The Green Room / April 2017 by ColoradoStateUniversity_UCA

C o l o r a d o S ta t e Un i ve r s i ty / T H E U N I V E R S I T Y C E N T E R F O R T H E A R T S / VO LU M E 3 / I S S U E 1 8 / A P R I L 2 0 17

POWERFUL, COLLABORATIVE EXPRESSION

WELCOME TO

THE GREEN ROOM

Dan Goble

Director of the School of Music, Theatre and Dance

Jennifer Clary Jacobs Marketing Director

Mike Solo

Creative Director

Brandon Adams

Publicity and Marketing Assistant

It’s The Green Room’s anniversary! Our creatively crafted and responsibly delivered showcase of all things performing and visual arts at Colorado State University is now two years old. As you continue to engage with the arts at CSU, we hope our free, story-telling solution continues to be a part of the mix. April is an exquisite time of year with the lovely crab apple trees in full bloom. Fort Collins has a special affinity for the varied-colored trees, with their heavy clusters of blossoms. Laden with meaning, the blooms were considered a symbol of artistic creativity by the Celts. Perhaps with the trees encircling the UCA as a contributing factor, April is the culminating month for events each academic year, and 2017 doesn’t disappoint! This month’s highlight events include the Spring Dance Concert, the opening of Little Shop of Horrors, The Musical, and two nights of the University Symphony Orchestra. As you read the pages of our second anniversary issue, we hope you find an event that feels tailored to your tastes, and that we see you at the UCA soon. Altogether, it is an ideal time to visit campus! If you’ve enjoyed this publication, please share it, send us your own story ideas and news. We thank you for your ongoing readership and support! Sincerely, Jennifer Clary Jacobs, Director of Marketing, University Center for the Arts

THIS IS YOUR UCA

TABLE OF TICKETS Online Sales: CSUArtsTickets.com Ticket Office: Griffin Lobby, University Center for the Arts (UCA) Spring 2015 Ticket Office Hours: M–F, 3:30–5:30 p.m., and 60 minutes prior to performances Information: (970) 491-ARTS (2787) / Email: CSUArts@colostate.edu Group rate: 15% off on ten or more tickets, applied at the time of purchase Tickets may be purchased, both online and at the UCA Ticket Office until 30 minutes after curtain. Print-at-home tickets are available online. All tickets are subject to a $1 ticket fee for both online and at-the-door purchases. At-the-door and phone purchases will incur a $3 processing fee per order. Advance ticket purchase is highly recommended to avoid lines and the at-the-door fee. Purchase Policy: All sales are final. No refunds or exchanges. Seating after the start of any performance is at the discretion of the house manager. Photography and recording of performances are strictly prohibited. Food and beverages prohibited in all theatres. Parents with disruptive children may be asked to excuse themselves if the performance is disturbed without refund.

CONTENTS Faculty Notes....................................................... 04 The Musical Genius of Fanny Hensel............. 08 A Big Night of Music.......................................... 16 Singer of the Year............................................... 18 Men’s Chorus/University Choir........................ 21 Spring Dance Concert....................................... 25 Concerto Competition Review......................... 32 Graduate Piano Trio........................................... 34 Tying the Knot..................................................... 38 Matt Wilson.......................................................... 42 Blue Kitchen........................................................ 45 Joel Bacon Lecture............................................. 51 Class Notes.......................................................... 55 Gregory Allicar.................................................... 58 Gallway Master Class......................................... 60 Summer Camps................................................... 63 KCACTF................................................................ 64

EXECUTIVE EDITOR: JENNIFER CLARY JACOBS CREATIVE DIRECTOR: MIKE SOLO GRAPHIC DESIGN INTERN: KADIN KOSTELIC PUBLICITY AND MARKETING ASST. BRANDON ADAMS

SOCIAL MEDIA This is your UCA! Stay connected with the University Center for the Arts by connecting with us on social media. Facebook: facebook.com/CSU.UCA Instagram: ColoradoStateUniversity_UCA Twitter: @CSUUCA Tumblr: ColoradoStateUCA Youtube: YouTube.com/ColoradoStateUniv Flickr: flickr.com/photos/csulibarts

CONTRIBUTING WRITERS: BRANDON ADAMS JENNIFER CLARY JACOBS MCKENNA SHULER (UCA INTERN) BROOKE POULSON (UCA INTERN) ABBIE BLACH (UCA INTERN) NATALIE HENDRICKS (UCA INTERN) FOR ADVERTISING PLEASE CONTACT: JENNIFER CLARY JACOBS, DIRECTOR OF MARKETING jennifer.clary@colostate.edu / 970.491.3603

I S S UE 1 8, A PR I L 2 0 1 7 / T H E GRE E N ROOM T HE UN IVERS IT Y C EN TE R FOR T HE A RTS

Jenny Sokin visit................................................. 56

FACULTY NOTES

In March, CSU Clarinet Professor Dr. Wesley Ferreira was the guest artist at Utah Clarinet Festival on March 3-4, held on the Utah State University campus in Logan, Utah. He was also the guest artist at Iowa Clarinet Day, held at Simpson College in Indianola, Iowa on March 25. Dr. Ferreira gave a performance, a master class, and a clinic at both events. Additionally, he will be the guest artist at Wisconsin Clarinet Day on April 29, at the University of Wisconsin-Eau Claire School of Music. Last fall, Ferreira released Air Revelation – Breath Support Training Program for Musicians, “It's been incredible to watch as university studios adopt the program as their ‘textbook’ and to watch the program spread

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

throughout the world... now to 5 continents,” he said. More information can be found at www.airrevelation.com. ••• Dr. Rebecca Phillips, director of bands at CSU, conducted one of the large ensembles at the 2017 Montana AA Band Festival, held March 6-7 in Bozeman, Mont. “I’ve had a wonderful time on my first visit to Bozeman,” said Phillips. “Congratulations to the band students…I enjoyed our time together making music the past couple of days.” Phillips extended a special thank you to band directors Russ Kellogg (Great Falls High School, Great Falls), David Barr (Glacier High School, Kalispell), and Kelly Berdahl (Bozeman High School) for a fantastic experience. Phillips also travelled to Lexington, Ky. for the Kentucky Music Educators Association District 7 Honor Band on March 9-10, specifically thanking Tates Creek High School Band Director Aaron Cunningham for the “kind invitation and generous hospitality.” Phillips also thanked the fabulous District 7 high school band directors and entire team at Bryan Station HS for their hospitality. While in Lexington, Phillips attended the annual American Bandmasters Association Convention, which will be co-hosted by Colorado State University and the University of Northern Colorado in 2019.

S E R I E S

C O N C E R T

CSU FACU LTY C LAR I N ET

ORGAN RECITAL HALL

7:30 P.M. / APR. 10

I S S UE 1 8, A PR I L 2 0 1 7 / T H E GRE E N ROO M T HE UN IVERS ITY C ENT ER F OR T HE ARTS

FROM ANOTHER WORLD:

FACULTY NOTES

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

C S U

W I N D

S Y M P H O N Y

P R E S E N T S

Last fall, Dr. Bonnie Jacobi, coordinator of Music that explores the memories of sacrifice along with the beauty of more peaceful times... Conducted by Dr. Rebecca Phillips

music education at CSU, was nominated for the Online Innovative Educator (OLIE) Award. The OLIE (pronounced “OH-LEE”) is a student-nominated award “University Award” presented at both the spring and fall CSU Online

APRIL 21, 7:30 P.M. Griffin Concert Hall, UCA

Graduation Brunches to recognize instructors who: are able to establish positive relationships with students; are responsive, motivating, and challenging; provide interesting and insightful lectures and thought-provoking homework assignments; are able to do all of the above at a distance. Dr. Jacobi is the director of Colorado Kodály Institute and the School of Music, Theatre, and Dance’s online music education master’s degree.

CSU UNIVERSITY SYMPHONY ORCHESTRA CONCERT

w i th g u e s t c e l l i s t B a r ba r a T h i e m

Conducte d by M a est ro Wes K enney The University Symphony Orchestra performs three exciting showpieces: Pictures at an Exhibition by Modeste Mussorgsky, as transcribed by Maurice Ravel; the great cello concerto, Ernst Bloch’s Schlomo; and Mason Bates’ Mothership, which arrives complete with an entire lighting scheme created by CSU theatre students.

