The late Fred Sturm, who was leading the jazz program at the time, became an advisor, guiding Ralls through some difficult days. He became Ralls’ biggest fan.

“I remember Fred in class one day saying to another student who didn’t get his work done, ‘What is the problem? Frank did it, and he’s got five kids,’ Ralls said with a laugh. “Then I’d spend the next two weeks avoiding that guy on campus.”

Sturm remained a mentor long after Ralls graduated, a relationship that continued until Sturm’s death in 2014. Conservatory professors Jose Encarnación, Catherine Kautsky, and Matthew Turner, and later Dean Brian Pertl, also provided inspiration and guidance that Ralls said continues to elevate his work to this day.��

“They literally blew my mind when I was studying with them,” Ralls said. “They just introduced me to so much that I never even knew was possible.��And my ongoing collaborations with Dean Pertl have been so encouraging and formative. It’s all taught me the value of rolling your sleeves up and getting at it.”��

Building connections

Since graduating, Ralls has built a career centered on two areas of music-making—scoring music for film and TV and creating music for use by Disney, most notably in their massive theme parks all over the world. The former has included the likes of Jane Goodall: The Hope (Disney+) and Around the World in 80 Days (BBC/PBS), working as a contributing composer to the Emmy Award-winning Bleeding Fingers Music collective and Extreme Music, and partnering with such notable composers as Hans Zimmer and Christian Lundberg. And the latter has included creating music for Disney’s Star Wars Galaxy’s Edge, Disneyland Hong Kong, Disneyland Tokyo, and Disney’s California Adventure, among others. ().

It’s a music career built on talent, a Lawrence-inspired work ethic, and a relentless push to make connections. He has sustained relationships in the music industry in both Florida and southern California, where he and Tara, a talented visual artist, split their time.

“Every free moment I had was at a recording studio, meeting people, asking around,” Ralls said.

Through it all, he had Sturm’s voice in his head.

“He said, ‘Work whatever jobs you can. No matter where you are, always seek out the best talent around you and learn the conventions, master the conventions, because only then can you innovate’,” Ralls said. “That is where you begin to have a very unique value to people around you in your field.”

“They literally blew my mind when I was studying with them. They just introduced me to so much that I never even knew was possible.”
– Francis James Ralls ’04 on studying with Conservatory faculty

Working in Zimmer’s orbit led to a meeting with Russel Emanuel, the CEO of Bleeding Fingers Music and Extreme Music, the production arm of Sony Music Publishing. That meeting opened doors that led to everything from film and TV work to the composing of the final four movements of a symphony for Norwegian violinist Eldbjørg Hemsing on the Sony Classical label. Similar hustle got him a seat at the table at Disney.

“You can get in the room, but what happens after that is really up to you,” Ralls said.

Paying it forward

That’s a message he now imparts to the young Lawrentians he mentors. He works in an unofficial capacity with two recent Lawrence graduates, Nathan Glaser ’21 and Aaron Montreal ’22, and one current student, junior Joey O’Connor, subcontracting work to them and providing important guidance.

“It’s an opportunity for them to gain some experience, develop some skills, build a portfolio so you have a little street cred when you start entering into your own circles and living your own story,” Ralls said.

O’Connor, a music education and music performance major from Whitelaw, Wisconsin, composes tracks based on specs shared by Ralls. He calls the work a “boots-on-the-ground” experience.

“I send over tracks, and he will respond with feedback,” O’Connor said. “We keep going back and forth, tweaking until we have the product. It’s such a gift to be able to experience what industry-standard routine is, and having Frank there to expertly show me the ropes is something I will never be able to thank him for enough.”

Glaser, who graduated with a dual degree in music composition and economics, has made music under Ralls’ guidance for multiple Disney Parks projects and reality TV shows, including Fox’s MasterChef and NBC’s The Voice. Ralls leaves him detailed and helpful notes as he guides him through various elements of music creation.

“He’s given input on track revisions where his perspective shows me something I would’ve never thought to do on my own,” Glaser said. “Other times, he encourages me to figure things out myself and stretch outside my comfort zone.”

Montreal, meanwhile, has worked with Ralls in composing and producing for music libraries—catalogs that are marketed for use in film, television, advertising—and transcribing and arranging music for live performances.

“I’ve learned so much about creating different styles of music at a professional standard through the opportunities he’s given me,” Montreal said.

Ralls, who joined Tara in founding the Coronado Arts Academy in Coronado, California, in 2017 as an investment in youth, called it a privilege to provide career opportunities to young Lawrentians.

“It’s been a pleasure to see them grow, to see them step up, to see them reflect the same work ethic that I learned at Lawrence,” he said.��

And in another nod to helping his alma mater, Ralls volunteered to write original music to be featured in a video celebrating the Conservatory. That video, to be produced by Lawrence’s Office of Communications in collaboration with the Conservatory, is in progress.

