Forte! Hamline's Music History

Movements in Music

FORTE! Home	Instrumental:	Choral:
1854-1872	1920-1950	1920-1950
1880-1910	1950-1970	1950-1970
1910-1920	1970-Present	1970-Present
Hamline University

Using Works Cited: Due to the amount of research that was necessary in compiling such a complete history, and sheer number of student researchers, our Works Cited listings may be different from what you are used to. The references to our Works Cited page can be found in ( ). The first number in the ( ) refers to the corresponding reference number on the Works Cited page found at the end of this document. The second number after the comma (if it exists) represents the page number of the source from which the information was taken. Please keep in mind that each movement has its own Works Cited page, there may be more movement information found beneath it. If you have any questions about the source information that is found on this page please contact the Hamline Archives or email us! Thank you.

1930-1950

1931-1939

John Marinus Kuypers:
John Kuypers was born in Holland in 1901. He ran away from home at age 13 and got a job on a Dutch sailboat. At age 14, Kuypers had his first love affair with a Japanese girl who was also his cousin. Kuypers' family emigrated to the United States just before the onset of World War I. They spoke no English, and Kuypers recalls the first five years as being "just plain hell." The Kuypers had to compete with all the other immigrants in New Jersey and were reduced to taking some of the dirtiest, most undesirable jobs.

At age 20, Kuypers felt that he had neglected his education long enough and went to high school. Three years later he went to Hope College in Holland, Michigan, by working his way through school as a night watch man at a piano factory. He remembers this as one of his favorite jobs because he was able to complete his studies and play piano all night. After transferring to and graduating from Carlton College in Minnesota, he played the viola in the Minneapolis Symphony Orchestra for six years.

While on tour with the Orchestra in New Orleans, Kuypers sustained a hand injury from a broken medicine bottle which ended his playing career. Because of this accident, Kuypers became a music teacher. His first job teaching music at a university was at Hamline. Kuypers also taught music at Cornell, the University of Illinois, Dilliard and Tulane University. Kuypers taught at Tulane until he retired when he was 73. Hoever, he missed teaching too much and began working again at age 75.

Kuypers was married three times in his life he claims that all three were successful marriages. While in his early 70's Kuypers became involved with a 24 year old women named Lee Barnes. Though they did not marry, they remained together until Kuypers' death on Monday July 19, 1993, at age 92.

This poem was read at Kuypers memorial service by a close friend:

To live content with small means, to seek elegance
rather than luxury and refinement rather than fashion.
To be worthy, not respectable, and wealthy not rich.
To study hard, think quietly, talk gently, act frankly.
Open heart. To bear all cheerfully, do all Bravely,
await occasion, hurry never.
In a word, to let the spiritual, unbidden and
unconscious grow up through the common.
This should be one's symphony.

Thoughts William Henry Channing

1940-1950

Ernst Krenek taught at Hamline for only five years, but his impact on the department, the campus, and the Twin Cities would last for decades. When Krenek came to Hamline in 1942, he brought an internationally known and respected reputation, along with profound knowledge of music and undeniable talent as a composer and teacher. To this day, his many works, including those composed while at Hamline, are known all around the world, and his name is commonly found among the leading composers of the 20th century.

KRENEK BEFORE HAMLINE:
Born in Vienna in 1900, Ernst Krenek started playing the piano at age six. Obviously a musical genius, krenek spent his teens composing, performing, and teaching music in Austria and Germany. He studied with Franz Shreker in Berlin for six years before he was twenty-five years old (www.austria).

In the 1920's Krenek attracted attention with his aggressive music style. He made a significant name for himself in 1927 with the release of the "jazz" opera, "Jonny spielt auf, op.45". Krenek was hailed by some as the creator of the world's first jazz opera and "Jonny" was performed throughout Europe, making Krenek an overnight celebrity. In "Jonny," Krenek attempted to symbolize the downfall of the European music tradition and the rise of America as the new superpower of music (www.philclas.) "Jonny" was not well received by all of Europe, especially by Germany, where Krenek was condemned by some as a cultural Bolshevik.

Around 1930 Krenek suffered a compostional crisis. An increasing discontent with the neo-romantic style, which he then was using, and his growing admiration for the Shoenberg school composers contributed to Krenek's decision to adopt the very contorversial 12-tone technique. In May of 1933, Krenek completed the 12-tone opera, Karl V, which deals with a strongly Austrian-nationalistic, Catholic, anti-Nazi subject matter, and resulted in the cancellation of the premiere after rehearsals had already begun. This opera, which is regarded as Krenek's masterpiece, was only performed once before the onset of the Second World War. It was not premiered in Vienna until 1984 (Bowles, p. 7).

