CU Presents Magazine Artist Series Winter 2014, Feb. 6, 2015

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2014–2015 Season

Be engaged. Be inspired. Be here. Global performance. World-class entertainment. You have to be here.


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Contents

wishes you a wonderful

Artist Series pros calling CU musicians to the stage............ 6 Calendar........................................ 8 CU guitar festival strikes a global chord.............................. 12

2015!

Faculty Tuesdays......................... 24 Artist Series donors..................... 26 Takács donors............................. 30 Eklund Opera Program donors.... 32 Personnel.................................... 34

Advertising Information

This program is produced for CU Presents by The Publishing House, Westminster, CO.

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Angie Flachman Johnson, Publisher Annette Allen, Art Director & View, the magazine of the Lone Tree Arts Center, Production Coordinator features performing arts highlights and information about the state-of-the-art facility that serves the south metro community. Stacey Krull, Graphic Design & Layout Wilbur E. Flachman, President 2013/2014 highlights

Clay Evans, CU Presents Editor South Pacific in Concert • Big River Yesterday & Today, the All-Request Beatles Tribute Target your marketing with advertising in View Magazine.

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SPOTLIGHT

Artist Series pros calling CU musicians to the stage For nearly eight decades, the Artist Series has brought some of the world’s top musicians, dancers, theater troupes and personalities to Boulder’s doorstep.

Playing with top-notch acts before a large audience can also be a valuable experience for students who hope to perform professionally after graduation.

Hundreds of artists, from poet Carl Sandburg in 1939, to Paul Robeson as Othello and the Trapp Family Singers of “Sound of Music” fame in the 1940s, conductor and violinist Isaac Stern in 1970 and Ladysmith Black Mambazo and MOMIX in the 21st century have graced the stage at Macky Auditorium.

“Much of the work our students will do as professional musicians will be in the popular-commercial genre. It is increasingly important for our students to be comfortable and conversant with various styles, beyond traditional classical music,” says Gary Lewis, director of orchestral studies. “This opportunity will be invaluable to them and it will be great fun to collaborate with such a wonderful artist as Natalie Merchant.”

And in recent years, some have specifically requested that CU-Boulder College of Music students join them in creating an evening of scintillating entertainment. This year, eight musicians will play Mozart, Beethoven and Mendelssohn for the Bill T. Jones/Arnie Zane Dance Company’s Play and Play on Jan. 22. And on April 2, the CU Symphony Orchestra will accompany platinum-selling alt-rock sensation Natalie Merchant in a performance of her songs.

SPONSOR

“Any time you get to collaborate across the arts it’s a worthwhile and exciting opportunity,” says Zachary Reaves, cellist for the graduate-student ensemble Altius Quartet, which will play Jan. 22. “And it’s really great to see a dance company using live music; a lot of them don’t these days.”

To buy tickets for Natalie Merchant with the CU Symphony Orchestra on April 2 go to cupresents.org or call 303492-8008. ALTIUS QUARTET

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2014-15 Calendar

The Artist Series presents the world’s finest performers in classical music, jazz, theater, dance and world music in majestic Macky Auditorium. For detailed information and tickets, go to cupresents.org.

BILL T. JONES/ ARNIE ZANE DANCE COMPANY

Play and Play Thursday, Jan. 22, 2015, 7:30 p.m. Choreographed to some of the world’s best-loved and most seminal works of classical music— Mozart, Ravel, Schubert—and performed with live musicians, Bill T. Jones’ astonishingly original, muscular work, Play and Play, is dance like you’ve never seen it before. Winner of two Tony Awards and recipient of a MacArthur “genius” grant, Jones has continually expanded the possibilities of dance. Sponsored by James & Associates.

MEDESKI, MARTIN AND WOOD with ALARM WILL SOUND

Friday, Feb. 6, 2015, 7:30 p.m. Get ready for incomparable originality, a little jamming and a lot of fun when the hip, cutting-edge chamber music of Alarm Will

Sound melds with the eclectic avant-jazz-funk sound of Medeski, Martin and Wood. The groove-oriented trio, a hit on the jam-band circuit pioneered by the Grateful Dead, and the versatile new-music ensemble will take you on an evening of daring collaboration and thrilling improvisation.

THE ASSAD BROTHERS with ROMERO LUBAMBO

Thursday, Feb. 19, 2015, 7:30 p.m. Exotic Latin flair takes the stage when the Assad Brothers, Brazil’s most celebrated classical guitarists, join with jazz guitar virtuoso Romero Lubambo for Samba Exótico, an exploration of Samba and Choros, a popular 19th-century genre that blossomed in Rio de Janeiro. With its roots in Africa and unique fermentation in the coastal city of Bahia, Samba vibrates with the essence of Brazil. Sponsored by Shaw Construction and partnered by HB Woodsongs.

NATALIE MERCHANT with THE CU SYMPHONY ORCHESTRA

Thursday, April 2, 2015, 7:30 p.m. Over her stellar 30year career, Natalie Merchant has been the driving force behind alt-pop sensation 10,000 Maniacs and embarked on a multi-platinum solo career, always delving deep into the human condition with her lyrical storytelling. Now she brings that same searching literary sensibility and her distinctive vocal style to new heights in a performance of her music, old and new, arranged for orchestra. Sponsored by Hurdle’s Jewelry.

