Tag: Conservatory of Music

Conservatory students partner with NAMI to use music to aid mental health recovery

Clockwise from top left: senior Holly Beemer, Community Programs Manager Betsy Kowal Jett, senior Mindara Krueger Olson, and senior Jacob Dikelsky helped present Creative Recovery: Music in Motion sessions on Zoom earlier this summer.

Story by Karina Herrera / Communications

It’s easy to recognize the power of music while in concert halls and music classrooms, but Betsy Kowal Jett and four Lawrence Conservatory of Music students looked to take it a step further this summer, tapping into music’s healing powers to help people on their mental health recovery journeys.

Kowal Jett, the Lawrence Conservatory’s community programs manager, recruited four music students to launch the outreach support group Creative Recovery: Music in Motion in partnership with the National Alliance on Mental Illness (NAMI) Fox Valley.

The four Conservatory students—seniors Jacob Dikelsky, Mindara Krueger-Olson, Lucian Baxter, and Holly Beemer—set out to use music to strengthen the community participants’ well-being. They partnered with Paula Verrett, the Iris Place program director for NAMI, to organize the sessions.

“NAMI, for a really long time, has been wanting to create music-based programming for their clients,” Kowal Jett said. “So, I saw that there was this need and desire for music in NAMI, and they recognized the power that music could have for their community.”

The goal was to explore various kinds of research on the healing impact that music can have, and then use appropriate methods and techniques to help participants bring out their own creative voices.

“Everyone who we’ve worked with in this creative recovery support group is in their mental illness recovery journey every single day,” Kowal Jett said. “I wanted to explore how music could become a part of their tool kit to help maximize their well-being.”

See more on the Lawrence Conservatory of Music here

The group met for one-hour Saturday sessions during three consecutive weeks in July. All of the participants were provided with a music-making kit and connected on Zoom, where the number of NAMI Fox Valley participants fluctuated between four and seven people.

Kowal Jett and her team would meet the Wednesday prior to go over what they had planned for Saturday, but Kowal Jett noted that she had already been training with her students for several weeks. They would plan and co-create the best way to introduce each week’s curriculum.

Each Saturday they shared different musical practices with the NAMI participants. The first Saturday they focused on body percussion, where they explored body movements through a call-and-response technique. The teaching artists and participants would create a rhythm and then the ensemble would echo that rhythm back. Then they explored the sounds that their bodies can make, and then finished their first session by co-creating a body percussion dance together.

The second Saturday focused on creating visual art in response to music. Each participant created graphic scores in response to music selections provided by the students. Baxter played an improvised piano piece; Beemer sang a Shakey Graves song accompanied with guitar; Krueger-Olson shared Through the Fence, a piece she co-created with her jazz combo.

On the final Saturday, the group created musical affirmations to embody the wisdom that guides each participant through their life challenges. The participants worked one-on-one with a teaching artist to transform their words into a song, and each songwriting pair shared their song for the group at the end of the session. 

“The third session was so powerful because at the end of the session almost every person said that what they experienced filled them with hope,” Kowal Jett said.

The debut of the Creative Recovery program could not have gone smoother, Kowal Jett said. She attributes that to the hard work and dedication of the students and emphasizes that she could not have done this without support from her colleagues in the Conservatory, especially Brian Pertl, dean of the Conservatory, and Leila Ramagopal Pertl, professor of music education and the harp.

Verrett worked closely with Kowal Jett every step of the way. She said she was thrilled at how the program was delivered and received.

“This program made such a difference for me and the other participants,” Verrett said. “It was an opportunity to use music in a new way that supported the recovery of everyone in the group. It was an opportunity to be creative in ways that did not require formal music training. The group provided an opportunity to share with each other without fear of judgment and connect in a unique and different way.”

Not only did the Creative Recovery program leave a positive and hopefully lasting impression on the NAMI participants, but the four students who worked as teaching artists say they also benefited from the learning experience.

“These experiences have repeatedly shown me that we can—and should—broaden our musical focus to include many more styles of music to bring people from all walks of life together,” Dikelsky said.

Kowal Jett wants Creative Recovery: Music in Motion to become an annual summer program, where she can continue to help connect students with the community and provide safe and creative healing environments.

“Every single person is musical, every single person is creative, and to design a program where each person’s intrinsic, musical voice can flourish is so incredibly powerful to me,” Kowal Jett said. “It’s what I absolutely love about my job.”

Karina Herrera, a Lawrence senior, is a student writer in the Office of Communications.

Launch of new Mariachi Ensemble is a dream realized in Lawrence Conservatory

Jando Valdez ’24 leads a Lawrence University Mariachi Ensemble rehearsal in the Music-Drama Center. (Photos by Danny Damiani)

Story by Ed Berthiaume / Communications

The mariachi sounds coming twice-weekly from a rehearsal space in Lawrence University’s Music-Drama Center have been a long time in the making. A dream, Jando Valdez ’24 calls it.

The impetus for that dream goes back to 2016, when Valdez, then a freshman at nearby Appleton North High School, started a mariachi band with a few Latinx classmates, celebrating and sharing a genre of music with deep roots in Mexico.

It picked up momentum a year later when Valdez’ group, Mariachi Jabalí, connected with the music education team at Mile of Music, beginning a relationship with Lawrence Conservatory of Music faculty, students, and alumni that would continue through three iterations of the popular Appleton music festival.

It accelerated in the fall when Valdez enrolled at Lawrence in pursuit of a Bachelor of Musical Arts (BMA) degree. He quickly found himself in conversations with Alex Medina ’21, Willy Quijano ’22, and Ricardo Jiménez ’21 on the possibility of launching a mariachi ensemble in the Conservatory.

The idea aligned with discussions that had already begun in the Conservatory, where Associate Professor of Music Matthew Arau, fresh off delivering a keynote address at the International Mariachi Summit in San Diego in August 2019, was all in on adding mariachi to Lawrence’s robust roster of student ensembles. He would help guide Valdez and the other students as they put together a plan and began recruiting other students.

It came to fruition early in Winter Term, when the new Lawrence University Mariachi Ensemble (LUMÉ) launched. Numbering upwards of 30 students during any given rehearsal—roughly half music majors, the others from across the college—the ensemble began playing together twice a week in the Music-Drama Center, with pandemic protocols in place.

“The first time LUMÉ was able to meet in person, it felt as if a piece of myself and my family’s heritage had been reignited,” Valdez said.