Krenek's "subversive" composing style brought him a lot of attention, and trouble in Europe. As the Nazis were systematically purging so-called "degenerative" art, especially works by Jewish composers, Krenek was already making plans to leave Europe. Although Krenek was not Jewish, he was driven out of his homeland and emigrated to America. During the time between the ban on Krenek's public performance and his emigration to America, he focused on his literary career, which would end up to be as prolific as his musical one, giving lectures throughout Austria (Bowles, .9).

Krenek came to America in 1938. Because he had arrived at a time when many American musicians were becoming hostile to the seemingly endless amounts of European musicians who were taking jobs away from them, one of his only options was to teach. (Bowles, p. 9. He began teaching at Vassar College in Poughkeepsie, New York, in 1939. His appointment at Vasser marked the beginning of Krenek's lifelong association with colleges and universities (one year at Malkin Conservatory, two years at Vasser, five years at Hamline, summer sessions at the University of Michigan, Wisconsin, and New Mexico, a short term at Southern California College of Art and Music, and one semester at Chicago Music College). Although his actual academic appointments were only between 1938 and 1949, he continued to lecture and hear his many works performed internationally (Glasow, Krenek Newsletter V3, n2-3, p.2).

KRENEK AND HAMLINE:
Amidst eleven years in the academic world, his tenure at Hamline appears to be the most supported and prolific part of his teaching career. STORY OF HOW KRENEK CAME TO HAMLINE -- LAURIS STEERE --PRESIDENT PACE --- COMING . . .

In 1942 Krenek joined the faculty of Hamline University as head of the Music Department and Dean of the newly established School of Fine Arts. He taught Harmony, Counterpoint, Music History, Composition, and a string of piano students. A few years later he worked closely with a group of outstanding graduate students, including Will Ogden, Tom Nee, Gladys Nordenstrom (now Gladys Krenek), Glenn Glasgow, Russel Harris, Virginia Seay, Vincent Carpenter, Lauris Steere, Jack Wirtz, and Robert Erickson. (Erickson, Krenek Newsletter V2, n 2-3, p. 6-7).

KRENEK AS TEACHER - STUDENT COMPOSITIONS
HAMLINE STUDIES IN MUSICOLOGY

During the Krenek years at Hamline, the University's Music Department earned a very prominent name. Krenek was not solely responsible for this recognition, but was the factor that allowed for the other components to all work together to create the Hamline "golden years." Krenek was strongly supported by Hamline's president and had the resources of the presence of Twin Cities musicians such as Dimitri Mitropoulis, Louis Krasner, and Robert Holliday and the excellent Hamline Choir. Above all, as the head of the music department and Dean of the School of Fine Arts, he had the freedom to organize and teach as he pleased (Glasow, p. 2).

With his position and newfound freedom, Krenek continued undisturbed with one slight drawback; there was virtually no library at Hamline as at Vassar. This obstacle was somewhat overcome with extensive use of microfilm and the previously mentioned group of outstanding graduate students. Although Hamline did not have the resources of a larger university, the climate and people surrounding Krenek made up for it.

Interestingly, it is well known that Krenek was not overly pleased at the prospect of coming to Hamline. The idea of relocating to the Midwest, the cold, and the simple environment of the small university seemed unadvantageous to the widely known reputation of Ernst Krenek. COLLEAGUES --
MITROP.
HOLLIDAY
IMPLEMENTATION OF ISCM
PERFORMANCES -- CANTATA FOR WARTIME

After a leave of absence in 1947, Krenek resigned his position at Hamline and eventually moved to Los Angeles after teaching at the Chicago Musical College for one semester. (Glasgow, p. 4).

Of Krenek's abrupt departure from Hamline, Robert Erickson, a former student and lifelong friend, said, "Seen in retrospect, 1947 was a crucial year for Krenek. As Dean of Hamline's new School of Fine Arts and as head of the local chapter of the ISCM he had reached a position of maximum influence in St. Paul. His salary was not large, but President Pace appreciated Krenek's importance and managed to supplement his income with some reimbursed "medical expenses." Early in the year Krenek asked for a leave of absence for fall in order to complete his Fourth Symphony. At the same time it was announced that he had received a gift of $1,000 from an anonymous benefactor to support that effort. It was generally known that the money came from Dimitri Mitropoulos" (Erickson, p. 8).

In 1942, Hamline not only welcomed Ernst Krenek, internationally known composer, but also Lauris Steere and Eli Barnett to its music faculty. Steere had graduated from Hamline in 1939 and went to study at Vassar College under Krenek. She influenced Krenek's decision to come to the Midwest. Steere taught first-year harmony and left Hamline in the spring of 1943, after only a year at Hamline. Despite the Oracle's inference that she would be back for the fall of 1943, she did not return.