April 27 & 28, 7:30pm | Griffin Concert Hall CSUARTSTICKETS.COM

I S S UE 1 8, A PR I L 2 0 1 7 / T H E GR EE N ROO M T HE UN IVERS ITY C ENT E R F OR T HE ARTS

EXHIBITIONS

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

CSU MUSIC

For CSU Musicology Professor Dr. Angela Christian, years of study and passion have come to fruition as a century-and-a-half old art thriller has been solved. This week, her research culminates in London during International Women's Week as Fanny Hensel, sister of Felix Mendelssohn, is publicly credited for composing the Easter Sonata. For decades, the manuscript for the ambitious piano sonata was assumed lost, and was even attributed to Fanny’s brother, Felix. In an upcoming article in the journal Musical Quarterly, Dr. Christian traces the history of the mysterious, long-lost manuscript, presenting the archival evidence to prove that the work was indeed by Fanny, and details how she was able to finally locate the manuscript in private ownership in France in 2010. Based on details found in that manuscript, the CSU professor was able to clear up lingering questions about the authorship and programmatic elements of the work. An analysis of the work shows how Fanny drew on her compositional models of Bach, Beethoven, and her brother Felix to create her ambitious piano sonata.

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International Women’s Week Celebrates the Musical Genius of Fanny Hensel (nee Mendelssohn) as a CSU Music Professor Solves Mystery!

As part of BBC Radio 3’s International Women’s Day celebration, Dr. Christian traveled to London to talk about the sonata, and her rediscovery of the manuscript, during a live interview in London on March 7. London film maker and Mendelssohn descendent, Sheila Hayman, and pianist Sofya Gulyak, a former winner of the Leeds International Piano Competition, were also be interviewed. To properly credit Fanny’s musical genius, the gorgeous Easter Sonata was performed by Sofya Gulyak at the Royal College of Music, as part of their Women in Music Series, on March 8.

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The performance is archived as part of BBC Radio 3’s Lunchtime Concerts. Click here.

For Christian, it was an incredible honor to be a part of BBC Radio 3’s International Women’s Day celebrating the accomplishments of Fanny Hensel. "The event has been mostly planned by women, led by Mendelssohn descendant Sheila Hayman, and the pianist, Sofya Gulyak, who was the first female prize winner in the Leeds International Piano Competition. What a way to celebrate the achievements of women both past and present!" Christian’s article “Authorship, Attribution, and the Historical Record: Solving the Mystery of the Easter Sonata by Fanny Hensel geb. Mendelssohn Bartholdy” will appear in an upcoming issue of Musical Quarterly, one of the top three journals in the musicology field. Submitted in June 2016, the article was peer reviewed and recently accepted by the journal, which has a broad international readership and represents a very high achievement in the field. "I am thrilled," said Christian during the BBC Radio 3 interview. "It has been quite an exciting story. Now I wish we could find the 32 lost fugues Fanny wrote!"

(TOP) CSU Musicology Professor Dr. Angela Christian (BOTTOM) Fanny Hensel

For more about this intriguing story, click here for an article from The Telegraph. For a complete list of International Women’s Day events held by BBC Radio 3 this week, click here.

P E R C U S S I O N E N S E M B L E F E S T I V A L

PERFORMING WITH

CSU PERCUSSION ENSEMBLE

Instrumental Rehearsal Hall / UCA

I S S UE 1 8, A PR I L 2 0 1 7 / T H E GRE E N ROO M T HE UN IVERS ITY C ENT ER F OR T HE ARTS

Saturday, April 15, 6 p.m.

T HE U NIV ERSIT Y CE NT ER F OR T HE ARTS TH E GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

S E R I E S

C O N C E R T

ORGAN RECITAL HALL 7:30 P.M. / APR. 4

I S S UE 1 8, A PR I L 2 0 1 7 / T H E GRE E N ROO M T HE UN IVERS ITY C ENT ER F OR T HE ARTS

REBECCA PHILLIPS CO N D U CTO R JOHN CARLO PIERCE TEN O R TIFFANY BLAKE SO PR AN O MICHELLE STANLEY FLUTE WESLEY FERREIRA CL ARI N ET GARY MOODY BASSO O N ANDREW JACOBSON O BO E JOHN MCGUIRE H O RN CHRIS VAN HOF TRO M BO N E RON FRANCOIS VI O LI N LESLIE STEWART VI O LI N BARBARA THIEM CELLO TIM BURNS PIAN O MARGARET MILLER VI O L A BONNIE JACOBI HARPSI CH O RD JOEL BACON HARPSI CH O RD

RALPH OPERA PROGRAM

A BIG NIGHT OF MUSIC BROUGHT TO YOU BY THE RALPH OPERA PROGRAM

By Brooke Poulson, SMTD Publicity Intern T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

A Little Night Music was a lot more than just a little night of music when it was performed in Griffin Concert Hall at the University Center for the Arts at the end of March, it was actually four days’ worth.

Directed by Dr. Tiffany Blake, associate professor of voice and director of the Ralph Opera Program, and conducted by Special Assistant Professor of Voice Chris Reed, this world-famous opera by Stephen Sondheim was one of the biggest events of the spring semester for the School of Music, Theatre, and Dance at Colorado State University. This iteration of the highly recognizable and accessible opera had a fresh, modern approach as it took the audience through the interwoven lives of lovers within an elite group of people living in Sweden, including a lawyer, a young virgin, and an ex-lover who were tangled up in the game of love. Although Ralph Opera has performed A Little Night Music before, this is the first time it was presented as a fully staged production. For his first time conducting A Little Night Music, and an opera at CSU, Professor Reed was excited to shine a new light on the story. “It lets you share an emotional message. It is open-ended and so easily understood by people in their own way,” answered Reed when asked what moves him most about conducting this opera. “The story meanders through several unique relationships, rendering a snapshot of the interconnected lives,” Reed stated. Featuring interesting and funny dialogue, with a fantastic musical score that expanded beyond Sondheim’s famous piece “Send in the Clowns,” it was the exploration of adult themes that made this performance particularly memorable. Because of the content, A Little Night Music was not appropriate for all ages, which raised a few eyebrows.

I S S UE 1 8, A PR I L 2 0 1 7 / T H E GRE E N ROO M T HE UN IVERS ITY C ENT ER F OR T HE ARTS

(TOP) Desiree Armfeldt / Ingrid Johnson and Frederick Egerman Christian Gibbs (BOTTOM) Count Carl-Magnus Malcolm / Andrew Wallace and Countess Charlotte Malcolm / Arika Drake

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

“This is a wonderful piece with beautiful music and complex characters.” — TIFFANY BLAKE

Many of the characters emerge with big, complex personalities, so varied from one another that they impressed upon audience members in different ways. The story began with everyone in the wrong relationship, but in an endearing way, showing off Sondheim’s clever storytelling skills. “You will get attached to the characters even if they’re doing something you don’t necessarily approve of,” said Reed beforehand.

The process of staging an opera was no small feat. The amount of time, volume of people – including music and theatre students and faculty, – and areas of expertise were massive components in making it a success. The project began in Oct. of last year with auditions, followed by musical rehearsals in Nov., and staging in late Jan. The open audition process required one musical-theatre piece in English, followed by a cold dialogue reading. The cast consists of CSU students plus two guest faculty members: theatre instrucHenrik Egerman / Josh Colonnieves

“It takes a lot of preparation for me as the musical director, Professor Reed [the conductor], the student performers, the theater faculty and staff, and the theater students. It is a spectacular collaboration,” explained Dr. Blake. “This is a wonderful piece with beautiful music and complex characters. I really feel as though the students grew tremendously

as actors during the rehearsal process, and I looked forward to seeing them on stage in front of an audience.” Opera has a way of making the audience experience a side of themselves they may not typically explore, and this production is no exception. “The humanity of it, it’s real. Opera can be so beyond belief at times, and this one isn’t,” Reed contemplated. “The best part, I’d say, is when the audience responded either by laughing or crying.” We hope you made a little room on your calendar for A Little Night Music and possibly uncovered a new side of yourself.

Alice in

Wonderland the Ballet

Saturday April 22 , 2017 at 2:00 and 7:00 p.m. For tickets call 970.221.6730 • lctix.com

I S S UE 1 8, A PR I L 2 0 1 7 / T H E GRE E N ROO M T HE UN IVERS ITY C ENT ER F OR T HE ARTS

Dr. Blake agreed with the assessment. “What moved me about A Little Night Music is the fact that all the characters are flawed and therefore relatable. There is no true hero or heroine,” she said. “During different points throughout the piece, audience members find themselves rooting for a character in one moment, and then hating them the next.”

tor and Broadway performer, Patty Goble, and Assistant Professor of Voice Dr. John Carlo Pierce. The cast spent about nine hours rehearsing each week as well as several more on their own. Each semester, the Ralph Opera Program at CSU produces a full opera, with orchestra, in Griffin Concert Hall.

