Festival Orchestra Concert

underwritten by John Lunde in honor of the musical heritage of Concordia College refreshments following the concert are provided by a gift from William and Christine Drotning

CHAPEL OF THE RESURRECTION

VALPARAISO UNIVERSITY

SATURDAY July 27

fanfare

We kindly ask that all members of the audience refrain from photographing or recording tonight’s performances. Please turn off all electronic and noise-making devices.

If you are a visitor this evening, please complete a guest card and place it in a basket on your way out of the sanctuary so that we may keep in touch with you.

Dr. Kevin Sütterlin THE PHYLLIS AND RICHARD DUESENBERG ENDOWED ORCHESTRA CHAIR

Elizabeth Ames ORCHESTRAL CONDUCTING FELLOW

Fabian Schneider ORCHESTRAL CONDUCTING FELLOW

Flourish No. 1

Paul Morton TRUMPET

Christian Chiasson TRUMPET

Bruce Atwell HORN

Brandon Domingue TROMBONE

Benjamin Yates BASS TROMBONE

welcome Thomas Bandar EXECUTIVE AND ARTISTIC DIRECTOR, LUTHERAN MUSIC PROGRAM

Kevin Hilbun

Overture No. 1

Louise Farrenc 1804–1875

Composer, concert pianist, and entrepreneur Louise Farrenc’s music is belatedly receiving her due as a remarkable figure in the musical world of nineteenth-century Paris. Born into an artistic family in 1804 (her father and brother were sculptors), Farrenc studied with such renowned pianists as Ignaz Moscheles and Johann Nepomuk Hummel, and then at the age of 15 was accepted as a student of Anton Reicha, professor of composition at the Paris Conservatory. Farrenc had a brilliant career as a touring artist and composer during the 1830s. She composed for her own instrument as well as for orchestra and chamber ensembles and often performed with her husband, flutist Aristide Farrenc. She was appointed as professor of piano at the Paris Conservatory in 1842, and after her husband retired as a

performing artist, the couple founded Editions Farrenc, a music publishing house that was one of the most distinguished in Paris for several decades.

The Overture No. 1 dates from 1834 and was given its premiere the following year. The work opens in French overture style, with a slow introduction characterized by a somber, almost severe, unison theme featuring dotted rhythms in the strings reinforced by powerful chords in the brass. Some sweet relief is offered by intertwining lines in the woodwinds, but the mood remains serious, and the introduction comes to a quiet conclusion. The violins launch into the Allegro proper with a slightly frenetic theme which develops into stormy outbursts. This is contrasted by a delightfully lyrical tune in the clarinet which Farrenc ingeniously accompanies with a version of the first theme, with the violins now chattering away in much more cheerful G major. Two brusque chords in the “wrong” key announce the development, which first features the second theme and gradually includes the first. An uncertain pause leads to the recapitulation, in which the second theme is taken by the flute instead of the clarinet. The coda turns to bright E major, bringing the work to an energetic and optimistic close.

Horn Concerto No. 1

III. Rondo (Allegro)

Nolan Henckel HORN

1864–1949

Growing up in a musical and financially secure household was paramount to Richard Strauss’ eventual success as a composer. His father, Franz, one of the greatest horn players of the day, was principal horn of the Bavarian Court Orchestra and the Munich Opera. His mother, Josephine (née Pschorr), was heiress to the Hacker-Pschorr Brewery a fivehundred-year-old brewery that, by Munich law, is one of only six breweries legally allowed to serve beer within city limits during Oktoberfest. With his father’s steady stream of musical engagements, Richard was exposed to Europe’s greatest musical talent from a very early age. And with his mother’s steady stream of cash, he, unlike most nineteenth-century German boys, was unencumbered by an obligation to supplement the family income upon reaching adolescence. Thus, instead of engaging in mandatory drudgery as a teenager, Strauss was able to pursue a career in music.

Strauss wrote his Horn Concerto in E-flat, the first of his two horn concertos, while studying philosophy at the University of Munich. Richard initially dedicated the concerto to his father and then later rededicated it to Bruno Hoyer, another great horn player, who premiered an arrangement of the work for horn and piano. The change in dedication was actually Franz’s request. It was important to Franz Strauss that his son’s musical identity mature independently. In fact, the elder Strauss never performed his son’s work in public. Forging his

Richard Strauss

own path, the younger Strauss left university after just one year, and with his parents’ blessing (and his father’s numerous musical contacts), he ventured out on his own, touring the musical capitals of Europe and introducing himself to the world. One work that the 18-yearold Strauss brought with him on these trips was his recently completed horn concerto. Two years later, the esteemed conductor Hans von Bülow conducted the orchestral premier of the concerto, with Gustav Leinhos as soloist. This work, widely viewed as one of Strauss’s first important compositions, contributed significantly to his successful debut on the European circuit.

The composition is typical of Strauss’s music at the time: it is Romantic in style, with influences of Mendelssohn. Although Strauss’s music eventually releases its late Classical imprint and adopts the broad, sweeping style of late Romanticism, this concerto offers us hints of what is to come, foreshadowing the great “horn moments” in Strauss’s epic tone poems such Don Juan, Ein Heldenleben, and Don Quixote.

The Montgomery Variations

I. Decision

II. Prayer Meeting

III. March

IV. Dawn in Dixie

V. One Sunday in the South

VI. Lament

VII. Benediction

Few individuals in music’s history have been more assiduous as lifelong advocates for racial justice and social justice generally than Margaret Allison Bonds. Her mother was a musician who studied at Chicago Musical College and a founding member of the National Association of Negro Musicians, and her father, a doctor originally from Texas, edited one of the first published books for Black children and the 1893 lexicon Noted Negro Women: Their Triumphs and Activities. These parental profiles exerted a powerful formative influence on Margaret: her mother’s musical gifts and commitment to education played out in her own education; and her father’s activities on behalf of racial equality and social justice together with the threats on his life from the Ku Klux Klan that they engendered heightened her commitment to the ethical and moral imperatives for educational and artistic mentoring of Black folk. Along with her setting of W.E.B. Du Bois’s iconic civil-rights Credo, The Montgomery Variations is considered a crowning opus of Margaret Bonds’s extraordinary career. Bonds wrote her own program notes which are printed below. They explain that the

work is based on the African American spiritual “I Want Jesus to Walk with Me,” and show that it was based on events and ideas in the civil-rights movement from the Montgomery Bus Boycott of 1955–56 through the Sixteenth Street Baptist Church bombing that killed four young Black American girls in Birmingham, Alabama, on September 15, 1963.

The composer’s own program notes:

The Montgomery Variations is a group of freestyle variations based on the Negro Spiritual theme, “I Want Jesus to Walk with Me.” The treatment suggests the manner in which Bach constructed his partitas a bold statement of the theme, followed by variations of the theme in the same key major and minor. Because of personal meanings of the Negro spiritual themes, Margaret Bonds always avoids overdevelopment of the melodies. The Montgomery Variations were written after the composer’s visit to Montgomery, Alabama, and the surrounding area in 1963 (on tour with Eugene Brice and the Manhattan Melodaires).

I. Decision

Under the leadership of Martin Luther King Jr. and SCLC, Negroes in Montgomery decided to boycott the bus company and to fight for their rights as citizens.

