"The Other Swedes"
~ Honoring Them and Remembering Them ~
Samuel Thorstenberg & Hagbard Brase
~ Remembering them as the "earliest" internationally acclaimed
Lindsborg Bethany College Messiah Oratorio Society conductors
~ Honoring Them and Remembering Them ~
Samuel Thorstenberg & Hagbard Brase
~ Remembering them as the "earliest" internationally acclaimed
Lindsborg Bethany College Messiah Oratorio Society conductors
Samuel Thorstenberg
(1871-1938)
Conductor
1898 to 1909
Samuel Thorstenberg
(1871-1938)
Conductor
1898 to 1909
"G. N. Malm," 163
17 years from the first Messiah performance, in 1989, Swedish American Samuel Thorstenberg (1871-1938), the son of Kansas Smoky Valley Swedish pioneers, a Bethany College graduate gifted in music, would take to the Messiah Auditorium stage as the ninth conductor of the Bethany College Oratorio Society, a position he would have from 1898 to 1909, from age 27 to 38. Under his leadership the Messiah chorus grew from 343 to more than 500, and would become renown nationally and internationally.
Newly built in 1895, the Messiah Auditorium had a seating capacity of 4,000. From the octagonal structure topping it on one side facing the railroad tracks was a large marquee with these large capital letters: BETHANY COLLEGE THE HOME OF THE MESSIAH CHORUS. This needed structure, only, came to be due to Bethany College founder and president Dr. Carl Aaron Swensson's pleading with the board of trustees, "Please let me try it. I pray you!" They said okay, but also communicated that they would bear no responsibility for it! In those days, the established Oratorio Society was referred to as the "Messiah Chorus," as so displayed by the Messiah auditorium's marquee.
In Conductor Thorstenberg's second year in 1899, a "first" time ever event occurred for the Messiah performance on the stage of the Messiah Auditorium, that was of the guest soloist international opera singer Eloise Vitti arriving from Milan, Italy. She would be followed by countless other national and international opera stars and instrumentalists gracing the Messiah Festival stages, thus becoming part of Lindsborg and Bethany College history.
A first document of national note of these performances could have been in 1900, Conductor Thorstenberg's third year, when the Messiah Chorus performances were "first" recognized nationally through the April edition of an American magazine for their past performances, which in turn would officially introduced Swedish American Lindsborg culture to the cultured social circles of the East with a publication of an article in the Ladies Home Journal which reads:*
Newly built in 1895, the Messiah Auditorium had a seating capacity of 4,000. From the octagonal structure topping it on one side facing the railroad tracks was a large marquee with these large capital letters: BETHANY COLLEGE THE HOME OF THE MESSIAH CHORUS. This needed structure, only, came to be due to Bethany College founder and president Dr. Carl Aaron Swensson's pleading with the board of trustees, "Please let me try it. I pray you!" They said okay, but also communicated that they would bear no responsibility for it! In those days, the established Oratorio Society was referred to as the "Messiah Chorus," as so displayed by the Messiah auditorium's marquee.
In Conductor Thorstenberg's second year in 1899, a "first" time ever event occurred for the Messiah performance on the stage of the Messiah Auditorium, that was of the guest soloist international opera singer Eloise Vitti arriving from Milan, Italy. She would be followed by countless other national and international opera stars and instrumentalists gracing the Messiah Festival stages, thus becoming part of Lindsborg and Bethany College history.
A first document of national note of these performances could have been in 1900, Conductor Thorstenberg's third year, when the Messiah Chorus performances were "first" recognized nationally through the April edition of an American magazine for their past performances, which in turn would officially introduced Swedish American Lindsborg culture to the cultured social circles of the East with a publication of an article in the Ladies Home Journal which reads:*
Singing "The Messiah" on the Plains
by
Charles M. Harger
by
Charles M. Harger
"Because of its surroundings, and uplifting by its earnest methods and teaching, the Easter performance of “The Messiah” by the Swedish colony at Lindsborg, in Central Kansas, is each spring one of the interesting events of the West. A musical festival that out on the comparatively sparsely settled prairies can bring together ten thousand people during Holy Week, many of them coming two hundred miles, must be excellent indeed. The growth of the audiences in this instance, year after year, indicates a thorough appreciation of a worthier rendering of Handel’s great oratorio.