Ricardo Jiménez ’21 claps to the beat during a LUMÉ rehearsal.

He said the ensemble aspires to do more than play mariachi music at a high level. The students also want to learn about the music, where it comes from and what it means to those native to it.

“The difference between LUMÉ and a traditional ensemble is that we want to dive deep into the roots of the music we play and focus heavily on history through research and knowledge from qualified mariachi educators,” Valdez said.

That is music to the ears of Brian Pertl, dean of the Conservatory. He called the Mariachi Ensemble a great fit with the Conservatory as it allows students to explore their musical passions in an intellectual, creative, and meaningful way.

“It is such a great example of what I call empowered learning,” Pertl said. “Lawrence is so good at helping students make their musical dreams a reality.”

The ensemble also aligns well with ongoing Conservatory efforts to teach and explore music from around the world. That is no small thing. Look no further than Gamelan Cahaya Asri, Lawrence’s Balinese gamelan, an ensemble featuring gongs, drums, and bamboo flutes of Indonesia. Then there’s the Conservatory-led music education efforts that are part of Mile of Music, spearheaded by music education instructor Leila Ramagopal Pertl, much of it tied to exposing festival-goers to global music.

 “The dream of LUMÉ was perfectly aligned with our commitment to broadening our ensemble offerings beyond our outstanding classical music and jazz offerings,” Brian Pertl said. 

Jando Valdez ’24 (left) and Marya Wydra ’23 perform during rehearsal. The ensemble is a mix of music majors and students from across the college. Wydra is a biochemistry major.

Arau, who chairs the Music Education Department and serves as associate director of bands in the Conservatory, said he was inspired while taking part in the International Mariachi Summit two years ago. He met mariachi music educators from across the United States and heard high school mariachi ensembles perform. It’s a musical genre that has rarely been taught or otherwise nurtured in major music conservatories.

Why not? Arau asked. And why not at Lawrence?

“I was blown away by the musicianship and performance presence of these groups, and I realized that it would be fantastic for students at Lawrence to get to learn how to perform this incredible music of Mexican heritage,” Arau said.

He began talking with Conservatory students about launching a mariachi ensemble, but when the pandemic hit a year ago and classes went remote in Spring Term, the idea was put on pause.

Then Valdez reached out to Arau over winter break with an offer to take the lead in making the ensemble happen, even during the pandemic. Arau began meeting with Valdez on Zoom, piecing together the particulars of getting it up and running. He connected Valdez with Fredd Sanchez, a mariachi music educator in San Diego who agreed to regularly Zoom in as a guest artist and teacher. (Sanchez even brought his professional mariachi group, Mariachi Continental de San Diego, onto a Zoom session to perform for the students.)

Rehearsals kicked off Jan. 25 and now take place on Monday and Wednesday evenings. Masks are worn. Musicians are spaced throughout the room. Some join via Zoom on giant screens.

“There is a lot of excitement about the new group because the music is so engaging and inspiring,” Arau said.

Willy Quijano ’22 helped bring the ensemble to fruition.

That enthusiasm for world music, mariachi in particular, is what drew Valdez to Lawrence when it came time to choose a school. He said he got a sense of community and support within the Conservatory while working with Lawrence’s Mile of Music team.

“The emphasis on mental health and connection to one’s spirit, the importance of effort, broadening your musical horizons, and, most importantly, the words of Leila Ramagopal Pertl, ‘Music is a birthright’,” Valdez said. “And there was a possibility of a mariachi ensemble being formed here at LU, so that became one of my goals if I was fortunate enough to be accepted.”

The new ensemble aims to explore a range of sounds within the mariachi genre. The musicians are incorporating standard mariachi instruments such as trumpets, violins, voice, guitar, and bass as well as some nontraditional instruments such as flute, tuba, euphonium, and double bass.

“This term we are focusing on the style of rancheras, which are songs typically about living in rural Mexico and have a waltz feel,” Valdez said. “In addition, we are learning tunes in the style of son jalisciense—a style that switches between 2-beat and 3-beat rhythms—and polka, which is influenced directly by German polka.”

For the moment, the pandemic is keeping LUMÉ from debuting in front of a live audience. Instead, the students have been working toward a debut livestream performance, set for 9 p.m. March 10.

That, Valdez said, is the next step in the dream.

Ed Berthiaume is director of public information at Lawrence University. Email: ed.c.berthiaume@lawrence.edu

Global music traditions at heart of new interactive children’s workshop series

Mindara Krueger-Olson ’22 works through a rehearsal with classmates in a music education class in the Lawrence Conservatory of Music. The class has some students in person and others virtual. (Photos by Danny Damiani)

Story by Ed Berthiaume / Communications

During long walks over the summer, Leila Ramagopal Pertl ’87 and Betsy Kowal would talk at length about ways they could collaborate to dynamically connect Pertl’s Lawrence University music education students with Appleton youngsters whose classes had gone virtual amid the pandemic.

Pertl, an instructor in music education in Lawrence’s Conservatory of Music, and Kowal, the Conservatory’s specialist in community outreach, saw a need as overwhelmed elementary school teachers and parents grappled with the demands of online instruction.

They also saw a learning opportunity for their Lawrence students.

The resulting project, a series of live virtual music workshops in collaboration with the Appleton Public Library, debuted on Oct. 24 and will continue with two more this fall and another three or so in Winter Term. Called the Backyard Groove, the free workshops tap into culture bearers in the areas of mariachi, samba, and gamelan music to introduce a wider range of music to students in kindergarten through sixth grade, all wrapped in interaction and participation.

Sign-up for the 10 a.m. Nov. 7 and 21 virtual workshops can be found here.

The students in Pertl’s elementary performing arts methods class prepare the 45-minute workshops, create “grab and go” music kits that participating families can get from the library, and then deliver the workshops live on Saturday mornings.

“This pandemic has given us an opportunity to think differently,” Pertl said. “What are the ways in which we can think about online engagement? Can we use our screens creatively, can we get to every child in a way that allows them to not only perform music but make their own music?”

The project also was approached from the desire to incorporate antiracism into the instruction. How can the workshops speak to global music traditions that are alive and well here in the Fox Valley? That led to partnerships with I Dewa Ketut Alit Adnyana and Sonja Downing, Lawrence instructors in Balinese gamelan, Clarice Cast, an accomplished samba drummer from Brazil, and Nestor Dominguez ’14 and Jando Valdez ’24, who have each created mariachi programs.

Students are socially distanced in a Conservatory classroom as they prepare for the Backyard Groove workshops.