Barnett joined the Hamline music department as the band and orchestra director and instructor of Music. The first Oracle of 1942 said of Barnett: "[he has been] a radio and theater violinist-conductor ... well known here as director of bands at Wilson High School during the last years."

The choir was very active from 1942 to 1947, partially due to the combination of Krenek and choir director Robert Holliday, with Krenek writing music for the choirs. Also, there was a strong coalition formed with the Minneapolis Symphony orchestra director, Dimitri Mitropoulos, and the Hamline choirs during this time. The choir would often perform with the orchestra, and on Sunday, December 13, 1942, the Hamline A Cappella Choir and preparatory choirs presented a concert under the direction of Robert Holliday. The concert was accented by many unprecedented events recognized in the December 4, 1942 Oracle: "For the first time in several years the concert will be in the Hamline Methodist church instead of the Hutton Fieldhouse. The change of place is occasioned by the belief that the crowd will be smaller than usual due to gasoline rationing. The two choirs will collaborate in singing a program of rarely heard Christmas carols .... A cathedral like atmosphere will be created by appropriate lighting effects furnished by the dramatic department."

The week also had the A Cappella Choir singing with the Minneapolis Symphony and the World-Chamberlain Singers in the St. Paul Auditorium on Monday, December 7, 1942. President Pace stated in the December 4, 1942 Oracle "that all student are urged to attend this ceremony commemorating the attack on Pearl Harbor a year ago." The program was similar to others being held in the cities.

The band gave their first concert of the year on January 20, 1943. Krenek and Barnett directed the pieces. With a 37 member band, this was a considerable increase in the group's enrollment. Gladys Nordenstrom (Krenek's future wife) was a member of the band and played the cornet. The Oracle reviewed the concert in its January 22, 1942, p.4, edition where Vern Smith stated: "Eli Barnett has really done a remarkable piece of work since coming here this fall. He had only eight members from the previous year's band. Out of those few and the others who came out, both freshmen and upperclassmen, he has built a fine musical organization . . . . The concert was a success musically, and the band, Mr. Barnett, and Mr. Krenek are to be congratulated."

Interestingly, during this time, nothing in the music department was done without a connection back to Krenek. He spanned all music variations within the department and worked with Holliday, Steere, and Barnett. Krenek was the star that made the department shine. With his influence, Hamline forged connections with upstanding Twin Cities music organizations and brought visitors and programs to campus.

Lauris Steere continued to compose while at Hamline, and on Sunday, January 24, 1943 she presented "Themes and Variations," a recent composition. Steere continued to work hard during the spring semester at Hamline. On Friday, April 30, 1943, the Oracle wrote: "Miss Lauris Steere, instructor in music, won a first prize in the National Federation of Music Clubs' nation-wide competition for young composers, according to a telegram received this week. The prize-winning composition entitled, 'Fantastic for Viola and Orchestra' was entered in Class I of the national competition, a class involving compositions for the piano and any stringed instrument. Miss Steere wrote the piece as a thesis for her master's degree at Vassar College under Ernst Krenek, then a professor there, and now head of the department of music here. The prize entails $50 in cash and national recognition as one of America's promising young composers."

One of the most significant events that occurred within the music department was the establishment of the School of Fine Arts. This affected the entire nature of the program. Ernst Krenek, naturally, was appointed head of the school. The school combined the dramatic/theater department, headed by Anne Simley, and the art department, headed by Lowell Bobleter, director of the St. Paul Gallery and School of Art. During the short Krenek years, the music department received amazing administrative support. Rumor has it that the School of Fine Arts was supported and pushed by President Pace. In the May 21, 1943 Oracle, Pace is quoted from a catalogue describing the new school: "Hamline University, in maintaining and strengthening its liberal arts program seeks to emphasize the values inherent in democracy, the ideals men and nations are fighting to preserve." Later in the article, it states that the school "has been set up to further the interest in the creative approach in the arts, to emphasize the academic character of artistic studies, to encourage advanced studies in the arts and to secure correlation of studies in art, dramatics and music."

A Mystery :
In the May 14, 1943 edition of the Oracle the headline posed the question: "What Happened to Founders Day?" The by-line read, "A thousand voice choir proclaimed it to the skies in 1935." Indeed, under the direction of Mr. John Kuypers, choir director before Holliday, a 1000 voice choir including voices from 18 Methodist churches sang in the Hippodrome in honor of Founders Day. By 1943, no one knew what happened to the special day. Now in 1998, Founders Day is celebrated every year. What did happen?

