Saturday, September 1, 2007

Overview and Contents

Philip Lillestol in Paris, 1950-1952

This blog site contains a chronology of Philip's life with photos and commentary from people in his life. It is divided into the following main sections:

1923-1942: Early years in North Dakota to high school graduation
1942-1950: College and war years to BA degree
1950-1952: Paris
1952-1957: Minneapolis to MA Degree
1957-1963: Teaching in Minneapolis
1964-1968: Teaching in Minneapolis
1969-1971: Teaching in Minneapolis
1972-1976: Teaching in Minneapolis
1977-2001: Teaching in Minneapolis and final years
History of the Lillestol Clan by Oline Lillestol (Philip’s aunt)


An on-line photo album where larger versions of the images may be found is available at http://picasaweb.google.com/ftrnka/PhilipLillestol. The album is especially helpful for the images of written text, as viewing the album in slideshow mode allows those images to fill the screen, making them big enough to be more easily legible.

1923-1942: Early Years to High School Graduation

On the family farm, near Barney, North Dakota: Philip's aunt, Lillian Lillestol Johnston (visiting from Seattle, WA), Philip, and his parents, along with cousins Beverly (later Janssen), Jacob, Duane and Jerome Lillestol, children of Philip's father's brother, who had the neighboring farm.

1923, December 17: Basil Philip Lillestol was born in rural Barney, ND (Barney is east of Wyndmere and west of Wahpeton, which is south of Fargo) into a family of Norwegian Lutheran heritage. Phil never liked “Basil” and never used it.

The town of Barney, ND is the red star between Wyndmere (high school & 1945 recital) and Wahpeton, ND (memorial service) / Breckenridge, MN (1950 recital). Like Fargo/Moorhead, Wahpeton and Breckenridge are separated by the Red River. Population from 2000 census: Barney, 69; Wyndmere, 533; Wahpeton, 8,586; all in Richland County.

From Lois Price, Philip’s sister and only sibling: Philip’s Aunt Oline was his first piano teacher. She was a musician and teacher. She also wrote a brief history of the Lillestol clan. [Included as a separate post.] Aunt Oline was also our schoolteacher at the one room country school we attended. (She taught Philip through 5th grade and me through 3rd grade.) Then Aunt Oline and Grandma Laura moved to town (Wyndmere) where Aunt Oline taught. She was one of our father’s sisters.

Our parents did not have a piano at the time Philip was born. Grandma and Aunt Oline lived 1/4 mile from where our family lived. I was told Philip would run to Grandma’s house to play the piano as soon as he was able to do so by himself, so I don’t know the exact year he started lessons with Aunt Oline.

The farm house was later insulated and sided, but we did not get electricity on the farm until about 1945; so Philip and I remembered many of the things Aunt Oline wrote about in her family history. We did grow up surrounded by many nice aunts and uncles -- and many fun cousins -- but there was lots of hard work to do on the farm, and Philip did not have as much time to play the piano as he would have liked. I remember he would sometimes “think” of a piece of music at night, and I would hear him rush downstairs to start playing the piano.

1938 Philip began studying piano with Sister Clement in Wyndmere around the beginning of high school.

Wyndmere High School Tumbling Team, 1940-41
Bottom Row:
Bob Baker, Arvid Transgrud, Duane Little, Norman Oberg, Phillip Lillestol.
Second Row:
Harold Wittkopp, Dan Stallman, Clifford Swanson, Jr. Puetz.
Third Row:
Mike Carver, Mel Hendricks, Don Rode.
Top Row:
Manny Dokken.

1942 High school quartet

1942 Graduation from Wyndmere High School.

From Lois Price: Philip won a North Dakota state contest with an essay on Americanism while he was in high school. He was awarded a set of World Book Encyclopedias.

1942-1950: College and war years to BA degree

1942 Attended 1st year of college at Duluth State Normal School, his piano teacher was Florence Ostergren, whose mother was a music graduate of the Royal Conservatory in Stockholm.

From Bob Laudon: Because of W.W.II, after his 1st year of college, Philip had to return to the family farm to work as the only son of the family. The farm work he did was in national service of a protected industry, farming. He certainly must have felt that he had had enough of farming to last him a lifetime. It left him little time for languages or music.

1945 April 29: St. John’s School, Wyndmere, ND, Department of Music, Recital as student of Sister M. Clement, O.S.B., who was one of the principal piano teachers in ND (Recital ended with the Grieg Concerto) Philip was fond of Sister Clement.


1946 From Bob Laudon: After the war, Philip went to study at U of MN. His first teacher was William Lindsay, who had won the Mendelssohn Prize at the Leipzig Conservatory. Lindsay, who was Scottish, was in an internment camp during W.W.I and left Germany afterwards. Lindsay performed concertos with each of the conductors of the Minneapolis Symphony from No. 1, Oberhoffer through all the conductors up to the time of his retirement around 1950. Lindsay had a marvelous ear and a command of the complete repertory. His teaching focused on the technical side of things. He also composed some Scottish songs. There was a Scottish contingent in town, Scott, Ferguson, MacPhail, Lindsay.

Philip transferred over to Earl Rymer’s studio, as Rymer’s students were making a big splash. Rymer was a remarkable teacher. (Rymer had studied with Olga Samaroff. Goal was to make students independent of teacher.) There was a weekly master class, where students did the critiquing. Phil attended only occasionally, as he seemed to wait until he was completely prepared. Many of of attended more regularly. I do remember Phil's graduation BA recital. He did play some of those pieces for the piano class. He was quite successful with that recital. I remember being especially impressed with the Brahms' E-flat minor. Rymer too was pleased with that and other things. Phil always thought the last movement of the Pathétique a bit of a let down in Beethoven's writing after 2 masterful movements.

Philip’s 1st French class at the U was a 200 level class: Advanced French Morphology. He was gifted with languages. He studied independently and knew how to shape his mouth to get the required sounds. He knew French, German, Spanish, Italian, Russian, the Scandinavian languages, and others.

From Wayne Peterson:

Bob Laudon and I always thought Philip should have gone into comparative philology to use his knack for languages. Phil said when he went to Mexico for a visit after one week he could understand and communicate with the locals in Spanish.

1947 Philip and his sister Lois in Duluth when she was a nursing student.

1948 September 26: Philip at Lois’ wedding, where he played the organ prelude and was a groomsman

1950 Philip submitted a recording of Scarlatti Sonatas on piano for a Fulbright Scholarship to study harpsichord in Paris.