“In our Lawrence music education class, we ask the question, ‘What is the music of our community?’ Pertl said. “We can’t know this until we open our doors, extend our hands to our neighbors, and listen. Right here in Appleton we have culture bearers from many global music traditions. When our students are learning to create inclusive and culturally responsive classrooms, they are learning to take a close look at who is in their classroom, and in our larger community, before designing curriculum; a curriculum that engages every child and for which a teacher must renew their sense of being a beginner again—to engage with new music traditions and model joy, curiosity, and respect.”

See more on Lawrence’s music education program here.

The mariachi session kicked off the workshop series. It’ll be followed by the samba workshop on Nov. 7 and the gamelan workshop on Nov. 21, with additional workshops to be scheduled in early 2021. Pertl said she’s hopeful the sessions will draw upwards of 40 screens each, perhaps more as word spreads and interest grows.

For Alex DeBello ’23, part of the mariachi group, the process of creating and then delivering the workshop was both educational and inspiring, for both the Lawrence students and the Appleton youngsters.

“It allowed us to share the beauty and richness of mariachi in a way that was just as vibrant and fun as it was informative,” DeBello said. “Not all of our workshop participants, or even us students who were tasked with creating this workshop, had a mariachi background, so it was an immensely powerful thing to be able to awaken so many minds to this intricate musical tradition.”

Moreau Halliburton ’22, also a student in Pertl’s class, understands how important it is right now for families to find those connections when children may be feeling particularly isolated.

“Music connects us all, no matter how far apart we are,” she said. “I worked with groups of children over Zoom this past summer and they all expressed their sadness in not being able to play and have fun with their friends. Having creative online spaces for children right now, like these online music workshops, provides a safe space for children to come with their families, dance, sing, and meet new friends.”

Jando Valdez ’24 takes part in the Oct. 24 Zoom workshop featuring mariachi music.

The library was excited to join forces with Lawrence and reach out to area families looking for those opportunities, said Kowal, who is working with library staff to facilitate the workshops.

“The Backyard Groove is an opportunity to celebrate and uplift the many ways that folks in our community make music,” she said.

The workshops are giving the Lawrence music education students a chance to do what they love—making music and sharing their love of music with kids. DeBello said seeing “everyone’s smiling faces” on the day of the workshop was a huge boost during a difficult time.

“We’re still learning, singing, moving, and dancing despite all that this year has thrown at us,” she said.

In addition to the workshops, the Lawrence students are creating video resources that Appleton teachers—and those in other districts who show interest—can then use in their online teaching. The pandemic has forced music teachers to explore different ways to reach elementary school students, and turning loose the creative minds of Conservatory students to tackle that challenge has been exciting, Pertl said.

“It’s one way our students can engage in responsive classroom creation, foster professional relationships, and serve the community; all skills needed for impactful teaching” she said. “As usual, it’s a complete joy to hand the Lawrence pre-service teachers this project and see the many different ways they come up with its expression.”

Ed Berthiaume is director of public information at Lawrence University. Email: ed.c.berthiaume@lawrence.edu

Creativity, ingenuity will allow mask-wearing musicians to perform together

Isabel Kelly ’21 works on a flute mask in the Lawrence University costume shop. Seven Lawrence students are creating masks to be worn by musicians in the Conservatory of Music. (Photos by Danny Damiani)

Story by Ed Berthiaume / Communications

Lawrence University music students will soon be getting specially made face masks suitable for their music-making needs.

The music, after all, must go on even though life in the Conservatory of Music has been altered in almost every conceivable way in this pandemic. Every student, whether playing a brass or woodwind instrument, will have an appropriately designed mask so they can safely partake in ensemble practices or performances.

That’s the short story.

The deeper story is about alumni connections and Lawrence ingenuity, all leading to students in the Theatre Department’s costume shop, fresh off a master class from the alumna who designed the masks, creating more than 100 of the face coverings for their fellow Lawrentians. Masks and music-making are not easy partners.

“The Conservatory has been wrestling with how to get their large ensembles together this term,” said Karin Simonson Kopischke ’80, instructor of theatre arts and costume shop supervisor. “Just trying to figure out a safe way to do it.”

Katy Hopkins ’85

Enter Katy Hopkins ’85, who operates Yahara River Woodwinds, an instrument-repair shop in Stoughton, Wisconsin. With much of her business curtailed because of the pandemic—out-of-work musicians are less likely to need instruments repaired—she began making and selling face masks, including three specialty models she designed and developed for musicians, one for playing brass instruments, one for playing the flute, and one for playing other woodwinds.

“It took a long time for me to design these masks because there’s just a different set of issues,” Hopkins said. “If you’re playing a reed instrument, you have to have a mask that’s not going to interfere with your mouth, and you don’t want the reed to break. You have to be very careful about the kind of material you use. For flutes, when they blow across the instrument, a lot of their air goes out into the room. You have to figure out how to contain that air.

“You also need to find the right material that will still stay on your face when pulling a mouthpiece in and out,” she said. “It still has to contain your air when you’re not playing. The material has to be lightweight enough that the poor musician doesn’t die from heat exhaustion. Most wind players, they get pretty warm when they play anyway. To have something over your face and mouth can exacerbate that feeling of being flushed. There are just a lot of things to consider when you’re designing these.”

Students pitch in to make cloth masks for campus. Read more here.

When Hopkins, an oboe player who majored in music performance at Lawrence, landed on workable designs this summer, she shared them on Etsy. The response was immediate. She has been flooded with orders from around the country, to the point where she’s had to turn down sales because she can’t keep up.

Among those who came calling was her alma mater. After flute professor Erin Lesser gave one of the Yahara masks a thumbs up, Dean of Conservatory Brian Pertl, a Lawrence classmate of Hopkins in the early ’80s, reached out for a large order, perhaps 100 or more.

“At that point I was already overwhelmed by orders,” Hopkins said. “I said I’d love to help out, but I can’t keep up.”

Lilly Kuipers ’23 holds a finished woodwind mask in the costume shop.

Pertl then floated the idea of Hopkins teaching her design to the costume shop students, under the direction of Simonson Kopischke. Funds were allocated for a contingent sale of the design and for a master class that involved Hopkins coming to campus to teach the particulars of her design.

It’s a win-win, Simonson Kopischke said. The musicians get their masks and the students in the costume shop, who had been looking for a project to take the place of theatre costume work that has been partially sidelined by the pandemic, get a chance to put their creative skills to work.

