Luther College
Concert Band
Joan deAlbuquerque, conductor
Winter 2008 Concert Tour
2013 Norway and Iceland Tour
A
Letter from the President
T
he Luther College Concert Band is on the move.
This spring they have the honor of performing at the Iowa Bandmasters Association Conference and then they travel to Iceland and Norway,
a tour of historic significance for Luther College.
The Concert Band is Luther’s oldest ensemble,
being founded in 1876. In 1914, they sailed across
the ocean to perform in Norway, Iceland, and Italy.
As the oldest Norwegian-American college in the
United States, it was particularly meaningful for
Luther’s Concert Band to participate in the 100th
anniversary celebration of Norwegian independence.
Today’s ensemble, under the superb direction of Dr.
Joan deAlbuquerque, is excited to repeat the journey
to Norway and Iceland on the threshold of Norway’s
bicentennial syttende mai celebration.
Like the generations of students before them, the young
men and women who make up the Luther College Concert Band come from a variety of places and are studying
a range of academic disciplines. Because we believe selfexpression through the arts is fundamental to a liberal
arts education, music flourishes on the Luther campus.
Nearly 1,000 student musicians participate in one of
three bands, three orchestras, six choirs, and two jazz
bands. It all adds up to one of the largest collegiate music
programs in the world.
I am delighted you are able to hear the talented young
men and women who continue a long and impressive
Luther College Concert Band legacy. Dr. deAlbuquerque
exemplifies two pillars of effective teaching—discipline
and inspiration—and the music she elicits from these
musicians is by every measure exceptional. I hope you
are stirred by their artistry and skill.
Richard L. Torgerson, Ph.D.
President
NORWEGIAN TRANSLATION
Musikkorpset fra Luther College, The Luther
College Concert Band, er igjen på farten.
Denne våren får korpset det ærefulle oppdrag å opptre på Iowa Bandmasters Association- konferansen, og deretter reiser de til Island og
Norge, en tur av stor historisk betydning for Luther
College.
Korpset er Luthers eldste ensemble. Det ble grunnlagt i 1876. I 1914 reiste de med båt over havet
for å holde konserter i Norge, Island og Italia. Som
det eldste norskamerikanske colleget i USA var det
viktig for skolens korps å delta i hundreårsjubileet
for den norske grunnloven. Musikerne i dagens ensemble, under ledelse av Dr. Joan deAlbuquerque,
gleder seg til reisen til Norge og Island, på terskelen
til Norges 17. maifeiring, to hundre år etter at
grunnloven ble undertegnet i 1814.
Som generasjoner av studenter før dem, kommer de
unge studentene, som i dag utgjør Luther College
Concert Band, fra en rekke steder og studerer ulike
fag. På Luther College legger vi vekt på at hver enkelt student skal få utfolde seg gjennom kunst i en
humanistisk fagutdannelse. Derfor blomstrer musikklivet på Luther College der nesten 1000 studenter
deltar i sang og musikk. Her er tre orkestre, tre
korps, seks kor og to jazz-band. Til sammen utgjør
dette ett av de mest omfattende tilbud innenfor
musikkutdanning på collegenivå.
Jeg er glad for at mange nå får denne sjansen til
å høre de talentfulle studentene, unge kvinner og
menn, som fortsetter en lang og rik tradisjon på Luther College. I sin ledelse legger Dr. deAlbuquerque
vekt på både nødvendig disiplin og inspirasjon og
det er imponerende hva hun får de unge musikerne
til å yte. Jeg er sikker på at alle som hører dem, vil
sette pris på The Luther College Concert Band.
Richard L. Torgerson, Ph.D.
President (rektor)
1
Program and Notes
Joan
deAlbuquerque
Joan deAlbuquerque,
was appointed director
of bands at Luther College in 2011. She also
conducts the Luther College Concert Band, Wind
and Percussion Ensemble,
and teaches conducting.
Prior to Luther College,
deAlbuquerque served as
the associate director of
bands at California State University, Long Beach and
as interim director of bands at Adams State College
in Alamosa, Colorado. An experienced public school
teacher, she was Director of Bands at Pinckney High
School in Michigan, where she directed the wind
symphony and marching band, and taught instrumental and general music at the elementary and
middle school levels.
As a student of Eugene Migliaro Corporon,
deAlbuquerque earned a doctor of musical arts
degree in wind conducting from the University of
North Texas. 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, deAlbuquerque
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 in Iowa, Michigan, New Mexico,
Colorado, California, 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
Association, College Band Directors National Association national conference (CBDNA), and the Music
Educators National Conference (MENC).
Professor deAlbuquerque is a regular contributor to
the Teaching Music through Performance in Band
series, published by GIA Publications and has also
written for the Kappa Kappa Psi/Tau Beta Sigma
publication, The Podium. She is on the board of
the Northeast Iowa Bandmasters Association as the
college affairs representative and is a member of
the Iowa Bandmasters Association, CBDNA, Pi Kappa
Lambda, Phi Kappa Phi, and Tau Beta Sigma. From
2008–11, she was on the national board of Tau Beta
Sigma as vice president of professional relations.
