organized the Mendelssohn Quartette which sang at public functions in the 'dual cities.!' Miss Peterson was a member of the quartet; the other three members were students. Dur- ing the next three years there was no mention of the activity of a small ensemble.79 Concordia College celebrated its tenth anniversary on October 31, 1901, which was also the anniversary of the Lu- theran Reformation. Bogstad describes that celebration as follows: "Miss Mollie Martinson, the music teacher at that 79R01fsmd, _02. 2%., pa 1860 193 time, entertained with instrumental music; Mr. Otto Mortenson with a vocal solo; and an octet and a choir of students with singing." There was no additional information available about the octet or the choir. Neither was there any record of a small ensemble being active during the next twenty-three years, until 1925-26. In the winter of that year, the Con- cordia Male Quartet was organized. The following quotation about the quartet was taken from the 1926 yearbook: This group was organized last winter, but during its short existence it has been very active. Besides num- erous appearances at the college, it has given many con- certs both in Fargo and Moorhead, and in neighboring towns. It has been called on repeatedly to broadcast through station W.D.A.Y. in Fargo. A thing which makes for popularity in this organiza- tion is its varied program. Be the gathering religious or secular, appropriate music is always presented. . . A concert tour has been arranged for the summer months. Its itinerary includes the largsr cities in the Dakotas, Minnesota, Montana, and Idaho. A male quartet, called the All-College Quartet, was active again the following year, 1926-27. The following ex- cerpt from.the student newspaper, Th2 Concordian, provided the only information available about that ensemble: MONSON CHOOSES COLLEGE QUARTET . . . This quartet is doing intensive practice on both popular and classical music. No public appearance will be made until after the holidays. 80Rasmus Bogstad, ancordia College, Moorhead, Minne- sota, Throu Fifty Years (Moorhead, Minnesota: Concordia Coliege, 19 1), pp. 68-69; The Scout, loc. cit.; 192 . 194 That article seemed to indicate that the quartet was not an ensemble that was organized and directed by students, but that the members of the quartet were chosen by the choral director and that the quartet was rehearsing regularly. The 1929 edition of the yearbook makes the following statement in its description of the 1927 Choir tour: I'Both the women's and.men's quartette sang at Starbuck; . . .” That statement indicates that there was a women's quartet active during the 1926-27 school year, in addition to a.men's quartet. There was no record of an active small ensemble during the 1927-28 school year, but the 1929 yearbook showaia picture of The College (male) Quartet of 1928-29, which was the next ensem- ble active at Concordia. It did not supply any detailed in- formation about its rehearsal schedule, performances or repertoire, however. A quotation from.Molldrem.and Halvorson referred to earlier in this chapter indicated that on both of the tours by the Concordia Choir Ensembles in the fall of 1929, numbers were performed by "quartets, sextets.‘ That statement led to the conclusion that there was active within each of the two Choir Ensembles, at least one quartet and one sextet, and perhaps more than one of each. Another quotation from.the same source, which describes a tour of northeastern North Dakota by one of the Choir Ensembles in November of 1930, states, I'The program.oonsisted of 2 groups of songs sung by the ensemble, selections by the Men's quartet; Ladies sex- tette; John Moan, tenor soloist; and Harry Semingron, violin 195 soloist." Again, the conclusion is drawn that there was at least one men's quartet and one women's sextet active during 1930-31, whose members were also members of the Concordia Choir. At the end of the 1930-31 school year, the Concordia Male Quartet toured North Dakota and Minnesota, performing a total of ninety-nine concerts in three months. That Male Quartet may have been the same Men's Quartet referred to above that was active during the fall tours by the Choir En- sembles. However, there was no definite information to sub- stantiate that fact. Sixty-three towns in North Dakota were visited in June and July, and the month of August was spent giving concerts in Minnesota. A press comment quoted in the 1932 yearbook seemed to indicate that the repertoire per- formed by the quartet was sacred.81 Four freshmen formed a.male quartet during l93h-35 which performed at many college functions and booked a summer tour through North Dakota and Montana. The ensemble was known as the Concordia Quartette, and continued to be active during the following year, 1935-36, with two new members. The same Concordia quartet, with two of its original members from.193h-35, is pictured and described in the 1939 edition of the yearbook. The description states that the quartet 81 The Concordian, 22. cit., Dec. 8, 1926; The Scoufi, lfic. cit., 1929; Molldrem and Halvor- son, gp. cit., pp. 6, 9; The Cobber .gp. cit. 1932, pp."1' 67, 181. ’ "' ' 196 went “on a concert tour which last summer took them into the Dakotas and Montana," which seemedto indicate that the quartet made that tour in the summer of 1938 and was active during the 1937-38 and the 1938-39 school years. There was no information about its activity during 1936-37. The l9hl yearbook pictures and describes two male quartets: the Vocal Quartet and the Instrumental Quartet. The Instrumental Quartet also performed as a vocal quartet on its programs. In the summer of l9h0, the Vocal Quartet toured Minnesota, the Dakotas, and Montana, and the Instru- mental Quartet toured through northern South Dakota and southern North Dakota. The Vocal Quartet planned another tour for the summer of l9hl, and the Instrumental Quartet planned a post-graduation tour in the summer of l9k2. During l9h0-hl, both quartets appeared frequently before various churches in Moorhead and vicinity, and also before various churches in.Moorhead and vicinity, and also before business men's clubs. The repertoire of the quartets included spirituals, hymns, and Norse folk songs.82 During the next five years, l9ul-k2 through l9h5-h6, there was no definite proof of activity by small ensembles. Four students sang together as the Concordia College Male Quartet during 1946-h7 and 19h7-k8, making many campus ap- pearances and occasional weekend concerts in neighboring com- munities. During the summer of l9h7, the Quartet made an 32 The Cobber, loc. cit., 1937. 1939. l9h1. 197 extensive tour of the west coast. A similar tour was planned for the summer of 19h8. After a nine-year period of inactivity by small en- sembles, the 1958 yearbook contained a picture of "A new group of vocalists, the madrigal singers . . . [who] special- ize in English melodies from.the sixteenth, seventeenth, and eighteenth centuries.u The four men and four women who were members of the Madrigal Singers were pictured in choir robes in the section of the yearbook devoted to articles and pic- tures of the Concordia Choir and led one to the conclusion that they were chosen from.the membership of the Concordia Choir. There was no information regarding their schedule of rehearsals or performances. The yearbook for the following year describes and pictures a small ensemble of three men and two women active during 1958-59. A mixed quintet calling themselves the Undergrads per- formed first at Homecoming. Using music arranged by Kurt Hiiiiaei’flaiifli Eii‘éiiiiii‘ifii23132312233833 f” A summary of the activity of small ensembles indicated that for the first five years in the history of Concordia College, there was no record of activity by small ensembles. Beginning in 1896-97, and lasting for a span of sixty-two years until 1958-59. there were one, two, and five-year per- iods of activity by small ensembles separated by periods of 83 The Cobber, 16c. cit., 19u7, 19h8, 1958. 198 inactivity of one, three, five, nine, and twenty-three years in length. It was not possible to ascertain accurately how many of the small ensembles were organized and directed by students and how many were organized and directed by faculty members. The repertoire performed by the ensembles varied from predominantly sacred to predominantly secular, with some ensembles performing both types of repertory. Some of the performances, both on tours and on campus, included enter- tainment other than choral music, such as declamations and instrumental music. Most of the ensembles seemed to perform at various events on campus and some made short trips to perform in neighboring towns, while still others made extended tours. The longer tours were usually during the summer and often lasted through most of a three-month period. Five tours were conducted during the summers of the following five years: 1926, 1931, 1938, l9h0, l9h7. Three additional summer tours were planned in l9hl, 19MB, and 19h8. What might be con- sidered the first tour by a choral ensemble at Concordia was made by a small ensemble when the Concordia College Octette traveled to Halstad to perform.a concert there on March 1, 1897. Not enough information was available to report accu- rately about rehearsal schedules, procedures for selecting members for the ensembles or membership requirements that may have existed, or the names of directors of ensembles other 199 than the few that were mentioned earlier. 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New mSHOQU m . C0503 one: .m eonnnm enoeo noeoec pmmco owes «neon .o.n.m nacho mnpncohco momrnmomn .n.m.m nacho cnncnmno .a.m.m enoec noaeho .s.z.ea..n.z homogeneooo .eonz.nnn.eaz .mnxmumm\exm Noonsnoon Illa? mncpoonnm mcahacrmdm new; noosenesooqwnn women 209 pmczhpnch I 32 pmmchpnch I mz whence I .mcs _ Amvhcmz I .mhs no .hs noon who hehn once an cnohu hoh3 mnScp nchadh cu moms I A: “Am “Am “A? peooeem I Amo c>npom no ocwnhmmnc was on hchs cpmonphn cHhEcch Honcho e no cash ch» whn3cHch mcmohphcnwm on moved I A.acm pmroancnhnsoANJ..hmho «memohphenmo no omb Aocdhwph00qx>w mamma CHAPTER IV LUTHER COLLEGE I. HISTORY OF THE COLLEGE The Founding of Luther Collegg The study of the history of St. Olaf College, Con- cordia College, and Luther College revealed a close relation- ship between their early histories. th only were they sup- ported by the same synod of the Lutheran Church, the Evan- gelical Lutheran Church of America, but they were established because of similar needs and with similar purposes. Holvik says, ”They were established for the same reasons, possessed the same aims, and faced the same identical problems." He continues by quoting the following information from the 1889- 90 catalog about the origin, purpose, and curriculum of Luther College during its first thirty years. Origin and Aim of Luther College Luther College was founded in the year 1861 by the Norwegian Evangelical Lutheran Synod of America. The College is supported by voluntary gifts from.the con- gregations constituting that body, and is, accordingly, under the control of the Synod, which appoints the Board of Trustees and the Board of Visitors. The institution owes its origin to the growing demand for educated men who could preach the Word of Life to the rapidly in- creasing Norwegian pcpulaticn of this country. The chief object of the College is, therefore, to teach the disci- plines of liberal knowledge to young men who intend later to take up the study of theology; but the College also claims to afford the advantages of a liberal education to any youth desiring to avail himself of the same. 210 211 Believing that "the fear of the Lord is the beginning of knowledge," it regards mere mental training without Christian faith and love as possessing but a doubtful value. For this reason it desires through its religious instruction and Christian influence to reach as many as it can also of those who do not intend to serve the Church directly as pastors or teachers, trusting that those whose education has been based on Christian prin- ciples will, also in other vocations, both morally and intellectually exert a beneficial influence among their countrymen and fellow-Christians. Studies Latin, Greek, German, Hebrew, English, Norse, History, Religion, Mathematics, Science, Geography, Penmanship, Vocal Music. . . The Norwegian Evangelical Lutheran Church in America decided on October 10, 1857, after discussions which had ex- tended cver a period of several years, to found a college, and subscriptions for a building fund were begun. It also was decided that until suitable buildings could be erected, students should be sent to Concordia College and Seminary in St. Louis, and that a Norwegian professorship should be es- tablished at that school. Three students went to St. Louis in 1858 and five more the following year. The Norwegian pro- fessorship was filled in 1859 when the Rev. Laur. Larsen was appointed. He began his duties, officially, on October In, 1859, and, therefore, October 1h has been observed regularly as Founders' Day by the College. 1Karl M. Hclvik, "Music in the Evangelical Lutheran Church College" (unpublished Master's thesis, Eastman School of Music, University of Rochester, Rochester, New York, 19,-+6), PP. 93’9““ 212 Concordia College and Seminary closed the following April due to disorders which arose in St. Louis with the out- break cf the Civil War, and Professor Larsen and the students returned home. The Church then decided at its meeting in June, 1861, to establish, at once, its own college. Although a building in Deccrah, Iowa, had been rented and partially renovated, the college authorities decided to make use of a newly-erected vacant parsonage at Halfway Creek, Wisconsin, about thirteen miles north of La Crosse. Laur. Larsen and F. A. Schmidt were the two teachers when the school opened on September 1, 1861, with sixteen students. They also served as pastors for the immigrants then living in the area. The school was transferred to Decorah in the summer of 1862, and was housed in a building that was still standing in 1966 at the corner of Winnebago and.Main streets. Though college work was begun in 1861, due to the Civil War, illness and other causes, none of that year's freshman class graduated in 1865. The first graduating class was that of 1866. The school also served as a preparatory school until 1928, and as a normal school from.188u-l886. A strong classical curriculum was established by the founders of the College. It was modified in the course of time until in 1931 a liberal arts curriculum was established that was in harmony with modern needs. The school admitted only men for the first seventy-five years, and became co- educational in 1936. In its centennial year, 1961, it had an 213 enrollment of 1,357 students and a staff of seventy-four full-time and twelve part-time teachers.2 Aims and Objegtgyes The purpose of the founders of Luther College was to provide for the education of young men to become the Lutheran ministers and teachers that were so badly needed during the last half of the nineteenth century in the pioneer communi- ties of Wisconsin, Iowa, Minnesota, and Illinois. The quo- tation from.Hclvik's thesis found at the beginning of this chapter states the aim of the founders of Luther College as does the following quotation from the student newspaper: The role of Luther College in ministerial education was assigned in the very purpose which brought this College into being. The first cornerstone here kept safely the following document: “In the name of Jesus in prayer to God this corner- stone of the Norwegian Luther College in Decorah was laid June 30th l86h. Immigrated Norsemen, Lutheran Chris- tians, living in'Wisccnsin, Iowa, Minnesota and Illinois, Joined together for the erection of this building there to educate churchmen, through whose ministry by the grace of God the Blessed Gospel in Word and sacrament might be conserved for their descendants unadulterated, according to the teachings of the Evangelical Lutheran Church, ex- pressed in the unaltered Augsburg Confession. God grant it be so. Amen." In common with the published declarations of our other colleges, the very Articles of Incorporation for Luther College bore these words: "The purpose of this corpora- tion is to establish and maintain a Lutheran educational institution of college rank at Decorah, Iowa, that shall 2 "History," Bulletin 2; Luther Collegg- Catalog/I966-l968 Catalog of Luther College, Decorah, Iowa, XLIV (March, 19665, 8-9. 214 give young men a good Christian education and in particu- lar, prepare young men for the study of theology with.§ view to subsequent service in the Christian ministry. It was quite evident that the education of women was not a part of the purpose of the founders of Luther College, and that the emphasis in the education of young men was to be to prepare them.to become ministers in the Lutheran Church. In time, the aims and objectives of the College were expanded to include the education of men who intended to become teach- ers and also of those who planned to enter other vocations. In 1936 the Decorah College for Women.merged with.Luther Col- lege to make it a coeducational institution along with the other three senior colleges supported by the Church.u The quotations mentioned thus far in this chapter sup- port the fact that Luther College was founded to provide the Opportunity for young men to obtain an education in a Chris- tian atmosphere which would prepare them to serve mankind as ministers and teachers and in other vocations. The same op- portunity was extended to women when Luther College became coeducational in 1936. Luther College in 1965-66 Dr. Elwin D. Farwell became the seventh president of Luther College in 1963. Under his administration in 1965-66 3Dr. T. F. Gullixscn, “Luther College Still Prepares Students for Seminary Instruction," College Chips (Student newspaper at Luther College, Deccrah, Iowa 90th anniversary edition), LXIx-k (Friday, October 12,19515,5 ”David T. Nelson, Luther Colle 6, 1861-1 61 (Decorah, Iowa: Luther College Press, 1961), pp. 265-269. 215 Luther College had a faculty, administration and staff con- sisting of the following: three emeriti faculty, 100 full- time and thirteen part-time faculty. The total student en- rollment was 1,731 (9&0 men and 791 women), plus thirty-two enrolled in extension courses. Luther College was supported by the American Lutheran Church, and was governed by a Board of Regents which was made up of twenty-one members plus the president of the College as an ex-officio member. Luther College was a member of the Central States Col- lege Association formed by twelve church-related liberal arts colleges to strengthen the scope and quality of liberal edu- cation among all its members. The Association hoped to achieve those strengths through close collaboration among administrators, faculty, and students in serious exploration of the theological, philosophical and ethical dimensions of their church relationship and its relevance to the quality of education, intellectual life of the church, and leadership in a democracy. Junior year study abroad in Europe and Asia, summer and interim session study tours, field research pro- jects, student teaching in urban areas, and joint appointment of scholars and artists were some of the possibilities in- cluded in the program. Luther College was accredited by the North Central Association of Colleges and Secondary Schools and by the National Council for Accreditation of Teacher Education for the preparation of elementary and secondary school teachers 216 with the bachelor's degree as the highest degree approved. It has been granted professional accreditation by the Ameri- can Chemical Scciety and approval by the American Association of University Women. Luther College was a member of the American Council on Education, the Association of American Colleges, and the National Education Conference. The calendar for the school year at Luther College consisted of two semesters and three summer sessions, with the normal course load being four courses of four hours each. The degree awarded to graduates was the Bachelor of Arts. The purpose of the requirements for the degree was to fulfill the objectives of the College. Those requirements were designed to give the student a broad program of liberal arts study in the various divisions and a concentration in the field of his interest. A study of the college catalog revealed the possibility of majoring in thirty areas and minoring in fourteen of them. Pre-professional training was available in engineering, medicine, dentistry, nursing, and law. Luther College offered an.Early Admission program for a small number of high school Juniors whose intellectual, social and emotional maturity indicated that they were ready for college at the end of their Junior year of high school. Special programs had been deve10ped in eight areas which offered additional opportunities for students at Luther College: The Honors Program, the Latin American Area Studies 217 Program, Foreign Study Programs, the Student Exchange Program, the Washington Semester Program, Summer Sessions, the Luther College Institute in American Studies for Scandinavian.Edu- catcrs, and Extension Courses.S Radio station KWLC, an AM broadcasting station with a daytime power of 1,000 watts and a night-time power of 250 watts, was maintained by Luther College. KWLC was a member of the National Association of Educational Broadcasters, an educational network which enabled the station to air programs of high educational value, supplementing the programs pro- duced by the student staff and local churches. The Norwegian-American Museum.at Luther College was designated in 1927 by the Norwegian-American Historical Asso- ciation as the official Norwegian.historical museum, Though housed in downtown Decorah, projected plans included the con- struction of a modern museum on the Luther College campus where it would be a valuable adjunct and support to Luther's academic program. Koren Library was considered a superior small college library with over 130,000 volumes, in addition to manuscripts and periodicals. Every incoming student received excellent training in the use of a library and the methods of research 5 I'Bulletin of Luther College-Catalog," 22. 01 o, 196—6-68, pp. 7-10, “.7, 58-60, 63-109, 112-115, 117-13”. 218 by the library staff. A new library building was in the planning stages in 1965-66. The Korsrud Building and annex served as music depart- ment buildings. The annex was recently remodeled and had carpeted listening and practice studios. The physical facilities of Luther College in 1965-66 included six buildings which could be designated as academic facilities, four buildings which were primarily service facilities, five dormitories providing residences for from 200 to 390 students in each, and six campus residence houses providing housing for about twenty students (three of which served as language houses for students of French, German, and Spanish). Decorah, Iowa, with a population in 1966 of about 6,500, has been the home of Luther College for over 100 years. It is the county seat of Winneshiek County, situated in the northeast corner of Iowa, fifteen.miles south of the Minnesota border and thirty mdles west of the Mississippi River at the junction of State Highway 9 and U. S. Highway 52.6 The preceding details about Luther College in 1965-66 have been included to show its development over a period of 105 years from its beginning at the parsonage at Halfway Creek, Wisconsin,in the fall of 1861 with two faculty members 6 "Bulletin of Luther College-Catalog," pp. ci ., 1966-68, pp. 8-13. 219 and an enrollment of sixteen men. II. GENERAL DEVELOPMENT OF MUSICAL ACTIVITY AT THE COLLEGE The development of musical activity at Luther College between 1861 and 1966 may be divided into six periods. The first period covered the span of thirty-three years immedi- ately following the founding of the College (1861-189k), during which time musical activity began with instruction in music classes and with occasional, rather loosely organized ensembles directed by students or faculty members. Three, more permanent, ensembles were organized during the second half of this period: the Luther College Orchestra in 1877, the Luther College Band in 1878, and the Decorah Choral Union in 1889. Two other important developments which took place during this period were the founding of the Decorah School of Music in 1889-90, and the hiring of Haldor Hanson in 1888-89 as the first music teacher who had specialized in music. A period of greater musical activity began in 189h-95 with Haldor Hanson's return from study in Germany. That ten- year period, 189h-95 through l903-Oh, under Hanson's leader- ship was the second period of musical activity at Luther Col- lege. The third and longest period of thirty-nine years, from.190h-05 through 19h2-h3, was mainly under the leadership and influence of Carlo A. Sperati. Two other faculty members active in music during that time were Theodore Hcelty-Nickel and Miss Clara M. Hoyt. The fourth and fifth periods were 220 the shortest of the six, and lasted three and two years,re- spectively, under the leadership of Sigvart Hofland, who was director of the Band and Schola Cantorum.from 19h3-hh through l9h5-h6, and Sigvart J. Steen, who directed the Band and a Mixed Choir during l9h6-h7 and 19h7-h8. During the sixth period, beginning in l9h8-h9, Weston Noble was director of both the Luther College Band and Choir and was named Chairman of the Department of Music in 1953. Earlngusical Activities at the College The first instruction in music dates from the begin- ning of the school in 1861 with two class hours a week re- quired at both the college and preparatory levels. The amount of time devoted to instruction.in music varied from one or two class hours to four class hours per week until music became an elective in the college department in 1892.7 That the instruction was mainly in the area of vocal music was indicated by the following quotations: The first instruction in music, . . . was designed primarily to acquaint the studegts with the rich Lutheran heritage of hymns and chorales. From the beginning instruction was given in vocal music, two hours a week in all classes. It was natural that the vocal, rather than the instrumental, was stressed, especially at first, since the young minister 7Holvik, loc. cit.; O. M. Norlie, O. A. Tingelstad, and Karl T. Jacobsen, editors, Luther College Through Sixty Years (Minneapolis: Augsburg Publishing House, 1922), pp. 299-300. BNGISOH, 220 Cite, P. 1170 221 would find more use for the vocal; and then, tgo, musical instruments were very expensive in those days. The following statement in Luther Cglleg§_Through Sixtngears indicated that there was opportunity for musical instruction in addition to that offered in the music classes: Almost from the beginning, opportunities have been given £18 private instruction, both vocal and instru- mental. The first concert by students at Luther College was reported to have been given by a male trio about 1871. It also was stated by Nelson that, "The first organized musical ensemble outside the classroom was the Idun Quartette, established about 1869." It had a membership of seven young men and was reorganized in 1877 by Nils J. Bakke, '77, to in- clude twelve members.11 The organization of the Idun Quartette described above seemed to initiate the organization of many choral ensembles through succeeding years. The following quotation from Luther College Through Sixty Years names several of them: . . . From this small but creditable beginning many vocal organizations have been effected, among which can be named: Luther College Choir; Luther College Chorus; Luther College Glee Club; Idun; Maaltrosten, 1875 (R. O. Brandt, director); Humla; Heimdal; Bingo Glee Club; Upidee Glee Club; Lorelei, 1882; Symphonia, 1877; besides various quartettes, choruses, octettes, etc., in the Irving, Amphictyonic, Normannalaget, Mjolner, Norrdna, and Idun literary societies. There were no doubt many 9Norlie, Tingelstad, and Jacobson, pp. cit., p. 361. 1°Ibid., p. 299. 11Nelson,'gp. cit., pp. 117-118. 222 others; Excellent organizations of "fourth floor harmon- izers.n1 The first orchestra at Luther College was organized in 1877 by John Kopang, '77-79. Its instrumentation consisted of two violins and a 'cello. A guitar, flute, and cornet were added the following year and other instruments filled out the instrumentation in succeeding years. The orchestra gave its first concerts in November, 1883, and February, 1884. With the exception of 1891-92, the orchestra was active from the time it was founded in 1877 through 1893-9h. During that time it had six directors, and played on many occasions, both at the College and downtown. A band was organized in February, 1878, and made its first appearance in the spring of that year. The organiza- tion of the band.was made possible mainly through the efforts of Hans B. Thorgrimsen, '79, and other students who raised $250 to buy a set of instruments valued at $500 from.a local city band which was dispersing. That first band had a mem- bership of twelve and its student-director was Thorgrimsen. Student directors played an important part in the development of the band in its early years, and.under their direction concerts were given on campus, and trips were taken to nearby towns, and even to quite distant cities. The Luther College Concert Band gradually evolved from.thcse beginnings. 12Norlie, Tingelstad, and Jacobsen, gp. cit., p. 363. 223 Mr. Ola A. Sclheim, '81, was teacher of vocal music and director of the band in 1881-82. The following year, 1882-83, Haldor Hanson, a student assistant, was the instruc- tor of music during the year.13 Three ensembles existed that same year, according to Hclvik's quotation from the catalog for that year: Musical Societies The students have organized three societies for the cultivation of music, instrumental and vocal. The Choir "Lorelei” consist: oful6 voices. "The I'Brass Band" Res 16 instruments. 