Formal photo taken around the time of his 1950 recitals

1950 March 7: Recital at U of MN in Scott Hall Auditorium (Scarlatti, Appassionata, Brahms Rhapsody & 2 Intermezzos, Chopin)


1950 May 27: Recital in Breckenridge, MN, across river from Wahpeton, ND (Scarlatti, Pathetique, Brahms Waltzes, Liszt, Chopin)

1950 Bachelor of Arts Degree, U of MN

1950 June 23: Photo of Phil with cousin Beverly Janssen in Minneapolis

1950-1952: Paris

1950 Fulbright Scholarship to study at the Conservatoire National Supérieur de Musique de Paris.

Philip leaving for Paris

Philip in Paris, studied music history with Norbert Dufourcq and harpsichord with Marcelle de Lacour (one of the 1st teachers of harpsichord). Philip rented a Playel harpsichord (4’, 2 x 8’, 16’)

Philip in Paris

Norbert Dufourcq's Histoire de la Musique class at the Conservatoire National Supérieur de Musique de Paris, 1950-1951, with Philip (4th from left, back row) and his pals, Laurence Boulay (3rd from left, front row) and Huguette Dreyfus (3rd from right, front row).

Laurence Boulay became Basso Continuo professor at the Conservatoire National Supérieur de Musique de Paris and had a recording career. Huguette Dreyfus became Harpsichord professor at the Conservatory of Lyon and had a recording career.

Philip near Innsbruck, Austria and his note on the back of the photo.

1951-1952 Received meager stipend from French government to remain a second year at Conservatoire National Supérieur de Musique de Paris. No $ for a 3rd year of study, which was usually necessary to complete a full course of study.

Wayne Peterson thought that Phil had became too ill to return to the US after his first year in Paris and that this was why he had to stay another year. Wayne thought the illness might have been jaundice or hepatitis, but wasn't sure. This might explain the meager stipend from the French government for Phil’s second year.

Lois Price relates a different version of this year: I was told by my parents (and I think by Philip) that he received a second scholarship from the Conservatoire National Supérieur de Musique de Paris. It was very small compared to the Fulbright Scholarship. He was not ill at the beginning of the 2nd year. (I doubt the French government would have supported him only because of illness.) However, he did become ill at the end of his 2nd year in France. Our parents and many relatives had planned a “welcome home” party for him at his arrival back in North Dakota. Instead, they took him directly to the hospital in Breckenridge, Minnesota, and he recovered in a few weeks. (I was in Duluth.)

From the Conservatory Archivist: Monsieur Basil Lillestol a obtenu en 1951 un Premier Accessit d'Histoire de la Musique (classe M. Dufourcq), et en 1952 une Première Mention de Culture générale et Esthétique (classe de M. Beaufils).

Madame Laurence Boulay a obtenu en 1950 un Premier Prix d'Histoire de la Musique et en 1951 un Prix d'Excellence dans cette même discipline. Madame Huguette Dreyfus a obtenu en 1951 un Second Prix d'Histoire de la Musique.

From Bob Laudon: For any prize, it was necessary to concourer. Phil described to me the pulling of a slip out of a hat, the slip would contain a topic (he mentioned, "such as the Saint-Matthew Passion"), then the student would have about 20 minutes to retire en loge to prepare his presentation before a distinguished jury of the most famous European people in music history or esthetics. From what he said, the presentation was supposed to take about 20 minutes and could include questions from the jury. Normally the teacher of the class would be one member of the jury.

From Ed Savage: Phil’s harpsichord teacher, Marcelle de Lacour, was a student of Landowska. Phil may also have played for his friend Hugette Dreyfus' teacher, Ruggero Gerlin, who had also been a Landowska student.

Edward B. Savage Obituary

From Bob Laudon with information from the history of the Conservatoire National Supérieur de Musique de Paris:

There probably was no concours for harpsichord while Phil was there since Marcelle de Lacour was not officially recognized for that class until 1955. Phil arrived on the scene just at the moment when Norbert Dufourcq and Marcel Beaufils were at their peak.

Dufourcq was organist of Saint-Merry de Paris and had a fabulous background culminating in a doctorat ès lettres at the Sorbonne. Just before Phil's arrival, he had published J-Sébastien Bach and La Messe en si mineur (1848), La Musique française (1949) this was the topic of Phil's class with Dufourcq, and Le Clavecin (1949). He held the post of professor of music history at CNS (Conservatoire National Supérieur) 1941-1975.

Marcel Beaufils was professor of esthetics at CNS 1947-1971. He studied in Strasbourg and wrote in German as well as French. He was acquainted with the Second Viennese School of Alban Berg, etc. during his stay in Vienna. Just before Phil's arrival, he published Wagner et le wagnérisme (1946), Chopin ( 1849) and La musique de piano de Schumann (1951). Phil, of course, was fluent in German.

I really do not see any difference between Accesit and Première Mention except that Accesit can have degrees such as premier, sécond. I think he studied piano also, but the archivist makes no mention of it or of solfège. Sometimes there were different standards for the foreign students and the French.

As I looked at those photos, it struck me that those were fairly large classes and that to win any recognition in them must have been truly earned.

1952-1957: Minneapolis to MA Degree


1952-1954 Philip Lillestol Home, 1314 - 8th Street SE, Minneapolis, perhaps until 1955.

From June Getsug Banet: I remember playing on his grand (1913 Steinway) at the house on 8th St. It was on the 2nd floor, and I'm pretty sure it was in a sunroom at the front of the house. I remember that we didn't go to 8th St. house for very long.

1952 Philip joined the Minnesota Music Teachers Association (MMTA)

St. Thomas Directory, 1961-1963, showing Philip began teaching there in 1952. He was not listed in the 1963-1965 Directory, so he stopped teaching at St. Thomas sometime during 1961-1963.

1952 Philip began teaching piano at St. Thomas, 1952 until sometime between 1961 and 1963.

Music Building at St. Thomas, where Philip was an Instructor in Piano from 1952 to sometime in 1961-1963

June Getsug Banet outside St. Thomas Music Building. Philip's studio was at the upper left (2nd floor).

Waiting Area outside Philip's studio at St. Thomas

View into the room that was Philip's teaching studio at St. Thomas

From June Getsug Banet: The music bldg. of St. Thomas was on the northeast corner of Summit and Cleveland - it's not the music bldg. any longer. I know I was 8 when I first went to him at St. Thomas - I remember that first meeting very clearly. How long we stayed there before going to his place on 8th St., I don't remember.

1954 Sarjae Rice, MMTA Honors -10 Piano, Junior B

1954 June 17: Mrs. Rice’s letter to Philip, her daughter Sarjae was a Junior B Winner, one of 5 MMTA winners Philip had that year.

1955-1956 Phil and a friend Pete rented Bob Laudon’s mother’s house for a year (924 18th Ave. SE). Pete was also a student of languages and Bob believes they spent many days conversing in a foreign language.