E K L U N D

Wide-ranging repertoire, lavish scenery, drama and amazing voices—CU Opera has it all. Director Leigh Holman and Music Director Nicholas Carthy showcase the talent of the future in three productions each season. Go to cupresents.org for detailed ticket information and times.

COSÌ FAN TUTTE

By Wolfgang Amadeus Mozart March 13-15, Macky Auditorium Mozart’s witty opera buffa follows 24 hours in the lives of two beautiful sisters whose scandalous infidelities make for a comic romp that was considered too hot for audiences even in the early 20th century. Featuring some of the composer’s most sumptuous arias, duets, this production will be set in the late 1950s with a nod to the famous film, Pillow Talk. Sung in Italian with English surtitles.

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L’INCORONAZIONE DI POPPEA (THE CORONATION OF POPPEA)

By Claudio Monteverdi April 23-26 Music Theatre, Imig Music Building Monteverdi’s drama about sex, crime and realpolitik during the debauched reign of the Roman Emperor Nero, turns conventional morality on its head—virtue is punished and greed rewarded. The score soars but the sensual duet between Nero and his lover—eventually wife—Poppea, Pur ti miro, pur ti godo—meaning, “I gaze at you, I possess you”—is the pièce de résistance. Sung in Italian with English surtitles. This production will be styled after the hit Netflix realpolitik series House of Cards, starring Kevin Spacey.

SPRING SWING

Sunday, April 12, 2 p.m., Macky Auditorium Join the CU Concert Jazz Ensemble and guest artists for a swinging return to the Big Band era. The program will feature music from the ensemble’s new recording, a tribute to the greatest bands and composers of the era, including Benny Goodman, Glenn Miller, Duke Ellington, Count Basie and more. A special guest will join the band as well! Brad Goode, director


Tomorrow’s talent is onstage today with a wide variety of performances from CU students and faculty. For detailed ticket and event information go to www.colorado.edu/theatredance.

TARTUFFE

By Molière Translated by Christopher Hampton Directed by Lynn Nichols Feb. 13-22, University Theatre French playwright Molière’s comic masterpiece skewers religious hypocrisy, mindless piety and sexual deceit. It was so daring at the time of its writing that audience members could be excommunicated for seeing it. Tartuffe tells how a “man of the cloth” worms his way into the gullible heart of Orgon, a rich family man, and tries to take him for all he has. It takes a desperate trap by Orgon’s wife Elmire to expose the imposter.

JESUS CHRIST SUPERSTAR

Lyrics by Tim Rice, music by Andrew Lloyd Webber, Directed by Cecilia Pang April 10-19, University Theatre Ever since the controversial rock opera by Andrew Lloyd Webber and Tim Rice was

released as a concept album in 1970, it has enflamed the passions of critics and fans alike. The story of Jesus of Nazareth during his final days, from the time of his arrival in Jerusalem to his crucifixion, this high-energy, immensely popular show plunges deep into the hearts of the men and women, from Judas Iscariot to Mary Magdalene to Pontius Pilate, who played a part in one of the most momentous stories ever told.

THE CURRENT

April 17-19 Charlotte York Irey Theatre A showcase of vital new works by CU dance faculty and Millicent Johnnie, the 2014-15 Roser Guest Artist in Dance. Johnnie has performed with Urban Bush Women, Cleo Parker Robinson Dance Ensemble, Hubbard Street Dance Chicago and choreographed for Grammy Award-winning artists Usher Raymond, Chrisette Michele and Los Hombres Calientes, and record labels Def Jam, Columbia, Interscope, Arista Records and others.

The Grammy Award-winning quartet— Edward Dusinberre, violin; Károly Schranz, violin; Geraldine Walther, viola; and András Fejer, cello—has been selling out concerts for three decades at CU-Boulder with an irresistible blend of viruosic technique and engaging personalities. All Takács performances take place in Grusin Music Hall. Takacsquartet.com

TAKÁCS QUARTET

Sunday, Jan. 25, 2015, 4 p.m. Monday, Jan. 26, 2015, 7:30 p.m. Beethoven

TAKÁCS QUARTET

Sunday, March 8, 2015, 4 p.m. Monday, March 9, 2015, 7:30 p.m. Haydn, Beethoven, Schubert

TAKÁCS QUARTET

Sunday, April 26, 2015, 4 p.m. Monday, April 27, 2015, 7:30 p.m. Haydn, Carter Pann, Cesar Franck

The nation’s second-oldest Shakespeare festival raises the curtain June 5 for its exciting 2015 season. CSF is a unique Boulder experience you won’t want to miss — magic, mirth, mayhem … and mountains. Go to coloradoshakes.org for more information and tickets.

MUCH ADO ABOUT NOTHING

Directed by Jim Helsinger, Orlando Shakespeare Theater June 5-Aug. 9 Mary Rippon Outdoor Theatre Romantic, raucous and razor-sharp, the Hamlet of Shakespeare comedies strikes hilarious chords even as it reveals timeless truths about love, change and acceptance. The men have returned victorious from war, but the merry sparring — and sparks — between Benedick the stubborn bachelor and witty, self-assured Beatrice have just begun.

