St. Olaf Choir & St

Founded in 1874 by Norwegian Lutheran immigrants, St. Olaf is a nationally ranked liberal arts college located in Northﬁeld, Minnesota, approximately 70 km south of the Twin Cities of Minne- apolis and St. Paul, the largest metropolitan area in the upper Midwest.

St. Olaf is home to 3,000 students from nearly every state in the country and more than 80 countries and offers 85-majors, concentrations, and academic programs. For more than half a century, St. Olaf students have taken advantage of international and off-campus study programs — including in Norway — that offer profound, life-changing experiences. Living and studying abroad is fundamental to understanding other cultures and perspectives and to becoming an educated citizen in a changing world.

go.stolaf.edu I 1874 ble St. Olaf College grunnlagt av norske lutherske immigranter, og er i dag en høyt ansett liberal arts college. Skolen ligger i Northﬁeld, Minnesota, ca 70 kilometer sør for tvillingbyene; Minneapolis og St. Paul, som er den største metropolen i den nordlige delen av midtvesten.

St. Olaf huser 3,000 studenter fra nesten samtlige amerikanske stater, mer enn 80 land, og kan tilby over 85 ulike typer bachelorprogrammer og fagkonsentrasjoner. I nesten 50 år har St. Olaf studenter hatt stort utbytte av å ta del i internas- jonale utvekslingsprogrammer — blant annet i Norge — som skaper meningsfulle opplevelser og minner for livet. Verden er i rask endring, derfor er det å bo og studere i utlandet helt fundamentalt for å forstå andre kulturer og perspektiver, og på den måten bli en samfunnsorientert borger.

1 ST. OLAF ORCHESTRA CONCERT PROGRAM

OVERTURE TO THE SCHOOL FOR SCANDAL Samuel Barber (1910–1981)

THESE WORLDS IN US Missy Mazzoli (b. 1980)

NORWEGIAN DANCE, OP. 35, NO. 1 Edvard Grieg (1843–1907)

SYMPHONY NO. 5 IN E MINOR, OP. 64 IV. ANDANTE MAESTOSO - ALLEGRO VIVACE Pyotr Ilyich Tchaikovsky (1840–1893)

“HEDWIG’S THEME” FROM HARRY POTTER AND THE SORCERER’S STONE John Williams (b. 1932)

ST. OLAF CHOIR & ST. OLAF ORCHESTRA COMBINED CONCERT PROGRAM

I WILL LIGHT CANDLES THIS CHRISTMAS Kim André Arnesen (b. 1980)

“IN THE HALL OF THE MOUNTAIN KING” FROM PEER GYNT, OP. 23, NO. 7 Edvard Grieg (1843–1907)

2 ST. OLAF CHOIR CONCERT PROGRAM

* CANTATE DOMINO Claudio Monteverdi (1567–1643) HEAR MY PRAYER, O LORD Henry Purcell (1659–1695) ALLELUJAH (LOBET DEN HERRN, Johann Sebastian Bach (1685–1750) ALLE HEIDEN BWV 230)

* HVAD EST DU DOG SKJÖN Edvard Grieg (1843–1907) ALLELUIA (BRAZILIAN PSALM) Jean Berger (1909–2002) * ADORAMUS TE Matthew Peterson (b. 1984) O CRUX Mark Jennings (b. 1968) * ALLELUIA Jake Runestad (b. 1986)

* O DAY FULL OF GRACE Christoph E.F. Weyse (1774–1842) / arr. F. Melius Christiansen (1871–1955) * SANCTUS (LONDON) Ola Gjeilo (b. 1978) WHEN MEMORY FADES Jayne Southwick Cool (b. 1947) / arr. Eric Nelson (b. 1959) MY HEART IS LONGING arr. Leland Sateren (1913–2007) * NORGE, MITT NORGE Alfred Paulsen (1849–1956) / arr. Kenneth Jennings (1925–2015) * PÅL PÅ HAUGEN arr. Bradley Ellingboe (b. 1958)

ROCKIN’ JERUSALEM arr. André J. Thomas (b. 1952) * AMAZING GRACE arr. Keith McCutchen (b. 1964) * HERE’S ONE arr. Mark Hayes (b. 1953) * WALK TOGETHER, CHILDREN arr. Moses G. Hogan Jr. (1957–2003)

CHILDREN OF THE HEAVENLY FATHER arr. Robert Scholz (b. 1939) GLORIA arr. André J. Thomas (b. 1952) * BEAUTIFUL SAVIOR arr. F. Melius Christiansen (1871–1955)

* To be selected from during combined concerts

2019 NORWAY TOUR 3 ORCHESTRA PROGRAM NOTES

OVERTURE TO THE SCHOOL FOR SCANDAL that placed you in that world, Samuel Barber (1910–1981) and me in this; or that misfortune placed these worlds in us. Today, the name Samuel Barber almost always accompanies a singular piece, Adagio for Strings. This piece is dedicated to my father, who was a During the years before Adagio was written, Barber soldier during the Vietnam War. In talking to him, it was a little-known but rising star, earning two occurred to me that as we grow older, we Bearns Prizes, one for his first work for full accumulate worlds of intense memory within us, orchestra, The School for Scandal overture. and that grief is often not far from joy. I like the idea that music can reflect painful and blissful The piece propelled Barber into the eyes of the sentiments in a single note or gesture, and sought music world in 1933 after its premiere with the to create a sound palette that I hope is at once Philadelphia Orchestra. The title of the piece completely new and strangely familiar to the comes from the play The School for Scandal by listener. Richard Sheridan, but it is not intended to be incidental music for the play; rather he intended it — Notes by the composer, Missy Mazzoli “as a musical reflection of the play’s spirit.” The exciting spirit of the play is immediately recognizable in the music through its fast rhythms, NORWEGIAN DANCE, OP. 35, NO. 1 colorful harmonies, and playful motifs and Edvard Grieg (1843–1907) melodies. This opener showcases many aspects of orchestral playing, and for that, The School for Performed in loving memory of St. Olaf Professor of Scandal overture maintains a place as a fine Norwegian, Margaret Hayford O’Leary selection in any concert program. Edvard Grieg, one of the most performed and — Notes by William Beimers ’20 well-known Norwegian Romantic composers, had a keen interest in music from a young age. He attended regular musical gatherings at his home, THESE WORLDS IN US which helped him gain a love for the music of Missy Mazzoli (b. 1980) Mozart, Weber, and Chopin. At fifteen, he began his formal musical studies at the Conservatory of The title These Worlds In Us comes from James Leipzig, which shaped his path as a composer. Tate’s poem “The Lost Pilot,” a meditation on his father’s death in World War II: Primarily a pianist, Grieg wrote Norwegian Dances for piano duet in 1880. Hans Sitt, a member of the (excerpt) Brodsky Quartet, arranged the four dances for My head cocked towards the sky, orchestra in 1888. These dances retain the strong I cannot get off the ground, sense of Norwegian nationalism and folksong- and you, passing over again, inspired rhythmic and harmonic elements charac- fast, perfect and unwilling teristic of Grieg’s music. Dance No. 1 begins with to tell me that you are doing an exciting chord, which takes off into a fiery dance well, or that it was a mistake 4 with elements reminiscent of “In the Hall of the clarinets in the first movement, known as the Mountain King” from Grieg’s Peer Gynt. A seamless “fate” theme. This distinct, haunting line is transition brings the listener’s attention to a woven throughout the symphony but is most beautiful, singing oboe solo, which is then passed obviously reintroduced to open the fourth off to the strings. After several iterations of the movement, this time reimagined in a major key. lyrical melody, the fiery dance section returns, This transformation outlines a personal journey for ending in a multitude of chords, a last breath of the Tchaikovsky: the understated clarinet melody from melody, and a final punch to end the dance. the first movement has developed into a heroic series of major chords that are impossible to — Notes by Claire Folson ’20 ignore. Tchaikovsky’s fate, whatever it may be, has been not only accepted over the course of the symphony, but is celebrated in the final chords of SYMPHONY NO. 5 IN E MINOR, OP. 64 the last movement. IV. ANDANTE MAESTOSO - ALLEGRO VIVACE Pyotr Ilyich Tchaikovsky (1840–1893) — Notes by Penelope Musto ’21