1956-1957 Phil lived in an apartment at 432 SE 4th St. in Minneapolis before moving to Florence Court.

1956-1961 Philip an Instructor in Piano at the University of MN. His studio was in Room 6 of the Music Education Building.

Music Education Building at University of Minnesota where Philip taught

Entrance to Music Education Building at University of Minnesota

Music Education Building at University of Minnesota now closed to public

From June Getsug Banet: He gave me some lessons at the music bldg. across the street from U-High on the U campus for a very short time. I was preparing for a concert - I'm not sure which one - and we went there almost every day.

1957 April 11: Janet Soderstrom, MMTA 10-piano winner in 14-15 year old age group. Article in Columbia Heights Record.

1957 August 22: Lillestol Master of Arts Diploma, U of MN

1957-1963: Teaching in Minneapolis

1957 Philip began teaching piano at Hamline, 1957-1959

Hamline University Bulletin, 1958-1960, showing Philip started teaching there in 1957. He is in the Hamline Directory for the 1957-58 and 1958-59 academic years, but not the years before or after, so taught there only those two years. His studio was in the Drew Fine Arts Building, Rm. 113 for '57-'58, and Rm. 112 for '58-'59.

Drew Fine Arts Building, Hamline.
Drew Fine Arts Building, Hamline. Rm. 113 (left) was Philip's teaching studio for '57-'58, and Rm. 112 (right) for '58-'59.

1957 Paul Freed joins faculty at U of MN. From Bob Laudon: Paul Freed and Phil were friends on several levels. They both came from ND, they both had been students in Europe, they both spoke several languages, they both produced prize winners in contests, they both had high standards of performance for their students.


Old Main, Hamline University. Bridgman Hall, where Philip's 1958 recital took place, is on the 2nd floor.


Bridgman Hall, Old Main, Hamline University, where Philip's 1958 recital took place.
Lillestol - Hamline Faculty Recital, Bridgman Hall in Old Main, December 2, 1958

1958 December 2: Lillestol - Hamline Faculty Recital (Couperin, Mozart, Pathetique, Fauré, Franck) The Couperin, Fauré, and Franck are new additions to his repertoire after his time in France.

From Bob Laudon: The question arises, where did Phil learn this? Did he study piano with Mme. de Lacour as well as harpsichord. I rather think so. But proof?

Huguette Dreyfus, more recent photo, from a French Google search by Robert Laudon

Huguette Dreyfus (whom Bob Laudon met briefly after a concert) was a student of Gerlin, another very musical person. How much contact Phil might have had with others than his official teacher is an interesting question.

1958 December Chiuminatto Letter - Philip then teaching piano at St. Thomas, Hamline, & U of MN

1958 December 16: Lillestol - St. Thomas Faculty Recital (Couperin, Mozart, Pathetique, Fauré, Franck)


1957-2001 Philip Lillestol's Home, Florence Court, 1000 University Avenue, (1913 Steinway)

From Wayne Peterson: During my graduate school days 1957 to 1959 my wife and I would have dinner at Phil’s and Paul Freed would be there. (From Bob Laudon: Phil had a special chicken dish that he liked to prepare for people.)

From June Getsug Banet: I remember that when I played with the St. Thomas concert band he was living on 10th. Right after that concert (May 1957) I auditioned for Mr. Cook who was the conductor of the Rochester (MN) Symphony Orchestra, and it was at the 10th Ave. row house.



Philip Lillestol Home, 1957-2001, Florence Court
June Getsug Banet in entryway to Florence Court apartment
Hallway outside Florence Court apartment
Stairway outside Florence Court apartment
Bannister outside Florence Court apartment
Reinforced Apartment Door, Florence Court
Close-up of reinforced Apartment Door, Florence Court
Hinge on entryway door, Florence Court

From Bob Laudon: Florence Court is on the list of historic places. The Minnesota Historical Society has an office devoted to this list. It was the home of Harlow Stearns Gale, music critic, psychologist, amateur cellist, etc. etc. He had a Stube (everything was expressed in German after his time spent with Wilhelm Wundt, the founder of modern experimental psychology) in his rooms at Florence Court where they did chamber music. Since his birthday was only 1 day removed from that of Donald Nivison Ferguson, they celebrated both in the rooms and in the grove of Florence Court with an all-day festival of music. I have an extended essay "Gales of Music" on the early pioneer settlers, Harlow Augustus and Samuel Chester Gales and their two musical sons. Harlow Stearns Gale compared Florence Court to the buildings in Stratford-on-Avon.

Philip at his sister's, Duluth, Minnesota, 1960

1961 Parents’ 40th Anniversary Photo with North Dakota homestead.

1961 Elizabeth Wolff, Young Artist Soloist, MMTA Honors Concert - Mendelssohn - Rondo Capriccioso

From Liz Wolff: I was a student of Philip Lillestol from 1958 through June of 1961. I had two lessons a week for those 3 years. And I did win something but quite frankly I don't know which year. Probably the last one. The repertoire was to be the Schubert Andante and Variations in B Flat from the Impromptus, but I played the Rondo Capriccioso of Mendelssohn. I remember it was in Northrop Auditorium. I came in second. I believe my eventual Two Piano Partner, Joanne Sturman won first prize. Around the same time, there was a concerto competition. By mistake I was put with the Minneapolis contestants instead of the St. Paul group. Philip was simply not interested in the externals of it all, so when he told me that I would get an ironic letter of both congratulations and disqualification from the Minneapolis Symphony as I believed it was called then, only the congratulations seemed significant to him.

This was my Mom's favorite story: at my audition, Philip offered me some goat milk, which I did indeed refuse, but it seems he was addicted, since every lesson, or almost every lesson, he always had his glass of goat milk sit with him.

He gave me a life of music! His memory should continue on. The photos are merely a visual memory, but the lessons themselves will never fade.

1963 May 22: June Getsug Performance

1963 June Getzug, Young Artist Soloist, MMTA Honors Concert - performed, piece?

1964-1968: Teaching in Minneapolis

1964 Tony White & Christine Dahl, Schubert Club winners - Tied - Jr. Piano

From Christine Dahl: Tony White was studying with Mr. Lillestol when we tied for Schubert Club. Tony is older than I am, maybe two or three years. I was 15 and in ninth grade when we tied, and Tony worked with Mr. Lillestol at least until he graduated from high school. He may have attended the U of MN after that, but I'm not sure.