1943-1944
The year opened with the new School of Fine Arts and two new members to the music faculty. The announcement in the Oracle, September 24, 1943 read: "From Harding High School in St. Paul comes H.F. Gibbons, instructor in instrumental methods and band. He is an alumnus of the University of Minnesota and will continue his high school teaching. Mrs. Marjorie Winslow Briggs of St. Paul, has been appointed instructor in piano." Not re-joining the staff that fall were Lauris Steere and Eli Barnett.

Despite the fact that the new School of Fine Arts consisted of art, theater and music, in all the announcements about the new school music was the one that was stressed. In fact, the entire faculty of the music department was recognized in the Oracle while only the heads of the art and theater were mentioned. No evidence has been presented, however, indicating negative feelings of the other two departments towards the music department.
Over the previous summer, Krenek had been busy writing music. He had promised that he would write a cantata for chorus and orchestra which would be performed for the first time with Hamline students. Students were invited to buy season tickets to the Minneapolis Symphony Orchestra, where the Orchestra and the A Cappella Choir would be singing his summer composition, "Cantata for Wartime." According to Krenek, the "Hamline choir will be the first to sing at Northrup Auditorium accompanied by the Minneapolis Symphony Orchestra." (Oracle, September 24, 1943, p.3)
Krenek's tenure at Hamline occurred during the height of World War II, and many students were affected by the incidents happening in Europe. Many students fought in the war, and every week the Oracle would publish information about who was in the war, who was home from the war, and other issues of political and social importance. One section of the paper was called, "Pipers in service." On October 6, 1943, the column headlined, "Force Uses English Sax." The story was as follows: "Do any of you remember those jam sessions that used to annoy the 'Old Gym boys' in the late afternoon after band practice? To hear that kind of jive you'll have to go a long ways now. To England in fact, for that's where Dewey Force, ex '44, who always instigated those affairs is now stationed. "According to our information, Dewey is still swinging out on that sax. Of course now the intermission calls for tea instead of cokes, but the music is just as hot."
On February 25, 1944 an interesting article ran in the Oracle about Hamline 1942 graduate June Hawkins: "In the January 15 issue of Colliers, an article by Kyle Crichton brings to light the success story of a former student, June Hawkins, ex '42. Miss Hawkins is currently appearing as one of the brightest singing and dancing stars in 'Carmen Jones', Billy Rose's version of Bizet's 'Carmen', a smash hit on Broadway this season. It was while attending school here that June got her start in music, for she sang in the choir under the direction of John Kuypers. "Carmen Jones" is not Miss Hawkins' first role. She played in the road show of 'Porgy and Bess' which toured the Country a year ago. Many noted critics of the day are predicting a bright future for Miss Hawkins."

One of the few connections made between Krenek and Gladys Nordenstrom (his future wife) while at Hamline is documented in the March 3, 1944 Oracle. Nordenstrom was writing a composition with Krenek as part of her studies. Other students composing with Krenek are famous musicians--at least at Hamline. They include Russell Harris, Marie Guthrie, and Virginia Seay (also a student of Krenek's at Vassar). Another student success story comes from Roque Cordero, a student from Panama, whose "Capricho Interiorano" was played by the NBC Symphony Orchestra. On his 50-year reunion questionnaire, Cordero recognized Krenek's influence on his success. Highlights include: Director of the National Institute of Music and Conductor of the National Orchestra of Panama, the 1974 Koussevitzky International Recording Award, Chamber Music Award (1977), and commissions from the Coolidge and Koussevitzky Foundations, Kennedy Center, NEA, Caracas and Rio de Janeiro Festivals, and the Peoria Symphony Orchestra.

Note from the Oracle: (to provide context to life at Hamline) "Technical Sergeant John E. Grahek, '34, was reported killed in action February 13. Sergeant Grahek was a gunner in a flying fort which was based in New Guinea. Joe Hutton received a letter from John on the 25th. The next morning Joe read in the Pioneer Press of his death. Grahek is survived by his wife and a two months old baby daughter, whom he had never seen."

The war impacted the lives of people everywhere.

On March 10, 1944 the Oracle ran an article titled, "Musical Instruments Asked For By Army." The article begins: "Wanted -- musical instruments for our fighting men! In response to a request from the Army, a city-wide campaign to round up all those banjos, saxophones, and other musical instruments that are lying forgotten in closets and attics will begin on the campus on March 13. It will run for two weeks....Instruments collected in this nation-wide drive will enable the soldiers in all parts of the world to form orchestras to entertain themselves and their camp buddies. It will also enable them to engage in less formal musical recreation like gathering around in the evening and singing to the accompaniment of a banjo, harmonica or other instrument." Coca-Cola was this initiative's sponsor.

