Reviews of the music ensembles' tour to Norway

Vårt Land
June 3, 2005

Concert:
Oslo Konserthuset
St. Olaf College — Norway tour
St. Olaf Band, dir. Timothy Mahr, St. Olaf Choir, dir. Anton Armstrong, St. Olaf Orchestra, dir. Steven Amundson.

Much musical joy and impressive quality

“Pål sine høner” from the Midwest

Only an American choir can sing a Bach cantata while they sway from side to side, smile broadly and hold each other's hands

By Lars O. Flydal

And why not? Sepulchral solemnity does not have a greater right to frame a Hallelujah! than smiles and joy.

The good humor reigned among the student singers without for a moment standing in the way of quality. American precision quickly became more than a cliché, and the sound rose and glistened like precious metal.

“Pål sine høner” [“Paul's Chickens”] ran around in a fresh arrangement and with Norwegian pronunciation that was more charming than embarrassing. The Pentecost hymn from “Peer Gynt” and Nystedt's “Be Not Afraid” were other Norwegian contributions.

Well-disciplined dynamics
Although it is a long way from Minnesota to the southern states, it was a Negro spiritual that was most captivating. “My Soul's Been Anchored in the Lord” was anchored in the choir's well-disciplined dynamics at the same time that it swayed back and forth between voice groups in lively Gospel rhythms. “Pål sine høner” is performed all too seldom in the Konserthuset. Perhaps it takes Americans to dare putting it on the program with a Bach cantata and Frank Martin's “Mass” for double choir.

Norwegian legacy
Surely nothing is more Norwegian than Americans from the Midwest with Norwegian ancestors, and St. Olaf College looks after the legacy from its Norwegian founders during its Norway tour in connection with the anniversary of the dissolution of the union. And they come in large numbers: a wind orchestra of 90 musicians, a very famous choir with 75 singers, and in addition a fully staffed symphony orchestra. All the singers and musicians are students at the college that has long musical traditions; the wind orchestra was started as early as 1891.

The St. Olaf Band was more than a warm-up band when they blew the whole thing into motion with American contemporary music. Not Sousa marches, but a quieter program in which splendid colors were described in the watercolor nuances one can create with a full-scale wind orchestra.

Splendidly interpreted
The orchestra had chosen a completely American program. Gershwin's fiery “Cuban Overture” and Barber's more introspective “Second Essay” were sensitively interpreted, and Bernstein's overture to “West Side Story” closed the evening. It is obviously unfair to compare this orchestra with the established and professional. But it is fully possible.

Photo caption: St. Olaf College in Minnesota looks after the legacy from its Norwegian founders during its tour in connection with Norway's anniversary of the dissolution of the union.

Translation : Karen K. Hansen

Gudbrandsdølen Dagningen
June 6, 2005

Sounds from the U.S.A.

By Erland Flaten

Lillehammer : Saturday forenoon there was a parade through the city and a concert with many bands at Sigrid Undset's Square. The weather was not the best, but neither the musicians nor the audience let themselves be daunted by the rainy weather.

The main attraction for many was probably the band from St. Olaf College, which is currently on a Norwegian tour.

The St. Olaf Band started patriotically and opened with “Ja vi elsker.” Together with the Lillehammer bands they played “Jegermarsj,” and after thunderous applause there were many listeners who wanted to hear more of the St. Olaf Band at the indoor concert later the same day.

St. Olaf College also has a chamber orchestra that had a concert in Kulturhuset Banken.

In connection with the arrangements at Sigrid Undset's Square, Erlend Grønbeck received the 2005 Percussion Stipend. He is one of 100 young, promising talents who receive stipends from Norsk Tipping and the Norwegian kulturråd.

Photo captions:
Director Timothy Mahr and the St. Olaf College Band did not let themselves be stopped by rainy weather and gave the audience band music at its best. ( Photo : Karl Utgaard)

The musicians in the St. Olaf Band took the weather with a smile.

Sigrid Undset's Square was packed with bands. Ola Dahl directed a joint number.