1he Strong Band has 12 members. For two years beginning in 1883-8h, a student assis- tant by the name of J. O. Tingelstad was music instructor. He was succeeded by another student assistant, Carlo A. Sperati, who continued as music instructor in voice, band, and orchestra for three years, 1885-86 through 1887-88. That was the same Mr. Sperati who returned to Luther at a later date to provide leadership for the music program during its third and longest period discussed later in this chapter. Students and faculty participated in musical activi- ties in the local churches during the early history of the College. Such interest and participation are described in the sixty-year history of Luther College by Norlie, Tingelstad, and Jacobsen, as follows:‘ 13Nelson, loc. cit.; 22. cit., p. 119; Norlie, Tingel- stad, and Jacobsen, 22, cit., pp. 89, 365-367. luHclvik, pp. cit., p. 92. 22h Students from the College have always been interested in the musical activities of our local Lutheran churches. They have always shown a willingness to take an active part in the regular choir work, besides rendering aid on special occasions, when cantatas and the like have been undertaken by the church choirs. The first concert appearance of the church choir took place during Sperati's student directorship of 188h-88, when it rendered, among other numbers, "The Sword of Damascus,” ”Gloria in Excelsis,” and the nHallelujah Chorus" from the “Messiah." Among the cantatas given later are: ”The Seven Last Words of Christ” (several times), ”Bethany,” ”Hymn of Praise,” ”Ruth," nThe Holy City,” ”The City of God,” and, at the 60th anniversary of Luther College, ”The 60th Anniversary Cantata“ (words by Rev. Paul Koren, music by Prof. John Dahle), together with Mendelssohn's “Hymn of Praise." . . . Students have from.time to time directed the church choirs. Among the student choir directors we have: N. J. Bakke, K. A. Kasberg, and C. A. Sperati. Professors H. Hanson, Wm. Sihler, and C. A. Sperati have also as teachers at Luther College directed the choir. Aside from this, the students have been afforded the oppor- tunity, in conjunction with the people of Decorah, of rendering several of the world's greatest oratorios. . 35 The first band tour occurred in the summer of 1886, from.June 21 to July 6, and included concerts at Spring Grove and one in Harmonia Hall at Minneapolis, where the band was assisted by the Kjerulf Male Quartette. No other information was available about that male quartet, nor was there a Kjerulf Male Quartette listed at Luther College at any other time in its history. One wonders, therefore, if that Kjerulf Male Quartet was the same one mentioned as being active at St. Olaf College in 1887-88, or if it might have been a quartet of four members of the Kjerulf Club of Minneapolis, 15Norlie, Tingelstad, and Jacobsen, 2p. cit., pp. 363- 36k. 225 which was a male chorus that later had F. Melius Christiansen as its director from.about 1899 to 1903.16 Haldor Hanson, who had been a student assistant in 1882-83, succeeded Sperati as teacher of music for the next two years, 1888-89 and 1889-90. Hanson had studied music at the Chicago Conservatory of Music in 1883-8h, and became the first music teacher at Luther College who had Specialized in that area although he also taught Latin and Norwegian. In 1889-90 two important events, in which Hanson played an im- portant role, took place: the founding of the Decorah School of Music and the founding of the Decorah Choral Union. Nelson provides a description of events surrounding the former, as follows: . . . The coming of Haldor J. Hanson as a teacher in 1888 gave new impetus to the development of music. An organ was purchased in 1888 and a piano in 1890. But the pro- gram was not moving fast enough. Therefore, the faculty in 1889 decided to establish a Decorah School of Music, hoping later to incorporate it into the college. . . . The teachers were Haldor Hanson, principal, Mrs. Sarah Richardson.Mcntgcmery, Miss Ella Treat, and Miss Nellie Beaver. The directors were Larsen, Reque, Naeseth, Bothne, and Hanson. The school functioned for one year, but in the fall of 1890 was united with the college, which agreed to provide suitable quarters. Hanson, who had aroused considerable enthusiasm for the project, went to Germany to study in 1891; apparently the School of Music then languished.1 June 23 to July 25, 1890, marked the second extended tour by the band when it visited five cities in Minnesota, 16Ibid., p. 371; Simpson, 22. cit., pp. uh, 12H. 17Nelson, 22. cit., p. 1&6. 226 four in Iowa, and three in Wisconsin. That tour and others during that period were described as follows: . . . It was a success, although there were times when the funds were not too plentiful. Prior to, as well as after 1890 there were minor trips by the band, orchestra, gagig Sggegtigaciu: Egegzgribyecongregations and towns. y u u . The Second Period Under Haldor Hanson's Leadership After studying music at Weimar, Germany, Haldor hanson returned to Luther College as its instructor of music in l89h-95. The ten-year period under his leadership was one of greater expansion of musical activities in which both vocal and instrumental organizations took on new stature, and ambi- tious programs were undertaken. The musical forces of the community were linked with those of the college, and the role of women as Special instructors in.music increased in impor- tance. It should be noted that prior to a concert on June h, 193u, which included the performance by a.Mixed Chorus, di- rected by Theodor Hoelty-Nickel and composed of students from the Decorah College for Women and Luther College, the member- ship of choral ensembles at Luther College was limited to male voices. Only when the men of Luther College partici- pated in rehearsals and performances by the Choral Union and/ or local church choirs did they sing in ensembles which in- cluded women's voices. The organization of choral ensembles 18Norlie, Tingelstad, and Jacobsen, 22. cit., p. 372. 227 of mixed voices became a greater possibility when Luther Col- lege officially became coeducational in 1936.19 Hanson directed the Choral Union in Niels W. Gade's oratorio, The Crusaders, on May 29, 1895. The chorus numbered about 100 singers and the orchestra twenty players, with col- lege students and citizens of Decorah participating in both the chorus and orchestra. Holvik describes the musical organizations at Luther during 1894-95, as follows: Musical Organizations Two societies have been organized for the cultivation of instrumental music-~a Brass Band of 32 players and an Orchestra of 2h instruments. The College Choir consists of about 50 members, and the Glee Club of eight. The four organizations have combined in a Musical 2 Union to further the musical interests of the College. 0 Hanson organized the Luther College Musical Union, re- ferred to above, to join the band, orchestra, choir and glee club into one student organization. The purpose of that organization was "to establish a closer relation between the different musical organizations, and thus, by a joint effort, promote the interests of each organization composing it." During the years that Hanson was instructor of music and director of the musical organizations a new interest in 19Norlie, Tingelstad, and Jacobsen, 22. cit., p. 106; Nelscg, 22. cit., pp. 156, 200, 257-259; Holvik, 22. cit., p.10. 2011011’11!’ ibide, Po 950 228 music was created. There was an increase in the number of concerts and public appearances of the musical organizations and an increase in the membership of the band, orchestra and chorus. The holdings of The Musical Library, founded by J. O. Tingelstad in 1883, also were increased during the years of Hanson's leadership.21 The Third Period: Sperati's Influence Over Thirty-Nine Years The third period in the development of musical activi- ties, under Carlo A. Sperati, was the longest in the history of Luther College, lasting thirty-nine years from 1905 to 19u3. Carlo Alberto Sperati was born the year Luther College was founded, in 1861, the son of the organist of the Roman Catholic Church in Oslo,Norway. In his youth he studied snare drum, violin, and piano, and had appeared before royalty in both Denmark and Sweden as a snare-drum soloist before embarking for the United States. Without resources or friends, when he arrived in this country, he played for his meals in cheap restaurants and bars until he found his way to the Norwegian Seamen's Mission in Brooklyn where he became the organist. There he was persuaded by Deaconess Elizabeth Fedde to go to Luther College. As a student assis- tant, he was instructor of music at Luther College for three 21Norlie, Tingelstad, and Jacobsen, op. cit., pp. 368, —h 370- 229 years, 1885-1888. After graduating in 1888 he attended Luther Seminary and was ordained to the ministry in 1891. He then served as pastor, parochial school teacher and di- rector of choruses and other musical organizations in Bel- lingham.and Tacoma, Washington, and as music teacher at Pacific Lutheran Academy in Parkland, Washington, before coming to Luther College in the spring of 1905.22 The Choral Union founded by Haldor Hanson in 1889 was reorganized in 1905 by Sperati as the Decorah Choral Union, and it continued to link the musical forces of the College and the community for a period of many years. Annual per- formances of oratorios were given except during World War I, 1918 and 1919. Handel's Messiah was repeated often and even- tually became an annual event.23 Professor Sperati's attention was directed mainly toward the further develOpment of the Concert Band. He or- ganized a Second Band and a Beginner's Band to prepare play- ers for places in the Concert Band. A period of extended tours by the Concert Band was initiated by Sperati in the summer of 1906, with a ten-week tour to the Pacific North- west. In 1908 the Band played at the Church Synod meeting in Chicago, and in 1911 made another tour of the Pacific North- west lasting twelve weeks. The Band represented Luther 22Nelson, 22. cit., p. 201; Norlie, Tingelstad, and JaCObsen’ _c_Ee 0113." pp. 36’ 1190 23Nelson, 22, cit., p. 202; Norlie, Tingelstad, and Jacobsen, 92.01t., pp. Boa-365. 230 College and Norwegian-American culture at the 100th anniver- sary of Norway's independence with a tour to Norway in the spring and summer of 1914. The tour lasted from April 2A to August 19, and included 127 admission concerts. Several con- certs were given in the United States before and after the trip abroad. Seventy-three concerts were given in Norway and others in Sweden, Denmark, Germany, Belgium, France, and England. Sperati was seventy-five years old when the Band made its second tour to Europe in 1936, which included perfor- mances in Norway, Denmark, and England during its three-month journey. While in Norway King Haakon proclaimed Dr. Sperati a Knight of the First Class in the Order of St. Olaf, and he was also made a knight of the silver trumpet and a Knight of Vaarsild. In 193R St. Olaf College had conferred upon him the honorary degree, Doctor of Music, in recognition of his long and faithful service at Luther College in the field of music. Many other extensive tours were conducted in the United States while Dr. Sperati was director of the Band. The Luther College Orchestra was directed by Dr. Sperati for twenty years. Though its membership was not large due to the greater general interest among students in the Concert Band, the Orchestra was known for its excellence. As in the case of developing the Concert Band, Sperati organ- ized a Beginners' Orchestra to train players for the College 231 Orchestra.21+ Smaller ensembles such as the Quintets, the Luther College Entertainers, and the Mission Society groups also made tours, some of which were quite extensive. Between 1921 and 1932, over 900 performances were given on tours by various college organizations.25 Two musicians who became members of the music faculty at Luther College during the period influenced by Sperati's leadership were Theodor C. F. W. Hoelty-Nickel, in February of 1928, and Clara M. Hoyt, in 1936. Hoelty-Nickel came to Luther after completing study at the Conservatory of Music in Leipzig, Germany, and remained until l9ul. He organized the Schola Cantorum, formerly the Luther College Men's Chorus, in 1928 soon after his arrival, and developed the ensemble into a fine a cappella male chorus which toured extensively throughout the Midwest, and in 1933 made a very successful tour to the west coast.26 Miss Clara M. Hoyt joined the faculty of Luther Col- lege in 1936 as instructor of music. Her arrival at Luther ZuNelson, loo. cit.; _p. cit., p. 203; Norlie, Tingel- stad, and Jacobsen, loc. cit.;{_p. cit., pp. 37h- 37S; Con Larson, "Made Tours Click as 'Live Advertising' Medium," Col- lege Chips,o _p. cit., p. 6; Con Larson, "btory of Concert— Band's Growth Dotted with Rich Tradition," College Chips, 22, 9.23., p. 7; HOlVik’ 220 21.12., P0 960 2 SNelson,_qp_. cit., p. 235. 26rp1a., pp. 222-223, zen-295. 232 as a faculty member coincided with another important develop- ment in the history of the College. Holvik describes that important development as follows: One of the most significant developments in all of Luther's history occurred when the school was made co- educational. This change aided the music department tremendously, enabling a mixed chorus to be established. and provéding additional talent for the Band and Or- chestra. That coincidence of events made it possible to organize a Women's Chorus at Luther College in 1936 with.Miss Hoyt as its director. She directed the Women's Chorus for ten years during which time it developed into a fine choral ensemble and began making annual concert tours of neighboring states in 19u1.28 Many other developments took place during the period under the leadership of Sperati. In 1927-28 the preparatory department was discontinued. Through the years music courses were added and the music curriculum was deve10ped until the requirements for a major or a minor in music were listed in the 1932-33 catalog. According to the 19uO-ul catalog, the music department offered a major and a minor in public school music in addition to a major or minor in music. The 19ul-h2 catalog contained a complete four-year outline of subjects for a major or a.minor in music with the name of the public 27H01V1k, 9E. Cite, p0 1100 28Ibid., p. 177; “Women's Chorus an Early Component of CoeducationTILColle e Chi s, 22. cit., p. 10; Nelson, £2.20 Cite, pp. 295, 32 e 233 school music course having been changed to “Music Education.“ The 1936-37 college catalog, as quoted by Holvik, announced new facilities for the music department with the following paragraph: Music Hall The transfer of the historical collection to the Museum downtown.made available for a Music Hall a two- story brick building formerly used to house eXhibits. Completely remodeled and redecorated, it now contains classrooms, practice rooms,2§nd offices used exclusively by the Department of Music. The College and city collaborated in inaugurating the Decorah Concert Series in l9u0.30 The Fourth and Fifth Periods Under Hofland and Steen The next two periods in the development of musical activities at Luther College were relatively short periods in comparison with the other four periods between 1861 and 1966. The fourth period covered the span of three years, 1943-hh through l9hS-h6, under the leadership of Sigvart A. Hofland who had joined the music faculty in 19h2 and remained at Luther until his death in 1956. Though perhaps more gifted as a composer than a director, Hofland became the director of the Schola Cantorum in l9u2 and of the Band in l9h3. He continued as director of those ensembles until Sigvart J. Steen.succeeded him in 1914.6.31 29Holvik, 92. cit., pp. 107-109. 30Nelson, 22. cit., p. 277. 311b1d., p. 293-291;. 362. 234 The fifth period covered the two years (19ho-h7 and law-1+8) during which Sigvart J. Steen directed the Nordic Cathedral Choir, the Schola Cantorum and the Band. He and Hofluumlhad joined the faculty of Luther College at the same time in l9u2. After graduating from Luther in 1923, Steen studied at St. Olaf College under F. Melius Christiansen. It was not clear that he earned a music degree at St. Olaf, but the college yearbook for 1931 listed him.as a member of the St. Olaf Choir, and also as a member of the Concert Quartette which toured the northwestern states in the summer of 1931. He must have gone on active duty with the U. S. Navy soon after joining the Luther College faculty because records show that he was involved in "war service 19112-146.n In February, 19h6, he returned to Luther College from the Great Lakes Naval Base where he was director of the navy choir, and assumed the duties of head of the department of music and di- rector of the Band. During l9h6~h7 and l9h7-u8 he directed the Band and the Schola Cantorum whose membership was comp posed of thirty-three Bandsmen. He also directed the Mixed Chorus which was re-named the Nordic Cathedral Choir in the winter of 19h6-h7. The Choir toured Iowa, Indiana, Illinois, South Dakota, Wisconsin, and Minnesota in April of l9h7, per- forming twenty concerts. In 1948 twenty-two concerts were performed on a tour to the west coast. Steen left Luther in l9u8 to accept a position as professor of music at Wagner 235 College, Staten Island, New York.32 The Dorian Society was organized in l9u7 and has played an increasingly active role in the promotion of musi- cal events on campus ever since. A student committee pre- sented the following written proposal to the faculty regard- ing the founding of the Dorian Society: Music as a subject of study occupies the time and efforts of a significant part of the student body and faculty at Luther College. It is believed, however, that the study of music may be augmented by a well-organized social program centered in music as a source of enjoy- ment, inspiration, and relaxation. Such a program may give a broader significance to the academic learning acquired in study as well as make good music an active social factor on the campus. The committee set six aims for the new organization: 1. To sponsor and supply technical management for musi- cal performances on the campus. 2. To assist in publicizing performances of musicians and.musical organizations. 3. To encourage performances by students and faculty members. h. To bring to the campus musicians and speakers of merit from the surrounding communities. 5. To utilize more fully the excellent record collection now on campus. 6. To arrange for student and facultyBattendance at con- certs and recitals in near-by cities. BaHolvik, op. cit., p. 110; The Viking (College yearbook), St. Olaf College, Northfield, Minnesota, 1931; Nelson, loc. Lit., pp; Lit., p. 368; Con,Larson, "Young Nordic Sprintsfl to Top *SpotxAmong Nation' s Choirs,‘I College Chi 3, $220 $1120 33 I'Dorian Society 'Sponsors' Music,” Decor- ah Public Opinion Fine Arts Section I, October 9, 1961, 236 The Sixth Period Under Weston Noble In 1948 Weston H. Noble Joined the music faculty at Luther College as director of the Band and Choir, and became chairman of the department of music in 1953. He graduated from Luther in 19h3, was a member of the Band under Sperati, and did a little conducting as a student. After graduating from Luther, he served in the U. 8. Army in the American and European Theaters of operation from 19h3 to 1946. Upon get- ting out of the service, Noble taught at Luther College from March through May in 19u6. He then taught at the high school in Luverne, Iowa, from.the fall of 19u6 to l9h8, when he was called to Luther to direct the Band and Choir. He completed his Master of Music degree at the University of Michigan in 1951, and pursued additional advanced graduate study toward the doctorate and attended Workshops in Choral Art at San Diego, California, under Robert Shaw and Julius Herford dur- ing the summers of 1956 and 1957, and under Julius Herford and Roger Wagner during the summer of 1958. Weston Noble came to hold a rather unique place in the music profession in that he achieved and.maintained, over a period of years, a reputation as an outstanding director of both instrmmental and choral ensembles. His activities off- campus as well as at Luther College have brought an added amount of recognition to the College. In 1966 it took four pages of single-spaced, type-written lists to enumerate his achievements and activities to date. Some of the activities 237 listed were as follows: Listed in Who's Who in Music, Who’s Who in American Education, Who's Who in the Midwest, and the Directory 2; American Scholars; a charter member of the Amer- ican Choral Directors' Association; a.member of Music Educa- tors National Conference, Music Teachers National Association, and American Bandmasters Association; Director of seven All- State Bands in as many states between 1955 and 1965; Director of nine All-State Choruses between 1953 and 1966; an author of five articles for national and state music magazines; Di- rector of the 1,000-voice chorus in the All-Lutheran Benefit Messiah at Minneapolis, for fourteen consecutive years, 1952 through 1966; and a participant in approximately thirty music contests, clinics and festivals per year.3u Since Noble became director of the Band and Choir, and chairman of the department of music, the Luther College Musi- cal Union and the Dorian Society have continued to be active and have increased the scope of their support of musical events on campus. The musical Union revised its constitution to include in its membership newly formed musical organiza- tions such as the Chapel Choir (1953). and the Women's Chorale and Dalenskor (1961), and extended its activity to include the promotion and organization of the annual presen- tation of the Messiah. The Dorian Society sponsored special 314"Nelson“ QB. 312., pp. 322-323, 365; Layne Haugen, Choir Manager, Weston Noble,” (Publicity material about the Director of Luther College Choir and Concert Band), Luther College, Decorah, Iowa, 1966, pp. l-h. 238 musical events on campus, some of which have become annual events, such as the first Band Music Festival, April 25, 1950; the first Choral Music Festival in 1951; the first Piano and Organ Festival in 1956; and the first Annual Fine Arts Festival in 1957.35 Through the years the chorus for the annual perfor- mances of the Messiah became one composed of students rather than students and peOple from.the community, and the solos were sung by student soloists. In 1956 a student chorus of over uOO singers and an orchestra of fifty-five players gave two performances of the Messiah. In the years that followed, the membership of the chorus increased to about 600 students and audiences attending the two or three performances pre- sented totaled as many as four thousand people. The chorus rehearsed two evenings per week beginning about mid-October with performances scheduled the week before the students left for Christmas vacation.36 Under Noble the Luther College Concert Band continued to make its annual tours, and, in addition, performed con- certs at the North Central Division Meeting of the Music Educators National Conference in Cleveland, Ohio, in 19553 35Nelson,o _p, cit., 336; "Luther College Musical Union Constitution" (Decorah, Iowa: Luther College Revisions, 1961 and 1963), pp. 1, 2. (Mimeographed.) 36Nelson, o J. cit., p. 335; "Messiah An- nounces Adventfi' CollegeC hi s, LXXXV-5’(November .18“ 1966), 9; Attention: messiah rehearsals begin, College Chi s, LXXXIV-3 (October 7, 1966), 16. 239 at Town Hall, New York City, in 1953 and 1957; at the Brook- lyn Academy of Music in 1961; at Orchestra Hall, Chicago, in 1957 and 1966; at the National Convention of the American School Band Directors' Association in Rochester, Minnesota, in 1959; at the North Central Division Meeting of College Band Directors' National Association at the State College of Iowa, in 1966; at Philharmonic Hall, Lincoln Center, New York City in 1966; and made sixteen appearances before audiences ranging from.500 to 100,000 persons at the Lutheran World Federation Assembly in Minneapolis, in August, 1957. A sum- mer tour to Norway was conducted in 1961. The Band made its first recordings in 1950 which resulted in an album of six records prepared by Columbia Transcriptions, and in 1956 made its first long-play record with the Choir. The Varsity Band was organized in 1952-53. It pre- sented concerts on campus throughout the year and made an annual weekend tour. A Pep Band was also organized, which performed at more public functions, including athletic events, than any other musical organization on campus. The Luther College Community Orchestra has had a meme bership composed of students and other instrumentalists from the community and surrounding area. It has performed public concerts in later years and has often performed with the Messiah chorus, the Chapel Choir, and other choral ensembles 2&0 on special occasions.37 The Nordic Cathedral Choir has also been known as the Luther College Choir and the Nordic Choir of Luther College at various times since it was first organized in 19h6-h7. It has made annual tours of the Midwest with extended trips to the West Coast in 19MB, 1955, 19u9, and 1963, with a summer tour of Europe planned for 1967. In addition, the Choir has appeared at conventions of the North Central Division of Music Educators National Conference at Chicago, in 1959; the Wisconsin Music Educators' Association at Oshkosh, in 1963; and the national conventions of the Music Educators' National Conference and the American Choral Directors Association at Kansas City, in 1966. The Choir has also appeared on eight national radio broadcasts: four over CBS in 19u9, 1953, and 1963; and four over NBC in 1960 and 1962.38 In 1953-5u the Women's Chorus and Schola Cantorum.were combined to form.the Chapel Choir under the direction of Kathryn Ulviden Moen. It has become one of the major organi- zations on campus performing concerts on campus and in the 37Nelson, loc. cit.; gp.lglt., p. 3353 Layne Haugen, 22, cit., p. 2; "Varsity Band's Annual Event Is Spring Tour," Decorah Public Opinion Fine Arts Section I (October 9, 19617, 5; Con Larson, Story of Concert Band's GI‘OWtho c a," $9.9. £20 38Weston H. Noble, Professor of Music, Chairman of the Department of Music, and Director of the Band and Choir, Luther College, Decorah, Iowa, Personal interview, November 19, 1966, Decorah, Iowa; "The Nordic Choir of Luther College,“ (Publicity brochure, Decorah, Iowa: Luther College, 1965), pp. 2-3; Layne Haugen, op. cit., p. 3. Zhl community and conducting a weekend tour in the Spring. It has, on occasion, performed choral works with the assistance of the Luther College Community Orchestra.39 Opera was first produced on campus for Homecoming on October 18, 1958, under the direction of Wade Raridon, when Gianni Schicchi by Puccini was performed. Four other pro- ductions followed in succeeding years including Sunday 3;- cursion by Alex Wilder, The Devil and Daniel Webstgg by Douglas Moore, 2232 in the galley by Kurt Weill, and Th2 Telephone by Gian-Carlo Menotti.“0 At this point mention needs to be made of the fire at Luther College in November, 1961, which destroyed the C. K. Preus Auditorium.where the music department was located, as well as the physical education facilities and radio station. The loss to the music department was complete: all of the music library, including original scores, such as those of the late Sigvart Hoffland; choir robes, band uniforms, band and orchestral instruments, music stands, and all equipment. Complete replacement insurance coverage helped restore the program eventually, but it was most difficult to keep the prOgram going immediately after the fire with no music and 39Weston H. Noble, Personal interview; Nelson, lgg. .21E-3___ "Chapel Choir Gives Concerts in Minowa Areaf' Decorah Public Opinion Fine Arts Sectionll. (October 9, 19617,11. hQNelson, loc. cit.; pp. cit., p. 336. 242 instruments for organizations to use. About $1,300,000.00 of equipment was replaced as a result of insurance coverage. Numerous offers of assistance in the form of lending equipment, music, and instruments came from throughout the country. Special concerts were given by musical organiza- tions at other colleges to raise emergency funds for the sus- tenance of the music program, such as a concert given by Augsburg College to help the BandJ‘"1 Concert Tours by Musical Organizations 9 It has been noted that the Band tours conducted by Sperati soon after he Joined the Luther College faculty marked the beginning of extended annual tours by the Band, and in succeeding years similar tours were undertaken by the Schola Cantorum, the Women's Chorus and the Nordic Cathedral Choir and other ensembles. The purpose of tours by musical organizations of Luther College did not seem to be stated as clearly as it was in the cases of St. Olaf College and Concordia College. How- ever, the statements quoted in the following paragraphs in- dicated a four-fold purpose of tours by Luther College musical ensembles: (l) to publicize the college, (2) to stimulate interest in music among students at the college and attract talented high school graduates to participate in musical thurtis Reiso, Assistant Director of Development (Former manager of musical organizations), Luther College, Decorah, Iowa, Personal interview, June 22, 1969, Decorah, Iowa. 243 activities at Luther College, (3) to influence church music, and (h) to raise money. The tours conducted by musical organizations from Lu- ther College have not only brought to the attention of the general public those ensembles that have toured, but have helped to publicize the college, in general, thus attracting potential students and the good will and support of the public, as well as of the churches active in its support. The ninetieth anniversary edition of the college newspaper contained the following comment regarding the first tours by the Band: Sperati knew the value of live advertising, and he felt that a touring concert band of Luther men was the thing to let people know that Luther College was on the map. He pulled for a summer tour to the West Coa and got it in 1906, and after that a tour every year. The following quotation from the book, Luther College Through Sixty Years, indicates that tours by musical organizations were a positive force in the public relations of Luther Col- lege: That the trips, both short and extended, that have been taken in the past by the different musical forces of Luther College and especially by the band, have been of inestimable value to the College is of course evident. From a small beginning it has been possible through the untiring efforts of the boys and their respective direc- tors to reach the extent of tours that assume the vast proportions of the Pacific Coasts Tours, and the Norway Tour. The credit for the more extended tours is due without question to Prof. Sperati. . . . May the future uzCon Larson, I'Made Tours Click as 'Live Advertising' Medium,u loc. cit. 244 hold even greater and.more extended tours in store Sor the band than have been enjoyed by it in the past.