“I am so pumped about that,” Ralls said. “I’m excited to see the video come to life.”

Isaac Epley, a sophomore piano student from Liberty, Missouri, said there were important connections made at almost every stop. The meeting with Gandre allowed students to ask questions about graduate school and other post-Lawrence opportunities in music. And Epley and Benjamin Keating, a senior piano student from Urbana, Illinois, got a masterclass with Robert McDonald ’73, an accomplished pianist and faculty member at The Juilliard School and the Curtis Institute of Music.

“I found my time with Robert McDonald to be the highlight of the trip,” Epley said. “His experience teaching at the piano was fascinating and inspiring, and his connection to Lawrence made his teaching and personality all the more meaningful to me.”

Sarah Pedlar, a senior flute student from Decorah, Iowa, called the gathering with alumni hugely helpful. It included a conversation with an alum about her upcoming recital, a connection made through their shared appreciation for electroacoustic music.

“The classical music community isn’t all that large as a whole, and the contemporary music community within is even more tightly connected,” Pedlar said. “Every opportunity I get to share my love for contemporary classical music and expand our community is amazing.”

Among the arts stops the students could choose from during the five-day tour: A recital presented by mezzo soprano Hannah Jones ’22, a performance by Billy Cobham’s Time Machine at the Blue Note Jazz Club, a viewing of the Broadway show Hadestown, Giacomo Puccini’s La bohème��at The MET, the Manhattan School of Music Symphony Orchestra at Merkin Hall, and the Nnenna Freelon Trio at Dizzy’s.

There were lessons presented to the students on klezmer music at OPERA America, lessons in jazz and flute and a Women in Music Panel at Manhattan School of Music, violin lessons and a piano masterclass at The Juilliard School, and cello lessons at Kaufman Music Center. Following the La bohème��performance at The MET, one of the trombonists met with the Lawrence contingent.��

“Students gained an opportunity to meet and interact with top musicians in their respective fields, participate in the New York cultural scene, and enjoy the support given by their peers and faculty on the trip,” said Andrew Mast, associate dean of the Conservatory. “For several students, it was their first trip to New York, and it proved to be a monumental success.”

The trip continues a that kicked off in the fall and is ongoing throughout the 2024-25 academic year. Numerous concerts, many that have included commissioned music from Conservatory alumni and featured performances from Lawrence students and faculty, have been held over the past seven months and will continue through the end of the year.��

Taking that celebration on the road to New York gave students another chance to flex their creative muscles, Epley said. The concert at Manhattan School of Music, featuring pieces ranging from Puccini’s “Chi il bel sogno di Doretta” from the opera La rondine, performed by senior Mariah Schaumberg (soprano) and Keating (piano), to Reena Esmail’s Nadiya, performed by Pedlar (flute) and junior David Smith (cello), was exhilarating.

“Something particularly special about this concert was the freedom we were given in creating the program,” Epley said. “We were told to choose any music we wanted and were encouraged to work with one another and form small chamber groups, which led to a large diversity in programming. For example, I played a movement from a clarinet trio on the piano and then sang in a Palestrina motet. This freedom created a very eclectic program of music, which, I think, brought out our individual personalities and served as an outlet for our unique musical interests.”

In addition to the Puccini and Esmail pieces, the concert included:

• A compilation from Relaxin’ at Camarillo, Prism, Circles, Gloria’s Step, and Endangered Species, performed by senior Owen Finch (piano), junior Vivian Shanley (bass), and sophomore Tyler Donnelly (drums). Circles is a composition from Finch.
• Paul Schoenfield’s Trio for Clarinet, Violin, and Piano, performed by junior Isabelle Olsen (clarinet), sophomore Ben Frueh (violin), and Epley (piano).
• Johann Sebastian Bach’s Prelude and Fugue in A minor, BWV 889, performed by Keating (piano).
• Giovanni Pierluigi da Palestrina’s Amor, quando fioria, performed by Schaumberg (soprano), senior Sam Dill (alto), Keating (tenor), and Epley (bass).��
• Steve Reich’s “Genesis XVIII” from The Cave, performed by Dill (alto), Keating (tenor), and Epley (piano).

The response from alumni in attendance was uplifting, said Smith, a junior from Radford, Virginia, double majoring in math and physics while immersing himself in the Conservatory.��

“It’s��amazing to see how strong the Lawrence network is��and how alumni are eager to support and connect with current students, which really speaks to the lasting impact of our school,” he said.