Plagued by a troubled and unstable youth, Pyotr Tchaikovsky’s personal struggles and untreated “HEDWIG’S THEME” FROM HARRY POTTER depression made him a tortured soul in his adult AND THE SORCERER’S STONE life, providing the backdrop against which his later John Williams (b. 1932) music, specifically the Fifth Symphony, is best understood. His plan for the first movement reads: “The success of J.K. Rowling’s Harry Potter series has been a heartwarming phenomenon to all those “Introduction. Complete resignation before who love books. The worldwide reception that Fate, or, which is the same, before the these works have received added greatly to the inscrutable predestination of Providence. sense of privilege that I felt when I was given the Allegro (I) Murmurs, doubts, plaints, reproaches honor of composing music for the film version of against XXX. (II) Shall I throw myself in the Harry Potter and the Sorcerer’s Stone. The story’s embraces of faith???” imaginative array of wizards flying on broomsticks and mail-delivering owls, all occupying a wondrous The meaning of “XXX” has been debated by world of magic, offered a unique canvas for music, musicologists, but the widely agreed upon and the prospect of sharing it with some part of explanation is that it is a reference to his the great army of readers who love these books is a homosexuality, which was not a matter of public great joy to me.” knowledge for fear of prosecution and ridicule. However, whether “XXX” refers to Tchaikovsky’s — Williams on composing music for the concealed sexuality, his gambling addiction, or Harry Potter film series some other struggle altogether, it is clear that the concept is one of emotional turmoil and ultimate acceptance. With Tchaikovsky’s own words in mind, the main motto, introduced solemnly by the

2019 NORWAY TOUR 5 COMBINED CONCERT CHORAL TEXTS

I WILL LIGHT CANDLES THIS CHRISTMAS “IN THE HALL OF THE MOUNTAIN KING” Kim André Arnesen (b. 1980) FROM PEER GYNT, OP. 23, NO. 7 (Boosey & Hawkes) Edvard Grieg (1843–1907)

I will light Candles this Christmas; (The royal hall of the Old Man of the Dovre [the Candles of joy despite all sadness; Mountain King]. There is a great crowd of troll Candles of hope where despair keeps watch, courtiers, gnomes, and goblins. The Old Man sits Candles of courage for fears ever present; on his throne, with crown and sceptre, surrounded by his children and relatives. Peer Gynt stands Candles of peace for tempest-tossed days, before him. There is a tremendous uproar in the Candles of grace to ease heavy burdens, hall. The older trolls sing, the younger ones dance. Candles of love to inspire all my living, As they sing and dance, the trolls make Candles that will burn all year long. threatening gestures towards Peer Gynt. The trolls move closer and closer to Peer Gynt and their When the song of the angels is stilled, gestures become more threatening. At the words When the star in the sky is gone, of the Old Man of Dovrë: “Keep cool now — ice When the kings and princes are home, cool!” They withdraw.) When the shepherds are back with their flock, The work of Christmas begins: Slagt ham! Kristenmands Søn har dåret To find the lost, Kill him! The Christian’s son has deceived To heal the broken, Dovregubbens veneste Mø! To feed the hungry, the fairest daughter of our ruler! To release the prisoner, Må jeg skjære ham i Fingeren? To rebuild the nations, Let me cut off his fingers! To bring peace among others, Slagt ham! To make music in the heart. Kill him! Må jeg skjære ham i Håret? — Howard Thurman Let me tear out his hair!

Photocopy permission granted to Skal han lages till Sodd og Sø? St. Olaf Dept. of Music. Shall he be boiled to a broth in brine? Skal han steges på Spidd eller brunes i Gryde? Spitted and roasted? Or stewed in a cauldron?

— INTERMISSION —

6 CHORAL TEXTS

CANTATE DOMINO How lovely art Thou Claudio Monteverdi (1567–1643) Most radiant Son of God! (Choral Public Domain Library) O my beloved All I have is Thine. SUNG IN LATIN Min Ven, du est min, ja min så lad mig altid være din. Cantate Domino canticum novum, Ja evig vist, ja vist Sing to the Lord a new song, du min skal blive her og hist. Cantate et benedicite nomini eius: My friend, thou art mine, yes mine Sing and give praise to his name: So let me always be thine. Quia mirabilia fecit. Yes, forever, you For he has done marvellous deeds. Shall remain mine everywhere. Cantate et exsultate et psallite Men tænk jeg er her, Sing and exult and praise iblandt såmange dragne Sværd. in cithara et voce psalmi: O så kom due, så kom, ja kom, In songs with the harp and the voice: I klippens Rif er Ro og Rum. Quia mirabilia fecit. But imagine, I am here, For he has done marvelous deeds. Amidst so many drawn swords. So come dove divine, yes come, — Psalm 96, 98 In our lofty refuge There will be space and peace. Hvad est du dog skjön HEAR MY PRAYER, O LORD du allerliﬂigste Guds Sön! Henry Purcell (1659–1695) O du min Sulamit, (Choral Public Domain Library) Alt hvad jeg har er dit! How lovely art Thou Hear my prayer, O Lord: Most radiant Son of God! and let my crying come unto Thee. O my beloved, All I have is Thine! — Psalm 102:1 — H.A. Bronson trans. Reidar Dittmann ALLELUJAH (LOBET DEN HERRN, ALLE HEIDEN BWV 230) (Praise the Lord, all ye nations) ALLELUIA (Brazilian Psalm) Johann Sebastian Bach (1685–1750) Jean Berger (1909-2002) (Edition Peters) (G. Schirmer, Inc.)

Alleluia! O Lord, Cymbals and the sounding harp HVAD EST DU DOG SKJÖN I do not have. Edvard Grieg (1843-1907) But I’ll make a fair procession for you, (C.F. Peters Corporation) O blessed Lord. We have no cymbals for your praise, SUNG IN NORWEGIAN no harps to praise you, But I’ll praise you with waving of palms. Hvad est du dog skjön Accept them, I implore you. I will dance du allerliﬂigste Guds Sön! and sing your praises! O du min Sulamit Alleluia, O Lord! Alt hvad jeg har er også dit. — Jorge de Lima

2019 NORWAY TOUR 7 ADORAMUS TE O DAY FULL OF GRACE Matthew Peterson (b. 1984) Christoph E. F. Weyse (1774–1842) (Gehrmans Musikförlag) arr. F. Melius Christiansen (1871–1955) (Augsburg Fortress Publishers) SUNG IN LATIN

Sanctus, Sanctus, Sanctus, O day full of grace, which we behold, We adore you, O Christ, Now gently to view ascending; Dominus Deus Sabaoth. Thou over the earth thy reign unfold, and we bless you. Good cheer to all mortals lending, Pleni sunt cæli et terra gloria tua. That children of light in ev’ry clime For by your holy cross May prove that the night is ending. Hosanna in excelsis. How blest was that gracious midnight hour, you have redeemed the world. When God in our flesh was given; Benedictus qui venit in nomine Domini. Then flushed the dawn with light and pow’r, Who has suffered for us, That spread o’er the darkened heaven; Hosanna in excelsis. Then rose o’er the world that sun divine O Lord, have mercy upon us. Which gloom from our hearts hath driven. Hasanna! Yea, were ev’ry tree endowed with speech, And ev’ry leaflet singing, — Vespers of the Exaltation of the Holy Cross They never with praise God’s worth could reach, trans. Ron Jeffers Though earth with their praise be ringing. O CRUX Who fully could praise the light of life, Mark Jennings (b. 1968) Who light to our souls is bringing, (Hinshaw Music Inc.) Who fully could praise the Lord! With joy we depart for the promised land, SUNG IN LATIN And there we shall walk in endless light.

O crux splendidior cunctis astris, — Scandinavian folk hymn O Cross, more radiant than the stars, Nicolai F. S. Grundtvig Mundo celebris hominibus, trans. O.H. Smeby, G.T. Rygh, Celebrated throughout the earth, C. Doving, alt. Multam amabilis, Reprinted by permission Beloved of the people, of Augsburg Fortress. Sanctior universis, SANCTUS (LONDON) Holier than all things, Ola Gjeilo (b. 1978) Quae sola fuisti digna (Walton Music.) Which alone was found worthy SUNG IN LATIN portare talentum mundi: to bear the light of the world: Sanctus, Sanctus, Sanctus, Dulce lignum, Holy, Holy, Holy, Blessed Tree, Dominus Deus Sabaoth. Dulces clavos, Lord God of Hosts. Blessed Nails, Pleni sunt cæli et terra gloria tua. Dulcia ferens pondera: Heaven and earth are full of thy glory. Blest the weight you bore: Hosanna in excelsis. Salva praesentem catervam in tuis hodie Hosanna in the highest. Save the ﬂock which today Benedictus qui venit in nomine Domini. laudibus congregatam. Blessed is He who comes in the name of the Lord. is gathered to praise you. Hosanna in excelsis. Hosanna in the highest. — Venantius Fortunatus Hosanna! Hosanna! ALLELUIA Jake Runestad (b.1986) — Ordinary of the Mass (Jake Runestad Music) trans. Ron Jeﬀers