S I N G E R O F T H E Y E A R ( a n d t h e w i n n e r i s. . . ) By McKenna Shuler, SMTD Publicity Intern

he finalists in the 2017 Singer of the Year competition, held on Feb. 25 in the Organ Recital Hall, really delivered on the promise of being some of the university’s best vocalists. Andrew Wallace (junior), Anyaleen Bradley (senior), Emma Genell (junior), Emily Gehman (sophomore), and Arika Drake (junior) each gave stunning performances in the final round of competition. At the end of the night, though, it was Anyaleen who was granted the title ‘Singer of the Year’.

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

“I feel completely humbled, honored, and excited to have won this year,” she said. “The title of ‘Singer of the Year’ to me is validation that I am on the right path.”

The competitors all poured their hearts and souls into preparing for the competition, an event which had special meanings for everyone. For Anyaleen, it was confirmation of pursuing the right thing. For Andrew, it was reassurance. “As a music major, you are always doubting your abilities and questioning if you are really good enough,” he said. “This competition is a big encouragement to me and helps to reassure me that I am doing well with my instrument.” Not only did the competition offer the competitors some level of encouragement, but it also provided an opportunity to learn. Emily, the youngest of the competitors, had this to say about her experience: “I learned that my actual ranking doesn’t matter at all as long as I’m committed to my art and I’m happy with the art I’ve put out there.” She also noted that the comments from the judges would be super helpful in moving forward. Andrew shared similar sentiments, saying, “I was able to learn things from the judges that I need to improve on. They also were able to tell me what I am good at. I learned that God is in control, and that I do not need to worry because He loves me.” All five of the students were well deserving of the awards they received. Dr. Tiffany Blake, of voice, expressed her feelings about the competition’s results. “I am very pleased,” she said. “I

think the students did a great job both of singing and expressing their characters' emotions.” She also had her own advice to offer to them as they continue to pursue music: “I would encourage them to continue to work hard to achieve their own definition of success in music. Success can come in many different forms and means different things to different people.” Following the competition, Anyaleen, Andrew, and Emily each had messages they wished to share with their fellow competitors. Anyaleen expressed gratitude to the voice studio, saying, “I really love all of my fellow competitors, my friends in the music department. Each and every one of them has helped shape me into the musician, the person, and the artist that I am today.” Andrew’s message was directed at specific friends: “Arika, I am very proud of the progress that you have made. You deserved it. Anya [Anyaleen], I hope that your award encourages you of your skill and helps inform your direction in life.” In her message, Emily shared how it felt to be on stage. “I'm so proud of everyone involved with [Singer of the Year] this year and it was an incredible honor to stand alongside you all.” The annual competition provided all involved a great opportunity to share a part of themselves with everyone, and in doing so, learned about themselves and their passions for music. Hopefully they all continue to share their talents with the world far into the future.

Singer of the Year Competition Awards OPERA AWARDS: Andrew Wallace, Emma Genell, Emily Gehman IRENE BINKLEY SCHOLARSHIP: Arika Drake SINGER OF THE YEAR: Anyaleen Bradley

C S U

T R O M B O N E

S T U D I O

P R E S E N T S

JAMES NOVA, PITTSBURGH SYMPHONY ORCHESTRA C H R I S V A N H O F, A S S I S T A N T P R O F E S S O R O F T R O M B O N E , C S U CSU TRAMBONE CHOIR / S. E. SHIRES CUSTOM BRASS INSTRUMENTS

M U S I C . C O LO S TAT E . E D U / W O R K S H O P S - C A M P S / T R O M B O N E - F E S T

I S S UE 1 8, A PR I L 2 0 1 7 / T H E GRE E N ROO M T HE UN IVERS ITY C ENT ER F OR T HE ARTS

trombone fest 2017 featuring

CSU MEN’S CHORUS AND UNIVERSITY CHORUS CONCERT

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

A TWO-PART PERFORMANCE! ALSO FEATURING STUART DAMERON’S THE MUSIC OF LIFE

a collection of pieces for men's voices that celebrates unity, brotherhood, and men working together to create beauty and harmony through music CONDUCTED BY RYAN OLSEN APRIL 7, 7:30 P.M. | GRIFFIN CONCERT HALL CSUARTSTICKETS.COM

“They sing because they love it and genuinely want to share their passion. As a result, this concert is fun for audiences and performers alike” — Ryan Olsen

Semi-Annual Concert with the Men’s Chorus and University Choir BY NATALIE HENDRICKS / SMTD PUBLICITY INTERN

Men’s Chorus Concert To begin the evening, the Men’s Chorus presents “The Music of Living,” representing a theme of exquisite melodies written for a men’s voices. Their half of the concert is a collection of pieces that celebrate unity, brotherhood, and men working together to create beauty and harmony through music. “As the world and American society are both going through turbulent times, music has the ability to heal and unify, which is what we hope this concert signifies,” said chorus director, Dr. Ryan Olsen. In addition to pieces from the American musical tradition are melodies from Japanese composers. One of the most exciting pieces, Yagi-Bushi by Ko Matsushita, is entirely in Japanese. Singing in Japanese is a difficult task and a unique experience for the singers. The piece is fast and rhythmic, but the students have been able to work together in learning the pronunciation and complex rhythms.

I S S UE 1 8, A PR I L 2 0 1 7 / T H E GRE E N ROO M T HE UN IVERS ITY C ENT ER F OR T HE ARTS

Colorado State University’s Men’s Chorus and University Choir share the stage in their semi-annual performance at the University Center for the Arts on Apr. 7. Performing beautiful melodies and a unique range of rhythms, the two choruses each perform several pieces by American composers and beyond the Western tradition.

“This semester we are fortunate to have two Japanese students in the Men’s Chorus,” said Dr. Olsen. “They have really helped us with the pronunciation and perspective on the Japanese songs. It is also fun to highlight the cultural diversity in our ensemble.” The university’s all-male choir encompasses the enthusiasm these students have for singing, while representing a wide range of talent at CSU. “They sing because they love it and genuinely want to share their passion. As a result, this concert is fun for audiences and performers alike,” said Dr. Olsen.

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

University’s Choir Concert

I am always thinking, how can I use music as a tool to teach singing technique and musicianship to my students — Dr. Stuart Dameron

Following the Men’s Chorus, the University Choir, featuring over 85 voices, will perform six contemporary sacred Christian pieces from composers of different nationalities, including Estonia, Hungary, Norway, Creek Indian, and America. The sacred pieces from different corners of the world are mostly by living composers, even though not all of the works are of contemporary style. “I am always thinking, how can I use music as a tool to teach singing technique and musicianship to my students,” said Director Dr. Stuart Dameron. Dr. Dameron’s students prepared these sacred works by researching the languages and helping one another pronounce the foreign words. The phrasing of the spiritual styles can be detected within American mainstream pop music, which has made the learning experience fun and accessible for the students. “Through the similar styles, you can draw a close connection. And, because it is so connected to music [my students] already enjoy, I think they really get into it,” he said. With a piece the audience may recognizable from the Disney animated movie Frozen – “Vuelie,” composed by Norwegian composer Frode Fjellheim – the performers will leave the audience clapping along to the beat. “Everybody enjoys something that has a pop culture sound to it, and my singers kind of flipped out a little when they recognized the melody, and the audience will too,” said Dr. Dameron. “There is going to be clapping, and people are going to feel like getting up and dancing. It will be full of energy!” The power of music has an impact on everyone, evoking emotions, thoughts, and actions. No matter what language is being sung, everyone is able to understand and internalize the harmony it provides.