“ The second purpose of tours at Luther College, to stimulate interest in music among college students and to attract talented high school graduates to participate in the music program, was revealed in the following two quotations-- the first from.the same source referred to above and the second from.an article in the student newspaper about the Nordic Cathedral Choir: To stimulate interest in music at the College, main- tain the musical standards already set, build up new standards, and advertise the school, Prof. Sperati worked out the possibilities of extended tours by the band. It [the Nordic Cathedral Choir] seems also to be in- creasing its ability to attract numbers of graduated high schoolers to join its ranks--to such an extent that this year's auditions for it extended over time almost half again longer than the previous year's. The third purpose of tours, especially those by choral ensembles, was to exert an influence in the area of church music. It appeared that such an influence was to be exerted in two ways: by acquainting both the college students who were involved in performing and listening to sacred.music and others who heard it performed by ensembles on tours, with the music of their own Lutheran heritage, as well as with the best of sacred music in general; and by providing an example of the finest level of performance of sacred music for other u3Norlie, Tingelstad, and Jacobsen, pp, cit., p. 375. uhlbid.; Con Larson, "Ybung Nordic Sprints to Top Spot " loc cit O O o , O O 245 singers and directors to emulate. The following quotation from.the sixty-year history of Luther College published in 1921 supports the dual purpose outlined above: The first instruction in music was given primarily to acquaint the student with the Lutheran hymns and chorals, which form.such an important part of religious worship. . . . The instruction today has by no means drifted from the original form, namely, that of stressing & thorough knowledge of Lutheran hymns and choral music. 5 A brochure of information about the Nordic Choir published in 1965 states that, "The Luther College Choir interprets in a superbly distinctive style the finest in sacred music.‘I The same brochure quotes a reputable choral director and a news- paper critic regarding the quality of the Choir's perfor- mance 3 Paul Salamonovitch, Assistant Conductor of Roger Magner Chorale, Hollywood, California 'I am positive that the choir is outstanding. The sensitivity to the musical phrase attained by this group is seldom.equalled by professionals." Seattle-Post Intelligencer "AttentioRéto detail that makes sacred music really great. o e I! There was some evidence in available sources that con- certs by musical organizations during the early history of the College were the source of funds used to purchase needed in- struments and music, and to support the musical organizations usNorlie, Tingelstad, and Jacobsen, gp. cit., p. 361. A6 Cite, pp. 2"“.0 ”The Nordic Choir of Luther College,” pp. 246 that were active. No doubt many of the concerts were per- formed on tours and, therefore, one of the purposes of those tours seemed to have been to raise money. There was also evidence, however, that not all tours were financially suc- cessful during those years nor in recent years, and that they had to be subsidized in some manner, either by the students or by the College. It was, therefore, concluded that though the purpose of some tours may have been to raise money, that purpose was not one of primary importance throughout the his- tory of the College.“7 The Music Program in 1965-66 General backgroundlig 1265-66. Because this study concludes with the 1965-66 academic year, a description of the music program at Luther College in 1965-66 is provided as a point of comparison between the music program at the begin— ning of Luther College in 1861 and the end of the period covered in this study, 1966, and as a.means of measuring the development of that program.from any point in the history of the College to 1966. The total enrollment at Luther College in 1965-66 was 1,763, which included 940 men and 791 women plus thirty-two students enrolled in extension courses. There were 130 music majors. The number of students, including music majors and 47Norlie, Tingelstad, and Jacobsen, QE- ££_o. PP0 1559 372. 247 nonemusic majors, enrolled in music courses included 858 par- ticipating in choral ensembles, 195 participating in instru- mental organizations, and 215 taking other music courses, not including applied music (figures not available). In con- sidering the grand total of 1268 students enrolled in music courses, excluding applied music, one must keep in mind that the total reflected some duplication in that many students were enrolled for more than one course or organization, and, as a result, were counted more than once. The number of faculty at Luther College in 1965-66 totaled 113 plus twenty-three administrative officers and officials. There were twelve full-time and five part-time faculty members in the Department of Music. Four of the music faculty directed choral ensembles, two of whom also taught voice.""8 222.22222 program ig 1965-66. Two programs of study were offered leading to a Bachelor of Arts degree: (1) a major in music education for those who planned to teach public school music, (2) a major in music for students who planned to do graduate work in a field other than music edu- cation. Membership in a choral ensemble for a.minimum of two years was a requirement for music majors with an emphasis in #8 "Bulletin of Luther College-Catalog, 1966-68,n loc. cit.; gp. cit., p. 162; Weston H. Noble, Per- sonal interview. 248 vocal music. The following musical organizations were listed in the 1966-68 Luther College catalog: Luther College Con- cert Band, Luther College Chapel Choir, Dalenskor (men's chorus), Women's Chorale, Varsity Band, Pep Band, and the Luther College Community Orchestra. Members of these organizations formed the Luther Col- lege Musical Union which promoted COOperation among the or- ganizations and furnished leadership in music activities. Prior to Christmas the Musical Union joined with all student singers in the presentation of Handel's Messiah which was an annual event.“9 There were several annual musical events held at Lu- ther College, in addition to the Messiah, which included the following three music festivals sponsored by the Dorian So- ciety: the Dorian Keyboard Festival held in the fall, the Dorian Vocal Festival held in January, and the Dorian Instru- mental Festival held in the spring. Choral ensembles active during 1965-6 . The choral ensembles listed in the 1966-68 catalog have been mentioned in a previous paragraph. Additional information proved that those organizations actually were active in 1965-66. De- tailed information about those groups is given in Table V, which follows. Information about the Messiah chorus was ”9 "Bulletin of Luther College-Catalog, 1966-68," 9.2. Cite, Pp. 18-190 249 HH< enoz Ham oz ecoz eaom meow eaoz enoz Had who: who: Had Ham peacegsooom Uefizmmaooomcb vemwaoaez Headoem venomm mmHoammmmm .>coo.pez 02m: % ¢Qo< .mepepm pmeSIUHE 0 on .meapaqsaaoo pee menoasno apnea: ca can o\mnom\w ”9509 humane no mnoameooo Hmfioeam new veeaomamm mpaeecoo mpamocoe mpaeocoo % paeonoo neflmmez % Heamno % Hegwnu .x3 peg Flaemmno mpaeocoo .>oz .aagp .poo .xs awe .xz Hem .xs sea .xs neg ..as ame.ema m .eaa om-m .eaa omum .eaa emu: .eaa omum mew .mpcmwzpm Ham 0p memo ma meapeemce anyone Haw aw magmaenaez oz oz mew mew mew mm mm om mm :50 om mm Pm me manoz mopmez evened zeamez hpeeao ea>ma Heapsm manoz copmez .m semawmem 3 33“qu 028803 .595 H2528 aaoeoxoaeaoz magaeo mmo mamaeo so mmozmzmommmm Hecowpoem manaemae Hana mammmdmmmm hefipm eoHo> awnmamflonom mazmzmmeomm soapaese am mHmmmmmzez aesoz cm: mmmosz mo .02 MoaommHQ chameoa ea mamaaoo menace 250 included in the table, even though it was active only during the first semester of the year. There was seldom any overlapping of memberships in the choral ensembles which was probably due to the fact that the ensembles rehearsed at the same hour of the day, and also two of the ensembles limited their memberships to either men or women. No college credit was given for membership in any of the ensembles.so Aims of the Music Proggam Through the Years ihg'purpose‘gf the founders 2f Luther College. Those who founded Luther College did so to provide a Christian edu- cation for young men that would prepare them.for the study of theology and a career as a minister in the Lutheran Church. The curriculum.was broadened later to include men, and even- tually women also, who wished to prepare themselves for careers in professions other than the ministry. The basic purpose, however, of providing a liberal Christian education did not change.51 SOWeston H. Noble, Personal interview. "The Nordic Choir of Luther College” (Printed program), Lu- ther College, Decorah, Iowa, 1966, pp. 1-6; ”The Messiah, An Advent Presentation of Luther Collegell (Printed programs), Luther College, Decorah, Iowa, November 27, and 28, 1965, pp. 1-6. 51O. W. Qualley, ”Courses Change, Aims Don't in Nine- ty Years," College Chips (Student newspaper at Luther College, Decogah, Iowa, 90th anniversary edition), (Friday, October 12, 1951 : Po 2. 251 The purpose 9::music $3 the curriculum g3 Luther Col- .1232- It was evident that the founders of Luther College deemed music an important part of a college education from the fact that instruction in music was a part of the cur- riculum from.1ts beginning. A study of statements in various sources about instruction in music and musical activities at Luther College throughout its history revealed that the pur- pose of music in the curriculum was at least two-fold, reli- gious and cultural, with some additional statements regarding its practical and disciplinary values. Subjects of practical value in the field of theology and to the ministry were included during the early years when most of the students were preparing for careers as ministers. Music was considered a religious subject and a most practical one for future ministers to study, according to the following quotations: Another religious subject fostered at Luther College from.the year the school was founded is choral singing. The class-room instruction has been supplemented by the work of the singing societies, the College Chorus, the Glee Club, the Decorah Choral Union. Since Luther College aims to prepare men for church work, it has always provided instruction in subjects that would prove especially valuable in the field of theology. One of these subjects is music. III. Music The first instruction in music was given primarily to acquaint the student with the Lutheran hymns and chorals, which form such an important part of religious worship. 252 . . . The instruction to-day [1922:Ihas by no means drifted from the original form, namely that of stressing a thorgggh knowledge of Lutheran hymns and choral music. Holvik quotes the following paragraph from the 1931-32 Luther College catalog regarding the spiritual values of sacred music performed by ensembles at Luther College: Sacred Music The Christian spirit of the College both finds expres- sion in, and is cultivated by, the study and rendition of sacred music. The Luther College Concert Band, the Lu- ther College Chorus, the Decorah Choral Union, consisting of College students and the people from the city of De- corah, and other organizations at the College, besides the Church Choirs, to which many students belong, devote much attention to classical sacred music. Through these activities the students' knowledge and appreciation of the spiritual values embodied in the highest type of music are developed, and the Chrggtian spirit of the Col- legs is emphasized and promoted. Another Luther College catalog, quoted by Holvik, re- fers to the cultural and disciplinary values of music and its importance as an element of worship: Music is one of the fine arts, whose value is alto- gether out of proportion to the attention that it re- ceives in most colleges purporting to give a liberal education. There are few who in youth neglect or are deprived of an opportunity to cultivate this beautiful and refining art that do not later regret it. Of all the things taught in or out of school, there is none that affords so much enjoyment and comfort as music. It is recognized as an essential feature in public worship, it appeals to humanity as no other form.of public amusement, and in the home it is a source of constant delight. Music is one of the greatest blessings vouchsafed to man, and if life is more than a.mere struggle for animal 361. 52Norlie, Tingelstad, and Jacobsen, 22. cit., pp. 30, 53Holvik, 22. cit., p. 103. 253 existence, it ought to be a subject included in every course of study that is not strictly technical or pro- fessional. But music has other claims to be recognized as a subject worthy of an important place in a liberal arts course of education. It develops concentration, precision, observation, and the intellectual faculties on the whole and, in singing, trains the voice, which is of great importance in conversation and public speaking.5h The book, Luther College Through Sixtnyears, in an introduction to music in the chapter on instruction contains the following statement about the cultural and disciplinary values of music: A1though.music does not occupy a large place in the curriculum prOper, its cultural and disciplinary value has always been clearly recognized at this institution. Almost from the beginning, opportunities have been given for private instruction, both vocal and instrumental. Furthermore, a distinctly musical atmosphere has been created by such organizations as the college bands, or- chestrg5 choruses, Musical Union, and the Decorah Choral Union. The objectives of Luther College in the area of the fine arts have been outlined as follows: In carrying out its objective in Fine Arts, Luther College aims to help the student to: Appreciate litera- ture, music and thgéother arts; Employ his talents in creative activity. Professor Oscar L. Olson, who later became president of Luther College, outlined the following ideal for instruc- tion in music for every student at Luther College: 54Ib1d., p. 97. SsNorlie, Tingelstad, and Jacobsen, 22. cit., p. 299. 56 "Objectives of Luther College Fine Arts," Decorah Public Opinion, Fine Arts Section I, (October 9, 1961), 1. 254 . . . An ideal, which cannot be attained but which there should be an endeavor to approximate, is that every stu- dent should receive some voice culture, should take part in some chorus singing, and should learn to play some musical instrument. A knowledge of music, which is the most beautiful of the fine arts, which produces pleasure of the most refined nature, and is of great practical value to the minister of the Gospel, should as far as possible be acquired by every college student.5 It seemed evident from a study of the statements just quoted, of the musical activities, and of the instruction in music available at Luther College during its history, that Opportunities have been provided for students to achieve the purposes of music in the curriculum. The opportunities for instruction and performance have made it possible for stu- dents to develop an appreciation of music through study, as well as through the employment of their talents in creative activity in the art of music, thereby leading to the achievement of the objectives in fine arts that were out- lined. The study of music and its rehearsal and performance involved the discipline of mastering certain techniques and acquiring a knowledge of music. The performance of sacred music, in worship and in concert, provided students with the Opportunity to share, as performers or as members of the congregation or the audience, in the development of an under- standing and an appreciation of the spiritual values ex- pressed in such music, and in an expression of the Christian spirit of the College. It may be concluded, therefore, that S7Norlie, Tingelstad, and Jacobsen, pp. cit., pp. M75- 14.76. 255 the aims of the music program throughout the history of the College have reflected the basic purpose of the College to provide a liberal Christian education for its students which prepared them to serve their fellowmen as ministers, teachers, and in other vocations. III. THE HISTORY OF CHORAL ENSEMBLES AT LUTHER COLLEGE The Purpose of Choral Ensembles in the Curriculum The aims and objectives of the College and the purpose of the music program in the curriculum were discussed in a previous section of this chapter, and the relationship be- tween the purpose of the music program and the aims of the College was noted. The music program.at the College has been consistent with the aims of the College. Therefore, because choral ensembles have been an active part of the music pro- gram, it was logically concluded that their purpose in the curriculum reflected the aims of the music program and the College. The first instruction in music was in vocal music for two practical reasons: the study of vocal music was less ex- pensive than the study of instrumental music which involved the purchase of musical instruments; and because congrega- tional and choir singing were such an important part of Lu- theran.worship, the study of vocal music was considered a very valuable and practical field of study for men who would enter the ministry. 256 The early vocal music classes and the singing sociefies, which were organized outside the classes and supplemented them, provided a means of achieving the purpose of acquaint- ing students with Lutheran hymns and chorals used in worship. The choral ensembles active throughout the history of Luther College have continued to provide such.a.means of achieving that purpose. They also have provided the opportunity for students to acquire a knowledge and an appreciation of the spiritual values expressed in the sacred choral works which have predominated in the repertoire of the choral ensembles at Luther College. The performance of sacred choral works by choral ensembles of the College has provided a means of ex- pression for the Christian spirit of the College in daily chapel services, and an appropriate manner for celebrating religious holidays and seasons, anniversaries, and other special occasions. The purpose of choral ensembles at Luther College has reflected the religious and cultural purpose of the music program.within the Christian liberal arts curricu- lum of the College.58 Early Singing Activity at Luther College It has been noted in a preceding section of this chap- ter that instruction in music was a part of the curriculum. for all students at Luther College as early as its first year of operation in 1861-62. It also has been pointed out that 59;g;g.; Holvik, loc. cit. 257 the music instruction was primarily in the area of vocal music with vocal music classes scheduled for two hours per week. Singing societies were organized outside the vocal music classes and supplemented the activity within the classes. Ensembles of that type often were organized and directed by students and occasionally by members of the fac- ulty. Luther College Through.§;§£1HZgg§§ lists the names of several choral ensembles active during the early years of Luther College which were not mentioned in any other sources. They are: Humla; Heimdal; Bingo Glee Club; Upidee Glee Club; and other choruses, quartets, octets, etc., in the Irving, Amphictyonic, Normannalaget, Mjfilner, Nerrona, and Idun lit- erary societies. It is unfortunate that no detailed infor- mation about those groups was available to reveal when they were active, who directed them, what repertoire they per- formed, or when and where they performed. Luther College was established as a school for men. Therefore, the reader is reminded that until 1933-3h all choral ensembles, except the Choral Union and church choirs in the community, regardless of their names (Luther College Chorus, Choir, Glee Club, Idun Quartette, Idun Society) were composed of male voices. The following is a list of those who have played an important part in keeping the interest in vocal music alive as organizers and directors of choral ensembles: 258 1861-65 . . . Professor F. A. Schmidt 1865-81 . . . The Rev. N. 0. Brandt 1881-82 0 o 0 MI‘. 018. SOlheim 1882-83 . . . Mr. haldor Hanson, Student Assistant 1883-85 . . . Mr. Jo. 0. Tingelstad 1885-88 . . . Carlo A. Sperati, Student Assistant 1888-9O . . . fir. Haldor Hanson ld90-9h . . . Mr. William Sihler 189h-l90h . . Professor Haldor Hanson 190 -h3 . . . Professor Carlo A. Sperati 192 -hl . . . Professor Theodor C. F. W. Hoelty-Nickel 1936-ho . . . Miss Clara M. Hoyt l9hZ-h6 . . . Professor Sigvart A. Hofland l9h6-h8 . . . Professor Sigvart J. Steeg l9h8- . . . Professor Weston H. Noble 9 Earlygphoral Ensemblgg The first choral ensemble organized outside the vocal music classes about which there was some definite information available was the Idun Quartette in 1869. A list of the names of its members totaled seven men and, as a result, raised a question regarding the accuracy of the name of the ensemble which usually indicates four singers. Luther 92l- legg Through Sixty Years states that the Quartette was re- organized in 1877-78 to include an augmented membership of twelve men, and was called the Idun Society. The Quartette was given permission on May 20, 187%,t01make a tour, provided they chose a repertory and adopted rules of conduct approved by the faculty. Simpson, in his history of the St. Olaf Choir, tells of advance publicity for a concert by a "Nor- wegian Gentleman's Quartet" from.Decorah, Iowa, to be held SgNorlie, Tingelstad, and Jacobsen, 92. cit., p. 363; Nelson, 32. cit., pp. 117-119. 259 in Northfield, Minnesota, on July 6, 1877. He also relates that a report in the following week‘s newspaper showed that the ensemble consisted of twelve men called Idun, the name of the Norwegian goddess of Youth. In 1879 the Idun Society performed some numbers in a concert at Decorah with the famous violinist of that time, Ole Bull. One wonders at the selection of the name Idun Quartette for an ensemble of seven and later twelve members, and speculates that perhaps the term.Quartette indicated that the ensembles performed four- part music arranged for male voices. It was concluded that, if the ensemble called Idun received permission for a tour in May of 1877 and performed at Northfield in the summer of 187% the ensemble must have been reorganized some time during the 1876-77 school year rather than in the fall of 1877 as sug- gested by the first source referred to earlier in this para- graph.60 The first concert by a choral ensemble of students at Luther College, given by a trio of male voices in 1871, was referred to earlier in this chapter. The concert was held in a large classroom on the second floor and the admission was five cents. From the description of the concert by Nelson and his statement that, "the troupe was required by the authorities to return the proceeds of the concert to the 60Nor11e, Tingelstad, and Jacobsen, loc. cit.; 92. cit., p. 361; Simpson, 22. cit., p. 25; Nelson, loc. cit. 260 ' it was concluded that the artistic level of per- 61 audience,| formance by that ensemble was not very high. One of the early ensembles mentioned was a group called Maaltrosten, active in 1875 under the direction of R. 0. Brandt, a student. More detailed information about that ensemble was not available.62 "The Choir 'Lorelei' of sixteen voices“ was thus des- cribed in Holvik's quotation from the 1882-83 catalog indi- cating that an ensemble of sixteen male voices was active at that time. Again, there was no additional information avail- able to indicate that it was active in other years or who the director was.63 The first performance of an oratorio in Decorah occurred on.March 15, 1890, when Haydn's Creation was per- formed by a chorus of seventy-five singers and three soloists from.Minneapolis and St. Paul under the direction of Haldor Hanson. That first activity of its kind was the basis for the development of the Choral Union in later years.6u 61Nelson, loc. cit. 62Norlie, Tingelstad, and Jacobsen, loc. cit.; pp. 2112-. 'PO 210‘ 63H01Vik, £220 Cite, P0 920 6l'l'Norlie, Tingelstad, and Jacobsen, 92..gi§., p. 36h; "The Creation by Joseph Haydn“ (Printed program.in files of Luther College Library), Luther College, Decorah, Iowa, March 15, 1890, pp. 1-h. 261 The Development of Certain Types of Ensembles Haldor Hanson's return to Luther College as its first professor of music in 189h-95 marked the beginning of a period of expansion of musical activities described by Nelson, as follows: . . . From then on, both vocal and instrumental organiza- tions on campus took on new stature. Ambitious programs became the order of the day under the sponsorship of the Luther College Musical Union, which under Hanson,6game to include the band, orchestra, choir and glee club. At this point in the study the history of choral en- sembles at Luther College may be pursued by outlining the develOpment of certain types of choral ensembles that have been active during the history of the College. Those types of choral ensembles are: (1) Small ensembles, (2) Large en- sembles of men's voices, (3) Large ensembles of women's voices, (h) Large ensembles of mixed voices including the Choral Union, the Nordic Choir, and the Chapel Choir. Small ensembles. Detailed information about small choral ensembles active during the history of Luther College was not available. The names of several small ensembles were listed in preceding sections of this chapter under the head- ings of Early Singing Activity at Luther College and Early Choral Ensembles, but it was impossible, due to lack of in- formation, to elaborate upon their periods of activity, 65Nelson, 22. 2&0, p0 1560 262 director's names, members, or repertory performed. Holvik quotes the 189h-9S catalog which indicates that there was a Glee Club of eight members during that year. He also states that ". . . a choir of nine members was organized in the Preparatory Department, meeting three times a week . . .,“ in 1896-97. In Luther Collegg Through Sixty'Years mention was also made that before and after 1890 a Glee Club made minor trips to near-by congregations and towns. Chr. Anderson was the director of the Glee Club in 1896 during Hanson's vacation, and G. A. Hanson directed the ensemble im- mediately before Sperati arrived. A program of a concert by the Decorah Choral Union and Symphony Orchestra on May 25, 1909, lists a male quartet of students called the Canoe Quar- tette which performed selected numbers at two places in the concert. An ensemble called the Quinta Choir performed in an open air concert by the Luther College Musical Union on June 8, 1912.66 Nelson mentions in the following quotation the Quin- tets, the Luther College Entertainers, and the Mission So- ciety groups which.may have been small choral ensembles active in the 1920's: 66Holvik,o _p_. p__it., pp. 95- 96; Norlie Tingelstad, and Jacobsen, g2. cit., pp. “2&0- fiDecorah Choral Union and Symphony Orchestra" Printed program), Luther Col- lege, Decorah, Iowa, May 25, 1909, pp. l-h; ”Open Air Concert by Luther College Musical Union" (Printed pro- gram), Luther College, Decorah, Iowa, June 8, 1912, p. 1; N3130H,0 _920 Cite, p0 2350 263 Music received new attention and witnessed new de- velopments. The Luther College Concert Band under Sperati made tours to the Pacific coast in 1921, 1925, and 1927, as well as four briefer trips. Smaller groups such as the Quintets, the Luther College Entertainers, and the Mission Society groups made many tours, some of them fairly extensive. The various college organiza- tions gave “more than nine hundred concerts 89d enter- tainments” on their tours from 1921 to 1932. Largg ensembles of men's voices. Choral ensembles of men's voices, other than those which have been described as small ensembles, which have been active during the history of Luther College are the Luther College Chorus, the Luther Col- lege Glee Club, the Schola Cantorum, and the Dalenskor. The Luther College Chorus. In 189h-95, the year that marked the return of Haldor Hanson as professor of music and the beginning of an expanded program of music at the College, the first large ensemble of men‘s voices, called the Luther College Choir, was organized. That ensemble of fifty men seemed to be the predecessor of the Luther College Chorus which performed in concerts with the Band and Glee Club on March 31, and May 17, 1905. Most of the programs available for examination indicated that the Luther College Chorus performed in concerts and on tours with the Band, and some programs contained a statement indicating that the membership of the Chorus had been chosen from.the membership of the Band. That information led to the conclusion that the Luther College Chorus was the same men's chorus referred to in an article in the college newspaper which states that: 67Norlie, Tingelstad, and Jacobsen, 22. cit., p. 376. Zéh Upon the arrival of Prof. Carlo A. Sperati at the Col- 1ege an active men's chorus was formed from.members of 68 the band, presenting concerts in conjunction with them. The Luther College Chorus was active in concerts with the Band, both on campus and on tours, including the tour to Norway in 1914 and other extended tours in the United States, and occasionally with the Orchestra and other choral ensem- bles in the following years: 1905-6, 1907-08 through 1915-16, 1920-21, 1922-23, 1928-29, 1931-32, and 1933-3h. Sperati di- rected the Luther College Chorus from.19OS-O6 through about 1927-28, when Theodor C. F. W. Hoelty-Nickel came to Luther. From.that time on through 1933-3h, it appeared that Hoelty- Nickel directed the Chorus. The repertoire performed by the Chorus included sacred.works and Norwegian and American folk- songs. The Luther College Glee Club. An examination of available programs seemed to reveal that a Glee Club of men's voices existed sporadically between l90h-OS and 1923-2’. The Glee Club often performed in concerts with the Band, and on some occasions with both the band and the Luther College Chorus. The concerts in 1905 with the Band and Luther Col- lege Chorus, which.were mentioned in the preceding section, indicated the existence of a group that year. It was also active the following years: 1905-06, 1910-11, 1918-19, 1920- 21, 1922-23, 1923-2h. In 1910-11 the Glee Club went with the 68Holvik, loc. cit.; "Nest Coast Tour, NBC Broadcast Are Schola Highlights,'I College Chips, 22, cit., p. 6. 