Winter 2008 Concert Tour

Luther CollegeConcert Band

Joan deAlbuquerque, conductor

2014 Upper Midwest Tours 1

PROGRAM AND NOTES

JOAN deALBUQUERQUE

Joan deAlbuquerque was appointed director of bands at Luther College in 2011. She conducts the Luther College Concert Band and Wind and Percussion Ensemble, and teaches conducting. Prior to Luther College, she served as the associ-ate director of bands at California State University, Long Beach and as interim director of bands at Adams State College in Alamo-sa, Colorado. An experienced public school teacher, deAlbuquerque was director of bands at Pinckney High School in Michigan, where she directed the wind symphony and marching band in addition to teaching instrumental and general music at the elementary and middle school levels.

She earned her doctor of musical arts degree in wind conducting from the University of North Texas as a student of Eugene Migliaro Corporon. She holds a master of music degree in wind conducting from Michigan State University, where she studied with John Whitwell. A graduate of Macomb Community College, deAlbuqerque earned a bachelor of music education degree from Michigan State University.

As a guest conductor, clinician, and adjudicator, deAlbuquerque has worked with middle school and high school bands throughout the Midwest, western United States, and Israel. She has presented clinics and workshops for the Southern California School Band and Orchestra Association (SCSBOA) and Tau Beta Sigma, and has conducted at conferences for the SCSBOA, California Band Directors Associa-tion, College Band Directors National Association (CBDNA) national and western regional conferences, the Music Educators National Conference, and the Iowa Bandmasters Association (IBA).

A regular contributor to the Teaching Music through Performance in Band series, published by GIA Publications, deAlbuquerque has also written for the Kappa Kappa Psi/Tau Bet Sigma publication, The Podium. From 2008 to 2011, she was on the national board of Tau Beta Sigma as vice president of profes-sional relations. She is on the board of the Northeast Iowa Bandmasters Association as the college affairs representative and is a member of IBA, CBDNA, and Pi Kappa Lambda.

2

Quirks (2012)Brant Karrick (b. 1960)

Quirks—a word defined as a sudden sharp turn or an unpre-dictable peculiarity of behavior or action—demonstrates the capricious nature of the title in its musical character. The music is both fast and slow, happy and sad, extroverted and introverted, and just never seems to go to where it is ex-pected. There is plenty of interplay between winds and per-cussion as the four and three notes of the main motive are tossed about the many instrumental colors. Purposely trying not to stay on any one particular motivic and stylistic variant (Latin, tango, jazz swing, rock) the music soon reaches a new “fresh air” theme in the woodwinds. It is here that listen-ers should relax and let the light nature of the melody and instrumental colors carry them away as if coming home to relax after a strenuous and stressful day. A slower, reflective chorale follows with a plaintive soliloquy by the soprano saxophone. The homophonic texture of the chorale features bitonal harmonies or triads that move in mostly contrary motion.

—Brant Karrick

Lullaby for Noah (2008) Joseph Turrin (b. 1947)

Lullaby for Noah was composed for Noah Donald Koffman-Adsit and commissioned by Glen Adsit and the Hartt School Wind Ensemble. When Glen asked me to compose a lul-laby for his son Noah I was completely taken with the idea. I wanted to write a piece that was simple and eloquent. As I composed this piece, I thought of that wonderful main theme of Elmer Bernstein’s score for the film: To Kill a Mockingbird—how provocative and songlike—beautifully shaped and filled with a quiet melancholy. There is also a touch of melancholy in this lullaby and perhaps a longing for the innocence that once was our basic nature.

— Joseph Turrin

“When I approach a child, he inspires in me two sentiments; tenderness for what he is, and respect for what he may become”

—Louis Pasteur

Baby Face Nelson and the Femme Fatale (2010)Joseph Thalken (b. 1962) Xiao Hu, piano

Baby Face Nelson and the Femme Fatale was inspired by many an afternoon, as a youngster, spent watching gangster movies of the 1940s and ’50s. I loved film noir, with its private de-tectives in trench coats, hard-boiled newspaper reporters and beautiful women on the wrong side of the law. Incidentally,

2

XIAO HU, piano

Pianist Xiao Hu has been a member of the piano faculty at Luther College since 2002. She has per-formed in Carnegie Hall’s Weill Recital Hall and Merkin Concert Hall in New York City and concert venues in Europe and Asia. She has presented concerts and workshops at many institutions, including Guangzhou Xinghai Conservatory of Music, China Central Normal University, Wuhan Conservatory of Music, University of South Florida, St. Cloud State University, Gustavus Adolphus College, Central College, University of Iowa, Western Illinois State University, Knox College, Abilene Christian University, and Viterbo University.