CSU MEN’S CHORUS AND UNIVERSITY CHORUS CONCERT A TWO-PART PERFORMANCE! ALSO FEATURING RYAN OLSEN’S THE MUSIC OF LIVING

CONDUCTED BY STUART DAMERON APRIL 7, 7:30 P.M. | GRIFFIN CONCERT HALL CSUARTSTICKETS.COM

I S S UE 1 8, A PR I L 2 0 1 7 / T H E GRE E N ROO M T HE UN IVERS ITY C ENT ER F OR T HE ARTS

Contemporary sacred Christian pieces from composers of different nationalities including Estonia, Hungary, Norway, Creek Indian, and America

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

CSU DANCE

By Brandon Adams and Jennifer Clary Jacobs

CSU Dance performs their biannual concert on April 21 and 22, undoubtedly amazing audiences on a whole new level. “The program is entirely new work that has never been seen on the CSU stage before,” said Jane Slusarski-Harris, director of CSU Dance. The concert is full of wonderful variety, including student-choreographed group and solo pieces, faculty choreography for CSU’s Ballet Repertory Ensemble, and a guest performer from the Colorado Ballet. Additionally, extensive collaboration with CSU Theatre brings new gorgeous and unique elements to the program. Student choreography is one of the most special aspects of dance concerts at CSU. Both sophomore Danielle Cardon and senior Aminta Remisosky’s group pieces are feature selections; junior Shannon Gerney, sophomore Hannah Finnegan, and freshman Jasmine Burns and Sam Lewis present solos. The students have spent the entire spring semester fine-tuning and perfecting their work, expressing emotion in a very controlled, artistic manner. CSU Dance Instructor Judy Bejarano incorporated a massive amount of student-driven elements into choreographing American Lullaby for the Ballet Repertory Ensemble. As a discerning choreographer and educator, Bejarano included her students on its creation, having her

The CSU Ballet Repertory Ensemble presents “American Lullaby,” choreographed by Judy Bejarano. Photos by Jennifer Clary Jacobs

I S S UE 1 8, A PR I L 2 0 1 7 / T H E GRE E N ROO M T HE UN IVERS ITY C ENT ER F OR T HE ARTS

2017 SPRING DANCE CONCERT

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

I S S UE 1 8, A PR I L 2 0 1 7 / T H E GRE E N ROO M T HE UN IVERS ITY C ENT ER F OR T HE ARTS

pupils write about their hopes for the world and creating a collage of feelings. “I wanted their voices in the piece, for them to be a part of the process,” Bejarano explained. “In many ways, the work was tailored to express a distinctive view from each student involved.”

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

In addition to the variety of student and faculty works, a special treat will be the iconic solo, The Dying Swan, performed by guest Sharon Wehner of the Colorado Ballet. “We are very pleased to welcome such an amazing artist to perform with us,” expressed Slusarski-Harris. Choreographed to Camille Saint-Saëns's Le Cygne from Le Carnaval des animaux, and made famous by Russian ballerina legend Anna Pavlova, The Dying Swan is an emotional piece that expresses death in a beautifully tragic manner. Since its debut in 1905, the dance has been performed countless times throughout the world, but for the first time in the University Dance Theatre.

What makes this CSU Dance concert truly unique, however, is the interdepartmental cooperation with the scene and paint shops. For the first time, dance faculty and students worked with their technical theatre counterparts on sets, adding more dimension to the concert. From giant steps to a majestic moon, the shops worked hard to add a fresh touch to the event. Finally, CSU Theatre’s continued collaboration on lighting, projection design, and costuming complete the picture. “I greatly appreciate the opportunity to collaborate with all of the CSU production designers and staff to bring something new to our audience,” expressed Bejarano. The 2017 Spring Dance concert is one that patrons of all ages will want to attend. “It’s such a physical, immersive experience… the music, the movement, the beauty, and the power of the human body are expressed wonderfully by this group of performers,” said Jane Slusarski-Harris.

Tickets are no charge for full-fee paying CSU students, $8 for youth (under 18), and $18 for the public. Tickets are available at the University Center for the Arts (UCA) ticket office in the UCA lobby Monday through Friday, 3:30-5:30 p.m. and 60 minutes prior to performances, by phone at (970) 491-ARTS (2787), or online at CSUArtsTickets.com.

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T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

yeah

HEY, DONâ&#x20AC;&#x2122;T FORGET!

CSU Students can attend any music, theatre, or dance performance*

FOR FREE.

*RAMCard is your ticket to the UCA! Full-fee paying students (enrolled in six or more credits) can receive one (1) no-charge ticket to all music, theatre, and dance department events at the UCA. Tickets are available in-person at the UCA Ticket Office, both in advance or at-the-door. A valid RAMCard must be presented for ticket redemption. Tickets are limited to one (1) per student for each performance/series of performances (i.e. multiple theatre or dance performances of the same show). Space is limited and available on a first come, first served basis. Excludes Classical Convergence and community produced events.

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For a full listing of events, visit uca.colostate.edu

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Frangel Cesera, violin

Concerto Competition Review By McKenna Shuler, SMTD Publicity Intern

Finalists and Repertoire for the 2017 Concerto Competition Joe Jones, Eric Sammut’s Sugaria: Concerto for Solo Marimba Julius Hochmuth, Dmitri Shostakovich’s Cello Concerto No. 1, Mvt 1,3,4 Frangel Cesera, violin, Arvo Pärt’s Fratres

he 2017 Concerto Competition, held in Feb., featured riveting music performed by three CSU Music student finalists – Joe Jones, Julius Hochmuth, and Frangel López Ceseña – and the CSU Sinfonia, conducted by Wes Kenney. Each performance was incredibly well-executed, but in the end it was Frangel who was awarded the top prize for his performance of the violin concerto Fratres by Arvo Pärt. According to Frangel, who is a master’s student at CSU, this is not the first time he has performed the piece. “I picked [Fratres] with the help of Cuauhtémoc Rivera Guzmán, my undergraduate teacher in Mexico,” he said. “We were looking for an interesting virtuoso piece to play in the National Violin Competition of Mexico ‘Tomás Ruíz Ovalle’ 2014, where I actually had the fortune of winning [first place].” And now, just a few short years later, Frangel returned to the piece in order to feel more confident in his performance. Frangel prepared for the CSU’s Concerto Competition with the help of his teacher, Ron Francois, associate professor of violin at CSU. Professor Francois provided Frangel with direction and advice in re-learning the piece. “He taught me new perspectives of the piece to develop my interpretation, as well as useful tips to understand better Pärt´s language,” Frangel said.

Being a foreign student might put some at a disadvantage, but the language of music is universal. Through music, we can open doors into other cultures and learn about ourselves and others. Understanding the messages of the composer helped Frangel to secure the top position in competition. “I confirmed that Arvo Pärt composes music full of emotion and mysticism,” he said. “I made my best effort to communicate those characteristics to the audience that did not know so much about Pärt´s music, and I had great comments about the piece itself, but believe me, the real magic was made by this monk-like Estonian composer.” Describing Pärt as “monk-like” comes as no surprise, as Fratres takes inspiration from Gregorian chanting. The title also comes from the Latin word for ‘brother.’ At the end of the day, Frangel credits the composer with the victory. “In my opinion the real winner of 2017’s competition is Pärt,” he said. That is not to say that Pärt did all the work. Frangel dedicated himself to the artistry of the piece, something that really shone through on the stage. He presented a mystical, otherworldly piece and breathed life into it with a stroke of his bow. Overall, the competition was very close, but Frangel was truly deserving of the win.

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As a foreign language speaking student, it has been difficult for Frangel to come so far. However, winning the Concerto Competition has offered him a great deal of encouragement. “As a foreign student that has [made] a lot of sacrifice[s] to have a space in the U.S., winning this competition makes me feel that I have [made] the right decision, and also, it is a catalyst of energy to continue studying, harder each time,” he said. To sum up his experience in a single word, winning the competition represents hope.

A trio comes together, bringing Fort Collins a local and cultural touch

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

By Brooke Poulson UCA Publicity Intern

The Graduate Piano Trio was formed Fall 2016, consisting of some of the many remarkably talented musicians at Colorado State. The trio members come from places all around the world, which brings a unique and cultured prospect to the recital happening on April 19 at 7:30 p.m. The trio consists of graduate students Frangel Lopez Cesena, violin, Julius Hochmuth, cello, and Sicong Zhou, piano. They will perform various solo, duo, and trio combinations, including Maurice Ravel’s Duo for Violin and Cello. The program also includes Dvorak Dumky’s Trio No. 4, Bohuslav Martinů’s Duo No. 1, and Three Nocturnes by Ernest Bloch. Frangel, the violinist in trio, shared what he is most excited for, saying, “Playing the Dvorak and Martinu pieces, they are some of the most important pieces ever written.” The members decided together what was going to be played at the recital. The trio spends about three hours rehearsing twice a week. and attends coaching once a week under the guidance of Professor Barbara Thiem. Preparation for the recital began in Jan. with each member spending a selected amount of time rehearsing outside of group each week. Preparation for the trio members means more than just playing their instruments; Zhou, the pianist, shared what he does to be fully prepared while working as a trio, “To make sure I can know the music well, I started to prepare the pieces of the recital starting last winter break, including practicing my piano part and analyzing other instrument parts as well.”

⊲ ⊲ ⊲ CO-PRESENTED BY THE LINCOLN CENTER AND COLORADO STATE UNIVERSITY ⊳ ⊳ ⊳

Borromeo’s visionary performances include both fresh interpretations of the classical music canon and works by 20th and 21st century composers.

MAY 5, 7:30 P.M. | GRIFFIN CONCERT HALL | UNIVERSITY CENTER FOR THE ARTS

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T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

Members of The Mendelssohn Trio (Erik Peterson, violin and Theodor Lichtmann, piano) coach the CSU Graduate Trio.