265 Band on the fiftieth anniversary tour (fiftieth anniversary of the College), and again in 1920-21 on the Band's sixtieth anniversary tour. In 1923-2h the Ensemble numbered thirty- five singers, according to Holvik. Though sources were not always clear, it appeared that Sperati was the director of the Glee Club when it was active. The Glee Club's reper- toire included the same types of choral works as those of the Luther College Chorus which have been described.69 The Schola Cantorum. Theodor C. F. W. Hoelty-Nickel joined the faculty of Luther College in February, 1928, and immediately organized the Schola Cantorum, a male chorus of about forty-five singers. He had received his early educa- tion in Australia, where he was graduated from Concordia Col- lege, Adelaide, in 1912, and from Concordia Theological Sem- inary, St. Louis, Missouri, in 1915. He studied music at the Conservatory of Music at Leipzig, Germany, and graduated from there in 1927 before coming to Luther College. Nelson de- scribes the ensemble as follows: . . . the group took its name from similar organizations established as early as the fourth century, which ex- erted a significant influence on the development of 69 nMiscellaneous programs by musical organ- izations at Luther College: Luther College Chorus, Glee Club, Mixed Chorus, Choral Union, Schola Cantorum, Dalenskor, Women's Chorus, Women's Chorale, Chapel Choir, Messiah Chorus, Concert Band, Luther College Community OrchestraI (Printed programs), Files of Koren Library, Luther College, Decorah, Iowa, various dates 1905-1966; Nelson, lgg.‘g;§., g2..g;t.,‘p. 229; Norlie, Tingelstad, and Jacobsen, loo. cit; HOlVik, 920 22.-Es, p. 1000 266 church music. The Schola, following the contemporary trend in Europe, sought to revivify the treasures of six- teenth and seventeenth century church music. In doing so, the chorus sang many of its numbers in Latin, a prac- tice not altogether pleasing to the Norwegian-American press. Nevertheless, the group established itself as an outstanding musical organization and received an ovation from a crowd of 3,000 in thg Gold Room.of the Stevens Hotel, Chicago, June, 1932. O Hoelty-Nickel continued as director of the Schola Can- torum.unti1 1941 when he left Luther College to accept a position with Radio Station KFUO and Concordia Theological Seminary in St. Louis, and later became head of the depart- ment of music at Valparaiso University. Other directors of the Schola were as follows: Lambert S. Orton, 1941-42; Sig- vart A. Hofland, 1942-43 through 1945-46; Sigvart J. Steen, 1946-47; John Dennis, 1947-48; Theodore C. Sauer, 1948-49; Richard M. Hobart, 1949-50 through 1951-52. The Schola Cantorum made its first tour of the Midwest in 1929. In succeeding years it made many tours including a tour to the west coast in 1933. In 1947 the chorus toured with the Band and its membership was chosen from the members of the Band. On two occasions the Schola joined with the Women's Chorus, once to form a mixed chorus for the perfor- mance of the Messiah directed by Hofland in 1945, and another time for a performance of Fred Waring's Song 22 Christmas in 1950. 70Nelson, loo. cit.; "Schola Cantorum," (Publicity brochure, Decorah, Iowa: Luther College, C. 1938L pp. 1'50 267 A publicity brochure described the repertoire per- formed by the Schola as follows: Included in the repertoire are compositions by Bach, Hasler, Palestrina, Lotti, di Lasso and Vulpius, as well as selections by modern American composers. A feature of the Schola Cantorum.program is the sinoi ing of several eight-part, double-chorus arrangements.7 The period of activity by the Schola Cantorum came to an end when, in 1953-54, it was combined with the Women's Chorus to form the Chapel Choir. Dalenskor. In 1961-62, after a period of about eight years of inactivity, a men's chorus was organized and was called the Dalenskor. Information about its director and concerts given that year was not available. Since 1962-63 Wesley Abbott has been the director of that ensemble. In 1962-63 the Dalenskor gave a combined spring concert with the Women's Chorale. The following year the ensemble of thirty singers performed a concert on May 1, 1964, sharing the pro- gram.with a brass quintet and a brass choir. Concerts were also presented with the Women's Chorale and the Luther Col- lege Community Orchestra on December 10, 1965, and May 8, 1966. The college yearbook indicated a membership of thirty- eight men in the Dalenskor during 1964-65. In the Spring of 1965 the Dalenskor and Women's Chorale joined forces in a production of H. M. S. Pinafore. Both sacred and secular 71Nelson, loc. cit.; 22. cit., p. 293; "West Coast Tour, NBC Broadcast Are Schola Highlights," College Chip_s, loo. cit.; "Schola Cantorum," (Publicity brochure): loo. cit. 268 music was sung by the chorus. Additional information about the Dalenskor has been mentioned previously.72 Largg ensembles 2; women's voices. when Luther col- lege became coeducational in 1936-37, a Women's Chorus of sixty singers was organized under the direction of Clara M. Hoyt who continued as its director for ten years. During that period the Chorus performed in concerts on campus with other musical organizations on occasions such as Homecoming. In the spring of 1941-42 the Women's Chorus made its first tour of thelflidwest which lasted eight days and included eleven concerts. Miss Kathryn Ulvilden, a former member of Miss Hoyt's Chorus, became the director in 1946-47. She con- tinued as the director, except for one year's leave of ab- sence during 1949-50 when Janet (Jerdse) Ford was the direc- tor, until the Women's Chorus and Schola Cantorum were com- bined to form the Chapel Choir in 1953-“4. The two occasions when the Women's Chorus joined the Schola Cantorum to form a mixed chorus for performances in 1945 and 1950 have been men- tioned earlier under the history of the Schola Cantorum.73 The following quotation from the college newspaper, College Chi s, tells of the activities of the Women's Chorus 72 "Miscellaneous programs . . . Dalenskor, 'Women's Chorale . . .u (Printed programs), Luther College, op. cit., 1962-66; Weston H. Noble, Personal interview; ‘7_ Thg Pioneer (College yearbook), Luther College, Decorah, Iowa, 1964, 1965. 73}! elson, loc. cit.; pp. cit., p. 235. 269 during the World War II years and the annual tours which followed: During World War II when Luther's students numbered about three girls to one man, it was natural that the Women's Chorus should become THE musical organization on campus. This brought them opportunities to sing at times for groups like the Decorah Chamber of Commerce, the churches in town and neighboring localities, and made their con- cert tour an annual affair. After the eighth of these girls' tours the Eau Claire Daily Telegram.wrote that the singers t'. . . proved their right to a place in the sunP The Luther College Women's Chorale. In 1961-62, after an eight year period in which women's choral groups were not active on campus, the Iuther College Women's Chorale was organized. Additional information about the group that year was not available. A study of available concert programs for the next four years and data obtained from Weston Noble re- vealed the following information. In 1962-63, under the direction of Scott Stringham, the ensemble gave three home concerts. The December concert was given with the Luther College Community Orchestra, and the Spring Concert with the Dalenskor. An out-of-town trip took the group to Minneapolis, Minnesota, to present a pro- gram at the Salem.Lutheran Church. Donald Gresch became the director in 1963-64, and twenty singers performed in a concert on November 26, 1963, with the Luther Community Orchestra, and on May 1, 1964, 7h "Nemen's Chorus an Early Component of Co- education-:1 College Chi 3, pp. cit., p. 10. 270 with the Chapel Choir and the Luther Community Orchestra. In 196h-65 the membership was enlarged to thirty-two singers, and under the direction of Perry Daniels a concert version of H. M. S. Pinafore was performed with the members of the Dalenskor in May of 1965. A concert with the Luther Community Orchestra also took place in November of l96h. The ensemble continued to be active in 1965-66 and David F. Greedy was its director. Combined concerts with the Dalenskor and the Luther College Community Orchestra were presented on December 10, 1965, and May 8, 1966, with the two choral groups Joining to sing the final number on the pro- gram. Information about the rehearsal schedule of the Women's Chorus was not available. That of the Women's Cho- rale has been described earlier. The limited information available indicated that the repertoire for both of the en- sembles of women's voices included both sacred and secular 75 choral works. Large ensembles 22 mixed voices. It was possible to have a chorus of mixed voices for the performance of ora- torios prior to the time when Luther College became offhnally coeducational due to the cooperation of the people of the 7SWestonfl. Noble, Personal interview; "Miscellaneous programs . . . Dalenskor, WomenTs Chorale . . ." (Printed programs), Luther College, lag. gi§.: The Pioneer, Log. 31;. 271 community of Decorah with the students and faculty of Luther College, and also due to the assistance of the women stu- dents at the Decorah Women's College between 1932 and 1936. The first oratorio performed in Decorah was the Creation by Haydn. The performance took place on March 15, 1890, under the direction of Haldor hanson. When Hanson returned to Luther College in 1894-95 he conducted a chorus of about 100 singers and an orchestra of twenty players in the performance of The Crusaders by Niels w. Gade on May 29, 1895. During the Christmas seasons of 1900 and 1901, William Sihler directed a similar chorus in performances of the Weinacht Oratorium by Barth. Those per- formances in 1890, 1895, 1900 and 1901 seemed to lay the groundwork for more consecutive annual performances of ora- torios after the arrival of Carlo A. Sperati as a faculty member of Luther College in 19014-05.76 The Choral Union. Nelson implies that a Choral Union had been organized prior to 1905, though other sources did not use that terminology in referring to the early perfor- mances of oratorio described above. He describes the de- velopment of the Decorah Choral Union after Sperati's arrival as follows: By reorganizing the Decorah Choral Union in 1905, a group founded by Haldor Hanson in 1889 in which town and college musical forces found a common.meetingp1ace, 76Norlie, Tingelstad, and Jacobsen, 2p. cit., p. 36h. 272 Sperati prepared the way for the rendition of great choral works. Haydn's "Creation" was given in 1906, Handel's "Messiah" in 1907, Mendelssohn's "St. Paul“ in 1908, Handel's [Mendelssohn's] "Elijahu in 1912, Bruch's "Lay of the Bell" in 1913, and Haydn's "Seasons" in 1920. Handel's "Messiah" was often repeated and gradually came to be established as an annual event. Except during World War I, the choral union gave yearly concerts. 7 The Decorah Choral Union ceased to be a college-com- munity endeavor in 19u8 when participation in the chorus for the annual performances of the Messiah at Luther College was limited to students. Vocal soloists for the performances had been chosen from the student body also since l9h6. Luther College Through Sixty Years states that the performance of the Creation on March 16, 1920, was the last oratorio per- formed by the Decorah Choral Union and that the performance of Messiah was then taken up by "the church choir . . . with the assistance of some members of the Decorah Choral Union," on Palm.Sunday and December 18, of 1921. Weston Noble in- dicated that the performances of Messiah in November of 1966 would mark the sixty-third year of oratorio performances at Luther College.78 The directors of the Choral Union and the chorus for performances of the Messiah in later years have been the following: Carlo A. Sperati, 1905-06 through l9h2-h3; Sig- vart A. Hofland, 19h3-hh through l9u5-u6; Sigvart J. Steen, 77Nelson,‘gp. cit., p. 202. 78Norlie, Tingelstad, and Jacobsen, loc. cit.; Weston H. Noble, Personal interview. 273 l9u6-h7 through 1947-48; and Weston H. Noble from 19hB-h9 to the present. The Nordic Choir. As a result of an agreement between the boards of trustees of Luther College and Decorah College for Girls, the students enrolled in the Decorah College for Girls received their instruction from the Luther College faculty beginning in the fall of 1933. That agreement was the first step towards coeducation at Luther College and the possibility of establishing a choral ensemble of mixed voices at Luther College. A program of a concert dated June h, 193M, which included the performance of four selections and a con- cert version of Carmen by a Mixed Chorus under the direction of Theodor Hoelty-Nickel, is evidence that a mixed chorus was organized sometime during the school year of 1933-3h. Holvik mentions the organization of a mixed chorus in the Spring of the following year when he refers to the agree- ment between the two schools, mentioned above, as follows: "As a result of this move in cooperation with the Girls' Col- lege, the Music Department of Luther College organized a Mixed Chorus in the spring of 1935." Between 1936-37 and l9h5-h6 no information was found concerning the existence of a similar mixed choral ensemble, 9 so it was assumed that none existed during that time.7 79 "Miscellaneous programs . . .n (Printed programs), Luther College, op. cit., June h, 193h, pp. l-h; Lolvik, pp. cit., p. 105. 274 Nelson, in his description of the seventy-fifth anni- versary celebration in the fall of 1936, mentions a perfor- mance which may have involved a chorus of mixed voices: On Thursday evening, October 15, "Voluspaa" by the modern Norwegian composer David Konrad Johansen, was given its first rendition in this country by a chorus and orchestra under the direction of Theodore C. F. Hoelty-NickegO The English translation was by Ingebret Dorrum, ‘Oh. A program.of a spring concert in l9h6 by four musical organizations of Luther College showed a Mixed Chorus under the direction of Weston Noble performing The Omnipotence by Schubert, and thereby indicates another year when a mixed chorus was in existence.81 The establishment of a.mixed choir, active since its organization to the present time, came in 19h6-h7 with the organization of the Nordic Cathedral Choir under the direc- tion of Sigvart J. Steen. Its beginning is described in the following quotation from the college newspaper: In the spring of 19h? a group comprising the Music committee at Luther College was trying to decide what to christen the school's new musical baby, born the winter before. History Professor Chellis Evanson suggested the name Nordic Cathedral Choir. It seemed suitable: Nordic for Luther's Norwegian background, Cathedral since it would sing sacred music and choir because it was to represent the highest type of choral singing. The name set well; the new director was Dr. Sigvart Steen, members numbered 57 and from.April 9 to 29 the Nordic's lusty young voice let audiences in Iowa, Indiamm 8ONelson,.9_p. cit., p. 272. 81 I"Miscellaneous programs . . ." (Printed programs), Luther‘College,‘gp. cit., Spring, l9h6. 275 Illinois, South Dggota, Wisconsin and Minnesota know that it had been born.” Sigvart Steen was director of the Nordic Cathedral Choir for two years during l9ho-h7 and l9h7—h8. He was suc- ceeded by Weston H. Noble, who has been its director since l9hB-h9 to the present time. The Choir has been active under three different names since it was established by Steen. It was known as the Nordic Cathedral Choir from 19h? to l95h-55, as the Luther College Choir from 1955-56 through 1963-64, and as the Nordic Choir of Luther College since 196Lp-65.83 In addition to its extensive annual tours the Choir has been active in performances on campus at chapel services and commencement concerts and on other occasions,such as a performance of Walton's Belshazzar's Feast in the ”Presi- dent's Concert" on May 29, 1965. The Choir has made a long- play record about every four years beginning in l95h-55. Its repertoire has been predominantely sacred choral works throughout its history. Information about its tours, per- formances at music conventions and on radio, and its schedule of rehearsals has been mentioned earlier in the chapter.8h 82Con Larson, "Young Nordic Sprints to Top Spot. . .,' College Chips, loc. cit. 83 "The Nordic Choir of Luther College” (Printed programs): Luther College, Decorah, Iowa, for the years 19u7-1951, 1953-1957, 1960-1966. 8h "Miscellaneous programs . . ." (Printed programs), Euther College, 22. cit., June 2, 1962; May 29, 1965. 276 Chapel Choir. The first mention of a chapel choir was made by Holvik, who indicated the Luther College Chapel Choir was organized during 1932-33. No other reference to such a group was found until l953-5h when the Schola Cantorum and the Women's Chorus were combined to form the Chapel Choir under the direction of Kathryn Ulvden Moen. When Bartlett R. Butler Joined the faculty in l95u he became its director. He has directed the Chapel Choir until the present time with the exception of two years. In 1961-62 the director was Elliot Wold, and in l963-6h, when the Chapel Choir was called The Luther Singers, the director was Gerald Hansen. The Chapel Choir has been active in performances on campus, performing about once per week at chapel services and in concerts with the Luther College Community Orchestra in the performance of works such as cantatas by Bach and the Mozart Reguiem. On weekend trips in the spring it has performed concerts in other communities outside Decorah. Its membership has varied from about sixty-five to seventy-five singers. The rehearsal schedule for Chapel Choir in 1965-66 included four rehearsals per week at h:25 p.m. to 5:15 p.m. Membership was open to all students through an audition with the director. Sacred choral works have composed its repertoire.85 85 "Miscellaneous programs . . .' (Printed pro rams), futher College, gp.lg;§., May 8, 19553 April 19, 195 ; February 28, 1959; April 29, 1965; Weston H. 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CHAPTER V AUGUSTANA COLLEGE I. HISTORY OF THE COLLEGE Swedish Immigration and the Founding of Augustana College In 1638 a group of industrious Vikings arrived in the United States and settled along the Delaware River where they introduced the log cabins on the frontier and constructed churches for the early Swedish Lutheran congregations they organized.‘ Because their Lutheran pastors were not replaced by immigrants and men were not trained for the ministry in this country, their church died out with many Joining the Episcopal Church. Another group of Swedes came to this country in 18MB and settled along the banks of the Skunk River in Iowa. Three years after their arrival they organ- ized what was to be the first Augustana Lutheran congregation in the United States. The Augustana Synod was organized at Jefferson Prairie, Viisconsin, in 1860 by thirty-six Swedish and thirteen Nor- tcegian Lutheran congregations with a total membership of 1;,967. At the same convention the Augustana College and flflaeological Seminary also was founded to train young men for tflne ministry. It was first established in a two-story frame tniilding on the near north side of Chicago in 1860 with one professor and twenty-one students. In 1861 Jenny Lind, the "Swedish Nightingale," gave $1,500 to the college as a fund 298 289 for educational purposes, and the Lutheran churches in Sweden contributed $18,8h7. Augustana College and Theological Seminary moved from Chicago to Paxton, Illinois, in 1863, when the Illinois Cen- tral Railroad offered twenty acres for a campus and promised to pay $1.00 per acre for all fanmland sold through the school to settlers. During the first two months the entire student body, about twelve students, lived in President Hasselquist's home in Paxton. The supporting church body purchased some eighteen acres of land on a bluff overlooking the Mississippi River between Rock Island and Molina, and in 1875, in order to be more centrally located among the Augustana Lutheran Church congregations, the college moved to that site with eight professors and ninety students. In 187u the Church and other friends gave $u3,000 to erect the first buildings on the Rock Island campus. An all-purpose building, later to be a boys' n Emflsvmm pamonoo Hmsqc< mafiEoomaom .mamg m I nwflmmmz .Hmmmno .mpaoonoo.ammm£o mdgamo so mMoZdzmommmm .x: mom .an H HmaOHpomm .xB hog .9: mIH xomz Hog .an Hum .xz 9mg .9: Hum mansmmcm Hank quwm¢mmmm .hodpm @Hc hams pun .omaasvma poz modum ooao> .cowpwnoam ofiaovmod no on pod pmsz Qfismpmaoaem .mpCmcdpm Haw 0p ammo ma moanammCm Hmaozo Ham CH magmamnemz mazmzmmeomm mew mew GOHprSm Sm mHmmmmmzm: mm . awaoz mm cmz 0mm mHH on mmmqum mo .02 efim> aaemm eam> annex eam> anew: moaommHo abmfloomXOHHoueao Hocdmm awonoammeno nacho mumpwUMd< (I "HH> mummw 318 account of the choral ensembles that existed during 1965-66. The Handel Oratorio Society has been included because so many students participated in the chorus even though it was not listed in the catalog with the other musical organi- zations and no college credit was given for it. One credit 26 was granted each semester for the other two choral groups. Aims of the Music Program Through the Years The purpose 2; the founders 23 Augustana College. Ebr- ing the first twenty-six years, the purpose of the founders was to train men as ministers and teachers who would provide leadership for the churches and educational Opportunities for the young people of pioneer communities. The opportunity for a college education was extended to women in 1886, and the curriculum was augmented gradually to include training in a variety of areas. The basic objectives of the College since it was founded have been to help man answer the fundamental questions he faces in every age, to transmit knowledge of the 26Ronald F. Jesson, Personal interview; Henry Veld, Personal interview; "The Oratorio Tradition at Augustana,"‘lgg. cit.; - "Centennial Hall and the Fine Arts Building?" A Century 2: Music 23 Augustana, 32. git., p. 6; The handel Oratorio Society, Eighty- fifth Season, presents Messiah" (Printed program), Augustana College, Rock Island, Illinois, December 10, ll, 12, 1965, pp. 1-15; nThe handel Oratorio Societ , Eighty- fifth Season, presents Re uiem by Giuseppe Verdi' (Printed prOgram), Augustana College, Rock Island, Illinois, March 13, 1966, pp. 1-11; "Augustana Choir, 1966 Concert Season (Printed program), Augustana College, Rock Island, Illinois, February ZO-June S, 1966, pp. 1-16. 319 arts and sciences, and to encourage freedom in the search for truth, all within a Christian environment. The purpose of music in the curriculum at Augustana College. That the founders of Augustana considered music an important part of a college education was evident from the fact that it became part of the curriculum in the early years of the history of the college. They came from a country which cherished music as part of everyday life, the worship of God, and education. Conrad Bergendoff, President Emeritus of Augustana, explains the place of music at Augustana Col- lege in a prefact to a bulletin on the School 2£_fig§ig printed in 1952, as follows: The founders of Augustana came from a country famous for its love of music. And the graduates of Swedish universities who determined the policies of the school in its formative years came of a tradition which counted music as one of the liberal arts. They brought with them a conviction that the appreciation of music is a sign of an educated.man or woman. Even their religious life de- manded the use of the greatest music. The Lutheran atti- tude towards music can well be counted a contribution to American education, where Puritan austerity too often proved sterile as far as music in a college curriculum. was concerned. A college education ought to give the student an acquaintance with the creations of Bach as well as the physics of Newton, and the study of the theory of music is as important as the reading of Milton. The language of music is all too foreign to students who may have mastered Greek or Spanish. Even mathematics and philos- Ophy have affinities with music which modern educators have failed to recover. Today, a day of radio and television, of recordings and long-playing records, there are unlimited possibil- ities in the field of hearing and of communicating music. More than in the past the graduate of today needs a knowledge of [and] an interest in the kind of music which 320 can be both created and re-created in his life. An edu- cation that leaves out music is not liberal. . . . School rooms, concert halls, churches-~in all these Augustana graduates have given evidence of what Augustana meant to them. Probably less evident is the wide, unnoticed, but real enrichment of the individual life which resulted from years on this campus, where mush: was in the air and a natural sourcezin the intellectual feasts which college days provided. As a result of the value placed upon music by the founders, it became a part of the curriculum.with the follow- ing three-fold purpose: to train church musicians and in- fluence church music, to teach music for its Spiritual values, and to teach music for its educational and cultural values. Some statements from the 1887-88 college catalog quoted earlier in this chapter, near the beginning of the section on the Augustana Conservatory of Music, gave the objectives of the Conservatory. Those statements, made in the second year of the Conservatory's existence, supported two of the three purposes mentioned above: to train church musicians and influence church music, and to teach music for its edu- cational and cultural values. The following quotation from the publication, nAfter Seventy-Five Years," published in 1935. Supported the inclu- sion of music in the college curriculum for its Spiritual value as well as its educational and cultural values. Recently the editor of the "Lutheran Companion” wrote some lines concerning the traditions established at the 27Conrad Bergendoff, Untitled preface for "School of Music," Augustana Bulletin, XLVII-l2 (December, 1952), 3. 321 colleges of our Synod in the field of oratorio. . . To quote the editor: nThe value of such traditions can scarcely be overestimated. Here is spiritual culture in its highest form. Not only are the students given a higher and nobler conception of the message of Chris- tianity, as they sing the glorious story of redemption, but hard indeed and unresponsive must be the youthful heart that is not touched by the deep appeal made by such music. Even from the purely cultural point of view, training of this kind in the most beautiful and inspiring of all the arts is of inestimable value. It was Luther who called music and song a handmaiden in worship second only in importance to the Word of God. . . This definfie- ly Christian ideal on the part of church colleges is one of the things that differentiate them from purely secuigr institutions and should be given every encouragement." Dr. Olof Olsson, who was credited with organizing the first oratorio chorus at Augustana, made the following com- ments on behalf of music which lend additional support to the value and purpose of music at Augustana: If anywhere there should be found an orchestra and a good choir, it is at an institution where our pastors are trained. There the great musical creations of Handel and Bach and other masters should be studied and performed. In Handel's and Bach's Christian and churchly music there is more genuine theology than in weightyzgomes of com- mentaries and theological dissertations. The instruction in music and the music activities pro- vided at Augustana throughout its history have been the means for students to achieve the purpose of music in the curricu- lum. The training of organists and choir directors has ful- filled one of the purposes of music at Augustana. The high 28 After Seventy-Five Years, 1860-1935, A Jubilee Publication. The Seventy:Fifth Anniversary 23 Egg :éugustana S od and Augustana College and Theological Semin- ary, (Rock Island, Illinois: Augustana Book Concern, 193§7, pp 0 128-129 0 29Ib1d. 322 standards of performance of predominately sacred music by the choral ensembles at Augustana has had a positive influence on church music, and has provided the opportunity for performers and listeners to share in the spiritual values expressed by such music. The instruction in music and the study and per- formance of music have contributed to the achievement of the educational and cultural values which result from a knowledge, understanding and appreciation of music thus obtained by the individual. The purpose of the music program.at Augustana has been consistent with the purpose of the College to provide a liberal education which transmits a knowledge of the arts as well as the sciences, encourages a continuing search for truth, and stresses the spiritual values available within a Christian environment. III. THE HISTCRY OF CHORAL ENSEIBLES AT AUGUSTAEA COLLEGE The Purpose 2f Choral Ensembles in the Curriculum The purpose of music in the curriculum at Augustana College and its relationship to the aims of the College were discussed in the preceding section of this chapter. It was noted that the purpose of the music program at Augustana has been consistent with the aims of the College. Likewise, choral ensembles, which have been a very important part of the music program at Augustana, have reflected the aims of the music program.and the aims of the College. 