1965 Thomas Schultz, Schubert Club - Jr. Piano - Schubert Impromptu Op. 90, #3

1966 Tony White, Young Artist Soloist, MMTA Honors Concert - performed, piece?

1966 Christine Dahl, MMTA Young Artists Concert - performed, piece not listed; Thursday Musical - Jr. Piano - Haydn - Sonata in A-flat; Chopin - Etude, Op. 25, #7

From Christine Dahl: I was 13 years old and in seventh grade when I started working with him. I won a few MMTA, Thursday Musical and Schubert Club contests while with Mr. Lillestol. Even so, he managed to see me play in public only once. Apparently, he was agoraphobic, and joked that he'd be the one in the back with the paper bag over his head.

1966 August 10: Letter from Philip to Frank Trnka

1967 Christine Dahl, MMTA Young Artists Concert - Chopin - Berceuse; Minneapolis Music Teachers Forum (MMTF) Honors Concert - Chopin - Ballade in A-flat

1967 Frank Trnka, MMTA Young Artists Concert - Prokofieff - Toccata; MMTF Honors Concert - Copland - Passacaglia; Thursday Musical - Sr. Piano - Chopin - c-sharp Scherzo

Frank Trnka at Cambridge, Minnesota High School Graduation, 1967

From Frank Trnka: As I finished my junior year of high school in the small town where I had grown up, it had become clear that, if I was going to pursue a career in piano performance, I needed to find another teacher for my senior year in order to get into the kind of college program I desired. Louise Guhl (who lived far away) was the only other teacher I knew of. She did not have space, but gave me a list of three names in Minneapolis, saying that Philip Lillestol was the best I could get. I wrote to him my goals. He wrote back asking me to come play for him and that we should start as soon as possible, since a year was not a long time to make significant progress in piano. After hearing me, he accepted the challenge and off we went, beginning in late August, 1966. I know Philip had numerous prize-winning students over his teaching career and also his “bread and butter” students that he taught to pay the bills. I don’t know how my experience with him differed from others where he had more years to bring someone to their potential. I only know that he took the commitment he made to me very seriously and pushed me to my limits to get me ready for the challenges ahead.

The months from September to January were spent learning the repertoire I was going to need for a college audition and getting some of those pieces ready for competition. The goal was to unlock the emotional content of each phrase of the music and build an overarching structure of the piece as to how it all fit together into a satisfying whole. Technique was always at the service of communication, and not an end in itself. Never “See, I can play a flashy run!” but rather “Where is this run taking us and how can you use it to communicate with the listener?” He was clearly demanding that I open up my inner emotional life and share that with the listener. Sometimes we would spend a whole hour lesson on one phrase in the slow movement of a Mozart sonata -- a shocking commitment of time, considering all we had to get done -- but he believed that, if we could unlock that one phrase, I could apply that to the rest of the piece, and other pieces as well. His dissatisfaction and despair with my attempts those first months were more intense negative feedback than I had ever experienced before. He pushed until he found my breaking point -- a tearful outburst where I convinced my mother to call him and tell him I was quitting -- I didn’t have the courage to tell him myself. Fortunately, he wasn’t willing to let me get by with that, and insisted my mother put me on the phone -- where he convinced me that his goal was not to get me to go away, but to open myself up and let the music inside me come out. So, even though it wasn’t totally clear to me where this was all going, I agreed to continue working with him, and he now knew my limits and that I couldn’t go on indefinitely with only negative feedback.

Bob Laudon responding to Frank Trnka: Your story of studying with Philip is remarkable. Some of that he probably got from Earl Rymer and the ideas of Olga Samaroff Stokowski. I got through 2 lines of a Beethoven Sonata at my first lesson with Earl (Earl only got through 2 measures with Mme.) The idea was to make the student independent, capable of working alone after intensive work at lessons. I spent 6 months unraveling how to control dynamics.

When February rolled around, he was ready to turn me loose on the world, and from then until mid-June I performed or competed almost every weekend, achieving all the goals I had set for myself the year before.

There was never any question that he was a coach as well as a teacher. He had an innate skill in knowing how to prepare someone for a performance so that they didn’t burn up all their intensity in the warm-up period, but built during that time so the intensity came out in the performance.

I paid for a one-hour lesson per week, but depending what was going on, had as many as 4 lessons a week, plus a warm-up session/pep talk before important competitions or performances.

At the end of May, when the competitive season was over, he set a challenge for me just so we could see what I could do -- from scratch, learn and memorize the Prokofieff Toccata in two weeks and perform it at the MMTA Young Artists recital. This happened. It was certainly not one of the best performances of my career -- and one of the other “technique is everything” teachers made sure I knew how outraged he was by my somewhat high strung performance. But both Philip and I knew that wasn’t the issue in this case -- it had been a private challenge between the two of us, after all the events with long-term consequences were over, to test my limits in another way. The MMTA audience simply got to witness the outcome.

In addition to my successful audition at Oberlin Conservatory, the next few years he also sent a student to Oberlin (Christine Dahl, 1968 and Thomas Schultz, 1970), so that at one point he had one of his students placed with each of the top three piano professors there -- a noteworthy accomplishment.

After my years at Oberlin, I returned to Minneapolis and resumed studying with Philip, as well as doing some graduate studies at the University, including Piano Pedagogy with Louise Guhl. That spring, with a new Mozart concerto in my repertoire, we entered the Music Teachers National Association (MTNA) college division competition and Philip ended up having both the high school (Paul Halvorson) and college winners in the state competition that year.

The enduring legacy that I carried away from my years of study with him is the centrality of communication as the goal in performance -- giving vent to emotions one may not be able to express in any other way, and an absolute intolerance for performers whose fingers do not seem to be connected to their hearts!

1967 Thomas Schultz, MMTF Honors Concert - Chopin - Etude in E 10 #3

1967 Brenda Good, MMTF Honors Concert - Mozart - Sonata in D K311

1968 Christine Dahl, Young Artist Soloist, MMTA Honors Concert - Chopin - Barcarolle

1968 Thomas Schultz, Young Artist Soloist, MMTA Honors Concert - Brahms - Rhapsodie 119 #4; Schubert Club - Sr. Piano - Brahms - Intermezzo 118 #6

From Thomas Schultz: Thinking of Mr. Lillestol: his limitless generosity, his wit, his special insights into music, literature, art, his holding us (sometimes frustratingly so) to the absolute highest of standards. I remain especially grateful for his teaching of the music of Bach, Mozart and Schubert and for his open-mindedness about 20th century music. It's particularly interesting that he was able to craft such a distinguished career as a piano teacher - a profession so closely bound to tradition and to traditional measures of accomplishment - and, at the same time, able to provide a model of a life lived according to values largely different from those of the mainstream culture. I think of, among many other things, his wall of books, the modern paintings on his apartment walls, his old Steinway (which he told me had "once been a noble instrument"), his mentioning to me of his feelings of "deep antipathy" for Richard Nixon and, after his trip to California, his lamenting the absence of an urban culture in that part of the world (in comparison with NYC and Paris). Then there was the time when he gleefully told me of how he declared himself an atheist at the age of ten!