Fædrelandsvennen
June 6, 2005

Songbirds on boat tour

Tuesday evening the St. Olaf College Choir itself gives a concert in the Cathedral. But Monday they were on a boat tour.

By Nina Skråmestø Nesheim

Kristiansand : “This is exciting. We feel it a great honor to be along on a boat tour and see the beautiful skerries outside Kristiansand,” says Anton Armstrong, director of the St. Olaf College Choir.

“It is so beautiful here,” adds Bob Johnson, manager of the choir. He has been in Norway 21 times before and is happy about the good cooperation St. Olaf College has with Norway.

The mayor of Kristiansand has invited the songbirds on a boat tour with Maarten.

The tour goes to Lillesand where, after a lunch, they will give a short outdoor concert on the wharf.

“It is super exciting to be in Norway and learn about Norwegian culture and Norwegian traditions. I have never been here before, and I am very much looking forward to the boat tour,” says Sonja Tengblad, student soloist in the choir.

St. Olaf College was founded by Norwegian emigrants, and throughout its whole existence has done nearly all that can be done to maintain and strengthen the ties with Norway.

Norway tour
The concert in Kristiansand is part of an extensive touring arrangement in connection with the Norwegian celebration of the centennial anniversary. The entourage includes 250 to 300 people. All three of the leading music ensembles at St. Olaf College — St. Olaf Choir, St. Olaf Band and St. Olaf Orchestra — will give concerts either jointly or alone in most of the large cities in south Norway.

The three ensembles will have joint concerts in Oslo, Bergen, Molde and Trondheim, but the St. Olaf Choir, which is the best known, is alone in making a tour of Sørlandet.

The concert in the Cathedral this evening is one of few events marking independence day itself.

“We feel it is an honor to be part of observing the centennial anniversary. During the independence day concert in the Cathedral we will present a mix of Norwegian and American choral music,” says Armstrong.

The director promises the audience Grieg, Nystedt, Bach, Berger, Christiansen and Jennings, among others.

Surprise
“ We cannot come to Norway without performing Grieg. We will perform the Pentecost hymn from “ Peer Gynt.” And in addition we have a couple surprises in store,” he smiles secretively.

It is also possible to experience the St. Olaf Choir on Odderøya today at 12 o'clock, where the Christianssand Artillery Company will fire an anniversary salute at Lasaretthøyden. The choir will take part with a short program of Norwegian songs right after the salute.

Photo caption : Boat tour: The songbirds will take a tour to Lillesand, where, after a lunch, they will give a short outdoor concert on the wharf.

Fædrelandsvennen
June 8, 2005

Church festival underway

The St. Olaf College Choir gave a concert with great musical breadth in the Cathedral yesterday

By Nina Skråmestø Nesheim

Kristiansand : The 75 young students that make up the St. Olaf College Choir set the mood in the Cathedral yesterday when they came marching in and opened a set with works by Henry Purcell and Johann Sebastian Bach. They continued with, among other pieces, the Pentecost hymn by Grieg, performed in Norwegian, to the great pleasure of the audience. There was a line to enter the church, but there were some available places when everyone had been seated.

Vice Mayor Bjarne Ugland expressed his gratitude that the choir wanted to participate in marking the centennial anniversary on independence day itself.

There were also greetings by Bishop Olav Skjevesland.

Happy to celebrate Norway
The choir's director, Anton Armstrong, with his doctoral degree from University of Michigan [sic], is happy to be in Kristiansand.

“We see it as an honor to be part of observing the anniversary on independence day itself. We celebrate Norway by presenting a mix of Norwegian and American works,” says Armstrong.

He has directed the choir since 1990 and is happy to be able to inspire the students to be the best possible.

Founded by Norwegians
The St. Olaf College Choir was founded in 1912 by the Norwegian F. Melius Christiansen at St. Olaf College in Minnesota, U.S.A. The choir started the American a cappella tradition in the States and has had great influence on American choral music.