323 Choral ensembles have provided a means of achieving the three-fold purpose of music described earlier. Performances by the choral ensembles both on campus and on tours have brought the cultural and educational values of the art to in- dividuals for their personal enrichment. It would be diffi- cult to measure accurately, or directly, the influence on church music made by the high level of performance of pre- dominantely sacred repertoire performed by the choral ensemy bles. Membership in the choral ensembles and the study and performance of the best of choral literature provided, in addition to the cultural and educational values, training for church musicians and those preparing to enter other areas of the music profession. The spiritual values derived from the performance of sacred choral music was available to members of the ensembles and the audiences alike. These conclusions about the purpose of choral ensembles have been supported by statements quoted earlier in the preceding section of the chapter which dealt with the purpose of music at Augustana.30 The spiritual value of the performance of sacred choral works was further supyorted by the following addi- tional quotations. A description of the founding of the Augustana Oratorio Society in 1881, translated from the Swedish by Conrad Bergendoff, contained this statement in- dicating the purpose of the founders: "We had begun the 30Conrad Bergendoff, Untitled preface for "School of Music," 100. cit.; After Seventy-Five Years, 1360- 19350 o o , 1000 Ci 0 32h bold project with prayer to the Lord, for it was him, who had bought us with his blood, that we wanted to serve and praise with our music and song."31 The twenty-third annual tour program of the Wennerberg Kale Chorus, dated 1927, contained a statement of purpose which concluded with a sentence which indicated that the Chorus tried to reflect the aims of the College in the repertoire selected for performance by stating, "It renders only such music as is compatible with Christian precepts."32 Conrad Bergendoff, in his annual re- port as president of Augustana College, stated in 1962, at the end of the College's 102nd academic year: Music and Art Augustana has a long tradition of music and art. It is a part of our Lutheran doctrine that these belong in the worship of God and the service of man. We have never doubted that they are a part of the liberal arts, and as important as others of these arts. I think not only of the long line of organists and choir directors who have come out of our studios, but of the great number of groups who have joined in choir, oratorio, band, and orchestra to re-create great masterpieces of composition. . . . It is an experience to hear students on the campus humming classical tunes or religious music as easily as they breathe. . . . . . . I have found that the world of music has touched the lives of students and brought spiritual messages that have exalted their spirits. A Christian college has re- sources here, in voice and instrument, that transcend the 3J‘Executive Committee, Augustana Oratorio Society, 3Memories of a Musical Easter Season, 1881,n Augustana ock Iéissionaren (translated by Conrad Bergendoff), August 23:“ 1881, 266. 32 4_ “Nennerberg hale Chorus Twenty-Third Ann- 1181 Tour" (Printed program), loc. cit. 325 abrasive voices of the world of entertainment and con- tribugg to a spiritual understanding of beauty and har- mony. Early Singing Activity at Augustana College It has been noted earlier in this chapter that, though a detailed account of musical activities and instruction in music during the first twelve years in the history of Augus- tana was not available, there was reason to believe that in- struction in music was available to students from the time the college was founded. Instruction in vocal music was the type of instruction in music first offered to students. Cer- tain faculty members were listed as instructors in vocal music prior to the appointment of Gustav Stolpe as the first Professor of Music and Musical Director in 1882. They were not full-time teachers of vocal music but gave such instruc- tion in addition to their regular teaching assignments in areas other than music. There was definite evidence that in- struction in vocal music was scheduled regularly as a part of the curriculum.from 1873-7h, and that between 1881-82 and 1887-88 it was a requirement for all students. Further de- velopment of all phases of musical activity and instruction was made possible by two events which took place in 1886: the admission of women as students, making Augustana a 33Conrad Ber endoff, “The Idea of a Christian College, The twenty-seventh and final) Annual Report of President Conrad Bergendoff of Augustana College, Rock Island, Illinoflh at the end of the 102nd Academic Year, 1961-62," Augustana College Bulletin, LVII-6 (July, 1962), 7. 326 coeducational institution; and the establishment of the Augustana Conservatory of Music. Early Choral Ensembles Available sources of information indicated that the first choral ensemble was the Augustana Oratorio Society, organized in January of 1881. A performance of the Messiah on April 11, 1881, was the beginning of a long tradition of annual performances of oratorios sponsored by Augustana Col- lege which has lasted until the present time. There was no indication of performances of oratorios in 1882-83 and 189h- 95, but that was due to a lack of information about those years. A more detailed account of the history of the per- formance of oratorios at Augustana will be given later in this chapter. An ensemble called the Aeolus Choir was organized in lBBh. At that time Augustana enrolled only men as students and it was therefore assumed that the choir was composed of male voices. The Aeolus Choir was not mentioned again until 1890—91 and 1891-92. By that time the College had begun to admit women as students and the membership of the Choir may have included women. An English Chapel Choir and a Swedish Chapel Choir ‘were active during 1893-9h under the direction of Mrs. Edla Lund. In succeeding years, 189h-95 through 1899—1900, one Chapel Choir was active under her direction. 327 The first ensemble of women‘s voices was organized in 1890 and was called the Oriole Choir. A Ladies Chorus was active in 1897-98 and 1898-99 under the direction of hrs. Edla Iund. Three male choruses were active during this early period. The first was the Students' hale Choir organized in 1891, which was directed by Professor Eolmes. The second was the Mendelssohn.hale Choir active in 1897-98, with Mr. A. Hult as its leader. The third ensemble of male voices was the Business College hale Choir, active in 1899-1900 and di- rected by C. L. Krantz. There was no detailed information about the membership, rehearsal schedule, or repertoire per- formed by these ensembles. A number of small ensembles were active during the same period in the early history of Augustana. The name of the ensemble and the year it was active, and occasionally the name of the leader or director, were the only items of infor- mation available about them. Those small ensembles were: the Echo Quartet organized in 1888 and active again in 1890- 91 and 1891-92; the Ambrose hale Quartet organized and active in 1892-93; the Philidoi Female Quartet also active in 1892- 93; the Apollo Quartet, the Young Iadies Quartet, the Krato- dean hale Quartet directed by Joshua Iarson, and the re-Echo Quartet directed by Mr. Floreen, all active during 189h-95; 328 the Adelphic Quartet, active during 1897-98; the Utopian I Quartet, active in 1899-1900.34 The Development of Certain Types of Choral Ensembles The account of activity by choral ensembles at Augus- tana prior to the turn of the century, given in the preceding section of this chapter, revealed that activity by large and small ensembles of men's or women's voices was Sporadic from 1888 to 1900. The Oratorio Society, organized in 1881, and the Chapel Choir, started in 1893-94, seemed to be the only groups that carried on consistent annual activity during that t ime . The history of choral ensembles at Augustana College has been recorded beyond this point in the chapter by follow- ing the development of certain types of choral ensembles. The four types of ensembles will include: (1) Small ensem- bles, (2) Large ensembles of male voices (wennerberg Chorus, Lutherman Chorus, Seminary Chorus), (3) Large ensembles of women's voices (Oriole Club or Jenny Lind Chorus), (A) Large ensembles of mixed voices (Augustana Choir, Chapel Choir, Second Choir, handel Oratorio Society and its predecessors). Small ensembles. The first small ensembles active after 1900 were the Lorelei Quartette of women's voices and the Wennerberg Quartet of male voices. The Lorelei Quartette 3”LeRoy Cappaert, "The history of Music at Augustana 1860-1900,n pp. cit., pp. H, I. 329 performed in concerts with the Nennerberg Male Chorus in 1905-06 and 1906-07. The wennerberg Quartet performed in concerts with the wennerberg Chorus during 1906-07. A School of husic Catalog published December 31, 1914, listed Ensemble Singing directed by Mrs. Edla Lund among the musical organizations active during 1913-1h. It was not clear whether it functioned as a class or as a performing en- semble. The same source of information listed four ensembles that were active during 1914-15, which included a hale Quar- tet organized by Professor Canterbury in which he sang first tenor with three of his students singing the other parts; a hixed Quartette whose membership included hiss heick, hrs. Centerbury, Professor Canterbury and Dewin Johnson; a concert ensemble of three instrumentalists (piano, violin, flute) and two singers (baritone and bass) called the Re-Echo Club, organized by Miss Esther Fryxell to perform in the Tri-City area and vicinity of the College; and the Apollo Club, about which no details were given. It was further indicated that other musical organizations were active within the different societies at the College but they were not named or described. The Augustana Male Quartet was organized in 1922-23 and became widely known throughout the Middle West during the following two years. During the summer of 192h, the Quartet performed concerts in more than sixty cities in Iowa, Illi- nois, and hinnesota. A second, similar tour through the central states was carried out during the summer of 1925. 330 The Appeal Octette, directed by hr. Guy Webster and kiss Nellie Swanson, gave forty concerts in the spring of 1928. Additional information about the Appeal Octette was not available. A chorus was organized within the Augustana Band to add variety and novelty to its programs. That Band Chorus performed in concerts with the Band on its tour of Scandi— navian countries in the summer of 1928. It seemed to mark the end of activity by small ensembles at Augustana College during the period of years covered in this study. Available sources provided no further information about small ensembles between 1928 and 1966.35 Large ensembles of male voices. The three male choruses Which were active at Augustana prior to the founding of the Wennerberg hale Chorus in 1901 have been discussed in a previous section of this chapter. The Nennerberg Chorus had the longest record of activity of any male chorus in the 35 "Nennerberg Chorus and Lorelei Quartette in Concert June 4," Newspaper Clipping, St. Charles, Illi- nois, June 5, 1906; "Concert by Wennerberg Male Chorus," NewSpaper clipping, Wakefield, Nebraska, April 17, 1907; . "Annual Grand Concert of Wennerberg Chorus May 9 in College Chapel," Davenport, Iowa Dailerimes, ha 8, 1907; "Wannerberg Male Chorus Concert, hay 7, 8, 9, 1907; (Printed program), Augustana College, Rock Island, Illinois, May, 1907; "Our Conservatory,” loc. cit.; "Chromatic Notes," Augustana Bulletin, X-H8TDecem- ber 31, l9lh), 38-39; "Augustana hale Quartet Second Annual Summer Tour Through the Central States (1925)" (Brochure), Augustana College, Rock Island, Illinois, 1925; "Musical 0r anizations," Augustana Bulletin, XXIII-23 (August, 1928 , 33. 331 history of Augustana College. The following is an account of how it came to be organized,as taken from its 1909 tour pro- gram. TEE WENNERBERG MALE CHORUS In December 1901, a musical festival was held by the Svea hale Chorus of holine, Ill, in memory of Gunnar Nennerberg, who had lately died. It was the desire of this organization, that a male chorus from the college assist it, and accordingly, at the request of our presi- dent, Dr. Andreen, a meeting was called by hr. A. 3. Hamilton for the purpose of organizing a chorus. This meeting was held on October let, 1901, which thereby became the birthday of the Wennerberg Male Chorus. An organization was immediately effected, the first officers elected being: C. A. hallberg, president; C. A. Lund, vice-president; S. J. Sebelius, secretary; and A. S. ham- ilton, chorus director. In the fall of 1902 Prof. C. J. Sodergren was chosen chorus director, which position he held until April 1903, when he resigned. Mr. Chas. Hall- berg was elected his successor for the remainder of the term. At the beginning of the next school year Mr. E. C. Bloomquist was chosen director, and that year it was de- cided to visit congregations in Illinois and give con- certs. Accordingly in April, l90h, the chorus made its first extended trip. Concerts were given in the Zion Church at Rockford, and in the Lutheran churchgg at Aurora, Batavia, and Elgin with great success. The Wennerberg Male Chorus was named for Gunnar Wen- nerberg, a Swedish musician and man of letters who was born the son of a pastor in 1817 in LinkBping, Sweden. He entered the University of Uppsala in 1837 after completing his pre- liminary studies in high school and college at Skara. He was awarded the Ph.D. degree in 18h5, and was called to the chair of philosophy and the mother tongue at Skara College in 18h9. 36 "Jennerberg hale Chorus Tour, 1909" (Printed program), Augustana College and The010gical Semi- nary, Rock Island, Illinois, April, 1909. 332 He became a member of the Swedish Academy of husic in 1850, and at the same time was awarded the Karl-Johan prize by the Swedish Academy for what the judges described as "songs too well known to need any work of commendation.‘1 His "Glun- tarne," duets for baritone and bass which depicted in a very lively manner episodes from Swedish student life, were pOpu- lar both in Sweden and among Swedish-Americans. However, it was through his patriotic songs that he sang himself into the 0 ' and "Sta hearts of the Swedish people. "LSr oss, Svea,‘ stark" are two of the most noted of them and were permanent numbers in the repertoire of almost every Swedish male chorus including the Augustana Jenneberg hale Chorus.37 The Wennerberg hale Chorus continued to be very active, performing often for college and community affairs and on its annual tours until, in the early 1930's, it was combined with the Oriole (women's) Chorus to form the Augustana College Choir. The tradition of the wennerberg hale Chorus was con- tinued throughout the period covered by this study, however, due to the fact that the men of the Augustana College Choir performed a few selections for male chorus each year on tour as the wennerberg Chorus. The repertoire performed by the wennerberg Chorus throughout its history included tnth sacred and secular works. The only information about the rehearsal schedule of the Nennerberg Chorus was found in a publicity brochure printed in l9lh which indicated that the Chorus 37Ibid.- 333 rehearsed three times per week throughout the school year. The membership of the Chorus varied from seventeen to twenty- two during its early history, and, from about 1930 on, in- creased in number to about thirty or thirty-three men. The Chorus' annual tours took it to about half of the states in the country from the east to the west coast. There was no record of activity by the hennerberg Chorus during the years 1916-17 and 1917-18. The Chorus may not have been active during that time due to the effects of World War I and the reduced number of men in college at that time.38 An ensemble of male voices called the Lutherman Chorus was active three years, 1913-lh through 1915-16, according to information in Augustana Bulletins. The Lutherman Chorus usually appeared on religious programs and served as a train- ing ensemble for the Wennerberg Chorus. Its repertoire may have been predominantly sacred due to the fact that it per- formed on religious programs. No information was given re- garding the schedule of rehearsals or the name of the direc- tor of the ensemble.39 38 "Eleventh Annual Concert Tour by the Wen- nerberg Male Chorus" (Publicity brochure), Augustana College and Theological Seminary, Rock Island, Illinois, March, l9lh, pp. l-h; "The Wennerberg Male Chorus of Augustana College and Theological Seminaryn (Printed programs), Augus- tana College Theological Seminary, Rock Island, Illinois, 1907, 1909, 1910, 1926, 1927, 1928, 1931, 1932; After Seventy Years, Being the Stor 'gf_Augustana Cgllege and Theological Seminary, ock'IS1and, llinois,71860-l930,llgg. cit. 39 “Musical Organizations,n Aggustana Bulle- tin, Xph (Fecember 31, 19lh), 32; XI-h (December 31, 1915). 33“ The Augustana Seminary Chorus was included in this study for two reasons; Augustana College and Augustana Theo- logical Seminary were one institution from.the time they were founded in 1860 until 19h8, and several of the directors of the Seminary Chorus were members of the Augustana College music faculty. Although the Augustana Lutheran Church voted at its synodical convention in June, 19MB, to separate the College and the Seminary, Augustana Theological Seminary re- mained on the same campus with Augustana College for almost another twenty years. In September of 1962 a merger of four seminaries made it a part of the Lutheran School of Theology, but it was not moved to a new site on the campus of the Uni- versity of Chicago until the summer of 1967. Statements in concert pregrams and Augustana Bulletins revealed that the Seminary Chorus was first organized in 1927-28 under the direction of Clarence Johnson and gave several successful concerts in Chicago and vicinity during that year. It continued to be active through the period covered by this study until 1965-66, a total of thirty-nine years. Little detailed information was available prior to the 19h0's. The following members of the music faculty of .Augustana College were directors of the Seminary Chorus: JBrynolf‘Lundholm.for a couple years prior to World War II and twice after that, probably in 19uS-u6 and from 19h9-SO ‘through 1951-52; henry Veld for three different periods of time, probably l9h2-h3 and l9h3-hh, l9h6-h7 and l9h7'48, and 335 finally 1961-62 through 1965-66; Elmer Copley from 1952-53 through 1956-57 and perhaps 1957-58; and Donald Prindle in 1958-59. The names of others who directed the Seminary Chorus were supplied by Dr. Veld and Mr. Iundholm, but the years they directed were not known. The names of those di- rectors were: Dr. Everette Arden of the Seminary faculty, and the following seminarians who were later ordained minis- ters—-Elmore Carlson, Luther hedeen, Constantine Trued, and Bertil Anderson. Statements in programs examined from the 1950's and 1960's indicated that the Chorus rehearsed five days per week and performed sacred repertoire from all periods of music. Tours were conducted usually during Spring vacation, the week preceding Easter. Membership varied from twenty-four to forty singers. The purpose of the Seminary Chorus was to promote a greater knowledge and appreciation of sacred music of the church, both among the students of the Seminary and the peeple of the congregations which the Chorus visited, and to foster a closer relationship between the Seminary and the churches.“0 Large ensembles 3; women's voices. The three choruses of women's voices which were active before the turn of the no "Augustana Conservatory of Music," Augus- tana Bulletin, XXIII-23 (August, 1928), 33; '"Angustana Seminary Chorus" (Printed programs), Augustana {Theological Seminary, Rock Island, Illinois, 1950, 1952, 195h, 1955, 1956, 1957, 1959, 1962, 1964; Elmer Copley, Associate 336 century were discussed in the section of this chapter devoted to early choral ensembles. The Oriole Club, or Oriole Chorus, which was known as the Jenny Lind Chorus in later years, had the longest record of activity of any ensemble of women's voices in the history of the College. The women's chorus which was the immediate predecessor of the Oriole Club was called the Clef Club. It was organized and active in l9lh-lS, and was directed by Althea Brown. The Oriole Club was organized through selective try- outs in 1915-16 under the direction of Arvid Samuelson and included twenty singers. Its first tour was made in the spring of 1917, and annual tours were conducted each year thereafter. In the early 1930's the Oriole Chorus and the Nennerberg Chorus were combined to form the Augustana Choir. The tradition of the Oriole Chorus, like that of the wenner- berg Chorus, was continued, however, due to the fact that the women of the Augustana Choir performed a few selections for women's chorus each year on tour as the Oriole or Jenny Lind Chorus. The annual tours by the Oriole Chorus occurred in the Spring or immediately following commencement in June. The repertoire performed included both sacred and secular Professor of Music and Director of Bethany College Choir, Bethany College, Lindsborg, Kansas, Personal interview, June 5, 1967, Lindsborg, Kansas; Elmer Copley, A letter supplying information about the Augustana Seminary Chorus and Chapel Choir; Henry Veld, Personal interview; Brynolf Lundholm, A letter supplying information about choral ensembles at Augus- tana College (Rock Island, Illinois: March 27, 1969), 1-3. 337 works. Lembership varied from twenty singers during its early history to about thirty-six singers in later years. Rehearsals were held twice a week.“1 Largg ensembles of mixed voices. The two large ensem- bles of mixed voices with the longest history of activity at Augustana College were the handel Oratorio Society, including its predecessors, and the Augustana Choir. Other ensembles of mixed voices active for shorter periods were the Chapel Choir, the hission Chorus, and the Second Choir. The history of the Augustana Choir is related to that of the Wennerberg and Oriole Choruses, and coincides with the career of Henry Veld, its founder and director during his thirty-seven years as a mem er of the music faculty at Augustana. Because the development of the Augustana Choir, the handel Oratorio Society, and the Chapel Choir was the result of Veld's di- rectorship and influence over a period longer than that of any other director at Augustana, it is deemed apprOpriate at this point to provide some biographical information about him as a prelude to an outline of the history of those ensembles. “1 "Chromatic Notes," lgg..g;t.3 l'Augustana Conservatory of Music," Augustana Bulletin, XXIII- 23 (August, 1928), 32, 65; XXV-h (June 30, 1930), 30; XXVI-5 (July, 1931), 8, 52-53; XXVII-h (April, 1932), 27; "The Oriole Chorus of Augustana Collegen (Printed program), Augustana College Rock Island, Illinois, 1927, pp. l-h; After Seventy-Five Years, . . . gp.‘g;§., p. 23; henry Veld, Personal interview. 338 Henry Veld was born in South holland, Illinois, in 1875. he began organ lessons at the age of six and took up piano at a later date. When he was thirteen years old he be- gan playing the organ in his home church. Later, at the Chicago Musical College, he studied organ, theory and compo- sition with G. Gordon Wedertz, Felix Borowski, and Luis Victor Saar. his private voice study was with Richard B. De Young in Chicago, and N. Brads, Oscar Seagle, and Louis Bachner in New York City, and coaching with Walter Golde. Veld admired Frederick Stock, director of the Chicago Symphony, and on Stock's advice studied the Bach St, Hatthew Passion with Hans Lange, the associate conductor of the Chi- cago Symphony, who was a Bach scholar. He also admired and was influenced by Larrison Wild, director of the Apollo Club (chorus) in Chicago, under whom he sang for about three years as a member of that chorus. After the death of harrison Wild in 1923, he was succeeded by Edward Nelson who continued as director of the Apollo Club until 1951 when Veld was invited to become its conductor. Veld was the conductor of the Apolhl Club until 1963. For four years prior to joining the faculty at Augus- tana College, Veld was organist and choir director at St. Mark's Episcopal Church in Chicago. He was recommended for the position at Augustana by his voice teacher, dichard B. .De Young, and joined the Augustana faculty in the fall of 1929. his first teaching assignments were to teach singing 339 and to direct the Oriole Chorus which had a membership of twenty-two girls and rehearsed twice a week. The Oriole Chorus made its first performance under Veld's direction at the Homecoming banquet in the fall of 1929. Soon after, a committee of members of the Wennerberg Chorus contacted him mad requested that he become their director also. Thus began his thirty-seven year career at Augustana which included his founding of the Augustana Choir and his direction of the Handel Oratorio Society, the Chapel Choir, and the Seminary Chorus. Veld was selected by the War Department at the close of World War II to train choruses of military personnel at Army'University Centers in Europe. During the first half of his tour of duty, which lasted from July, 19h5, to February, l9h6, he directed two eighty-voice male choruses at the American University Center at Shrivenham, England. Each chorus rehearsed ninety minutes per day, five days a week, and many of the singers had had good training and had sung professionally before entering the Army. One of the choruses directed by Veld appeared with the London Symphony Orchestra at Albert Hall, London, and later made a series of recordings of part songs for male voices under the sponsorship of Boosey and Hawkes, publishers of music. Together with the Shriven- ham orchestra, under the direction of Thor Johnson, Mr. Veld's chorus made an extensive tour of English towns, in— cluding Oxford, Cheltenham, and Swindon. When the university 340 at Shrivenham was closed, he spent some time organizing choral groups in the occupation units in Germany. His abil- ity was further recognized when he was selected to conduct the 2,000-voice choir for the Opening session of the world Council of Churches Assembly held in Soldier's Field, Chi- cago, l9Sh. In the summer of 1957, he was director of a large chorus at the Lutheran World Federation of Churches convention at St. Paul, Minnesota. Veld was called to many campuses during the summers as a visiting professor or clinic conductor. he taught summer sessions at Kichigan State University; the University of hichigan; Brigham Young University in Utah; University of Iowa; Ohio University at Athens; Northwestern University; Colorado State College at Creely, and Western State College at Gunnison, Colorado; University of Nebraska; East Texas State University; Indiana State Teachers College at Terre Haute; and Ball State College, Muncie, Indiana. he also con- ducted two church music workshops at Cisco Beach (Camp Augus- tana), Lake Geneva, Wisconsin, and two for the Michigan Council of Churches at East Lansing and Greenfield Village in Michigan, in addition to numerous other high school and church choir festivals, clinics and workshops. For twenty-eight of his thirty-seven years at Augus- tana Henry Veld directed church choirs, serving eleven years as choirmaster of St. John's Lutheran Church, Rock Island, Illinois, and seventeen years at St. John's Methodist Church in Davenport, Iowa. 3H1 Henry Veld was elected to the American Academy of Teachers of Singing in 1948, and was a member of the American Choral Directors' Association, National Association of Teach- ers of Singing, and the Music Educators National Conference. he was also listed in Who's Who in America and Who's Who in Music in England, and was a member of Omicron Delta Kappa, a national leadership honor society. He was a graduate of the Chicago Musical College, earned a Bachelor of Arts degree from Augustana in 1937, was awarded an honorary degree of Doctor of Music by Bethany College, Lindsborg, Kansas, in l9h8, and studied in New York City while on sabbatical leave in 1950-51. A few years before his retirement, the members and former members of the Augustana Choir established the Henry Veld Scholarship to commemorate Dr. Veld's leadership of that outstanding organization which was to be awarded to music students by the Department of Music faculty. During his last year at Augustana in 1965-66 Veld was honored at several occasions. One of those occasions was the annual Augustana Choir reunion held at Homecoming. Some 360 persons attended that luncheon at which Veld revealed his plans for retire- ment. He was lauded for his leadership in the field of music and his contributions to music at Augustana and throughout the world by Augustana President C. W. 