Arts & International Affairs: Vol. 3, No. 2, Summer/Autumn 2018 | Page 17

ARTS & INTERNATIONAL AFFAIRS
(Fosler-Lussier 2015:64). Söllner could thus build on both a network of support and
Strickland’s educational work. From the perspective of the West German Foreign Office,
Söllner’s initial work in Saigon was highly successful. In addition to taking over the Saigon
Symphony Orchestra, Söllner founded chamber music ensembles, performed European
classical music with choirs, and wrote arrangements based on Vietnamese folk
songs that were commissioned by the South Vietnamese state. His compositions and
arrangements were performed as part of the official ceremonies surrounding the South
Vietnamese national holiday, “Constitution Day,” on October 26, 1960, the highlight of
Söllner’s first stay in Vietnam (Söllner 1961).
Söllner’s musical activities were mediated widely, including through French and English-language
outlets whose readership included U.S., French, and South Vietnamese
political elites. In October 1960, the South Vietnamese propaganda outlet The Times of
Vietnam published a portrait of Söllner. According to the newspaper, Söllner had embraced
his political mission as a mediator of prestige:
“In Germany an orchestra of real stature contributes as much to the
reputation of a city as its economic and political activities, if not more,”
said Otto Söllner. “A city without an orchestra is not a city” he added,
expounding his efforts both to understand the soul of this city and give
it a soul through the symphony. (Nha 1960:9)
The West German ambassador to Saigon York Alexander Wendland’s reports to the German
Foreign Office betray what he deemed to be the main goal of Söllner’s work in Vietnam.
In a report to the Foreign Office, Wendland wrote:
When music director Otto Söllner arrived, the local symphony orchestra
completely lacked unity. Moreover, it was not used to order. Musicians
were always missing and members of the orchestra partly turned up late
for rehearsals. Although two American conductors had certainly done
laudable preparatory work, the orchestra could not be regarded as a unified
ensemble. The musicians dutifully adhered to the scores, but they
were not used to playing in accordance with the conductor. [ ... ] After two
weeks of hard work, Mr. Söllner completely controlled the orchestra. After
three months, the level of the orchestra had increased in an uttermost
amazing way. The nearly Prussian discipline Söllner demanded from his
students, combined with his Southern German charm, soon impressed
not only the musicians in his orchestra, but the entire city. The orchestra
can be presented anywhere now. The next months will show whether
this level can be sustained under the leadership of the hard-working local
conductors. This must be doubted. 4 (Wendland 1960:2–3)
4 “Dem hiesigen Symphonieorchester [ ... ] fehlte bei Eintreffen von Musikdirektor Söllner jede
Einheitlichkeit. Es war außerdem überhaupt nicht an Ordnung gewöhnt. Bei den einzelnen Proben
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