“This is a Christian college. One of the most remarkable things — and not known by many — is that not many of the 3,000 students at St. Olaf College are in fact music majors. Music is just one of many majors at the school. The school is also known for its impressive Christmas concerts that over three evenings attract 15,000 audience members,” says Sigbjørn Sødal, a former student at St. Olaf College.

This year's tour is the largest yet undertaken. The entourage includes 250–300 people.

Photo caption : Anniversary: The St. Olaf College Choir drew a nearly full house in the Cathedral and made an impression, among other things, by singing Grieg in Norwegian. Photo : Torstein Øen

Bergens Tidende
June 12, 2005

concert/classical/choir/band
St. Olaf Band
St. Olaf Choir
St. Olaf Orchestra
Grieghallen

Happy encounter with strong American ideals

Impressions of Norwegian culture, but something more, too

Reported by Espen Selvik

St. Olaf College has established itself in its sphere as one of the leaders in the U.S.A.; that is something we Norwegians ought to take note of with pleasure. The ties to the homeland have always been strong, and it is an event when St. Olaf College offers band (symphonic band instrumentation), choir and symphony orchestra in the same concert. The program was well chosen, stage changes went quickly, and the sections were not too long.

The St. Olaf Band has splendid forces, including all the special instruments and sonority hardly any Norwegian bands approach. At the same time, this section was a little monotone; I missed the truly quiet music that creates good contrasts and does not play for effects alone.

At the same time, the director's own “The Soaring Hawk” had some good touches of originality. The St. Olaf Orchestra also offered good qualities, and as an example George Gershwin's “Cuban Overture” really took off like a shot. Pleasant and warm string tone, good soloists and an interpretation characterized by great musical vitality reigned.

Director Steven Amundson communicated sensitively with the musicians and created fresh and extroverted interpretations. My favorite, however, was the St. Olaf Choir. With a fine mixed choir and young but cultivated voices, Anton Armstrong has developed an ensemble of truly high level. Bach's demanding “Singet dem Herrn ein neues Lied” was charmingly lively, even if the wide vibrato cost a little in distinct enunciation.

The Pentecost hymn “Velsignede Morgen” from Edvard Grieg's “Peer Gynt” was however one of the concert's definite high points. The phrasing was brimming with life and warmth, and the sound was muted, but extremely beautiful and effective.

“Sanctus” by Frank Martin and “Lux Aurumque” by Eric Whitacre were two other memorable works that were presented in an exemplary manner. An encore was inevitable, and the choir responded with a stirring version of “Norge, mitt Norge.”

The band, orchestra and choir have definitively appropriated Norwegian repertoire and interpretive practice; and at the same time the ensembles have fascinating additional qualities. St. Olaf College uses large forces, something that gives the sound fullness and breadth. Here at home we are not always faithful to such an ideal.

Another asset is the directors' definite artistic leadership. They are highly competent people who do not just lead, but also rather communicate in a truly effective and appealing manner. In so doing, they lift the amateurs' performances at times up to a professional level. A third factor is the blending of respect for their Norwegian origins with the will to still make their own artistic choices. Because of that, Norwegian music does not harden into hackneyed interpretation, but rather gives an impression of something more. This was a concert both to reflect upon and to delight in.

Romsdals Budstikke
June 14, 2005

Concert in Molde
”Norway tour 2005”

With: The St. Olaf Band with director Tim Mahr, The St. Olaf Choir with director Anton Armstrong and The St. Olaf Orchestra with Steve Amundson

Magnificent from the U.S.A.

Reported by Marit Heiene

Now and then when one greatly anticipates something, one is disappointed because what one gets is not that good. But the great expectations of the triple concert with band, choir and string orchestra from St. Olaf College in Minnesota were fulfilled in all ways.

It is also permissible to expect much when nearly a quarter thousand well-schooled and thoroughly prepared students — most of them music students — from a high-quality college in the U.S.A. come to visit. In addition, it was a rare opportunity to experience all three ensembles in one concert. In the course of the guests' Norway tour in connection with our centennial anniversary, few of the 15 stops experienced that privilege: only Stiklestad and Molde, in addition to the big cities Oslo, Bergen and Trondheim.