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ccnmmcc eccoocz .om ”concmcz .>.m ancnccm cancncno accccm cmmnrmmmn nnono oqooom manono mnonnsom wcopm5w5¢ Amomdnono Aoaonnovonnq known % wnonnonnoz oocnnaoov .Q.m.nnoz.mH.HHH undoa .>.m nnono oHHongso 4 mqopm5m5< cannnm cos scammcz .>.m nncnccm cnncncnc accuse mmmnuemcn mznoso Mnmnnaom mcopm5md¢ Amomnnoso oHonno .mg nu pnozm m.nonz % mnonnondoz oonnnaoov Aooznnpnoov .HHH.mH3.ncnz mm\:nnm\: unwoa .>.m nnono oonHoo mospmSmfi< immeummmn woodmanownom no annon innonoonna moanaomnm nmow “oceanoccco nnn> woman 376 .nccz.cn.nnn aagain} “neon .A.m o>cmocgcmnomoh manono unmanaow ocopmzmsd nnosu ono9m5m5¢ oga ccnmmcz .>.m ..o.m .ccmcczm ccnn ancnccm cnncncnc accccm cscnumscn mdnono knocnaom mampm5m54 .nnn .cm\:-mn\: “neon .>.m nncco cccnmcosa can acnmmcz .>.m ancnccm cnncncnc accuse msmnueemn .>.m manono nnmnneom moonmdws< .cn.nnn .mn\m-mn\m "neon onccm nn.3.3 ocnncc connncnnsc mnscn .>.m nncco cccomsosa can genome: .>.m hponoom onnonmno Hooqom ::meum:mw .>.m manono nnmnHEom onopmzm34 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.nnn.ncna..n.z..n.m.ccco .cccn.cnco.ccn .m\:amn\m «noon .>.m nncco cccocsoss can nonmmoz .>.m npmfiocm onnopmno flotsam mmmwlsmme .o.m muncno anonnsom osmpm5w3< .o.m nncno Honcno .mH3.£onz .ccn.nnn.cn .n\:-mm\m «neon .>.m nncno cccnmcwce con nonmmoz .>.m hnonoom onnopmno Hoonom :mmwummmw .o.m monono mnoGHEom ocmpm5ms¢ noanoo nosam nnoso Honcho .ccnz.cncssnco cannnnm .cmcz.cno.nnnco.ccno.cnco.ccn .oz.nnoz.mw.HHH .mpnoonoo or .mcnna coo c .cm\:-n\Mmunccm .>.m nncco cccnmcmsn ccn \mm\ .nonmmom Bonapoz .nm % sonmmoz .>.m knonoom cancpono Hoonmm mmmelmmmw .A.m msncno anonnaom onopm5wd< nncno acncno .HHH.nnoa Avoncnpccov .nn..n.z.ccn.ccnz .nc\m «noon .>.m nncco cocomsmce can mmmnunmmn moososnonnom no wndoa mnonooMHd Inoansomnm [ImumMWll Ali Accssnnccco nnn> mqm.m nnono mqmnm5m3< one nc\mm\: "cannnm ccc scammcz .>.m nocnccm cnncncno accuse ncmnuocmn Amvsomnooqw annom manono unconsom mnmpmsw5¢ Amn\monmcm cno nmonono .owwonno one Aom\:v ocopmzw5< .A:m\somndnmoamo .Aonxsocncnaccm as mass noon: m 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woman -I$ 381 wnnmwSono I .sono mxwa I .mxs wanwanw>w ow: GonpwEnomnn owanwpwo on pwnp #39 noon w no wonwonnw mwz wnwsp pogo wwnwonoan nonpwEnoncn noon non cadaco wan on swunnnz ndcp onos wsn I nzoa nnwofipm I Amv w>npow no owuncwwno mm: on cw£3 wnwononn wHQEwwcw Honcho w no wswn who monsoaaon wwmwnnnwnwo on wwpwo I A.swm pmnoAmm.Hawmo umwmwnpnwnwn no wmb mpnwonoo no mwpwo I mo\mn.nn.on\me mndop w no mwpwo I me\:IOM\m «ow £05m mnonpwanneoo nonadz poo owHmem nHmSOnnwna nonownno Hwnono w no wswn wan I A.o.ho meHpHcH .wcwnm5w2¢ uw mnwwm mm nwnnw nwwh Hoonom ooImomF wan no onw who no ownnuwn on> nncwm* pnwnsnom an nonwz .>.m* manogo nnwnnawm wowpmdws¢ 0 an wwwz «pnwonoo mannmm .>.m* nnozo Hogwso .sono nnozn Ianw mnaomwnwnonH\3 unwocoo ..n.z.ccnz.cncc.ccn.nnn cn mpnwonoo we «om\MIme\m ”noon .>.m* nnono wowpmdwdw one ccxmn\m ” acnsocm mmc\mn.nn.on\mn “ncnmmcz .>.m nocnccm cnncncnc accccm ccmnumcmn .>.m msnoao mnwcnawm onwpmdmsd . .>.m nncco acccco we on\: «.ano hnonmamm hnHoInna\3 wostnonnwm m.HHH .mn3.ccnz.ccccco.ccn2..m.m.cn an wunwocoo mp .ON\MIm\m «noon .>.m nnono wawpm5m5¢ one . . mw\c\m ”concmcnc .chm. m. nn\mn “ccnmmcz .>.m nncnccw cnncncno nccccm mcwnuscmn moonwenonnwm no mndon monopownamwl mwanawmqw. nwww accscnncocnImmwn mamw£ nwsn pomp mwpwononn moanswmcw Hwnogo no mwaw: on» hp annwnmw aw I * owunnwmnc I .wno nonownfim I .nHQ £pn3 I \3 NUwSGHpCooV HHH> mamma CHAPTER VI SUMMARY AND CONCLUSIONS Purpose of the Study The purpose of this study was to present the history of choral ensembles at four Lutheran liberal arts colleges, (St. Olaf, Concordia, Luther, Augustana), each of which had a history of outstanding choral tradition; to note similar- ities as well as differences in various aspects of the pro- grams of choral activities among the four colleges; and, if possible, also to draw conclusions regarding the influence of those choral ensembles upon choral music in Lutheran colleges, schools and churches, as well as upon the music publishing industry and the development of choral music in the United States 0 Method of Procedure The first chapter stated the purpose of the study, the need for the study, and outlined the method of procedure. In addition to the research necessary to the writing of the his- tory of choral ensembles at each of the four colleges, two other research projects were included in order to broaden the scope of the study: a questionnaire survey of choral direc- tors in Lutheran colleges, schools, and churches in the 'United States; and a study of music publishers' catalogs of choral music. 383 38% In Chapters II through V of this study one chapter was devoted to each of the four colleges (St. Olaf, Concordia, Luther, Augustana) and its historical development of choral ensembles. The outline of the contents of each of the Chap- ters II through V was based upon a broad general outline for all four of those chapters. However, the outline was ad- justed, where it seemed necessary, to the specific problems of writing a chapter on each one of four individual colleges, each with its own unique history. The general outline for all four chapters had three main divisions: a short history of the college, the general development of musical activity at the college, and the history of choral ensembles at the college. A chronological chart showing the choral ensembles which were active from the founding of the college to 1966 was included at the end of each of these chapters. The order in which the colleges were covered in this thesis had no special significance. After the basic research of compiling data had been accomplished, the college chosen for a beginning was the one on which there was the most, as well as the best-organized, data available. The order of the succeeding chapters on the other three colleges seemed to be determined by the relationship of the directors at those col- leges, the relationship of the colleges during their early Ihistory, and their relationship as it was determined by their nnmnbership in specific divisions of the Lutheran Church. 385 Early History of the Colleges The four colleges in the study were established over a period of thirty-one years between 1860 and 1891. The oldest institution was Augustana College, founded in 1860, followed by Luther College in 1861, St. Olaf College in 1875, and Con- cordia College in 1891. It was not clear whether Augustana had a preparatory or academy department when it was founded. Luther was founded as an academy and a college. St. Olaf and Concordia were both founded as academdes, though they may have been called colleges. St. Olaf added its college department in 1886. Concordia added a college department in 1913 and discontinued the academy in 1927. Augustana and Luther were not coeducational when they were founded (as were St. Olaf and Concordia), but became coeducational in 1886 and 1936 respectively. The first degree at St. Olaf was granted in 1890, and Concordia granted its first B.A. degree in 1917. Although information did not reveal when the first degrees ‘were granted at Augustana, it could be assumed that they were granted in 186a, about four years after its founding. The first graduating class at Luther was in 1866, but it was not clear whether the students graduated from the college or the academy, or both. St. Olaf, Concordia, and Luther Colleges have been supported and supervised by the same synodical division of the Lutheran Church since they were founded, which is now ,known as the American Lutheran Church. Augustana College has 'been.supported by another synodical division of the Lutheran Church throughout its history which was called the Augustana 386 Lutheran Church until it merged with other Lutheran church bodies to form the Lutheran Church in America. General Develgpment of Musical Activities Instruction in music, mainly in vocal music and piano, was available to students at each of the four colleges during the first year that the schools were in operation. During the early years of the schools, especially in the case of Augustana, Luther, and St. Olaf, instruction in music was provided by certain members of the faculty in addition to their regular teaching assignments in other academic areas. It was not until its thirteenth year that Augustana had a music instructor who had Specialized in music. Luther had its first music specialist as late as its twenty-seventh year of existence. St. Olaf and Concordia seem to have had some reasonably competent musicians as instructors in music from their beginning years, even though they may not have devoted their full time to the teaching of music. St. Olaf listed Miss Ella Fisk, who was also the preceptress, as its instruc- tor of music during its first year, and Concordia had a music specialist on its faculty in its second year. Various choral ensembles were some of the first musi- cal organizations that existed during the first years in the history of the colleges. Often they were organized and di- rected.by students rather than faculty and did not remain active for long periods of time or from one school year -through the next. Detailed information was not available 387 about many such early ensembles, and several ensembles may have been active for longer or shorter periods of time prior to those about which information was available. Keeping that fact in mind, the following ensembles are listed as the first choral ensembles at each of the four colleges. The St. Olafs Sangkor was active in 1875, the first year that St. Olaf's School was established. The Concordia College Choral Class was organized in the spring of 1893, the second year that Concordia existed. The Idun Quartette was active at Luther in 1869, which was Luther's eighth year of operation. At Augustana, the Augustana Oratorio Society was organized and active in 1880-81, twenty-one years after Augustana was founded. The first choral ensemble from each of the colleges to travel off campus to perform a concert, or a series of con- certs, was mentioned in this study as the first choral en- semble to go on tour from that college. The Augustana Ora- torio Society gave several performances of the Messiah during its first year of existence, 1881, in nearby communities. The Idun Quartette from Luther College toured during the summer of 1877, which was the first tour by a choral ensemble from that school. The Kjerulf hale Quartet of St. Olaf travelled to Kenyon to give a concert on May 18, 1889, and the Concordia College Octette made a similar trip to perform at Halstad on March 1, 1897, marking the first tours by en- sembles from those colleges. The first tours by ensembles from.St. Olaf, Concordia, and Luther were made by small 388 ensembles, while the first tour by an ensemble from Augustana was made by a large chorus accompanied by an orchestra of twelve players. The establishment of a music division at each of the colleges was an important step in the development of music instruction and activity at that college. The Augustana Con- servatory of Music, established in 1886, and the Decorah School of Nusic, established in 1889, were both organized by faculty members as private ventures. The year after each of those schools was established it became a department of the college--at Augustana in 1887, and at Luther in 1890. A School of Music was established at St. Olaf in 1903, and at Concordia in l90h-OS. The organization of music courses into a program of study leading to a degree was another important point in the development of music instruction at the colleges. In 1893 a course of study was established leading to a Bachelor of Music degree at Augustana. Soon after the arrival of F. M Christiansen and the establishment of a School of Music at St. Olaf (l903-Oh), the first degree program in music was offered at that college. At Concordia the first Music Diploma was awarded in 1906, and the first Bachelor of Music degree in 1929. The first courses of studies leading to a xnajor or a minor in music were offered at Luther in 1932-33. The degrees offered in music at the four colleges in 1965-66 were as follows: at Augustana, a Bachelor of Arts, a Bachelor of Music Education, and a Bachelor of Music; at 389 St. Olaf, a Bachelor of Arts and a Bachelor of husic; at Con- cordia, a Bachelor of Arts and a Bachelor of Music, each with majors in music, and a Bachelor of Arts and a Bachelor of Science with minors in music; and at Luther, a Bachelor of Arts with two possible majors in music. St. Olaf, Luther, and Augustana did not offer a minor in music in any degree program. Accreditation of the music programs at the colleges is mentioned here as an additional indication of the development of music instruction at each of them. The National Associa- tion of Schools of husic has accredited three of the col- leges: Concordia College in 1932, Augustana College in 1938, and St. Olaf College (year unknown). Luther College's music program was accredited by the Korth Central Association of Colleges and Secondary Schools, and the National Council for Accreditation of Teacher Education. The reader is referred to Table IX, which follows, for an outline of the information covered in this and the pre- vious section of this chapter on the early history of the colleges and the general development of musical activities. Purposes In this study it was revealed that there was a consis- tent relationship between the purpose of the founders of the college, the purpose of music in the curriculum, and the pur- pose of choral ensembles at each of the colleges. Similarly, the purposes of the founders of the four colleges were 390 \wmmH,4:mHpom mo Ampwmz go gonads prouv zaopmHz pmowQOH esp spH3 oHnEoon mo ozz9** .mhz ow** msaozo ootz omnmq .mnz mo manonu uoNHz ompmn .mhz mm HHono Umtz .mws om hHoao cmNHz zuH>HHuw Ho dwmwm> mo Mopeds Hmuouu zuoumHn pmmw:0H map ammfiludqaudduludldQHH memoHHou‘Hdom HHmjum opwe qucqs H umvHHme* Hmuom H mowH* mme msmH mayono vmtz m awn oHnsomcm HHwem manozo votz mwhmq nHoao coKHz nun -0 .o r q v.0 « .m- «o o . q 04.....- o co. .H mm .maz mH .maz HH .maz mH .maz mm a, mmumme memH smuome mm-smmH mmeammqm HHwEm .maz mm .maz wH .maz ma .mnz Hm wmusmma smnommH noncomH mausme mspoeo m.emaoz .maz so .maz m: .mnz HH .maz um mmnjme mmu:mmH noncomH wmusme msgoeo m.cmz .maz mm .mnz :m .mnz mm .mph 00 NmnHme :mummmH HomH man AHono Umtz .maz om .mnz mo .maz mH .maz mm HmnowwH oowH mama momH mswoeo emxflz amass .c.q «,um o .«q o .c v o v.. v o c . wqoq-o .cN mqmum5md¢ nonpSH vanoocoo HmHo .pm wwwmflfloo HSOH dflp Hm. mQHDEMmflm .HO m00>v deH 03». ”~30me GOHPwEHOHGH «N Hflméfln Ank’ 4‘. .z'/ The number of years each type of ensemble was active at each of the colleges and the number of years it toured have been tabulated below to supply more complete information about tours: St. Olaf 1875-1966 0 u u~> cam a~4 th w4a «,5 (DO (DO >4< >48 Large Mixed 58 11 Chorus Mixed so *53 Choir Men's 37 16 Chorus Women's 31 8 Chorus Small 38 13 Ensembles Concordia 1891-1966 e U mt> m o pw+ L49 m+> m z (D 0 (D O wee >494 13 l 52 6342 ll 1 18 O 15 ll Luther 1861-1966 m U 03> 010 mod L.a w4a w 5 (DO (DO >+¢ >45 63 0 2h *20 1+5 7 18 11 11 l Augustana 1860-1966 Years Active Years Toured 86 2 52 33 67 mag) 53 so 15 3 % The types of ensembles which toured the most at each of the colleges. ( )The type of ensemble from these schools which toured the most in relationship to the number of years it was active the most. The type of ensemble from these schools which toured An analysis of the preceding information revealed that several other types of ensembles toured for a high percentage of the years that they were active. Those types of ensembles included the men's chorus at Augustana, the mixed choirs at St. Olaf, Luther, and Concordia, and the small ensembles at 397 Concordia, as indicated in the following tabulation: St. Olaf Luther Concordia Augustana l“nixed 88.33% 83.33% 80.77% 63.u6% Choir Her“ 3 86 . 56% Chorus Small 73.33% Ensembles All of the preceding information about tours supports the fact that many of the choral ensembles at the four col- leges made concert tours. The women's chorus at Concordia and the large mixed chorus at Luther were the only types of ensembles which had no record of performances off campus which could be called tours. The type of ensemble which was very active as a touring organization was the mixed choir at each of the colleges. The remaining types of ensembles--the men's chorus, the women's chorus, and the small ensembles-- had a varied record of tours, ranging from a very small per- centage to a large percentage of the years that each was active. The mixed choirs at the colleges toured extensively throughout the United States and Canada and occasionally to Europe, thus greatly extending their spheres of influence be- yong their campuses or the states in which they are located. Repertoire Performed by the Ensembles The repertoire performed by the various types of en- sembles at the four colleges has been predominantly sacred, 398 and usually the works of reputable composers from all periods of music were represented. All the repertoire performed by the St. Olaf Lutheran Choir, except that performed with other ensembles from that college in the annual Christmas Festival concerts, was performed without accompaniment. Performance of unaccompanied choral works by the choirs at the other three colleges seemed to have predominated, but not to the extent mentioned for the St. Olaf Lutheran Choir. Other ensembles at the colleges have performed both accompanied and unaccom- panied choral works. The memorization of the music to be performed by the singers seemed to be a standard practice for the choirs at the four colleges and a predominating practice in some of the other ensembles at the colleges. The follow- ing chart provides more detailed information about the sacred and secular repertoire performed by the five types of en- sembles at each of the four colleges. St. Olaf Concordia Luther Augustana Large Mixed All All All All Chorus Sacred Sacred Sacred Sacred Mixed All Mostly All Mostly Choir Sacred Sacred Sacred Sacred Men's Mostly Sacred & Mostly Mostly Chorus Sacred Secular Sacred Sacred Women's Mostly Mostly Mostly Mostly Chorus Sacred Sacred Sacred Sacred Small Mostly Sacred & Mostly Information Ensembles Sacred Secular Sacred Not Available .’\ .'\ ‘ y ‘7‘ Backgrounds of the Choral Directors at the College A comparison of the backgrounds of some of the choral directors at the four colleges revealed some interesting similarities. An examination of the backgrounds of the main choral directors who were active at each of the four colleges in 1965-66, and for several years preceding that year, showed that Olaf C. Christiansen at St. Olaf, Paul J. Christiansen at Concordia, Weston Noble at Luther, and Henry Veld at Augustana all had earned bachelors' degrees from Lutheran colleges. With the exception of Paul J. Christiansen, who graduated from St. Olaf, they had all graduated from the col- leges at which they were then members of the faculty. It is of additional interest to note that all four of them had had training and experience as instrumental performers or direc- tors of instrumental ensembles. Olaf and Paul Christiansen and'Weston Noble had earned masters' degrees, and all had pursued further study on an individual basis. Paul Chris- tiansen and Henry Veld had been granted leaves of absence to study in New York City, and Noble studied during certain summers with Julius Herford, Robert Shaw and Roger Wagner. In addition, Olaf and Paul Christiansen and Henry Veld had been awarded honorary Doctor of Music degrees in recognition of their contributions to the field of music. An analysis of the backgrounds of the predecessors of Olaf and Paul Christiansen and Weston Noble showed that they, like their successors, had received training at Lutheran 1&00 colleges. F. M. Christiansen of St. Olaf had attended Augs- burg. Herman Monson of Concordia and Sigvart Steen and Carlo Sperati of Luther had graduated from Luther. Only A. Cyril Graham, who preceeded Veld at Augustana, had not attended a Lutheran college, but had received his undergraduate education at Northwestern University School of Music. As in the case of the first group of choral directors whose backgrounds were compared, all five of their predecessors just mentioned also had training and experience as instrumental musicians or di- rectors of instrumental ensembles. Additional information about Herman Monson was not available, but it was discovered that F. M. Christiansen, Steen, Sperati, and Graham had pur- sued additional study: Steen and Sperati in the United States, and F. M. Christiansen and Graham in Europe. F. M. Christiansen and Sperati were awarded honorary Doctor Of Music degrees in recognition of their contributions to the field of music. The development of choral ensembles at the colleges seemed to have had a direct relationship to the succession of leadership by directors who remained at the colleges for long periods of time. F. M. Christiansen was at St. Olaf for a period of thirty-nine years before he was succeeded by his son Olaf, who continued for an additional twenty-three years up to the time When this study was terminated (1965-66). Herman Monson directed the choir at Concordia for fifteen years prior to Paul Christiansen who had been its director hOl for twenty-nine years in 1965-66. At Luther the period of leadership provided by Carlo Sperati and Weston Noble were thirty-nine years and eighteen years, respectively. henry Veld, who was director at Augustana for thirty-seven years, was preceeded by A. Cyril Graham for a period of eleven years. It is the opinion of this writer that the consistent leadership by one person over a number of years which was provided by those men, was an important contributing factor in the development of the well-established and highly re- garded choral ensembles that have been active at.those col- leges for many years. The most unique succession of leadership at all four of the colleges was that which took place at St. Olaf be- tween the directors of the St. Olaf Lutheran Choir in l9u3-hh and its managers in 1948-h9. The father-to-son succession of the directorship of the Choir from F. Melius Christiansen (director for thirty-two years) to his son Olaf (director for twenty-three years) spanned a period of fifty-five years. A similar succession of managership of the Choir from Paul G. Schmidt (manager for thirty-seven years) to his son Frederick (manager for eighteen years) covered a correSponding period of fifty-five years. A Comparison of the Types of Ensembles at the Four Colleges Large mixed ensembles. This type of ensemble included the mixed choruses, usually of large membership, which per- formed large sacred choral works such as oratorios, passions, (L07 -fl cantatas, and masses. In the four colleges being studied some of those ensembles were the Choral Union at St. Olaf, the Choral Union and Messiah Chorus at Luther, and the Handel Oratorio Society and its predecessors at Augustana. Perfor- mance of larger works was at times, however, taken over by the chapel choir or second choir at some of the colleges, such as St. Olaf and Concordia. The history of activity by that type of ensemble was the longest of all types at Augus- tana (eighty-six years) and at Luther (sixty-three years). St. Olaf's Choral Union also had an impressively long history (fifty-eight years), but the number of years of activity by a large mixed chorus performing oratorios at Concordia was not long (thirteen years). The large mixed chorus had the shortest history of tours of all five types of ensembles. The size of the membership varied throughout the years from fifty to 67k singers. The largest choruses were the Messiah Chorus in recent years at Luther (67h), and the Handel Oratorio Society chorus at Augustana (350). The mem- bership of the choruses varied in another aspect in that some of them were composed of students and people from the sur- rounding area and other choruses were limited to students. Very little information was available regarding membership requirements such as auditions or voice study. Rehearsal schedules also varied from two or three daytime, week-day rehearsals where only students were involved to one evening rehearsal a week when the membership involved people from the surrounding area. m3 In addition to occasional, special performances to celebrate an important occasion, performances by the large mixed chorus seemed to follow the pattern of one or two per year; often one was near Christmas and the other in the spring. Both Augustana and Luther have a long history of annual performances of Mgggigh in the Christmas season. Augustana has performed a second work annually in the spring for many years, but Luther's Messiah Chorus is active only during the fall semester. Mixed choirs. Although each of the four colleges may have had more than one mixed choir at various times through- out its history, attention is directed mainly at this point in the study to that mixed choir which has toured annually and extensively as the main choir from each college such as the St. Olaf Lutheran Choir, the Concordia Choir, the Nordic Choir at Luther, and the Augustana Choir. Other choral en- sembles of mixed voices, such as the second choirs, the chapel choirs, or the mixed choruses, which have been active, have sometimes been considered training choirs for the main college choir. The standards of performance, the auditions and membership requirements, rehearsal procedures, and repertoire of the main choir often have been adopted as ex- amples for the other choral ensembles to emulate. The main choirs from each of the colleges have been active a number of years. St. Olaf College had the mixed choir with the longest history (sixty years). Concordia uou and Augustana ranked second with an equal number of years of activity (fifty-two), and Luther ranked third (twenty-four years). Luther and Augustana Colleges might have had mixed choirs with longer histories if they had become coeducational institutions at an earlier date, and had not remained schools for men for the first seventy-five and twenty-six years, re- Spectively. Of all five types of ensembles, the mixed choirs had the longest history of tours of any one type of ensemble. The membership varied in size throughout their his- tories from sixteen to seventy-six singers. In later years an average membership of approximately sixty-five singers prevailed. The Augustana Choir maintained an understudy system.whereby sixty-four to sixty-eight members went on tours, with the total membership at all rehearsals being about seventy-six singers. The additional students training in each section provided an understudy ready to fill the vacancy if a substitution became necessary at the time of the tour. Membership was generally open to all students at each of the four colleges through auditions with the director, with the exception of St. Olaf College where the practice had developed to admit no freshmen to membership in the St. Olaf Lutheran Choir. Auditions for membership in three of the choirs were usually held in the fall to fill vacancies caused by graduation and students who did not return. At St. Olaf the practice was changed to holding auditions for the St. Olaf Choir in the spring for anticipated vacancies that would occur the following fall. 4:- O m Members of all the choirs but Augustana Choir were required to study voice. It should be reported, however, that many of the members of the Augustana Choir did study voice, eventhough they were not required to do so. Certain scholarship requirements were also a part of membership in each of the choirs, ranging from all A's and B's to not being on academic probation. Each of the choirs held one full choir rehearsal five days per week. In addition, three of the choirs held regular sectional rehearsals: the St. Olaf Choir held four, half- hour sectional rehearsals per week, plus six to seven hours per day during the last week of Christmas vacation prior to the annual tour; the Concordia Choir held two sectional re- hearsals per week under the direction of a student section leader, and also returned for six to seven hours rehearsal per day during the last week of Christmas vacation prior to the annual tour; the Augustana Choir held one, one-hour sec- tional rehearsal per week, and after Christmas vacation added a one and one-half hour rehearsal on Sunday afternoons until the annual spring tour. The amount of time devoted to re- hearsal by the choirs was much more than the maximum of three or four rehearsals per week scheduled for the advanced choirs at many colleges and universities. The fact that so much re- hearsal time was scheduled for the choirs was a significant “factor which contributed to the maintenance of high standards of performance by the choirs. It was also indicative of the 406 importance placed upon that kind of musical activity by the music faculty and the college in general. All four of the choirs were active in performances on campus. Those performances included chapel services, con- certs, annual observances such as founders' day, homecoming, and other holidays, and special occasions. The choirs also made annual and extensive tours throughout the United States over a period of many years. Tours by the St. Olaf and Con- cordia Choirs averaged about three weeks in length. In early years the tours were scheduled for spring, but were changed to mid-year, usually late January through early February, in later years at both colleges. The St. Olaf Choir also toured Norway in the summer of 1912, Europe in the summers of 1930 and 1955, and Iceland in the spring of 1957. Concordia Choir toured Norway in the summer of l9u9 and Europe in