Hu performs actively with her husband, pianist Du Huang, as the Unison Piano Duo. Praised by the New York Concert Review as “Sparkling and fleeting…unusually high level of ensemble playing,” the duo’s performances have been broadcast by Minnesota Public Radio and Iowa Public Television. The duo has also toured the Czech Republic twice as part of the Vysocina Music Festival and the South Bohemia Music Festival, and has presented a workshop at the Confer-ence of European Piano Teachers Association in Czech Republic.

Hu earned her bachelor of music (summa cum laude) and master of music degrees from the University of Cincinnati, studying with Eugene and Elizabeth Pridonoff. She later earned her doctor of musical arts degree from the State University of New York at Stony Brook, under the guidance of pianist Gilbert Kalish. Hu has the distinction of winning concerto competitions at both universities where she graduated. Besides teach-ing and performing, Hu has also served as an adjudi-cator for the 62nd Hong Kong Schools Music Festival, the La Crosse Symphony Orchestra’s Rising Star Young Artist Competition, and the Iowa and Wisconsin Music Teachers’ Association competitions.

3

this work is not a literal portrait of the real Baby Face Nelson (1908–1934), who was a notorious Chicago gangster and the subject of multiple films. It is, rather, an affectionate, slightly tongue-in-cheek tribute to the film genre that larger-than-life characters like Baby Face Nelson inspired.

—Joseph Thalken

Morning Sun Upon The Wild Prairie Rose (2014)John Carnahan (b. 1955)World premiere

The idea for this piece came as I was attempting to write a piece for renowned trumpeter Adolph “Bud” Herseth, Lu-ther College class of 1943. He held the position of principle trumpet with the Chicago Symphony for 53 years. How-ever, I was requested not to write a trumpet solo piece. So I decided, after much trial and thought, to write a piece that represented his personality and influence rather than his in-strument. The true inspiration came when I decided to emu-late through music the undeniable twinkle in his eyes. He was a simple man, yet one of the greatest musicians in the world. He maintained an uncomplicated lifestyle his entire life and truly enjoyed the small pleasures that life brought to him outside of music.

The countless solos that Bud played with the symphony had a sound and beauty that could not be matched. If you are familiar with trumpet parts in orchestral literature, you find that many of the solo passages are quite short within the symphonic repertoire. I perceived his multitude of famous solos as an exquisite musical bouquet that he would gladly bestow upon anyone at any given moment. Hence, I needed a flower for the bouquet.

To bring the composition together, I selected the simple beauty of the wild prairie rose (the state flower of Iowa) to depict the bouquet, and the simple beauty that God bestows upon all of us when we take the time to look. Bud always took the time to look.

In the piece itself, you will hear short musical gestures rather than long musical lines. These gestures represent Bud’s short solos and the prairie roses within the grand and colorful bou-quet. Each has its own color, size, volume, speed, and age. Al-though not direct quotes from the orchestral literature, these fragments are representative of symphonic solos. The end of the piece finds the only direct quote from the literature and a trumpet solo. A three-note solo (E-C-G) that Bud made famous from the Adagio movement of Brahms’ Symphony No. 1. This is said to be one of his favorite musical moments in the orchestral literature.

continued on next page

3

PROGRAM AND NOTES

The challenge in performing the piece is to play each gesture with confidence and beauty, like a great soloist or a beautiful rose.

I hope you enjoy the musical bouquet of the Wild Prairie Rose and that it brings a smile—and a twinkle to your eye—just as Bud would have welcomed it.