Separate sets.
Band, choir and orchestra did not perform together at any point, but each had its own set. The band — The St. Olaf Band — opened the whole thing, and made it clear that this would be an exceptional experience in a positive sense. Inherent in the nature of band instruments is the terrible difficulty of achieving complete ensemble, yet the 90 musicians defied that fact. From a sweeping “Overture for Band,” among other pieces, through the pearl “Sleep,” which included many parts beautifully sung a cappella ! — through an uncommonly vigorous “Valdresmarsj” by Johannes Hansen as an encore — the Band was convincing throughout with technical mastery, precision and supple musicality.

Energetic pulse.
For those who have experienced previous visits from St. Olaf College, it has probably been the choir. With its portion of the concert, the approximately 60 singers provided musical replenishment we will remember with great joy. The third movement from the Bach motet “Singet dem Herrn ein neues Lied” was as fresh, pure and rhythmically vigorous as Bach can be at his best — so as to make one happy! That all the singers held each other's hands perhaps contributed to the strong common pulse that could be seen as well as heard. The rows of singers moved with the music as if they were created of the same medium.

Grieg's Pentecost hymn from “Peer Gynt” arrived beautiful and soft. “Pål På Haugen” was spry and humorous, the lullaby “Duerme Negrito” with soloists and drum stirringly warm and melancholy, while the Negro spiritual “My Soul's Been Anchored in the Lord” was among the high points with its freshness, humor and joy, as well as honest religious impression.

Most of the eyes in the church pews began to tear up a little during the encore “Norge, mitt Norge.” The warmth, delicacy and purity in this performance were of rare note.

Dashing.
The 90-person orchestra in the third set left nothing to be desired in comparison with the first two ensembles. The festive overture by Shostakovich made that clear immediately. Soulfully beautiful and simultaneously powerful was “Våren” by Grieg, while “Second Essay” by Samuel Barber was a successful piece of contemporary music in which the orchestra could shine with both the introverted and the — quite literally — explosive. As with the choir, this whole set also landed with quiet expression: “Turtle Dove.”

Norwegian emigrants.
In addition to the musical elements, the good concert experience was also underscored by friendly directors, many smiles and easy eye contact with the musicians.

We can only hope that it will be possible in the future to experience another visit from the college that was founded in 1874 by Norwegian emigrants to the U.S.A.

Trønder-Avisa
Thursday, June 16, 2005

Concert
Norway Tour 2005
Actors: St. Olaf Orchestra, St. Olaf Band and St. Olaf Choir
Place: Stiklestad National Culture Center
Directors: Steven Amundsen [sic], Timothy Mahr, Anton Armstrong.
Audience: 350

Golden St. Olaf concert

By Johns. Brandtzæg

The golden moment can often be that which remains after an experience.

By the same means that the Olav tradition lives on because of one moment — in historical context, when King Olav fell in Stiklestad — so shall the concert with St. Olaf's choir, orchestra and band live in my memory from a small but golden moment. It was when a young girl rose up and played a completely marvelous piccolo solo in “Stars and Stripes” in the last encore.

The concert had many high points in Borggården in Stiklestad on the finest summer day so far — even if the auto traffic outside disturbed the idyll. The first came in the opening when the symphony orchestra played “Våren” by Grieg.

The danger of becoming National Romantic is great in such a setting. But, really could many more beautiful orchestra pieces be found than this?

Grieg has written out of his yearning for the spring — for life. This the young musicians managed to convey, perhaps because they can best convey yearning for love and life. They played with weight and solidity, even where the violins are like gentle, playful brooks.

Three hundred fifty people sat on benches in Borggården in the middle of the day yesterday. They beamed in competition with the musicians and the singers who also looked like they were enjoying themselves.

It was an important experience on tour to play right in Stiklestad, said many. Then we can also report that half of them have roots in Norway, including the president of St. Olaf's [sic] College, Mr. Thomforde.