. The Conservatory debuted in 1874, launched with a single faculty member. It has grown over the past century and a half into the celebrated music conservatory it is today. With more than 25 areas of study, 360 students currently pursuing one of three music degree options (plus a possible dual degree), and 48 full-time and 23 part-time faculty, the Conservatory prepares students for music careers of today and tomorrow.

The Wind Ensemble will lean into all of that as it presents its Winter Term concert. Works to be performed include:

• Arclight Alley: Composed by alumnus David Werfelmann ’06, this piece was commissioned by Andrew��Mast��and the ����vlog Wind Ensemble. Mast��is currently serving as the associate dean for the Conservatory. Werfelmann, an award-winning composer of instrumental, vocal, and electronic music, will attend the concert, Rumphs said.
• My Robin is to the Greenwood Gone: Composed by Percy Grainger, this selection was arranged for wind ensemble by Fred Sturm ’73, the former director of jazz and improvisational music at Lawrence. In the notes to the piece, Sturm dedicates the work to Fred Schroeder, the first director of bands at Lawrence from 1951 to 1978. The Wind Ensemble’s performance will honor both the legacies of Sturm and Schroeder.
• Trilogy for Trumpet and Wind Ensemble: It is composed by John Harmon ’57, the first director of the jazz program. Nadje Noordhuis, assistant professor of music in the Conservatory, will be featured on trumpet. The first movement of this work was initially conceived as a surprise gift to Robert Levy, director of bands at Lawrence from 1979 to 2004. Levy and Harmon are expected to be in attendance, Rumphs said.
• Songs Without Words: This piece is a nod to Lawrence’s love of Wisconsin. Composed by Charles Rochester Young, it was commissioned by 12 Wisconsin universities and is dedicated to James Arrowood, professor emeritus at the University of Wisconsin-Stevens Point. Additionally, the composer was on the faculty at UW-Stevens Point and remains friends with many faculty members at the Conservatory, Rumphs said.
• City of Ambition: As another nod to Lawrence’s ties to Wisconsin, this piece by Wisconsin composer Theresa Martin will be featured. Martin maintains an active clarinet studio in Wisconsin. She will attend the concert.

The Lawrence Community Music School—previously known as the Arts Academy and then the Lawrence Academy of Music before assuming its current name in 2020—serves the greater Fox Valley community as a music school and resource. It blends musical traditions across generations, with approximately 900 students of all ages taking private lessons, performing in ensembles, and presenting more than 40 public concerts annually.

Those experiences have often led young musicians such as March-Tormé to Lawrence, drawn to its Conservatory of Music and its myriad of possibilities. Over its 150 years, the LCMS has seen many of its students go from youth musicians to accomplished Conservatory students.

Lawrence junior Aimee Patch grew up playing horn in the Lawrence Community Music School’s Symphonic Band and later its Wind Ensemble. Now, she’s majoring in music education and music performance at Lawrence.

“I played in the ensembles with a few other close friends from my school and I looked forward to rehearsal every week,” Patch said. “It was a wonderful experience to play at a high level that challenged me to improve as a musician not only technically but also by working in a fast-paced learning ensemble environment.”

As a Lawrence student, Patch continues to be involved with LCMS. She returned to the school this year as the manager of the Symphonic Band.

“Working with Mary Van De Loo and Caitlynn Acy (Symphonic Band teacher-conductor and 2015 Lawrence graduate) has been a wonderful learning opportunity in group management, rehearsal technique, and student relationship building,” Patch said.

Lawrence’s Conservatory and the Lawrence Community Music School continue to have a synergistic relationship, with faculty and students working together across the programs to cultivate a strong and passionate environment for anyone looking to learn music. With offerings that include early childhood classes, music for people with disabilities, lessons on all instruments, summer programs, and youth ensembles that include six girl choirs, two bands, and a string orchestra, the school nurtures a diverse community of young musicians.

Serving as a pipeline to Lawrence’s Conservatory of Music is another benefit that keeps the programs tightly aligned.

“Through the Community Music School, Lawrence is able to reach students of all ages and abilities and to share the gift of music widely in the community,” Van De Loo said.

The free concerts in Vail Hall provide a wonderful opportunity to sample the amazing talents of Lawrence’s Conservatory of Music, which is celebrating its during the 2024-25 academic year.

For the student and faculty musicians, both instrumental and voice, these concerts provide space to perform their practiced recitals for a live audience. They also are a great way for Björklunden to add to the cultural life of Door County.

Admission is free, thanks in large part to the sponsorship of the .�� In spring 2025, we are planning to host concerts with the piano, clarinet, cello, and viola studios. Watch for updates to the concert schedule on the .

Jones, a mezzo-soprano, came to Lawrence from Houston to study voice��(initially drawn by then-professor John Holiday) and immerse herself in the Opera Theatre program. She excelled from the start, twice winning a National Association of Teachers of Singing (NATS) competition while tackling significant roles in multiple Lawrence operas.