“It’s a chance to use their hands and use their creativity and release the stress,” Simonson Kopischke said. “And it’s a work-study program, so a lot of them depend on the money they make.”

Hopkins delivered the master class to seven students in the costume shop on the lower level of the Music-Drama Center, reconfigured with sewing machines now spaced eight feet apart.

The masks will be black, suitable for concerts. The Conservatory purchased the black fabric, but other material, from the thread to the elastic, was already on hand.

“We’re set up pretty much like a professional costume shop,” Simonson Kopischke said.

Work stations in the costume shop have been adjusted keep student workers safe. Here, Isabel Kelly ’21 works on a flute mask at one of the sewing machines.

For Hopkins, the mask work is a satisfying detour for an instrument repair business that just launched a year ago.

“I was a lifelong sewer and I started just making regular masks for friends and family,” she said of the early days of the pandemic. “And they all said, ‘Hey, these are really nice, you should sell them.’ I needed extra income and I needed something to do and I’m a very creative person, so I started making masks and selling them on Etsy.

“In mid- to late summer, I started getting requests from my music educator colleagues and friends saying, ‘Have you thought about developing masks for musicians? We all have to go back to school and our administrators are requiring us to have something that’s going to work and protect us and our musicians.”

She went into her lab and started tinkering with designs, finally settling on three that are distinct and functional.

Hopkins is hopeful this is but a brief rerouting of her business.

“I hope for all of us that COVID is short-lived and we can go back to normal,” she said. “I expect this is a short-term business venture. But I’ve enjoyed the creative process, and I’m very excited about working with Lawrence students again.”

Ed Berthiaume is director of public information at Lawrence University. Email: ed.c.berthiaume@lawrence.edu

Eventful fall: 16 events we’re looking forward to in Fall Term

Story by Awa Badiane ’21

Pull out your cozy sweaters and go find your pumpkin-carving kit, because fall is upon us. Personally, I love fall. The cool weather, leaves changing colors, cute fall outfits — everything about fall is just perfect. And I get it, some of you may be sad about summer ending. But honestly, there is no reason to be sad over summer, because Fall Term is jam-packed with so many fun things to do on and off campus. That is why I have created this list of things Lawrence students can look forward to this fall. 

1) Soup Walk 

This is exactly what it sounds like. On Oct. 19 from 1 to 4 p.m., restaurants in downtown Appleton will have their best soups for people to try. With your soup ticket, you can walk into the participating restaurants on College Avenue and try their soups. And once you’ve had all the soup your heart desires, vote for your favorite. Tickets for the soup walk are $20 and go on sale Oct. 1. There’s is nothing better than a bowl of soup on a cool autumn day. 

2) Downtown Appleton Christmas Parade 

The Downtown Appleton Christmas Parade always takes place on the Tuesday before Thanksgiving. That’s Nov. 26 this year. As odd as that might be, it’s great for Lawrence students because we are still on campus for it! The parade takes place on College Avenue, meaning you can see the parade from campus. It is filled with floats, bands, Santa Claus, even floats that shoot out fire to make sure everyone stays warm. If you want to watch the show from College Ave., be sure to get there early because the streets do fill up. The parade starts at 7 p.m.  

3) Octoberfest

Who doesn’t love fancy cars and good food? On Sept. 27 and 28, Appleton will be hosting its annual Octoberfest. The first night of Octoberfest kicks off with a classic car show called License to Cruise. The car show is filled with about 400 cars, live music, and great food. And if you think that’s great, the second day of Octoberfest is a huge block party — Appleton’s largest block party of the year. The party boasts five stages with live music, an arts and crafts station, and more delicious food. Luckily for us, Octoberfest takes place right on College Avenue, only a few blocks from campus. 

The Fox Cities Performing Arts Center as seen from College Ave.

4) ‘Hamilton’ in Appleton 

Your eyes are not deceiving you; Hamilton is coming to Appleton! The Broadway production that took the world by storm will be at the Fox Cities Performing Arts Center for a multi-week run in October. And unlike trying to see Hamilton on Broadway, you may actually be able to get tickets thanks to their lottery system. Check the PAC website for show dates and details.

5) Apple picking 

This is a fall classic! As a kid, my favorite school trip was going to the nearest orchard and going apple picking. I didn’t really like eating the apples; I just really enjoyed picking them. Luckily for us, Appleton has a ton of apple farms, (see what I did there?), meaning we can take part in this fall ritual. The Hofacker’s Hillside Orchard is the closest orchard to campus, and they also have a pumpkin patch! 

6) Fall Formal  

Get your outfits ready! Every year Lawrence International hosts a Fall Formal, which is happening Sept. 27. The formal will be taking place at Liberty Hall in Kimberly, which is about 15 minutes from campus. If you don’t have a ride, no worries. There will be a shuttle running from campus to Liberty Hall every 15 minutes.     

7) Convocation 

A new academic year means a new Convocation Series. Every year, the Convocation series is kicked-off with the Matriculation Convocation. This Convocation is special because it is led by our very own president, Mark Burstein. This year, the Matriculation Convocation will be held at 11 a.m. Sept. 19 in Memorial Chapel.  

Dancers perform traditional Native American ceremony in Warch Campus Center on Indigenous Peoples Day.

8) Indigenous Peoples Day  

Every year, the Lawrence University Native American Organization (LUNA) hosts an Indigenous Peoples Day Celebration. This year, the celebration will be held on Oct. 14 on Main Hall Green. The celebration is typically filled with music, food, and traditional dancing that is sacred to indigenous cultures. This celebration gives indigenous students a chance to celebrate and share their culture with the wider campus as it also gives non-indigenous students a chance to learn about indigenous cultures.  

9) The Price is Right  

Lawrentians, come on down! As a way to celebrate Lawrence’s annual Giving Day, the Student Ambassadors Program (SAP) will be hosting a game of The Price is Right. Students will be able to dress in funky costumes and guess the price on different items around Lawrence to win prizes … just like the game show! The game will be held on Oct. 10 in the Mead Witter Room (second floor Warch), starting at 6:30 p.m. Giving Day will also have other events for students. Stay tuned.  

10) Blue and White Weekend  

Let’s go Vikes! As a way to celebrate the Lawrence community, Lawrence University hosts an annual Blue and White WeekendFrom Oct. 3-6, Lawrence will be filled with different events for families, alumni, and students. Last year’s Blue and White weekend was so much fun! There were different sporting events, concerts, and lots of places on campus to get free food, so I can’t wait to see what they have in store for this year! 