"The Swedes are a singing people, and the religious sentiment is strong in their hearts. The one cherished day for this colony of perhaps three thousand (3,000) families is Easter, and the chief glory thereof is “The Messiah.” The Lindsborg settlement dates back to 1869, when the Rev. Olof Olson led from Sweden the first comers and founded the colony on the unbroken prairies. The settlers toiled, and prospered, and saved. They were homesick for the scenes of childhood, but learned to love their new home. Amid the struggle against drought and storm they sang their folksongs of cheer.
"… The concert engages the very best of the talent of the college, but it is not the event for which the auditors long.
"That comes in the evening. The crisp, frosty air outside and the early darkness make the octagonal auditorium ablaze with the light, most alluring, and its four thousand seats are quickly filled. Over the gathering broods a tenderness appropriate to the memories of the occasion, its influence being manifest in hushed tones, as if this were indeed a service of the heart. Easter is not here, but its forerunner has shed abroad a spirit of consecration.
"Before the audience is the chorus—tier on tier of men and maidens, nearly four hundred of them. Bunting and banners transform the stern outlines of the great stage. The men are in black; the maids in pink and white, the costumes making vivid contrast. Whole sections are in a flutter of light; others are somber and still. The central figure of all, occupying the place of honor, is the powerful organ, and supporting it the orchestra of forty (40) pieces. When the time arrives for the opening Doctor Swensson steps forward and in a few words tells the story of the first Easter—the prelude of the music that is to come.
"A tremor passes over the ranks of the singers; they are rising to their feet. The orchestra breaks the stillness."
"The Swedes are a singing people, and the religious sentiment is strong in their hearts. The one cherished day for this colony of perhaps three thousand (3,000) families is Easter, and the chief glory thereof is “The Messiah.” The Lindsborg settlement dates back to 1869, when the Rev. Olof Olson led from Sweden the first comers and founded the colony on the unbroken prairies. The settlers toiled, and prospered, and saved. They were homesick for the scenes of childhood, but learned to love their new home. Amid the struggle against drought and storm they sang their folksongs of cheer.
"… The concert engages the very best of the talent of the college, but it is not the event for which the auditors long.
"That comes in the evening. The crisp, frosty air outside and the early darkness make the octagonal auditorium ablaze with the light, most alluring, and its four thousand seats are quickly filled. Over the gathering broods a tenderness appropriate to the memories of the occasion, its influence being manifest in hushed tones, as if this were indeed a service of the heart. Easter is not here, but its forerunner has shed abroad a spirit of consecration.
"Before the audience is the chorus—tier on tier of men and maidens, nearly four hundred of them. Bunting and banners transform the stern outlines of the great stage. The men are in black; the maids in pink and white, the costumes making vivid contrast. Whole sections are in a flutter of light; others are somber and still. The central figure of all, occupying the place of honor, is the powerful organ, and supporting it the orchestra of forty (40) pieces. When the time arrives for the opening Doctor Swensson steps forward and in a few words tells the story of the first Easter—the prelude of the music that is to come.
"A tremor passes over the ranks of the singers; they are rising to their feet. The orchestra breaks the stillness."
-------
Bethany in Kansas, page
"Hagbard Brase, 56
It is likely that the most important performances during the Thorstenberg period were those that took place from November 10 - 13, 1901, when King Oscar II (1872-1907) of Sweden's Emissary Bishop and Lady Von Scheele visited Lindsborg for celebrating Bethany College's Twentieth Year Founding Anniversary. This was indeed a historic event between the King's emissary and the Church of Sweden and Lindsborg, her Augustana Lutheran Synod Bethany Church and Bethany College!