Scarecrow Overture
Joseph Turrin (b. 1947)
Scarecrow Overture first existed as the opening to The Scarecrow, a two-act chamber opera with music by Joseph Turrin
and libretto by Bernard Stambler. The opera is based on the
short story “Feathertop: A Moralized Legend,” published
by Nathaniel Hawthorne in 1852, which tells the tale of a
scarecrow named Feathertop brought to life by a witch to
do ill will to the daughter of a judge with whom she has a
grudge. Needing puffs of smoke from a pipe to stay “alive,”
the scarecrow falls in love with the judge’s daughter and
comes to realize that he is a scarecrow, not a human. Upon
this realization, he destroys his pipe, thus reducing himself
to a lifeless heap of straw. Although Scarecrow Overture is
not overtly connected to the Feathertop story like the
theatrical production, it is still useful in achieving proper
mood and affect. The piece was originally written for a
chamber group of only 18 wind players. The full wind band
version was premiered in March 13, 2010, by the California
State University Symphonic Band under conductor Joan
deAlbuquerque.
Vanity Fair
Percy Fletcher (1879–1932)
ed. Brant Karrick
Vanity Fair is a concise and refreshing overture that is a
wonderful example of Fletcher’s light melodic style and
first-rate scoring. Described by the composer as “a comedy
overture in which several characters from Thackeray’s novel
are portrayed,” the fast-slow-fast, single movement form
includes three main thematic ideas. The opening vivace A
section features a vigorously energetic melody that is permeated with scales, sequences, repeated motives and a variety
of color. The second theme, in the dominant key of F, is
somewhat slower and delightfully pompous in character. The
highly romantic middle section, now in D♭ Major, showcases
a beautiful melody complemented by exquisite scoring and
is to be played “with sentimental expression.” A transition
leads to the return of the opening vivace theme with some
variety of harmony and scoring. The stately second theme,
now in tonic, leads to an extended and electrifying coda that
gains tempo and places the highest technical demands upon
musicians, particularly the upper woodwinds. Vanity Fair,
one of those uniquely remarkable pieces that is immediately
revered by audiences and musicians alike, was first published
for band by Hawkes and Son in London in 1924, and was
later transcribed for orchestra. The aim of this edition is
to not only make this decidedly precious work available to
modern concert bands, but also to elevate it to its rightful
position among the standard wind repertoire.
—Brant Karrick
2
The Spheres
Ola Gjeilo (b. 1978)
Gjeilo provides the following notes:
This score is the wind band version of material taken from
my mass for choir and string orchestra, called Sunrise (2008).
In the first part of The Spheres, I use a kind of overlapping
fade-in/fade-out effect; this is meant to give a sense of floating in space, in relative darkness and silence, as if surrounded
by stars and planets light-years away. The theme was influenced by Alan Silvestri’s wonderful score for the 2007
Robert Zemeckis movie Beowulf. I remember coming home
the premiere night from the theater, feeling very touched
and inspired, and improvising my way into what would end
up being the chorale theme that The Spheres is based on,
starting with the five notes that comprise the first phrase of
the work.
Bugs
Roger Cichy (b. 1956)
•
•
•
•
•
•
Prelude
Dragonfly
Praying Mantis
Black Widow Spider
Tiger Swallowtail
Army Ants
With the success of his piece Colours, a work in which each
movement is a depiction of a particular color, composer
Roger Cichy began considering other topics of the sort for
ideas that might inspire future musical compositions. Bugs
came to mind a few years ago and the thought of giving a
“musical personality” to the selected bugs seemed humorous,
inventive, and capricious all at the same time. The insect and
spider collection at the Field Museum of Natural History in
Chicago provided inspiration, and at the same time, made it
difficult for Cichy to narrow the list to about six or so. The
particular bugs represented in this suite were chosen partly
because of the contrasting styles of music that would be
composed for each.
INTERMISSION
Web Gehring ’16
Galesburg, Ill.; euphonium
music, education minor
How did you end up at
Luther? I was looking for
a place to major in music
before going to seminary to
become a pastor. After seeing a Luther billboard while
visiting Des Moines, I called
Admissions at 10 p.m. and
the next day showed up at
noon to beautiful skies and
extremely helpful and happy people. A great audition
experience sealed the deal, and here I am!
What has your experience with Concert Band been
like? Outstanding! The professional, talented musicians
of LCCB along with Dr. deAlbuquerque’s exuberance
bring music to life in a whole new way.
What do you most look forward to about touring
with LCCB? The cruise down Sognefjord. It’s the longest fjord in Norway, and my frequent image searches
tell me it’s going to be beautiful.
Hannah
Shatzer ’13
Woodridge, Ill.; oboe
music and psychology,
Scandinavian studies minor
What is your favorite
aspect of Concert Band?
Concert Band is like a
second family to me! There
is such an incredible feeling
of community in the band,
and our traditions and experiences together make us
such a uniquely cohesive ensemble, both as performers
and as friends.
What do you appreciate most about the liberal arts
experience? I’ve had the amazing opportunity to pursue all of my varied interests at Luther. I couldn’t have
dreamed that I would be able to major in both music
and psychology while learning Norwegian and participating in a wide variety of extracurricular activities and
ensembles.
What are your postgraduation plans? I will be attending Ohio State in the fall for my Ph.D. in cognitive
psychology with a concentration in music and language
perception.