II. Prayer Meeting

Trut [sic] to custom prayer meetings precedes their action. Prayer meetings start quietly with humble petitions to God. During the course of the meeting, members seized with religious fervor shout and dance. Oblivious to their fellow worshippers they exhibit their love of God and their Faith in Deliverance by gesticulation, clapping, and beating their feet.

III. March

The Spirit of the Nazarene marching with them, the Negroes of Montgomery walked to their work rather than be segregated on the buses. The entire world, symbolically with them, marches.

IV. Dawn in Dixie

Dixie, the home of the Camelias known as “pink perfection,” magnolias, jasmine, and Spanish moss, awakened to the fate that something new was happening in the South.

V. One Sunday in the South

Children were in Sunday School learning about Jesus, the Prince of Peace. Southern “diehards” planted a bomb, and several children were killed.

VI. Lament

The world was shaken by the cruelty of the Sunday School bombing. Negroes, as usual, leaned on their Jesus to carry them through this crisis of grief and humiliation.

VII. Benediction

A benign God, Father and Mother to all people, pours forth Love to His children the good and the bad alike.

INTERMISSION

There will be a fifteen-minute intermission. Accessible restrooms are located in the chapel narthex, and additional basement restrooms are available via the spiral staircase at the baptistry.

Rit lavi a (The Rhythm of Life)

Elizabeth Ames CONDUCTOR

“Rit lavi a,” is a phrase in Haitian Creole that can be translated as “The rhythm of life.” This composition delves into our multifaceted journey on Earth: the highs and lows, joy and sorrow, swiftness and slowness, and the coexistence of good and bad two facets of the same existence. The harmonious fusion of these opposing elements constitutes the essence of life, a flawlessly imperfect beauty. Our task of navigating this expedition while radiating positivity encapsulates the very heart of life, its rhythm.

This musical creation draws inspiration from two Haitian folk rhythms named Ibo and Yanvalou. They are both styles of drumming and dance in Haitian culture. Ibo is associated with the Ibo people, one of the ethnic groups brought to Haiti during the transatlantic slave trade. Yanvalou is one of the most essential rhythms in Haitian folklore; it is sometimes linked to such virtues as knowledge, patience, strength, and healing. These rhythms are an integral part of Haitian Vodou ceremonies and other cultural and religious events. The Ibo drumming style is often used to invoke spirits and deities in Vodou rituals. They are an essential part of the tradition and involve complex footwork and movements often accompanied by the rhythmic patterns played on the drums. The dance is used as a form of spiritual expression and is closely tied to the religious practices of the Vodou tradition. They have a rich and significant history and reflect the cultural diversity and influences that have shaped Haitian music and dance over the centuries.

Christopher Ducasse b. 1993

This piece was commissioned by Kevin and April Ann Sütterlin as a gift to the Fox Valley Symphony Orchestra, in honor of their friend and Army veteran Ronald “Ron” Nowacki who passed away on August 2, 2023.

Elizabeth Ames CONDUCTOR

1857–1934

During 1897, Elgar first became acquainted with A. J. Jaeger, the Novello employee who became “Nimrod” of the Enigma Variations. From the start, they were frank in their exchange of views. In October 1897, Elgar, who by this time already had a number of comparative successes under his belt, wrote to Jaeger bemoaning the lack of financial reward he had received for his works. To those who knew Elgar, such melancholic moods were not uncommon and perhaps not to be taken too seriously, although they did reflect the perilous financial existence of a composer at that time. Within ten days of his letter to Jaeger, Elgar sent Novello a short piece for violin and piano which he called Evensong, although he suggested to Novello that they might prefer the name Vespers. In the event, believing that French titles sold better, they published it as Chanson de Nuit. Elgar no doubt regarded it as little more than a pot boiler, a quick way of earning much needed funds, although the work contains a depth of sincerity and emotion not commonly found in pot boilers then or since. In March 1899, shortly after completing the orchestration of the Enigma Variations, Elgar sent Novello another short piece for violin and piano. He claimed to have recently rediscovered and completed it, having originally intended it as a companion piece to Evensong. He therefore suggested to Novello that they publish it as Chanson de Matin, which they did. In January 1901, Elgar sent Novello orchestral arrangements of the two works. This helped accelerate their rising popularity and it is in this form that they are usually heard today. Chanson de Matin in particular retains a wide public affection out of all proportion to the effort it must have taken Elgar to produce it. Elgar himself described the Chanson de Matin as a cheerful piece. It is a perfect little aubade, as fresh as morning dew and with that airy, outof-doors quality that was Elgar’s secret.

Chanson de matin

Edward Elgar

Video Game Fantasy

Fabian Schneider CONDUCTOR

Russell Peterson is an accomplished classical and jazz saxophonist, bassoonist, and composer. He is an active chamber musician, performing extensively throughout Europe and the United States. He is currently professor of saxophone, bassoon, and Director of Jazz at Concordia College, Moorhead.

The composer’s program notes:

Hi LSM! Thanks for playing my new arrangement of Video Game Fantasy! This was commissioned last year by the Fargo-Moorhead Symphony. We had originally programmed to perform music from popular video games that rhyme with “Selda” and “The Spinal Travesty” … But after worries over copyright, it was decided to abandon this and have a ‘generic’ title with multiple video game music themes. Can you guess the themes?

Symphony No. 2

IV. Finale (Allegro moderato)

Jean Sibelius 1865–1957

In the fall of 1900, Jean Sibelius and his family departed Finland for Italy, stopping first in Berlin. In February 1901, they finally reached their destination the village of Rapallo, located just south of Venice. While in Venice, Sibelius began work on his second symphony

In May, Sibelius and his family returned to Finland. There, Sibelius continued to work on his second symphony. In November 1901, Sibelius informed his friend, Baron Axel Carpelan, that he had almost completed the symphony. However, Sibelius continued to revise it, necessitating the postponement until March of the planned January 1902 premiere.

Sibelius conducted the premiere of the second symphony in Helsinki on March 8, 1902. It was a rousing success, and Sibelius repeated the program on March 10, 14 and 16, each time to a capacity audience. This was a particularly tumultuous period, a time when Finland was under the grip of Russian domination. Patriotic emotions were at a fever pitch. Sibelius had previously composed overtly nationalistic pieces, such as Finlandia (1899), and the Finnish people were anxious to find a similar message in the new Symphony.

Russ Peterson b. 1969

Throughout his life, Sibelius consistently denied that the second symphony was based upon such programs. Still, it is not at all surprising that the Finnish people continued to find a personal message of hope in this fiercely dramatic (and in the end, triumphant) work by their greatest composer. To this day, Symphony No. 2 remains a source of inspiration and pride for the Finnish people, as well as a mainstay of the international symphonic repertoire.

The concluding movement (Finale, Allegro moderato) follows the third movement without pause. The symphony’s opening three-note motif is now presented in a heroic transformation. In the stunning climax the motif undergoes its final and most eloquent transfiguration.