The music and choir tradition is especially strong there. They are reckoned to be in the top tier in the United States of America, and when Americans decide to create quality, so there shall be quality. These are all between 18 and 24 years, and two-thirds of them have music as a major.

And we noted that. This was not a school orchestra and school choir on tour. The whole thing gave the impression of being completely professional!

We could be delighted with both a festive overture by Shostakovich and a playful G. Gershwin from one of his first visits in Cuba. He adopted the Latin American rhythms and instruments in a “Cuban Overture” in rumba tempo. The orchestra shifted as easily from the Norwegian “Våren” as they did from Russian to Norwegian.

They showed qualities that one does not expect to find in a youth orchestra — they were as precise and dynamic in tempi as in strength.

The choir came across a little weaker because they were placed far back in an open room. But, good heavens, what a beautiful sound there is in such a homogenous young choir!

Their Norwegian songs were impressive with enunciation that many could learn from, whether it was the homeland song [“Norge, mitt Norge”] or “Pål på haugen.” At the end they sang a Negro spiritual. One could have shattered glass with the young soprano voices in the final note. They just stood there — a long time — in a powerful, ringing cadence.

We wrote in the paper yesterday about the band in concert in Snåsa Church. Let us just repeat that they impressed as greatly in Stiklestad, whether it was “Valdresmarsj” or completely new music from the U.S.A.

The newest of all [“Sleep”], in which the band both sang and played, made clear associations with theatre music through simple introductions in both choir and horn; strange — but that is just how it was.

Those who did not have the opportunity to experience this yesterday, in the middle of the day in Stiklestad, have another chance in the Nidaros Cathedral this evening. It's worth the trip!

Photo Caption : Close: There is very close contact between orchestra and audience when the presentation takes place at Borggården in Stiklestad yesterday. Here conductor, part of the symphony orchestra and part of the audience. Photo : Espen Storhaug

Trønder-Avisa
Thursday, June 16, 2005

Concert
Norway Tour 2005
Actors: St. Olaf Orchestra, St. Olaf Band and St. Olaf Choir
Place: Stiklestad National Culture Center
Directors: Steven Amundsen [sic], Timothy Mahr, Anton Armstrong.
Audience: 350

Golden St. Olaf concert

By Johns. Brandtzæg

The golden moment can often be that which remains after an experience.

By the same means that the Olav tradition lives on because of one moment — in historical context, when King Olav fell in Stiklestad — so shall the concert with St. Olaf's choir, orchestra and band live in my memory from a small but golden moment. It was when a young girl rose up and played a completely marvelous piccolo solo in “Stars and Stripes” in the last encore.

The concert had many high points in Borggården in Stiklestad on the finest summer day so far — even if the auto traffic outside disturbed the idyll. The first came in the opening when the symphony orchestra played “Våren” by Grieg.

The danger of becoming National Romantic is great in such a setting. But, really could many more beautiful orchestra pieces be found than this?

Grieg has written out of his yearning for the spring — for life. This the young musicians managed to convey, perhaps because they can best convey yearning for love and life. They played with weight and solidity, even where the violins are like gentle, playful brooks.

Three hundred fifty people sat on benches in Borggården in the middle of the day yesterday. They beamed in competition with the musicians and the singers who also looked like they were enjoying themselves.

It was an important experience on tour to play right in Stiklestad, said many. Then we can also report that half of them have roots in Norway, including the president of St. Olaf's [sic] College, Mr. Thomforde.

The music and choir tradition is especially strong there. They are reckoned to be in the top tier in the United States of America, and when Americans decide to create quality, so there shall be quality. These are all between 18 and 24 years, and two-thirds of them have music as a major.

And we noted that. This was not a school orchestra and school choir on tour. The whole thing gave the impression of being completely professional!

We could be delighted with both a festive overture by Shostakovich and a playful G. Gershwin from one of his first visits in Cuba. He adopted the Latin American rhythms and instruments in a “Cuban Overture” in rumba tempo. The orchestra shifted as easily from the Norwegian “Våren” as they did from Russian to Norwegian.

