10
February 2, 1922
MUSICAL COURIER
man opera was to be his future, he received a sudden order to prepare Almaviva in “The Barber of Seville,” one of the lightest and most gossamer-like roles in all opera. So at the present moment, Mr. Harrold is vacillating between the extremes of Wagner and Rossini, recalling the days of bel canto when operatic singers might be called upon to sing “Tannhäuser” one day and “Don Giovanni” the next.
Yon Impressed with Music in Rome
On a bright afternoon recently a representative of the Musical Courier visited at the home of Pietro A. Yon, where he was entertained and enlightened upon musical activities in Italy. Mr. Yon returned not long ago from Europe, having spent several months last summer in his native Italy. The first question which was asked was whether Mr. Yon remained at his father’s home in Settimo Vittone in the Italian Alps. This Mr. Yon answered as follows: “The readers of the Musical Courier already know of the success achieved by my American pupils in many Italian cities while continuing their studies with me there.”
Then he further expressed satisfaction regarding musical activities in various centers, particularly in Rome. First and foremost, he was greatly impressed with the improvements in the Academy St. Cecilia, where, since the appointment of Marco Enrico Bossi as director of the institution and Maestro R. Renzi as head of the organ department, a new spirit of enthusiasm prevails. Regarding the music at St. Peter’s Basilica, Air. Yon said: “Words are inadequate to describe the exceptional work done by the choir under the direction of Maestro E. Boezi, with R. Renzi at the organ.
One of the most interesting visits made by Mr. Yon in Rome was at the “Pontificia Scuola Superiore di Musica Sacra,” where Rev. Father Angelo de Santi, S. J., officiates as president. This institution, Mr. Yon says, offers all that can be wished for by students of sacred music. The school was founded in 1910 by His Holiness Pope Pius X, according to the wishes of the Italian Association of St. Cecilia, and during the comparatively short period of its existence, many pupils have left the school, settled in various part of the world, and gained prominence not only for themselves, but likewise for the institution. While in Rome Mr. Yon gave a private recital at this institution before the members of the faculty.
Pietro Yon, together with his brother Constantino, will conduct master courses in Settimo Vittone, Italy, next summer. The American pupils who will accompany them will reside at the Villa Yon. Pietro Yon, as usual, will teach artistic organ playing and composition, while Constantino Yon will direct the piano and vocal departments.
Althouse Distinguishes Concert Diplomatique
At the first Concert Diplomatique, which was given recently in the ballroom of the Hotel Hadleigh in Washington, D. C., a Verdi-Puccini program was presented by a quartet of singers, of which Paul Althouse was the tenor.
“This tenor of the Metropolitan gave a splendid rendition of ‘Celeste Aida,’ responding with, as an encore ‘La donna e mobile,’ from ‘Rigoletto,’ his voice proving a high art and his climaxes being splendidly gripping,” said the Washington Times in reviewing his performance, and the Post was equally as enthusiastic in its praise—to mention two of the representative papers of the capital. Still a third journal, the Star, voiced its enthusiasm for the Metropolitan tenor in this manner: “Mr. Althouse took his audience by storm. He sang with fervor, dramatic fire and fine artistic finish.” Incidentally, Mr. Althouse was so persistently recalled that he was forced to give the only encore granted on the long program.
Gilbert and Sullivan Operettas Enjoyed Abroad
Evidently as a return compliment for the many performances of “Pinafore,” “Mikado,” etc., in the United States, English audiences are hearing more and more frequently the operettas published by the American house, J. Fischer & Bro., New York. From its Birmingham office, J. Fischer & Bro., has just learned that “A Nautical Knot,” operetta in two acts by the late Dr. W. Rhys-Herbert, was recently selected for a house party given for the Marquis of Londonderry, Stockton-on-Tees. Other performances in England during the month of December were “A Nautical Knot” in Kirkheaton, Hepworth and Wimbledon; “Bulbul,” Hinckley; “King Hal” (by H. J. Stewart, city organist of San Diego, Cal.) in Leeds.
From the Far East comes word that “The Drum-Major,” a two-act operetta, with music by Edward F. Johnston, at one time organist of the Rialto, New York, was performed several times at Her Majesty’s Theater, Ballarat, Victoria.
ENTHUSIASM AND MAGNETISM OF F. MELIUS CHRISTIANSEN
RESPONSIBLE FOR SUCCESS OF ST. OLAF LUTHERAN CHOIR
Beginning Twenty Years Ago, This Efficient Leader and Musician Has Developed This Western College Chorus Into a Body of Skilled Singers Whose Work Has Won for Them and for Him International Repute—First Tour Ten Years Ago—Visited Norway, Sweden and Denmark in 1913—Members All Americans—
A Lack of Suitable Music
works from the old ecclesiastical school—not even Bach. The modern man has gone further in the expression of subjective feeling than Bach ever thought of. I give some modern works, some from the older school, some arrangements. I would welcome new works by American composers written especially to satisfy our needs.”