EVENING PRAYER

Following acknowledgement of the performers, we conclude with song and prayer This liturgy uses the cranberry-colored worship book Evangelical Lutheran Worship, abbreviated as ELW in this bulletin. References to “page” numbers are found in the front of the book (look for the smaller numbers at the bottom of each page) while references to “Hymn” numbers are found in the main section (look for larger numbers at the top of each page).

abendmusik “Nimrod” from Variations on an Original Theme, ‘Enigma’ Op. 36

Edward Elgar 1857–1934

One chilly October night in 1898, Elgar came home after a long day of teaching violin lessons. To unwind, he sat down at his piano and began improvising. Elgar recalled: “Suddenly my wife interrupted by saying, ‘Edward, that’s a good tune.’ I awoke from the dream, ‘Eh! Tune, what tune?’ and she said, ‘Play it again, I like that tune.’” As he repeated it, he began to vary it, asking her, “Whom does that remind you of?” and thus the musical portraits of the “friends pictured within” were born. According to Elgar, the audible enigma (original theme) represents the composer himself; he felt it embodied the loneliness of the creative artist. In a letter to his publisher and friend, Jaeger, Elgar wrote: “I have sketched a set of Variations on an original theme: the Variations have amused me because I’ve labeled ’em with the nicknames of my particular friends you are Nimrod.”

Fabian Schneider CONDUCTOR

Jaeger was not only Elgar’s publisher, but also his champion, and he made useful and important constructive criticisms of Elgar’s music such as expanding and lengthening the finale of the Enigma Variations, which Elgar greatly appreciated. (Nimrod is the biblical “mighty hunter,” a pun on Jaeger, the German word for hunter.) When Elgar and Alice visited Jaeger in January 1899, Elgar told Jaeger of his failed attempts to interest Novello in the Variations, and that he was going to give up composing and go back to teaching music. Jaeger, disturbed by this news, took it upon himself to ensure Elgar’s Variations would receive the attention they deserved, and promoted Elgar’s music with at the time famous conductors and influencers within the classical music scene of England and beyond.

Elgar described Jaeger’s variation as an evocation of a conversation between the two men about Beethoven’s difficulties with his deafness. Jaeger’s mention of Beethoven was meant to encourage Elgar, who was at the time despondent over his own struggles to gain recognition. Elgar wrote, “it will be noticed that the opening bars are made to suggest the slow movement of [Beethoven’s] Eighth Sonata (‘Pathétique’).”

prayer Luther’s Evening Prayer

LSM 2024 Chapel Choir

LSM Alumni Choir

Christopher Aspaas CONDUCTOR

Audrey Cook ORGAN

I thank you, heavenly Father, through Jesus Christ, your Son, our Lord. You kept me safely through the day, now keep me safe this night, I pray.

Forgive my sins where I have erred in wrongful deed or thought or word. Be with me through the dark night hours lest I succumb to Satan’s powers.

Into your hands, O Father, I offer all I am and have. Your holy angel in the night keep watch o’er me till morning light.

O Christ, my Savior, be my song each morning, evening, all day long, who with the Father we give praise, and Holy Spirit, all our days. Amen.

Carl F. Schalk 1929–2021

introit

“Thou that hast given so much”

Stand at the start of the introduction

give one thing

when it pleas

& ?

but such a

dialogue At the sound of the bell, face the procession

Thou that hast

Carl F. Schalk 1929–2021

giv’n so much to

Jesus Christ is the light | of the world, the light no darkness can | overcome.

Stay with us, Lord, for | it is evening, and the day is | almost over.

Let your light scat- | ter the darkness and illu- | mine your church.

hymn of light

thanksgiving for light

with pure voic es for

Let us give thanks to the Lord our God.

Thanks be to God. & b v

And al so with you.

The peace of God, which surpasses all understanding, & b v keep our hearts and our minds œ œ œ ˙ in Christ Je sus.& b ˙ ˙ A men.& b v

Let us give thanks to the Lord our God. & b œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ It is right to give our thanks and praise.

Chanted by the leader

We give you thanks … … now and forever.

Almighty God, the Father, + the Son, and the Holy Spirit, & b œ œ œ œ ˙ bless and pre serve us.& b ˙ ˙ A men.& b œ œ œ œ ˙ ˙

PSALMODY

psalm 141 “Let my prayer rise before you …” ELW, page 312

Group One LSM 2024 Community Group Two Families, Friends, Alumni, and Guests

Let us bless the Lord. & b œ œ œ œ ˙ ˙ Thanks be to God. & b v The peace of God, which surpasses all understanding, & b v keep our hearts and our minds œ œ œ ˙ in Christ Je sus.& b ˙ ˙ A men.& b v

After a time of silence for reflection, a psalm prayer is chanted by the leader

psalm prayer Let us pray. Let the incense … … forever and ever.

Almighty God, the Father, + the Son, and the Holy Spirit, & b œ œ œ œ ˙ bless and pre serve us.& b ˙ ˙ A men. -

WORD

anthem Nunc dimittis Christopher Aspaas

LSM 2024 Chapel Choir

Timothy Sanchez PIANO

Ezechiel Daos CONDUCTOR

reading Song of Songs 2:10–14

The reading ends with “The word of the Lord” or similar words to which all respond Thanks be to God.

dialogue

The dialogue follows a period of extended silence for reflection

Jesus said, I am the light | of the world. Whoever follows me will never | walk in darkness.

gospel canticle “My soul now magnifies the Lord”

Stand as the hymn is introduced All stanzas sung in unison

PRAYERS

litany “In peace, let us pray …”

ELW, Hymn 573

ELW, page 316

All are invited to exchange words and gestures of peace Please join us in the narthex (chapel entrance) for refreshments and fellowship

FESTIVAL ORCHESTRA

Dr. Kevin Sütterlin is an internationally sought-after conductor and pedagogue. He is Director of Orchestral Activities and Opera and Associate Professor of Conducting at Concordia College. Under his direction, The Concordia Orchestra has received two EMMY awards, and has won the prestigious American Prize. Sütterlin is Music Director of the Fox Valley Symphony Orchestra in Appleton, WI, winner of the American Prize in the Professional Orchestra division 2023 (Sütterlin himself won 2nd prize in the professional orchestra conducting category). Together with his best friend, Dr. Mathias O. Elmer, he is Music Co-Director of Sinfonietta Memphis, an ensemble that provides free concerts and educational experiences for the Greater Memphis communities. Celebrating the orchestra’s eleventh season, and perhaps the only orchestra in the U.S. with a co-directorship model, Sinfonietta Memphis’s conductors Elmer and Sütterlin proudly represent the orchestra’s credo: friendship through music. They also co-direct The Sinfonietta Academy for Historically Informed Performance Practice which has recently been recognized as one of the country’s leading period performance practice institutes. Since 2019, Sütterlin has been Principal Guest Conductor of the Qingdao Concert Hall Symphony in China. He is looking forward to finally return this season after a long Covid-caused hiatus. Furthermore, Sütterlin was named Guest Conductor of K-Classic Orchestras in 2021, a Korean organization dedicated to contributing to world peace through musical and cultural exchange. Sütterlin serves as Principal Conductor of Fargo-Moorhead Opera, where he most recently directed

productions of Rossini’s La Cenerentola and Humperdinck’s Hänsel and Gretel to great acclaim, and regularly conducts their opera gala.

Considering himself a “citizen of the world,” Sütterlin has been building musical bridges across four different continents and has led his ensembles on many successful national and international tours. He has performed and taught across the globe including Austria, Bulgaria, China, Germany, Greece, Italy, Romania, Slovenia, Spain, Switzerland, and the United States. He has taught at Shanghai Conservatory, Sichuan Conservatory, Ocean University Qingdao, University of Cape Town, University of Hawaii, Musikhochschule Luzern, University of Memphis, Purdue University, and Virginia Tech University.