3
Program and Notes
Eine Kleine Yiddishe Ragmusik
Adam Gorb (b. 1958)
Eine Kleine Yiddishe Ragmusik is British composer Adam
Gorb’s brilliant synthesis of Scott Joplin ragtime with Jewish
folk song. This combination results in a piece that conveys
both the evocative yet haunting atmosphere of the 1930s
Berlin cabaret scene. Each ensemble section has a chance
to take the forefront in the work, with the upper woodwinds taking an especially virtuosic tour through running
sixteenth-note melodies and idiomatic trills, grace notes, and
lip bends.
Dorian Festivals and Summer
Programs
Luther 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 Festival
625 participants
3 ensembles, including select Symphonic Band
Dorian Choral Invitational Festival
More than 450 participants
Dorian Keyboard Festival
More than 150 participants
Piano, organ, and harpsichord
Dorian Orchestra Festival
More than 180 participants
3 ensembles, including select Chamber Orchestra
Dorian Junior and Senior High Summer Camps
More than 600 participants
Dorian Vocal Festival
1,250 participants
Choral and solo opportunities, including select
Chamber Choir
For information, contact
Jim Buzza, coordinator
Dorian Music Camps, Luther College
563-387-1389
[email protected]
http://music.luther.edu
4
Children’s March: “Over the Hills and Far
Away”
Percy Grainger (1882–1961)
Children’s March: “Over the Hills and Far Away” holds a
special place in Percy Grainger’s works for band. Children’s
March was not his first original work for band, for that
honor goes to Lads of Wamphray (composed in 1904, but
not published until 1941). Nor is it his first published work
for band—Irish Tune from County Derry and Shepherd’s Hey
both appeared in 1918. However, Irish Tune and Shepherd’s
Hey are settings of folk music, not original compositions, and
further, those pieces were not originally written for band.
Both existed in multiple settings for chamber ensembles and
orchestras. Children’s March is the first composition of his
maturity originally composed and scored for wind band, and
indeed, one of his few compositions that does not exist in
any full-length version suitable for performance by symphony orchestra. Grainger dates the work as having been
composed between the fall of 1916 and February 1918; the
piece was scored during the summer and fall of 1918 and
completed in February 1919.
High Flight
Joseph Turrin (b. 1947)
Joseph Turrin dedicates this piece to the America pilots who
fought in the Spanish Civil War (1936–1939). Seeing this
as their last chance at stemming the tide of international
fascism, more than 2,800 United States volunteers went to
Spain to protect the newly elected officials of the Spanish
Republic. This work was inspired by the poem “High Flight,”
written by pilot Gillespie Magee, who was killed during
training maneuvers at the age of 19:
Oh I have slipped the surly bonds of earth
And danced the skies on laughter-silvered wings;
Sunward I’ve climbed, and joined the tumbling mirth
Of sun-split clouds…and done a hundred things
You have not dreamed of…wheeled and soared and swung
High in the sunlit silence. Hov’ring there.
I’ve chased the shouting wind along, and flung
My eager craft through footless hall of air
Up, up the long, delirious, burning blue
I’ve topped the windswept heights with easy grace
Where never lark, or even eagle flew.
And, while with silent, lifting mind I’ve trod
The high untrespassed sanctity of space
Put out my hand, and touched the face of God.
After a brief introduction of swirling notes and glissandi the
main theme is presented over staccato brass. Tempo accelerates as the opening section culminates into a single note. A
slower middle section featuring chamber woodwinds opens
up into an ethereal chorale shared by sections of the brass
and the woodwinds. The tension again returns with opening
material soon pulsating to the dramatic climax of the piece
followed by a rich tapestry of sound. There is a final burst of
excitement with staccato brass and running woodwinds as
the piece comes to its conclusion.
Victor
HernandezSang ‘13
Santiago, Dominican
Republic; flute
music, management minor
How did you end up at
Luther? I came to the
Dorian Music Camp in
2008, and within two days I
knew that Luther was where
I wanted to go to pursue
music.
What do you appreciate most about the liberal arts
experience? The experience of studying and learning
in a place where you can interact with students from all
kinds of backgrounds, majors, and values has helped me
grow and become a better member of our society.
High Flight was commissioned by the United States Air Force
Band and was premiered on March 2, 2008, by the U.S. Air
Force Concert Band at Constitution Hall, Washington, D.C.
What is your favorite LCCB tradition? I love it when
the horns play “Happy Birthday” for every band member’s birthday!
It is a long standing Luther College tradition that every Concert
Band performance concludes with the following two works:
Laura
Christensen ‘13
Who Puts His Trust in God Most Just
Johann Sebastian Bach (1685–1750)
Arr. James Croft
A unique characteristic of this setting is that the band is the
chorus. The text is below:
Who puts his trust in God most just
Hath built his house securely;
He who relies on Jesus Christ,
Shall reach His heav’n most surely;
Then fixed on Thee my trust shall be,
For Thy truth cannot alter;
While mine Thou art,
Not death’s worst smart
Shall make my courage falter.
Stars and Stripes Forever
John Philip Sousa (1954–1932)
Sousa turned 42 years of age in the fall of 1896. He was
already called the March King and enjoyed national acclaim.