Sicong Zhou, the pianist, comes from China and started playing the piano when he was only three years old. He was lucky enough to have his own mother, who teaches piano at university, as his first teacher. Sicong has accompanied many other instruments before, such as violin, viola, cello, clarinet. and more, but this is his first experience playing piano in a trio. “It is exciting and also challenging for me, since piano trio is an art for three musicians. That means, only by knowing each other well, can we be a real team” explained Zhou.

Being raised in Fort Collins, Julius Hochmuth, the cellist, brings a touch of local roots to the group. He has played cello for eleven years, initially starting with piano. The local school district provided the option for all students to learn an instrument, which is how he began his music career in sixth grade. What was once a simple academic opportunity now fills Julius’s days. “Classical music is a form of expression that involves equal amounts of logic and feeling; the highly logical construction of the musical form allows for the elevation of emotion,” states Julius. “The most important aspect of a performance is the composer, and as performers, we must strive to make our performance align with the composer’s wishes. Even though these composers have been dead for extended periods of time, their music can allow us to feel their passions.” The three performers will surely combine passion, diversity, and expertise into one, so don’t miss out on seeing this unique trio come together for a great recital on April 19 at the University Center for the Arts. Tickets: csuartstickets.com

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Frangel Lopez Cesena brings his musical talent to Fort Collins from La Paz, Mexico. He began his musical journey at the age of nine years old, which was not his own choice. “I didn’t want to play, it just happened.” Cesena shared when asked how he started playing the violin. After 15 years of playing, it seems to have worked out for the best! Admittedly, as a child, Frangel had a record of bad behavior, and when his family did not know what else to do with him, they put a violin in his hands. His aunt started taking him to violin lessons where the instructor was concerned because Frangel is a rare left-handed player. Even after much speculation, it seems inevitable that Frangel was meant to play the violin.

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

AVENIR GALLERY

Avenir unveils bridal gown exhibition / By Jeff Dodge, CSU External Relations CSU’s Avenir Museum of Design and Merchandising has unveiled “Tying the Knot,” a new exhibition of bridal gowns, accompanied by photos and stories of many of the brides who wore them. The exhibit, which runs through Aug. 11, was the brainchild of Megan Osborne, the Avenir’s curator and collections manager, who has long wanted to display a sample of the museum’s large bridal collection. The new exhibition represents only about 15 percent of those holdings. “It came together exactly as I envisioned,” Osborne said. “I’m so pleased with it.” The show will be front-and-center at the museum’s Thursday Evening Lecture Series on March 30, when CSU alumna Lauren Lotspeich will speak about the modern bridal apparel industry. After graduating in 2016 with a degree in design and merchandising, Lotspeich worked in the wedding gown design and construction industry in the United Kingdom. Now she works for Brilliant Bridal; in Denver as an alterations and bridal gown reconstruction specialist. Her talk begins at 7 p.m. in the Avenir, at 216 E. Lake St. in Fort Collins.

BRIDAL STORIES The large-format historical photos of the brides help bring the gowns and their stories to life. One dress was made by CSU alumna Marka Weiss as her final college project, just before she graduated with a degree in home economics in 1965. She wore it the following August when she got married, then donated it to the Avenir on her 50th wedding anniversary.

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T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

“I tried to select a combination of traditional gowns and interesting or unique gowns,” Osborne said. “I also tried to pick dresses that have interesting stories.” One of the dresses has a hood and was worn at the 1972 Greek Orthodox wedding of Antigone Kotsiopulos, former head of CSU’s Department of Design and Merchandising. Another was made in 1842 by the bride’s brother, who was a tailor. A third was made in 1946 from the silk of a parachute that the groom sent to his fiancée while serving in World War II. “That is one of the star pieces in our entire collection,” Osborne explained. “And it’s getting pretty fragile, so this might be the last time it’s exhibited.”

GROUPINGS There is a set of three dresses worn by a bride, a bridesmaid and a flower girl. In addition, there is a duo — a bridal gown and the dress worn by the mother of the

bride, accompanied by a black-and-white photo of the two making final preparations before the 1957 wedding. Also on display is the simple dress worn by Virginia Loomis Cory, who had never left Iowa before her fiancé flew her to Santiago, Chile, where he was working at the time. They got married there in 1944. “She didn’t understand what was said at her own wedding, because it was performed in Spanish,” Osborne said with a smile. In addition to the gowns, the exhibition features samples of lace that have historically been used for bridal attire, from the Avenir’s Ruth Payne Hellmann Lace Collection. “We hope people will come by and see it all for themselves,” Osborne said. The Department of Design and Merchandising is part of CSU’s College of Health and Human Sciences.

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The Jazz Ensembles welcomes a Grammy nominee BY BROOKE POULSON, UCA PUBLICITY INTERN

New Orleans is said to be the birthplace of Jazz nearly 100 years ago, and if you have never had the chance to make it to New Orleans and experience its origins, I highly suggest you attend the Jazz Ensembles Concert on April 13 at the University Center for the Arts. You will not only experience the rich musical art of Jazz, but you’ll hear the one and only Matt Wilson who is a first time guest performer for the School of Music, Theatre, and Dance.

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

Wilson, who will perform alongside Jazz Ensembles I and II, has performed with an all-star jazz group at a White House State Dinner when former President Obama was in office, as well as with performers such as Herbie Hancock, Dewey Redman, Andrew Hill, Bobby Hutcherson, Elvis Costello, Cedar Walton, and many more! Wilson is said to have a strong presence on stage, so much so that the audience and performers all thrive on his humor and positive vibes.

Jazz Ensemble I is directed by Peter Sommer, coordinator of Jazz Studies and associate professor of saxophone, who has been at CSU since 2003. With a long history of performances at CSU, the ensembles typically take 4-5 weeks to prepare for a concert, rehearsing about three hours each week. Having hosted many notable musicians, the group is especially excited to have this extraordinary guest. The Grammy nominated Wilson was voted #1 Rising Star Drummer in the Downbeat Critic’s Poll for five consecutive years, was named a top four drummer in a 2010 readers’ poll by JazzTimes, and was the Jazz Journalists Association Drummer of the Year in 2003. Wilson has an immense passion for sharing his love of jazz, and enjoys teaching people from all walks of life. His dedication to jazz will certainly radiate as he takes the stage alongside Jazz Ensembles I and II. Matt Brown, Jazz Ensembles I percussionist, shares what he is looking forward to about the upcoming performance. "As I think about the last four years as a music performance major, I am in awe at all the phenomenal musicians that I have been able to meet, play with, and study under,” he recollected. “Music is all about opportunities and once again, I am so thankful for an opportunity that the [School of Music, Theatre, and Dance] has given me.” Since Brown found out that Wilson was joining his group he has been anticipating an exceptional experience. “His playing and approach to jazz drumming is very inspirational to me,” Brown explained. “From his compositions with the Matt Wilson Quartet to his works with musicians like Ron Carter, Bob Stewart, and John Scofield, there's no denying that Matt Wilson is the man!” If Matt Brown feels so lucky to have this opportunity, so should you! Get your ticket for the Jazz Ensembles Concert on April 13 at 7:30, in Griffin Concert Hall, at csuartstickets.com.

C S U

J A Z Z

E N S E M B L E S

P R E S E N T

Peter Sommer Wil Swindler AND

APRIL 13, 7:30 P.M. | GRIFFIN CONCERT HALL

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PE RF OR M I N G W I T H JAZ Z E N S E MBL E S I AND II

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

By Mishelle Baun, Media Specialist at Bas Bleu Theatre Company and Jennifer Clary Jacobs, Director of Marketing for the School of Music, Theatre and Dance at Colorado State University.

Bas Bleu Theatre cooks up delicious world premiere by CSU Professor Eric Prince With the foundation of a 20-year artistic collaboration to build on, playwright and director Eric Prince and Wendy Ishii – founder and artistic director of Bas Bleu Theatre – have constructed a world premiere production for the Fort Collins theater community. “Bas Bleu is promoting new and original writing that is not available elsewhere,” said Prince, “Helping playwrights develop and refine their works has always been part of Bas Bleu’s mission,” explains Ishii.