“Lawrence is special in that it’s an undergrad-only institution,” Jones said of how Lawrence prepared her to meet these moments. “Typically, at many music conservatories, there are master’s programs, which means you are going to have to compete as an undergrad against the master’s students to be in an opera production. Since the main stage roles are usually given to the master’s students, you might not have as much stage time as an undergrad student. But because Lawrence is an undergrad-only university, I got so much stage time, and I was able to learn different roles during my time there. I feel like that gave me a leg up over my colleagues in grad school because I already had that experience of being on stage and learning full roles.”

The momentum that began on the stages and in the classrooms of Lawrence carried over to grad school, where, among other achievements, Jones was selected for the inaugural cohort of The Denyce Graves Foundations’ Shared Voices program and was invited to join the non-profit artist intensive, Opera for Peace Academy.

Then came her selection to The Met’s Lindemann Young Artist Development Program, which continues to open doors.

“This is the program to be in if you are a young artist,” Jones said.

The program pours resources into the young performers who have been selected, and, because it’s The Metropolitan Opera, access to many of today’s leading opera performers is readily available.

“All the stars in opera come through The Met, and if they’re available, all we have to do is request to work with them,” Jones said. “The resources here are virtually endless.”

It’s an opportunity that circumvents many of the challenges young artists face, including the expenses associated with coaching, voice lessons, acting lessons, breathing lessons, publicity photos, website development, video recording, renting of recording space, hiring a pianist, and more.

“There is so much that comes with being a young artist,” Jones said. “A lot of artists have to work other jobs outside of singing to subsidize their career. That can wear you out. You don’t have enough left to focus on the gift you are trying to cultivate. In this program, we really don’t have to do anything but focus on becoming a world-class artist. That’s what they tell us: ‘If you are here, that means we see the potential for you becoming a world-class artist.’ This is our job.”

The 24-year-old Jones was approached about auditioning for the Lindemann program while competing in The Met’s Eric and Dominique Laffont Competition. (Another Lawrence graduate, Emily Richter ’20, was among the 2024 Laffont Competition winners.)

“I didn’t think I was ready initially,” Jones said. “I thought I would audition when I’m a little older, when I have more things under my belt. As artists, we’re very critical of ourselves, always thinking we can do more.”

She had two auditions before getting the invite to join the program.

“I feel extremely blessed and very humbled to be in this place,” Jones said. “Very grateful. Every time I walk through the halls, I see the pictures and paintings of the legendary opera singers I’ve always looked up to. I don’t take any of it for granted.”

She is working with music director Yannick Nézet-Séguin, one of the foremost conductors in the world. Having him and others at The Met pushing her to grow as an artist has taken her confidence to new levels.

“My toxic trait is that I compare myself to the great opera singers who are in their 40s and 50s,” Jones said. “I have to remind myself, ‘OK, Hannah, you are 24 years old, calm down.’ They tell us all the time, ‘You are here for a reason. Trust and believe in that.’”

Jones recently made her Met debut in Die Frau ohne Schatten, playing one of the unborn voices in the Richard Strauss opera. It’s a role that has her singing from the domes near the ceiling and in the orchestra pit.

“It is still so unreal for me,” Jones said, speaking a few hours before her next performance. “One of my favorite moments is singing in the orchestra pit with one of the best orchestras in the world. I started off in classical music playing the cello, so I geek out double fold. The way Strauss orchestrated the final scene is absolutely masterful, and feeling the vibrations of the basses is an inexplicable experience. Not to mention we’re being conducted by Yannick Nézet-Séguin, the conductor in classical music right now.”

That debut followed her performance in October in Seattle Opera’s Jubilee, where she played Jennie Jackson, one of the original Fisk Jubilee Singers—groundbreaking African American singers who performed across the U.S. and in Europe in the early 1870s to raise funds to save their college, Fisk University. It was the production’s world premiere.

“As an African American opera singer, I would not be here without them,” she said of the Fisk Jubilee Singers. “It was very humbling to share their story.”

Adding one more accomplishment to her 2024, Jones called her Dec. 21 performance with Norm Lewis “a great success.”

Next up is a March recital at The Juilliard School. Then she’ll set her sights on The Met production of Antony and Cleopatra��in May; she has been selected as a cover for that production.

“At The Met, it is not unusual at all for the covers to go on,” Jones said. “Life happens and sometimes singers can’t perform. While I don’t necessarily hope anyone is unable to perform, I am excited about the chance to perform on the main stage. John Adams, the composer of Antony and Cleopatra, is also going to be conducting this production, which is super special. In modern times, it is not common for the composer of a widely successful opera to also conduct the production.”