He had resigned from the Marine Band in 1891 and had
led his new Sousa Band on four cross-country tours. David
Blakely, Sousa’s capable manager, persuaded Sousa to take a
vacation before the 1896–97 tour, leaving the tour arrangements in Blakely’s hands. Sousa and his wife left New York
harbor for their first trip abroad. But the vacation was cut
Colorado Springs, Colo.;
bassoon
math and music, education
minor
Why did you choose
Luther College? I knew
I wanted to study in the
Upper Midwest and Luther
was a great fit. I loved the
balance between a strong
music program and academic investment, and the campus felt like home.
What do you like most about Jenson-Noble Hall
of Music? I love the immediate sense of community
in Jenson-Noble. The moment you walk through the
doors, there is a feeling of home and family. Everywhere
you look students are practicing together, working together on homework from music theory to physics, and
enjoying each others’ company. It’s a very friendly and
supportive environment.
What do you most look forward to about touring
LCCB? I can’t wait to explore new places with this
group! There is nothing quite like traveling with 50 of
your best friends.
5
Program and Notes
2013 PERFORMANCES
short by the news of Blakely’s sudden death. Sousa’s reminiscences published in Marching Along in 1928 discusses the
trip back to America.
Thursday, May 9, 5 p.m.
Iowa Bandmasters Conference
Des Moines Marriott Downtown
700 Grand Ave
Des Moines, Iowa
“As the vessel steamed out of the harbor I was pacing the deck, absorbed in thoughts of my manager’s
death and the many duties and decisions which
awaited me in New York. Suddenly, I began to sense
the rhythmic beat of a band playing within my brain.
It kept on ceaselessly, playing, playing, and playing.
Throughout the whole tense voyage, that imaginary
band continued to unfold the same themes, echoing
and re-echoing the most distinct melody. I did not
transfer a note of that music to paper while I was
on the steamer, but when we reached the shore, I
set down the measures that my brain band had been
playing for me, and not a note of it has ever been
changed. The composition is known the world over
as The Stars and Stripes Forever and is probably my
most popular march.”
Friday, May 17, 7:30 p.m.
Music Showcase Concert
Center for Faith and Life
Luther College
Decorah, Iowa
Wednesday, May 22, 5 p.m.
Harpa Concert Hall Atrium
Austurbakki 2
101 Reykjavik, Iceland
Friday, May 24, 7 p.m.
Fana Kulturhus/Fana Civic Nesttun
Østre Nesttunvegen 18
5244 Fana
Nesttun, Norway
EUROPE
Greenland
(DENMARK)
Denmark
Strait
Monday, May 27, 8 p.m.
Glass Cathedral/Hedmarksmuseet—
Domkirkeodden
Strandvegen 100
2315 Hamar
Hamar, Norway
In 1987 the United States Congress named Stars and Stripes
Forever the national march of the United States.
Wednesday,
May 29, 7 p.m.
20
0
Lillestrøm Kultursenter
Mayen
Kirkegata 11Jan
(NORWAY)
2000
Lillestrøm
Greenland
Lillestrøm,
Norway
Sea
ADDITIONAL Iowa Bandmasters
Barents
Association
Conference SELECTION
Sea
40
20
Nordkapp
Hammerfest
Murmansk
Hands
Across the Sea
Tromsø
Norwegian Sea
John Philip Sousa (1854–1932)
Kiruna
Guest conducted
by Weston Noble, conductor emeritus
White Sea
Arkhangel'sk
Luther College Concert
Band Director 1948–1973
rn
Reykjavík
ICELAND
Luleå
NORWAY
Volg
a
FINLAND
(U.K.)
t
tega
Kat
r
Dniepe
Isle
of
Man
RUSSIA
(U.K.)
e
Elb
Paris
ne
Sei
e
Loir
Lyon
Zürich
Bern
Geneva
A
Vaduz
SWITZ.
L
Turin
P
I A
S
AUSTRIA
HUNGARY
Ljubljana
D
SLOVENIAI
Zagreb
N
Milan
Venice
A
BOSNIA AND
Po
ClujNapoca
Mykolayiv
Chişinau
Iaşi
MOLDOVA
N
Odesa
ROMANIA
.
Bordeaux CENTRAL
Bratislava
Budapest
Vienna
e
Danub
LIECH.
FRANCE
MASSIF
A Coruña
C A
CZECH REPUBLIC
R P Chernivtsi
SLOVAKIA
Brno
A
T
H
S
Bay of
Biscay
Strasbourg
Stuttgart
Munich
T
6
Frankfurt
Luxembourg
M
Nantes
LUX.
(
Guernsey (U.K.)
Jersey (U.K.)
Rhin
e
20
vin aya
a
Oulu
Hands Across Onega
the Sea received its premiere on April 21,
Lake
1899,
with
a
performance
by the Sousa Band at the PhiladelTrondheim
60
Faroe Islands
(DENMARK)
Gulf
SWEDEN
phia
Academy
of
Music.
Sousa
chose the title for this march
Tórshavn
Lake
of
Ladoga
Tampere
Bothnia
after hearing a line of text
attributed
to English diplomat,
40
SHETLAND
Saint Petersburg
Turku Helsinki
d
n
John
Hookham
Frere:
“A
sudden
thought
strikes me—let us
Gävle
la
ISLANDS
of Fin
Bergen
Gulf
RUSSIA
ALAND
ORKNEY
Oslo
swear
an
eternal
friendship.”