The Irish flavor of Blue Kitchen also echoes how the creative relationship between Prince and Ishii got started, meeting in 1996 at an international theater festival honoring legendary Irish playwright Samuel Beckett. A year later, Ishii and Bas Bleu performed the American premiere for Prince’s play Seance. And in 1999 Prince become a CSU professor of theatre, and established its Center for Studies in Beckett and Performance, of which he is also director. Because of the use of poetry throughout the production, it was natural to incorporate and celebrate music and poetry with an Irish craic (crack) as a prelude or opening act to Blue Kitchen. The point of craic is to “get you thinking, talking, and enjoying life,” Prince explains. Included on the rotation for the Irish Blue Craic – a nightly showcase of different musicians and poets with the liveliness of an Irish pub — is CSU’s own Rick Miranda, who will read on April 7.

Wendy Ishii, as Ava in “Blue Kitchen.”

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Blue Kitchen, which the Liverpool-born Prince wrote to both feature Ishii on stage and to help celebrate Bas Bleu’s 25th anniversary season, tells the story of an Irish-American woman as she wrestles with the meaning of her cultural identity. As Ava, the protagonist, Ishii also explores “a woman’s abiding need to not only give love, but receive love,” Prince said.

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Wendy Ishii on the set of “Blue Kitchen,” with lighting design by CSU Theatre Major David Van Name.

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CSU Alum Robyn (Duyle) Cultbertson in the CSU Theatre production of Caucasion Chalk Circle Fall 2008

Eric Prince and Wendy Ishii rehearsing

Reflecting on what he hopes theatergoers take away from Blue Kitchen, Prince shared, “Thoughts about the nature of how we live and how we relate to one another – and our human identities.”

demonstrating they are ready and prepared for work in the industry itself, as well as contributing right now, artistically and creatively, to a significant local community enterprise."

CSU Student and Alumni Involvement

Since graduating in 2012, CSU Alum Robyn Cuthbertson has taught at Debut Theatre Company in Fort Collins, directing a full load of four classes; Cuthbertson teaches kids all elements of theatre – costumes, sound, set, lights, makeup, hair – concluding each semester with a play.

Current CSU students and alumni are integrally involved in the production of Blue Kitchen, including theatre majors David Van Name as lighting designer and Cooper Adams as sound designer. Alum Robyn Cuthbertson (Dulye) is stage manager, and John Burns, who graduated last year, is now employed at Bas Bleu as production assistant. Prince finds it very fulfilling to work alongside former and current students on projects such as Blue Kitchen. "Our relationship is so much easier and closer to that of equals, being involved and committed from a belief and enthusiasm in theatre itself, as opposed to it being a required class or required practicum for a grade," he explained. "Plus, I get to admire and respect the incredible skills our young people possess, clearly

As a CSU student, Cuthbertson stage managed a show at Bas Bleu, and has been asked back several times. "When [Tricia Navarre] approached me to assistant direct/stage manage Blue Kitchen, I jumped at the chance," enthused Cuthbertson. While at CSU, Cuthbertson worked with Prince in many different situations: as a cast member on Caucasian Chalk Circle by Bertolt Brecht and Much Ado About Nothing by William Shakespeare; she wrote her thesis on The Importance of Being Earnest by Oscar Wilde as Prince's dramaturg for the production; and, in 2011, she participated in CSU Theatre's

Study Abroad trip to London, led by Prince, which she remembers as a magnificent experience. "I feel like I have a true understanding of the way Eric thinks from working with him so closely at CSU and also from the London trip in particular," she explained. "It has been a wonderful few weeks with Eric and Wendy, and I am absolutely thrilled to be a part of this show!" For CSU theatre major Cooper Adams, this has been a rewarding senior year. Adams seeks outside work experiences and was also excited about the opportunity to work with Prince at Bas Bleu. "I like to work with a variety of directors so I know how to design for many different types of personalities and tastes," he said. "Working outside of CSU is very interesting because I don’t have as many of the same resources as I do on campus and I have to be more independent with my design."

As the collaborative bond between Bas Bleu and CSU continues, students and alumni alike, including Adams, look forward to returning. "I would definitely work on a show with Eric again, and I look forward to seeing how audiences react to it!"

The Irish Blue Craic/Blue Kitchen is on the Tom Sutherland Stage from April 1 to April 30. March 30 is a free community preview (formerly student/educator night) and March 31 is pay-what-you-will night. Tickets are available from basbleu.org or (970) 498.8949 and cost $26 for adults, $20 for seniors, $13 for students and $10 for children under 13.

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Since Blue Kitchen is a premier work, the need for autonomy was heightened for Adams. "It has never been produced before, meaning there is nothing to reference and there is no ‘right’ way to do things." And while this could be overwhelming for some students, Adams is embracing the pressure, realizing the impact his sound design could have on future productions of the show. "I can really have an effect on how the show may be produced in the future. I really enjoyed the process and the production."

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

“I love

this

instrument,

and I

realize

how

fortunate

I am

to work

with it.”

— JOEL BACON

Bacon literally pulls out all of the stops during lecture By Tony Phifer, CSU External Relations

Joel Bacon is not ashamed to admit he’s in love with CSU’s Casavant pipe organ.

Bacon was proud to profess his affection for CSU’s remarkable pipe organ. “I love this instrument,” he said. “And I realize how fortunate I am to work with it.”

LARGE, APPRECIATIVE CROWD Bacon spoke to a near-capacity crowd at the Organ Recital Hall in the University Center for the Arts. His talk, titled “Listening to the Past: Colorado State University’s Casavant Organ” was focused on CSU’s unique instrument, its history and its wondrous capabilities. Bacon, who holds the Stewart and Sheron Golden Chair in Organ and Liturgical Studies in the College of Liberal Arts, shared the story of how former CSU organ professor Robert Cavarra turned his dream of building a world-class organ on campus into reality. The organ, built by Canada-based Casavant, was installed in 1968 in the old CSU music building – currently The Institute for Learning and Teaching (TILT) – on the Oval, and how it caused such a buzz in the music world.

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Bacon, associate professor of organ in CSU’s School of Music, Theatre and Dance, was featured Tuesday night in the first President’s Community Lecture of 2017. He shared the stage with CSU President Tony Frank, who served as emcee and discussion leader when it came time for audience questions.

“Dr. Cavarra somehow managed to raise $80,000 – a lot of money back then – to build the organ,” he said, adding that the organ would cost more than $1 million to build today. “At the time there was only one other mechanical-action pipe organ at an American university – at Harvard – and people literally thought he was crazy for building something like this at an agricultural school. But when they heard the organ they became believers.”

ORGAN HAS COLORFUL HISTORY

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

CSU’s instrument almost immediately became the talk of the pipe organ world.

“Clearly, this is a work of art,” he said, his hand pointing at the polished tin/lead pipes and wooden keyboards and bench. “It attracted the best of the best organists from around the world.” Bacon delighted the crowd by playing three pieces – one each by German Baroque organ legends Dietrich Buxtehude and J.S. Bach, and one by 20th century French composer Gaston Litaize. The pieces were chosen to illustrate various styles of organ music but also to display the Casavant organ’s versatility. Bacon even inspired smiles and laughter when he played CSU’s “Alma Mater” and remarking “that’s pulling out all of the stops!”

MASSIVE PROJECT The organ features 2,096 pipes, a 56-note keyboard, a 32-note pedal board and 34 stops. You can imagine the angst that ensued when it was decided in 2009 to move the instrument, piece by

piece, from the TILT building to its current home. Overseeing that project was one of Bacon’s biggest challenges. “I lost a large amount of sleep during that move,” he said of the project, which took 3,000 manhours to complete. “There are more than 2,000 pipes – and at least that many things that could have gone wrong.” In the end, the organ’s spectacular new home was a fitting place to display Cavarra’s dream project. The Organ Recital Hall has marvelous acoustics and can but utilized for choral and orchestral concerts that include organ. It is also home to the annual Organ Week in June, which attracts top organists from around the world, and one of Bacon’s favorite events: the annual Halloween Organ Extravaganza, which sells out three spooky performances in one night. “Dr. Cavarra always believed that this organ needed to remain at the center of musical life at CSU,” Bacon said. “I understand his words now more than ever.”

UPCOMING JOEL BACON PERFORMANCES VIRTUOSO SERIES CONCERT: CALEB HUDSON, TRUMPET, AND JOEL BACON, ORGAN MAY 9 / 7:30 ORGAN RECITAL HALL MUSIC IN THE MUSEUM SPRING 2017 CONCERT #3 TUESDAY, APRIL 18, NOON AND 6 P.M. HARTFORD-STANDSTAD: DIALOGUES WITH POWER GALLERY

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(TOP) Joel Bacon and Tony Frank (BOTTOM) Rick Miranda addresses the audience

C S U â&#x20AC;&#x2122; S

N E W

M U S I C

E N S E M B L E

P R E S E N T S

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

IT COULD BE ANYTHING

DIRECTED BY ANDREW JACOBSON

APRIL 30, 7:30 P.M. O R G A N

R E C I TA L

FREE AND OPEN TO THE PUBLIC

H A L L

Annessa Kohlhardt, 2012, B.A. Performing Arts, B.A. Health and Exercise Science After graduating, Annessa moved to Chicago where she performed in a wide variety of settings including concert dance, corporate events, and featured entertainment events. In addition to dancing, Annessa worked in a major hospital as a rehabilitation technician in an outpatient physical therapy clinic. It was here she found a passion for physical therapy and healing people through movement. Due to this passion, she applied to physical therapy school and currently attends Colorado University at Anschutz Medical Campus, working on obtaining a doctorate in physical therapy. She continues to dance in the Denver area, recently joining a local entertainment company where she looks forward to performing once again.