After leaving Minnesota I would visit him on return trips and, so, was an occasional witness to the changes that took place as he aged, changes that were, at times, puzzling. Certainly, I was a beneficiary of his particular fate and can only think back, remembering the contradictions of his personality and the intensity of his living.

1969-1971: Teaching in Minneapolis

1969 Mark Sell, Young Artist Soloist, MMTA Honors Concert - Chopin - b-flat Scherzo

1969 Brenda Good, MMTA Young Artists Concert - Bach - P & F in b-flat

1969 Thomas Schultz, Thursday Musical - Sr. Piano - Copland - Passacaglia

1969 Paul Halvorson, Schubert Club - Jr. Piano - Brahms - Rhapsodie in b minor

From Paul Halvorson: I started with Philip Lillestol in fall of 1968 (as a 9th grader). My former teacher was Maria Rantapa.

Philip was very dedicated and would schedule extra lessons, sometime four times a week. Often while I was playing he would exit the room and go into the kitchen to make his "ice tea." I could always tell when I was playing well. He would leave the room for a bit and then return. Phillip Lillestol knew how to extract the best out of me and allowed me to perform at my best.

1970-1974 Philip listed as having students who passed the MMTA Theory Exams

1970 MMTA syllabus published, project spearheaded by Paul Freed

From Bob Laudon: About change in MMTA. There was a great change in 1970 when the publication of a Piano Syllabus came up with Paul Freed leading the charge. There was a change in the honor concerts also.

1970 Ann Carpenter, Young Artist Soloist, MMTA Honors Concert - Brahms - Rhapsodie 79 #1

1970 Paul Halvorson, Young Artist Soloist, MMTA Honors Concert - Chopin - c-sharp Scherzo; Schubert Club - Sr. Piano -Bach P & F in d (WTC-I); Chopin - c-sharp Scherzo

From Paul Halvorson: The only time Phillip Lillestol ever attended one of my concerts was at Northup Auditorium when I soloed and played the Chopin Scherzo. After the event, I remember bumping into him and he was very quiet and shy.

1970 Thomas Schultz, MMTA Young Artists Concert - Chopin - f-minor Fantasy

1971 St. Paul Piano Teachers’ Association, Senior Recital, May 17th:
Janis Amatuzio, Handel - Chaconne in G Major
Brad Momsen, Chopin - Nocturne in c minor, Op. 48, #1
Paul Halvorson, Ravel - Jeux d’eau

1971 Janis Amatuzio, Young Artist Soloist, MMTA Honors Concert - Liszt - D-flat Etude

From Janis Amatuzio: I have loads of memories of him teaching me how to play the piano, as well as him coaching me to a win at the Young Artists Competition where I was scared out of my mind to play at Northrup Auditorium!!

He would sit in his chair drinking a clear liquid with ice in it on those late weekday afternoons. Sometimes he would shake his head in approval, other times he would move to the piano and demonstrate what he would like. While preparing for the Young Artist's Competition, repeatedly I tried, but could not quite produce the intensity he wanted. Near the end of our lesson, his face turned red with frustration, he finally said to me, "Janis!!! You have to play this piece like you were choking a turkey!! You have to grab it and not let go!! Do you understand now how it should sound?" "Oh yes, Mr. Lillestol!!" I said with alarm as I looked at him standing half crouched next to the piano, his face grimacing and red, and his hands clenched tightly around that poor imaginary turkey neck. "I understand completely!" I played that piece with more passion and intensity than I had ever mustered before. That Saturday I played for the Young Artist's Competition and made it to the top 10. I attribute that win to the vision of Mr. Lillestol and the turkey. What a magnificent teacher!! - Janis Amatuzio M.D.

1971 Peggy Hascall, MMTA Young Artists Concert - Chopin - Nocturne in c minor 48 #1

1971 Nancy Haw, MMTA Young Artists Concert - Brahms - Intermezzo 118 #6

From Wayne Peterson: Phil bought a VW bug and sometime in 1971 or shortly thereafter he drove it to CA to visit my wife and I in Mill Valley.

1972-1976: Teaching in Minneapolis

1972 Brad Momsen, Young Artist Soloist, MMTA Honors Concert - Chopin - b-flat Scherzo

From Brad Momsen: I had studied with Don Betts at Macalester College during my 7th and 8th grade school years, then with a private teacher in St. Paul, the very "German" Minka Bartels for three years. She sent me to Philip for my senior year claiming she brought me as far as she was able. Minka was wonderful and very passionate about music. Most of my lessons ended up being in broken German / Dutch and she stood in the crook of the grand piano singing while I played.

Going to Philip was an amazing change. First, there was that "secret" entrance to 1000 University where one felt you slipped out of the urban cityscape into some strangely fantastical bohemian world - at least for a high school senior from St. Paul (we're talking 1971-72 here). I remember him always dressed in a rumpled white shirt and skinny black tie (or am I dreaming?) I remember the chair he sat in across the room with beverage of choice in hand. Then there was the shock that after the first time I played for Philip, his few words, succinct and precisely chosen, were in English. I'm sure I looked like a deer frozen in headlights.

What he did for me in a year was really amazing in retrospect. Though I attributed much of my advancement in performance to him, I never fully realized at the time how he did it. He knew exactly how to hone into my strengths and address my weaknesses. Lessons were split between technique building and coaching. His passion for music was authentic and always rooted in the music. That spring I won my division in MMTA and had the opportunity to perform in Northrop Auditorium. When I had signed up for a summer music camp at the U of MN, he steered me toward Paul Freed, who became my teacher during my undergraduate and graduate years. I understood perfectly where Paul's philosophy of teaching and the integrity of music was coming from having benefited from a brief, but all too important tenure with Philip.

I kept up with Philip through Paul for a while, but sadly, did not maintain a relationship with him for long. I was extremely fortunate to spend a year with Philip. I knew at the time he was a respected teacher and mentor, but never really understood or appreciated his standing among teachers. As you know, he was a person that never needed to draw attention to his credentials. I don't recall much was revealed about his own career and life other than his travels to France when I studied with him.

