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INSIDE SANDZÉN This feature, highlighting a discovery relating to Sandzén from the archives, will be periodically updated on the website and is planned for each issue of Gallery Notes. |
The Messiah Festival at Bethany College (begun in 1882) features both Handel's "Messiah" and an Art Exhibition ("The Midwest Art Exhibition" begun in 1899), and the Sandzéns and, in later years, the Greenoughs, were busily involved in both. For ten years after his arrival in the United States, Birger Sandzén sang the tenor solos for the "Messiah" until, as his wife Alfrida much later reported, "his Messiah exhibitions craved so much of his time, he had to give up being tenor soloist." His son-in-law, Charles Pelham Greenough 3rd, sang in the chorus throughout his lifetime in Lindsborg. Sandzén himself, his wife and daughter, and later his son-in-law, were always much involved not only with the exhibits but also with entertaining guests.
LETTER I. An early letter in Swedish from Birger to his father, dated April 26, 1900 (before Sandzén's marriage in November
of that year), describes that year's festival. This excerpt is taken from an English translation also available in the Sandzén Archives files:
We had many people during Easter week. The concerts went off well. Of the auxiliary singers from Boston [two sisters],
the soprano had a full and large voice, the alto not quite as good. They were exceedingly modest and nice people.
Our little art display was visited by about 800 persons. Next year we shall try to have a display on a little larger scale.
LETTER II. Forty-four years later, Pelham Greenough describes that year's festival in letters to his parents,
Mr. and Mrs. Charles Pelham Greenough 2nd. This letter was written Saturday evening before Easter (April 8, 1944);
it describes the Palm Sunday performance of the "Messiah" as well as the Holy Week art exhibition. It should be noted that these
performances were in Presser Hall on Bethany College campus, built to hold 2,000 in the audience.
Dear Mother and Dad,
The Messiah went off very well. The soloists were fine but the tenor was flat in places. We sang to a full house [on Palm Sunday]
except about 10 seats! Tomorrow [Easter Sunday] the S.R.O. sign will be out. In fact it's out now at the box office. . . .
[In his next letter to his parents he states that "We sang to a packed house-100 more chairs plus standing room down the sides
of the hall and in the back."]
At the Art Pavilion [moved from the campus of Bethany College to the Old Mill Museum Heritage Square complex in Lindsborg in 1969]
they took in almost $300.00 in admissions at .20 cents per person. So that gives you an idea how many people went to see
one of the best if not the best exhibition in years. There were 258 pictures up on the walls made by students,
former students, well known artists in oils watercolor in the main. ...
Tomorrow is such a full day. . . .and what with the many people who come here (Sandzén's house) we shall be busy right
up to the time for the 179th performance of the Messiah. . . .Margaret has been busy today entertaining the soloists,
plus meeting many people at the studio [Sandzén's studio] and pavilion, doing errands and housework. The work [I have been doing]
at the house [into which Pelham and Margaret will eventually move] was easy compared with what she's done today. Tomorrow [Easter]
is even busier for us all. . . .well, that gives an idea of what goes on here.
Additional letters and further information may be found in the Spring 2005 issue of Gallery Notes, distributed to all Sandzén Gallery members.
Inside Sandzen (2005 winter edition)
Inside Sandzen (2004 fall edition)
Inside Sandzen (2004 summer edition)
Inside Sandzen (2004 spring edition)
Inside Sandzen (2004 winter edition)
Inside Sandzen (2003 fall edition)
Inside Sandzen (2003 summer edition)
Inside Sandzen (2003 spring edition)
Inside Sandzen (2003 winter edition)
Inside Sandzen (2002 edition)
Inside Sandzen (2001 edition)
Inside Sandzen (2000 edition)
Inside Sandzen (1999 edition)
Gallery Archives
Letters and Papers