(This was also a grand affair, all with the filling the air with wonderful inspirational music and at its end would be a "surprise," the first time that the King of Sweden would recognize and honor a citizen of Lindsborg and that was Bethany College founder and president Rev. Carl Aaron Swensson, for his educational labor in creating a school. King Oscar II knighted Rev. Swensson through his emissary Bishop Von Scheele. That story is Here.)
(This was also a grand affair, all with the filling the air with wonderful inspirational music and at its end would be a "surprise," the first time that the King of Sweden would recognize and honor a citizen of Lindsborg and that was Bethany College founder and president Rev. Carl Aaron Swensson, for his educational labor in creating a school. King Oscar II knighted Rev. Swensson through his emissary Bishop Von Scheele. That story is Here.)
"Forget-Me-Not," 1902
Some of the other international gifted opera stars who graced the Messiah Auditorium stage during Conductor Thorstenberg's tenure were in 1902 and 1904 Lillian Nordica (December 12, 1857 – May 10, 1914), an American opera singer who performed on the major stages of Europe and of the US who was one of the foremost dramatic sopranos of the late 19th and early 20th centuries. Then in 1905 followed the German soprano, Johanna Emilia Agnes Gadski-Tauscher (15 June 1872 – 22 February 1932) whose highly successful career in New York City and London found her performing heavy dramatic roles in the German and Italian repertoires. The next year, in 1906 was the Polish coloratura, Marcella Sembrich (February 15, 1858 – January 11, 1935), (Prakseda Marcelina Kochańska was her stage name) who successful international singing career was found primarily at the New York Metropolitan Opera and the Royal Opera House, Covent Garden, London.
Concluding, the Thorstenberg period would be a period in which the Bethany College Messiah Chorus became known well beyond the borders of the Kansas Smoky Valley for its unbelievable inspirational moving Handel's Messiah performances. Dr. Emory Lindquist in his 1975 Bethany In Kansas, the history of a college, writes on page 139, "The name of Samuel Thorstenberg plays a prominent role in the Bethany musical tradition. He was an excellent bass singer and teacher. His musicianship served him well as conductor of the oratorio society, 1898-1909." Conductor Thorstenberg would leave Lindsborg to head a music school in Jamestown, New York, a predominately Swedish town with Lutheran Augustana connections.
* Dr. Lindquist's 1975 Bethany In Kansas, The History of a College, page 167.
Concluding, the Thorstenberg period would be a period in which the Bethany College Messiah Chorus became known well beyond the borders of the Kansas Smoky Valley for its unbelievable inspirational moving Handel's Messiah performances. Dr. Emory Lindquist in his 1975 Bethany In Kansas, the history of a college, writes on page 139, "The name of Samuel Thorstenberg plays a prominent role in the Bethany musical tradition. He was an excellent bass singer and teacher. His musicianship served him well as conductor of the oratorio society, 1898-1909." Conductor Thorstenberg would leave Lindsborg to head a music school in Jamestown, New York, a predominately Swedish town with Lutheran Augustana connections.
* Dr. Lindquist's 1975 Bethany In Kansas, The History of a College, page 167.
* * *
Hagbard Brase
(1877-1953)
Conductor
1915 to 1946
Hagbard Brase
~ Remembering him as the second "earliest"
internationally acclaimed Lindsborg Bethany College "Messiah" Oratorio Society conductor
"Upon Brase's retirement in 1946 as conductor, a well-known music critic observed that
one of the last of the finest type of European music masters in America had raised his baton for the last time."
"Hagbard Brase," 40
Born in Råda parish, Västergötland province, Sweden, his father was a Lutheran pastor. He studied at Sweden's College of Skara, Stockholm's Royal Conservatory of Music and in Germany before coming to Bethany College where he was a professor of organ, harmony, and composition. He was a most gifted and famous Bethany College Oratorio Society Messiah conductor for 31 years, from 1915 to 1946, from age 38 to 69.
During his tenure, the Messiah performances continued to be recognized by cultured societies nationally and internationally, thus drawing thousands of patrons, opera stars and famous instrumentalists alike, to Lindsborg's Bethany College Messiah Auditorium, and, then, to the new Presser Hall Auditorium beginning in 1929.