WITTENBERG

Directed by CSF Producing Artistic Director Timothy Orr June 11-Aug. 8 (Colorado premier) University Theatre To believe or not to believe? That is the question when Prince Hamlet, a dazed-and-confused senior at Wittenberg University, circa 1517, is caught in the crossfire between two giants

of philosophy — and ego — the freethinking skeptic Dr. Faustus and stuffy, guilt-ridden Martin Luther. Punny, funny, brainy and zany, David Davalos’ ingenious mashup is equal parts Tom Stoppard, campus caper and metaphysical mind-trip.

OTHELLO

Directed by Lisa Wolpe, Los Angeles Women’s Shakespeare Co. June 26-Aug. 8 Mary Rippon Outdoor Theatre In a country at war, Othello the Moor commands with authority and nobility of spirit, drawing strength from his bold and beautiful wife, Desdemona. But he has placed his trust in one of Shakespeare’s most sinister villains, Iago, who would sow seeds of doubt and destruction in the garden of their love. Passion, jealousy and murder explode in a sexy theatrical thriller that tumbles toward a diabolical finale

HENRY V

Directed by Carolyn Howarth, director of CSF’s 2014 Henry IV, Part 1 July 16-Aug. 9, University Theatre England’s crown rests on the head of the once wild and undisciplined acolyte of Falstaff, Prince Hal, now a wise and noble monarch leading his country into war with France. Rousing and cinematic in scope, Henry V raises compelling questions about leadership in a troubled world that powerfully echoes our own. With this production, CSF completes the fourplay Henriad history cycle begun in 2013.

HENRY VI, PART 1

Aug. 2 and 5 , University Theatre Back by popular demand, CSF presents two exclusive, “original practices” performances of the rarely produced saga of Henry V’s son. Last seen onstage at CSF in 1967, the play features one of Shakespeare’s most intriguing females, Joan of Arc. Both 2014 “OP” shows sold out, so buy your tickets early! | 303.492.8008 | 9


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SPOTLIGHT

CU guitar festival strikes a global chord As it turns out, there was no need to fret. The CU International Guitar Festival debuted in February 2013, attracting 41 top performers from around the world, including China, Serbia and Latin America. The winners took home thousands of dollars in prizes and returned to Boulder in 2014 to teach and perform.

In just over three years, Nicolò Spera has put CU-Boulder on the map as a true global mecca for classical-guitar teaching, performance and competition. When he arrived in 2011 to launch the College of Music’s classical-guitar program, the renowned Italian performer defied conventional wisdom on easing into a new job and launched plans to host a guitar festival and competition on campus. “It was one of my biggest dreams,” says Spera, assistant professor in the Ritter Family Classical Guitar program, “but I knew it would take a long time. Often when you launch something new it doesn’t work. You hope it does more or less well and hope to have a second one.”

The second bi-annual festival will take place Feb. 19-21, featuring compeNICOLÓ SPERA. COURTESY PHOTO. tition among 40 to 50 of the world’s most talented guitarists, as well as master classes and performances by Brazil’s Assad Brothers — “(T)he best two-guitar team in existence, maybe even in history,” according to the Washington Post — the Italian SoloDuo and Nigel North, hailed as “the greatest lute player of all time” by England’s Birmingham Post. “Basically, we have the two greatest classical guitar duos in the world, the Assad Brothers, the greatest of the 20th century, and SoloDuo, representing the future,” Spera says. “I am so grateful and ecstatic for the fantastic collaboration with the Artist Series and Macky Auditorium, which bring to Colorado the greatest artists in the world.” All events are free except for the Artist Series performance by the Assad Brothers and Brazilian jazz virtuoso Romero Lubambo at 7:30 p.m. Feb. 19 in Macky Auditorium. For tickets, go to cupresents.org or call 303-492-8008.

Tartuffe

Jesus Christ Superstar

By Molière

Feb. 13-22

Tickets start at $17

By Tim Rice and Andrew Lloyd Webber

University Theatre

Tickets start at $19

April 10-19

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Theatre & Dance University of Colorado Boulder

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The guitar festival is supported by grants from the Roser Visiting Artist Program and the CU President’s Fund for the Humanities as well as private donations. Spera’s success recently inspired CU-Boulder alumni Michele “Mikhy” and Mike Ritter to endow the classical-guitar program. For a full schedule of festival events, go to cuguitarfestival.com.