8 WHEN MEMORY FADES for döden og for dine mange saar, Jayne Southwick Cool (b. 1947) for your death and your many wounds, arr. Eric Nelson (b. 1959) der fikk jeg fred for mitt arme hjerte, (Morningstar Music Publishers) through which I have peace in my unworth heart, When memory fades and recognition falters, og vinteren ble til en herlig Vaar. When eyes we love grow dim, and minds confused, and my winter has turned into a Speak to our souls of love that never alters; glorious spring. Speak to our hearts by pain and fear abused. O God of life and healing peace, What blessed joy overflows my spirit, Empower us with patient courage, by your Because Thy wondrous grace was grace infused. granted me. Thy work complete, that I may inherit As the frailness grows, and youthful strengths At last eternal life in heaven with thee! diminish, In weary arms, which worked their earnest fill. — Lars Oftedal Your aging servants labor now to finish.... trans. Reidar Dittmann Their earthly tasks as fits your mystery’s will. Reprinted by permission We grieve their waning, yet rejoice, believing, of Augsburg Fortress. Your arms, unwearied, shall uphold us still. NORGE, MITT NORGE Alfred Paulsen (1849–1936) Within your spirit, goodness lives unfading. arr. Kenneth Jennings (1925-2015) The past and future mingle into one. (Earthsongs) All joys remain, un-shadowed light pervading. No valued deed will ever be undone. SUNG IN NORWEGIAN Your mind enfolds all finite acts and offerings. Held in your heart, our deathless life is won. Norge, mitt Norge! Så sover du tyst i vinterens skinnende sale, — Mary Louise Bringle Og ingen kan drømme så lett og så lyst, Text © 2002, GIA Publications, Inc. Når elvene synker i dvale, All rights reserved. Used by permission. Og ingen kan smile så stille og glad, Når meisenes fløytende stemmer dør av, MY HEART IS LONGING TO PRAISE Og skogene sover i dale. MY SAVIOR Norway, my Norway! Norwegian folk tune You sleep so quietly in winter’s shining halls, arr. Leland B. Sateren (1913-2007) And no one can dream so lightly and brightly, (Augsburg Fortress Publishers) When streams are lying dormant, And no one may smile so calmly and gladly, Sung in loving memory of St. Olaf Professor of When birds’ piping voices go by the door, Norwegian, Margaret Hayford O’Leary And woodlands sleep in the valley.

SUNG IN ENGLISH AND NORWEGIAN Norge, mitt Norge! Så gi meg din vår med sol over vuggende vanne! Å at jeg kunne min Jesus prise, Men hør meg, ja hør meg, når dagen forgår, O how I wish I could praise my Jesus, Og aftenen skygger min panne, som jeg av hjertet dog så gjerne vil, Da lær meg å visne, as in my heart I would like to do, Å Norge, min mor! fordi han ville slik naade vise Da red meg en seng i din hellige jord, because he wanted for me such grace Når sommeren drager av lande. å byde meg sitt himmerike til. Norway, my Norway! as to oﬀer me his heavenly kingdom. Oh give me your spring with sun over cradling waters! Ha takk, O Jesus, for korsets smerte, I thank you, Jesus, for your pain on the cross,

2019 NORWAY TOUR 9 But hear me, yes hear me: when days are Boom, boom, boom, boom, boom, boom, boom. fargone, And evening casts shadows on my brow, Inkje kan ho verpa og inkje kan ho gåla, Teach me so to die (wither), Inkje kan ho krupa og inkje kan ho gå. Oh Norway, my mother! E fæ gå ne åt kvenne å måla, Then make me a bed in your hallowed earth, å få at mjøle e miste igår. When summer departs the land. “Men pyt,” sa’n Pål, “eg æ inkje bangen, Kjæften og mote ha hjælpet så mangen. — Theodor Caspari Eg tør nok vel koma heim åt a mor!” trans. Kenneth Jennings Never will she ramble and never will

Reprinted by permission she scramble, of earthsongs. Never will we evermore from her hear a peep. Up to the mill I perhaps now should amble. PÅL PÅ HAUGEN Fetching some grain which I’ll bring back (PAUL AND HIS CHICKENS) in heaps. Traditional Norwegian “Shoot,” said Paul, “I’m no longer frightened. arr. Bradley Ellingboe Pluck and courage my spirits have lightened. (Neil A. Kjos Music Company) Now I can dare to go home to my ma!” For Anton Armstrong and the St. Olaf Choir — trans. Bradley Ellingboe SUNG IN NORWEGIAN Reprinted by permission of Kjos.

Pål sine høno på haugen utslepte, ROCKIN’ JERUSALEM Hønunn så lett over haugen sprang; African-American Spiritual Pål kunne væl på hønom forneme arr. André J. Thomas (b. 1952) reven var ute med rumpe så lang: (Mark Foster Music Company) Klukk, klukk, klukk sa høna på haugen. Pål han sprang og vrengde med augom: I hear rockin’ in the land and ringin’ dem bells. “Nå tør eg inkje koma heim åt a mor!” I know Oh my Lord, there’s rockin’ in the land Paul left his hens on the hillside to wander, and ringin’ dem bells! lightly they sprang as if nothing were wrong; For they are rockin’ in Jerusalem ringin’ dem bells. loose was the fox with his tail so long: Oh Mary, Oh Martha ring dem bells! Klook, klook, klook, clucked the hens on I hear archangels a-ringin’ dem bells! the hillside. Church gettin’ higher, Jerusalem, ring dem bells! Paul jumped up and fear made him Don’t you hear the bells a-ringin’, wide-eyed: Don’t you hear dem ringin’ dem bells! “Now I don’t dare to go home to my ma!” Rockin’ in the land, rockin’ Jerusalem, ringin’ dem bells! Pål han gjekk seg litt lenger på haugen, I hear rockin’ in the land and ringin’ dem bells! fekk han sjå reven låg på høna å gnog. Pål han tok seg ein stein uti neven, — African-American spiritual, André J. Thomas dugleg han då til reven slag. Words and Music by Andre J. Thomas Å Reven flaug, så rumpe has riste. Copyright © 1987 by Fostco Music Press, a div. of Shawnee Press, Inc. Pål han gret for høna han miste: International Copyright Secured All Rights Reserved Reprinted by Permission “Nå tør eg inkje koma heim åt a mor!” Reprinted by permission of Hal Leonard LLC Paul went further along the hillside, There was the fox with a hen in his grip. Paul grabbed a stone, took aim, then let fly, Nipping the fox on the tip of his lip. Then Yip, yip, yip! The fox ran off yelping. But the hen Paul had no way of helping: “Now I don’t dare to come home to my ma!”

10 AMAZING GRACE WALK TOGETHER, CHILDREN W. Walker, Southern Harmony, 1835 African-American spiritual arr. Keith McCutchen (b. 1964) arr. Moses G. Hogan Jr.(1957-2003) (Earthsongs) (Hal Leonard Corporation)

Amazing grace, how sweet the sound There’s a great camp meetin’ in the promised lan’. That saved a wretch like me! Oh, walk together, children, don’t you get weary. I once was lost, but now I’m found; Walk on, my children, don’t you get-a weary. Was blind, but now I see. Just-a walk together, children, don’t you get weary. There’s a great camp meetin’ in the promised lan’. Through many dangers, toils and snares, I have already come; Gonna walk an’ never tire, ‘Twas grace that brought me safe thus far, There’s a great camp meetin’ in the promised lan’. And grace will lead me on. Gonna sing an’ never tire, There’s a great camp meetin’ in the promised lan’. When we’ve been there ten thousand years, Gonna shout an’ never tire, Bright shining as the sun, There’s a great camp meetin’ in the promised lan’. We’ve no less days to sing God’s praise Than when we ﬁrst begun. Oh, walk together, children, don’t you get weary. Sing on, my children, don’t you get weary. — John Newton, 1725–1807 Just-a shout together, children, don’t you get weary. There’s a great camp meetin’ in the promised lan’.

HERE’S ONE — African-American spiritual Traditional tune arr. Mark Hayes (b. 1953) (Hinshaw Music Inc.) — OPTIONAL SELECTIONS — Talk about a child who do love Jesus, Here’s one. CHILDREN OF THE HEAVENLY FATHER Ever since I heard the gospel story, arr. Robert Scholz (b. 1939) I been walkin’ up the road to glory. (Augsburg Fortress Publishers) Talk about a child who’s been forgiven, Here’s one. GLORIA Talk about a child who’s been converted, arr. André J. Thomas (b. 1952) Here’s one. (Heritage Music Press)

— Traditional BEAUTIFUL SAVIOR Silesian folk tune arr. F. Melius Christiansen (1871-1955) (Augsburg Fortress Publishers)

SYMBOL OF A LIVING TRADITION Many of the St. Olaf Choir’s traditional purple robes, new in 2015–16 with a purple Norwegian cross insignia, are sponsored by friends of the college in celebration of the ensemble’s legacy. The sponsorships represent a powerful connection across generations of singers.