—John Carnahan

La Procession du Rocio (1913) Joaquin Turina (1882–1949) Arr. Alfred Reed

La Procession du Rocio was given its premiere in Madrid in 1913. Every year in Seville, during the month of June, there takes place in a section of the city known as Triana a festival called the Procession of the Dew, in which the best families participate. They make their entry in their coaches following an image of the Virgin Mary on a golden cart drawn by oxen and accompanied by music. The people dance the soleare and the seguidilla. A drunkard sets off firecrackers, adding to the confusion. At the sound of the flutes and drums, which announce the procession, all dancing ceases. A religious theme is heard and breaks forth, mingling with the pealing of the church bells and the strains of the royal march. The procession passes and as it recedes, the festivities resume, but at length they fade away.

—VanderCook Symphonic Band via The Wind Repertory Project

Two-Lane Blacktop (2013) James M. David (b. 1978)Regional premiere

Two-Lane Blacktop is an homage to the open road and the distant horizon. Inspired by Mary Heilmann’s abstract paint-ing of the same name, this short work for wind ensemble is a similarly abstract étude about tempo, rhythm, and move-ment. An opening ascending gesture is heard throughout, representing “gear shifts” that alternate with increasingly complex variations on a three-note motive. The contrasting center section employs a soaring saxophone melody that de-picts the timeless feeling of driving through the Utah desert. Finally, the variations build to maximum complexity only to collapse into a single intense acceleration.

—James M. David

DORIAN FESTIVALS AND SUMMER PROGRAMSLuther College hosts hundreds of middle and high school student musicians at seven annual Dorian Festivals and Summer Programs. Participants receive private instruction, ensemble coaching, and performance opportunities in Luther’s own Noble Recital Hall and Center for Faith and Life.

Dorian Band Festival600 participants3 ensembles, including select Symphonic Band

Dorian Choral Invitational FestivalMore than 450 participants

Dorian Keyboard FestivalMore than 150 participantsPiano, organ, and harpsichord

Dorian Orchestra FestivalMore than 150 participants3 ensembles, including select Chamber Orchestra

Dorian Middle and High School Summer CampsMore than 600 participantsJune 8–14, 2014 (middle school)June 15–21, 2014 (high school)

Dorian Vocal Festival1,200 participantsChoral and solo opportunities, including select

Chamber Choir

For information, contactJim Buzza, coordinatorDorian Music Camps, Luther College(563) 387-1389jimbuzza@luther.eduhttp://music.luther.edu/dorian

4

CONCERT BAND SNAPSHOTS

5

Reggie Young ’16, tenor saxophoneNorthfield, Minn.music and Spanish majormusic education minor

Why did you choose to come to Luther? Luther gave me the best of everything. Not only can I be a music major and be in a top ensemble, but I can also be a varsity athlete (soccer).

Favorite piece you’ve performed with Concert Band? Two-Lane Blacktop. It’s loud, has challenging rhythms, and the percussion sounds super awesome!

What will you take from Concert Band beyond Luther? Concert Band has taught me to be confidant in and to share my abilities. I came in thinking I would never be able to live up to the amazing players in the band, but now I know that I’m in the right place and I look forward to every performance, knowing that I get to share my talents with people.

Sarah Nolte ’14, clarinetWinterset, IowaEnglish major

Why did you choose to come to Luther? I chose Luther because of the great experiences I had at Dorian Summer Music Camp. After seven summers I just knew that Luther was the place for me!

Why did you continue to play in band as a nonmusic major? I couldn’t imagine not having band in my life. Plus, LCCB has such a wonderful history and I wanted to be a part of that.

What will you take from Concert Band beyond Luther? Before each concert, Dr. deAlbuquerque always prays that we will touch peo-ple with our music. I think that is really the reason why we play music—to touch people and give them joy, or healing, or whatever they need. That thought that making and en-joying music is so accessible and universal will stay with me for the rest of my life.

Katie Scherr ’14, percussionOconomowoc, Wis.music majormusic education and Spanish minor

Why did you choose to come to Luther? When I visited as a senior in high school, the atmosphere just felt like home. As a future music educator, the strong music and education programs were absolutely a major factor in my college decision, but the fact that it felt right is how I knew Luther was where I belonged.

Favorite LCCB memory? There as so many to choose from! Specifically, getting to know the members of my own section over the past few years has been incredible. Each year we truly become a close-knit family, and they have helped shape my time in Concert Band into a wonder-ful and loving experience.