Sousa
immediately
suggested
Tallinn
Rockall
ISLANDS
Stockholm
ISLANDS
ESTONIA
HEBRIDES
the title of the piece be Hands Across the Sea. The march
Stavanger
Moscow
ak
became
and instant
favorite of audiences, including those at
North
err
LATVIA
Gotland
ag
Aberdeen
Sk
Göteborg
¯
Riga
the
premiere,
who
demanded
it be repeated three additional
Atlantic
Glasgow
Baltic Sea
Vitsyebsk
Smolensk
North
LITHUANIA
Edinburgh
times.
Not
uncommon
to
Sousa’s
marches, Hands Across the
Öland
Ocean
DENMARK Malmö
UNITED
Vilnius
Mahilyow
Sea
Belfast
Copenhagen
Minsk
Sea
was
subsequently
orchestrated
for a variety of combinaKaliningrad
Bornholm
BELARUS
Dublin Irish
Leeds
Gdańsk
tions,
including
full
band,
orchestra,
piano, piano duet, guitar
Hrodna
Sea
Homyel'
IRELAND Liverpool Manchester
Chernihiv
Hamburg
and
piano,
banjo
duet,
zither
duet,
and
for mandolin, piano
KINGDOM
Warsaw Brest
Bremen
Berlin Poznań
Birmingham
Amsterdam
Kyiv
and
guitar.
The
march
was
the
last
that
Sousa would conduct
POLAND
Cardiff
Oder
Dnie
Zhytomyr
NETH.
Lódź
per
Rotterdam
London
Celtic
in
concert
before
his
death,
performed
under
his baton with
Essen
Leipzig
Wroclaw
la
UKRAINE
Cologne
Brussels
stu
Sea
L'viv
Vi
l
nne
the
orchestra
of
the
U.S.
Marine
Band
on
February
27, 1932.
Cha
Vinnytsya
Lille
English
BEL. Bonn GERMANY Prague
Kraków
Umeå
60
e
Sev D
Arctic Circle
Constant¸a
Bucharest
Varna
Black
Weston Noble
PROGRAM FOR IBA
This concert performance is dedicated to the memory of
Adolf “Bud” Herseth, who passed away on April 13, 2013,
at age 91. Herseth was a 1943 Luther College graduate,
principal trumpeter of the Chicago Symphony Orchestra
for 53 years (1948–2001), and according to New York
Times music critic Donal Henahan, “quite possibly the
most dazzling player on his instrument in the world
today.”
Scarecrow Overture
Joseph Turrin (b. 1947)
Vanity Fair
Percy Fletcher/ed. Brank Karrick (1879–1932)
The Spheres
Ola Gjeilo (b. 1978)
Hands Across the Sea
John Philip Sousa (1854–1932)
Weston Noble, conductor emeritus
Children’s March
Percy Grainger (1882–1961)
High Flight
Joseph Turrin (b. 1947)
*Who Puts His Trust in God Most Just
J.S. Bach/arr. James Croft (1685–1750)
*Stars and Stripes
John Philip Sousa (1854–1932)
*These two pieces are a long-standing tradition with the
Luther College Concert Band. The pieces are played at
the end of every concert and performed together without
a break between the pieces.
Weston Noble is a highly
accomplished and honored
American music educator
and conductor. Now the
Johnson Professor Emeritus
of Music, Noble had a 57
year tenure as a conductor and teacher at Luther
College, Decorah, Iowa.
He has received acclaim
from across the country and
the world as the conductor of the Luther College Nordic
Choir from 1948 to 2005, the Luther College Concert
Band from 1948 to 1973, and as guest director for more
than 900 all-state bands, orchestras, choirs, and festivals
across four continents.
Noble is a charter member of the American Choral Directors Association and an elected member of the American
Bandmasters Association. In 1994 the North Central
Division of the American Choral Directors Association
established the Weston H. Noble Award for Lifetime
Achievement in the Choral Art. Noble was the first to be
honored by this award.
Because of his outstanding contributions to choral music,
Noble is the recipient of the Robert Lawson Shaw Award,
given by the American Choral Directors Association.
Due to his outstanding contributions to instrumental
music, he was awarded the 2008 Midwest Clinic Medal
of Honor, given by the International Convention of Band
and Orchestra Directors. In the field of music education,
the National Federation of State High School Associations
recognized him as the Outstanding Music Educator of the
United States. Also in the field of music education/industry, the National Association for Music Education awarded
him the Lowell Mason Fellow Award. He is also listed in
the World Biographical Hall of Fame and Marquis’ Who’s
Who in the World 2009.
Noble holds five honorary doctorate degrees: from
Augustana College (South Dakota), St. Olaf College,
Westminster Choir College of Rider University, Carthage
College, and Wartburg College. He was awarded the St.
Olav’s Medal from King Harald V of Norway for his contributions to Norwegian-American relations.