Robe sponsorships are available for $3,000 per robe, and sponsors can choose who they’d like to honor or memorialize. Each gift is recognized with a personalized embroidered label sewn into the robe, and donors and honorees are listed on the choir’s website at stolaf.edu/stolaf-choir.

2019 NORWAY TOUR 11 Students celebrate May 17 at St. Olaf in 1950

PRESERVING OUR HERITAGE

All three of St. Olaf College’s premier music ensembles — the St. Olaf Band, St. Olaf Choir, and St. Olaf Orchestra — have regularly toured Norway, beginning with the St. Olaf Band in 1906. The St. Olaf Choir ﬁrst toured Norway in 1913 and now returns for its eighth visit. The St. Olaf Orchestra has previously visited in 1967, 1971, 1979, and 2005.

Each of the tours has returned to many familiar venues — including churches, concert halls, and cathedrals in Bergen, Oslo, and Trondheim — to delight and dazzle audiences across the country.

The connections between the college and Norway aren’t limited to music alone. Bernt Julius Muus, a native of Snåsa, and a group of Norwegian Lutheran immigrants established St. Olaf College in 1874 and the college continues to celebrate its Norwegian heritage 145 years later. The purpose of the school, then as now, was to oﬀer a program of liberal arts studies to students preparing for careers in business, politics, the clergy, and many other professions.

A massive crowd welcomes the St. Olaf Choir to Trondheim in 1930

12 The school has also maintained its strong connection to Norway. St. Olaf is one of the few educational institutions in the world where students can complete a Norwegian major. This includes developing their knowledge of Norwegian language, literature, culture, and history. The Norwegian Department at St. Olaf was founded in 1900 and has oﬀered Norwegian language classes to students for more than a century.

As a part of St. Olaf’s off-campus study programs, students also have the option to study in Norway during the month of January, the summer, a semester, or an entire year. The St. Olaf Orchestra students play an impromptu concert Among the most popular programs is the International at the Oslo airport in 1967 Summer School, based in Oslo. St. Olaf also offers intern- ship opportunities for students through the Norway Innova- tion Scholars Program, and regularly sends graduates to have regularly toured Norway, beginning with the St. Olaf Band in 1906. The St. Olaf Choir first toured Norway in 1913 Norway to conduct research through the Fulbright Program.

“We cherish all that we have received from our mother country. We will preserve this priceless treasure, our heritage, and we will endeavor to make it felt in the community life of the great country on the other side of the Atlantic.”

–THE REVEREND T. H. HAUGAN, SPEAKING ON BEHALF OF ST. OLAF COLLEGE IN BERGEN, 1913 Princess Sonja with St. Olaf president Sidney Rand in 1978

Princess Astrid is welcomed by St. Olaf students in 1958

Their Majesties King Harald V and Queen Sonja attend a Norwegian class during their visit

2019 NORWAY TOUR to St. Olaf in 2011 13 SHARED HISTORY The connections between St. Olaf College and Norway go back more than a century

1859: Snåsa native Bernt Julius Muus, 1906: The St. Olaf Band brings its music 1939: More than 12,000 people gather to founder of St. Olaf College, emigrates — and American baseball! — to Norway. greet Crown Prince Olav V and Crown from Norway to America. The St. Olaf Orchestra is founded by Princess Märtha in downtown Northfield. 1871: St. Olaf Choir and St. Olaf F. Melius Christiansen. A special holiday broadcast of the St. Olaf Orchestra founder F. Melius Christiansen is 1912: Under F. Melius Christiansen’s Choir is transmitted via shortwave radio born in Berger, Norway, near Eidsvoll. direction, the St. Olaf Choir is established. from Minneapolis to Norway. 1874: St. Olaf College is established by 1913: The St. Olaf Choir tours Norway for 1940: A holiday feast of Norwegian Norwegian Lutheran immigrants. the first time. foods, including fløtegrøt, lutefisk, 1888: Christiansen boards a ship to meatballs, and krumkaker, is served on 1923–1924: St. Olaf professor O. E. campus — a tradition that remains today. America. Rølvaag finishes I de dage og 1903: The college names Christiansen Riketgrundlægges, later published in 1954: Norwegian Lutheran bishop Eivind head of its music department. English as Giants in the Earth. Berggrav, famous for his opposition to the Nazi occupation of Norway, visits St. Olaf. 1905: Den norske studentersangforening 1925: The Norwegian American Historical visits St. Olaf College. Association is established at St. Olaf College. 1958: Students welcome Princess Astrid to the St. Olaf campus. 1930: The St. Olaf Choir sings at Nidaros Cathedral to mark the 900th anniversary of 1965: Crown Prince Harald visits St. Olaf. King Olaf’s death.

1859: Bernt Julius Muus, fra Snåsa og 1906: Medlemmer av St. Olaf Band 1939: Mer enn 12000 mennesker samles grunnlegger av St. Olaf College, emigrerer bringer sin musikk — og amerikansk for å hilse Kronprins Olav V og fra Norge til Amerika. baseball! — til Norge. Kronprinsesse Märtha i sentrum av 1871: F. Melius Christiansen, grunnlegger St. Olaf Orchestra blir grunnlagt Northfield. av St. Olaf Choir og St. Olaf Orchestra, blir Christiansen. En spesiell høytidssending med koret blir født i Berger, nær Eidsvoll. 1912: St. Olaf Choir blir grunnlagt under overført via kortbølgeradio fra Minneapolis 1874: St. Olaf College blir grunnlagt av Christiansens ledelse. til Norge. norske immigranter. 1913: Koret turnérer Norge for første gang. 1940: Norsk høytidsmat, inkludert fløtegrøt, lutefisk, kjøttboller og krumkaker, 1888: Christiansen går ombord i et skip på 1923–1924: St. Olaf professor O. E. veg til Amerika. blir servert på skolen — en tradisjon som Rølvaag gjør ferdig I de dage og fortsatt lever. 1903: Høyskolen utnevner Christiansen til Riketgrundlægges, senere utgitt på engelsk leder av musikkavdelingen. som Giants in the Earth. 1954: Norsk luthersk biskop Eivind Berggrav, berømt for sin motstand mot 1905: Den norske studentersangforening 1925: Norwegian American Historical Naziokkupasjonen i Norge, besøker besøker høyskolen. Association blir grunnlagt ved St. Olaf. St. Olaf College. 1958: Studentene ønsker Prinsesse Astrid 1930: Koret synger i Nidarosdomen ved velkommen til skolen. markeringen av 900-årsjubileet for Kong Olavs død. 1965: Kronprins Harald besøker St. Olaf. 14 1967: The St. Olaf Orchestra spends 1993: The St. Olaf Choir is the only 2011: King Harald V and Queen Sonja visit January studying and performing in Oslo. non-Norwegian group featured at the St. Olaf, where they mingle with students 1968: King Olav V visits the campus for the opening ceremonies of the Bergen and attend a Beginning Norwegian class. second time. International Festival, commemorating the 2013: The St. Olaf Choir embarks on its 150th anniversary of Edvard Grieg’s birth. 1971: The St. Olaf Orchestra spends seventh tour of Norway, celebrating the January studying and touring in Norway. 2005: The St. Olaf Band, St. Olaf Choir, 100th anniversary of its visit and the and St. Olaf Orchestra travel to Norway to founding of the ensemble. 1975: King Olav V arrives via helicopter at celebrate the centennial of Norway’s St. Olaf for his third visit to the college. PBS premieres Christmas in Norway with peaceful dissolution from Sweden. the St. Olaf Choir, which was filmed in June 1978: The college awards an honorary The television special A St. Olaf Christmas at the Nidaros Cathedral in Trondheim. degree to Crown Princess Sonja. in Norway is recorded at the Nidaros 1979: The St. Olaf Orchestra travels to Cathedral in Trondheim, then broadcast in Norway to perform in celebration of the United States and throughout long-time orchestra conductor Dr. Donald Scandinavia. Berglund. Crown Prince Haakon visits the St. Olaf 1980: The St. Olaf Choir performs at the campus. Bergen International Festival. St. Olaf President Sidney Rand is named United States Ambassador to Norway.