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Beethoven’s “Emperor” Concerto

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Legends: The Spirit of Boulder 2014-2015 SEASON

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SAT., FEB. 14—7:30 PM PHILIPPE QUINT, VIOLIN CORIGLIANO The Red Violin WAGNER Prelude and Liebestod from Tristan und Isolde TCHAIKOVSKY Romeo and Juliet Fantasy-Overture

Season Finale: Dvořák’s Cello Concerto

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20142015SEASON

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John Medeski, keyboard Billy Martin, drums Chris Wood, bass With

Alarm Will Sound

Erin Lesser, flutes Christa Robinson, oboe Hideaki Aomori, clarinet Elisabeth Stimpert, bass clarinets Michael Harley, bassoon Matt Marks, horn Jason Price, trumpet Michael Clayville, trombone John Orfe, piano Chris Thompson, percussion Matt Smallcomb, percussion Courtney Orlando, violin Caleb Burhans, violin Isabel Hagen, viola Stefan Freund, cello Miles Brown, bass Alan Pierson, Artistic Director Gavin Chuck, Managing Director Jason Varvaro, Production Manager Tonight's program is part of Alarm System, a program that expands the circle of musical artists creating great music for Alarm Will Sound. Lead support for Alarm System is provided by The Andrew W. Mellon Foundation with additional support from The Paul R. Judy Center for Applied Research. Tonight’s performance will be approximately 100 minutes with a 20-minute intermission. Join us for Twittermission! Tag us in your post or selfie and you could win a $100 CU Presents gift certificate.

Medeski, Martin and Wood with Alarm Will Sound, Feb. 6, 2015

Medeski, Martin & Wood


Medeski, Martin and Wood with Alarm Will Sound, Feb. 6, 2015

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___________________ End of the World Party

Program Alarm Will Sound

Anonymous Skulls Intermission The Eye of Ra

___________________ Medeski, Martin & Wood Medeski, Martin & Wood arr. Courtney Orlando

Medeski, Martin & Wood with Alarm Will Sound

Northern Lights

Miles Brown

Coral Sea Kid Tau Mammal

Billy Martin arr. Jason Price Encore

End of the World Party

____________________

John Medeski

Payton MacDonald Medeski, Martin & Wood arr. Stefan Freund

Notes

Kid Tau Mammal – Payton McDonald I composed Kid Tao Mammal (unworldliness weirdo) for Alarm Will Sound and Medeski, Martin & Wood. Herman Melville conceived of the fictitious character Kid Tao, and fan writers of Philip K. Dick alternate universes subsequently adapted him for their own purposes. His exploits typically involve Dodge Challengers, hard-core acid use, bivy sacks and liberal shampoo applications with Alterna Ten, all of which he funds by selling shares of his Google stock. Kid Tao’s YouTube videos include music by Eminem, Jules Massenet, Earl Scruggs and Medeski, Martin & Wood, arranged by the talented members of Alarm Will Sound. —Payton MacDonald

Northern Lights – Miles Brown As this project was developing, I began writing for my own jazz quintet based in the Detroit area. During a period of inspiration two years ago, I composed a melody that turned into a really fun vehicle for improvisation for the band. It had a haunting quality, but was open enough to encourage experimentation

____________________

and energetic drive. I thought this would be the perfect tune to arrange for the two groups. Northern Lights has a cyclic form consisting of a series of dominant chords set under the winding melody. The name is inspired by the atmospheric effects created at the northern latitudes, but also draws inspiration from the Detroit bar where I played bass with a jazz trio every Wednesday for the last three years. The pianist and drummer in the trio are also in my current group, and the tune became my dedication to them and the music we have made to date. To me, the connection between my role as a bassist in a keyboard trio (like Medeski, Martin & Wood) and my role as a bassist in Alarm Will Sound made the decision to arrange this tune obvious, as I draw upon each aesthetic throughout the piece. Given this unique opportunity, I was really anxious to write music that would feature both aspects of my personality, and highlight the strengths of the members of both groups. —Miles Brown


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Music is a plane of wisdom, because music is a universal language, it is a language of honor, it is a noble precept, a gift of the Airy Kingdom, music is air, a universal existence … common to all the living. Music is existence, the key to the universal language. Because it is the universal language. — Sun Ra —John Medeski Coral Sea — Billy Martin, arr. Jason Price Like most of my work, Coral Sea is an experiment. Hey! I’m an experimental artist! Most often, I do not have anything in particular in mind when I compose unless I am asked to compose for a film. This may sound cliché: I let the music flow through me. This piece flowed through me in two parts. In my little backyard studio in New Jersey, I was playing around, improvising, on the piano … I decided to record what was happening in that moment. It was a “garden” of sound, color and phrases that was pleasing to me. When I listened to that first piano track, I recorded again—a counter part on piano. A sort of conversation with myself. A duo. “How did I do that?! Don’t ask. Just get someone to transcribe it! Good luck. You can hear the original duo piano recording on Wandering Music (AmuletRecords.com) Much later, when we (Medeski, Martin & Wood) were asked to contribute compositions for this particular concert, I figured now was the time to get this piano recording arranged for Alarm Will Sound. What is turning out to sound very different from my original recording certainly