In 2009 he conducted the International Schools Festival in
Kuala Lampur, Malaysia, with participants from Thailand,
Singapore, Malaysia, the Philippines, Taiwan, and Indonesia. He is the resident conductor of the Pacific Summer Music Festival of Guam. In December 2010 Noble
conducted Handel’s Messiah in Seoul, Korea, returning to
Korea in 2013 to conduct the Korea National Choir.
Following his guest year residencies at Carthage College,
Wartburg College, and Augustana College (Sioux Falls),
Noble is assisting the Development Office at
Luther College.
7
Concert Band at Luther
T
he Luther College Concert Band was formed in 1878,
beginning the college’s long-standing tradition of band
excellence. Directed by Joan deAlbuquerque, Concert
Band is one of the oldest touring organizations in the nation
and ranks among the country’s outstanding college bands.
The 1914 Concert Band Norway Tour (Carlo Sperati, conductor)
stopped at Orchestra Hall, Chicago.
Carlos Sperati directs the 1936 Concert Band on deck while
traveling to Norway.
From its beginnings as a student-directed brass and percussion ensemble formed with instruments from a discontinued
community band, Concert Band rose to its current position
of prestige with deAlbuquerque through the multi-decade
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 in many of their concerts.
Throughout its 135-year history, Concert Band has enjoyed
unrivaled performance opportunities in the United States,
Western Europe, and Japan. In the past 20 years alone,
Concert Band visited Japan five times, performing around
the country with outlying performances in Hong Kong,
Shanghai, and Beijing, China. The 2013 tour to Iceland and
Norway marks the 99th anniversary of Concert Band’s first
international tour, a four-month journey to Iceland, Norway,
and Italy in celebration of the 100th anniversary of Norway’s
independence.
Concert Band has performed at Lincoln Center’s Avery
Fisher Hall, New York; Tivoli Garden, Copenhagen, Denmark; and the Bergen International Festival, Bergen, Norway.
The band has also been selected to appear at several state
and national music conferences, including the national conference of the College Band Directors National Association
in Kansas City, the North Central Music Educators National
Conference in Minneapolis, and the Iowa Bandmasters
Association Conference in 2013.
The 1961 Concert Band (Weston Noble, conductor) entertained
guests on the ship Bergensfjord while on the way to Norway.
The 2005 Concert Band (Fred Nyline, conductor) performs while
on tour to China and Japan.
8
The 2012 Concert Band,
with deAlbuquerque
2012–13 Personnel
Piccolo
Holly Godar, Madison, Wis.
psychology and Spanish
Flute
Suzanne Russell, Savage, Minn.*
music, education minor
Victor Hernandez-Sang, Santiago,
Dominican Republic
music, management minor
Ziggy Mustain, Wilmette, Ill.
music
Oboe
Hannah Shatzer, Woodridge, Ill.*†
music and psychology, Scandinavian studies
minor
Kaia Sand, Zumbrota, Minn.
music and English
Willy Leafblad, Watkins, Minn.†
music, education minor
Bassoon
Laura Christensen, Colorado Springs,
Colo.*†
music and math, education minor
Claire Seitzinger, Fort Collins, Colo.
undeclared
Abigail O’Harris, Bloomington,
Minn.
undeclared
Bass Clarinet
Chelsea Wyman, Westby, Wis.*
religion and English, theatre/dance minor
Jordan Cox, Baraboo, Wis.
music, education minor
Alto Saxophone
Caleb Snater, Winona, Minn.*
biology, music minor
Carl Bates, Edina, Minn.
religion and political science
Tenor Saxophone
Reggie Young, Northfield, Minn.
Spanish and music, education minor
Baritone Saxophone
Nathan Plass, Cadott, Wis.
English, Russian studies and education minor
Horn
Trombone
Matt Engelson, Clinton, Iowa*
music, education minor
Toby Ziemer, Cedar Rapids, Iowa
math
Connor Jones, Chatham, Ill.
music, education minor
Tyson Lund, Montevideo, Minn.
music, education minor
Bass Trombone
Steve Ramsey, Cedar Falls, Iowa
music
Euphonium
Cole Gillstrom Matteson, Brookfield, Wis.*
history
Web Gehring, Galesburg, Ill.
music, education minor
Tubas
Nathan Lee, Decorah, Iowa*
physics, mathematics and computer science
Aren St. Louis, Rochester, Minn.
undeclared
Percussion
Jeff Emerson, Ogden, Iowa
Kayla Niehaus, Elkader, Iowa*†
Erik Romanski, Monona, Wis.
Tessa Romanski, Monona, Wis.
E♭ Clarinet
Noah Langholz, Clear Lake, Iowa
Jack Olson, Lake Mills, Iowa
Ben Davidson, Minneapolis, Minn.