Some of these gifted persons who performed in Lindsborg were:
Olive Fremstad (Anna Olivia Rundquist) (March 14, 1871 - April 21, 1951) In 1915
Swedish American opera diva in both ranges of mezzo-soprano and soprano
Julia Claussen (June 11, 1879 – May 1, 1941)
A Swedish mezzo-soprano made her New York City Metropolitan Opera debut in 1917
Ernestine Schumann-Heink (June 15, 1861 – November 17, 1936) In 1913, on April 16, 1916, in 1926
a German Bohemian American, operatic contralto Stated with one of her visits,
“There is only one Lindsborg and I wish to have a part in this."
Philharmonic Society of New York Orchestra & Conductor Josef Stransky On April 23, 1916
To accompany the Messiah Chorus, Oratorio Society.
Amelita Galli-Curci (November 18, 1882 – November 26, 1963) In 1918
An Italian coloratura soprano, one of the most popular operatic singers of the early 20th century.
Pablo Casals (December 29, 1876 – October 22, 1973) On April 4, 1920
A Spanish and Puerto Rican cellist and conductor who was considered the pre-eminent cellist of the first half of the 20th century and one of the greatest cellists of all time.
Frances Davis Alda (31 May 1879 – 18 September 1952) In 1923
New Zealand-born, Australian-raised soprano, achieved fame for the first 30 years of the 20th century for various reasons and for her frequent onstage partnership to renown Italian operatic tenor Enrico Caruso.
Marion Nevada Talley (December 20, 1906 – January 3, 1983) In 1928
She was an American opera coloratura soprano. In 1926, she was the youngest prima donna to have made a debut at the Metropolitan Opera.
Richard Alexander Crooks (June 26, 1900 – September 29, 1972) In 1929
An American tenor and a leading singer at the New York Metropolitan Opera.
Efrem Zimbalist, Sr. (April 21 [O.S. April 9] 1889 or 1890 – February 22, 1985) In Lindsborg, 1937
A Russian Jew, a renown American concert violinist, composer, teacher, conductor.
Johan Jonatan "Jussi" Björling (5 February 1911[1] – 9 September 1960) In 1939
A Swedish tenor he a leading operatic singer in the 20th century, performing at New York's Metropolitan Opera and major European opera houses, including London's Royal Opera House and Milan's La Scala.
Gregor Piatigorsky ( April 17 [O.S. April 4] 1903 – August 6, 1976) In Lindsborg, 1941
He was a Russian-born American cellist, possibly one of the greatest string players of all time as reported by the great violin pedagogue Ivan Galamian.
Sources: Information from Dr. Emory Lindquist's 1975 Bethany in Kansas, the history of a college, Bethany College Publications Editor historian writer A. John Pearson ormer Bethany College archivist, and Mrs. Elizabeth Jaderborg's 1976 Why Lindsborg?
An Italian coloratura soprano, one of the most popular operatic singers of the early 20th century.
Pablo Casals (December 29, 1876 – October 22, 1973) On April 4, 1920
A Spanish and Puerto Rican cellist and conductor who was considered the pre-eminent cellist of the first half of the 20th century and one of the greatest cellists of all time.
Frances Davis Alda (31 May 1879 – 18 September 1952) In 1923
New Zealand-born, Australian-raised soprano, achieved fame for the first 30 years of the 20th century for various reasons and for her frequent onstage partnership to renown Italian operatic tenor Enrico Caruso.
Marion Nevada Talley (December 20, 1906 – January 3, 1983) In 1928
She was an American opera coloratura soprano. In 1926, she was the youngest prima donna to have made a debut at the Metropolitan Opera.
Richard Alexander Crooks (June 26, 1900 – September 29, 1972) In 1929
An American tenor and a leading singer at the New York Metropolitan Opera.
Efrem Zimbalist, Sr. (April 21 [O.S. April 9] 1889 or 1890 – February 22, 1985) In Lindsborg, 1937
A Russian Jew, a renown American concert violinist, composer, teacher, conductor.