does represent the spirit of my expression through tonality, melodic phrasing and spirit. It is impressionistic. I am excited, once again to experiment using this clever arrangement by Jason Painter Price. The musicians on stage tonight will most often than not—interpret the given notes and tonalities in this arrangement. With the freedom to echo and resonate the various given notes played by the lead voices (marimba, keyboard, piano), the orchestra will always be in flux, like the ebb and flow of the sea. We will also incorporate Stridulations, my rhythmic-game piece. This “flurry” of cricketinspired phrases will add another dimension for this world premier. I chose Coral Sea as a title to reflect (no pun intended!) my love for the sea and the life it encompasses. I particularly remember the first time I went snorkeling with my father in a cove and coral reef in Bermuda around 1972. The variety of color and patterns seemed endless! It was a very profound experience. Imagine a boy who grew up in an apartment building in New York City who had never been to a tropical location now swimming over and through a forest of living color. – Billy Martin aka illy B Anonymous Skulls — John Medeski, Billy Martin, Chris Wood and John King, arr. Courtney Orlando End of the World Party — Billy Martin, Chris Wood and John King, arr. Stefan Freund The title Anonymous Skulls is borrowed from a Paul Auster book, City of Glass. A majority of Medeski, Martin & Wood joint compositions were often conjured up at rehearsal sessions or in a recording studio. In this case, Medeski, Martin & Wood spent the first week of September 2003 at Shacklyn (the band’s Brooklyn rehearsal/recording space) with producer John King (Beastie Boys, Paul’s Boutique; Beck, The Dust Brothers). He painstakingly recorded every possible groove and improvisation the band had in them at the time. After a full seven days, (on the eighth day Billy’s second son, Sawyer was born) the producer assembled and shuffled

Medeski, Martin and Wood with Alarm Will Sound, Feb. 6, 2015

The Eye of Ra — John Medeski According to the ancient Egyptians, the Eye of Ra is considered to be the female counterpart to the Sun God, Ra, and is simultaneously his daughter, consort and mother. The all-seeing Eye of the life-giving force of the sun is the one whose tears gave rise to humankind. She is herself the potential of life through love, the red light that appears before the dawn, the morning star. The Eye of Ra also represents the destructive forces of Ra’s power, a fierce and violent defender against chaos.


Medeski, Martin and Wood with Alarm Will Sound, Feb. 6, 2015

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the recorded parts into various forms asking Medeski, Martin & Wood to add anything else that it needed and the record was mixed and sent off to become End Of The World Party (Just in Case). This composing process was more in the spirit of how hip-hop tracks were constructed—something Billy, John and Chris admired back then. This surprising new arrangement by Courtney Orlando sometimes features Alarm Will Sound vocals emanating from the orchestra, a “reproduction” of Medeski’s Mellotron keyboard part from the original recording (in fact, the first keyboard emulator—whoa!).

We can say the same about the composing process for End of the World Party. That title comes from our early days when we spent self-imposed residencies on the Big Island of Hawaii. MMW spent weeks and sometimes months at a time in a shack in the jungle isolation where they would throw a farewell End of the World Party (just in case) which was dubbed by the bands dear friend, a treehouse dweller, philosopher, drummer, farmer- the “Shack-man” himself: Carl Green. Aloha nui nui! — Medeski, Martin & Wood

Alarm Will Sound is a 20-member band

Harrison Birtwistle, Aaron Jay Kernis, Augusta Read Thomas, Derek Bermel, Benedict Mason and Wolfgang Rihm, among others. The group itself includes many composer-performers, which allows for an unusual degree of insight into the creation and performance of new work.

____________________

Artists

committed to innovative performances and recordings of today’s music. They have established a reputation for performing demanding music with energetic skill. Their performances have been described as “equal parts exuberance, nonchalance, and virtuosity” by the Financial Times of London and as “a triumph of ensemble playing” by the San Francisco Chronicle. The New York Times says that Alarm Will Sound is “one of the most vital and original ensembles on the American music scene.” The versatility of Alarm Will Sound allows it to take on music from a wide variety of styles. Its repertoire ranges from European to American works, from the arch-modernist to the pop-influenced. Alarm Will Sound has been associated since its inception with composers at the forefront of contemporary music, premiering pieces by John Adams, Steve Reich, David Lang, Michael Gordon, Sir

____________________

Alarm Will Sound is the resident ensemble at the Mizzou International Composers Festival. Held each July at the University of Missouri in Columbia, the festival features eight world premieres by emerging composers. During the weeklong festival, these composers work closely with Alarm Will Sound and two established guest composers to perform and record their new work. Alarm Will Sound may be heard on eight recordings. Radio Rewrite, their release on Nonesuch, is the world-premiere recording of Steve Reich’s newest work for large ensemble, based on the music of Radiohead. Their


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In 2011, after three years of development, Alarm Will Sound presented 1969, a multimedia work using music, action, image, and text to tell a story about great musicians—John Lennon, Karlheinz Stockhausen, Luciano Berio, and Leonard Bernstein—and their responses to the social, political and creative tumult of the late 1960s.

Alarm Will Sound were Artists-in-Residence at the Metropolitan Museum of Art in 2013-14.

Members of the ensemble began playing together while studying at the Eastman School of Music in Rochester, New York. With diverse experience in composition, improvisation, jazz and popular styles, early music and world musics, they bring intelligence and a sense of adventure to all their performances.