Portrait of four members of Brooklyn Rider
Brooklyn Rider

11) Artist and Jazz Series 

The performers coming to Lawrence during 2019-20 season have been announced! Brooklyn Rider will be the first group to kick-off the Artist Series, preforming Oct. 4 at 8 p.m. in the Lawrence Memorial Chapel. Brooklyn Rider is a strings quartet that creates music focused on healing. The Jazz Series, meanwhile, will begin with the Fred Sturm Jazz Celebration Weekendwith the Miguel Zenon Quartet as the first featured performance. Miguel Zenon is a Grammy-nominated saxophonist who will be preforming at the Lawrence Memorial Chapel at 7:30 p.m. Nov. 9. You will not want to miss these performances, and the best part is, they’re free for students.

12) Game Night  

As a way to ease the transition from high school to college for first-year students, Lawrence University’s Black Student Union (BSU) will be hosting a series of game nightsThe game nights will be open to the entire campus with a focus on being a space where students of color can have fun and get to know each other. The first game night will be held at 8:30 p.m. Sept. 20 in the Diversity and Intercultural Center.  

13) Events from S.O.U.P. 

S.O.U.P. is the Student Organization for University Planning. All the fun, really random things that happen on campus are typically brought to us by S.O.U.P.  This year will be no different, as S.O.U.P. continues to bring new events to campus for student to enjoy. On Sept. 28, S.O.U.P will be hosting Blacklight Zumba and bringing magician Peter Boie to campus. Be sure to be on the lookout for more events hosted by S.O.U.P happening this fall. 

The Vikings offensive line faces University of Chicago football players on the Banta Bowl field.

14) Fall Sports  

TOUCHDOWN! Fall term means fall sports. Be sure to stay up to date on the schedules for the football, volleyball, soccer, and tennis teams so you can support our Vikes! 

15) Wriston Art

Let there be ART! The Wriston Art Gallery will soon be opening its fall exhibitions. New pieces will be displayed in the gallery with an opening reception at 8 p.m. Sept. 27. Come check out the incredible art right here on campus. 

16) World Music Series 

The World Music Series is keeping the ball rolling from last year with a performance from Çudamani: Gamelan and Dance of Bali. This group is considered Bali’s most forward-thinking ensemble and will be coming to campus at 8 p.m. Sept. 23. The World Music Series is free for students, so be sure to take advantage of the opportunity to see performances from around the world. 

Awa Badiane ’21 is a student writer in the Communications office. 

Roomful of Teeth’s Estelí Gomez to join Lawrence Conservatory

Head shot of Esteli Gomez
Estelí Gomez

Estelí Gomez will join Lawrence University’s Conservatory of Music in the fall as the newest addition to the voice department.

The Roomful of Teeth vocalist has been part of two Grammy Award wins and was nominated in 2017 for the prestigious Gramophone Award as a soprano soloist. She’s also an accomplished voice instructor, holding a master of music degree from the McGill Schulich School of Music and a bachelor of arts degree in music from Yale.

“She is the rare professional vocalist who can sing at the highest level in practically any style,” said Brian Pertl, dean of the conservatory. “She is intellectually curious and loves to push the boundaries of classical music, and she is a passionate teacher. Estelí is the perfect fit for Lawrence and we are thrilled to welcome her to our faculty.”

Learn more about our award-winning Conservatory of Music!

Gomez, who performed at Lawrence with Roomful of Teeth in 2014 and 2017, said she’s thrilled to be joining Lawrence.

“In my musical travels over the last decade, having visited nearly 80 institutions of higher learning, no school has better exemplified my ideals for a multi-faceted, holistic approach to music education than Lawrence,” Gomez said. “As an undergraduate at Yale, I benefitted so deeply from my liberal arts education, while also exploring courses and ensembles offered through the graduate School of Music and Institute of Sacred Music. I believe wholeheartedly in access to interdisciplinary resources, and know that such access allowed me to become the adaptable, multi-genre, self-managed musician I am today.”

More details will be released at a later date.

Much-anticipated performance of Bernstein’s ‘Mass’ ready to open

Lawrence Opera Theatre’s presentation of Leonard Bernstein’s “Mass” runs from Thursday through Sunday at Stansbury Theater. Here’s what you need to know before you go. Tickets are available via the Lawrence Box Office

Image from video interview with Robert SchleiferA Lawrence University production of Leonard Bernstein’s highly acclaimed “Mass” will be staged this week with a significant twist.

The much-anticipated production by Lawrence’s Opera Theatre Ensemble, led by Copeland Woodruff, the award-winning Director of Opera Studies and Associate Professor of Music at Lawrence, will incorporate a Deaf character played by professional Deaf actor Robert Schleifer.

“My inspiration was two-fold — the obvious metaphor of our current society, where people have a difficult time listening to one another, and the inclusion of community members who might not necessarily attend an opera,” Woodruff said.

American Sign Language (ASL) and Pidgin Signed English (PSE) will be used throughout the production. Twenty-one members of the student ensemble have spent weeks learning to communicate in sign language.

There’s a lot to unpack with this production, opening Thursday (Feb. 14) and running through Sunday (Feb. 17) at Lawrence’s Stansbury Theater.

A cast member gets makeup applied before rehearsal.
Actors prepare for Tuesday’s dress rehearsal of “Mass.”

First, there’s the staging of a production as wide-ranging as “Mass,” which was both acclaimed and controversial when it debuted in 1971 and is being presented now as part of the world-wide celebration of Bernstein’s 100th birthday.

Woodruff and his ensemble are collaborating with members of two local children’s choirs to reimagine Mass, structured like a Roman Catholic Tridentine Mass but mixing sacred and secular texts and music. The celebrant leads the ceremony, and the Deaf character is the voice of the congregation challenging the celebrant. They argue and search for answers to universal questions together—their diversity highlighted by an eclectic blend of blues, rock, gospel, folk, Broadway, jazz, hymnal, Middle Eastern dance and orchestral music. Ultimately, they affirm the value of faith and hope for peace.

“Distinctive productions like Mass provide students with a rich educational opportunity to practice being a singer-actor, hone full-bodied communication skills, as well as develop appreciation and respect for the experience of others,” Woodruff said. “We hope that students will learn that the arts can be a powerful vehicle for personal and societal awareness and change.”

Actors on stage use sign language during dress rehearsal.
Sign language is used in real time throughout the production.