the summer of 1958. Tours by the Nordic Choir of Luther College averaged about two weeks in length and were scheduled for mid-year (late January and early February). Tours by the Augustana Choir were held in the spring, and varied in length from ten days to three weeks.' In the case of St. Olaf, Concordia and Iuther it was the practice to schedule mid-year tours so that at least a part of the tour would fall during a vacation period between semesters or terms. The Augustana Choir usual- ly toured after, but not during, spring vacation. A tour of Sweden and Europe was made in the summer of 1960 by the Aug- ustana Choir. It performed in concerts on several occasions nor; with the Tri-City Symphony Orchestra and on its 1966 spring tour with the Indianapolis Symphony Orchestra. All four of the choirs have performed on radio and television, and each of the choirs has made a number of records for sale to the general public through the colleges or from record dealers. Repertoire performed by the mixed choirs was all sacred at St. Olaf and Luther, and was predominantly sacred at Concordia and Augustana, and all was performed from memory. Only unaccompanied works were performed by St. Olaf Choir. Men's choruses. Ensembles of men's voices were very active during the history of Augustana and Luther and some- what active for a number of years at St. Olaf, but were active for only a few years at Concordia. As has been ex- plained earlier in the chapter, the men's chorus at Augustana carried on its tradition of performance for many years after it was combined with a women's chorus to form the college choir, by performing music for male chorus under the name of the Wennerberg Chorus as part of regular choir concerts. The Viking Male Chorus at St. Olaf had a tradition of having student directors and managers through its twenty-four year history. Membership was open to all male students at the col- leges. The number of singers in the men's choruses through the years varied from seventeen to 100, but the average was approximately thirty to forty singers. Very little ROB information was available about the selection of singers for membership or other membership requirements. A small amount of available information about rehearsal schedules seemed to indicate that rehearsals were held two or three times per week. The men's choruses performed often on campus at chapel, in concerts, in celebrations of special events, such as the Christmas concerts at St. Olaf and Concordia, and on special occasions, including the spring music festivals at those colleges. The Wennerberg Chorus of Augustana toured quite extensively in its early years as well as after it be- came part of the Augustana Choir, and the Viking Chorus of St. Olaf toured during several of its active years. The repertoire performed by all the men's ensembles was pre- dominantly sacred. During the years of the country's in- volvement in World Wars I and II, the activity of men's choruses was curtailed due to the lack of men attending the colleges at those times. Women's Choruses. Ensembles of women's voices were most active at Augustana and St. Olaf Colleges with some activity at Luther and Ccncordia. There were no women's choruses during the early years at Augustana and Luther prior to the time when those colleges became coeducational insti- tutions. The women's chorus at Augustana, just as the men's chorus at that college, carried on its tradition of perfor- mance for many years after it was combined with the men‘s uog chorus to form the Augustana Choir by performing music for women's chorus under the name of the Jenny Lind Chorus as part of regular Choir concerts. The number of singers in the women's choruses at the four colleges has varied from 1h to 86 during their years of activity. Membership was open to all women at the colleges through auditions with the directors, who have usually been members of the faculty, except in later years at St. Olaf when membership was limited to women of the freshmen class. Two or three rehearsals per week were usually sched- uled, and they sometimes involved sectional rehearsals. Voice study was encouraaed as a membership requirement for some ensembles, but other requirements were not mentioned. The women's chrouses performed often on campus at chapel, in concerts, and for the same other occasions indi- cated for men's choruses. Those at Augustana, Luther, and St. Olaf went on tours while those at Concordia made only some weekend trips to perform off campus. The repertoire performed by the ensembles of women's voices at all of the colleges was mostly sacred. Small ensembles. The small ensemble is difficult to define in other than approximate terms in this study due to the fact that some larger ensembles deve10ped from them. However, it was intended to include in that category all types of ensembles of equal or mixed voices which did not develop into larger ensembles, and whose maximum membership 410 totaled approximately sixteen to twenty singers. Small en- sembles were more active at St. Olaf than at any of the other three colleges. Those at St. Olaf also did more touring than those at the other colleges. The size of the ensembles varied from trios, quartets, sextets, and octets to larger ensembles such as the Repertory Singers at St. Olaf which had about twenty members. They were organized and directed by students and faculty, and the membership cometimes combined students and faculty as per- formers. There was very little information about how members were selected, membership requirements, or rehearsal sched- ules. The ensembles performed on campus and in surrounding communities, and some engaged in extensive tours, usually in the summer. Mostly sacred repertoire was performed by small ensembles from St. Olaf and Luther. From available informa- tion it appeared that equal amounts of sacred and secular repertoire were performed by small ensembles from Concordia. Insufficient information made it impossible to ascertain the type of repertoire performed by small ensembles from Augus- tana College. Influence of Choral Ensembles Extended Beyond the Colleges Because of the tours by choral ensembles from the col- leges, choral directors in churches, schools, and colleges throughout the country became not only cognizant of, but also eager to emulate the quality of the choral ensembles. One of the earliest opportunities for the directors to learn the hll rehearsal and performance techniques and the repertoire which contributed to the success of the choirs at the colleges came with the establishment of the summer sessions of the Chris- tiansen Choral School in 1935 by F. Melius Christiansen, his son Olaf, of St. Olaf, and Neil A. Kjos which were described in detail in Chapter II on St. Olaf College. One realizes the great influence exerted on all types of choral music throughout the country through that single means when the following facts are reviewed: the sessions were carried on for twenty-three years; 185 directors attended the first session and over 100 were not accepted because of limited facilities; those attending the first session came from twenty-eight states, were directors of choral ensembles in grade schools, high schools, colleges, churches, and profes- sional and civic choruses, and represented M7,058 singers who were members of the ensembles which they directed; during the twenty-three years a total of h,810 choral directors attended the sessions with 150 or more attending each session. A similar venture, the Paul Christiansen Choral School, has been carried on during summers since 19h8 by Paul J. Chris- tiansen of Concordia with an average of four sessions per summer and seventy-five to 100 choral directors attending each session. The activity of the directors of the choirs at the other two colleges have extended the influence of choral en- sembles at the colleges in still other ways. Henry Veld of 412 of Augustana was visiting professor during many summer ses- sions at many colleges and universities in the country, and was guest conductor of many choral workshops for church, high school, and college directors and choirs. Weston Noble, of Luther, was director of nine All-State Choruses between 1953 and 1966, the director of the 1,000-voice chorus in the All- Lutheran Benefit Messiah at Minneapolis for fourteen years, in addition to being the guest conductor of approximately thirty music contests, clinics and festivals per year. The information just stated, which is found in the preceding chapters, was mentioned again at this point to emphasize the variety of ways whereby choral activities at the Lutheran colleges in this study have influenced, through their direc- tors, the choral music in churches, schools, and colleges in this country. The questionnaire survey. A questionnaire survey of choral directors in Lutheran churches, high schools, and colleges and universities was made in an attempt to ascertain the influence of choral activities at the'Lutheran colleges in the study upon the training of choral directors in the in- stitutions mentioned. Detailed information about the survey may be found in Appendices B, C, D, E, and F. A total of 167 questionnaires were mailed to thirty-five Lutheran colleges and universities, thirty-seven Lutheran high schools, and ninety—five Lutheran churches. Seventy-three questionnaires were returned by twenty-three of the colleges and 413 universities, twenty of the high schools, and thirty of the churches which supplied data on forty-three college and uni- versity choral directors, twenty-one high school choral di- rectors, and fifty-three church choir directors, or a total of 117 choral directors. Questionnaires were mailed to all the Lutheran colleges and universities in the country. The Lutheran churches and schools to be included in the survey were selected frOm.those located in the states in which the four colleges were located and from.adjacent states, and were members of the following four Lutheran Church bodies: the American Lutheran Church, the Lutheran Church in America, the Lutheran Church.Missouri Synod, and the Wisconsin Evangelical Lutheran Synod. of the 117 choral directors who responded to the sur- vey, forty-three were choral directors at Lutheran colleges and universities. That group of respondents contained the largest number of directors who had received undergraduate training at one of the four colleges in this study. Although it would be difficult to measure, the possibility exists that the influence of the choral activity at the Lutheran colleges where they received their training might be extended, thrOugh them, to an even greater degree than in the case of other di- rectors with the same background, because of their involve- ment in the teaching of potential choral directors. The largest number of directors who attended workshops conducted by choral directors from.one of the four Lutheran colleges in the study were church choir directors. Data 41h compiled from the questionnaire showed that the smallest number of directors with undergraduate training from one of the colleges in the study was that of church choir directors, and that ten of the church choir directors had no under- graduate college training at all. These facts seemed to in- dicate that the directors with the least amount of under- graduate training at one of the four Lutheran colleges were the most interested in attending workshops for the training they could obtain from them. Those directors who attended workshops were asked to indicate to what extent their ex- perience at the workshop affected their practice as choral directors by reSponding "very much," "some," or "none." Of the forty-eight who had attended workShOps eleven indicated their practice as a choral director had been affected "very much," and the remaining thirty-seven indicated "some," and no director indicated "none." Some statistics from the sur- vey which were the basis for the preceding statements are tabulated below: Respondents: Choral Directors Received undergrad in Luth. Colleges training at a Luth. Attended & Universities College in this study Workshops . A3 10 or 23.26% 12 or 27.91% Luth. High Schools ' 21 a or 19.05% u or 19.05% Luth. Churches ‘ 53 3 or 5.66% 32 or 60.38% Totals: 117 17 or 14.52% MB or hl.03% It should be mentioned that the choral directors in Lutheran colleges and high schools responded to the survey 415 only as college or high school choral directors. Had they responded by supplying information about their activity as church choir directors, there would have been the possi- bility of obtaining a larger amount of information about the training of the directors of church choirs, which in turn might have altered the finding of the survey. Study 23 music publishers' catalog_. Large attendance at choral school sessions and at other workshops showed an eager response to them, and they engendered a desire by di- rectors to obtain choral works and arrangements by the Chris- tiansens and other members of the music faculties, as well as other compositions by reputable composers which had been per- formed by the choral ensembles from the colleges. That de- mand for the music led the music publishers to supply it. As a result the music publishing business was somewhat expanded and also became a means of improving choral music by supplying better repertoire. . At various times many people were active as composers or arrangers of choral music at the four colleges. A study of the music publishers' catalogs of choral music was made to determine the number of choral compositions by those people that were listed which might reveal the indirect influence of choral activities at those colleges upon the music publishing industry. The study was carried out in three steps: first, by examining the choral catalogs of many of the leading music publishers to determine those companies which published #16 choral compositions and arrangements by several of the choral directors and others that had been active at each of the four colleges; second, by selecting the companies whose choral music catalogs listed choral compositions and arrangements by those people at the four colleges, and studying those cata- logs to determine the total number of compositions by each composer or arranger listed in each of the catalogs; and third, by tabulating the information. The choral catalogs of the following music publishing companies were chosen for study: Augsburg Publishing House, Minneapolis, Minnesota; Concordia Publishing House, St. Louis, Missouri; Neil A. Kjos MusicCompany, Publishers, Park Ridge, Illinois; Schmitt Music Company, Minneapolis, Minnesota; and Summy-Birchard Music Company, Evanston, Illinois. The search through the five catalogs ahowed that a number of composers and arrangers from the four colleges had their works listed in them. They were as follows: F. M. Christiansen, Olaf C. Christiansen, Kenneth L. Jennings, G. Winston Cassler, David N. Johnson, Morton J. Luvaas, and Oscar R. Overby of St. Olaf; Paul J. Christiansen, Herman W. Monson, and Oscar I. Overby of Concordia; Theodore C. F. W. Hoelty-Nickel of Luther; and Sven Lekberg of Augustana. The significance of the choral activities at St. Olaf and Concordia and the members of the Christiansen family at those colleges was noted by the influence they had on the music publishing industry and choral music in general in the U17 United States. This was evident by the total of 131 works by F. M. Christiansen listed in three of the catalogs as late as ten years after his death, the total of ninety works by Olaf Christiansen listed in two of the catalogs, and the total of 128 compositions by Paul Christiansen listed in three of the catalogs. Other composers, such as Luvaas and Cassler, were also well-represented by the number of their works listed in the catalogs. By publishing the works of the composers at the four colleges as well as the fine repertoire by reputable composers of all periods which was performed by the choral ensembles at the colleges, the music publishers had become indirectly involved in the efforts of those com- posers to provide better repertoire for choral ensembles to perform. A tabulation of the information found in the study of the publishers' catalogs is as follows: T. C. u .3 F. S a rd a} 8 $4 :4 We 43 Initials of F. O. K. G. D. M. 0. 813.2 H- SS. Composer‘s & 5M. Co Le We Ne J. Re gJ.§ Ne t501-40 Arrangers mCe Ce Jo Ce Jo Le 0. 000...] <1: Publishers Augsburg 105 5 48 15 9 23 87 Concordia 2 3 6 Kjos 3 75 h 89 3 25 Schmitt 23 15 2 h 7 h 16 Summy- 13 8 Birchard Totals: 5983131 90 7 61 19 118 30 128 6 8 U18 It was not possible to measure the influence of choral activities or the directors and composers at the college during earlier periods in the history of the colleges because catalogs were not available for study. However, a statement in a printed program dedicated to F. Melius Christiansen on his eightieth birthday by the Augsburg Publishing house in- dicated the impact of that man's influence on choral music through his activity at St. Olaf and his composition of choral works: As publishers of more than hSO compositions and arrangements by Dr. F. Melius Christiansen, including the St. Olaf Choir Series used by many choirs and choral groups in the United States and other countries, Augsburg Publishing house is happy to participate in this birthday commemoration by presenting this printed program. Such a large number of choral publications could have re- sulted only from a sufficiently justifiable demand from the choral directors who had come under the influence of the choral music in those colleges. Intangible and immeasurable as the influences may be, we have concrete evidence of the influence of the choral en- sembles at the colleges in: 1 ”Augsburg Music Catalog l96h-l965,” Augs- burg Publishing house, Minneapolis, Minnesota (196ML pp. 1- 33; "Concordia Choral Catalog,u Concordia Publish- ing House, St. Louis, Missouri (1965), pp. 1-83; ”Kjos Choral Catalog, 1965-66,“ Neil A. Kjos Music Company, Publishers, Park Ridge, Illinois (1965L pp. l-3h; "School Choral Guide, l96h-65," Schmitt Music Company, Minne- apolis, Minnesota (196h), pp. l-h2; "1966 Choral Director's Source Book," Summy-Birchard Company, Evanston, Illinois (1966), pp. 512; "Recognition Concert ’419 (l) the development of choral activities in those colleges, (2) the large attendance at choral schools and workshops, (3) the information from the questionnaire survey, (A) and the study of music publishers' catalogs of choral music. Reasons for Outstanding Programs of Choral Music The four colleges in this study were chosen because each had carried on an outstanding program of choral music over a long period of years, and because of the fact that their college choirs were some of the most famous of Lu- theran college choirs. Information has been discovered in the course of the study which leads to conclusions that the development of choral ensembles at those colleges came about because of the following reasons: (1) the importance of music in the cur- riculum from the beginning of each of those liberal arts schools established a musical atmosphere in their academic environment which was conducive to the development of choral music, (2) dedicated leadership in choral music over long periods of time enabled consistent development of choral ensembles. The importance g3 music lg the curriculum. Martin Luther loved and understood music and had well-established by the St. Olaf Choir, Olaf C. Christiansen, Director, In Honor of the 80th Birthda Observance of Dr. F. Melius Chris- tiansenu (Printed programg, Augsburg Publishing House, Minne- apolis, Minnesota, April 13, 1951, p. 10. #20 convictions about its place as a means of man's worship of God, as an art, and in education. From the numerous state- ments in his writings which gave his ideas about music, the following have been selected to express his ideas relative to the place of music in worship, art, and education. . . . use the gift of music to praise God and Him alone, since He has given us this gift. . . . O O O O O O O O O O O O 0 O O O O O O O O O O O O O O C C . . . I am not ashamed to confess publicly that next to theology there is no art which is the equal of music, for she alone, after theology, can do what otherwise only theology can accomplish. . . . . . . Nevertheless, music and notes, which are wonderful gifts and creations of God, do help gain a better under- standing of the text, especially when sung by a congrega- tion and when sung earnestly. . . . This precious gift has been given to man alone that he might thereby remind himself of the fact that God has created man for the express purpose of praising and ex- tolling God. However, when man's natural musical ability is whetted and polished to the extent that it becomes an art, then do we note with great surprise the great and perfect wisdom of God in music, which is, after all, his product and His gift; . . . . . . It is necessary indeed that music be taught in the schools. . . . Also, we should not ordain young men into the ministry unless thgy have become well acquainted with music in the schools. 2Walter E. Buszin, "Luther on Music," Musical Quarter- .lI) (January, tho), pp. 5-8, 1h. U21 The importance placed on music by Luther and in turn by the Lutheran Church provided a foundation for the logical inclusion of music in the curriculum of a Lutheran school. It was not unusual, then, that music was taught from the be- ginning at St. Olaf, Concordia, Luther, and Augustana Col- leges. Throughout the history of the colleges music was considered important and was supported by the church body to which the college was affiliated and by the college adminis- tration. Examples of that support are the facts: (1) that only one year after conservatories were founded as private ventures by faculty members at Augustana and Luther, those conservatories were made departments of the colleges; (2) that they continued to receive support during the early years of their develOpment when they were not always financially solvent; and (3) that each college president has given strong support to the music program at each college. The fact that music as an art held an important place in a liberal arts curriculum.which was basic to each of the four colleges, was an additional factor contributing to the establishment of a musical atmosphere and a good Opportunity for the growth of choral music. without such a musical en- vironment, the development of choral ensembles could not have taken place at the colleges. Dedicated leadership. The choral directors' dedica- tion to the maintenance of high standards of performance of the best choral literature by the best composers from all "- Pu) A) periods of history and the fact that these directors remained at the colleges for long periods of time made possible a con- sistent growth of choral music at those schools. The unique father-to-son succession of leadership, as in both cases of the choral directors and the managers of musical organiza- tions, at St. Olaf is mentioned again as an example of an important factor that contributed to the consistency of the development of choral activity at all four of the colleges. Had there been a change of directors every few years it seems unlikely that such a consistent growth could have taken place. Certain purposes of choral ensembles were shared by each of the colleges and thereby added another factor of consistency among their colleges' activities. An analysis of the background and training of the choral directors, made earlier in this chapter, revealed certain likenesses which contributed still another factor to the consistency of the development of choral music among the four colleges. The importance of music in the Lutheran Church re- sulting from.Martin Luther's philosophy regarding music; the importance of music and the consistency of its purposes in these lutheran colleges' curricula and consequental environ- ment; and the continuous, dedicated leadership of the music directors in these Lutheran colleges served to make these colleges outstanding in their contribution to the development of choral music and the subsequent heightening of the musical aesthetics in America. BIBLIOGRAPHY BIBLIOGRAPHY CHAPTER I - INTRODUCTION A. Books Simpson, Eugene E. A_Histozy g1 s3, Olaf Choir. Minneapolis, Minnesota: Augsburg Publishing House, 1921. Pp. 192. B. Theses Crawford, Loren. "A Survey of Music In Church Supported Colleges and Universities of the State of Kansas." Un- ublished Master's thesis Eastman School of Music, niversity of Rochester, fiochester, New York, 1939. Holvik, Karl M. "Music in the Evangelical Lutheran Church Colleges." Unpublished Master's thesis, Eastman School of Music, University of Rochester, Rochester, New York, 19H7. h2h u25 BIBLIOGRAPHY CHAPTER II - ST. OLAF COLLEGE A. Books Benson, William C. Eigh.fln.flafliifln= AH_1§LQ£X.QK.§IA.Qlaf .Qelleee W. Northfield, Minnesota: The St. Olaf College Press, l9h9. Pp. xviii + 366. Bergmann, Leela Nelson. _lleie Master at the Middle Meet. Minneapolis, Minnesota: The University of Minnesota Press, l9h4. Pp. viii + 230. Christiansen, F. Melius, Schmidt, Paul G., Glasoe, P. M. P efEireLMF Wegdlfilh , §I;,_lflr C Northfield, Minnesota: St. Olaf College, l9O 3, MPp. 36. Mellb,C.A. _einineigellegelhmnghEiIHXeene . Northfield, Minnesota: St. Olaf College, June 1, 1925. Pp. 61. Simpson, Eugene E. A_1§jgzy,gj _3‘,_la£C _hgiz. Minneapolis, Minnesota: Augsburg Publishing House, 1921. Pp. 192. _hg St. M W 91191;: (Northfield, Minnesota: St. Olaf College, booklet, c. 1931-32), Pp. 23. Thompson, Randall. Qallege Meals: An Immanuel; re: the Aeseeietien er. Amezieaa Qalleaee. New York: MacMillan Company, 19350 B. Periodicals “Catalog of St. Olaf College, " Annual catalog of St. Olaf Coééegg, Northfield, Minnesota. Fbr the years 1886- 87 - 19 "' 0 "Christian, Frederik Melius," Ehglfi,flhg,ln Am .12H§:&9 , XXV (Chicago: The A. N. Marquis Company, 19 ), p..29l. . "Histogyéof so. Olaf," Qalaleg 9f an. _lef gollage. (April. 19 9 P0 7° #26 Sittard, Herm. "With Breath-Giving Choir Tune-Up. . . Conductor's Career in Tune With Father's," Eng Minnggpglig Star, Friday, December 9, 1960), pp. 2B, lOB. Harvey, John H. "Christy is 80 Today!" Sp, Pap; S d Biases: Press Eeeiere Magazine, (April 1, 1951 , p- 1+. "F. Melius Christiansen Music Master, Is 80," Minneanglia ixibgng, (April 1, 1951). Monson, Rueben. "Chips Off Two Old Blocks at St. Olaf " F Magazine, Si. Baal Sandal Eieaeel: frees, (january 23, 19 9 a P0 9- Overby, Oscar R. "Salute to a Giant," Lgthgzgn HQIEJQ, XXV, 15 (April 10, 1951), p. 358-360. "St. Olaf's School," Annual nithlefieeneAnd mnemufiflefleificwh Nr 11mm. , Fermel‘leedeaieleenwa June, 18 5). "St. Olaf Choir Alumni Fete Noted Leader," 8:, P Synggy Bieneenfzessfeemliesezme, (June 8, 197 , p. 8. The liking (College yearbook) St. Olaf College, Northfield, Minnesota, For the years l9OM—l966. C. Theses Holvik, Karl M. I'Music in the Evangelical Lutheran Church Colleges." Unpublished Master's thesis, Eastman School of Music, University of Rochester, Rochester, New York, 1947. Thompson, M. Burnette. "The Significance of the St. Olaf Lutheran Choir In American Choral Music." Unpublished Master's thesis, Eastman School of Music, University of Rochester, Rochester, New York, 1939. Van Camp, Leonard W. “The DeveIOpment and Present Status of A Cappella Singing In United States Colleges and Universi-f ties. Unpublished Doctoral dissertation, the University of Missouri at Kansas City, Kansas City, Missouri, 196%. D. Programs "Christmas Festival at St. Olaf College" (Printed programs), St. Olaf College, Northfield, Minnesota, For the years 1932-1938, 19H3-l9n9, 1952-1955, 1957-1966. {427 "Kristmenn Male Chorus of St. Olaf College" (Printed programs), St. Olaf College, Northfield, Minnesota, For the year, 1955. "The Manitou Singers of St. Olaf College" (Printed programs), St. Olaf College, Northfield, Minnesota, For the years 1938, 1939, 19 l, 19H7, 1950, 1956, 1961-1964. "Programs of joint concerts by the St. Olaf Lutheran Choir and the Minneapolis ngphony Orchestra," For the years 1926, 1933, 1935, 193 , l9hO-l9h2, 194H-l95h (Northfield, Minnesota: Files at St. Olaf College). "The Repertory Singers Vocal Chamber Ensemble of St. Olaf College" (Printed programs), St. Olaf College North- field, Minnesota, For the years 1957-1961, 1963, 1965. "The St. Olaf Chapel Choir" (Printed programs), St. Olaf College, Northfield, Minnesota, For the years 19H8, 1950, "The St. Olaf Choral Union“ (Printed programs), St. Olaf College, Northfield, Minnesota, For the years 1903, 1904, 1906, 1908, 1910, 1917, 1923, 192%. "The St. Olaf Church Choir" (Printed programs), St. Olaf College Northfield, Minnesota, For the years 1928, 1935, 1938, 1 M2. "The St. Olaf Lutheran Choir" (Printed programs), St. Olaf College, Northfield, Minnesota, For the years 1913-1915, 1916-17, 1920-1966. "The St. Olaf Viking Male Chorus" (Printed programs), St. Olaf College, Northfield, Minnesota, For the years l939, E. Personal Interviews Christiansen Olaf C. Professor of Music and Director of the St. Olaf Lutheran Choir, St. Olaf College, North- field, Minnesota. Personal interview, March 30, 1967, Northfield, Minnesota. Jennings, Kenneth L. Associate Professor of Music and Director of the Chapel Choir, St. Olaf College, North- field, Minnesota. Personal interview, June 19, 1967, Northfield, Minnesota. 