The excitement of the semester, maybe of the year, came when the Hamline choir appeared with the Minneapolis Symphony to perform Krenek's "Cantata for Wartime" under the direction of Dimitri Mitropoulos. Consider this editorial: "The excitement over the choir's appearance with the Minneapolis Symphony hasn't yet subsided. We're still remembering those famous rehearsals with Dimitri and how we enjoyed them. The night of the performance was a great thrill and unprejudiced reports are that outside of 'singing like angels' we looked like dreams. Mr. Holliday's thoughtfulness and untiring efforts. One man against 37 women and their opinion is no cinch. We also appreciated the fact that Dean Krenek wrote the cantata especially for this performance." The performance also received rave reviews from the Pioneer Press, Minneapolis Daily Times, and the Minneapolis Star-Journal. Besides performing with the Minneapolis Symphony, the Hamline madrigal singers (a women's choir) sang at the Schubert Club.

A pattern of collaboration was beginning to form and was exemplified in the spring of 1944 with the theater's production of "A Soldier's Tale" by Igor Stravinsky. Those involved in the production included: Anne Simley, direction; Dimitri Mitropoulos, direction of a seven member ensemble from the Minneapolis Orchestra; the Players, performing the show; and the Madrigal singers, directed by Holliday and Krenek. "A Soldier's Tale" received rave reviews.

More editorials were received by the local papers, not just about the quality of a recent concert, but of the quality of the music department in general. The following excerpt is from the music column of the Minneapolis Star-Journal written by John K. Sherman, music critic. "You have to hand it to Hamline. Ever since John Kuypers became music director there in the 30's at the invitation of President Charles N. Pace, Hamline's music department has been one of the most progressive of its kind in this part of the country. Its relatively small size probably has given it greater flexibility, in comparison with larger institutions, in pursuing high musical ideals and in spurring the originality and industry of its students. Under Krenek, music, together with the other arts at Hamline have exemplified cultural education as a solid and serious aim of general education, where dilettantism is not encouraged and goals difficult to achieve are held out as worth the trouble to achieve. As a result, the music-wise prick up their ears when concerts at Hamline are announced, and it is no accident that the current series of chamber concerts there have been well attended. And concert-goers from this side of the river have comprised almost half the audience that have visited the St. Paul campus for these events."

Ensign V. G. Smith, '43, wrote an editorial where he stated: "At present way out here I am hearing an aria 'Carmen.' I grew to appreciate music at Hamline, that and many other fine things."

On Friday, May 5, 1944 organization of a Music Club on campus was announced. Leadership for the organization consisted of: Miss Harriet Casady, Instructor in Voice; Rose Marie Reed, acting President; and Eileen Fuller, chairman. Miss Dorothy McGhee named the Club Alpha Delta Zeta.

1944-1945
New to the music faculty this academic year was Mrs. Rudolph Schwenger, Instructor of Violin. The Oracle wrote: "She is a graduate of various European institutions, including the Vienna State Academy of Music, where she graduated in 1938. She has given several recitals in New York City, in Vermont and in the Twin Cities as well as other large American cities."
Other instructors received recognition during this time. In the January 19, 1945 Oracle a new face took stage in the Hamline music: Marjorie Winslow Briggs. Briggs played with the Minneapolis Symphony orchestra and with the Minnesota WPA orchestra. Briggs' musical education has taken place in Paris and Munich.

1945-1946
New professors joining Hamline's music department included: Miss Jenny Cullen, Instructor of Violin, and Miss Shirley Hammergren ('44), Assistant Instructor in Voice. The Oracle wrote of Cullen: "Cullen was born in Glasgow, Scotland, and was a teacher in the New South Wales conservatory in Sidney, Australia before coming to the United States as a concert pianist with the Minneapolis Symphony. She has taught at Carlton college and the Minneapolis College of Music." While here, Cullen started a chamber music organization. Announced in the October 19, 1945 Oracle, Cullen explains the "purpose of this chamber music group is 'to start an interest in this ancient form to intimate music that teaches the unselfishness of musicianship.'"

Hammergren, who joined the faculty only one year after graduating in the spring of '44, continued to study voice under Holliday.

The war had recently ended, and this affected the music department. The October 12, 1945 Oracle states: "With the ending of the war and the return of men to our campus the women's choir has been restored to a full mixed choir. This is the first time in three years that the university has started the season with a full mixed choir of sixty voices. Four women's voices have been added to the choir this year. These were chosen from the seventy-five voices which tried out."

Krenek and the music department created music students who went on to great success. One Krenek "protégé" was featured in the November 30, 1945 Oracle. Virginia Seay, whose composition "Variations and Fugue on an Original Theme" had its premiere with the Minneapolis Symphony Orchestra, won first prize in the Federated Music Clubs of America in 1943. After studying at Vassar, she received her masters from Hamline at the age of 21. She says of the Hamline music department: "Trying to be as objective as possible, I believe that the choir and the theory department here cannot be surpassed."
Although the music department received much praise, not everyone was happy. The following editorial was published in the Oracle on Thursday, May 23, 1946.