Derek Smith, 1999 B.M. Music, 2013 M.M. Music Derek Smith has served as director of Performing Arts at Bayfield High School in Bayfield, Colo. since 2005. Previously, he spent six years as the band director at Hayes Middle School in Albuquerque N.M. At Bayfield, he teaches Concert Band, Jazz Band, Concert and Show Choirs, Music Theory, Music Appreciation, Orchestra, as well as Theatre Arts. During his tenure, he has established a solid small school music program that has been a model for other rural districts. He returned to CSU to participate in the conducting program, earning a Master’s Degree (2013) studying under Wes Kenney and Leslie Stewart. In his free time, Derek enjoys astronomy, science fiction, and Boy Scout activities with his son, Liam (13), and playing video games with his daughter Kamala (9). He has been married to CSU graduate Kristi Palesch (Civil Engineering, B.E. ‘98 and M.E. ‘00) for seventeen years.

To submit your Class Note: Email Brandon Adams at brandon.adams@colostate.edu

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Amy Barkley (Mills), 2012, B.A. Performing Arts After completing my degree, I spent time stage managing and designing at Bas Bleu Theatre Company in Fort Collins. I moved to Seattle in Sept. of 2014, and have since completed a stage management internship with the Seattle Repertory Theatre. During my time there, I was involved in the backstage work for seven different shows, including the world premiere of The Great Society by Robert Schenkkan (the second half of All the Way), a set of plays about LBJ. It gave me a chance to improve my craft and get to know the arts scene in Seattle. I recently began my position with the Pacific Northwest Ballet School, and spend my days surrounded by dancers and fostering a love of the arts.

Jenni Sorkin visits CSU for Critic and Artist Residency Series

By Ashley Potts, Collegian Reporter, Reprinted with Permission from the Rocky Mountain Collegian, March 26, 2017

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

enni Sorkin, an art historian, writer and professor at UC Santa Barbara, is this year’s visitor for the Critic and Artist Residency Series at Colorado State University.

Sorkin has an impressive background. She received her B.F.A. from The School of the Art Institute of Chicago, her M.A. from The Center for Curatorial Studies at Bard College, and her Ph.D from Yale University. Her current career is just as impressive. On top of teaching, she recently published a book, called “Live Form,” and co-curated an impressive exhibit at Hauser Wirth & Schimmel in Los Angeles, called “Revolution in the Making: Abstract Sculpture by Women 1947-2016.” Sorkin somehow also managed to find time for this weeklong, mini residency at CSU. “Jenni is here as part of the Critic and Artist Residency Series,” said Linny Frickman, director of the Gregory Allicar Museum of Art and coordinator of the CARS Program. “It’s been ongoing since 1997. It’s supported by something called the FUND Endowment at CSU. Its purpose is to bring artists, critics and curators all of whom have a kind of national or international prominence to campus. We’re basically bringing someone of national prominence to campus so that they can interact with art students, with the public, with art classes.”

While the artists are here they share ideas and experience about art. “They talk with us about their ideas, whether it’s in their art if they’re a practicing artist, or their approach to the history of art and art criticism if they’re an art historian,” said Eleanor Moseman, associate professor of Art History at CSU. “In the case of Jenni Sorkin, she is an art historian who is also active in shaping the discourse in the field of feminist art history and she’s recently curated an exhibition

“One of the primary reasons we decided to re-look at post-war art through the lens of sculpture was to try to rethink a history of making. The dominant narrative is still of abstract expressionist painting, and it’s dominated by male artists like Jackson Pollock and Willem DeKooning, and there are few women and people of color who have been added to the narrative.” that staged contemporary women artists. She’s theorizing how it is that performance art, installation art and contemporary forms of art speak to these kinds of gendered and social discourses.” Sorkin’s talk focused on the feminist theories present in both her book and her curatorial work. She spoke about not only the legacy of oppression

against women artists, but also other minority groups. “Post war it took nearly half a century for the art of difference and identity to achieve true recognition and a place at the table,” Sorkin said. Her recent work focuses on this time period in art and reframing the way it’s commonly looked at. “One of the primary reasons we decided to re-look at post-war art through the lens of sculpture was to try to rethink a history of making,” Sorkin said. “The dominant narrative is still of abstract expressionist painting, and it’s dominated by male artists like Jackson Pollock and Willem DeKooning, and there are few women and people of color who have been added to the narrative. But primarily it’s a male dominated narrative that covers the first decade after WWII. What we thought about doing instead was thinking about sculpture as driving a wedge into this history, and if we examined the work of early women pioneers making sculpture that we could try to make headway in reversing, or at least, occupying this narrative and trying to reframe it and move it so that there were artists that would be reconsidered.” Sorkin discussed the many women artists in the exhibition and the different struggles they went through

“She’s really on the cutting edge of thinking about the display of works of art in the context of museum gallery settings,” Moseman said of her curatorial work. Sorkin also talked about her book “Live Form: Women, Ceramics and Community.” Her book focuses on the connection between performance art of the

1960s and `70s and pottery of the time, specifically in seeing pottery making as performance art. “That’s really what I try to do in my book is retrain our thinking away from the finished object and toward a process based understanding of ceramics,” Sorkin said.

“In particular, she is interested in women artists who are engaged in ceramic pedagogy in rural America, and trying to find ways to place a different set of values on the practice and the process pottery,” Moseman said. “She connects these ideas of the craft of pottery to the high art form of performance art in the contemporary world. I’ve begun reading the book and it’s really quite insightful.”

Collegian reporter Ashley Potts can be reached online at entertainment@collegian.com or on Twitter @11smashley.

I S S UE 1 8, A PR I L 2 0 1 7 / T H E GRE E N ROO M T HE UN IVERS ITY C ENT ER F OR T HE ARTS

in making their way into the art world. Many women at the time had no proper studio spaces. They made work in their kitchens and bedrooms, while simultaneously raising children and performing the many gendered duties the times expected of them. She also discussed the sexism that was present in shop classes and home economics programs in school during this time, and the effect that had on women who wanted to work in wood or metal sculpture. She explained the ways many of the artists in the exhibition came to sculpture through alternative methods and self-teaching.

GREGORY ALLICAR

MUSIC IN THE MUSEUM CONCERT SERIES The Gregory Allicar Museum of Art presents this new series exploring the cross-fertilization between music and the visual arts, with performances by CSU Music faculty and brief historic background given by faculty from the Department of Art and Art History and the School of Music, Theatre and Dance. We invite you to holistically absorb the power of music and the visual arts and the relationships between them through these unique presentations. Concerts are FREE, but registration is required due to limited seating. artmuseum.colostate.edu/music

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Spring 2017 Concert #3 Tuesday, April 18, noon and 6 p.m. Hartford-Standstad: Dialogues with Power Gallery

Dr. Joel Bacon, Stewart and Sheron Golden Chair of Organ and Liturgical Studies, offers an all-Bach harpsichord recital with background on the works of art given by art historian Dr. Eleanor Moseman and music historian Dr. Angela Christian.