In 2010, the group developed and performed the Dirty Projectors' The Getty Address in its new identity as a live performance piece at the Lincoln Center, Disney Hall and the Barbican. Music that Dirty Projectors front-man David Longstreth created on a computer by meticulous, complicated sampling, looping, and layering is translated and arranged by Matt Marks, Alan Pierson and Chris Thompson for 23 musicians of both bands.

For more information and to join the mailing list, visit Alarm Will Sound’s website at www.alarmwillsound.com

Medeski, Martin & Wood Wide open: That’s the phrase John Medeski uses to describe his bandmates’ musical sensibilities, the attitude he seeks in himself, and the spirit of musical adventure that Medeski Martin & Wood have pursued for two decades.

The trio’s amalgam of jazz, funk, “avantnoise” and a million other musical currents and impulses is nearly impossible to classify, which is just how they like it. Medeski’s keyboard excursions, Chris Wood’s hardcharging bass lines and Billy Martin’s supple,

Medeski, Martin and Wood with Alarm Will Sound, Feb. 6, 2015

genre-bending, critically acclaimed Acoustica features live-performance arrangements of music by electronica guru Aphex Twin. This unique project taps the diverse talents within the group, from the many composers who made arrangements of the original tracks, to the experimental approaches developed by the performers.


Medeski, Martin and Wood with Alarm Will Sound, Feb. 6, 2015

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danceable beats have come to resemble a single organism, moving gracefully between genre-defying compositions and expansive improvisation atop a relentless groove. Floridian Medeski had his first out-of-body experience playing a Mozart piano sonata as an adolescent. He soon began playing at every opportunity—from school musicals and talent shows to marching band, in which he served as a percussionist—and had his mind blown by an Oscar Peterson record. As a teen, he formed his own jazz-fusion trio and was invited to tour Japan by legendary bassist Jaco Pastorius. He made his way to the New England Conservatory of Music and entered its boundary-pushing Third Stream department, which nurtured his improvisational impulses and encouraged him to find his own musical voice. He worked as a sideman in Boston and rediscovered roots music playing seven nights a week Mr. Jelly Belly. California-born, Colorado-bred Wood, meanwhile, learned folk and blues songs at the feet of his musician/biologist dad and poet mom, swooned at the fearless innovations of Mingus and Monk, attended NEC and eventually studied with Geri Allen, Dave Holland and other luminaries. His apprenticeship with these powerful music figures was, he admits, a humbling one. “Sometimes my lesson would consist of me improvising for an hour with Geri watching,” he relates. “It was terrifying, because it exposed every weakness. But the more you accept who you are, the more free you are to express that. Your bag of tricks as a player becomes a doorway to infinite possibilities.” Martin, who’d grown up in New York and New Jersey, imbibed a range of musical currents from his classical violinist father and Radio City Rockette mother, but it was his older brothers who first exposed him to rock and soul. He fell in love with Hendrix, James Brown, Sly Stone, Zappa and KISS and began bashing his uncle’s kit; soon he was in the jazz band at school, then at the preparatory division of the Manhattan School

of Music. As a musical omnivore in New York City, he studied with assorted greats, mastered an array of percussion instruments, formed the samba band Batucada and played with everyone from jazz-pop superstar Chuck Mangione to Bill Frisell to New York’s avantgarde heroes the Lounge Lizards. What the three had in common before their band was a relationship with jazz mentor/ drummer Bob Moses, who first brought his conservatory-trained protégés Medeski and Wood together for a session. “John was a madman,” Wood recalls. “He could drive the music, but it wasn’t about the limelight – just raw enthusiasm. He had a freer spirit than you find in most musicians. It was inspiring to be around.” And Medeski’s first impression of the bassist? “He was a monster, a badass,” the keyboardist marvels. “He was technically so strong, and played with such energy. I felt a kinship with him, rhythmically and energetically. He was young and wide open, and could recall anything you taught him – he just has that kind of mind. I thought, ‘This guy’s a good resource.’” The two soon found themselves in New York, where they shared an apartment; many hours of jamming, animated chatting about music and poring over the keyboardist’s vast record collection ensued. The pair had moved to the city with the intention of becoming jazz sidemen, but what they encountered there altered their course. Their passion for jazz was undimmed, but they found the city’s jazz scene stifling—Medeski compares it to the classic zombie flick Night of the Living Dead—and gravitated instead to the freewheeling downtown art-music world. Populated by boundary-pushing creators of all stripes and hybrid forms, this looseknit community inspired them. “Everybody was reaching for something new, drawing from every genre, looking for new sounds,” says Wood. “It was a high-risk situation; not everything worked. But when it did, it was beautiful.”