1967: St. Olaf Orchestra studerer og 1980: Koret opptrer ved Festspillene i 2011: Kong Harald V og Dronning utfører i Oslo i januar. Bergen. Sonja besøker St. Olaf. 1968: Kong Olav V besøker skolen for St. Olaf-president Sidney Rand blir utnevnt 2013: Koret legger ut på sin sjuende andre gang. til amerikansk ambassadør til Norge. turné i Norge. Turnéen er til minne om 1971: St. Olaf Orchestra studerer og 1993: Koret er eneste ikke-norske gruppe hundreårsjubileet for stiftelsen av utfører i Norge i januar. som opptrer ved åpningsseremonien av St. Olaf Choir. 1975: Kong Olav V ankommer St. Olaf i Festspillene i Bergen, til minne om Det amerikanske Public Broadcasting helikopter for sin tredje visitt. 150-årsjubileet for Edvard Griegs fødsel. Systems hadde premiere på 2005: St. Olaf Band, St. Olaf Choir og programmet Christmas in Norway with 1978: Høyskolen gir en æresgrad til the St. Olaf Choir, som ble ﬁlmet i juni i Kronprinsesse Sonja. Orchestra reiser til Norge for å feire hundreårsjubileet for den fredelige Nidarosdomen i Trondheim. 1979: St. Olaf Orchestra reiser til Norge unionsoppløsningen mellom Norge for å opptre i forbindelse med feiringen av og Sverige. Dr. Donald Berglund, som har vært dirigent for orkesteret i mange år. Spesielt fernsynsopptak av A St. Olaf Christmas in Norway blir gjort ved Nidarosdomens jentekor og så kringkastet i USA og Skandinavia. Kronprins Haakon besøker St. Olaf College.

2019 NORWAY TOUR 15 PETER JONES ’19

SEVERIN LIER ’19

NATALIE CARLISLE ’19

JONAH SCHMITZ ’20

ALDEN FROM NORWAY TO NORTHFIELD Much like the college itself, many members of the BOSTWICK ’20 St. Olaf community have strong ties to Norway.

NATALIE JONAH SEVERIN PETER ALDEN CARLISLE ’19 SCHMITZ ’20 LIER ’19 JONES ’19 BOSTWICK ’20 ALTO I TENOR I BASS I TENOR I ALTO I Salem, Oregon Rogers, Minnesota Berthoud, Colorado Andover, Minnesota Olathe, Kansas

Music Music Music, Management Studies Computer Science Music

Both sides of Natalie’s After touring Norway Severin traces his family Norwegian heritage runs With a strong family family can trace their as a member of the heritage to the regions of deep on both sides of connection to Norway, history back to small St. Olaf Choir, Jonah plans Oppland, Telemark, and Peter’s family, tracing Alden is excited to return farming towns across to spend the upcoming Hedmark. His great-grand- genealogy back 12 after spending three weeks Norway. Her father’s summer and fall research- father enrolled at St. Olaf in generations. One of his in the country with her relatives came from ing joik, the music 1899, initiating generations to ancestors, Olav Glosimodt, aunt and uncle in Karmøy. Valdres, and her performed by the Sámi follow suit, including family was an artist and sculptor She reveled in experiencing mother’s family still people. In the past year, he members who toured Norway from Seljord. His the everyday life and owns a farm in has also researched with the St. Olaf Band in 1906, sculptures can be found in culture of Norwegians Sarpsborg. She looks culturally-sensitive health and with the St. Olaf the Royal Palace Chapel in through the lens of her forward to visiting care practices among Sámi Orchestra, which performed Oslo, and a royal corona- relatives, who also came to Norway for the first and Norwegian healthcare for King Olav V in 1971. He also tion throne he carved visit her in Northfield, time, where she can providers. He will return to joins a long lineage of St. Olaf resides in the Crown Minnesota. She looks connect with family and Norway in July for the Choir members, including his Regalia Exhibition in the forward to reconnecting sing in the Oslo Opera Riddu Riđđu Festivàla in the great-grandmother and Nidaros Cathedral in with them at the St. Olaf House, which a distant coastal Sámi Gáivuotna - grandmother who both sang Trondheim. After the tour, Choir performance in relative helped design as Kåford municipality in under F. Melius Christiansen. Peter will travel to Haugesund, and may even a member of the Northern Troms. The four His love of music fits perfectly Overhalla to visit the be seen wearing the architecture firm, day festival celebrates the with his Scandinavian heritage, farmstead and church of hand-knitted sweater her Snøhetta. Sámi culture and joik and he looks forward to joining his great grandfather, aunt made her. music. the family legacy of touring Aksel Hildrum, who Norway as a St. Olaf musician. emigrated to America in 1912.

16 RACHEL Ten members of the WYFFELS ’21 St. Olaf Choir and St. Olaf Orchestra have connections to Norway, from ancestry to language ﬂuency OLAV to studying in SERRES ’19 EMERSON the country. CLAY ’20

THEA LUND ’19 MICHAEL TIEDE ’20

EMERSON THEA OLAV RACHEL MICHAEL CLAY ’20 LUND ’19 SERRES ’19 WYFFELS ’21 TIEDE ’20 VIOLA ALTO II TRUMPET VIOLIN I TENOR II Minneapolis, Minnesota Kenmore, Washington Duxbury, Massachusetts Plymouth, Minnesota Avon, Minnesota

Music Education Norwegian, Studio Art Music, Psychology Music, Religion Religion, Management Studies

Emerson has strong ties This tour is somewhat of a Olav is a dual citizen of Rachel is a fourth generation Michael’s heritage is just as to Norway not only by homecoming for Thea, as Norway and the United St. Olaf student and a second closely tied to Norway as it heritage, but through she was born in Stavanger States. Shortly after Olav generation St. Olaf Orchestra is to St. Olaf College and its music and academics as and lived there for two was born in the United musician. She will graduate music ensembles. Over the well. He has studied the years before moving to the States, his family moved from St. Olaf 100 years after her course of three generations, Norwegian language and United States. She has to Fana, where his mother great-grandmother, Helen eight of Michael’s family culture through the St. spoken Norwegian since grew up. While there, he Weeks Storvick. Her maternal members have sung in the Olaf Norwegian she was young, and was baptized in Fana great-great-grandparents St. Olaf Choir. His department. He’s a continued to study the Church. Two years later, emigrated from Norway in grandparents sang together member of the St. Olaf language and Norway’s his family moved back to 1846 and 1854. The Storviks under Olaf Christiansen, Orchestra’s viola section, culture at St. Olaf. She the United States and has owned Storvik Mek.Verkstad, and his parents sang and takes Hardanger maintains close connections taken annual trips back to which manufactured and together under Dr. Kenneth Fiddle lessons through with family and friends Norway ever since. He repaired ﬁshing boats near Jennings. Michael’s the college. Emerson is throughout the country, enjoys traveling to Kristiansund. Her grandmother’s great-great grandfather most excited to see the especially in Oslo and Norway to visit his great-great grandmother once played clarinet in the fords and visit Trond- Stavanger. This is her fourth grandparents, aunt and played the langeleik, a folk St. Olaf Band in 1910 under heim, where members of trip back to Norway, and uncle, and cousins who zither from Valdres, for King F. Melius Christiansen, and his distant family still she hopes to study, work, or live in Drammen, and relax Frederick VI of Norway in the his uncle also toured reside. live there in the near future. at the family cabin in Voss. early 1800s. The Hagestuen side Norway as a member of the To her, there’s nothing He looks forward to of her family also connects her choir under Dr. Armstrong more exciting than getting seeing family and friends to the Gudbrandsdalen Valley. in 1993. Touring Norway is another chance to come at many of the concert She looks forward to connect- more than an exciting home! locations on tour. ing with relatives from Oppdal musical opportunity for him while on tour. — it’s a family tradition.