Plans after graduation? I will be student teaching in the fall of 2014, and then will start looking for a job as a high school band director!

Willy Leafblad ’14, oboeWatkins, Minn.music majorK–12 music education minor

Favorite LCCB memory? The LCCB tour to Iceland and Norway will stick in my memory for a long time. It was an amazing experience to grow musically and person-ally with the band. A highlight of the tour was playing our concert in the Harpa Concert Hall, located on the old har-bor in Reykjavík. I could see the North Atlantic from where I sat in the band, and the sun shone in beautifully through the glass walls of the build-ing. It was unlike any other concert experience in my life.

What will you take from Concert Band beyond Luther? LCCB is a group that is rich in history, tradition, and camaraderie. It is by these principles that I have learned some of the most valuable lessons at Luther. A concert performance does not always yield the desired result; the perfect run-through may come in a rehearsal. However, the people that go with you on the journey are often more important than the destina-tion itself.

5

CONCERT BAND AT LUTHER

The Luther College Concert Band was formed in 1878, laying the foundations for what would become the college’s long-standing tradition of musical excellence. Directed by Joan deAlbuquerque, Concert Band is now one of the oldest touring organizations in the nation and ranks among the country’s outstanding college bands.

From its beginnings as a student-directed brass and percus-sion ensemble formed with instruments from a discontinued community band, Concert Band rose to its current position of prestige with deAlbuquerque through the influential directorships of Carlo Sperati (1905–1943), Weston Noble (1948–1973), and Frederick Nyline (1973–2011). The ensemble is rich in tradition, most apparent through the inclusion of the selections Who Puts His Trust in God Most Just and Stars and Stripes Forever at the end of almost every concert. Throughout its long history, Concert Band has enjoyed unrivaled performance opportunities in the United States, Western Europe, and Japan. The ensemble tours every year, with international travel every four years.

The band has been selected to perform at the 2014 North Central Regional Conference of the College Band Director’s National Association in Muncie, Indiana. This honor fol-lows an invitation to perform at the 2013 Iowa Bandmasters Association Conference in Des Moines and an international tour to Iceland and Norway.

Luther College hosts two wind bands in addition to Concert Band. Wind and Percussion Ensemble, an auditioned band limited to around fifty participants, is also directed by deAlbuquerque and rehearses three days each week. Varsity Band is open to any student with an interest in continued band participation at the college level and rehearses twice a week. Both ensembles perform regularly on campus. Band students also have the opportunity to participate in the orchestral, jazz, and chamber ensembles on campus, in ad-dition to cheering on the Norse athletic teams in the Luther College Pep Band.

2014 TOUR SCHEDULE

1. Wednesday, February 26, 12 p.m.Glenbard West High School AuditoriumGlen Ellyn, Illinois

2. Wednesday, February 26, 2014 / 7:30 p.m.Valparaiso University Center for the Arts,

University TheatreValparaiso, Indiana

3. Thursday, February 27, 4:30 p.m.North Central Regional Conference of the

College Band Directors National AssociationBall State University, Sursa Performance HallMuncie, Indiana

4. Friday, April 25, 7:30 p.m.McFarland High School AuditoriumMcFarland, Wisconsin

5. Saturday, April 26, 7 p.m.Shared Concert with Minnesota Symphonic

WindsCalvary Lutheran ChurchGolden Valley, Minnesota

6. Sunday, April 27, 2 p.m.Kennedy Secondary School AuditoriumFergus Falls, Minnesota

7. Tuesday, April 29, 7:30 p.m.Center for Faith and LifeLuther CollegeDecorah, IowaWatch the tour homecoming concert live online. See details on the back cover.

View tour schedule updates at luther.edu/music/concert-band

12

3February Tour

April Tour

4

5

6

7

6

PiccoloBlaire Shaffer, Greeley Colo.

psychology, music minor

Flute*Rebekah Sandgren, Fargo, N.D.

undeclaredMaranatha Gannon, Viola, Wis.

elementary education

Austin Mustain, Wilmette, Ill.music

Oboe†*Willy Leafblad, Watkins, Minn.

music, K–12 music education minorRebecca Keller, Brighton, Colo.

musicKierra Blackstad, Lakeville, Minn.

music, K–12 music education minor

Bassoon†*Laura Christensen, Colorado Springs,

Colo.music and mathematics, 5–12 secondary education and K–12 music education minors

Elise Gerhart, Souix City, Iowaundeclared

Miranda Honzel, Machesney Park, Ill.music

Bb Clarinet*Mercedes Martin, Minnesota City, Minn.