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Adds Wood, “Billy didn’t play jazz, but he improvised like a jazz player. It shifted things for me—he wouldn’t necessarily start swinging when I played a walking bass line. He brought the eighth-note feel that makes hip-hop and Brazilian beats so compatible with jazz, and he didn’t play like a drum machine; he was always playing interactively.” “My spirit is all about experimenting,” Martin explains. “If I could just experiment and improvise 24 hours a day, I would be happy.” When the three assembled at Martin’s Brooklyn pad for their first jam session, the chemistry was immediate and undeniable. “Billy started playing a beat. Chris started playing a bass line. I started playing. And it was instant music,” Medeski remembers, noting that his transcription of this, Medeski, Martin & Wood’s first recorded flight, became the track “Uncle Chubb” on their first album. Martin joined them at their subsequent Village Gate sets, and they never looked back. The trio still hadn’t chosen a name when they began booking gigs in jazz clubs; downtown godfather John Lurie gave them a shortlist, from which they selected the mad moniker Coltrane’s Wig. “We pissed off a lot of jazzclub owners with that,” Medeski volunteers, a little sheepishly. “They were like, ‘What is wrong with you?’” The name lasted through exactly one round of homemade press kits (created with the gear in the basement of

Martin’s highly supportive dad). Much regional touring, notably in the southern U.S., followed. Ninteen-ninety-two saw them release their debut album, Notes From Underground. Though they started out with a more-orless straightforward piano-bass-drums jazz setup, the threesome expanded their sound with unusual configurations. Medeski added electric piano (outfitted with distortion pedals and other effects), and began switching back and forth among Hammond organ, Clavinet, Mellotron and other keys. Wood alternated between stand-up and bass guitar, stuck paper behind his strings for a “snare” effect and occasionally employed a drumstick as a slide. Martin, who enjoys, in his words, “the whole pots and pans approach,” began keeping an international assortment of percussion instruments in his battery, as well as objects for banging that are not typically considered musical. “You need to be in touch with that feeling you had as a child when you listened to sound,” Medeski insists. “Everything going on around you is music. When you’re in touch with that, you can play from that deep place more easily—you can create music with real freedom and openness.” Though the “jazz spirit,” as they like to call it, has been ever-present in their sonic voyages, Medeski, Martin & Wood have won over a substantial audience that rarely responds to instrumental music, let alone a guitar-less trinity purveying an unholy blend of Jimmy Smith, György Ligeti and the Art Ensemble of Chicago. In fact, their club and festival appearances are packed with alternative-rock lovers as well as jam-band aficionados and jazz heads. “I blame Billy for that,” Medeski muses, hazarding that the drummer’s bodymoving beats tend to disarm even the most pop-minded listeners. “Once they feel the groove he’s playing, I can get in there and infect their minds much more easily—and Chris can lay it down to keep them from losing it.” The band’s onstage adventurousness sparked an experimental approach to recording as

Medeski, Martin and Wood with Alarm Will Sound, Feb. 6, 2015

They also played a series of week-long engagements at the Village Gate with assorted drummers. While these gigs were rewarding, they still fell squarely within the parameters of “jazz”—until they played with Billy Martin, about whom Moses had often raved. Medeski had jammed with the drummer before, finding his very un-jazz-like use of funk, hip-hop and Brazilian and African grooves bracing and—you guessed it—“wide open.” “I’d also seen him play live with his band Illy B,” he recalls. “He was really creative and he got all the girls dancing. I thought, ‘This guy’s got something.’”


Medeski, Martin and Wood with Alarm Will Sound, Feb. 6, 2015

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well—as on 1996’s solar-powered ShackMan, recorded in a plywood shack amid the mango trees and plumerias on Hawaii’s big island (and featuring Martin’s artwork on its cover); the funked-out 1998 Blue Note disc Combustication, which enlisted two radically different engineers to create complementary sonic approaches; the acoustic live set Tonic (2000), recorded in New York, and its pluggedin twin, 2001’s Electric Tonic; 2004’s End of the World Party (Just in Case), produced by John King of the Dust Brothers; their two collaborations with guitarist John Scofield, A Go Go (1998) and Out Louder (2006, under the name Medeski, Scofield, Martin & Wood); the 2008 children’s record Let’s Go Everywhere; and the 2008-09 Radiolarian series, a trilogy of albums generated according to a strict policy of “Write > Tour > Record > Repeat,” as the band noted in an online announcement. They’ve also founded and run their own label, Indirecto. Medeski, Martin & Wood has also backed up a diverse roster of artists, including punk godfather Iggy Pop (both live and on his album Avenue B), R&B sax giant Maceo Parker, MacArthur Genius Grant recipient John Zorn and pop singer-songwriter Natalie Merchant. The band members have also kept things fresh by pursuing scores of other projects. Medeski produced two albums by the Wood Brothers, Chris Wood’s rootsy partnership with his brother, Oliver, as well as work by the Dirty Dozen Brass Band; has played with a dazzling array of artists, including The Word with Robert Randolph, Ray LaMontagne, The Blind Boys of Alabama, John Zorn, Trey Anastasio, Susana Baca and the rock band Grizzly Adamz; fronted his own band, John Medeski & The Itch; and performed as a solo pianist. He and Martin have also performed and recorded as the duo Mago. Martin, for his part, has recorded several solo discs and an album of breakbeats (under his own name and as Illy B), collaborated with DJ Logic,

