A reader passed along this lovely vintage piece from the Minnesota Historical Society archives… It’s an excerpt from John K Sherman’s “Music and Maestros: The Story of the Minneapolis Symphony Orchestra,” which was published in November of 1952. Highly recommended reading! I was so entertained that I live-blogged my reactions to it on Facebook this morning. I want you to read the whole thing yourself, so I won’t spoil anything for you, but here are a few of my initial observations:
- We’ve been discussing the fiscal sustainability of the Minnesota Orchestra since before the Minnesota Orchestra was even formed.
- Minneapolis has been an orchestral leader since 1900. We have a long proud history of excellence to guard and preserve.
- The violist story in this article is one of the most entertaining performance mishaps that I’ve ever read about. Way to reinforce violist stereotypes, dear Joseph Frank!
The thing I really wanted to share with you, though, is this very cool mention of soprano Olive Fremstad:
The first performance of the new orchestra needed a big and costly name, preferably a singer’s name, as an ace-in-the-hole guarantee of its success and as lure for that sizable portion of the populace that might be more name-conscious than symphony-hungry. The orchestra’s backers were willing to spend five hundred dollars for such a name. Minneapolis’ own Olive Fremstad, who in the last three years had become the darling of European opera-goers, would have filled all specifications. But she was not available for the opening night and could only be engaged for a later appearance…
The sixth and final concert of the first season, on March 23, 1904, reverted to the International Auditorium. Olive Fremstad, absent from her home city for ten years and now laureled with success, was the soloist.
Olive Fremstad was an amazing woman, with an amazing life story. In fact, she had such an amazing life story that Willa Cather used it as the basis of a novel:
The Song of the Lark.
I chose this name for the blog way back in May of 2011 because of the connotations with Cather (a well-respected music writer), the story of the novel itself (a small-town Midwestern girl of Scandinavian descent fulfilling her artistic ambitions), and Vaughan Williams’s Lark Ascending (one of the most famous pieces ever dedicated to a female violinist). But it turns out there’s a pretty remarkable Minnesota Orchestra connection in there, too! I am a nerd, and I think this is very cool.
On a related upbeat note, our Ode to Joy concerts are rapidly approaching! I’m coming to the Sunday show. If you see me, please say hello. Forgive me if I don’t recognize you, because I’m absolutely terrible with faces. I’d love to thank you in-person for coming along on this crazy journey.