With a great love and passion for teaching, Sütterlin is also Artistic Director of the Northern Valley Youth Orchestras and holds The Phyllis and Richard Duesenberg Endowed Orchestra Chair of the Lutheran Summer Music Academy and Festival, directing the organization’s orchestral and conducting programs. He has been recognized as one of the country’s leading conducting pedagogues, being praised for his keen analytical eye and deep understanding of conducting technique and physique, paired with a kind and caring approach that has empowered over 150 conductors and conducting students across the globe so far. At Concordia College, Sütterlin is currently designing a brand-new, one-of-its-kind certificate and curriculum in orchestral conducting. He is a much sought-after clinician for regional, state-wide, national, and international music festivals and workshops.

Championing the music of living as well as historically under-represented composers, Sütterlin commits to broad and diverse programming on every single concert with all of his ensembles. Using his own funds, Sütterlin commissions between three to six new works every single year. He has commissioned and recorded pieces of numerous living composers, including Stella Sung, Theresa Martin, Christopher Ducasse, Evan Williams, Ben Krause, Brianna Ware, René Clausen, Mark Buller, Adam Hochstatter, Dan Perttu, and Russ Peterson, among others. He is one of the world’s leading scholars of the music of late American composer Dominick Argento, sharing a close friendship with Argento until his death in 2019. Sütterlin’s recording collaborations include numerous CD and DVD productions. From 2011 until 2018, he served on the board of directors of the Zurich Music Association Switzerland, re-designing training curricula for both amateur as well as professional musicians that fit the needs of the twenty-first century. Sütterlin further serves on the board of the Miller Family Music Education Scholarship through the Community Foundation for the Fox Valley Region.

Sütterlin received his doctorate and master’s degrees in orchestral conducting from The University of Memphis where he studied with Dr. Pu-Qi Jiang and Michael Stern, and a bachelor’s degree in conducting from the Hochschule Luzern Musik, Switzerland. Furthermore, he has earned a certificate in Inclusive Teaching and Diversity Leadership. Sütterlin is an awardee of the Hirschmann Foundation Prize of Switzerland, the Hendrickson Fine Arts Grant, the University of Memphis International Research scholarship, and the University of Memphis Creative Achievement Award.

FLUTE

OBOE, ENGLISH HORN

CLARINET, BASS CLARINET

Fabian Schneider grew up in Möhlin (Switzerland). Before starting his undergraduate studies in trumpet and conducting, he served in the Swiss Military Bands. Afterward, he studied with Professor Christoph Rehli at the Lucerne University of Applied Sciences and Arts (Switzerland), earning his master’s degree in conducting. In 2022, Fabian moved to Memphis, TN, where he’s currently working on his doctoral degree in orchestral conducting with Professor Harvey Felder, entering his last year this fall. He has served as assistant conductor in productions of “Le Docteur Miracle,” “Trouble of Tahiti,” “La Bohème,” and “The Cousin from Nowhere” at the University of Memphis. Fabian debuted in opera conducting in February with Menotti’s “The Medium.” He has also served as cover conductor for the Memphis Symphony Orchestra and has appeared as guest conductor with Sinfonietta Memphis on numerous occasions. This is his second summer as an orchestral conducting fellow at Lutheran Summer Music.

Elizabeth Ames is a cellist and conductor from Tallassee, Alabama. Elizabeth has taken cello since the age of four and has studied cello with Katerina Juraskova, Dr. Chen Mei Li, and Dr. Gregory Hamilton. She is now continuing her studies with Dr. Eduard Teregulov. Elizabeth has performed in orchestras and chamber groups at The Masterworks Festival. In masterclasses, she has performed for members of the Philadelphia Orchestra and Cleveland Orchestra. Elizabeth is currently studying cello performance with Dr. Teregulov and orchestral conducting with Dr. Kevin Sütterlin at Concordia College in Moorhead, MN. Most recently, she has served as Assistant Conductor for The Concordia Orchestra and Opera Concordia. This is her second summer as an orchestral conducting fellow at Lutheran Summer Music.