"Hamline University is famous for its music department. Hamline University is famous for its choir. Hamline University is famous for its piano department. But when the Hamline University band gives one concert a year, even the 'famous' music majors can't be bothered to come. Of all the music majors in college, one was at the band concert.
"Maybe the Hamline band isn't the best band in the state, but whose fault is it? Given a good director, thirty students who enjoy band work enough to try to make something out of it, you should have a good start. But Mr. Gibbons and the band are batting their heads against a stone wall with their effort -- only the stone wall is the Hamline music department. Apparently band music is so inferior that 'good' musicians can tolerate it only to the extent of allowing it in the school curriculum. Given just a little publicity and perhaps enough money to buy some good band music (oh yes, there is such an animal) and perhaps some kind of uniform, the Hamline band could earn its place in the sun. Then maybe the 'musicians' on the campus couldn't sit around making crack about the band!

"At any rate, Mr. Gibbons deserves a lot of credit for making the effort he did in preparing the concert for last Monday.
"Three Band Member (and Music Majors)

"P.S. There were three faculty members there, too."

1946 - 1947
Hamline welcomed Thomas Nee as an Instructor in music and the only new faculty member to join the music department this year. Nee marks the third new band director that Hamline had seen in less than 6 years. In late September, Nee announced his plan to have the band illustrate a new idea in music. "A new idea in band music will be inaugurated here by Thomas Nee, new band instructor. The music will consist largely of concert numbers. Mr. Nee believes the band will be the first in this country, exclusive of the Goldwyn band of New York, to present, this kind of music" (Oracle, Thursday, September 26, 1946, pg. 2).

Krenek left Hamline to begin work on a fourth symphony. He received an anonymous gift of $1000, rumored to be from Mitropoulos, to write this symphony. Krenek was expected to return to campus for the second semester of the 1947-1948 school year, but he never returned. Holliday took charge of the music department in Krenek's absence and became head of the music department in 1948.

1945-1957
Jenny Cullen:

Jenny Cullen taught music at Hamline University from 1945 to 1957. Not only was she a talented musician, she was an amazing teacher as well. In the words of Richard Engquist ('54), "For six years I was Miss Cullen's pupil, and I received from her far more than a working knowledge of the violin. She opened doors to a world I had never known. She was raconteurs without peer, and though I heard her stories many times, I always waited with pleasure for the punch line."(Enquist 13)

In 1945 Cullen started a chamber music group that included students like Roque Cordero and Tom Nee. In 1954 Miss Cullen became an artist in residence. Because several other instructors also became artists in residence that year, it is likely that this was only a change in the faculty classification, and not the status of the instructors. (Hamline Bulletin 1954-1956, 120)

Before teaching at Hamline, Cullen attended and graduated from the Scottish Academy of Music in Glasgow, Scotland. While there she was a member of the Scottish Symphony Orchestra and studied under Henri Verbrugghen. She went on to play with Verbrugghen's String Quartet in Europe. (Trotter 181-182) She also became concertmaster of the State orchestra in Sidney Australia.(Minneapolis Tribune)

Henri Verbrugghen was born in BRussells in 1874. He studied at the BRussells Conservatory from 1887-1892. He played in the Scottish Orchestra in Glasgow, and the Lamouroux's Orchestra in Paris. He was concertmaster of the Jules Riviere's Orchestra in Wales and of the Promenade Concerts in London. Verbrugghen returned to the Scottish Orchestra as the concert master and assistant conductor. He became conductor of the Glasgow Choral Union in 1911. In 1913 he founded the Verbrugghen String Quartet. (Baker¦s Biographical Dictionary of Musicians, G. Schirmer Inc, New York 1940) Verbrugghen's String Quartet was comprised of violinist David Nichols, second violinist Jenny Cullen and cellist James Messeas. (Sherman Maestros 162) In 1915 Verbrugghen moved to Sydney to found the National Conservatory, and Jenny Cullen and the rest of his string quartet followed. At this school they each taught their specialty. He conducted the Minneapolis Symphony Orchestra from 1922-32. He died in Northfield, Minnesota in 1934. (Baker¦s Biographical Dictionary of Musicians the edition, G. Schirmer Inc, New York 1940) Verbrugghen became the conductor of the Sidney Orchestra in 1915, and Jenny Cullen was concertmaster. She was also the main violin instructor at the State Conservatory of Sidney. She came to Minneapolis with Verbrugghen in 1922 and played as a soloist with the Minneapolis Symphony Orchestra during the next couple of years, and played as a member from 1924 until 1932.(Eagle and Lamb 6) Her first appearance as a guest soloist with the orchestra took place on October 22, 1922. This performance triggered many wonderful reviews of her talent. On October 4, 1923, she became a member of the violin section of the orchestra.(1)