Spanish, managementJoel Denney, Byron, Minn.

biology, music and chemistry minorsDanielle Border, Fort Dodge, Iowa

music, K–12 music education minorKatherine Johnson, Lansing, Ill.

social workSarah Nolte, Winterset, Iowa

EnglishAnna Beamsley, Joliet, Ill.

music, K–12 music education minorJordan Cox, Baraboo, Wis.

music, K–12 music education minorElise Heiser, Johnsburg, Ill.

nursing

Eb ClarinetLindsey Colyer, Plymouth, Minn.

psychology, chemistry and biology minors

Bass Clarinet*Breanna Blaess, Cresco, Iowa

business management and health, Spanish minor

Lissette Collazo, Chicago, Ill.music, education minor

Alto Saxophone*Nathan Plass, Cadott, Wis.

English, Russian studies and 5–12 secondary education minors

Ellen Larsen, Galesburg, Ill.communication studies

Tenor SaxophoneReggie Young, Northfield, Minn.

Spanish and music, K–12 music education minor

Baritone SaxophoneRyan Goos, Baxter, Minn.

Spanish, international studies

Horn*Caroline Charles, Edina, Minn.

elementary education, Spanish minorMegan Hopper, Dysart, Iowa

elementary education, English minorEmmalyn Stumpf, Menasha, Wis.

biology, Spanish minorJames Mueller, Elmhurst, Ill.

dance and music, French minorTyler Anderson, Cannon Falls, Minn.

English and communication studiesEllen Widerski, Madison, Wis.

mathematics and computer science

Trumpet*Kalli Kistenmacher, Holstein, Iowa

music, K–12 music education minorFlint Angeroth Franks, Pleasant Hill, Iowa

musicJessica Dorsey, Freeport, Ill.

management and communication studiesJakob Jorgenson, Stillwater, Minn.

music and computer scienceMike Schultz, Genoa City, Wis.

musicShafer Stromwall, Deephaven, Minn.

music

Trombone*Tyson Lund, Montevideo, Minn.

music, K–12 music education minorLillian Brondyke, Dubuque, Iowa

biology and chemistryCarter Johnson, Hudson, Wis.

Biology, chemistry and religion minorsConnor Jones, Chatham, Ill.

music, K–12 music education minor

Bass TromboneRobert Starr, Charles City, Iowa

chemistry, 5–12 secondary education minor

Euphonium†*Web Gehring, Galesburg, Ill.

musicSam Thrun, Oconomowoc, Wis.

environmental studies

Tuba*Nathan Lee, Decorah, Iowa

physics, mathematics, and computer scienceElena Zarecky, Colorado Springs, Colo.

music, K–12 music education minor

Percussion*Leif Larson, McFarland, Wis.

music, history minorJosh Olson, Spencer, Wis.

music†Katie Scherr, Oconomowoc, Wis.

music, Spanish and K–12 music education minors

Sylvia Kaare, Eden Prairie, Minn.music, K–12 music education minor

Caleb Sander, Newton, Iowamusic, management minor

Matt Nielsen, Omaha, Neb.music

HarpKatharine Bergman, Cedar Rapids, Iowa

music, theatre and K–12 music education minors

*section leader†officer

7

2013–14 CONCERT BAND PERSONNEL

7

SUPPORTING STUDY ABROAD

A Luther College education connects students with vital global issues and ideas in many ways. As a liberal arts college, Luther is committed to a way of learning that moves us beyond immediate interests and present knowledge into a larger world—an education that disciplines minds and develops whole persons equipped to understand and confront a changing society.

A primary way to expand one’s lens of learning is to study internationally. Approximately two thirds of our students choose a Luther-sponsored yearlong, semester, or January Term experience during their four years.