They showed qualities that one does not expect to find in a youth orchestra — they were as precise and dynamic in tempi as in strength.

The choir came across a little weaker because they were placed far back in an open room. But, good heavens, what a beautiful sound there is in such a homogenous young choir!

Their Norwegian songs were impressive with enunciation that many could learn from, whether it was the homeland song [“Norge, mitt Norge”] or “Pål på haugen.” At the end they sang a Negro spiritual. One could have shattered glass with the young soprano voices in the final note. They just stood there — a long time — in a powerful, ringing cadence.

We wrote in the paper yesterday about the band in concert in Snåsa Church. Let us just repeat that they impressed as greatly in Stiklestad, whether it was “Valdresmarsj” or completely new music from the U.S.A.

The newest of all [“Sleep”], in which the band both sang and played, made clear associations with theatre music through simple introductions in both choir and horn; strange — but that is just how it was.

Those who did not have the opportunity to experience this yesterday, in the middle of the day in Stiklestad, have another chance in the Nidaros Cathedral this evening. It's worth the trip!

Photo Caption : Close: There is very close contact between orchestra and audience when the presentation takes place at Borggården in Stiklestad yesterday. Here conductor, part of the symphony orchestra and part of the audience. Photo : Espen Storhaug

Trønder-Avisa
Thursday, June 16, 2005

Met with bravos in Snåsa

SNÅSA: Young American music students were met with shouts of bravo for their music in Snåsa church yesterday evening.

By Guri Hjulstad

Led by their charismatic director, The St. Olaf Band took the breath away from a nearly sold-out church as they set in motion mostly contemporary music with their trombones, trumpets, flutes and clarinets.

And it was not only that they played; they sang and clapped and played glittering solo parts. The American students impressed also by introducing the works in nearly error-free Norwegian. And the Snåsa public answered with applause and even with shouts of “bravo” that you otherwise must go to more southerly regions to hear.

Three encores
Snåsans didn't give up until the Americans had played three encores, with the Norwegian “Valdresmarsj” to close. The popular guests had received three standing ovations.

The music selection was demanding. These were not at all familiar classical sounds; it was advanced contemporary music. And contemporary music is not always easily accessible.

It is not the melodies that captivate, but rather the rhythm and the surprising sound pictures. Suddenly a sound, a line comes in from the sideline, completely unexpected, and garners attention.

The hawk's experiences
It helped us to know that “The Soaring Hawk” was inspired by meditation about the hawk's experience of the life on earth — seen from the air.

The orchestra led us into a landscape where the trees, the tall grass, the clear water are. The musicians played with a closeness and a gleam in the eye that drew the audience along even where we did not understand everything.

On the other hand, we understood quite quickly that Matthew Nudelle is an eminent and charming trombone soloist. With a fantastic solo, he played the instrument from cellar to attic at the same time that he communicated with the audience. Then Snåsans shouted “bravo” in return.

Very demanding
Afterward, the band set in motion a symphony, “Symphony No. 2,” with music that describes both the outer realm and humankind's inner world, with mystical dreams.

“It was very demanding,” said Ben Wareham during intermission. He sat in front of the pulpit in the church, and therefore didn't have contact with the musicians farther back. He quite simply couldn't hear them.

“I had to guess,” said the young music student. Director Timothy Mahr expressed thanks for the radiant reception the Americans had received in Snåsa — “Snåsa is our second home,” said Mahr.

Photo caption: Celebration concert : Director Timothy Mahr had to play three encores before the Snåsans would go home.

Trønder-Avisa
Thursday, June 16, 2005

A taste of Minnesota

SNÅSA: Yesterday Snåsa took in American forces. With music stands and instruments.

By Erik Vådal

“America is an especially large part of the world that lies west of Norway. To get there you must sail over an ocean that is approximately 900 Norwegian miles wide.”