1972 MTNA State Winners

1972 Paul Halvorson, MTNA State Audition Winner, High School Division, Jan. 16th. Competed at MTNA Regional Competition in Denver, CO, Feb. 6th. As state winner performed with St. Paul Youth Orchestra on April 26th - Mozart Piano Concerto #23, 1st Movement. Scheduled performance at MMTA Young Artists Concert (June 18th) was scratched from program after printed: Prokofieff - Suggestion Diabolique

1972 Paul Halvorson Concerto Performance

1972 Frank Trnka, MTNA State Audition Winner, College Division, Jan. 16th. Competed at MTNA Regional Competition in Denver, CO, Feb. 6th. As state winner performed with St. Paul Civic Orchestra on Dec. 10th - Mozart Piano Concerto K. 595. Scheduled performance at MMTA Young Artists Concert (June 18th) was scratched from program after printed: Debussy - Isle Joyeuse

1972 Frank Trnka Concerto Performance

1973 June 10: Wendy Williams, Young Artist Soloist, MMTA Honors Concert - Chopin - c-sharp Scherzo; Schubert Club - Scholarship - yr. missing in archives, so don’t know what played

Wendy Williams, Minnesota Music Teachers' Association Concert, June 10, 1973

1974 Dale Korogi, MMTA Young Artists Concert - Brahms - Rhapsodie 119 #4

Dale Korogi, Minneapolis Music Teachers' Forum Scholarship Winner, 1975

1975 Dale Korogi, MMTA Young Artists Concert - performed, piece not listed; MMTF Honors Concert -Frances Oliver Scholarship

From Dale Korogi: I was delighted to receive your note about Mr. Lillestol. Like you, certainly, I think about him so, so often, very grateful for his influence in my life. I believe I started with Philip in the fall of '71 and stayed with him until the fall of '77 when I went to the College of St. Thomas. I did all the usual MMTA, Forum, Schubert Club, Thursday Musical recitals and competitions. I don't recall what I won or didn't win, but I did play a concerto with the Lake Harriet orchestra one summer which, I think, was for winning or coming in second for the MMTA syllabus exam.

Wendy Williams, Minneapolis Music Teachers' Forum Scholarship Winner, 1975

1975 Wendy Williams, MMTF Honors Concert - Jeanette Casey Scholarship

Thomas Valente, Minneapolis Music Teachers' Forum Scholarship Winner, 1976

1976 Thomas Valente, MMTA Young Artists Concert - Liszt - Les jeux d'eau a la Villa d'Este, MMTF Honors Concert - Frances Oliver Scholarship, Liszt - Fountains of Villa D'este

1977-2001: Teaching in Minneapolis and final years

Kathy Reed, Minneapolis Music Teachers' Forum Scholarship Winner, 1977

1977 Kathy Reed, MMTF Honors Concert - Margaret Berg Scholarship, Chopin - Barcarolle

From Kathy Reed: I only studied with Philip Lillestol for my senior year in high school, after I had studied for 11 years with Justine O'Conner. The transition was hard, and memorable. I didn't know any of his other students, but he did in fact leave quite an impression on me.

I am sorry to say that I knew absolutely nothing about his background, and am especially surprised--and delighted now--to know that he studied harpsichord. I loved Baroque music from early on, and did play some Bach that year with Lillestol (WTC I, C-sharp major prelude and fugue, I think), but I mainly remember working with him on the Chopin Barcarolle.

I have to say that my memories are not entirely positive. I'd probably appreciate him much more now. Then, I was just having trouble adjusting from Mrs. O'Conner, who I knew so well, and who by that time, didn't push me very hard.

Mr. Lillestol didn't cut me any slack, starting with my fingernails which he thought (correctly, I'm sure) were too long, causing him at least on one occasion to seize my hands and go after them with his clippers. That left an impression, I'll tell you! I still tell students about it now when I tell them they need to clip theirs.

My general impression of him was that there was something mysterious, murky, and a little scary about him. He looked kind of puffy, had deep circles under his eyes, and spoke in a gruff, low voice. He was in that apartment by highway 35W near Dinkytown, and he sat in a huge black leather armchair by the piano. In my memory it was kind of dark, and there were boxes, and music, and other undifferentiated stuff everywhere. Sometimes during my lesson he would disappear into the kitchen for a while, and come back eating soup or something, and then he would chew on mints the rest of the time.

The specific thing that I remember about studying with him is him recording me on a reel-to-reel tape recorder that he always had set up and ready to go. In the case of the Barcarolle, he also had an LP on his player of Rubenstein playing the piece. He'd take the passage we were working on and record me, then go back and forth, dropping the needle on the Rubenstein rendition and then mine, and ask, "Why would you buy his recording and not yours?" Again, I appreciate now his use of recording to make me listen to myself, but then, it drove me crazy.

All of this notwithstanding, I realized even then that he was making me work hard and causing me to progress much further in that year than I had done before. He clearly knew the music inside out, and had, I remember, specific technical suggestions to help with stuff like the notorious double trill. I didn't look forward to my lessons, but I prepared well for them. I wish now that I had found the maturity to ask him about himself, and get over being creeped out by him and his current surroundings.

We parted on somewhat strained terms, because he was disappointed that I went off to college as a flutist rather than a pianist. I had been playing in the Greater Twin Cities Youth Symphonies and was completely enthralled with orchestral literature, and told him that this excited me more than practicing piano did at the time. He argued that I had more talent as a keyboard player than a flutist (he was right), and that I'd find more satisfaction ultimately in practicing keyboard literature (he was right about that too). I actually didn't study piano at all my first two years at Lawrence, but then missed it a lot and studied my junior and senior years alongside my flute major. I went to graduate school at Michigan in musicology, and it was there that I discovered harpsichord and got so sidetracked by this that I never finished my Ph.D. dissertation, and now here I am teaching harpsichord, piano, music history, music theory, and directing a Collegium. No flute, except that I accompany flutists a lot.

So I wish he were still around so that I could redeem myself to him for some of my high school immaturity, and have some of the fascinating conversations that I never had with him.

1978 Last evidence of a winning student, Elsie Wang, Schubert Club - 2nd. Place, Jr. HS Piano

1979 Last evidence of a performing student, Elsie Wang, St. Paul Music Teachers’ Recital, Brahms Rhapsodie, Op. 119, #4

From Elsie (Wang) Weiler: I think Mr. Lillestol was a brilliant teacher. As I recall, I studied with him from about 1975 to summer 1979. He was not too happy when I left for another teacher (just before 10th grade), but he had become quite obsessive about teaching me and I had felt increasingly smothered and unhappy about having anything to do with piano. I did not speak with him until 1982, when I called him after winning the Young People's Symphony Concert Association (YPSCA) competition, to thank him for his great teaching. That was the last time I spoke with him.

From Lois Price: Philip started reducing his teaching load in 1980 and by 1985 had stopped teaching all together and rarely touched the piano after that. He spent 1990-1991 back on the farm living with our mother. After our mother became too ill to remain on the farm in April, 1991, Philip returned to Minneapolis to his apartment that he loved. He was in ill health those last years, but still enjoyed listening to his records, reading, and television. I visited him frequently and his nephews visited when they could. He was able to come to Tucson to spend time with us several times.