Through it all, Jones said she is embracing each moment, often reflecting on a journey that got its start in Lawrence’s Conservatory of Music.

“I’m grateful for my time at Lawrence,” she said.

Alexander York ’14, who now shines as Papageno in The Magic Flute in Austria, speaks to the transformative power of his experience.

“In addition to the world-class training in the techniques and theories of music, I benefited from a group of professors who really lifted me up and gave me the tools that I personally needed to move forward in my career,” he said.

Kirsten Lies-Warfield ’94, a retired trombonist from the U.S. Army Band, fondly remembers the supportive culture of the Conservatory. After graduating from Lawrence, she earned a master’s degree at Indiana University, then became the first female trombonist hired by the U.S. Army Band “Pershing’s Own.”

“The faculty and my peers gave me room to find my way and inspiration as to what was possible,” she said.

A legacy of excellence and innovation

As the Conservatory expanded from its early days, it became a vital part of both Lawrence and the surrounding Fox Cities community. Performances by Lawrence faculty and students, as well as visiting artists such as Marian Anderson, Louis Armstrong, Ella Fitzgerald, Yo-Yo Ma, Wynton Marsalis, Joshua Bell, and Marilyn Horne, have long been open to the public.

The past 50 years have seen significant evolution. The jazz program, launched in the ’70s, has gained national acclaim. The opera program, bolstered by generous support from a family foundation, allowed for the Conservatory’s first director of opera studies and has produced award-winning alumni who are gracing stages worldwide. Recent innovations like the Bachelor of Musical Arts degree, added in 2019, allow students to audition with non-classical repertoire and focus on jazz and contemporary improvisation.

The Conservatory’s Presto! tours have taken students to Chicago, the Twin Cities, and Houston for a blend of music-making and community outreach. Kaleidoscope concerts are held at the Fox Cities Performing Arts Center to showcase the breadth of music within the Conservatory—the eighth edition was held in October as part of the 150th celebration. Dance instruction has been introduced, arts entrepreneurship has been embedded into courses, and world music instruction has expanded.

In addition, numerous community partnerships—most notably with the Mile of Music festival, the Music for All program, the Appleton Area School District, and two newly launched summer music programs—have added layers to the Conservatory’s relationship with Appleton and the wider Fox Cities.

Alumni voices

Conservatory alumni often praise how their experiences shaped their musical journeys. James Gandre ’81, president of the Manhattan School of Music and an accomplished tenor, highlights three key aspects of his time at the Conservatory: detailed faculty instruction, a broad exposure to music, and a culture of support.

“We all wanted everyone to succeed and flourish,” he said.

Alumni speak of their inspired journeys

Evan Williams ’10, a rising composer teaching at Berklee College of Music, wrote a commissioned piece for the Conservatory’s 150th celebration, reflecting his respect for Lawrence.

“I love the emphasis they’re putting on contemporary music and research and writing and entrepreneurship,” Williams said. “They’re learning how to be working, thriving musicians in the world today.”

Praise for the faculty is a common theme among alumni, whether they graduated 40 years ago or just a year ago. Schuyler Thornton ’14, a flutist with the Les Misérables North American Broadway Tour and a lecturer at Muhlenberg College, still feels the Conservatory’s supportive culture.

“It is rare to find the sense of identity and community that exists at Lawrence, especially in the Conservatory,” she said. “Many musicians have conservatory experiences that are cutthroat and competitive—Lawrence provided a nurturing environment that still pushed me to be my best.”

The Conservatory faculty also lead by example, performing nationally and internationally. Voice professor Estelí Gomez won her second Grammy Award in 2024 with the ensemble Roomful of Teeth, which returns to Lawrence for a performance on April 4 as part of the 2024-25 Performing Arts Series. Pianist Michael Mizrahi released his third solo album, Dreamspace, in 2024. Trombone professor Tim Albright is featured on acclaimed albums by Bon Iver, Sufjan Stevens, and The National. Catherine Kautsky regularly performs in major venues such as Alice Tully Hall and Carnegie Recital Hall. Violinist Wen-Lei Gu balances teaching with a vibrant performance career, including appearances at Carnegie Hall’s Bach Festival and the Kennedy Center. The list goes on.

Student inspiration

Faculty achievements, like that of Gomez, inspire students like senior Damian Islas, who sees them as reminders of the dedication needed to push artistic boundaries.

“Aside from her nurturing persona, she has put in so much hard work into mastering the art of singing and knowing her voice and body inside and out,” Islas said. “With one beautiful soprano note, Prof Gomez shows us all that she has cracked the code.”

This spirit of inspiration and dedication also lives in students who are weaving together diverse passions. Annika Schmidt, a dual-degree student in cello performance and linguistics, embodies the Conservatory’s commitment to fostering creativity and cross-disciplinary thinking.

