| Forte! Hamline's Music History |
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Movements in Music |
| Forte! Hamline's Music History |
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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 |
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.
1950-1970
Choral Music 1950-1970:
Robert and John Holliday, twin brothers from Rush City, MN,
graduated from Hamline University in 1930.(25. p 3) After singing
under John Kuypers in his college years, Robert returned to
Hamline's music department as an instructor in 1937. (12. p5) He
joined Hamline's music department without an advanced degree in
music. (21. p 3) He was appointed to succeed his own mentor,
Kuypers, in 1942 as director of The A Cappella Choir. (25. p 3)
The A Cappella Choir accomplished many amazing things under Holliday. They toured all over the Midwest and other parts of the country and eventually went abroad. In 1957, The A Cappella Choir represented Minnesota in the Music Educators National Conference in Omaha, Nebraska.(9. p 1) In 1961, Holliday's choir performed in the Rockefeller Chapel and at Orchestra Hall in Chicago. (24. p 1) In 1964, the choir performed at Stephens College in Columbia, Missouri, for a crowd of 3000. The director of the choral group at Stephens College at that time was Monroe Bell ('53). Robert Holliday was a permanent consultant to the choral group at Stephens. (8. p 3) In 1965, The A Cappella Choir went on a 2,200 mile tour featuring stops at the University of Nebraska and the Air Force Academy. The tour took place around the time that the group was one of three college choral groups in the nation to be considered for a state department sponsored tour of Russia. (20. p 1) During the spring of 1966, the choir made an even longer trip of 2,500 miles to Washington D.C. making several stops along the way, including performances at the National Cathedral and at the U.S. Naval Academy. (16. p 6) Representatives from the State Department watched the performances on the East Coast as part of the group's consideration for touring abroad. (31)
The most exciting tour of the Holliday Choir was the state department sponsored Latin America tour in 1967. (See section below)
Holliday also had his group perform with many Twin Cities Organizations. The year that Holliday became director, men on campus were sparse because so many had left for the war. Therefore, his first years were concentrated on the Women's Choir. Ernst Krenek wrote some music for the Women's Choir, and in 1944, they sang some of his compositions with the Minneapolis Symphony under the direction of Dmitri Mitropoulos. (1. p 4) The A Cappella Choir appeared on KTCA-TV in the winter of 1957 (15. p 1) and again in the spring of 1959 (5. p 1) Also in 1959, The A Cappella Choir performed as a combined choir with Augsburg and sang with the Minneapolis Civic Orchestra. The program featured the premier of Roque Cordero's "Five Short Messages for Orchestra." Roque Cordero ('47) was the director of Panama's National Institute of Music. In 1957 he won a $5000 award for his "Second Symphony." (6. p 1) The Association for the Preservation of the American Musical Heritage selected The A Cappella Choir and the Hamline Singers to record a full album for its series Choral Music in 20th Century America. The album was recorded in 1959-1960, and was released in 1961. (26., 13. p 1) In 1962, Holliday's A Cappella Choir performed with the St. Paul Civic Orchestra conducted by Leopold Sipe, another member of Hamline's music department. (3. p1) In 1964, they recorded an album with the St. Paul Chamber Orchestra also conducted by Sipe. A feature of the recording was Paul Fetlers' "Nothing But Nature," which was premiered by the combined groups. (10. p 3)
Many individual students were also active with off-campus music organizations. Several voice students won scholarships from the Schubert Club, a Twin Cities music organization. In 1956, Kathleen mason won the Schubert Club 40th anniversary competitive scholarship in voice. (14. P 4) Competitive scholarships were also won by Janice Schubert in 1958 and Neva Pilgrim in 1960. (11. P 5, 22. P 4) Also in 1960, a junior named Jack Jaeger was chosen as a member of the All-American Chorus. He participated in the group's fifth annual tour of Europe. This young man happened to be the grandson of John Jaeger, a former member of the faculty. (18. p 1, 13. p 1)
During the 1950's and 1960's, choral music was extremely popular on campus. The A Cappella Choir got a majority of the attention, but many other choral organizations also existed. The main appearance of many of these groups was at the annual Christmas concerts held in the Hamline Methodist Church, a tradition that continues to this day. During Hamline's centennial year, 1953-1954, the 25th annual Christmas Concert took place. (4. p 1) One of the Christmas Concert performances was by the Hamline Alumni Singers, a group made up of former choir members. (7. p 1) The Hamline Chorus, an organ-accompanied choir that most likely served as a preparatory group for younger students, also performed at the concerts.(7. p1) There was also a Choral Club made up of all women, that performed at the Christmas concerts. The group was started in 1958 and directed by a student, Tom Brown. (31. p 6)
Many of the groups that existed were independent of the music department. From the early 1940's to the early 1960's, a group called the Nurse's Chorus existed. This group was made up of singers from the Nursing Program. (19. P 70) Aside from the Christmas concerts, this group also performed at capping ceremonies and hospital parties. They also took part in caroling activities during the Christmas season and sang at area churches. (20. P 61)
In the early 1950's, the Hamline Music Fraternity, Alpha Delta
Zeta, was also active on campus. This group sponsored recitals
and performed at variety shows on campus. (19. P1) Also in 1954,
an unnamed group was formed independent of the music department.