Katie Scherr (also piano), Oconomowoc,
Wis.
anthropology and chemistry, biology minor
physics
Sydnie Reynolds ’12, Norwalk, Iowa
music, education minor
B♭ Clarinet
Sara Pecinovsky, Mabel, Minn.*
Torgerson Concertmaster
music, education minor
Lindsey Colyer, Plymouth, Minn.
biology and psychology, chemistry minor
Clara Byom ’12, Ettrick, Wis.
music
Danielle Border, Fort Dodge, Iowa
music, education minor
Katherine Johnson, Lansing, Ill.
social work
Sarah Nolte, Winterset, Iowa
English
Rebekah Campbell, Brookfield, Wis.
nursing, French minor
music
political science, environmental studies and
economics minor
English
music, English minor
Tyler Anderson, Cannon Falls,
Minn.
communications, English minor
Trumpet
Jake McCoy, Muskego, Wis.*
biology, music minor
Kalli Kistenmacher, Holstein, Iowa
music, education minor
Kimberly Osberg, Eau Claire, Wis.*
music
Leif Larson, McFarland, Wis.
music
biology and mathematics
music, Spanish and education minors
Stephen Dahle (also piano), Hudson, Wis.
music, education minor
Josh Olson, Spencer, Wis.
music, education minor
Harp
Katharine Bergman, Cedar Rapids, Iowa
music, education minor
Leah Loesel, Galesville, Wis.
String Bass
Mike Schultz, Genoa City, Wis.
Benjamin Anderson, North Mankato, Minn
music, education minor
music
Jakob Jorgenson, Stillwater, Minn.
statistics and music
Jessica Dorsey, Freeport, Ill.
physics and math
*section leader
†officer
management and communications
9
Music Faculty
GREGORY PETERSON ’83. D.M.A.,
University of Iowa. Department head, Organ,
Luther Ringers, College Organist.
EDWIN ANDERECK. D.M.A., University of
Cincinnati, College-Conservatory of Music.
Head of voice and opera, vocal literature.
HEATHER ARMSTRONG. D.M.A., Eastman
School of Music. Oboe, theory, double reeds
methods.
ERIC ASHCRAFT. M.M., University of
Cincinnati, College-Conservatory of Music.
Voice, opera.
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.
TOM BOURCIER. M.M., Western Michigan
University. Jazz Band, improvisation, Theatre/
Dance composition.
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, saxophone, woodwind
methods.
CAROL HESTER. D.M., Florida State
University. Flute, flute methods.
ALLEN HIGHTOWER. D.M.A., University
of California, Los Angeles. 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. Theory, composition, music
history, electronic music.
DAVID JUDISCH. D.M.A., University of
Iowa. Voice, vocal methods, Dorian Music
Camp director, opera. Professor emeritus
KAREN KANAKIS. D.M.A., University of
North Texas. Voice, opera.
MIKO KOMINAMI. M.M., The Juilliard
School. Piano, theory.
WILLIAM KUHLMAN. M.M., Syracuse
University. Professor emeritus.
ERIC KUTZ. D.M.A., The Juilliard School.
Cello, string methods.
BRENT DODSON. D.M.A., University of
Southern California. Trumpet, Varsity Band,
brass methods.
JACOB LASSETTER. D.M.A., University of
Cincinnati, College-Conservatory of Music.
Voice, opera.
JOAN deALBUQUERQUE. D.M.A.,
University of North Texas. Concert Band,
Wind and Percussion Ensemble, conducting.
ANDREW LAST ’97. D.M.A., University
of Nebraska-Lincoln. Collegiate Chorale,
Norsemen, voice, conducting.
AMY ENGELSDORFER. Ph.D., Indiana
University. Theory, ear training.
HANNAH LEFFLER. M.M., University of
Northern Iowa. Flute.
ROLF ERDAHL. D.M.A., Peabody
Conservatory. Double bass, string methods.
PETER LINGEN. Guitar, lute, classical guitar.
BILL FORDICE ’82. M.A., Northern Illinois
University; A.B.D., Boston University. Music
education.
RONALD FOX. D.M., Indiana University.
Professor Emeritus.
MICHAEL GEARY. M.A., University of
Iowa. Percussion, Percussion Ensemble,
percussion methods.
10
LYNNE HART. M.F.A., University of Iowa.
Saxophone.
LINDA MARTIN. M.M.E., University of
St. Thomas. Theory, ear training, Cantorei,
general music education.
SPENCER MARTIN. D.M.A., University of
Minnesota. Viola, conducting, Philharmonia.
MAURICE MONHARDT. Ph.D., University
of Iowa. Professor emeritus.
GARY MOSS. D.M.A., University of
Michigan. Voice, ear training.
JAMES GRIESHEIMER. Ph.D., Indiana
University. Music history.
WESTON NOBLE ’43. M.M., University of
Michigan. Professor emeritus.
JUAN TONY GUZMÁN ’90. Ph.D.,
Florida State University. Music education,
ethnomusicology, Jazz Orchestra.
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.
SANDRA PETER. D.M.A., University of
Iowa. Aurora, Cathedral Choir, conducting.
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.
AMBER RIGGENBACH. M.A., University of
Iowa. Piano.
BRAD SCHULTZ ’07. M.M., Emory
University. Organ, ear training.
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.
GRAHAM STEEDS. D.M.A., University of
Minnesota. Trumpet.
JOHN STRAUSS. D.M.A., University of
Texas at Austin. Piano.
VIRGINIA STRAUSS. D.M.A., University of
Texas at Austin. Violin, advanced ear training,
counterpoint.
JONATHON STRUVE ’02. M.M.,
Northwestern University; A.B.D., University
of Iowa. Voice.
RICHARD TIRK. D.M.A., Michigan State
University. Trumpet, brass methods.
KYLIE TOOMER ’08. M.M., University of
North Texas. Voice.