Bob Laudon was truly a “friend in deed” and did many things for him. Philip always told me about the good dinners he had with him, the rides to see the fall leaves, the special movies they went to, etc. We truly appreciate everything he did.

Philip’s 1913 Steinway is at my son Tim’s home here in Arizona. It is being well taken care of and enjoyed by the family.

1992 Paul Freed retires from U of MN

1993 Philip and Paul Freed became Life Members of MMTA and Bob Laudon an Emeritus Member.

2001 December 20 Philip died.

Minneapolis visitation at Washburn McReavy on 3rd down by the river.

Memorial Service Program, Wahpeton, North Dakota, December 27, 2001. Duane, Jake and Jerome Lillestol are the cousins from 1st photo of this album. Arlene Lillestol (organist) is Duane's wife.

2001 December 27 Memorial Service, Wahpeton, ND

Philip's Gravestone, Homestead Lutheran Church, near Barney, North Dakota

Homestead Lutheran Church, built 1908, near Barney, North Dakota

History of the Lillestol Clan

by Oline Lillestol (Philip’s aunt,
his one-room school teacher until 5th grade, and
his piano teacher until high school)
(with a bit of editing by Frank Trnka)

Ole Peterson Lillestol (Philip and Lois’ grandfather), son of Ole and Oline Lillestol, was born in Hornindal, Nordfjord, Norway, March 21, 1864. He immigrated to the United States in 1888 and came to Dwight, North Dakota where some cousins lived. He was a carpenter by trade and worked at that in this area.

At this time, the government was offering a quarter section of land for the cost of $5.00 to encourage people to start farming. It was called “The Homestead Act.” In order to be eligible for this land, suitable buildings had to be erected for habitation. Ole selected a piece of land and built a two room house with a loft and other buildings. He had also done some farming. When this was done and the inspectors were satisfied, he was given a deed to the land. This was known as “Proving Up.”

Laura Elise Lindh, daughter of Jacob and Bergitta Lindh, was born August 22, 1870 in Laukvik, Lofoten, Norway. Laura’s home in Norway was in “The Land of the Midnight Sun.” Lofoten is 100 miles north of the Arctic Circle. The summers are short and the winters long. In summer, the sun shines constantly for about two months and in winter it doesn’t shine at all for about two months, there is only daylight. Laura was born into a family of 15 children. Four girls and one boy died in a plague, four girls and one boy came to America and four girls and one boy stayed in Norway. The ones who came to America were Laura, Maja, Jacobina, Hansina and Hans. Some of the others were -Karen, Petra, Christine, Richard, Fernanda, Gina and Marianne. Hansina, Jacobina and Hans came a few years after Laura and Maja.

During the short summer, Laura and her sisters spent the time on a “seater.” This was a place up in the mountains where they would take the cattle and sheep to graze to save the grass on the lowland for hay in the winter. Because only three percent of Norway is cultivated, the rest is mountains and water. It is necessary to guard the hay sparingly for winter. The seater had a house and outbuildings and it was the responsibility of the girls to take care of the milk and make cheese and butter. Laura said it was a very lonely place. Only occasionally someone would come up with more food, but they couldn’t leave because of the animals.

Laura had worked as a maid in the home of a business man in the large city of Tromso. Each maid had special jobs; Laura’s was clothing and shoes. They were a large family and put their shoes out by their bedroom doors at night. Early in the morning the maids would polish the shoes and put them back by the doors. She said they were kind folks except for Petter, a son, who was a rascal. One day he was mad at his father, went in his closet and spit all over his best suit. She never knew how that turned out.

Occasionally the maids would have an afternoon vacation. This amounted to a long walk around the city. They carried a large key to the house, and for sport, if they saw an officious looking person coming by they would very innocently jab him with the key.

She immigrated to the United States in 1893 and also came to Dwight, North Dakota. She and Ole were engaged before he left Norway, but it was five years before she came over. She and a sister Maja, pronounced Miya, came to Dwight in October when the rain had started.

When the train stopped at the little station in deep slush, they refused to leave saying they were to go to a “city.” After some conversation, they had to leave and in their finery and carrying fancy umbrellas, they stepped onto the board platform into slush up to their ankles. Ole was a little late getting to the station and they wanted desperately to turn around and go back to Norway, but, of course, they didn’t have money for the long trip back. Ole came soon and brought them to the home of a friend where they were welcomed.

Ole and Laura were married in the Dwight Lutheran Church and then went out to the Homestead he had obtained. Maja soon found work in the home of a young bachelor that was furnished with everything necessary for a comfortable home. She was an expert cook and housekeeper.

Laura was very eager to learn the English language. She often kept the teacher to learn the language and to earn a !little money. One winter she allowed school to be held in the upstairs room for a period of three months. But, “just once,” she said. “Never again.”

Money was always a problem. Ole was a fairly good fiddler and would play his fiddle for a dance all evening for the sum of $2.00. One summer there was an abundance of hay on government land that the Homesteaders were allowed to cut. Ole cut, bunched, and sold it for $1.00 a load - as much as could be loaded on a hayrack and those loads were HUGE!

Since there were no trees in the area and wood was the fuel for cooking and heating, it had to be gotten from the Sheyenne River, many miles from there. Jacob was soon to be born and Ole decided he had to have more wood. He left at daybreak and Laura knew he would do well to get home that night. In mid-afternoon Laura began feeling ill and had only 15-month Peter (Philip and Lois’ father, born 1896) for a companion. She stoked the fire as long as she was able and then took Peter into bed with her and prayed a lot. Ole did get home that night and found Laura very ill and both she and Peter very cold. After comforting them but with no telephone, he had to take off again to get a midwife. Jacob arrived hale and hearty and what might have been a triple tragedy turned out fine.

When Jacob was one month old, and even in the dead of winter, it was necessary that he be baptized. The family in a lumber wagon and with horses went to Dwight, 15 miles away, where the nearest clergyman lived. Jacob was baptized with sponsors, Eskild Farup, a family friend, and Laura’s sister Jacobina Lindh. These two had not met until that day but Dan Cupid must have been around since they were married some months later. They settled on Eskild’s farm about six miles from Laura and Ole.

Hansina married Hans Rhode and settled on a farm close to Sioux Falls, South Dakota. Maja married a young Englishman, Arthur Bayes. They lived in the Wahpeton area some years and then moved to Petoskey, Michigan. Hans tried farming but didn’t do well at that and wound up in Seattle working in the Ship Yard.

As the family grew, the little house became crowded. Ole added a good sized dining room and a kitchen. Laura’s neighbors envied her frame house but with no trees for protection from the blazing sun of summer and fierce winds of winter and no insulation, the house was uncomfortable much of the time. Young Laura envied a neighbor who had a sod house that was cool in summer and warm and cozy in winter.