The above citation was gotten from what one perhaps could call a travel handbook, written by one of the first emigrants from Snåsa to America, Ole Rynning, and published in 1838.

120 guests
And in these days, Snåsa has received a visit from this “especially large part of the world” in the form of music students from St. Olaf College in Minnesota. With technicians, directors and leaders, things revolve around about 120 guests. They have already been in Norway a good while and have had concerts over half the country before they now “top” the tour in Snåsa and in Stiklestad, before the whole thing concludes in Trondheim with a concert in Nidaros Cathedral this coming Friday.

The tour is St. Olaf College's marking of the centennial celebration of the dissolution of the union.

And the selection of Snåsa is not accidental. St. Olaf College, perhaps the most prestigious university west of the Mississippi, was in fact founded by pastor Bernt Julius Muus from Snåsa in 1875 [sic].

A little special for the visit in Snåsa is that the students, for the first time during the tour, are being lodged with local host families, something they say they are very happy about.

One of the many host families are the renters of the Vinje parsonage, Heidun Oldervik and Torstein Grande. They will house four young female students, Teagen, Laura, Megan and Merry. And the girls are extremely cozy, open and pleasant.

“We have had it good in Norway,” they explain, and Laura thinks she understands a little more about the mentality at St. Olaf College.

“People with background from a land with so many steep mountains must be tough and hardworking,” she believes.

Must pay 3,000 dollars
Otherwise they are in agreement that Norwegians are not particularly different from them and are actually a little surprised about how “internationally” prominent Norwegian society is.

“But it is expensive,” says Megan. And we understand well that the prices get their attention when they explain that they figure to spend about 3,000 dollars each out of their own pockets for the tour.

They hint that some of the bus trips have been a little tiring, but never mind.

They are not sorry and assert, “We would like to come back!”

Their biggest fear before the tour was having to eat lutefisk, and we see how they actually shudder at the thought. But hostess Heidun has everything on dry land: homemade pizza should fit well for four teenagers from the other side of an “ocean that is about 900 Norwegian miles wide.”

Photo caption : Do not want to have lutefisk : “Lutefisk, no thanks,” say four good-natured music students from St. Olaf College. In front Teagen and Laura, in the middle Megan and Merry. Farthest back the hosts Heidun and Torstein at the Vinje parsonage.

Adresseavisen
Saturday, June 18, 2005

Made a fuss over Muus

250 Norwegian-Americans made a fuss over Muus during a ceremony at the Nidaros Cathedral yesterday.

By Rolf Rolfsen

The visitors are singers and musicians from St. Olaf College, which Bernt Julius Muus founded in 1874. When he died in 1900, he was buried in the Cathedral grounds, and students from the school laid a wreath yesterday at the gravestone on the south side of the church.

St. Olaf College in Minnesota is the best-known teaching institution established by Norwegian-Americans in the U.S.A. The school has its own choir, band and orchestra that previously have visited Trondheim six times. This week the singing and playing guests have been in Snåsa, where Muus was born in 1832, and Tuesday they will play in a Christmas concert in the Nidaros Cathedral for American television. It is expected that over five million Americans will see this program from Trondheim.

The school's president or rector, theologian Chris Thomforde, characterizes the Nidaros Cathedral as the spiritual home for students and staff of St. Olaf College, because the Cathedral was built in memory of Saint Olav, the school's patron saint.

“Here are found the roots of our identity,” he said.

Bernt Julius Muus was also a Norwegian-American theologian. He made an impression as a minister among Norwegian emigrants in Minnesota from 1859, and later became bishop for the Norwegian synod. He established an extensive following and became the first president of St. Olaf College.

Photo caption : Remembered Muus: 250 Norwegian-Americans laid a wreath yesterday at the gravestone of Bernt Julius Muus, the Snåsan who founded St. Olaf College in Minnesota. Front left rector Chris Thomforde, cathedral dean Knut Andresen and the students Philip Knutson, Carl Holmquist and Elizabeth Hellstedt. Photo : Ivar Mølsknes