“I found that analyzing language changes the way I think about music,” Schmidt said. “Thinking about music as speech … analyzing how the phrase is put together or thinking about it in terms of words in a sentence.”

As we celebrate 150 years of the Lawrence Conservatory of Music, it is clear that the heart of its legacy lies in the students—who, through their dedication and creativity, continue to shape the future of the Conservatory. With each new generation, the story of innovation, excellence, and limitless potential carries on.

That has been a familiar tune in the Conservatory for 150 years and counting.

Alex Alden ’25 contributed to this report.

Alexander York ’14:��In September 2023, York joined the full-time soloist ensemble at the State Theater in Linz, Austria, where he is singing Papageno in Mozart’s Magic Flute this season. Since leaving Lawrence, York earned a masters at Northwestern University, received a Fulbright award to study Art Song in Munich, Germany, and was a member of the Paris Opera Young Artist Program.

“The main thing that stands out about my time in the Conservatory was the boundless access to try out new things and develop an artistic personality,” York said. “In addition to the world-class training in the techniques and theories of music, I benefited from a group of professors who really lifted me up and gave me the tools that I personally needed to move forward in my career. I left Lawrence with a lot of confidence in myself and��my craft, which carried me a long way after graduation.”

Javier Arau ’98:��Arau is the founder and executive director of New York Jazz Academy in New York City. He has performed worldwide as a saxophonist and his compositions have been featured in film and television.

“I was wide-eyed and ready for anything as a 17-year-old first-year Lawrentian in 1993, and what strikes me more than anything was just how present and dedicated my professors were, from the first moment I arrived on campus,” Arau said of his Lawrence experience. “I never took this for granted, but I also didn’t really have an idea just how special this was until much later in my life. To have so many full-time faculty—Steve Jordheim, Ken Schaphorst, Allen Gimbel, Dane Richeson, and many others—challenging and fueling me for five years was the greatest thrill. To the point that they would be there for us at our concerts on- and off-campus, for lunches and dinners, that is an environment that is just so, so rare. In my own career as a saxophonist, composer, and teacher, I look to support students and teachers who offer this same sort of generosity and passion for each other and our musical paths.”

Laura Hauer ’09:��Hauer is teaching violin and piano for the Orquesta de Cuerdas de San Agustín in San Agustín Etla, Oaxaca, México, and giving occasional��performances.

“My indefatigable and dedicated teachers were the most notable part of my LU Conservatory education,” Hauer said. “I have used my Lawrence teachers to role model my own teaching.”

Kirsten Lies-Warfield ’94:��Lies-Warfieldis retired from The United States Army Band after serving 20 years as their first female trombonist.

“The Lawrence Conservatory was exactly what I needed coming out of high school,” Lies-Warfield said. “I wanted to play everything and not specialize. I started out majoring in trombone performance and studio art and took cello lessons. By the time I graduated, studio art and cello had fallen away, but I was still playing everything I could on my trombone. In grad school, specialization was encouraged, and I stopped studying jazz. Maybe that specialization was needed to win the audition for The United States Army Band, but that job asked me to play just about everything but orchestral music. The culture of the Con was so nurturing to me in whatever it was I decided I wanted to do. The faculty and my peers gave me room to find my way and inspiration as to what was possible.”

James Gandre ’81:��Gandre is president of Manhattan School of Music in New York City. He received an honorary degree at Lawrence’s 2024 Commencement.

“I loved being exposed to the breadth and depth of both classical and jazz music,” Gandre said. “There was so much to be absorbed at Lawrence, from student and faculty performances to guest artists of the highest order, like the Gewandhaus Orchestra of Leipzig, pianist Ruth Laredo, soprano Elly Ameling, and jazz pianist Marian McPartland. The atmosphere was one of mutual support and encouragement and this flowed forth from both the faculty and students.��We all wanted everyone to succeed and flourish.��Unfortunately, at many institutions this is not the ethos.”

Stephen Edwards ’85:��Edwards performs and composes soundtracks for film and TV.��He has released several solo piano albums.��

“I would say the main thing that stands out for me regarding my Lawrence experience is the fact that I was able to try my hand at so many different types of situations—musical and otherwise—during my years in the Con,” Edwards said. “This meant that I was able to participate in LUJE, be a piano performance major and study classical repertory, but also join a fraternity, and also even be part of the LU basketball team during my freshman year. I also double-majored in economics. This exposed me to every type of person available to me at LU. As I’ve forged my career over the years, I always tell everybody, I am in the ‘music business,’ so I have to be equal parts creative artist and savvy businessman to navigate the tricky waters of our ever-changing business world. So, part of that success is in my ability to work with so many different personality types—from every walk of life—and collaborate with them so that our efforts are satisfying and successful. The beginnings of all of this is directly attributable to my years at LU.”