That speaks to the addition of Schleifer’s Deaf character, a statement on the difficulties we have in communicating when ideological differences come between us, be it political, religious or otherwise. It’s also a nod to the Deaf and hard-of-hearing communities and the daily struggles they endure.

“The use of ASL and PSE underscores the struggle to communicate, particularly between Deaf and hearing communications and within the Deaf community itself,” Woodruff said.

Community connections

Woodruff has a track record of partnering with community groups to examine socially relevant issues through opera. Members of the production team hope Mass will reach more than 2,000 people in the Fox Valley, many of them from the Deaf and hard-of-hearing communities.

“It is rare — even at the national level — for a signed opera to be produced and performed,” Woodruff said. “The majority of our area’s theater-going public would not ordinarily experience this type of performance. Mass will open dialogues about faith and inclusion to our community.”

Besides Schleifer, Kristine Orkin, a local interpreter for the Deaf, and two professional vocal/style specialists are participating in the production. Schleifer, along with Lawrence student performers, will sign most of the opera’s lyrics in real-time during the performance. Deaf audience members also will be able to read supertitles.

Lawrence student Erik Nordstrum, who shares the main role of the celebrant with Aria Minasian, said he has learned a lot about himself through his work on the production.

“Through working on this piece, I realized that I have not been listening to other people, or to myself, as intently or as consistently as I would like to, and that so many human failures stem from a failure to communicate,” he said.

Minasian, meanwhile, has taken lessons from members of the Deaf community she’s interacted with in the lead-up to the production.

“Learning about the Deaf community and applying it to the show has been awesome,” she said. “I’ve also found challenges with figuring out how to be a female celebrant in a Roman Catholic church setting. This show has a lot to unpack and many different ways it can be presented and interpreted, leaving a lot to the performers and production team.”

Religious conversations

Congregants from four Fox Cities faith communities have used this production of Mass as a vehicle to talk about how we communicate – or more likely, don’t communicate – when it comes to our differences.

“The Mass is this touchpoint for us,” said Linda Morgan-Clement, the Julie Esch Hurvis Dean of Spiritual and Religious Life at Lawrence.

Morgan-Clement’s office has been collaborating with Woodruff to bring together public conversations about Mass. She led a discussion at First Congregational United Church of Christ that included participants from that congregation as well as Memorial Presbyterian Church, First English Lutheran Church and the Fox Valley Unitarian Universalist Fellowship. It was a chance to talk about our often jumbled and conflicting faith journeys and the barriers that keep us from communicating effectively. The arts — and in this case, Bernstein’s Mass — can be used to engage people in conversations they might not otherwise have.

“It gives people a touchpoint around which to come together,” Morgan-Clement said. “It’s not just let’s get together and talk about the ways we don’t talk.”

This production provides a plethora of jumping off points in that conversation.

There’s the modern music, the discord, the journey of doubt playing out on stage, all crashing into the deep traditions of a Catholic mass. It provides an avenue for discussion of our differences and our similarities.

“So, it opens up this moment in today’s time for people to talk about the ways in which we … are still being human together, sharing this earth, a lot of commonality in our emotional framework and the ways we operate,” Morgan-Clement said. “And in what ways do the symbols and the language get in our way of actually hearing each other?”

‘Touches my soul’

For Schleifer, the blending of opera with sign language is powerful and moving.

Robert Schleifer performs on stage during dress rehearsal.
Robert Schleifer performs in a dress rehearsal of “Mass.”

“My love of opera is longstanding, its visual language fascinating — depicted through conductor wand gyrations, the energetic dance of bodies fused with instruments in orchestral rhythms, singers’ storytelling through facial expression and movement and breathing strength — the power I see touches my soul,” he said.

Bernstein’s Mass – full title is Mass: A Theatre Piece for Singers, Players, and Dancers — debuted in 1971 after the famed composer was asked by Jacqueline Kennedy Onassis to compose a piece for the 1971 inauguration of the Kennedy Center for the Performing Arts in Washington, D.C.

Seeing it unfold on an LU stage come Thursday night with sign language being incorporated throughout will be an emotional moment for Schleifer.

“Bernstein’s Mass project has been both a challenging and awesome experience,” he said, “from the sound of the music itself and the abstract concepts portrayed through tone and inflection, which I cannot hear, relying on facial and body cues, figuring how to match American Sign Language with operatic language, to the awesome collaboration with Copeland and Kris, who helped me understand the complexities of poetic language, appreciate the culture of opera, and together watch the beautiful magic unfold.”

On stage

What: Leonard Bernstein’s “Mass”

When: 7:30 p.m. Thursday, Feb. 14 through Saturday, Feb. 16; and 3 p.m. Sunday, Feb. 17

Where: Stansbury Theater, Lawrence University, Appleton

Cost: $15 ($8 for seniors and non-LU students; free for LU students and staff)

Contact: 920-832-6749,  boxoffice@lawrence.edu, or buy online

 

 

Collaboration on ‘Mass’ brings public conversations on faith, communication

Linda Morgan-Clement and Copeland Woodruff see an opportunity for conversation.

About faith. About no faith. About shared experiences and differing ideologies. About inclusion. About the barriers that keep us from talking freely about our own cluttered spiritual journeys.

Students practice using American Sign Language
Lawrence University students learn American Sign Language in preparation for the production of “Mass”.

With Lawrence University Opera Theatre presenting in mid-February a much-anticipated retelling of Leonard Bernstein’s Mass, featuring a Deaf character and the use of sign language, there is a window in which to engage people in conversation about how we communicate — or better yet, don’t communicate — on those often uncomfortable topics.

“The Mass is this touchpoint for us,” said Morgan-Clement, the Julie Esch Hurvis Dean of Spiritual and Religious Life at Lawrence.

Morgan-Clement’s office is collaborating with Woodruff, the award-winning Director of Opera Studies and Associate Professor of Music at Lawrence, to bring together public conversations about Mass, a production that was both acclaimed and controversial when it debuted in 1971 and is being presented now as part of the world-wide celebration of Bernstein’s 100th birthday.

Mass will be staged Feb. 14-17 at Lawrence University’s Stansbury Theater.

Congregants from Memorial Presbyterian Church, First English Lutheran Church, First Congregational United Church of Christ and the Fox Valley Unitarian Universalist Fellowship will take part in the public conversations.