However, the opportunity to study abroad is out of reach for many students. Aiming to make the experience possible for more students, endowed scholarship support for study abroad remains a central focus at Luther College. With the current Sustaining the Mission fundraising

The college has established the Friends of International Touring Scholarship to provide support for students who desire to travel internationally on a scheduled ensemble tour and who, without assistance in covering associated travel costs, would be unable to participate. This endowed fund not only supports students, but also receives gifts and pledges from donors who may not be in a position to fully fund an endowed scholarship at the $25,000 level.

Performing on the world stage is an integral aspect of studying music at Luther College. For further information about giving in support of scholarships for study abroad or international touring, please contact the Development Office at (800) 225-8664 or visit the website http://giving.luther.edu.

effort, the college seeks to secure more than $4,000,000 in overall endowed scholarship support by December 31, 2014. Endowment for study abroad scholarships is included within this goal.

Similar to Luther’s traditional need-based scholarship funding, a minimum of $25,000 is required to establish an endowed study abroad scholarship. Donors may fund such a scholarship through outright support or through a planned gift.

Luther student musicians connect with the larger world through ensemble touring with the Nordic Choir, Concert Band, and Jazz Orchestra in such diverse places as Hong Kong, Norway, Poland, the Dominican Republic, Brazil, England, Russia, and Spain, among others. Luther’s Symphony Orchestra engages in a three-week residency in Vienna, Austria, every four years.

Scholarships from special international touring funds make it possible for students who otherwise might not be able to travel to accompany their ensemble. The Concert Band is pictured above following a performance at the Glass Cathedral in Hamar, Norway. Concert Band will tour internationally again in 2017.

8

LUTHER COLLEGE

The sense of community at Luther is enhanced by the college’s picturesque location. Nestled in the bluff country of northeast Iowa, Luther is a strong and vibrant residential community purposely set apart. Our 1,000-acre campus includes frontage on the Upper Iowa River, recreation trails, outdoor research sites, and well-designed facilities dedicated to teaching and learning. In the past few years, the college has added a $20 million science laboratories center that has expanded opportunities for collaborative research and learning and a state-of-the-art aquatic center.

Luther has a strong tradition of engaged and experiential learning, most notably in our study-abroad programs. More than two-thirds of Luther students will study abroad before graduating, placing us among the top baccalaureate colleges nationally in the number of students studying abroad each year. Many students travel with Luther faculty during the college’s January Term, a month-long intensive course of study with programs on five continents.

We believe music is central to a liberal arts education. As one of our conductors puts it, “Musical expression—artistic expression—answers some of our most fundamental needs as human beings: the need to be creative, the need for self-fulfillment, and the need for self-expression, beauty, and meaningful existence.”

In the end, a Luther education is about transformation. We put our faith in a strong liberal arts education, rich cocurricular programs, and the beauty found in place and community. Students are transformed by their four-year journey at Luther and leave here ready to make their mark in the world.

To learn more about us, visit www.luther.edu or call (800) 4 LUTHER.

Since 1861, Luther College has placed its faith in a classic residential, liberal arts education.We believe that providing a rigorous academic program in the context of a faith tradition prepares students for more than successful careers. Luther graduates have a sense of a larger purpose—a sense that the “good life” is one where they use their talents and knowledge in service to others.

Luther’s liberal arts curriculum begins with 180 full-time faculty who come from the strongest graduate programs in the United States and around the world. They reflect the college’s ideals as a Phi Beta Kappa institution—excellence every day in the liberal arts. With expertise ranging from collaborative filtering (in computer science) to a fresh interpretation of St. Patrick from Latin (in classics) to biodegradable polyesters (in chemistry), our faculty feel called to be at a place where the attention is on undergraduates. The college’s 12:1 student-faculty ratio makes it possible for professors to know their students well and become intellectual mentors and guides. And because nearly all faculty live within five miles of campus, they make a life here, along with students and colleagues. This creates a strong sense of community and shared purpose on the Luther campus.

9

10

GREGORY PETERSON ’83. D.M.A., University of Iowa. Department head, college organist, organ, Luther Ringers.

JON AILABOUNI ’10. M.M., Western Michigan University. Jazz Band, Varsity Band, improvisation, trumpet.

EDWIN ANDERECK. D.M.A., University of Cincinnati, College-Conservatory of Music. Head of voice and opera, voice.