2019 NORWAY TOUR 17 THE ST. OLAF ORCHESTRA STEVEN AMU NDSON, CONDU CTOR · TERRA WIDDIFIELD, MANAGER

VIOLIN I VIOLA FLUTE PERCUSSION † Edward Barnes, Mayflower, Ark. Leah Andrews, Lakeville, Minn. ~ Kaitlyn Clawson, Salem, Ore. Andrew Barhite, Suamico, Wis. music performance mathematics, chemistry music performance music education Laila Brubaker, Fairbanks, Alaska Emerson Clay, Minneapolis, Minn. ** Noah Livingston, Roseville, Minn. ^ Sophie Koehler, Eden Prairie, Minn. chemistry music education music performance music education Rebecca Callbeck, Colorado Springs, Colo. Brita Gallagher, Dresser, Wis. Angela Wong, Skokie, Ill. John Reynertson, Geneva, Ill. music nursing music education music education Claire Folson, Grand Forks, N.D. Zachariah Granowski, Owatonna, Minn. ** Kevin Yetter, St. Paul, Minn. music education biology OBOE music, mathematics Jessica Folson, Grand Forks, N.D. ** Joshua Head, Colorado Springs, Colo. ◊ Kristen Diederichs, Lake Elmo, Minn. music performance music performance music performance, psychology PIANO/CELESTA †† Hannie McGarity, Bellingham, Wash. Bridget Koehler, St. Charles, Ill. Grace Keller, Plymouth, Minn. Andrew Cannestra, Milwaukee, Wis. music performance computer science music, psychology music performance † Madeline Miller, Grand Rapids, Mich. Jimmy Levi, Swarthmore, Pa. **• Julia Porter, Portland, Ore. music performance music composition music HARP Olivia Munson, Delanson, N.Y. Alex Long, Worthington, Ohio Anna Koopmann, Motley, Minn. music performance biology CLARINET music education Hawken Paul, Brooklyn, N.Y. Siri Mellem, Woodinville, Wash. ** Miles Broske, Northfield, Minn. music performance music, physics music performance †† Concertmaster Anna Raphael, Bloomington, Ind. * Jessica Mitchell, Issaquah, Wash. Jackson Brown, Omaha, Neb. † Assistant Concertmaster women’s and gender studies environmental studies music performance ** Principal/Co-principal Elin Schlichting, Eugene, Ore. Margaret Patkus, Poughkeepsie, N.Y. # Aaron Linde, Billings, Mont. * Assistant Principal music performance environmental studies, music performance • Ofcers and management Annika Seager, Minnetonka, Minn. race and ethnic studies # Bass Clarinet music performance, Russian Andy Sprinkle, University Park, Md. BASSOON ◊ English Horn Olivia Skaja, Deer River, Minn. music performance ** Naomi Brandt, Albuquerque, N.M. ~ Piccolo music performance English ^ Percussion Manager Rachel Wyffels, Plymouth, Minn. CELLO Duncan Henry, Savage, Minn. music, religion Mattie Branson-Meyer, music performance Bainbridge Island, Wash. ** Henry Johnson, Issaquah, Wash. COLLEGE RELATIONS AND VIOLIN II English music MUSIC ORGANIZATIONS Erica Anderson, Duluth, Minn. Meleah Chang, Iowa City, Iowa Michael Kyle ’85, vice president for undeclared major undeclared major HORN enrollment and college relations Clara Brown, Indianapolis, Ind. Mark Fretheim, Garland, Texas William Beimers, Northfield, Minn. Jean Parish ’88, director of college music performance music chemistry, music relations for music organizations Emma Dougherty, Alma, Mich. Penelope Musto, Shorewood, Wis. ** Delaney Breen, Minneapolis, Minn. Terra Widdifield ’95, associate director music, philosophy music music performance of music organizations Sonya Flaten, Roseville, Minn. Teiana Nakano, Portland, Ore. Cole Pettit, Seattle, Wash. Connor Smith, assistant director of music mathematics religion, race and ethnic studies political science organizations for audience development ** Grace Kenny, Lewisburg, Pa. Claire Questad, Rochester, N.Y. Kathryn Ristuben, Mercer Island, Wash. Sarah Gardner ’11, coordinator of music performance music education undeclared major music organizations Katherine Kluesner, Waunakee, Wis. Joel Rinckwald, Hailey, Idaho Amanda Staab, Littleton, Colo. Courtney Kleftis, associate librarian biology music, French music performance for ensembles and performing rights * Christine Lee Fatt, Kingston, Jamaica * Jacob Rothermel, Leonardtown, Md. Natalie Anderson ’17, arts management music, biology music, philosophy TRUMPET (rotating principal) intern for marketing and touring Meredith Maloley, Omaha, Neb. * Ethan Schlenker, Normal, Ill. John Cloeter, Lake Jackson, Texas Ingrid Elzey ’17, arts management intern for music performance music performance music performance production and concert management Erika Malpass, Evergreen, Colo. Anna Seppa, Spokane, Wash. Steven Garcia, Houston, Texas music elective studies music performance music performance FINE ARTS ADMISSIONS • Katie Marshall, Horseheads, N.Y. **• Sophia Spiegel, Lafox, Ill. Claire Hinther, Missoula, Mont. Molly Boes Ganza ’08, assistant dean of music music, religion political science, environmental fine arts recruitment Maria McCoy, Iowa City, Iowa • Mason Tacke, Fargo, N.D. studies, american studies environmental studies, music • Olav Serres, Duxbury, Mass. MUSIC DEPARTMENT STAFF Latin American studies music, psychology Justin Merritt, department chair Kalli Sobania, Little Falls, Minn. BASS Barbara Barth, academic administrative music performance Elaina Brownlee, Wichita, Kan. TROMBONE assistant - music Maxwell Voda, Minneapolis, Minn. undeclared major ** Ella Rose Atkins, Sycamore, Ill. Cheryl Bristol, academic administrative music education Harrison Clark, Henrico, Va. music performance assistant - music Lauren Zimmerman, Littleton, Colo. music, French, political science Neil Hutcheon, Essex Junction, Vt. Timothy Wells, academic administrative music performance Beatrice Hammel, Omaha, Neb. music performance assistant - instrumental music psychology, Spanish **• Allison Moore, Charlottesville, Va. BASS TROMBONE music education Ben Westermeyer, St. Paul, Minn. Erica Rempert, Edina, Minn. economics nursing Benjamin Sheehan, Lexington, Mass. TUBA music, economics, mathematics Jacob Ingalls, Baltimore, Md. psychology

18 A BOU T THE CONDUCTOR STEVEN AMUNDSON

Steven Amundson joined the music faculty at St. Olaf A commissioned composer and arranger, Amundson is College in the fall of 1981. Under Amundson’s longtime published by Lauren Keiser Music, the Neil A. Kjos Music direction, the St. Olaf Orchestra has become recognized as Co., and Boosey and Hawkes. Tempo Music Resource one the ﬁnest undergraduate orchestras in the United distributes his self-published works. His Christmas holiday States. Along with his duties as conductor of the St. Olaf compositions have received hundreds of performances by Orchestra, he teaches courses in conducting, aural skills, and professional orchestras, including the Atlanta, Cincinnati, music theory, and holds the Robert Scholz Endowed Chair Chicago, Dallas, Detroit, Oregon, Phoenix, San Diego, in Music. St. Louis, and Utah Symphonies in the United States, as well as the Toronto Symphony in Canada and the BBC In addition to previously holding conducting posts at the Concert Orchestra in the United Kingdom. Amundson has University of Virginia and with the Tacoma Youth Sympho- twice been commissioned to compose new works for the ny, Amundson is the founding conductor of the Metropoli- Evergreen Symphony in Taipei, Taiwan. tan Symphony in Minnesota. From 1984 to 1997, he served as music director and conductor of the Bloomington Sympho- Amundson studied orchestral conducting at Luther ny. He has been both a resident conductor and guest College, Northwestern University, the Aspen Music School conductor for the Interlochen National Arts Camp and has in Colorado, and the Mozarteum in Salzburg, Austria. He served as guest conductor for All-State Orchestra festivals has enjoyed the tutelage of notable conductors, including throughout the United States. In 2017, Amundson conducted Maurice Abravanel, Milan Horvat, and Erich Leinsdorf. the KIMEA (Korea International Music Educators Associa- Among his early recognitions, Amundson placed ﬁrst in the tion) National Honor Festival Orchestra in South Korea and 1980 International Conducting Competition hosted by the was the 2018 clinician for the National Orchestra Festival as Mozarteum and Austrian National Radio, earning the Hans part of the American String Teachers Association national Haring Prize. He was named “Minnesota Orchestra convention in Atlanta, Georgia. Future engagements include Educator of the Year” in 1992 by the Minnesota Music leading the Virginia All-State Orchestra in 2020 and the Education Association; and in 1995, he received the Carlo A. All-Northwest Orchestra in 2021. Amundson has also guest Sperati Award from Luther College. conducted professional ensembles in Minnesota, including the Duluth- Superior Symphony Orchestra, the Minneapolis Amundson is a proud descendant of Norwegian immi- Pops Orchestra, the Fargo/Moorhead Symphony, and the grants. He is married to Jane Amundson, a math teacher renowned St. Paul Chamber Orchestra. and amateur cellist. His daughter Beret is a fourth year medical student. His son Karl is an actor and singer living in New York City.

2019 NORWAY TOUR 19 The St. Olaf Orchestra performing for King Olav at the University of Oslo in 1971

ABOUT THE ST. OLAF ORCHESTRA

F. Mel The St. Olaf Orchestra is a full symphony orchestra, rich in ius Christiansen and the St. Olaf Orchestra in 1917 international artistry and tradition and known for its enthusiastic and passionate performances. In the early days of the 20th century, F. Melius Christiansen, a European-trained violinist from Norway who founded St. Olaf College’s music department in 1903, declared that “you cannot make a symphony orchestra on a college campus.” Just three years after that statement, however, Christiansen founded and became the ﬁrst conductor of the St. Olaf Orchestra. More than 115 years later, the 89-member ensemble is heralded as one of the best collegiate orchestras in the country, and received the 2013 American Prize in Orchestral Performance among colleges and universities.