The first session is a talk led by Morgan-Clement from 5:30 to 6:45 p.m. Wednesday, February 6 at First Congregational UCC, 724 E. South River St., Appleton. Participants will then be able to sign up to attend a dress rehearsal of Mass at Stansbury Theater and will have the opportunity to purchase reduced-price tickets to one of the performances. They also will be able to participate in a post-performance talk back with cast members.

Portrait of Linda Morgan-Clement
Linda Morgan-Clement

The opera, with its use of a Deaf character and the incorporating of American Sign Language (ASL) and Pidgen Signed English (PSE), provides an interesting opportunity to talk about how we communicate and the barriers we often put up, Morgan-Clement said.

“Part of what (Woodruff) is doing is trying to bring it into the contemporary world, so he will be using a Deaf actor for kind of a metaphor for thinking about how we communicate,” she said.

The arts — and in this case, Bernstein’s Mass — can be used to engage people in conversations they might not otherwise have.

“It gives people a touchpoint around which to come together,” Morgan-Clement said. “It’s not just let’s get together and talk about the ways we don’t talk.”

There is so much to unpack with this production that the conversations come naturally.

“It’s the Mass, which was so controversial in its own time,” Morgan-Clement said.

The modern music, the discord, the journey of doubt playing out on stage, all crashing into the deep traditions of a Catholic mass. It provides an avenue for discussion of our differences and our similarities.

“So it opens up this moment in today’s time for people to talk about the ways in which we … are still being human together, sharing this earth, a lot of commonality in our emotional framework and the ways we operate,” Morgan-Clement said. “And in what ways do the symbols and the language get in our way of actually hearing each other?”

Important dialogue

Woodruff often looks for community partnerships as he uses opera to explore a range of socially relevant issues. With Mass, the incorporation of a Deaf character provides an opportunity for engagement with the Deaf and hard-of-hearing communities, discussion of language and culture issues in those communities and a wider dialogue surrounding communication barriers that often hamper conversations on spiritual topics.

In addition to the collaboration with the Office of Spiritual and Religious Life, Lawrence students are taking part in community engagement activities, including a performance of selections from the opera at Appleton’s Edison Elementary School, which serves both Deaf and Hard-of-Hearing students.

Members of the production team say the opera could reach as many as 2,000 people in the Fox Valley.

“It is rare — even at the national level — for a signed opera to be produced and performed,” Woodruff said. “The majority of our area’s theater-going public would not ordinarily experience this type of performance. Mass will open dialogues about faith and inclusion to our community.”

Woodruff and the Lawrence University Opera Theatre Ensemble are partnering with members of two local children’s choirs to reimagine Mass, which is structured like a Roman Catholic Tridentine Mass but mixes sacred and secular texts and music. The Celebrant leads the ceremony, and the Deaf character is the voice of the congregation challenging the Celebrant. They argue and search for answers to universal questions together — their diversity highlighted by an eclectic blend of blues, rock, gospel, folk, Broadway, jazz, hymnal, Middle Eastern dance and orchestral music.

Through the production, the characters seek a new path to shared communication, exploring how we can hear each other despite our differences.

Ultimately, they affirm the value of faith and a desire for peace.

That’s the path Morgan-Clement is looking to explore in the session that kicks off the conversation on Feb. 6.

“It just makes sense for us to see whether there are things we can or would like to do together,” she said of the collaboration with the Opera Theatre team.

Incorporating sign language

The production of Mass features a professional Deaf actor, Robert Schleifer, as well as a local interpreter for the Deaf, Kristine Orkin. Schleifer, along with Lawrence student performers, will sign most of the opera’s lyrics in real time during the performance. Lawrence students have been getting training in using ASL. Deaf audience members also will be able to read supertitles.

For Schleifer, the blending of opera with ASL is powerful and moving.

“My love of opera is longstanding, its visual language fascinating — depicted through conductor wand gyrations, the energetic dance of bodies fused with instruments in orchestral rhythms, singers’ storytelling through facial expression and movement and breathing strength — the power I see touches my soul,” he said.

“Bernstein’s Mass project has been both a challenging and awesome experience, from the sound of the music itself and the abstract concepts portrayed through tone and inflection, which I cannot hear, relying on facial and body cues, figuring how to match American Sign Language with operatic language, to the awesome collaboration with Copeland and Kris, who helped me understand the complexities of poetic language, appreciate the culture of opera, and together watch the beautiful magic unfold.”

Bernstein’s Mass debuted in 1971 after the famed composer was asked by Jacqueline Kennedy Onassis to compose a piece for the 1971 inauguration of the Kennedy Center for the Performing Arts in Washington, D.C.

Opera has been an integral part of the Lawrence voice program for almost 60 years, a centerpiece of the performance opportunities for voice students. Under Woodruff’s direction, Lawrence’s mainstage operas have received national awards, including Hydrogen Jukebox (2017) and The Beggar’s Opera (2016), which shared first prize for the American Prize in Opera Performance in the college/university division. Le comte Ory (2018) and The Beggar’s Opera also received first place from the National Opera Association; Hydrogen Jukebox received third place in the same competition. Woodruff was also named the 2018 recipient of the American Prize’s Charles Nelson Reilly Prize for stage direction.

Lawrence’s production of Mass is supported by grants from 91.1 The Avenue and the Jewelers Mutual Charitable Giving Fund and the Bright Idea Fund within the Community Foundation for the Fox Valley Region. The Office of Spiritual and Religious Life is able to co-sponsor the production and public conversation through the Hurvis endowment.

Mass: A Theatre Piece for Singers, Players, and Dancers will be performed February 14-17, 2019, in Stansbury Theatre on the Lawrence University campus. More information, including ticket information, can be found at go.lawrence.edu/massopera.

Note: This story has been updated to reflect the date change for the public conversation on faith and communication. Due to the extreme cold weather, it was moved from 5:30 p.m. Jan. 30 to 5:30 p.m. Feb. 6. All other details remain the same.

Exploring Communication Through Opera

Lawrence opera students utilize sign language in new conception of Leonard Bernstein’s “Mass.”

Lawrence University Conservatory of Music student rehearse ASL for the upcoming opera, "Mass."
Lawrence University Conservatory of Music students rehearse ASL for the upcoming opera, “Mass.”

Twenty-one members of the Lawrence University Opera Theatre Ensemble spent two weeks over their winter break learning American Sign Language (ASL). Why would opera singers need to know ASL?