However, she did not become a member without some difficulties. The men in the orchestra were not particularly happy about having a woman as a member, and they did the few things they could to prevent her from being there. Some of the members accused Cullen and two other members of the Verbrugghen String Quartet for violating immigration and federation rules. They had to establish proof that they were not brought to the United States for the soul purpose of joining the Symphony Orchestra.(4)

There was also much jealousy amongst the men of the orchestra. They were suspicious of the relationship between Verbrugghen and Cullen. Verbrugghen supposedly lent Cullen a $35,000 violin to play during a few performances, and the rest of the orchestra did not like that. Verbrugghen, convinced that their feelings for each other were noble and totally above reproach (as time has proven) did nothing to soft-pedal their friendship (6).

Cullen became a citizen in 1931. (St. Paul Pioneer Press Sat June 16, 1957)

In 1932, Cullen left the orchestra, to become head of the violin department at Carlton College in Northfield, MN. She was supposedly loved by her students there.(8) Cullen was a member of the Minneapolis Symphony Orchestra from 1923-1932, and again from 1942-1949. She was the concert Mistress of the State Orchestra in Sydney Australia. She was the second violin in the Verbrugghen String Quartet. (Linda Faye Parker 115) She was the instructor in Chamber Music at Carlton from 1932 until 1943. Cullen became an instructor in Violin at Hamline in 1945 and stayed here until her death in 1957. (Bulletin 1949-1950, 25) She was the chairperson of the Violin Department at Carlton College. She was also a member of the music faculty at the University of Minnesota. She was an internationally known violinist, and her good reputation helped to improve the reputation of the music department. (Linda Faye Parker 113-114)

On June 15th, 1957, Jenny Cullen died after a lengthy illness. (St. Paul Pioneer Press Sat June 16, 1957) This was an incredible surprise to everyone that knew her. Evidently, it was completely unforeseeable. One day, her apartment was painted and the next few days she was horribly ill. The things we know now about toxic chemicals were not known at that time.(14-15) On November 11 there was a memorial concert in Bridgeman Hall where Marjorie Briggs, Richard Adams, Roy Johnson, and Cynthia Britt performed Brahms Violin Sonata Opus 79, the Milhaud Suite for Violin, Clarinet, and Piano, and Beethoven Trio for Violin Violoncello and Piano Opus 70 no. 1. Jenny Cullen left all of her records and chamber music scores to Hamline. (Hamline University Music Department News letter Fall 1957)

Cullen Quotes:
"I am sure she has left her imprint on all who came in contact with her-always in a good way." Louis Krasner (Lamb and Eagle 15)

According to Davis Cooper , "the inordinate amount of time the bachelor and the spinster spent together caused some tongues to wag but eventually their friendship was recognized for what it was." (Trotter 181-182)

"She was a teacher of music, and music was her life. The fiddle case that she clutched in her pudgy hand was as much a part of her as the long blue cape that billowed behind her in the wintry Northern wind. Except when she was performing, when black was de riguer, Miss Cullen always wore blue. Hat, scarf, cape, sweater, skirt- all blue. Everything in her apartment was blue too. I suspect that this adherence to the color blue was not merely an eccentricity. The motive for it may have been economic in part. You knew Miss Cullen would wear blue and therefore you forgot to notice that it was the same dress that she wore last year, and the year before that. For she never had very much money, and what she had was not parted with frivolously. She was not stingy, but very careful. Always look after the pennies and the pounds will look after themselves, she would say, suddenly very much the canny Scot." Richard Enquist (Enquist 12)

"I recall having lessons in her studio on the second floor of Scott Hall during the summer. Being plump she huffed and puffed as she climbed the stairs on those hot days, and she told me of her longing for the cool climate of her native Scotland...After the lesson, we would often have tea and the most marvelous discussions. She was a fine conversationalist, had an excellent vocabulary and a special way with words and was very well versed on many topics." Helen Loing (Eagle and Lamb 13-14)

Quotes from an Interview on Cullen:
"She was very proud of her Scotch heritage and was entitled to her own clan plaids and she would identify any plaid that she saw, whether a Steward or Macalaster or whatever and that was kind of fun. She loved the color blue and she almost never wore anything other than a blue dress and she carried her chocolate with her always. I think it was Cadburry's or some English chocolate and she would give you one little square."

Ariel: What do you know about her friendships with Verbrugghen and Mitropoulos?