It was strictly a student organization, including direction and
management. (28. P 5)
Holliday's choral organizations include more than The A Cappella
Choir. During his early years, Holliday directed the Motet Choir.
In 1950, the Motet Choir was considered to be one of the best in
the nation.(18) The Hamline Singers, mentioned above, was a group
started by Holliday. They were an elite group of singers selected
from The A Cappella Choir. (29. p 3) In 1954, The A Cappella
Choir could not accommodate all the applicants of the freshman
class. A new group was formed called Chamber Music 67. (2. p 3)
In 1961, Holliday formed a new group called the Hamline Chamber
Choir. This was a group for more outstanding and talented
singers. (24. p1)
The way Holliday led rehearsal was quite unique. Linda Bowers Smith, ('69) remembers, "The discipline of the rehearsals was incredible; no one ever talked and no one was ever late. For 70 minutes a day we were mesmerized by the gestures of his hands and the warmth of his eyes when he created this wonderful a cappella sound." (27.) Thomas Nee, a former member of the music department, recalls his experiences with Holliday's rehearsals.
"The choral rehearsals of Bob Holliday were my first real inkling that rehearsals could be concerned with fine details in a way I had never experienced before...As with any rehearsals, whether athletic or musical groups or drama, they take on the personality of the leader. Holliday had an extensive and highly literate vocabulary, a wry and sardonic sense of humor and an acute apprehension of the human comedy. This variety made his rehearsals a pleasure to observe. His comments were usually accompanied by various invidious comparisons of our choral tone to other sounds which it should or should no resemble. Only at special time did he seem to speak in merely simple directions such as: shorter, longer, you are flat, etc. He had one decided rehearsal technique that he admitted to: that out of a fifty minute rehearsal he felt that there should be a certain amount of time, say, fifteen minutes, where nothing escapes criticism." (21. p 2-3)
Holliday demanded a lot of respect and effort from his singers, but his rehearsals were also filled with his humorous personality. Mary Lou Walburn ('68) recalled, "He had a way of quietly humiliating you when you did something wrong. He never really called attention to your name, but maybe the section. [If someone was singing too loudly, Holliday might have said] 'Some one in the soprano section is hoping to be discovered.' He was truly funny, [but] hard to get to know because there were so many layers to him." (31)
Outside of rehearsal, some choir students also had voice lessons. Holliday did some private lessons, but he was assisted by other members of the faculty. Through the late 40's and early 50's, Shirley Klosterman instructed voice and worked closely with Holliday and The A Cappella Choir members. (30. P 3) In 1953, June Peterson Jeffrey joined the faculty as a voice instructor. She received a B.A. from Hamline and had sung with the Minneapolis Symphony Orchestra and the St. Paul Civic Opera. (14. P 4)
The A Cappella Choir was distinctive because of Holliday's use of a lot of contemporary music. In an interview by the Oracle, Holliday discussed his views on the uses of neglected music. He is quoted as saying, "Any art, if it is to be dynamic and not antiquarian in character, needs a constant contemporaneous expression." (12. p 5) He felt that the music performed by an educational group should include a wide range of styles including examples of music from the 15th century to the present. He was also quoted saying, "All this does not mean that the college music group appearing before the public should be stuffily academic. But it does imply that such a group should be representative of the liberal arts tradition and not merely add its bit to the constant flow of entertainment music which is so accessible in this country." (12. p 5) Included in The A Cappella Choir's repertoire were many works of Krenek such as "The Seasons," "Five Prayer," and "The Santa Fe Timetable." (b. p3) Holliday's singers also featured contemporary songs by Paul Fetler, Anton Heiller, Elliott Carter, Russell Harris, Charles Ives, and Alexander Gretchaninoff. (26.) The A Cappella Choir also performed the compositions of many former students including Robert Erickson, Will Ogdon, Glenn Glasow, and Gladys Nordenstrom. (21. p 3)
Not all aspects of Holliday's years at Hamline were examples of his merits. He had problems with alcohol. Mary Lou Walburn ('68) felt that while it was not a secret from the students, it was no a subject that the students poked fun at, like typical college student behavior. Rather, the students felt sympathetic to their instructor's problem. (31) Thomas Nee commented, "According to his own testimony, he had often come to school in what is known as an inebriated condition...Later in life he joined AA and seemed to successfully battle his demons." (21. p 3) Inebriated or not, he still had the ability to lead the choir rehearsals effectively.