'White, Adolph P. Associate Professor of Music and Chairman of the Department of Music, St. Olaf College, Northfield, Minnesota. Personal interview, June 19, 1967, Northfield, Minnesota. #28 F. Letters Letters and telegrams to F. Melius Christiansen on the occasion of his eightieth birthday (Northfield, Minnesota: Files at St. Olaf College). Kjos Neil A., Sr. A letter from the president of the Neil A. Kjos Music Company to Robert Lee Jennings regarding information about the Christiansen Choral School (Park Ridge, Illinois: September 15, 1967). Schmidt, Frederick A. A letter from the Manager of Music Organizations at St. Olaf College to W. L. Thorkelson of the Minneapglis Sta: supplying information for a news- paper article about the Christiansens (Northfield, Minne- sota: December 6, 1956), Files at St. Olaf College. Siqveland, Th. A telegram of congratulations from the Consul General of Norway to Dr. F. Melius Christiansen on the occasion of his eightieth birthday (Minneapolis, Minnesota: March 31, 1951), p. l. G. Unpublished Materials "Biography, Christiansen, Olaf Christian," (Northfield, Minnesota: Publicity material for news releases in files at St. Olaf College on history of St. Olaf Choir, January 10, 1967), pp. 1, 2. "Christiansen Choral School, 1935-1959,“ (Park Ridge, Illi- nois: Files at the Neil A. Kjos Music Company . "Devotions Conducted on Choir Tour," (Northfield, Minnesota: Files at St. Olaf College, Pp. 5). Schmidt: Frederick A. The fill Qlaf Chain: .Iie.Aime and Aehielemenle (Northfield, Minnesota: Publicity article in files at St. Olaf College, c. 1962), Pp. 3. 429 CHAPTER III - CONCORDIA COLLEGE A. Books Bogstad, RasmuS- Qaneerdie,gelleae, Meerheed, Misheseha. Thggngh F' Yaazg. Moorhead, Minnesota: Concordia College, 19 l. Rolfsrud, Erling Nicolai. Thg Qghpg: Chrgpigjg: An lgfigpmg; EifiLQEY.Q£ Ceneerdie C 0 . Moorhead, Minnesota: Concordia College, 1966, pp. 175-200. B. Periodicals "Catalog of Concordia College," Annual Catalog of Concordia College, Moorhead, Minnesota. For the years 1891-92 through 1965-66. Johnson, Roy P. "Brown Says Choir's Triumph Overwhelming," Thg Eazgg (Four-page new3paper on choir tour), July 3 1949 , DP 0 l-l'l'o Knutson, Joseph L. "The Purpose of the College," Qatalgg g: theerdie.gelleee, (October, 1966): pp- 6, 7. Lundquist, Tom. "Success of Concordia Christmas Concerts Typical of Christiansen Accomplishments," Eng finngay Egzgg'flglgm, (December, 1962), Back of p. C-ll. "Norway Tour," Thg Egzgg Fozgm Mo Daily Nggg (Four- page neWSpaper on choir tour , (No date or page given). The Cnbher (College yearbook), Concordia College, Moorhead, Minnesota For the years 1932, 1935: 1937, 1939, l9Hl, The anggzdian (College student newSpaper), Concordia College, Moorhead, Minnesota, For the years 1932-1934. Thg figgnt (College yearbook), Concordia College, Moorhead, Minnesota, For the years 1902, 1919-20, 1926, 1929. C. Thesis Holvik, Karl M. "Music in the Evangelical Lutheran Church Colleges." Unpublished Master's thesis, Eastman School of Music, University of Rochester, Rochester, New York, 19%7. 430 D. Programs Ceneerdie.Qelleee.Annuel.Qhrieimee.geneezt (Printed programs), Concordia College, Moorhead, Minnesota, For the years 1936, 1937: 19M2-l965. The.QQnQQLdia.QhQin (Printed programs), Concordia College, Moorhead Minnesota For the years 1926 1927 1931-1936 1938-19% 19:5. 1916, 191+8-1966. ’ , : E. Personal Interview Stahl, Roy E. Associate Professor of Music, Concordia Col- lege, Moorhead, Minnesota. Personal interview, June 1%, 1967, Moorhead, Minnesota. F. Letters Kjos Neil A., Sr. A letter from the president of the Neil A. Kjos Music Company to Robert Lee Jennings regarding information about the Christiansen Choral School (Park Ridge, Illinois: September 15, 1967). Wycisk, Kurt J. A letter from the Coordinator for the Music Department Concordia College, supplying information about the Paul Christiansen Choral School and choral ensembles at Concordia College (Concordia College, Moorhead, Minnesota: November 2%, 1968). G. Unpublished Materials Bailey, Carl L. “What Is the Liberal Arts College?" (Pam- phlet), Concordia College, Moorhead, Minnesota, p. 5. "Conservatory Has Notable History“ (Part of an article found in "Miscellaneous Materials for the Music Chapter of Qghhen,2hzgnigle"), Archives, Concordia College Li- brary, Moorhead, Minnesota. Molldrem, Ariel R., and Halvorson, Kenneth L. R. ”A History of the Concordia Choir 1920-1931." Unpublished term paper, Concordia College, Moorhead, Minnesota, April 23, 1931. "Paul Christiansen Choral School Sessions ...l967" (Publicity pamphlet), Moorhead, Minnesota, 1967. #31 "The Concordia Choir, Paul J. Christiansen, Director“ (Publicity brochure), Concordia College, Moorhead, Minne- sota, 1959, 1966. "The Finest in Choral Music: Concordia Choir Recordings" (Publicity brochure), Concordia Records, Concordia College, Moorhead, Minnesota, pp. 16. "See What the Nation's Critics Are Saying About Paul Christiansen's Concordia Choir" (Publicity brochure), Concordia College, Moorhead, Minnesota. "Story B, Concordia Choir,“ Pr§§§ BQQK; Thg Congozdia Choir lake, The Year of ihe.E Tour, Concordia College, Moorhead, Minnesota, p. 6 CHAPTER IV - LUTHER COLLEGE A. Books Nelson David T. Luthg; C - . Decorah, Iowa: Luther College Press, 1961, Pp. xv +—h29. Norlie, O. M., O. A. Tingelstad, and Karl T. Jacobsen,. editors. Luther.gellege Through,§ixix.leere (Minneapolis: Augsburg Publishing House, 1922 . Pp. 512. Simpson, Eugene E. .A.Hiahnrx.nf.5L..Qla£.§hfliro Minneapolis, Minnesota: Augsburg Publishing House, 1921. Pp. 192. B. Periodicals "Attention: Messiah rehearsals begin," lelggg C (Student newspaper, Luther College, Decorah, Iowa . LXXXIV-3 (October 7, 1966), p. 16. "Bulletin of Luther College-Catalog " Catalog of Luther College, Decorah, Iowa. 1966-60. "Chapel Choir Gives Concerts in Minowa Area,“ Qgggzah,fiuhlig Qniuieh.Eihe.Arie.§eeiieh.Io October 9: 1961: p- . "Dorian Society 'Sponsors' Music." Dggorah Qpinign Fine Azte.§eetien I. October 9, 1961, p. . Gullixson, T. F. "Luther College Still Prepares Students for Seminary Instruction,“ lelege_§hip§ (Student newspaper, Luther College, Decorah, Iowa, 90th anniversary issue), LXIX-M (October 12, 1951), p. 5. : #32 “History," Bulletin of Luther College-Catalog/l966-l968, Catalog of Luther College, Decorah, Iowa, XLIV (March, 1966), pp. 8, 90 Larson, Con, "Made Tours Click as 'Live Advertising' Medium," College Chips (Student newspaper, Luther College, Decorah, Iowa, 90th anniversary issue), LXIX-# (October 12, 1951), p. 7. Larson, Con, "Story of Concert Band's Growth Dotted With High Tradition,‘ College Chips (Student newspa er Luther College, Decorah, Iowa, 90th anniversary issue), LXIX-# (October 12, 1951), p. 7. Larson, Cona "Young Nordic Sprints to Top Spot Among Nation's Choirs, College Chips (Student newspaper, Luther College, Decorah, Iowa, 90th anniversary issue), LXIX-# (October 12, 1951), p. 7. "Messiah Announces Advent," Colle e Chi 3 (Student newsgaper, Luther College, Decorah, Iowa?, -5 (November 1 , 1966), p. 9. "Objectives of Luther College Fine Arts," Qgggpah guhlig _mem m Am Segtign 1;, (October 9, 1961 , p. l. Qualley, 0. W., "Courses Change, Aims Don't in Ninety Years," Cgliege_§hips (Student newspaper, Luther College, Decorah, Iowa, 90th anniversary issue), LXIX-# (October 12, 1951), p. 2. Thg,£ign§§z (College yearbook), Luther College, Decorah Iowa, 1920, 1922, 1926, 1929, 1932, 1940, 1946, l9#S-66. "Varsity Bank's Annual Event Is Spring Tour," Decorah Public Opinion Fine Arts Section I, (October 9, 1961), p. 5. The Viking (College yearbook), St. Olaf College, Northfield, Minnesota, 1931. "West Coast Tour, NBC Broadcast Are Schola Highlights,"~ olle e Chi 3 (Student news a er L herCo le e Deco ah Iowa, 0th agniv ),LXIX-E(October 231951 ,p36. ersary issue "Women's Chorus an Early Component Of Coeducation," Cgliegg Chip: (Student newspaper, Luther College, Decorah Iowa, 90th anniversary issue), LXIX-# (October 12, 1951), p. 10. C. Thesis Holvik, Karl M. "Music in the Evangelical Lutheran Church Colleges," Unpublished Master's thesis, Eastman School of Music, University of Rochester, Rochester, New York, l9#7. r—c “33 D. Programs “The Creation by Joseph Haydn" (Printed program), Files of Koren Librar , Luther College, Decorah, Iowa, March 15, 1890, pp. 1" . "Decorah Choral Union and Symphony Orchestra" (Printed pro- gram), Files of Koren Library, Luther College, Decorah, "The Messiah, An Advent Presentation of Luther College" (Printed program), Luther College, Decorah, Iowa, 1966, pp. 1-6. "Miscellaneous programs by musical organizations at Luther College: Luther College Chorus Glee Club, Mixed Chorus, Choral Union, Schola Cantorum, Dalenskor, Women's Chorus, Women's Chorale, Chapel Choir, Messiah Chorus, Concert Band, Luther College Community Orchestra" (Printed pro- grams), Files of Koren Library, Luther College, Decorah, Iowa, various dates 1905-1966. "The Nordic Choir of Luther College" (Printed program), Luther College, Decorah, Iowa, For the years 1947- 1951, 1953-1957, 1960-1966. "Open Air Concert by Luther College Musical Union" (Printed program), Luther College, Decorah, Iowa, June 8, 1912, p. l. E. Personal Interview Noble, Weston H. Professor of Music, Chairman of the Depart- ment of Music, and Director of the Band and Choir, Luther College, Decorah, Iowa. Personal interview, November 19, 1966, Decorah, Iowa. Reiso, Curtis. Assistant Director of Development (Former manager of musical organizations), Luther College, Decorah, Iowa. :Personal interview, June 22, 19 9, Decorah, Iowa. F. Unpublished Materials Haugen, Layne, Choir Manager "Weston H. Noble," (Publicity material on Director of Luther College Choir and Concert Band, Decorah, Iowa: Luther College, 1966), pp. l-M. #3# “Luther College Musical Union Constitution" (Decorah, Iowa: Luther College Revisions, 1961 and 1963), pp. 1, 2. (Mimeographed.) "The Nordic Choir of Luther College,“ (Publicity brochure, Decorah, Iowa: Luther College, 1965), pp. 1-#. "Schola Cantorum" (Publicity brochure, Decorah, Iowa: Luther College, c. 1938), pp. 1-5. CHAPTER V - AUGUSTANA COLLEGE A. Books .Afte:._eleh11._eeze,._eiue.the.__erl.ef.Auseeteue C and _heeleeieel.§emineri, ._eek._elend, I Rock Island, Illinois: Augustana College and Theological Seminary, 1930. .After Selentxzfire._eere,.ifléQzlali,.A._uhilee Publication. _he..e1enix:fiflh.Ahhireneeri.ef,ihe1AneheIene.§1ned.end AMEBSLBQB._Qllflg£ ang,2hgglggigal Seminary. Rock Island, Illinois: Augustana Book Concern, 1935. B. Periodicals Anderson, Netta C. "Oratorio Work at Augustana College, " _ggggfiggg‘figllgjln, IL (March 15, 1906),p pp. 1-6, 8. "Annual Grand Concert of Wennerberg Chorus May 9 in College Chape1," 2&13329239 19M312flllxriiMESa May 8: 1907- figgngfiggg,flull§tin, X-# (December 31, 191%), pp. 3, 30. Angggtang,§gllg§in, XXIII-23 (August, 1928). ,gpgpppanp,ppilp;in, XXVII-# (April, 1932). "Augustana College Catalog 1966, " Catalog of Augustana College, Rock Island, Illinois March, 1966, pp. 7, 9-1u, 65, 69, 72-7M, 76-180, 186- -203, 217-218. "Augustana Conservatory of Music, " Apgggpggg B ’ , XXIII-23 (August, 1928), pp. 32-33, 65, xxv- June 19 0) 30; XXVI- 5 (July 1931), . 8, 52- 5 XXVII- (April, 1932), p. 27. ’ pp 3; "Augustana School of MusiC," A_gufitana __llgii_, XXX- -3 (April, 1935), p. 9. “35 Bergendoff, Conrad. "The Idea of a Christian College, The Twenty-seventh (and final) Annual Report of President Conrad Bergendoff of Augustana College, Rock Island, Illinois, at the end of the 102nd Academic Year, 1961- 1962," Augustana CQJJQgg Buljggin, LVII-6 (July, 1962), p. 7. . Untitled preface for "School of Music," Augustana Bulletin, XLVII-12 (December, 1952), p. 3. "Catalog of Augustana College and Theological Seminary, 19OH-OS," Augustana College and Theological Seminary, Rock Island, Illinois, 1905, pp. 11M-117. "Chromatic Notes " Angusiana 22112113, X-A (December 313 191%), pp. 3é-390 "Concert By Wennerberg Male Chorus " Newspaper clipping , 1 a Wakefield, Nebraska, April 17, 1907. "Concerts and Recitals," Augustana Bu t'n, X-h (December 31, 191%), p. 30. Executive Committee, Augustana Oratorio Society, "Memories of a Musical Easter Season, 1881," A - s n ch Mjggignareg (translated by Conrad Bergendoff , August 26, 1881, pp. 266-270. Foss C. W. "Twelve Years of Augustana College," The Alumnng, I-H (December, 1892), pp. 79-80. Hasselquist, T. H. "Annual Report of the President of Augustana College and Theolo ical Seminary to the Augus- tana Lutheran Synod, June, 1573," cited by Marcus Skarstedt, "Augustana Conservatory, Its History," Augflg- papa BHJJeLjQ, X-u (December 31, 191%), p. 8. Lundeen, Malvin H. "Since Its Birth Augustana Has Pointed to Merger," Th2 Lutheran Cgmpanign, CVIII-52 (December 26’ 1962), p. 2%. Molen, Theo. "Singing Our Way Through Europe," The Lutheran QQEQQQlQQ, CVI-H3 (October 26, 1960), p. 1%. "Musical Organizations " A u a Bullegin, X-h (December 1, 191A), p. 32; I-E (December 31, 1915); XXIII-23 August, 1928), p. 33. Odman, Charlotte. "Augustana Lutheran Church in Retrospect-— Highlights in Chronological Order," The Lutheran Com- nanigg, CVIII-52 (December 26, 1962), pp. 9-11. "Organizations," Augusgana S h o gfi Mus' Bu ' , HBLh Seasnn, 1935:36. XXX-3 April, 1935 , p. 9. u36 "Our Conservatory," AugMSLQDé Bu tin, X’” (December 31’ 191%”), p. 1+0. "School of Music, Augustana College," Augustana B et' , XLVII-12 (December, 1952), pp. 2-4. "School of Music Catalog," Agguggana Bullegin, XIII-H (December, 1917). Skarstedt, Marcus. "Augustana Conservatory, Its History," Ausnsiana Bulletin, X-A (December 31. 1914). pp: 7-19. Sorenson, C. W. "On Being Contemporary-~Report of the President, 1964-65, Augustana College, Rock Island, Illinois,‘ Apgpptana gpllppip, LX-9 (September, 1965), pp. 12-13. Telleen, Frank. "Its Parting Gift to Augustana: $MO0,000 for Purchase of Seminary," T e Lutheran Cgmpanign, CVIII-52 (December 26, 1962 , p. 20. "The Conservator of Music and School of Art," Augustana ggllggin, X- (December 31, 191%), p. 3. "The Oratorio Tradition at Augustana," Auguggana Cgllege Bgllggin, LX-14 (December, 1965), pp. 2-3. "The Mennerberg Chorus," Augustana‘gpsgzygr (Student news- paper), May, 1906, p. 105. "Veld " Augustana.gnllege Alumni Bulletin LXI-8 (July 3 ’ $ 1966), pp. 11-12. "Veld Honored, Successor Named " Augusgang College Alumni BHJJetin, LXI-5 (April, 1966), p. 13. "Veld to Retire," Augustana.ggllese Alumni.§nlleiin, LX-12 (October, 1965), pp. 3-5. "Wennerberg Chorus and Lorelei Quartette in Concert June A," Newspaper clipping, St. Charles, Illinois, June 5, 1906. "Western Choir Tour," £H£B53B2§.Bu t'n, XLVIII'S (May, 1953), PD- 1'30 C. Programs "Augustana Choir" (Printed programs), Augustana College, Rock Island, Illinois, For the years 1936-1942, 19AM, 1946-1966. #37 "Augustana Choir Reunion Luncheon in chor of Henry Veld" (Printed program), Holiday Inn, Moline, Illinois, October 16, 1965. Rock Island, Illinois: Augustana College, 19650 pp. 1")+o "Augustana Seminary Chorus” (Printed programs), Augustana Theological Seminary, Rock Island, Illinois, For the years 1950, 1952, 1959-1957, 1959, 1962, 1964. "Spring Concert, The Augustana Symphony Orchestra" (Printed program), William henigbaum, director, May.15, 196M, Augustana College, Rock Island, Illinois, May, 196%, p. 7. ”The Augustana and Chapel Choirs Present a Festival of Praise and Remembrance" (Printed program), Augustana College, Rock Island, Illinois, April 26, 1962, pp. 1-20. "The Chapel Choir" (Printed programs), Augustana College, Rock Island, Illinois, For the years 1955-1958. "The Handel Oratorio Society" (Printed programs), Augustana College, Rock Island, Illinois, For the years 1950, 1953, 1959-1966. "The Oriole Club Chorus" (Printed programs), Augustana College, Rock Island, Illinois, For the years 1927, 1928, 1931, 1932. "Thirtieth Choir Reunion" (Printed program), Augustana College, Rock Island, Illinois, 1960. "Wennerberg Male Chorus" (Printed programs) Augustana College and Theological Seminary, Rock Island, Illinois, For the years 1907, 1909, 1910, 1926-1928, 1931, 1932. D. Personal Interviews Copley, Elmer. Associate Professor of Music and Director of Bethany College Choir, Lindsborg, Kansas. Personal interview, June 5, 1967, Lindsborg, Kansas. Jesson, Ronald F. Professor of Music, Chairman of the Division of Fine Arts and the Department of Music, Augustana College, Rock Island, Illinois. Personal interview, November 3, 1966, Rock Island, Illinois. Veld, Henry. Professor of Music, Founder and Director of the Augustana Choir 1931-1966 Augustana College, Rock Island, Illinois (retired). Personal interview, March 21, 1969, Racine, Wisconsin. 438 E. Letters Copley, Elmer. A letter supplying information about the Augustana Seminary Chorus and Chapel Choir (Bethany College, Lindsborg, Kansas: February 27, 1969). Holmen, Ruth. A letter supplying information about Chapel Choir at Augustana College Augustana College, Rock Island, Illinois: February 16, 1969). Lekberg, Sven. A letter supplying information about the music activities at Augustana College, 1931-1936 (Simpson College, Indianola, Iowa: February 20, 1969). Lundholm, Brynolf. A letter supplying information about choral ensembles at Augustana College (Rock Island, Illinois: March 27, 1969). F. Unpublished Materials "Appendix II, Itineraries," List of Augustana Choir tour itineraries from the files of the Choir Manager, Augustana College, Rock Island, Illinois, 1930-1956, pp- 1-6- "Augustana Choir and Oratorio Files," In the office of William J. Aull, Director of Public Events, Augustana College, Rock Island, Illinois. "Augustana Male Quartet Second Annual Summer Tour Through the Central States (1925)" (Brochure), Augustana College, Rock Island, Illinois, 1925, pp. 1-h. Bergendoff, Conrad. "A Musical Heritage," A Century of Music at Augustana (Pamphlet), Augustana College, Rock Island, Illinois, 1960, pp. 3-8. Cappaert, LeRoy, "The History of Music at Augustana 1860- 1900," Term paper for Seminar in History, May 28, 1950, Augustana College, Denkman Memorial Library Archives E, 3 78.73, AuMS Cap, pp. 27-28. "Centennial Hall and the Fine Arts Building," A Century of Music at Augustana (Pamphlet), Augustana College, Rock "Eleventh Annual Concert Tour by The Wennerberg Male Chorus" (Publicity brochure), Augustana College and Theological Seminary, Rock Island, Illinois, March, 191%, pp. 1-H. 439 "Facts Regarding the Augustana Choir" (Publicity material), Augustana College, Rock Island, Illinois, 1961, pp. 1-2. Lawson, Evald B. President of Upsala College, "And the Glory of the Lord. . . A footnote concerning the 'Messiah' tradition in the Augustana Lutheran Church" (Periodical source unknown), From the files of Dr. Conrad Bergendoff, Augustana College, Rock Island, Illinois, dated December, 1957, pp. 1-60 "The First 100 Years of Augustana College" (Pamphlet), Augustana College Alumni Association, Rock Island, Illinois, 1960, pp. 1—8. CHAPTER VI - SUMMARY AND CONCLUSIONS A. Periodicals "Augsburg Music Catalog 1968-65," Augsburg Publishing House, Minneapolis, Minnesota (196%), pp. 1-33. "Concordia Choral Catalog " Concordia Publishing House, St. Louis, Missouri (1965), pp. 1-83. "Kjos Choral Catalog," Neil A. Kjos Music Company, Pub- lishers, Park Ridge, Illinois (1965), pp. 1-3%. "School Choral Guide," Schmitt Music Company, Minneapolis, Minnesota (196%), pp. 1-M2. "1966 Choral Director's Source Book " Summy-Birchard Company, Evanston, Illinois (1966), pp. 1-512. B. Programs "Recognition Concert by the St. Olaf Choir, Olaf C. Christiansen, Director, In Honor of the 80th Birthday Observance of Dr. F. Melius Christiansen" (Printed program), Augsburg Publishing House, Minneapolis, Minnesota, April 13, 1951, p. 10. APPENDICES APPENDIX A AN OUTLINE FOR A SEARCH AND INTERVIEW PLAN for the topic A STUDY OF THE HISTORICAL DEVELOPMENT OF CHORAL ENSEMBLES IN CERTAIN LUTHERAN LIBERAL ARTS COLLEGES IN THE UNITED STATES THE COLLEGE IN GENERAL Name of the college. When founded. Name of the Lutheran church body with which it is affiliated and by which it is supported. A short summary of the development of the college. Total enrollment (1965-66). Total faculty (full and part time in 1965-66). Name of the president. Name of head librarian. Name of college historian or archivist. Names of faculty or other persons recommended as sources of information. Statement of the aims or goals of the college. THE DEPARTMENT OF MUSIC When founded as such. Official name of the music division (division, department, school, conservatory, etc.) Name and official title of the chief administrator of the music division (head, chairman, director, dean). Total music faculty (full time and part time in 1965—66). Number of faculty who direct choral ensembles. Number of choral directors who also teach voice. Total music majors. Total music minors. Total students (music majors, minors, and others) enrolled -in music courses. Degrees offered with a major in music (BA, BS, EN, BME, BFA). Degrees offered with a minor in music. aul 442 APPENDIX A (continued) MORAL ENSEMBLES Types of choral ensembles now active (1965—1966). Rehearsals Director's Faculty Per Week Lgngth Name ‘membgzz a) a cappella choir b) mixed chorus 0) women's glee club d) men's glee club e) madrigal group f) others Choral Ensembles at Lutheran Liberal Arts Colleges Enrollment of individual students in choral activities. Total Willem a) a cappella choir b) mixed chorus 0) women's glee club d) men' s glee club e) madrigal group f) other (describe) g) other (describe)— Performances by each type of ensemble per semester (term, quarter). Performances On On At On No. of We W5..— Eadie TIC Enamel TDD: MS. a) a cappella choir b) mixed chorus _____,__.______.____ c) women's glee club __ __ __ __ d) men's glee club e) madrigal group f) other (describe) g) other (describe; 11:13 APPENDIX A (continued) Detailed information about tours by choral ensembles. Tour? Average Year of Type efl eneemble (yes, 39) Leggph Whepe? 15; Teug a) a cappella choir b) mixed chorus c) women's glee club d) men's glee club e) madrigal group f) other g) other Other performances not indicated above. Please describe. Type efi ensemble Performapee Repertoire performed by each type of ensemble. a cappella mixed women's men's madrigal ' WWW“ Large works (oratorio-cantata) Sacred Secular Accompanied Unaccompanied Memorized Membership in choral ensembles. Is membership in a choral ensemble required of any students? Are members of choral ensembles required to study voice (regardless of major)? Is membership in choral ensembles Open to all students at the college? Must they pass an audition? Are the singers chosen for membership at the beginning of a school year required to continue membership in that ensemble throughout the entire school year? If membership for the entire year is required in only certain ensembles, name the ensembles. How many students were enrolled in choral ensembles during 1965-66? Do any of the choral ensembles participate regularly (such as annually) in choral clinics or workshOps for: Church choir directors? High school choir directors? College choir directors? High school students? College students? Church choir members? 444 APPENDIX A (continued) Is there a statement of purpose regarding choral activities as part of the college curriculum? Has the purpose changed since the first choral ensembles were organized? The name of the first choral ensemble(s) organized at the college and the date. Total membership in that first ensemble. Number of rehearsals per week. Name of the first director of that ensemble (faculty or student?). Total enrollment at college. Total faculty. Total music faculty. APPENDIX B Lutheran colleges, universities, high schools, and churches that participated in the survey Celfleges egg Ugiversjpiee Augsburg College Minneapolis, Minnesota Bethany College Lindsborg, Kansas California Lutheran College Thousand Oaks, California Carthage College Kenosha, Wisconsin Concordia College 275 N. Syndicate Street St. Paul, Minnesota Concordia Senior College Fort Wayne, Indiana Concordia Teachers College 7H00 Augusta Street River Forest, Illinois Dana College Blair, Nebraska Dr..Martin Luther College New Ulm, Minnesota Gustavus Adolphus College St. Peter, Minnesota Hartwick College Oneonta, New York Lenoir Rhyne College Hickory, North Carolina Luther College Decorah, Iowa Michigan Lutheran College 7351 Woodward Avenue Detroit, Michigan Midland Lutheran College Fremont, Nebraska Roanoke College Salem, Virginia Susquehanna University Selinsgrove, Pennsylvania Texas Lutheran College Seguin, Texas Thiel College Greenville, Pennsylvania Upsala College East Orange, New Jersey Wartburg College Waverly, Iowa Waterloo Lutheran University Waterloo, Ontario, Canada Wittenberg University Springfield, Ohio M15 bué APPENDIX B (continued) High Seheele The Amerigan Lutheren Chgreh Augustana Academy Canton, South Dakota Lutheran Chgreb-Mjeeepri Synge Baltimore Lutheran High School Lutheran High School East 1185 Concordia Drive Baltimore, Maryland First Lutheran Church School 1015 1ch street Glencoe, Minnesota Luther High School North 5700 W. Berteau Avenue Chicago, Illinois Luther High School South 3130 W. 87th Street Chicago, Illinois Walter A. Maier Memorial Lutheran High School 29H1 W. 70th Street Los Angeles, California Lutheran High School P.O. Box 1H3 Mayer, Minnesota Lutheran High School 6901 Woodridge Street Houston, Texas *Lutheran High School 251 Luedtke Avenue Racine, Wisconsin 20100 Kelley Road Harper Woods, Michigan Lutheran High School North 5HO1 Lucas & Hunt Road St. Louis, Missouri Lutheran High School West 8181 Greenfield Road Detroit, Michigan Lutheran High School West 3850 Linden Road Rocky River, Ohio Martin Luther High School 5201 South 96th Street Greendale, Wisconsin Milwaukee Lutheran High School 9700 West Grantosa Drive _ Milwaukee, Wisconsin Rockford Lutheran High School 215 North Court Place Rockford, Illinois St. Paul Lutheran High School (Concordia Academy) 2MOO North Dale Street St. Paul, Minnesota *Jointly supported by the Wisconsin Evangelical Lutheran Synod tu7 APPENDIX B (continued) High Sehggls (continued) Wjeeensln Evangelical Letheran Synod Lakeside Lutheran High School Saint Croix Lutheran High Woodland Beach Road School Lake Mills, Wisconsin 110 Crusader Avenue West St. Paul, Minnesota Luther High School Wilson Street Wisconsin Lutheran High Onalaska, Wisconsin School 330 North Glenview Avenue *Lutheran High School Milwaukee, Wisconsin 251 Luedtke Avenue Racine, Wisconsin Ch r The Amegleen Lutheran Chprgh Bethel Lutheran Church Trinity Lutheran Church 312 Wisconsin Avenue 190M Winnebago Madison, Wisconsin Madison, Wisconsin Edison Park Lutheran Church Westwood Lutheran Church Avondale and Oliphant Avenues 9001 Cedar Lake Road Chicago, Illinois St. Louis Park, Minnesota Grace Lutheran Church 321 South Madison Street, Box 756 Green Bay, Wisconsin The Lutheran EDDIQD.ID.America Arlington Hills Lutheran Church Ebenezer Lutheran Church 1115 Greenbrier Street 1650 West Foster St. Paul, Minnesota. Chicago, Illinois Bethesda Lutheran Church First Lutheran Church 203 South 6th Street Moline, Illinois Moorhead, Minnesota *Jointly supported by the Lutheran Church-Missouri Synod baa APPENDIX B (continued) Churches (continued) The Lutheran Church lh Ameriea (continued) First Lutheran Church 1000 3rd Avenue S. E. Cedar Rapids, Iowa First Lutheran Church 7th and Avenue D Bismarck, North Dakota Grace Lutheran Church 201 North Kensington Avenue La Grange, Illinois House of Prayer Lutheran Church Chicago and 76th Street Richfield, Minnesota Messiah Lutheran Church #02 North 1st Street Lindsborg, Kansas Iessiah Lutheran Church Nth and Magnetic Streets Marquette, Michigan Reformation Lutheran Church 2201 North 35th Street Milwaukee, Wisconsin St. John Lutheran Church Fifth and Main Russell, Kansas St. Paul's Lutheran Church 1515 South Harrison Grand Island, Nebraska Trinity Lutheran Church 710% 39th Avenue Kenosha, Wisconsin Zion Lutheran Church ch and Adams Anoka, Minnesota Lpphereh Chnreh-Ijeeehri §XDQQ First Lutheran Church 1015 14th Street Glencoe, Minnesota Grace Lutheran Church Fargo, North Dakota Messiah Lutheran Church 28% Grand St. Louis, Missouri Mount Olive Lutheran Church 54th and Washington Boulevard iilwaukee, Wisconsin St. Martin's Lutheran Church Broadway and Liberty Winona, Minnesota Trinity Lutheran Church US 50 and Nall Mission, Kansas Trinity Lutheran Church Stewart and 5th Avenues Wausau, Wisconsin Zion Lutheran Church Avenue D and 5th Street Bismarck, North Dakota 1119 APPENDIX B (continued) Churches (continued) Wisconsin Evangelical Lutheran Synod Redeemer Lutheran Church St. Paul's Lutheran Church Mandan, North Dakota 1010 Georgia Avenue Norfolk, Nebraska APPENDIX C Cover Letter October 25, 1968 Dear Choir Director: Please complete the enclosed questionnaire and return it in the enclosed stamped and addressed envelope before November 10, 1968. If more than one person is involved in directing choral ensembles at your institution, please have each one of them complete the questionnaire. I am presently writing a dissertation for a Ph.D. in Music at Michigan State University. The tOpic involves the history of choral music at four Lutheran colleges. As one part of the study, I hope to measure the influence of choral music at the colleges involved in the study on choral music in Lutheran colleges, schools, and churches in the United States. The information supplied on the enclosed question- naire will be necessary for the completion of that part of the study. I will appreciate very much your c00peration in this survey. Thank you very much! Sincerely, Robert Lee Jennings Asst. Prof. of Music Wisconsin State University Whitewater, Wis. 53190 U50 APPENDIX D QUESTIONNAIRE CONCERNING THE TRAINING OF CHOIR DIRECTORS IN LUTHERAN COLLEGES, SCHOOLS, AND CHURCHES. Please PRINT OR TYPE the information requested below and return IMMEDIATELY in the enclosed, stamped envelope. If more than one person is involved in directing choral ensembles, please list the name of each person and give the detailed information for each person as indicated. Name of College, School, or Church Address Zip Code Name(s) of Choir Director(s): 2 N) 1) 3) Indicate college where undergraduate training and degree were optained. 1 2) a) ) Indicate attendance at choral workshops directed by choral directors from any of the following Lutheran Colleges: (put an "X" in chart below) A. Augustana College, Rock Island, Ill. B. Concordia College Moorhead, Minn. C. Luther College, Decorah, Ia. D. St. Olaf College, Northfield, Minn. Choral Dir. Workshop Director from named above, No.1Yes.,HQw Manv? A B C :2_ 1 ___. ___. ___ .___ .___ 2) ____ ____ ____ ___, ___ a) ___.. .___ ___. ___. ___. ) ___. ___. ___. ___. .__. 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