Under the direction of conductor Steven Amundson While a number of students in the orchestra major in since 1981, the St. Olaf Orchestra has performed in music, it is not a requirement for membership, and many of the world’s most prestigious halls and many take advantage of St. Olaf’s liberal arts curriculum pursued a demanding repertoire featuring works to study ﬁelds across the humanities, arts, and sciences. rarely performed at the collegiate level, such as Stravinsky’s Rite of Spring, Strauss’ Don Juan, and Bartok’s Concerto for Orchestra.

20 The St. Olaf Orchestra performs at Carnegie Hall in New York City in 2019 OM ST. OLAF ORCHESTRA St. Olaf Orchestra er et symfoniorkester med en rik tradisjon av kunstnerisk musikalitet, kjent for sine entusiastiske og lidenskapelige opptredener. Orkesteret, som består av 92 musikanter og ble stiftet i 1906 av F. Melius Christiansen, er erkjent som et av de beste studentorkestrene i USA. I 2013 mottok koret American Prize in Orchestral Performance som det beste orkesteret blant amerikanske høyskoler og universiteter.

Steven Amundson har vært dirigent for St. Olaf Orchestra siden 1981. Under hans ledelse har orkesteret opptrådt i mange av verdens mest prestisjefylte konserthus, og utviklet et imponerende og utfordrende repertoar, som inkluderer mange verker sjelden fremført av musikanter på studentnivå. Senest i februar hadde orkesteret sin debut i Carnegie Hall, hvor de fremførte Jean Sibelius’ Violin Concerto i D minor, sammen med den verdenskjente ﬁolinisten Sarah Chang.

Since its ﬁrst tour of the Midwest in 1949, the Poland, and China. The orchestra most recently toured St. Olaf Orchestra has valued sharing its music with Argentina and Uruguay in 2016 and last visited Norway audiences beyond its campus, presenting concerts in 2005. The ensemble has performed in concert halls throughout the United States annually. The orches- such as the Chicago Symphony Center, Nuremberg’s tra has been featured on National Public Radio Meistersingerhalle, Prague’s Rudolﬁnum, the Cologne (NPR) and National Public Television, and has twice Philharmonie, the Beijing Concert Hall, and the Ballena been featured on NPR’s A Prairie Home Companion. Azul in Buenos Aires. Most recently, the ensemble made their Carnegie Hall debut in February 2019, performing The St. Olaf Orchestra has taken eleven international Jean Sibelius’s Violin Concerto in D Minor with world tours, presenting concerts in Switzerland, Germany, renowned violinist, Sarah Chang. Austria, Spain, Hungary, the Czech Republic, Slovakia,

Sarah Chang joins the St. Olaf Orchestra at Carnegie Hall

2019 NORWAY TOUR 21 THE ST. OLAF CHOIR ANTON ARMSTRONG , CONDUCTOR · JEA N PARISH, MANAGER

SOPRANO I Emily Chmielewski, Hales Corners, Wis. BASS II Natalie Brandt, Eugene, Ore. music education Jonah Berthelsen, Northfield, Minn. music Rebecca DeBoer, Grand Rapids, Mich. political science environmental science, political science Thea Brenner, Ames, Iowa Luke Bultena, Arlington, Va. music Emily Geiger, Andover, Minn. economics, history, religion Emma Chambers, Winter Park, Fla. music education Michael Creighton, Winter Park, Fla. music performance Thea Lund, Kenmore, Wash. music composition * Isabella Gentleman, Rutland, Mass. Norwegian, studio art church music Arleigh Truesdale, Chicago, Ill. Julian Gruber, Des Moines, Iowa Hannah Liu, Shoreline, Wash. sociology/anthropology, individual major music, political science environmental studies ♦ Jonathan Madden, Rochester, N.Y. Marianne Peterson, Duluth, Minn. Alina Villa, Gresham, Ore. music composition physics, French music, management studies •~ Aaron Musser, Sioux Falls, S.D. Greta Ramsey, Park Ridge, Ill. music, religion TENOR I music, English Dillon Nichols, Houston, Texas Karl Bjorkman, Princeton, N.J. Bronwyn Redvers-Lee, Takoma Park, Md. music music religion •* Jacob Noordermeer, Sioux Falls, S.D. Meghan Todd, Sioux Falls, S.D. Jonah Herzog, Champaign, Ill. sociology/anthropology music performance music education Mara Tostengard, Roseville, Minn. Peter Jones, Andover, Minn. Blake Northrup, Minnetonka, Minn. economics computer science economics, political science Alex Kim, Bryn Mawr, Pa. Cees Postema, Fargo, N.D. SOPRANO II church music music performance Emma Arachting, Burnsville, Minn. * Zachary Kubasta, Wautoma, Wis. Ian Schipper, Portland, Ore. music education music performance music, economics Whitner Schellingerhoudt, Blairesville, Ga. Lily Askegaard, Eden Prairie, Minn. Karl Smith, Iowa City, Iowa music education music education mathematics Marisabel Cordova, Chambersburg, Pa. Jonah Schmitz, Rogers, Minn. music music • Ofcers and management Katherine Hagaman, DeKalb, Ill. ◊ Percussion music TENOR II ♦ Piano Alexandra Mascolo, Winter Park, Fla. ♦ Garrett Bond, Medford, Ore. music theory and composition ~ Saxophone music elective studies * Section Leader Grace Nelson, Manchester, Conn. •◊ Paulo Gladney, Union City, Calif. nursing music education Lucas Jimenez-Kloeckl, Staples, Minn. Maggie Stock, Philadelphia, Pa. COLLEGE RELATIONS AND music English MUSIC ORGANIZATIONS Emily Thompson, Fremont, Ind. Brian Klein, East Windsor, N.J. music education Michael Kyle ’85, vice president for music enrollment and college relations Julia Woodring, Eagle River, Alaska Andrew Larson, Edina, Minn. biology, studio art Jean Parish ’88, director of college music performance relations for music organizations Holden Miller, Greeneville, Tenn. Terra Widdifield ’95, associate director ALTO I church music, music performance of music organizations Emily Albrecht, Oshkosh, Wis. Thomas Pearson, Lewiston, Idaho Connor Smith, assistant director of music music education music performance organizations for audience development Emma Bergman, La Grange Park, Ill. Michael Tiede, Avon, Minn. Sarah Gardner ’11, coordinator of music education religion, management studies music organizations Alden Bostwick, Northfield, Minn. Courtney Kleftis, associate librarian music BASS I for ensembles and performing rights • Kaci Campbell, Chicago, Ill. Hunter Friesen, Sioux Falls, S.D. Natalie Anderson ’17, arts management music education biology intern for marketing and touring * Natalie Carlisle, Salem, Ore. Ben Froeschle, Rocheport, Mo. Ingrid Elzey ’17, arts management intern for music religion, music production and concert management Haley Gabler, Appleton, Wis. Simon Hoehn, Waseca, Minn. music music education FINE ARTS ADMISSIONS Hannah Hasseler, Columbus, Ohio Lukas Jaeger, Ixonia, Wis. music performance Molly Boes Ganza ’08, assistant dean of economics, psychology fine arts recruitment Emi Kaliski, Saint Charles, Ill. Severin Lier, Berthoud, Colo. music music, Spanish, management studies MUSIC DEPARTMENT STAFF Helena Webster, Oak Harbor, Wash. Ben Parsell, Charlottesville, Va. Justin Merritt, department chair music education music performance Barbara Barth, academic administrative Joshua Pelayo, Whitewater, Wis. assistant - music ALTO II mathematics Cheryl Bristol, academic administrative Felisa Armitage, Portland, Ore. Isaiah Pressman, Cleveland, Ohio assistant - music music education music performance Timothy Wells, academic administrative Larissa Banitt, Portland, Ore. Lars Kjell Redpath, Minneapolis, Minn. assistant - instrumental music English political science