* ^ concertmaster principal

Caleb Barnes, Peoria, IL

Nick Meagher (fellow), Woodbury, MN

John Paul Meyer, Ft. Wayne, IN

Elisabeth Young (fellow), Mequon, WI

Faith Wesley, Hot Springs, AR

Carter Powell, Hillside, IL

Dr. Arianna Edvenson (fellow), Iowa City, IA

BASSOON

Eloise Benson, Spokane, WA

Benjamin Wesley (fellow), Walton, KY

HORN Nolan Henckel, Appleton, WI

Matthew Fenton (fellow), Lubbock, TX

TRUMPET

Raynie Smith, St. Martinville, LA

Christian Chiasson (fellow), Houma, LA

Adaline Nass, Watertown, WI

Elijah Smith, Tohatchi, NM

Manuel Diaz, Houston, TX

Nicole Schobert, Sheboygan, WI

Jeffery Berry, Williamsburg, VA

Nikolas Berndt, Creve Coeur, MO

Ella Kahnert, St. Paul, MN

Martin Naumann, Brookfield, IL

Thomas Baker-Trinity, Shoreview, MN

TROMBONE

TUBA

PERCUSSION

HARP

VIOLIN

Brandon Domingue (fellow), Youngsville, LA

Elijah Hoven (student life staff), Orlando, FL

Wesley DeCasere (fellow), Fleetwood, PA

Dana LeVan (fellow), Tea, SD

Pascal Carr, Roseville, MN

Hannah Pancoast, Loveland, CO

Isabel Chen* (fellow), Northbrook, IL

Magali Pelletey*^ (fellow), Oakland, CA

Arriana Schwab*, Royalton, MN

Marian Jamora*, Lakeland, TN

Katelyn Hur^, Grand Forks, ND

Luke Baker-Trinity^, Shoreview, MN

Taj Baang, Minot, ND

Synje Peterson, Grand Forks, ND

Jonathan Fulghum, Miami, FL

Myla Enclarde, Birmingham, AL

Shelby Sandolfini, Morgantown, WV

Lydia Lehmann, Wildwood, MO

Willa Horst, Evansville, IN

VIOLA

John Crowley^ (fellow), Ballston Lake, NY

Isabella Eastwood^, Vero Beach, FL

Payton Kasel, Kaukauna, WI

Alexander Kain, Fargo, ND

Jane Wathey, Seattle, WA

CELLO

Gabriel Hennebury (fellow), Ann Arbor, MI

Henry Schueler, Hinsdale, IL

Tessera Rippentrop, Williamsburg, IA

Isaac Hong, Grand Forks, ND

Lukas Masur, Fox Point, WI

Daniel Gibson-Even, Valparaiso, IN

Anika Ellis, Lexington, KY

Carson Nott, Oregon, WI

BASS

Meghan Weiss (fellow), Wilmar, MN

Alicia Wilson, Moorhead, MN

Jordyn Clesen, Geneva, IL

Morwyn Kelso, Palmetto Bay, FL

Caleb Panning, Wilbur, NE

Ramona Benson, Spokane, WA

Rebecca Tredray, Robbinsdale, MN

Beret Anna Petersen, Holland, MI

Jill Sompong, Bloomington, IL

McKayla Kwamboka Sagini, Grand Forks, ND

Jade Stuart, Clinton, IA

John Paul W. Fox-Seidel, Olympia, WA

Santiago Salazar, Tulsa, OK

Mary Eylmann, Lake Ronkonkoma, NY

Miguel Herrera, Chicago, IL

Aidan Wanta, Tomahawk, WI

Eden Preston, Valparaiso, IN

Linnea Smallfield, Chicago, IL

Ana Lasker (student life staff), Morgantown, WV

Aliyah Del Rosario, Williston, ND

Camila Vargas Reynoso, Brighton, CO

Tessa J. McGuire, New Berlin, WI

Gabriella Palmer, Russellville, AR

Sophia Byler, Oviedo, FL

Magdalena Gibson-Even, Valparaiso, IN

Sophia Castro, Iowa City, IA

Ana Rippentrop, Williamsburg, IA

Marieli Martinez, Aurora, CO

Anna Hartwell, Chanhassen, MN

LaNiyah Hocker, Merrillville, IN

Cora Holliday, Boise, ID

Karen Izquierdo, Miami, FL

Jonas Andrews, Hudson, WI

Matthew Jahnke (faculty)

ACKNOWLEDGEMENTS

The pillars of music, community, and faith at LSM are sustained by the generosity of friends, alumni, congregations, and communities that support the program through faculty, studio, and staff sponsorships, through student scholarships, and well as through gifts. We especially thank the following:

Tonight’s livestreaming is underwritten by Brian and Kim Becker.

Air conditioning of the Chapel of the Resurrection is provided by the generous support of Mark and Kathy Helge.

Special thanks to Valparaiso University for the use of instruments and music.

We also thank the following patrons and sponsors

J. S. BACH SOCIETY

Much like Bach’s enduring influence over classical and sacred music of the church, the J. S. Bach Society honors individuals who have committed to LSM’s long-term impact by including Lutheran Music Program in their wills or estate plans. Thanks to these individuals for their dedica tion to the sustainability and influence of LSM on students, congregations, and our community. Soli Deo Gloria!

Anonymous

William Harold Beermann

Rich and Hazel Bimler

Ryan-Michael Blake

Dorothy Burroughs

Miriam Deal †

Donald and Margaret Hinchey

William and Christine Drotning

Suzanne Eggold

Emma Paula Flitsch †

Becky Graef

Robin High

Wayne and Laurell Huber

David K. Johnston †

Linda and Robert Kempke

James and Sarah Klein

† deceased

Barbara Klingsick

Samuel and Carolyn Kochel

Marion Liska †

John H. Lunde

Susan Messerli

Mark and Virginia Meyer

Jean Minsch

Marilyn Mohling

Alan and Carolyn Morrisson

William Mowson

Craig Mueller and Ernest Vasseur

Joan Scheele Mueller †

Dieter and Pamela Nickel

Elda and Rod O'Brien

Glenn and Patricia Ohlmann

Norman and Kathleen Porath

Karen Rayapati

Michael and Dawn Rickman

Robert and Lois Rimbo

Mark and Janet Roock

Eunice Seeber †

Warren Shoberg †

Leathia Siewert

Frank Stubbs and Tom Lee

Darlene and Reuben Swanson †

Thomas and Kathleen Schmidt

John and Dixie Thompson

David and Joan Totten

Allison and Gary Yee

Theodore and Marion Youngquist †

FACULTY, STAFF, AND STUDIO SPONSORS

Dr. Bruce Atwell HORN • Sponsored by Phil Hahn

Rev. Nathan Baker-Trinity CHAPLAIN • The Phyllis and Richard Duesenberg Endowed Chaplain Chair

Thomas Bandar VIOLA • Sponsored by Patricia and Glenn Ohlmann

Michael Beert CELLO • Sponsored by Karin Swenson-Moore and Nicholas Moore

Dr. Cole Burger PIANO • Sponsored by Thomas and Kathleen Schmidt

Dottie Burroughs MUSICIANSHIP • Sponsored by Michael Hovland and Nancy Jones

Alexis Cairy MUSICAL THEATRE, VOICE • Sponsored by Marilyn Mohling

Ezechiel Daos ASSOCIATE CANTOR, ORGAN • The Paul Bouman Endowed Chapel Choir Chair; Sponsored by Linda and Robert Kempke

Dr. Jeffrey Scott Doebler BAND, HANDBELLS • Sponsored by Phil Hahn

Jonathan Dormand CELLO • Sponsored by William and Christa Even

Dr. David P. Eyler PERCUSSION • Sponsored by William and Christine Drotning in memory of Eric Drotning

Chad Fothergill CANTOR, ORGAN • Linda and Robert Kempke Cantor Chair; The Regina Holmen Fryxell and Patricia Schad Leege Endowed Organ and Church Music Chair; Director, The Eugene and Mary Sukup Church Music Program

Julian J. Goods VOICE • Sponsored by Paul Georgeson

Dr. Shannon Gravelle CHOIR • The Phyllis and Richard Duesenberg Endowed Choir Chair

Elizabeth Gray VOICE • Sponsored by David and Joan Totten

Daniel Greco MUSICAL THEATRE, VOICE • Sponsored by Karin Swenson-Moore and Nicholas Moore; Sponsored by Robert and Susan Ellefson

Rachel Handlin VIOLIN • Sponsored by Pamela Smith in memory of Arden and Yvette Tollefson

Matthew Jahnke BASS • Sponsored by Matt and Krista Bernthal

Hannah Johnsrud SACRISTAN • Sponsored by Craig Mueller and Ernest Vasseur

Dr. April Kim PIANO • Sponsored by Robin High in memory of Audun Ravnan

Anne Krentz Organ LITURGICAL COMPOSER IN RESIDENCE • Sponsored by David Schack and Claire Bushong

Nina Laube BASSOON • Sponsored by Erica and Perry Thomas

Nicole Lee PIANO • Sponsored by William and Christa Even

Cheryl Taylor Lemmons COLLABORATIVE PIANO • Sponsored by Elizabeth Drotning Hartwell and Seth Hartwell in memory of Eric Drotning; Sponsored by Carol Wessler in memory of Peter Wessler

Dr. Stacy Maugans SAXOPHONE • Sponsored by John and Connie Schoening

Cathy McCord Larsen VOICE • Sponsored by Karen Rayapati

Stephen Miller GUITAR •

Jorge Montilla CLARINET • Sponsored by Karl and Jill Maurer

Dr. Paul Morton TRUMPET, JAZZ ENSEMBLE • Sponsored by Pam and Keith Killinger

Amy Nam HARP, COMPOSITION • Sponsored by Linda Warren in memory of Peter Wessler; Sponsored by William and Christa Even

Jonathan Ong VIOLIN • Sponsored by Jean Minsch

Dr. Jill Philips VOICE • Sponsored by Dave Kundert in honor of the Luther College Voice Chair

Dorothy Ro VIOLIN • Sponsored by Ben and Reba Williams

Abigail Rojansky VIOLA • Sponsored by James and Sarah Klein

Austin Smith OBOE • Sponsored by Jeanine Krause

Dr. Philip Snyder FLUTE • Sponsored by Becca and Dan Burnett in memory of William and Eunice Seeber

Joel Stoppenhagen WORSHIP ASSOCIATE • Sponsored by Susan and Jurgen Gobien

Dr. Kevin Sütterlin ORCHESTRA • The Phyllis and Richard Duesenberg Endowed Orchestra Chair

Dr. Benjamin Yates LOW BRASS • Sponsored by Todd and Sadie Kunau; Sponsored by Michael Hovland and Nancy Jones

YOUNG MUSICIANS PARTNERSHIP

The Young Musicians Partnership (YMP) is a growing network of organizations that financially support young musicians to attend Lutheran Summer Music. Any organization, including churches, family foundations, rotary clubs, etc., that contributes to a specific student’s tuition will be automatically recognized as a Young Musicians Partner. To honor this partnership, funds contributed by an organization will be matched at 50% by Lutheran Summer Music, up to a match of $500 per student.