HEATHER ARMSTRONG. D.M.A., Eastman School of Music. Oboe, theory, double reeds methods. (Sabbatical spring 2014)

ERIC ASHCRAFT. M.M., University of Cincinnati, College-Conservatory of Music. Voice.

DANIEL BALDWIN. D.M.A., University of Texas at Austin. Symphony Orchestra, Chamber Orchestra, conducting.

ANN BENJAMIN. M.M., Indiana University. Harp.

REBECCA BOEHM SHAFFER. D.M.A., University of Northern Colorado. Horn, brass methods, ear training.

JASON BRITTON. Ph.D., University of Oregon. Theory, ear training.

MARGARET BRITTON ’10. M.M., University of Texas at Austin. Theory, ear training.

MICHAEL CHESHER. D.M., Indiana University. Clarinet, woodwind methods.

JOHN CORD. D.M.A., University of North Texas. Trumpet, brass methods.

JOAN deALBUQUERQUE. D.M.A., University of North Texas. Concert Band, Wind and Percussion Ensemble, conducting.

AMY ENGELSDORFER. Ph.D., Indiana University. Theory, ear training.

ROLF ERDAHL. D.M.A., Peabody Conservatory. Double bass, string methods.

BILL FORDICE ’82. D.M.A., Boston University. Music education.

RONALD FOX. D.M., Indiana University. Professor emeritus.

MICHAEL GEARY. M.A., University of Iowa. Percussion, Percussion Ensemble, percussion methods.

JAMES GRIESHEIMER. Ph.D., Indiana University. Music history, symphonic music.

JUAN TONY GUZMÁN ’90. Ph.D., Florida State University. Music education, ethnomusicology, Jazz Orchestra.

CARLA HANSON. M.M., Northern Arizona University Flagstaff. Voice.

LYNNE HART. M.F.A., University of Iowa. Saxophone.

CAROL HESTER. D.M., Florida State University. Flute, flute methods. (Sabbatical spring 2014)

ALLEN HIGHTOWER. D.M.A., University of California, Los Angeles. Weston H. Noble Endowed Chair in Music. Director of choral activities, Nordic Choir, conducting, choral methods.

KRISTIN HIGHTOWER. D.M.A., University of California, Los Angeles. Voice.

XIAO HU. D.M.A., State University of New York–Stony Brook. Piano, class piano.

DU HUANG. D.M.A., State University of New York–Stony Brook. Piano, class piano.

HELEN JAMES. D.M.A., University of Oregon. Bassoon.

BROOKE JOYCE. Ph.D., Princeton University. Ear training, composition, music history.

DAVID JUDISCH. D.M.A., University of Iowa. Professor emeritus. Voice, vocal methods.

KAREN KANAKIS. D.M.A., University of North Texas. Voice, opera. (Sabbatical spring 2014)

MIKO KOMINAMI. M.M., The Juilliard School. Piano, theory.

JOSEPH KROMHOLZ. A.B.D, New England Conservatory of Music. Violin, string methods.

WILLIAM KUHLMAN. M.M., Syracuse University. Professor emeritus.

ERIC KUTZ. D.M.A., The Juilliard School. Cello, string methods.

JACOB LASSETTER. D.M.A., University of Cincinnati, College-Conservatory of Music. Voice, opera.

ANDREW LAST ’97. D.M.A., University of Nebraska–Lincoln. Collegiate Chorale, Norsemen, conducting, voice, Dorian music camp director.

HANNAH LEFFLER. M.M., University of Northern Iowa. Flute.

PETER LINGEN. Guitar, lute, class guitar.

LINDA MARTIN. M.M.E., University of St. Thomas. Theory, ear training, Cantorei.

SPENCER MARTIN. D.M.A., University of Minnesota. Viola, Philharmonia.

MAURICE MONHARDT. Ph.D., University of Iowa. Professor emeritus.

GARY MOSS. D.M.A., University of Michigan. Voice.

WESTON NOBLE ’43. M.M., University of Michigan. Professor emeritus.

FREDERICK NYLINE. M.A., University of Minnesota. Professor emeritus.

MICHAEL O’BRIEN. Ph.D., University of Texas, Austin. ACM-Mellon Post-Doctoral Fellowship in Ethnomusicology.