In Ole’s family there were only three children: Andreas, Olina and Ole. Olina went to Canada, settled there and raised a family near Regina - her name was Olina Roset. There are now many Rosets in that area.

Andreas came to the United States and here’s the story. When Ole and Laura had their first five children Ole got a letter from Andreas in Norway saying that they were starving and could he send them money to come to America -the place with “Golden Streets.” Fortunately the house was enlarged by that time and Ole sold one of his animals and sent the money. They also had five children, four boys and one girl, which made seven more people. Can you imagine cooking and baking for 14 people day after day in the summer without electricity? Andreas did find work before too long and later a set of buildings became vacant and the family moved in. Their boys were a little older than Ole’s and also found some jobs here and there. In time they had a farm of their own in West End Township, west of Wyndmere. When they were much older and all of their children gone, they went to live in Minneapolis, where a son Leif and his wife, Doris, lived.

Ole and Laura with strong Lutheran backgrounds from Norway, felt the need of a church in this community. Ole headed the list and went from place to place for contributions. Before long, enough money was collected and the Homestead Church was built in 1908.

Ole and Laura became the parents of eight children: Peter Olaf, Jacob Bergeton, Iver Gren, Lilly Ovedia, Anna Marie, Myrtle Odina, Oline Fernanda and Harvey Selnor.

And how did Laura discipline all these children? She was not a large person, average height and slim, but when she said “NO!” that meant “NO!” Some didn’t need much correction, Peter, Jacob and Anna especially. I never heard of a “switch” being used, but I do remember a rap on the head if Laura was disturbed during a phone call, and also being sent upstairs to cool off. There was never any arguing at the table.

Ole was a very ambitious man and active in all community meetings. At one point, he was awarded the job of hauling lumber for a pound-yard at his place. He would have the job of building it if he would do it for $5.00. This was a place for straying cattle.

Early in February, Ole became ill with a very bad cold. The doctor from Wyndmere came out and said it was pneumonia. What medicine he had didn’t seem to help and Ole decided he wanted to go to Wahpeton. Peter brought him to Barney, where the train stopped for passengers, only to learn that the train was stranded in snow and wouldn’t be coming. There was nothing to do but go back home. A few days later, Ole died at the young age of 46 on February 18, 1910. He was the first to be buried in the Homestead Cemetery.

Now Laura was left alone to raise the eight children ages 14 to 1-1/2. The thought was overwhelming and she could hardly contain herself. She even thought of moving to Wyndmere in hopes of finding work. But kind and caring friends and neighbors convinced her she would be better off on the farm. Of all the wonderful friends that rallied around Laura and her family, one stands out as being special. He also had immigrated from Norway and homesteaded near them. His name was Arnie Hjelseth and he was well acquainted with Ole and Laura and also the children. When Peter became the father figure of this family, Arnie was there to help. He was a bachelor and didn’t like to cook, so he had eaten many meals at Laura’s table. Eventually he became a permanent member of the family. There are no words to describe what he did for them. He was very capable in every respect, thoughtful, kind, and pleasant. How could they have been so blessed.

The fall before Ole died, he had purchased a large number and many kinds of trees to be planted in the spring for a grove. Now Peter and Laura planted all those trees. They grew and flourished into a large, valuable grove that can still be seen around the buildings at the old Homestead.

The children were doing well. All seemed to be in good health and growing up as children do. Crops were adequate and little by little more equipment and animals were purchased. In a few years, a large barn was built.

Jacob, now 20, went to Sioux Falls, South Dakota, where a sister of Laura’s lived, to do carpenter work. He was there when the first world war broke out. He registered for the draft there and soon was called to serve in the army. When the day came for him to leave, Laura and others were at the train station to see him off. Laura remarked later that the hardest thing she had ever experienced in her life was to watch the train leave with Jacob on it - going to war. She felt she had to run after the train and get him off. Jacob served eleven months in France and Belgium. In spite of many hardships, he fortunately came home in good health.

Laura raised sheep on the farm. In spring they were sheared and she would wash the wool and spin it into yarn. From this she knit socks and mittens and other things. She would also card it and make it into pads to put in quilts for warmth. She knitted dozens and dozens of pairs of socks and mittens for the World War effort.

Laura taught her daughters to knit, crochet and other fancy work, and also to make quilts. Most of the quilts were tied, but some were stitched by hand, these were the more fancy ones. Nothing was wasted. Flour came in 100 or 50 pound cloth bags. The 50 pound bags became dish towels and the 100 pound became slips, bloomers, night gowns and even dresses. Sugar came in 25 pound cloth bags but most often in 10 pound cloth bags. These were sewn together with strips of colored cloth and became tops for quilts. For winter quilts, she would also cut up old suits, coats and jackets and sew the pieces together. Then she would often use colored thread to make fancy stitches over the seams.

Because there was no electricity to freeze food, it had to be preserved in other ways. Hams and bacon were soaked in brine and then smoked thoroughly in a smoke house. Beef and pork was cut up in chunks, put into a quart size glass jar with some broth and baked in the oven for several hours. The lids were then tightened firmly and the meat kept very well for a long time. Much fruit was canned, jams and jellies made.

For entertainment there were church programs and school programs and always a last day of school picnic. The parents came with lots of delicious food followed by a rousing game of softball. In summer there was an occasional barn dance when there was no hay in the loft. (The barn dance was for neighbors and friends - ONLY). During winter there was much visiting between neighbors and many Sunday dinners. And then there were Basket Socials, usually held in a school house and always well attended. The ladies would bring a decorated box or small basket filled with delicious food. The men who came were prepared to buy one of these and have the privilege of eating lunch with the owner of the basket. One of the men was elected to be auctioneer and the sale was on. If one of the men -or boys- had a special girlfriend he would try to spy her basket. At one of those socials, an especially beautiful basket came up and the bidding was spirited -until- up from the crowd came a voice- “Don’t tip the basket, there is sauce in there.” Silence. The bidding stopped. She was not one of the favorites. But the social went on. Proceeds from these events went to the school for library books.

Myrtle liked to be on the go. A very favorite place was “Saturday Night in Wyndmere.” People came from miles and miles and crowded the little town. The Main Street was about two blocks long. There were two grocery stores where one could buy anything from a stick of candy to a suit of underwear. The Bar was busy taking care of thirsty men, rarely a woman. There was a creamery, a drug store where ice cream was served and a Cafe for coffee and whatever. Sometimes the theater had a film and that was special. But unless Peter got the chores done he couldn’t take her. So - she learned to milk cows. Talk about determination. Of course others also went.