Young Musicians Partners for LSM 2024 include:

Alabama School of Fine Arts: Birmingham, AL

Bethlehem Lutheran Church: Grand Marais, MN

Christ Lutheran Church: Hammond, IN

Comunidad de Esperanza: Tulsa, OK

Euterpe Music Club of Watertown: Watertown, WI

Faith Lutheran Church: Jefferson City, MO

Faith Lutheran Church: Logansport, IN

Fellowship Lutheran Church: Tulsa, OK

First Immanuel Lutheran Church: Chicago, IL

First Lutheran Church: Norfolk, VA

First Lutheran Church of the Trinity: Chicago, IL

Gloria Dei Lutheran Church: Olympia, WA

Gloria Dei Lutheran Church: Wichita, KS

Holy Cross Lutheran Church: Fort Wayne, IN

Immanuel Lutheran Church: Boise, ID

Immanuel Lutheran Church: Valparaiso, IN

Lutheran Church of the Resurrection: Roseville, MN

New Life Lutheran Church: Pearland, TX

Northwest Indiana Symphony Society: Munster, IN

Our Savior Evangelical Lutheran Church: Vero Beach, FL

DONOR HONOR ROLL

Our Savior Lutheran Church: Topsfield, MA

Our Saviour’s Lutheran Church: Casper, WY

Pillar Church: Holland, MI

Phinney Ridge Lutheran Church: Seattle, WA

Saint John’s Evangelical Lutheran Church: Sayville, NY

Shades Valley Lutheran Church: Homewood, AL

St. Lorenz Lutheran Church: Frankenmuth, MI

St. Luke’s Lutheran Church: Oviedo, FL

St. Luke’s Lutheran Church: Park Ridge, IL

St. Luke’s Lutheran Church: Reno, NV

St. Mark’s Lutheran Church: Grand Forks, ND

St. Mark’s Lutheran Church: Spokane, WA

St. Paul’s Lutheran Church: Des Peres, MO

Trinity Lutheran Church: Hovland, MN

Trinity Evangelical Lutheran Church: Everett, WA

Trinity Evangelical Lutheran Church: Latrobe, PA

Zion Evangelical Lutheran Church: Deerfield Beach, FL

Zion Lutheran Church: Kalamazoo, MI

Zion Lutheran Church: Loveland, CO

Gifts received between July 1, 2023 and June 30, 2024

A heartfelt word of thanks to all donors listed below who contributed to LSM during the past twelve months. Because of your care, support, and advocacy, LSM is leading a national resurgence in young people aligning their musical gifts with the church.

* LSM alumni # parent of LSM alum † deceased

$100,000 AND ABOVE Anonymous

Doris Christopher

Christopher Family Foundation

Mark and Kathy Helge

$50,000–$99,999 Jay Christopher

Julie Christopher

Warren Shoberg †

$10,000–$49,999

Brian and Kim Becker

Carol Burmeister

Donald and Deborah Christian

Richard and Phyllis Duesenberg Foundation

Tracy Elftmann

$5,000–$9,999 Anonymous

Martin and Jill Baumgaertner

Miriam Deal †

William and Christine Drotning #

Christa and William Even

Wayne and Laurell Huber

$2,000–$4,999

James and Joanne Albers

Amy M. Bonecutter-Leonard *

Dottie P. Burroughs

Nancy Dickerson

Mark and Rebecca Duesenberg #

Karleen Escobar

First Lutheran Church of the Trinity

Lloyd and Mary Gran #

Phil Hahn

Janice Hanson and Jeff Nedrow #

Stephen and Elizabeth Hogberg

Dietrich * and Carly Jessen

Nancy Jones and Michael Hovland #

Pamela and Keith Killinger #

$1,000–$1,999 Anonymous

Soraya Asadi

Association of Lutheran Church Musicians

Thomas Bandar

Matthew * and Krista * Bernthal

Mark * and Janna Boelke

Mary E. Bricker #

Rebecca * and Dan Burnett

Patrick M. Callahan *

John and Beth Nelson Chase

Julie Delbrook

Celia and Albert Domines

Dorothy E. Eirten #

eLJay Foundation

Linda and Robert Kempke

David J. Kundert

John H. Lunde

Richard and Kathleen Mueller

David and Cynthia Krause #

Gizell and Curtis Larson #

Jami * and Sarah McLaren

Brad A. Natzke * #

Donald Prahlow #

Darlene M. and Reuben T. Swanson Foundation, Inc.

Donald and Carol Koetke

Todd * and Sadie Kunau

Lissa Leege * and Frank D’Arcangelo #

LCMS Foundation

Thomas and Sylvia Luekens

Lutheran Hymn Festival, Inc.

Carrie and Robert Maas #

Kenneth and Anne Mangelsdorf

Mark and Virginia Meyer

Marilyn J. Mohling #

Craig Mueller and Ernest Vasseur

Michael and Sharon Mullins #

John L. Nuechterlein

Glenn and Patricia Ohlmann #

Robert and Susan Ellefson

Evangelical Lutheran Church in America

Amy and Paul Scott Feira #

First Citizens National Bank Charitable Trust

Doug and Julia Gard #

Victor and Marilyn Gebauer

Paul Georgeson *

Susan and Jurgen Gobien

John T. Groerich *

Seth * Hartwell and Elizabeth * Drotning Hartwell #

Allen and Marilyn Hellwege

Dieter and Pamela Nickel

Michael and Dawn Rickman

Rupert Dunklau Foundation

Tom and Kathy Schmidt #

Ben and Reba Williams #

Karin Swenson-Moore and Nicholas Moore #

Thrivent Financial

Roger and Barbara Wesby #

Alfred and Barbara Wiemann #

Jeremy Wirth * and James Botros

Janet and Randy Peterson

Mel and Eileen Piehl

Norm and Kathy Porath #

David Schack and Claire Bushong

Cliff Schmidt

Pamela and Don Seidelmann #

Cheryl Slack

Pamela Smith

Keith and Resi Thomas

David and Joan Totten

Trinity Lutheran Church

Jane and LeRoy Wilke

Allison * and Gary Yee #

Derek A. Helton *

Hazel Henry

Beverly Heyne

Robin R. High

Donald and Margaret Hinchey

Paul and Donna Hoffman #

James and Deborah Hushagen

Paul and Diane Jacobson

Yvonne Johnson

David Kenneth Johnston †

Paul Killinger *

James and Sarah Klein

Samuel and Carolyn Kochel #

Richard and Mary Koehneke #

$1,000–$1,999 continued

Jeanine Krause *

Patricia C. Leege #

Karl * and Jill Maurer

Christine Victoria Mennicke *

Mark Meyer

Jean Minsch

Alan and Carolyn Morrisson

Kenneth and Cindy Mueller

WG and Beverly Osladil #

Mark * and Ann Oswood

$500–$999

Anonymous

Steven and Karen Anderson

Glen and Linda Bahr #

Dorothy Bass and Mark Schwehn #

Perry and Sarah Beaver #

Berghaus Pipe Organ Builders

Soren Bjornstad *

Keith and Betsy Brown #

Karl and Daniele Bruhn

Conn-Selmer, Inc.