Schuyler Thornton ’14:��Thornton is the flutist for the��“Les Misérables”��North American Broadway Tour orchestra and a lecturer of flute and director of Flute Ensemble at Muhlenberg College.��

“I think it is rare to find the sense of identity and community that exists at Lawrence, especially in the Conservatory,” Thornton said. “The relationships that were fostered not only between my classmates but also with the faculty are still strong today. Many musicians have conservatory experiences that are cutthroat and competitive and leave them feeling quite jaded—Lawrence provided a nurturing environment that still pushed me to be my best.”

Evan Williams ’10:��Williams is a composer and serves on the faculty at Berklee College of Music, where he teaches composition, conducting, and music technology. He wrote a commissioned piece that was premiered at Lawrence in November as part of the 150th celebration.

“My story at Lawrence is really a winding one,” Williams said. “I meandered a lot, and one of the things I love about Lawrence is they let me meander. They let me be unsure about what I wanted to do, and that helped shape the career I created. They really let me take the time to explore.”

Bonnie Alger ’06:��Alger is a conductor who serves as officer-in-charge of The United States Army Chorus.

“No one looked at me like I was silly when I said I wanted to go to graduate school for conducting even though I had only been doing it for a year or two,” Alger said of her Lawrence experience. “The faculty all took the time to get to know me as a person and to play on my strengths. In some cases, I’m not sure how they knew I’d be good at certain things because as a 20-year-old, I wasn’t sure I’d be good at it. I wasn’t first chair; I wasn’t singing all the solos in choir; but I was actively engaged, and they all saw something and pulled that out of me.”

Emily Richter ’20:��Richter performs with Lyric Opera of Chicago’s Ryan Center Ensemble. In March 2024, she was named one of five winners of the Metropolitan Opera’s 2024 Eric and Dominique Laffont Competition.

“I’m so grateful for my time at Lawrence that didn’t just teach me how to sing but taught me how to feel and think deeply about the world,” Richter said.

Brooke Joyce ’95:��Joyce is the composer-in-residence at Luther College and currently serves as co-department chair.

“I had many terrific instructors in the Conservatory,” Joyce said. “They gave me both a strong musical foundation and the confidence to find my own creative voice. Those instructors instilled in me a high regard for musical excellence, and their teaching continues to influence my own pedagogy. Rarely does a week go by when I don’t think about a lesson or class I experienced at Lawrence.”

David Heller ’81:��Heller is professor of music and university organist at Trinity University in San Antonio, Texas, where he has been a member of the faculty since 1986. He teaches organ, harpsichord, and music theory.��

“What I remember most��about my experience in the Conservatory was the close interaction between the students and the faculty,” Heller said.��“Our professors and mentors were demanding but supportive in our lessons and classes.��We were given the opportunity to mature musically, intellectually, and personally.��What sets the Conservatory apart from other institutions is the excellence in teaching at the undergraduate level.��We had professors who knew how to teach undergraduate musicians at that��point in their lives.��As students, we experienced a wealth of live performances—from faculty, students, and guest artists who contributed immensely to our growth. Finally, there was a sense of camaraderie��with your fellow classmates, many of whom remain friends of mine to this day.”

Marian Anderson, 1941:��The groundbreaking contralto delivered a brilliant concert performance at Memorial Chapel, the overflow audience calling her back for multiple encores. “No artist in recent years in Appleton has received the tribute which the audience gave Marian Anderson,”��The Lawrentian��reported. In 2014, Lawrence held a concert in tribute to Anderson, recreating the repertoire from her 1941 performance.

The Trapp Family Singers, 1954: The family that inspired The Sound of Music came to Appleton in the fall of 1954. They performed at Memorial Chapel five years before the musical based on Maria Von Trapp’s memoir opened on Broadway and 11 years before the film debuted in 1965.

Louis Armstrong, 1960:��The jazz pioneer nicknamed “Satchmo” made a late-career visit to Lawrence’s Memorial Chapel. The Lawrentian��previewed Armstrong’s visit, calling him “the greatest of all jazz musicians” and urged the campus community to get their $2 tickets early or risk being left out. “Because of the interest expressed by townspeople and high schools in the area, it seems that the concert will be quickly sold out,” the student newspaper reported. Indeed, it was.