Johan Jonatan "Jussi" Björling (5 February 1911[1] – 9 September 1960) In 1939
A Swedish tenor he a leading operatic singer in the 20th century, performing at New York's Metropolitan Opera and major European opera houses, including London's Royal Opera House and Milan's La Scala.
Gregor Piatigorsky ( April 17 [O.S. April 4] 1903 – August 6, 1976) In Lindsborg, 1941
He was a Russian-born American cellist, possibly one of the greatest string players of all time as reported by the great violin pedagogue Ivan Galamian.
Sources: Information from Dr. Emory Lindquist's 1975 Bethany in Kansas, the history of a college, Bethany College Publications Editor historian writer A. John Pearson ormer Bethany College archivist, and Mrs. Elizabeth Jaderborg's 1976 Why Lindsborg?
Some of the highlights of the Brase period was his official introduction of the Johann Sebastian Bach's (1685-1750) The Passion of our Lord According to St. Matthew (St. Matthew Passion) repertoire performance on Good Friday during the Messiah Festival of 1929. This debut in Lindsborg he planned to have it coincide exactly with the 200th anniversary of the first performance at St. Thomas' Church, in Leipzig, Germany, where Bach conducted it on Good Friday in 1729. This debut occurred simultaneously with the dedication of the new Presser Hall that day, and since that time the St. Matthew Passion has continued to be part of the Messiah Festival repertoire. Two years earlier in March of 1927, there was the Presser Hall groundbreaking ceremony with Prince Wilhelm of Sweden present carrying out the honors. The Prince was so impressed with his day visit to Lindsborg and overwhelmed emotionally by the "short hour" of listening to the Messiah Chorus that he was compelled to share his experiences with other Swedes and Swedish Americans through The American-Scandinavian Review, February 1928. Here is his touching and beautiful story.
A Swedish Oasis
by
Prince Wilhelm of Sweden
by
Prince Wilhelm of Sweden
"I have rarely heard music that has been so wholly sustained by inspired enthusiasm. The voices rang out, clear and beautiful; the orchestra was properly modulated without thereby losing any of its melodic beauty. Even the most difficult passages came off with flying colors. The unison was, in short, exemplary, and the oratorio welled forth like a mighty billow, filling the hall from floor to ceiling with beautiful harmonies. The tones lived. One could hear them vibrate with fervor and devotion, and it was easy to understand how they in this way have held generation after generation spellbound and how a whole continent can have nothing but praise for the results. It is verily as if this Messiah Chorus is dominated by an artistic inspiration, some primeval love creation that places it on a plane by itself. Possibly a musical critic with his trained ear may be able to detect a flaw here and there in the rendering; none the less, he can only give full hearted praise to the sincerity of feeling of integrity and purpose. For where enthusiasm, joined with love for the work, is found, there too is found something of the indescribable that speaks directly to the heart of men. Then art has become productive; then it has attained its goal: to lift us outside ourselves so that we can get a glimpse of the immortality of genius and the flight of the spirit toward realms beyond the stars."
-------
Bethany in Kansas, page
Dr. Brase founded the College's nationally recognized capella choir and initiated train traveled with the Messiah Chorus to audiences in the thousands in Kansas City, Missouri, Oklahoma City and Fort Riley, Kansas. Most probably in 1916, the April 23rd visit of the Philharmonic Society of New York Orchestra and their Conductor Josef Stransky as guest, to perform for the Messiah with the Messiah Chorus, had to be the greatest memorable cultural event encompassing Messiah history, so far.
To summarize very well the tenure of Dr. Brase at Bethany College are the following words from Swedish American fourth Bethany College president Dr. Emory Lindquist, found in his 1975 Bethany in Kansas, the history of a college, pages 164-5:
"The longest tenure as conductor has been that a Dr. Hagbard Brase, and it was a decisive. period in developing musical excellence in the “Messiah “renditions. Following studies at Skara College, Brase completed the rigid requirements at the Royal Conservatory of Music in Stockholm. He then studied in Germany. Coming to Bethany in 1900, he soon establish himself as an outstanding musician. He became organ accompanist in 1901 and conductor in 1915.