Michael Cox

Robert and Deborah Dillane #

Michael Dorner

Margie L. Drumm #

Jessicah * and Chris Duckworth #

Hans Erickson *

Judith Finnegan #

$200–$499

William and Deborah Anderson #

Rand and Renee Anderson #

Marcie and John Andrews #

William Harold Beermann

Michael Beert and Rachel * Handlin #

Carla Blumberg

Barry and Donna Bobb #

Robert A. and Jean Boehler

Boeing Company

Barbara Bradfield

Mark and Rosalind Burger #

Zachary J. Busch *

Kristen Carlsgaard and John Redshaw #

Alice Casey

Marc and Christine Chason #

Rich Claybaker

Melba J. Panhorst

Jonathan * and Michelle Penny

Karen Rayapati #

Scott Rohr *

Robert W. Rowe

CB Rykken

William Schlichting

John and Connie Schoening #

Reynolds American Inc.

David L. Shaw *

Helen Fliege

Margaret Garmatz

Douglas Geston

David and Katherine Groerich #

Cathy and Paul Gruenwald #

Jean Marie Hartwell #

Jeanne E. Held #

David and Carolyn Hellerich #

Martin * and Susie Hill

Marvin and Shirley Huls

Michelle and Douglas Iwama #

Deane H. Jewett

Philip G. Klintworth #

Nicole Lee #

Joel and Christine Lehmann

Cheryl Taylor Lemmons #

Lutheran Church of The Resurrection

Michael D. Costello *

L. George and Debra Detweiler

Cheryl E. Dieter

Erin Dillane *

Will * and Laura Doebler

Ronnie A. and Karen S. Eddinger

David and Irene Eyer

First Evangelical Lutheran Church

Richard and Kathy Fischer #

Martha Fisher

Janyce Flanery #

Gene M. Fortune

Ronald Fossell #

John and Emily Fothergill #

Michael and Susan Fuchs

Becky S. Graef

Frank Stubbs and Tom Lee

Charles and Mary Sukup

Nancy J. Tagge

Erica * and Perry Thomas

Trinity Lutheran Church

Linda Warren

Carol Wessler #

Lilly Endowment, Inc.

Peggy L. Woiwod

Zion Lutheran Church

Matt and Heather * McDermott

MaryLynn Elizabeth Mennicke *

William and Kathleen Parsons

George H. Pauli #

Valerie Ratts and Matthew Gornet

Hilbert and Joan Riemer

Robert and Lois Rimbo

Mark and Janet Roock

Patricia L. Rooney

Evelyn Schlichting

John Seest

Martin and Joanne Seltz #

Betty Strong-Mitchell

Hildred and Edward Tornberg

William and Barbara Urbrock

Kenneth Warren

Paul D. Weber #

Shannon and John Gravelle

John Halvorson and Hjordis Dommer Halvorson #

Van Hardison

John and Elizabeth Harkins #

Margaret Hartwig

Rolf and Lois Hedberg #

Jeffrey * and Holly Held

Richard and De Ann Hilfiker #

Judith Honig

Keith and Ruth Hostler #

Lois Huseby

Scott and Dora Hyslop #

Helen and Dale Iverson-Metzger

Roland and Suzan Jank #

Merilee Klemp and Randall Davidson #

$200–$499 continued

Emily Krasinski *

Michael and Linda Krentz #

Gregory and Barb Krohn #

Jacob Krueger and Nichole Lyons

Ross Larrison *

Daniel Larson

Ryan D. Lauer *

Judith Leege

Dan Wilson Logas *

Michael and Mary Alice Long #

Roger and Patricia Luekens

Margaret Lukas #

Josephine Martin #

Peter and Nancy McIntyre #

Mackenzie * and Ian McNaughton

Medtronic Foundation

$100–$199 Anonymous

Elizabeth Abbott

Meghan Dewald Althouse *

Nathan * and Jennifer * BakerTrinity #

Kristi Bangert

Beverly Baumann

Brian Beckstrom

Bob and Rebecca Bimler

Amy E. Boers #

William and Beverly Braun #

Adam Burmeister

Randy and Connie Burmeister

Siri C. Caltvedt *

Judith and Robert Carpenter

Devon Carpenter *

Jana and Dan Cinnamon #

Patricia S. Crise

Sandra D. Deiter

David and Karen Diamond

Marilyn K. Dielmann *

Russell and Joyce Doebler

Karen J. Doering

Linda and Norm Dygert

Phillip and Sandra Edwardson

Phyllis Eggers

Lisa and Kevin Ehlert

Richard and Sharon Engdahl

Wm. B. Eerdmans Publishing Co.