No one can deny that Holliday left his mark at Hamline. Members of the choir that sang under Holliday walked away with many fond memories. In 1997, alumni honored his legend by establishing the Robert Holliday Scholarship for outstanding members of The A Cappella Choir. (25. p 3)
After he retired from Hamline in 1971, Holliday continued to
participate in choral music. He founded the St. Paul Chamber
Choir, which included many Hamline choir alumni. (26.) In 1985,
Holliday received the F. Melius Christiansen award from the
Minnesota Choral Directors Association for outstanding
contributions to the profession. (25. p 3)
Works Cited
1. Amundson, Patricia McGivern. "Memories of
Robert Holliday." Hamline University, 1997, 4.
2. "Choir Plans Chicago Trip." Oracle, 20 October 1954,
3.
3. "Choir Sings with Civic Orchestra." Oracle, 13 April
1962, 1.
4. "Choir to Give Concert with alumni Singers." Oracle,
2 December 1953, 1.
5. "Choir to Give Four Concerts During April." Oracle,
26 March 1959, 1.
6. "Choir to Give Joint Concerts Next Week." Oracle, 24
April 1959, 1.
7. "Choir to Perform in Annual Concert." Oracle, 5
December 1952, 1.
8. "Choir to Tour During Break." Oracle, 6 March 1964,
3.
9. "Choir to Tour to Nebraska." Oracle, 19 December
1956, 1.
10. "Choir will record at Fetler Concert." Oracle, 24
January 1964, 3.
11. "Four Students Win Awards." Oracle, 13 February
1958, 5.
12. Grosse, Phyllis. "Holliday Stresses 'Neglected.'"
Oracle, 17 March 1961, 5.
13. "Hamline Choir Will Present Final Concert." Oracle,
20 May 60, 1.
14. "Hamline Singer Wins Scholarship to University of
Indiana." Oracle, 23 February 1956, 4.
15. "Hamline University Choir to Appear on Ed. TV."
Oracle, 22 November 1957, 1.
16. Hatfield, Paige. "Choir and Band Tours Scheduled."
Oracle, 25 February 1966, 6.
17. Klaus, Richard. "Memories of Robert Holliday."
Hamline University, 1997.
18. Liner 1950.
19. Liner 1951, p 70.
20. Liner 1953, p 61.
18. Monson, Miriam. "Jack Jaeger to Tour Europe With
All-American Chorus." Oracle, 20 May 1960, 1.
19. "Music Frat Sponsors First Recital of Year."
Oracle, 13 February 1953, 1.
20. "Music Groups Tour." Oracle, 5 March 1965, 1.
21. Nee, Thomas. "Robert Holliday: Choral Magician."
Newsletter of the Ernst Krenek Archive, University of California,
San Diego, Spring-Fall 1996.
22. "Neva Pilgrim Wins Contest." Oracle, 25 March 1960,
4.
23. "New Professors Join Faculty, Teach in Various
Departments." Oracle, 9 October 1953, 1.
24. "Piper A Cappella Choir Begins Six-Day Tour of the
Middle West." Oracle, 24 February 1961, 1.
25. Robert Holliday Choir Alumni Committee. "Memories of
Robert Holliday." Hamline University 1997.
26. "The Robert Holliday Years 1942-1971." Hamline
University Compact Disc, 1997.
27. Smith, Linda Bowers. "Memories of Robert Holliday."
Hamline University, 1997.
28. "Students Organize New Choral Group." Oracle, 8
December 1954, 5.
29. "Various Concerts Keep Music Department Busy."
Oracle, 8 March 1956, 3.
30. "Voice Students to Present Recital." Oracle, 25
April 1952, 3.