Clare: "She did not really talk about them too much, although she always loved the term Maestro and I felt that there was a close friendship and warmth. Of course there would not have been anything romantic with Mitropoulos. I believe he was a homosexual."

"If a chair squeaked across the floor she would go and play the note on the piano. Whatever the sound was, she could sing the note or play it. She was just a warm, caring kind of person and I thought that she was a very fine musician."

Ariel: Why didn't the music department get much attention at that time?

Clare: "They were overshadowed by other departments. I think things changed when Russell Harris was head of the department... He was a very talented harpsichordist. He also composed, but he was not a personality that you would say would be a promoter, sort of; well, in the nature of... I don't know, he just didn't have a dynamic sort of personality...

"She was a great teacher, she explained things well, and musicianship was extremely important to her ya know, how you felt about a piece and what you wanted the music to say to others essentially. That was a big part of the teaching, not only the technicalities of the piece."

Works Cited

1. Eagle, David and Lamb, Barbara. Jenny Cullen, a
Study in Blue. 1995

2. Enquist, Richard. Memories of a Favorite Teacher IX:
Miss Jenny Cullen.: Hamline University
Bulletin LXI (1971): 12-13

3. Kuehn, Susan. Scotswoman With a Fiddle.
Minneapolis Tribune 7 August 1949.

4. Unknown Author. Cullen Starts Chamber Music Here.
The Hamline Oracle 19 October 1945: 1.

1948

Several students had their compositions presented late in February. (Oracle mar 4 v. 61 #16 p1 1948)

Betty Sandburg ('47) B. A. Music Education, was appointed voice instructor. (Oracle mar 4 v. 61 #16 p3 1948)

Mrs. Shirley Klosterman, voice instructor, sang with the Symphony Orchestra (Oracle mar 11 v. 61 #17 p1 1948)

Russell G. Harris was appointed to succeed Ernst Krenek, prof of Music theory and musicology at Baylor University. (Oracle mar 4 v. 61 #16 p3 1948)

The Hamline choir sang at several high schools. (Oracle Mar 4 v. 61 #16 p3 1948)

The University band, consisting of 50 students, had its first out of town concert March 22 . The concert was held in Cannon Falls. Among the things that they played was Bach, Stravinsky, Ferrabosco and Holst. (Oracle Mar 18 v. 61 #18 p3 1948)

The A Capella choir sang Wednesdays in the Chapel. They practiced five hours per week. They went on trips to Duluth, Chisago city and many other places. They broadcast on KUOM, the University of Minnesota radio Station. The Hamline A Capella choir had set standards state wide. The choir made a recording available for sale. (1948 Liner 62)

The preparatory choir was composed of eighty people that sang in Chapel and were in training to become part of the A Capella choir. The prep choir's big event was the Christmas concert. The Motet choir was composed from best singers in the A Capella choir. (1948 Liner 67)

The Hamline University Symphony was founded under the direction of Tom Nee. (1948 Liner 59)

1949

The A Capella choir had its annual spring tour which began in Winona, MN. There were three concerts in Wisconsin, and they went as far as Oak Park Illinois to perform. (Oracle Mar 4 v. 62 #16 p1 1949)

The A Capella choir and the Hamline Singers had a number of special concerts and broadcasts. (Oracle Apr 29 v. 62 #20 1949)

The twin cities chapter of the International Society of Contemporary Music presented annually at Hamline concerts. (Oracle Sept 23 1949 v. 63 #1 p2)

The A Capella choir sang on the radio program, Methodist Advance. (Oracle Oct 7 1949 v. 63 #3 p3)

The American Musicology Society held a conference at Hamline. On May 16, Hamline students presented their compositions. There were student recitals in voice, piano, organ, and flute. The Twin Cities chapter of the International Society for Contemporary Music gave a concert in Bridgeman Hall. Dimitri Mitropolous and Louis Krasner were there. (1949 Liner 64)

The A Capella choir went on a fifteen hundred mile tour. They were well received . They traveled around various parts of Minnesota, Wisconsin, and Illinois. They played at the University of Chicago where they sang an all Krenek concert. They also sang around the Twin Cities. At the Christmas concert the A Capella choir, the Hamline Singers (a motet choir)and the Prep choir performed. The A Capella choir had 49 members who rehearsed five times a week and took voice lessons. (1949 Liner 64-65)

The orchestra presented Mozart, Virgil Thompson, Mendelssohn, and others for their second concert thy preformed Mozart and Bartok . In April they gave an all Bach concert. (1949 Liner 65)

The band directed by Thomas Nee played at many high schools and at athletic events at Hamline. They went on a trip to Hudson Wisconsin. (1949 Liner 65)

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