SPRING 2017 EXHIBITIONS NOW ON DISPLAY • Survivance: Native North American Arts from the Past and Present, curated by students from ART 317. • Drawing on Tradition: European Works On Paper From the 17th and 18th Centuries • Identity/Perspectives: Contemporary Art from the Addison Collection

UPCOMING EXHIBITIONS M.F.A. Thesis Exhibition April 28 – May 20 Opening Reception on April 28, 5-7 p.m. The annual Master of Fine Arts Exhibition makrs the culmination of a three-year degree program in the visual arts that fosters individual research and creative studio practice. Students in the program focus on a particular area of study and complete

a mature body of work in their chosen field – art work that is situated within the discourse of contemporary art practice. This year’s exhibition features work of Katie Gabriel and Tim Schwartz. Crossing Communities: Beer Culture Across Africa May 16 – Sept. 23 Griffin Foundation Gallery Cultures across the African continent have incorporated beer into their respective rituals, ceremonies, and social gatherings for centuries. Much like our local cultures in Fort Collins, the production and consumption of beer is an established facet of building community and often becomes a focal point for engagement in interpersonal exchange. Crossing Communities: Beer Culture Across Africa features a variety of ceramic pots from 27 cultures and 17 countries to showcase their beautifully distinct styles, while highlighting the visceral experience of brewing, storing, and serving beer across the African continent and its parallels with our own beer culture in northern Colorado. This exhibition is organized in collaboration with MAXLINE Brewing. Exhibition Reception on June 29, 5-7 p.m. UCA Sculpture Garden A celebration of brewing in Africa and Fort Collins with Maxline Brewing MUSEUM HOURS AND INFORMATION 10 a.m. - 6 p.m., Tuesday-Saturday University Center for the Arts, 1400 Remington St., Fort Collins, CO 80523 Phone (970) 491-1989 | Fax (970) 492-4027 Closed all University holidays and fall, winter, and spring breaks.

MFA THESIS EXHIBITION 2017 OPENING RECEPTION Friday APR. 28, 2017

5 P.M. FREE AND OPEN TO THE PUBLIC

GREGORY ALLICAR MUSEUM OF ART’s annual Master of Fine Arts Exhibition marks the culmination of a three year degree program in the visual arts that fosters individual research and creative studio practice. Students in the program focus on a particular area of study and complete a mature body of work in their chosen field – art work that is situated within the discourse of contemporary art practice. This year’s exhibition features work of Katie Gabriel and Tim Schwartz.

WORKS ON PAPER GALLERY GREGORY ALLICAR MUSEUM OF ART University Center for the Arts 1400 Remington Street, Fort Collins, CO (970) 491-1989 | artmuseum.colostate.edu

I S S UE 1 8, A PR I L 2 0 1 7 / T H E GRE E N ROO M T HE UN IVERS ITY C ENT ER F OR T HE ARTS

APR. 28 - MAY 20, 2017

T HE U NIVE RSI TY C ENT E R F OR T HE ARTS THE GR E E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

Sir James Galway Master Class

A once-in-a-lifetime opportunity to learn from â&#x20AC;&#x153;The Master of the Flute.â&#x20AC;? Students of all ages and levels benefited from listening to Sir James Galway and Lady Jeanne Galway as they guided CSU flute students through complex passages and shared years of experience and wisdom. The class was a component of the Classical Convergence Series co-presented by CSU and the Fort Collins Lincoln Center

I S S UE 1 8, A PR I L 2 0 1 7 / T H E GRE E N ROO M T HE UN IVERS ITY C ENT ER F OR T HE ARTS

Michelle Stanley and James Galway with CSU flute students

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

(TOP)Junior Music Performance Major Theresa Bunger performs Cécile Chaminade’s Flute Concertino Op. 107 at the James Galway Master Class (BOTTOM) James Galway leads flute players of all ages through a warm-up session during his master class in the Organ Recital Hall.

SUMMER WORKSHOPS AND CAMPS FOR ALL AGES CSU offers a wide range of summer experiences! Fees are associated with each program and registration is required. Details, registration, and schedules can be found online or by emailing the contacts listed. Many programs have concerts or presentations that are free and open to the public. YOUTH THEATRE: theatre.colostate.edu

Kids Do It All in Todos Santos, Mexico: July 24-29 The popular summer music-theatre camp camp to the to the CSU Todos Santos Center in Baja California Sur, Mexico, hosting dozens of children (ages 7-13) from Mexico and the U.S. Contact: Gaby Ocádiz at g.ocadiz.v@ gmail.com K-12 MUSIC: music.colostate.edu/workshops-camps Organ Week: June 4-9 The camp features prominent organists instructing high school students interested in beginning or expanding their organ study. Festival concerts are free and open to the public. Contact: Joel.Bacon@colostate.edu

Colorado Kodály Institute: July 15-29 Designed for elementary, secondary, and independent music educators, the unique program combines online curriculum with hands-on experience and features the annual Institute residency. Contact: Bonnie.Jacobi@colostate.edu

Drum Major & Leadership Academy: June 18-21 Emphasizing conducting, peer teaching, and team building skills, the Academy prepares high school drum majors and section leaders for enhanced roles in their school band program. Contact: Richard.Frey@colostate.edu

ADULT DANCE: theatre.colostate.edu/teachers-seminar

LIFT Jr. Clarinet Academy: June 19-23 Action-packed five-day journey designed for students ages 12-17 who are seeking to expand their clarinet study within a supportive and engaging musical environment. Contact: Wesley.Ferreira@colostate.edu Children’s Singing Camp: July 24-26 A fun day-camp of singing games, choir, folk dancing, keyboard improvisation, and movement with sessions for 1st – 6th graders. Contact: Bonnie. Jacobi@colostate.edu ADULT MUSIC: music.colostate.edu/workshops-camps LIFT Clarinet Academy: June 12-16 Unique focus on the musical, technical, and artistic goals of each adult participant. Through planning prior to the academy, individualized programs ensure a musical boost for each student. Contact: Wesley.Ferreira@ colostate.edu

Professional Development Seminar for K-12 Teachers: June 19-23 Colorado K-12 teachers and administrators are invited for five exciting days of presentations, exploration, sharing resources, and expanding awareness and knowledge about the benefits of movement in the classroom. Guest speakers, university faculty, and education specialists present the latest research and tools, helping you create innovative ways to teach the core curriculum, while learning how our state is supporting these efforts. Contact: Lisa. Morgan@colostate.edu

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Kids Do It All: Summer Music-Theatre Camp at Colorado State University 6 one-week sessions for 2017: June 12-17, June 19-24, June 26 – July 1, July 10-15, July 17-22, July 24-29 Day camp leads youth (ages 7 – 12) through the entire theatre process resulting in original plays created and performed by the students. Contact: Maile.speetjens@colostate.edu

Pre-College Percussion Camp: June 8-9 Instruction for high school students on mallets, timpani, snare drum, and drum set, and preparing/auditioning for acceptance as a collegiate music major. Contact: Eric.Hollenbeck@ colostate.edu

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE 1 8, A PR I L 2 0 1 7

(FROM LEFT TO RIGHT) David VanName, Price Johnston, Alex Zenk, Roger Hanna, Cooper Adams, Tristan LeMaster, Emily Mondaldi, Shay Dite, and Lua Frontczak

CSU Theatre Majors Win Awards at Regional KCACTF 2017 By Jennifer Clary Jacobs

nce again, CSU students competed at the annual Region 7 Kennedy Center American College Theatre Festival (KCACTF), which brings together exceptional student actors and technicians from across the western states. The Kennedy Center American College Theatre Festival is a national theatre program, with over 20,000 participants annually, and, according to the organization’s website, “For 46 years, the organization has served as a catalyst in improving the quality of college theater in the United States.”

Professor Hanna couldn’t hide his excitement over the achievement. “This is a ridiculous percentage given that there were close to 100 students competing [for scholarships], and we took nine students.” Cooper Adams, who received a national award for sound design, is now eligible for the KCACTF national competition finals held in April in Washington, D.C. While CSU students have placed at regionals for at least the last ten years, this is the third year in a row that a CSU student has won a Region 7 national slot. “I am remarkably proud that our students won these major awards in every design and management category that we entered: set design, costume design, lighting design, sound design, and stage management,” exclaimed Hanna.

Accompanied by Professor of Set Design Roger Hanna, this year, CSU students collected awards in design. “We won seven categories, despite what I thought was considerably better competition than last year, specifically in the areas of scenery and costumes,” said Hanna.

AWARDS: National Winner: Cooper Adams, sound design for Boy Regional Winner: David Van Name, lighting design for Ubu Roi Regional Winner: Emily Mondaldi, stage management for Die Fledermaus Meritorious Achievement: Abby Jordan, costume design for Ubu Roi

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The KCACTF network of 700 academic institutions throughout the country includes Region 7, comprised of nine western states: Alaska, northern Calif., Colo., Idaho, Mont., northern Nev., Ore., Wash., and Wyo. Over 1,000 theatre students from Region 7 convened in Denver from Feb. 20-24, 2017 to participate in workshops; attend symposia, colloquies, and professional presentations; work with resident artists; and compete for honors, awards, and scholarships for their creative accomplishments in theatre productions at staged at their schools.

Additionally, three out of five available scholarships to the Stagecraft Institute of Las Vegas – each a one-week, all-expenses paid trip to study the subject of their choice such as pyrotechnics, board programming, etc. – were awarded to CSU theatre majors: Cooper Adams, Lua Frontczak, and Tristan LeMaster.

Apr.28