TARN TRAVERS. M.M., Cleveland Institute
of Music. Violin, string methods.
ANDREW WANNIGMAN ’07. M.M., New
England Conservatory. Voice.
RACHEL WARE ’06. D.M.A., University of
Minnesota. Voice, music history.
MARJORIE WHARTON ’66. M.A., Tulane
University; D.M.A., University of Iowa. Piano,
class piano.
ANDREW WHITFIELD. D.M.A., Louisiana
State University. Voice, opera.
SUSAN WILLIAMS. M.M., Indiana
University. Voice, class voice.
BENJAMIN YATES ’08. M.M., University of
Illinois, Urbana-Champaign. Low brass, brass
ensemble.
Music At Luther
M
artin 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/Arts Facilities
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.
Jenson-Noble Hall of Music
325-seat recital hall
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 College
Founded in 1861 by Norwegian immigrants, Luther College provides its 2,500 students with a classic liberal arts
education.
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 studyabroad 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.
Center for Faith and Life
1,600-seat main hall, 200-seat recital hall
The Phi Beta Kappa college is bolstered by its Lutheran
foundation, celebrated for its vibrant music and arts tradition, and enriched by its strong athletic program.
Center for the Arts
225-seat black-box theatre
11
Encouraging Support
O
n December 31, 2012,
Luther College celebrated
the successful completion of
The Sesquicentennial Fund, the five-year,
$50-million funding initiative surrounding the college’s 150th anniversary. The
Sesquicentennial Fund exceeded its goal
with nearly $57 million in outright and
deferred gifts from more than 14,700
donors. Thanks to all who generously
invested in the mission and students of
Luther College!
Fully two-thirds ($33 million) of The
Sesquicentennial Fund was devoted to
endowment, and endowed scholarship
support (with a goal of $12.5 million)
was the largest single component of the
funding initiative. We are pleased to
announce that more than $22.5 million
was committed through outright and
deferred giving to scholarship endowment for students. Student scholarships
will remain at the forefront of Luther’s
ongoing fundraising efforts, along with
unrestricted support for the Annual
Fund.
Every year, nearly 9,000 alumni, parents, and friends support the Luther
College Annual Fund with gifts ranging
from $5 to $50,000. Each gift goes to
work as soon as it’s received, in the
areas where it is needed most. This
unrestricted giving provides opportunities for increased student scholarships,
improved campus life, updated technology, and strengthened academic and
12
cocurricular programs. With over $1.6
million raised each year, the Annual
Fund supports every student, professor,
and staff member and has an immediate and lasting impact on the Luther
community.
In addition to the need for ongoing
support of scholarship endowment and
the Annual Fund, and especially for
those who have a special fondness for
Luther’s music programs, the college is
also in the midst of a project to replace
and refurbish pianos in the Jenson
Noble Hall of Music. Over the years,
Luther’s music department has done a
masterful job of maintaining a fleet of
more than 100 pianos. On average, our
40 grand pianos and 59 uprights are
aging gracefully, but some instruments
now require refurbishment. Such rebuilding and refurbishment are typical
in the life of a
performance
and practice
piano, but also
exceptionally costly.
Last year,
Luther College invested
approximately
$135,000 in
rebuilding
and refurbishing its main
stage concert
Steinway and
purchasing baby grand pianos in the
student all-Steinway practice room
corridor. The New York Steinway grand
piano from the Noble Recital Hall is
also being completely rebuilt, thanks
to significant donor underwriting from
Weston Noble and his family. In the
coming three years, the college will be
replacing or rebuilding two more of
our teaching Steinway grand pianos
($40,000 each); purchasing five new
baby grands for student practice studios
($20,000 each); replacing six upright
pianos ($7,000 each), and purchasing 12 new adjustable benches ($700
each). Overall this investment in Luther pianos totals more than $400,000,
and fundraising continues to bring our
piano fleet to its best teaching and practice condition.
As with all fund development efforts,
the success of Luther College depends
on the support of the many who
believe in Luther’s mission. We invite
your gifts and pledges toward student
scholarships, the Luther College Annual
Fund, the piano project, or any other
college project or program. As always,
your participation is what matters
most, and gifts of all sizes are gratefully
received. Contributions may be made
through current gifts, planned gifts, or
combinations of current and planned
gifts. For further information about giving opportunities in support of Luther
College, please contact the Development Office at (800) 225-8664 or visit
the http://giving.luther.edu website.
Luther College
S
ince 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. Our
president, Richard Torgerson, puts it
this way: “It’s not just about prestige
and success. It’s about integrity, fulfillment, and knowing that what we do
is going to make the world a better
place.”
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
Luther has a strong tradition of engaged and experiential learning, most
notably in our study-abroad programs.
More than 70 percent of Luther
students will study abroad before
graduating, placing us among the top
10 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.
with students and colleagues. This creates a strong sense of community and
shared purpose on the Luther campus.
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.
A new $20 million science laboratories
center has expanded opportunities for
collaborative research and learning.
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 1-800-4 LUTHER.
13
Experience Luther
To arrange a campus visit,
call the Admissions Office
at 800-458-8437.
[email protected]
www.luther.edu
Luther College
700 College Drive
Decorah, Iowa 52101