Shirley Espeland

Ashley Fewins-Kalb *

Olinda Fink

Kari Fisher #

Nancy Menk

Fred and Brandee Moore

William Mowson

Ronald and Janet Mueller #

Dorothy L. Mundt

Robert and Phyllis Narveson

Keith and Ann Nelson #

Louis and Gloria Nuechterlein

Gretchen Olson-Kopp #

Jennifer * and Lee Ott

Kristine Peterson

James and Stephanie Rindelaub

Chris and Kim Rodel

Nicholas Ross *

Robert S. Satterlee #

Eric Sayre *

Stephanie * and John Fretham

Sharon B. Freude

Reid Froiland

Dale and Yvonne Gatz

Martha and E.R. Gregory

Michael and Deborah Grupe #

Lois Haertel

Margaret Harper *

Lisa Hartwig

Daniel * and Emily Hellerich

Katie Engquist Henefield *

Zebulon and Amanda Highben

Robert and Jennifer Hobby

Robert and Linda Hofstad #

Kenneth and Linda Holmen

Wallace and Joan Horton

Ryan Hostler *

Laura * and Christopher Hughes

Rebecca and Kip Jebo #

Beverly Jedynak

Stef Kleven

Timothy and Monica Knauss #

Georgianne Kornfuehrer

Susan K. Lacerra

Jason Laine *

Dodd and Myrna Lamberton

Kathleen and Roger Larrick

Lilita Lassen-Ward #

Christopher and Nora Lee #

Carl and Tanya Locke #

Donald and Leesa Macgowan #

Cathy McCord Larsen

David and Katherine Mennicke #

Charles and Marcia Schaner #

Michael Schaner *

William and Jorunn Scheiderich

Susan Schlifke

Al H. Senske #

Jean E. Smallin #

Dolly and Mac Smith #

Stephen and Kristine Sneeringer #

Norma Sorenson

Allan and Letitia Spelbring #

Alan and Pamela Stewart

Martin J. Stritof

Max and Ardith Wessler

Zachary Westermeyer *

Marian and John Wuertz

Brita Meyer *

Frederick Meyer * #

Jonathan Miller and Barbara Chapman #

Karl E. Moyer

John and Anita Mueller

Paul W. Neukirch #

Loren Nielsen

Matthew Olmstead *

Melissa L. Olson Clarkson

Margaret Perella #

Rolland Preuss

Jeanine * and Nathan Ratterman

Louis Rossiter

Arthur Lee S. Rupert

Andrew * and Jenny Schaeffer

Michael and Diana Scheer #

Pamela and Roger Schmidt

Judith C. Schmitt

Micky Schroer

Mark Steven Schroeter

Ralph and Dorothy Schultz

Jill Schur

Lois and José Seijo

Ed and Karen Seykowski

Leathia R. Siewert #

Nancy R. Siverson #

James and Shirley Sloan #

Alan Stahl

Paula Strietelmeier #

Rebekah Degner Sundsrud *

Dean and Kathy Thomas

Luther and Marilee Tollefson #

$100–$199 continued Tim and Julie Trude #

Patricia A. Vaughn

Tamara Vodvarka

Kenneth and Julie Voss #

Kyra Wagmeister *

$1–$99 Anonymous

Turid Skreien Addams

Paul Albright *

Jean Anderson

Kurt and Janet Applegarth

Donna Applegarth

Janice and George Ault

Marko Bajzer *

Sharon Ballard

Brittany Barkus

Helen and James Barrett

Rodney and Jan Bathke

Martha Bauch

Erika * and Oliver Bergh

Richard Brauer

Sue Breidigam

Elaine Bryant

Nancy L. Buhl

Jeanne Burger

James Burke #

Sophia Butler *

Cambia Employee Giving Campaign

Randy and Jeanne Castello #

Paula and Jim Clesen #

Frances and David Cleven

Karla Colahan *

Concordia Publishing House

Carolyn Conley

Daniel and Carolyn Dauner

Sarah and Jeremy Day-O'Connell #

Rachel * De Oliveira and Leon de Oliveira

Carola Dettmar

Carolyn Deuel #

Suzanne J. Eggold

Nathan and Marlene Eickmann

Carol Finanger

Nicholas Finch

Laurel Gambla

Megan Elizabeth Glass *

Betsy Glavach

Julian Goods

Susan Grover

Rueben and Mary Walter #

Joel and Deanna Wehrspann #

Sandy Weisman

Kirk A. Wessler

Paul and Lisa Westermann

Brittany Haas

Tina Hallberg

Maria Hedberg *

John Helgen

Barbara Herbener

Candice and Jeremy Hinkle #

Lynn Hofstad *

Colleen Hughes

Johanna Johnson #

James and Kathy Johnson

Natalie Johnson *

Lavonne and Ervin Johnson

Paul Jursinic

Paul and Mary Knutson #

Carolyn and William Kobler

Benjamin Krause

Travis and Carol Lackey

Dennis W. Larson

Randall S. Larson

Darlene Leatz

Marcia Lewis

Lois M. Linzmaier

Caroline Little *

Roger and Dorothy Mahler

Jonathan D. Marin *

Phyllis M. Mattill

Stacy Maugans

Sally Messner

Brita * and Adam Moore-Kutz

Karin Dye Moreaux *

James A. Muske

Corrine Faith Muske

Ted and Kathy Nail #

Terry and Judith Nichols

Denise and Harry Noble

Faith Ann Noe

Gordon and Betty Olson #

Katherine Palmisano *

Elaine Pauli

Ellena and Benjamin Pollock #

Gregg Punswick *

Chris and Jill Westermeyer #

Gregory and Willa White *

James and Susan* Williamson #

Susan and Tim Wolbrecht

Rebecca J. Worley #

Amy Radil

Don and Connie Ragsdale

George Reichlec

Joyce Richter

Dorothy E. Richterkessing

Christopher Scheer *

Miriam Schmidt *

Jean Schneider #

Daniel Paul Schroeder *

William and Tamela Schulz

Marsha K. Seale

Keith and Pamela Shaver

Marsha Shaw

Edward and Nancy Sheehan #

Michael Sherman *

Linda Simon and Gregory Shade #

Rolf and Margrete Smeby

Ashley Smith Yehyawi

Lawrence and Ellen Sohn

Timothy Spelbring *

Virginia Stamey-Johnson

Carol Swenson

Holly and Edward Tatuaca #

Ken Thies

Richard and Sandra Tietjen #

Lynne Townsend

Julie Trank

Lucy E. Wade

Mary Ann Wallace #

Carol A. Waltz #

Dwight Weaver *

Leslie F. Weber

Christopher and Karen Weinrich #

Carla Wesby *

Daniel Paul Wessler

Lara Walter West *

Paul and Sally Westermeyer

Terry and Mary Whitesel

Carolyn Wible

Bob and Karen Wilkens

Karen Williams and Lawrence Baumgartner #

Please contact Lisa Hartwig (lhartwig@lutheransummermusic.org) regarding corrections or questions.

SOURCES AND PERMISSIONS

Liturgies at Lutheran Summer Music are adapted or reprinted from Lutheran Book of Worship (1978), Evangelical Lutheran Worship (2006), Lutheran Service Book (2006), All Creation Sings (2020), and SundaysandSeasons.com, with copyrights held or administered by Augsburg Fortress and Concordia Publishing House. Texts and music reprinted under Augsburg Fortress Liturgies Annual License SAS006481; One License A-709357; and Augsburg Fortress Hymns License 14057.

Joyous light of glory. Text: Phos hilaron, Greek hymn, ca. 3rd cent. Translation and music by Roger T. Petrich, 1938–2022, © 1978 Lutheran Book of Worship, admin. Augsburg Fortress. Reprinted from Evangelical Lutheran Worship, Hymn 229, and Lutheran Service Book, p. 244.

My soul proclaims your greatness, Lord. Text: With One Voice, 1995, based on the Magnificat, © 1995 Augsburg Fortress. Music, FOREST GREEN: English folk tune; arr. Ralph Vaughan Williams, 1872–1958, © 1906 Oxford University Press.

What joyous song unfolding. Text: Susan Palo Cherwien, 1953–2021, © 2011 Susan Palo Cherwien, admin. Augsburg Fortress. Commissioned for the twenty-fifth anniversary of the Association of Lutheran Church Musicians (ALCM) and reprinted from Peace, Be Still: Hymns of Susan Palo Cherwien, Vol. 3 (Minneapolis: Augsburg Fortress, 2017). Music, DEN BLOMSTERTID NU KOMMER: Koralpsalmboken, Stockholm, 1597.

SUPPORT LSM

A heartfelt thank you to the hundreds of friends, alumni, and parents who support LSM through donations each year. Please consider a first-time or additional gift today to support this summer’s program.

https://www.lsmacademy.org/support

ANNOUNCING LSM 2025

JUNE 22–JULY 20, 2025

VALPARAISO UNIVERSITY

I am who I am because of LSM.

Almost every day I reference something from LSM or rely on the experience and growth I gained at LSM. LSM ALUM

Now is the perfect time to start planning for next summer! More students each day are enrolling early for LSM 2025, joining the long legacy of LSM students returning year after year.

To enroll early for LSM 2025 or nominate a new student who would thrive at LSM, contact MaryLynn Mennicke, Dean and Director of Admissions (admissions@lutheransummermusic.org; 612.879.9555 ext. 2).