His Amazing Enthusiasm and Magnetism.
So much for our conversation, but the writer would like to add a word that explains a great deal more than anything that has here been written—a word about the amazing enthusiasm and magnetism of the man. That, alone, explains his success and the success of his choir. It is not a matter of theory nor of practice, nor even of musicianship, but of an almost fanatical desire to accomplish certain results. It is an enthusiasm that carries all before it and cannot fail to win the public as it has won the singers it controls. Christiansen is a master leader. Accident placed him in charge of the music in the little Western college. To
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MAY PETERSON
SOPRANO
Metropolitan Opera Company
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another man it would have meant nothing but stagnation and oblivion. To him it meant opportunity, and the manner in which he has made the most of it, makes it an element of widespread cultural good.	P.
“Let Harrold Do It!”
The above seems to be a popular motto nowadays at the Metropolitan Opera House. When the German tenor originally chosen to create the chief male part in “Die Tote Stadt” proved unable to cope with the music, the Korngold opera seemed on the point of foundering, and the Metropolitan management sent an S. O. S. for Orville Harrold. Mr. Harrold was more than equal to the task and succeeded in securing a triumph in music which most of his fellow tenors had pronounced unsingable, and this despite the fact that it was the first time in his life he had sung in German. It appears to be somebody’s intention to turn him into a German tenor, for he is already learning the roles of Walter in “Die Meistersinger” and the young Siegfried, both of which, it is understood, he will sing at the Metropolitan next season.
Then, just as Mr. Harrold became convinced that Ger-
_One cannot avoid the conviction that there is more behind the work of the St. Olaf Lutheran Choir than the mere singing of songs. The fact that a small Western college has been able to gather together a group of young people and train them to such perfection of singing that they become internationally famous indicates something more than ordinary college music activity. A moment’s consideration suggests the thought that there must have been some rare inspiring influence that has brought about these unusual results.
This inspiring influence is F. Melius Christiansen, their leader. He is enthusiastic, and his enthusiasm easily pours over in talk of his favorite hobby, his choir. He is an easy man to interview because he has thought much and long about this subject, and has put his thought into hard and persistent work. And he has no objection to telling you about it, about his successes, and about his many difficulties.
A natural question is, How did it all come about? How long has it been going on?
Took Charge Twenty Years Ace.
“Twenty years ago,” explained Mr. Christiansen, “I was asked by the St. Olaf College to take charge of their music. I was then living in Minneapolis, and the salary they offered me was too small to induce me to give up my work in the city. Northfield, where St. Olaf College is located, is only a short distance from Minneapolis, and I decided to go to the college twice a week and to continue my various activities in the city. After a year of this the work had progressed to such an extent that I decided to devote my entire time to the work at St. Olaf.”
“There is, of course, a musical department apart from the choir?”
“Yes—and I have taught, off and on, pretty near everything there is to teach. At first I conducted the department almost alone, but at present I have a number of assistants, and there is a student band and orchestra in addition to the choir.”
“Does the college allow music credits for graduation?” “Credits for music work are allowed both for the B. A. and the B. S. degrees. Those degrees require 128 credits in all, of which twenty may be made from music study, twelve from theory and eight from practice.”
“Are the band and orchestra as successful as the choir?” “Hardly! Still, they are very good, and have played in various parts of the West.”
“How long has it been since the choir became what it is today ?”
“Ten years ago we made our first tour—not a very extended one. We went to Chicago, Milwaukee and Madison. In 1913 we went to Norway, Sweden and Denmark, and gave our first concert in New York.”
This naturally brought up the question of nationality. Mr. Christiansen was asked whether he attributed the success of the choir to the European ancestry of its members?
“No,” he replied. “These boys and girls are all Americans, mostly of Norse descent in the third or fourth generation. But they are no more musical than other boys and girls, and I do not think that the Norwegians themselves are more musical than other people.
“But the mountains and the life of the north have made of the Norwegians a sober, earnest and thoroughgoing people, steady and deep. Perhaps these characteristics lend themselves to the sort of work that is necessary to the making of a good choir.”
“Are you American born?”
“No. I c,ame here when I was seventeen, and then went back to Germany, for music study. I studied in Leipsic.”
“A good schooling?”
“Yes. German teachers prepare the way for learning. They take your conceit out of you. A person, to receive education, must be empty so as to leave room to fill in something. Some people are so full of self-esteem that there is no room in them for anything else.”
“And I suppose that in Leipsic you had opportunity to become familiar with much of the music you now use with the choir?”
“Music!” he burst out. “That is the whole difficulty. There is all too little to select from. The music we give should express our own feelings. I do not like to give
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