31. Interview with Mary Lou Walburn.
32. "Women's Choral Club Begins Second Season." Oracle,
9 October 1959, 6.
The Latin America Choir Trip--1967
The opportunity for the Latin America trip became possible when Hamline's A Cappella Choir was selected by the U.S. State Department for a 10 week, 13 country concert tour in Latin America to take place from March 27 until June 10, 1967. The trip was arranged by the State Department's Office of Cultural Presentations in the Bureau of Educational and Cultural Affairs.
The purpose of the tour was established by Congress to increase mutual understanding and strengthen ties with Latin America by demonstrating the educational and cultural interest and achievements of the U.S. Tour. Expenses were paid by the State Department under provisions of the Mutual Education and Cultural Exchange Act of 1961--also known as the Fulbright-Hayes Act.
Hamline's 40 member choir was directed by Robert Holliday and
was one of four musical groups chosen for concerts overseas
during the 1966-1967 academic year. Hamline was the first
Minnesota college selected for a tour under the act.
The concerts included a range of songs from the works of the 15th
century composers to contemporary composers like Paul Felter,
Charles Ives, and Elliot Carter. The Choir also performed
"The Seasons" by Ernst Krenek, and works of two
African-American composers--Ulysses Kay and William Dawson. To
prepare for the tour the choir students had to take a Latin
American seminar during the winter term(2.p1-2)
The Performance Schedule was (in order of when they appeared): Mexico City, Mexico, Guatemala City, Guatemala, Belize, British Honduras, Tegucigalpa, Honduras, Managua, Nicaragua, San Jose, Costa Rica, Panama City, Panama, Bogota, Columbia, LaPaz, Bolivia, Lima, Peru, Rio de Janeiro, Brazil, Paramaribo, Surinam, Port of Spain, Trinidad, Santo Domingo, and the Dominican Republic(6.p 1). They went from cultural centers to hinterland areas- wherever they went, they were welcomed with enthusiasm and received many encores.
What stuck out in the tourist minds after the trip? They encountered "Montezuma's revenge," insect bites, and bats. Many singers got dysentery at the beginning of the trip (one person lost 30 pounds in a week and a half from the disease), and one person came down with a respiratory disease. During a performance, bats circled above in a theater in Costa Rica. Guatemala City was in a state of siege when they were there. Despite a lot of problems, overall, people were very nice on the trip. They didn't hear very many anti-American slurs--only a few "Yankee-Go-home." In a village in Costa Rica, several children dressed in red, white, and blues and waving American flags met the choir. A typical week on the trip consisted of one free day, with workshops everyday, and almost daily concerts(6.p 1).
The choir students wore special wardrobes for the tour--both the men and women wore navy blue blazers with the U.S. State Department's Bureau of Cultural Presentations Crest on the left pocket. The women also wore a gray flannel A-line skirt and turtle neck ribbed shells under their jackets, while the men wore gray flannel trousers, light blue shirts, and maroon and black striped ties.
The trip had two tour managers: John Stillman-an admission
counselor at Hamline (4. P 1), and Lowell Weber, a special
administrative assistant to the University in 1962 and an
admissions counselor. (5. P 1)
Here is what a Brazilian newspaper said about the choir:
"several admirable choral groups from North American
universities have visited us in times past, as the Yale Glee
Club, not no one of them has been possessed of artistic qualities
superior to those of The A Cappella Choir of Hamline University.
. .The choir of Hamline University is distinguished on two basic
counts-for its own effective interpretation and for the
reparatory which it presents. As a choral instrument, it is among
the most effective that we have heard. The young voices
are...pure and beautiful." (2. P 1)
Works Cited
1. "For Immediate Release". 1966.Special
Collections/Archives. Bush Library. Hamline University.
2. "For Release: Thursday, January 5, 1966". 1966.
Special Collections/Achieves. Bush Library. Hamline University.
3. "Hamline University A Cappella Choir Latin American
Tour" .1967.Special Collections/Archives. Bush Library.
Hamline University.
4."John Stillman Tour Manager". 1967. Special
Collections/Achieves. Bush Library. Hamline University.
5. "Lowell Weber Tour Manager". 1967. Special
Collections/Achieves. Bush Library. Hamline University
6. Watson, Catherine. "Despite 'Problems' Choir Would Encore
in Latin America" Minneapolis Tribune.
| FORTE! Home |
Instrumental: | Choral: |
| 1854-1872 |
1920-1950 |
1920-1950 |
| 1880-1910 |
1950-1970 |
1950-1970 |
| 1910-1920 |
1970-Present |
1970-Present |