Ella Fitzgerald, 1961:��The “First Lady of Song” was a full-on jazz superstar when she performed in concert at Memorial Chapel in early May 1961. Her visit to Lawrence was a cross-country stopover between a two-and-a-half-week stand at New York’s Basin Street East and a three-week engagement at the Crescendo in Los Angeles. “Ella rocked Lawrence College’s staid, old Memorial Chapel with a battery of upbeat material Tuesday night,”��The Post-Crescent��reported. “And she appeared to enjoy every minute of it. She carried the torch, too, as only she can do. A house just short of capacity couldn’t have loved the first lady of song more.”��

Pete Seeger, 1964: An iconic performer during the ’60s, Seeger was a well-known folk singer and activist when he made his way to Memorial Chapel. He was two years removed from his blacklisting at the hands of Wisconsin Senator Joe McCarthy.

Yo-Yo Ma, 1986:��One of the most accomplished cellists of all time paid a visit to Memorial Chapel in 1986. The one-time child prodigy was 31 when he performed at Lawrence as part of the 1985-86 Performing Arts Series. He was fresh off winning a 1985 Grammy for Outstanding Solo Performance. That would be the first of 18 Grammys he would win in a career that has also seen him awarded the National Medal of Arts and a Presidential Medal of Freedom.

Dianne Reeves, 1987:��The jazz vocalist extraordinaire led a star-studded lineup into the 1987 Jazz Weekend Celebration. She was joined by icons Dizzy Gillespie and Clark Terry. Reeves was early in her career at that point, but she wouldn’t be overshadowed. She had released her first album in 1981 and had just signed with Blue Note Records in 1987. She was an ascending star, and the audience at Memorial Chapel got a first-hand look.

Wynton Marsalis, 1988 and 2022:��The legendary trumpeter was 27 when he came to Lawrence to perform at Jazz Celebration Weekend. The concert sold out so fast that Lawrence officials arranged for a second concert. He met with students while on campus, challenging them to be culturally aware as they pursue music and other studies. “If you don’t research the world of possibilities, you always will accept less,” he told the students, according to��The Post-Crescent. “It’s not a matter of right or wrong; it’s a question of possibilities.” He returned to Memorial Chapel as part of the Performing Arts Series in 2022.

Joshua Bell, 1990 and 1998:��The violin virtuoso came to Lawrence to perform early in what would become a highly decorated career. He’s been among the most honored musicians of his time, taking home Grammy, Mercury, Gramophone, Echo Klassik awards and the Avery Fisher Prize. And he took a liking to Appleton. Bell had first come to Appleton in 1983, then as a teenager, to play with the Fox Valley Symphony Orchestra. He’d return seven years later to perform in Lawrence’s Memorial Chapel as part of its Performing Arts Series. He was back in the Chapel in 1998 and has since come back to Appleton twice for symphony performances at the Fox Cities Performing Arts Center (2003 and 2017).

Marilyn Horne, 1994:��The American mezzo-soprano sits among the greatest voices of opera. She has received the National Medal of Arts, the Kennedy Center Honors, and four Grammy Awards. She came to Lawrence for a performance at Memorial Chapel as part of the 1993-94 Performing Arts Series.

And a sampling of eight more:��Dave Brubeck, 1959; Muddy Waters, 1968; Frank Zappa, 1969; Dizzy Gillespie, 1987; Diana Krall, 1997; Branford Marsalis, 2007; Audra McDonald, 2013; and Samara Joy, 2022.

The impact of LCMS extends beyond the classroom. The school actively participates in community events like the Appleton Farmer’s Market and Mile of Music. Ensembles also perform at retirement communities and nursing homes, bringing the joy of music to all corners of the community.

Among the dedicated faculty is Jessica Jensen ‘10, a proud ����vlog alumna who grew up in the Fox Valley. Her early experiences with private lessons and ensemble performances inspired her to pursue a degree in music performance (trumpet), leading to a master’s and doctorate. Now, she teaches trumpet lessons at LCMS.

“In a world where we can feel disconnected, making music with others is a reminder that we share common ground,” Jensen said. “I see the Community Music School as a place where everyone can and should create music. It makes the world a better place.”

Paul Hauer also began his musical journey at LCMS, starting piano lessons at 11 before taking on chamber music, theory, and violin. He participated in recitals, competitions, and festivals, praising these opportunities and the privilege of seeing ensembles like the Milwaukee Symphony Orchestra. Inspired by those performances, Hauer is now in his eighth season as a violinist with the symphony. He’s also taken his education forward into the Fulton Music Society, where he continues to educate young musicians.

“The character traits and good habits that I developed from passionate teachers, including those at LCMS, put me on a path of growth that has allowed my life to be wonderfully rewarding,” Hauer said. “I would wish that for every child in the Fox Cities and the world.”

As LCMS continues to grow, Van De Loo and her team are committed to evolving their programs to meet the community’s needs.

“We have a wealth of expertise and artistry here,” she said. “Sharing that with as many students as possible fosters community and creativity, enriching lives of all involved.”