22 A BOU T THE CONDUCTOR ANTON ARMSTRONG ’78

Anton Armstrong, now in his 29th year of conducting the Armstrong previously taught at Calvin College and is a St. Olaf Choir, believes that it takes the whole person — graduate of the American Boychoir School, St. Olaf College, body, mind, spirit, and voice — to sing and rejoice. This the University of Illinois, and Michigan State University. His belief was inspired by his mentor, Helen Kemp, professor honors include the 2006 Robert Frost Cherry Award for emerita of voice and church music at Westminster Choir Great Teaching, the American Boychoir School’s first College and one of the most influential people in Distinguished Alumni Award, and a Distinguished Alumni Armstrong’s life. He credits Kemp with shaping his calling Award from Michigan State. In June 2013, Armstrong as a vocal music educator and conductor. received the Saltzman Award from the Oregon Bach Festival. The festival’s highest honor, the Saltzman Award, is “Helen was instrumental in forming my understanding of bestowed upon individuals who have provided exceptional being a servant-artist-teacher,” says Armstrong, whose levels of leadership to the organization. In 2014, the St. Olaf teaching style has evolved over his 40-year conducting Choir and Armstrong received a regional Emmy award for career. He began with a take-charge attitude, but now sees the 2013 PBS television program Christmas in Norway with himself as a catalyst who strives to create whole musicians, the St. Olaf Choir. not just musical moments. “I want to bring out the best in my students, as musicians and as individuals,” he says. Armstrong has shared his choral knowledge and conducting prowess in locations from New Zealand to Israel and South In addition to conducting the St. Olaf Choir and the Colle- America to Scandinavia and at such events as the World giate Chorale, Armstrong teaches conducting, choral Symposium on Choral Music. Armstrong was the guest pedagogy, and vocal study courses. He is the artistic director conductor of the Republic of Korea’s 2018 Jeju Island of the St. Olaf Christmas Festival, an event featuring over International Choir Festival and Symposium and a member 500 student musicians. He and his music faculty colleagues of the Choral Jury for the first Tokyo International Choir are responsible for the growth and quality of St. Olaf’s Competition in Japan. In July 2019, he will serve as conductor acclaimed choral program. of the Indonesia Youth Choir in Bali, Indonesia.

Armstrong is committed to sharing the experience of These international experiences greatly shape the repertoire making truly beautiful choral art with others, and his work performed by the St. Olaf Choir, further expanding a world has inﬂuenced thousands of singers. He leads choral work- of music for the singers. shops throughout the world and is a frequent guest conductor of choirs with singers ranging in age from young children “We are constantly examining repertoire from a global to senior-aged choristers. He is the founding music director perspective, but the core of our being is still a proclamation of the Oregon Bach Festival’s Stangeland Family Youth of the Christian Gospel — a message of faith, love, and Choral Academy. He is editor of the Anton Armstrong truth,” Armstrong says. “I want the power of music — that Multicultural Series of Earthsong Publications and co-editor Spirit — to transform those who perform and those who will of the St. Olaf Choral Series, two endeavors that bring new hear the message. For me, that is a very powerful reason for music to choirs worldwide. doing what we do.”

2019 NORWAY TOUR 23 Jennings programmed larger choral works, including oratorios, masses, and passions, as well as more 20th-century pieces, focusing on historically informed renditions. He retained much of the choir’s a cappella repertoire, but also introduced pieces with instrumental accompaniment, opening the door for full orchestral collaborations. Jennings also changed the “shape” of the choir by turning students toward the audience The 2005 St. Olaf Choir performs at the White House for President George W. Bush and guests to commemorate the National Day of Prayer. and using wider and deeper risers. One reviewer noted that the choir now had “a more vibrant, warm tone — a ABOUT THE resonant, lively, brilliant sound that rings ST. OLAF CHOIR with vitality and conviction.” The renowned St. Olaf Choir has brought its message of hope The choir expanded its global reach with and faith to audiences around the world for more than a century. a tour of Asia in celebration of its 75th anniversary in 1986. In 1988, it was one The St. Olaf Choir was founded in 1912 by F. Melius Christiansen, whose of only five choirs in the world — and work established the ensemble’s standard of excellence and its tradition of the only non-professional one — invited bringing music to audiences outside of campus. Christiansen chose to participate in the Olympic Arts spiritually profound music and pushed student musicians to perfect a tone Festival in Seoul, South Korea. that was disciplined, controlled, and free of excessive vibrato. That sound — securely in tune, controlled in pitch, smooth in delivery — became the When Armstrong took the helm in 1990, choir’s hallmark. his vast knowledge of music and his ability to articulate a vision to singers Olaf Christiansen ’25, who succeeded his father as conductor of the choir and audiences alike took the St. Olaf in 1943, remained deeply committed to retaining the St. Olaf Choir’s purity Choir to the next level, adding more of tone while exploring new genres and interpretations of music. He added flavor to its signature sound and further contemporary compositions, more Renaissance music, and American folk expanding its repertoire to include music hymns to the repertoire of traditional church chorales. of the Pacific Rim, Africa, and Latin America. In 1953, Kenneth Jennings ’50 — an alumnus of the choir — returned to campus to join the music faculty, and later became the third conductor of the St. Olaf Choir in 1968. Until then, the choir had largely performed a smaller, art song–like repertoire of motets and anthems.

F. Melius Christiansen Olaf Christiansen ’25 Kenneth Jennings ’50 Anton Armstrong ’78 1912–43 1941–68 1968–90 1990–present 24 “The choir’s palate is broader and more colorful, retaining its OM ST. OLAF CHOIR characteristic sound while adding a lot of spice,” Armstrong says. Med 75 sangere i et blandet kor er St. Olaf Choir The ensemble also has begun to move, as members sway back blant de mest respekterte a capella korene i USA and forth — sometimes choreographed, sometimes not — during og korensemblet på St. Olaf College med certain pieces. høyeste prestisje. I over et århundre har koret holdt et høyt nivå angående kormusikk og har fortsatt å ligge I forkant innenfor korkunst. Med Under Armstrong’s leadership, the choir continues to expand its Anton Armstrong som dirigent siden 1990 tour horizons, engaging capacity audiences in major concert halls bygger St. Olaf Choir videre på de rike kortradis- throughout the United States and worldwide. The ensemble has jonene etablert av grunnleggeren, F. Melius toured internationally 14 times. In June 2017, the choir returned to Christiansen. Asia for a two-week tour of South Korea and Japan. Siden 1912 har St. Olaf Choir vært med på å sette The choir’s many honors include being chosen as American Public standarden innenfor korkunst, og fungerer som Media’s sole American representative at the prestigious European forbilde for kor på alle nivåer. Gjennom jevnlige Broadcasting Union’s Choral Competition, at which it was named turnéer bringer koret sin musikalitet og sitt one of four ﬁnalists. The choir’s 2013 PBS Christmas special, budskap til tusenvis av mennesker i USA og i ﬁlmed in Norway, won two Upper Midwest Regional Emmy resten av verden. Koret var sist på turné i Norge i awards. In March 2017, the St. Olaf Choir was among the six 2013, og da var de med på innspillingen av en St. Olaf ensembles invited to perform the St. Olaf Christmas julespesial i Nidarosdomen, Christmas in Norway Festival program at the National Conference of the American with the St. Olaf Choir. Julespesialen ble sendt på den amerikanske Public Broadcasting Systems Choral Directors Association, held at Orchestra Hall in Minneapolis. i 2013, og vant to regionale Emmy-priser.

While Armstrong embraces the choir’s rich legacy and tradition, his eyes are firmly fixed on the future. As technology advances and audiences connect with choral music in new ways, Armstrong is confident that the St. Olaf Choir will remain at the forefront of choral singing.

“We seek to be a transforming force in society through choral performance, bringing understanding, mercy, justice, peace, and hope to a world that desperately cries out for these things.”

The St. Olaf Choir performs at the Nidaros Cathedral in Trondheim in 2013

2019 NORWAY TOUR 25 OSLO | OSLO OPERA HOUSE NORDFJORDEID | OPERAHUSET NORDFJORD St. Olaf Choir and St. Olaf Orchestra St. Olaf Orchestra Sunday, June 2, 7 p.m. Tuesday, June 11, 7 p.m.

LARVIK | KULTURHUSET BØLGEN St. Olaf Choir ÅLESUND | ÅLESUND KIRKE Monday, June 3, 7 p.m. St. Olaf Choir Tuesday, June 11, 7 p.m. STAVANGER | STAVANGER KONSERTHUS St. Olaf Choir and St. Olaf Orchestra Wednesday, June 5, 7:30 p.m. KRISTIANSUND | KIRKELANDET KIRKE St. Olaf Choir HAUGESUND | VÅR FRELSERS KIRKE Wednesday, June 12, 7 p.m. St. Olaf Choir Thursday, June 6, 7 p.m. SNÅSA | SNÅSA SAMFUNNSHUS BERGEN | GRIEGHALLEN St. Olaf Orchestra St. Olaf Choir and St. Olaf Orchestra Thursday, June 13, 7:30 p.m. Friday, June 7, 7 p.m.

VOSS | VOSS KULTURHUS TRONDHEIM | NIDAROSDOMEN St. Olaf Orchestra St. Olaf Choir and St. Olaf Orchestra Sunday, June 9, 6 p.m. Friday, June 14, 7 p.m.

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