In a twist on the original production of Leonard Bernstein’s Mass: A Theatre Piece for Singers, Players, and Dancers, award-winning Director of Opera Studies and Associate Professor of Music Copeland Woodruff has incorporated a Deaf character into the production, resulting in an exploration of communities breakdowns when opposing sides work to understand each other and move forward together. Performers will utilize ASL, as well as Pidgin Signed English (PSE), throughout the performance.

“The use of ASL and PSE underscores the struggle to communicate, particularly between Deaf and hearing communications and within the Deaf community itself,” says Woodruff of his decision. “My inspiration was two-fold: the obvious metaphor of our current society, where people have a difficult time listening to one another, and the inclusion of community members who might not necessarily attend an opera.”

Woodruff has a track record of partnering with community groups to examine socially relevant issues through opera. Mass is no exception. He is working with local partners to explore options for community engagement and dialogue about the history of the Deaf community in the U.S. and the world, as well as Deaf language and culture. In tandem with the show, Lawrence students will take part in planned community engagement activities, including a performance of selections from of the opera at Appleton’s Edison Elementary, which serves both Deaf and Hard-of-Hearing students.

Members of the production team hope that the opera will reach roughly 2,000 people in the Fox Valley region.

“It is rare—even at the national level—for a signed opera to be produced and performed,” said Woodruff. “The majority of our area’s theater-going public would not ordinarily experience this type of performance. Mass will open dialogues about faith and inclusion to our community.”

Robert Schleifer, professional Deaf actor, Kristine Orkin, local interpreter for the Deaf, and two professional vocal/style specialists are participating in the production. Schleifer, along with Lawrence student performers, will sign most of the opera’s lyrics in real-time during the performance. Deaf audience members will also be able to read supertitles.

As a part of the world-wide celebration of Leonard Bernstein’s 100th birthday, Woodruff and the Lawrence University Opera Theatre Ensemble will collaborate with members of two local children’s choirs to reimagine Mass, which is structured like a Roman Catholic Tridentine Mass but mixes sacred and secular texts and music. The Celebrant leads the ceremony, and the Deaf character is the voice of the congregation challenging the Celebrant. They argue and search for answers to universal questions together—their diversity highlighted by an eclectic blend of blues, rock, gospel, folk, Broadway, jazz, hymnal, Middle Eastern dance, and orchestral music. Ultimately, they affirm the value of faith and hope for peace.

“Distinctive productions like Mass provide students with a rich educational opportunity to practice being a singer-actor, hone full-bodied communication skills, as well as develop appreciation and respect for the experience of others,” said Woodruff. “We hope that students will learn that the arts can be a powerful vehicle for personal and societal awareness and change.”

Erik Nordstrum ’19, who shares the main role of the Celebrant with Aria Minasian ’19, has learned a great deal about his personal beliefs throughout his work on the production.

“Through working on this piece, I realized that I have not been listening to other people, or to myself, as intently or as consistently as I would like to, and that so many human failures stem from a failure to communicate,” Nordstrum said.

“I’d say some of the most challenging things are also the most enjoyable,” adds Minasian.

“Learning about the Deaf community and applying it to the show has been awesome. I’ve also found challenges with figuring out how to be a female Celebrant in a Roman Catholic Church setting. This show has a lot to unpack and many different ways it can be presented and interpreted, leaving a lot to the performers and production team.”

Opera has been an integral part of the Lawrence voice program for almost 60 years, a centerpiece of the performance opportunities for voice students. Under Woodruff’s direction, Lawrence’s mainstage operas have received national awards, including Hydrogen Jukebox (2017) and The Beggar’s Opera (2016), which shared first prize for the American Prize in Opera Performance in the college/university division. Le comte Ory (2018) and The Beggar’s Opera also received first place from the National Opera Association; Hydrogen Jukebox received third place in the same competition. Woodruff was also named the 2018 recipient of the American Prize’s Charles Nelson Reilly Prize for stage direction.

The production is supported by grants from 91.1 The Avenue and the Jewelers Mutual Charitable Giving Fund and the Bright Idea Fund within the Community Foundation for the Fox Valley Region.

Mass: A Theatre Piece for Singers, Players, and Dancers will be performed February 14-17, 2019, in Stansbury Theatre on the Lawrence University campus. More information, including ticket information, can be found at go.lawrence.edu/massopera.

Lawrence University Presents 38th Annual Jazz Weekend

Lawrence University will present the 38th annual Fred Sturm Jazz Celebration Weekend with live performances from the Regina Carter Quartet on Friday, November 2 and the Vanguard Jazz Orchestra on Saturday, November 3. Both concerts will take place at 7:30 pm in the Lawrence Memorial Chapel. Tickets are free for all students with a valid student ID, and range from $20 – $30 for seniors and adults. Tickets are available for purchase from the Lawrence University Box Office in person, online or by calling 920-832-6749.

Headshot of Regina Carter
Jazz Violinist Regina Carter

Fred Sturm Jazz Celebration Weekend brings professional jazz artists to the Lawrence campus for a non-competitive jazz education festival. Over the course of the weekend hundreds of middle and high school students from around the Midwest work with Lawrence faculty and jazz educators from across the country. The weekend culminates in the Friday and Saturday evening concerts given by internationally acclaimed jazz musicians.

The concert on Friday, November 2 will feature Regina Carter, a Sony Masterworks recording artist and the foremost jazz violinist of her generation. Her quest for beauty combined with her passion for excellence did not escape the attention of the MacArthur Foundation, who awarded Regina their prestigious fellowship “genius grant.” Carter’s recent release, Ella: Accentuate the Positive and touring program, Simply Ella, mark the 100th birthday of musical legend Ella Fitzgerald. Carter will perform Simply Ella live at Lawrence with her quartet.

Vanguard Jazz Orchestra
Vanguard Jazz Orchestra

The concert on Saturday, November 3 showcases the multiple-Grammy winning 16 piece Vanguard Jazz Orchestra which features some of the world’s finest musicians. Co-founded by legendary trumpeter Thad Jones and drummer Mel Lewis, after more than 50 years the ensemble still plays virtually every Monday night at the renowned Village Vanguard Jazz club, New York City’s most famous basement. The beautiful and unique arrangements of Thad Jones enchanted audiences worldwide. The mixture of the music from diverse backgrounds created their innovative sound and the band was quickly recognized as a world-class big band. The ensemble cultivated its rich history while commissioning new music that made them the prototype of innovative big band music.

For more information about these events or the Fred Sturm Jazz Celebration Weekend, contact Jillian Johnson at 920-832-6773