JESSICA PAUL. D.M.A., University of Illinois, Urbana-Champaign. Vocal coach, collaborative arts, vocal and instrumental accompanying.

BETH RAY WESTLUND ’89. D.M.A., University of Texas at Austin. Associate department head, voice, diction.

KATHRYN REED. M.A., University of Michigan. Ear training, harpsichord, Collegium Musicum.

ALIYAH RICHLING ’11. M.M., Wichita State University. Voice.

JENNAYA ROBISON ’96. D.M.A., University of Arizona. Aurora, Cathedral Choir, conducting, voice.

BRAD SCHULTZ ’07. M.M., Emory University. Organ, church music, ear training, class piano.

MICHAEL SMITH. D.M.A., University of Illinois, Urbana-Champaign. Low brass, brass ensembles, brass methods.

STEVE SMITH ’95. M.M., University of North Texas. Composition, electronic music.

JOHN STRAUSS. D.M.A., University of Texas at Austin. Piano.

VIRGINIA STRAUSS. D.M.A., University of Texas at Austin. Violin, counterpoint.

JONATHON STRUVE ’02. M.M., Northwestern University; A.B.D., University of Iowa. Voice, vocal literature.

KYLIE TOOMER ’08. M.M., University of North Texas. Voice, opera, class voice.

TARN TRAVERS. M.M., Cleveland Institute of Music. Violin, string methods. (on leave 2013–14)

ANDREW WANNIGMAN ’07. M.M., New England Conservatory. Voice.

MARJORIE WHARTON ’66. D.M.A., University of Iowa. Piano, class piano.

ANDREW WHITFIELD. D.M.A., Louisiana State University. Voice, opera.

BENJAMIN YATES ’08. M.M., University of Illinois, Urbana-Champaign. Low brass.

MUSIC FACULTY

MUSIC AT LUTHER

Martin Luther—our namesake—believed music to be “one of the most magnificent and delightful presents God has given us.” For over 130 years, Luther students have been sharing this marvelous gift with audiences across the country and around the globe.

Music is much more than a gift, though. It’s an integral part of the community of faith and the community of learning on campus. The arts are fundamental to the liberal arts experience at Luther; they help to define what it means to be human. Here creative scholarship, personal growth, worship, and social relations merge to create an understanding of the wholeness of life.

The vibrancy of Luther’s music program is rooted in a balance between the academic rigor of our acclaimed music major and the numerous opportunities for study and performance by students from all disciplines across campus.

The Luther campus is alive with the sounds of six choirs, three bands, three orchestras, two jazz bands, and nearly 1,000 student musicians. Our students participate in large ensembles, faculty-coached chamber groups, private lessons, and master classes. More than 300 music majors study music theory/ear training, history, education, composition, church music, and performance. It all adds up to one of the largest collegiate music programs in the world!

For more information about Luther’s music program, visit the Luther College music website, http://music.luther.edu.

Luther CollegeFounded in 1861 by Norwegian immigrants, Luther College provides its 2,500 students with a classic liberal arts educa-tion.

Luther offers more than 60 majors and preprofessional and certificate programs leading to the bachelor of arts degree. The college’s strong academic program includes internships, professional semesters, and extensive study-abroad opportunities. Dedicated and talented faculty help Luther students develop solid research, writing, and critical-thinking skills, while the close-knit community imbues its members with a service ethic.

The Phi Beta Kappa college is bolstered by its Lutheran foundation, celebrated for its vibrant music and arts tradi-tion, and enriched by its strong athletic program.

Jenson-Noble Hall of Music325-seat recital hall

Center for Faith and Life1,600-seat main hall, 200-seat recital hall

Center for the Arts225-seat black-box theatre

MUSIC/ARTS PERFORMANCE VENUES

EXPERIENCE LUTHER

To arrange a campus visit, call the Admissions Office at (800) 458-8437.

admissions@luther.edu

www.luther.edu

Luther College700 College DriveDecorah, Iowa 52101

LutherCollegeMusic

@musicatluther

Streaming link: http://client.stretchinternet.com/client/lutheradmin.portal

Watch the Concert Band Homecoming Concert, 7:30 p.m., April 29.