"The years of Brase's leadership were decisive. His splendid qualities of personality and musicianship, his complete understanding of the tradition and chorus, and his ability to inspire confidence were more valuable to the organization then can be adequately described. Brase's period of service witnessed great changes in society produced by two World Wars and consequent post-war adjustments.
"The interest in the Messiah at Lindsborg, however, increased under the leadership of this capable Dr. Brase. Voice tests were introduced to ensure a good quality voices. Rehearsals by individual sections were emphasized. The great Lindsborg tradition might have been of only average quality under a less capable conductor. Brase was deeply loved by members of the society who appreciated his fine character, his keen sense of humor, his deep musicianship, and his contagious enthusiasm.
"Distinguished in appearance, he walked directly to the podium, gave a kindly glance to the chorus and orchestra, and another great rendition was underway. Upon Brase's retirement in 1946 as conductor of the society, a well-known music critic observed that 'one of the last of the finest type of European music masters in America had raise his baton for the last time.' "
To summarize very well the tenure of Dr. Brase at Bethany College are the following words from Swedish American fourth Bethany College president Dr. Emory Lindquist, found in his 1975 Bethany in Kansas, the history of a college, pages 164-5:
"The longest tenure as conductor has been that a Dr. Hagbard Brase, and it was a decisive. period in developing musical excellence in the “Messiah “renditions. Following studies at Skara College, Brase completed the rigid requirements at the Royal Conservatory of Music in Stockholm. He then studied in Germany. Coming to Bethany in 1900, he soon establish himself as an outstanding musician. He became organ accompanist in 1901 and conductor in 1915.
"The years of Brase's leadership were decisive. His splendid qualities of personality and musicianship, his complete understanding of the tradition and chorus, and his ability to inspire confidence were more valuable to the organization then can be adequately described. Brase's period of service witnessed great changes in society produced by two World Wars and consequent post-war adjustments.
"The interest in the Messiah at Lindsborg, however, increased under the leadership of this capable Dr. Brase. Voice tests were introduced to ensure a good quality voices. Rehearsals by individual sections were emphasized. The great Lindsborg tradition might have been of only average quality under a less capable conductor. Brase was deeply loved by members of the society who appreciated his fine character, his keen sense of humor, his deep musicianship, and his contagious enthusiasm.
"Distinguished in appearance, he walked directly to the podium, gave a kindly glance to the chorus and orchestra, and another great rendition was underway. Upon Brase's retirement in 1946 as conductor of the society, a well-known music critic observed that 'one of the last of the finest type of European music masters in America had raise his baton for the last time.' "
Dr. Brase would continue at the college as professor of organ and theory. Yet, he would carry with him the greatest esteem and love of everyone in the Lindsborg community. He would retired from Bethany College after 53 years, 1900-1953.
During his career, in 1930, Augustana College conferred upon him the Honorary Degree of Music, and, in 1947, he was made a Knight of the Royal Order by the King of Sweden Gustaf V (1907-1950) in recognition of his distinguished contribution to music.
To honor and recognize Dr. Brase, Dr. Emory Lindquist wrote the 1989 book, Hagbard Brase: Beloved Music Master.
* * *
Swedes: TheWayTheyWere
~ restoring lost local histories ~
reconnecting past to present
* * *
All color photography throughout Swedes: The Way They Were is by Fran Cochran unless otherwise indicated.
Copyright © since October 8, 2015 to Current Year
as indicated on main menu sections of
www.swedesthewaytheywere.org. All rights reserved.
Swedes: TheWayTheyWere
~ restoring lost local histories ~
reconnecting past to present
* * *
All color photography throughout Swedes: The Way They Were is by Fran Cochran unless otherwise indicated.
Copyright © since October 8, 2015 to Current Year
as indicated on main menu sections of
www.swedesthewaytheywere.org. All rights reserved.