DJ Spooky, Dave Burrell and other artists, authored a book, pursued his own visual art, and produced and directed Fly in a Bottle, a feature-length documentary film about the making of the Radiolarian series. The Wood Brothers have released three LPs and an EP of cover songs and toured with the likes of Zac Brown Band, Levon Helm, Bruce Hornsby & The Noisemakers and k.d, lang. The three also conduct a yearly musical retreat, Camp Medeski, Martin & Wood, in the Catskills; with music classes, seminars, films, guest teachers and jam sessions, the August gathering encourages promising musicians of all stripes to get out of their comfort zones. Their reflections on having reached the extraordinary milestone of playing together for some 20 years? “We’re old motherfuckers, man,” Medeski replies with a laugh, adding, “We’re in a really good place. We’ve been writing a lot of new music. We always want to create a certain vibration in the evening— if we’re doing something new and feeling the excitement, that’ll do it.” “I think we’ll be reflecting on the anniversary a lot, pulling out old material and approaching it in new ways,” ventures Wood. “We’re always growing and changing, and the fact that we’re always doing stuff with other people keeps it alive, because we bring fresh energy to the group.” “Musically, we’re changing all the time,” Martin asserts, adding that the band’s constant improvisation produces moments when “We look at each other like, ‘Oh my God, how in the hell did we just decide to do that?’ We look at each other with our mouths open sometimes, and that’s the beautiful thing about it.” “This band is each of us expressing who we really are,” summarizes Medeski. “That’s all.” And so Medeski, Martin & Wood enter their third decade together, as wide open as ever.


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here’s something special about life at Frasier. And it’s reflected in the smiling faces and close connections you’ll see everywhere on our spacious, graceful campus. Is it our stellar setting, close to all the best Boulder attractions? Our gorgeous selection of living spaces and long list of amenities and activities? The sense of belonging to a spirited community of friends and family? The opportunity to pursue new passions? Or the peace of mind that comes from our continuum of on-site-care? Whatever the reason, one thing is certain: no place compares to home sweet Frasier.

Our new, specially designed Assisted Living and Memory Care Apartments open at the end of 2014. To learn more, visit FrasierMeadows.org.

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Dreams

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Faculty Tuesdays

Faculty Tuesday recitals are held at 7:30 p.m. in Grusin Music Hall in the Imig Music Building at CU-Boulder. All performances are free and open to the public. (Musical programs and performers subject to change.)

JAN. 27

Erika Eckert, viola, and Margaret McDonald, piano

A Musical Journey for Two

FEB. 17

Geraldine Walther, viola, with Matthew Dane, viola d’amore, Margaret McDonald, piano, Lina Bahn, violin, Sharon Park, violin, and Andrew Brown, cello

MARCH 10

Paul Erhard, double bass, Margaret McDonald, piano, Jeffrey Erhard, voice, and Robbie Erhard, cello

Indo-Western Fusion with a Twist of Jazz

Rachmaninoff’s Sonata in G minor, Op. 19, Tomas Ades’ Arcadiana and a viola duo.

FEB. 3

Jeffrey Nytch and Carter Pann, composers, with Christina Jennings, flute, Jennifer Bird-Arvidsson, soprano, Andrew Cooperstock, piano, Margaret McDonald, piano, Erika Eckert, viola, Chas Wetherbee, violin, and special-guest flutist Lindsey Goodman

FEB. 24

Nicholas Carthy, piano, and Alexandra Nguyen, piano

Dances from the Old World

MARCH 17

Daniel Kellogg, composer, Bjorn Arvidsson, librettist and tenor, with Hsing-Ay Hsu, piano, and singers

World premier of Packer, a one-act chamber opera about the infamous Alferd Packer

Words in Music, Music in Words

FEB. 10

Alexandra Nguyen, piano, with Silver Ainomäe, principal cellist for the Colorado Symphony Orchestra, cello, Matthew Chellis, tenor, and Charles Wetherbee, violin

Fantasies and Fairy-Tales

MARCH 3

Robert Spillman, composer, with Matthew Chellis, tenor, Sarah Barber, mezzo-soprano, Adam Ewing, baritone, Christina Jennings, flute, Gary Lewis, conductor, Margaret McDonald, piano, Alexandra Nguyen, piano, and faculty and student ensembles

Poetry into Song, song settings of poetry by James Wright, Emily Dickinson, Li Bai and Ezra Pound

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MARCH 31

College of Music faculty Christina Jennings, flute, David Korevaar, piano, Daphne Leong, and Allan McMurray, with guests Julie Simson, Matthew Dane, James Buswell and Carol Ou

Richard Toensing Memorial Concert


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Artist Series

The Artist Series presents performances of fine music and performing arts to which the community would otherwise not have access. The highest quality emerging and internationally recognized artists provide worldclass performances and residency activities that enhance the learning environment at the University of Colorado Boulder and the cultural life of the community. The Artist Series includes a variety of presentations from many cultures and traditions.

BENEFACTOR Mark and Margaret Carson Carson-Pfafflin Family Foundation Paul Bechtner Foundation Greg Silvus and Melanie Miller Ellen and Joshua Taxman SPONSOR Diane and Richard Dunn Daryl and Kay James Mary Lamy Louise Pearson and Grant Couch PATRON Anonymous Joan McLean Braun Chris and Barbara Christoffersen Ruth Carmel Kahn Midge Korczak Hal Osteen Scott Wiesner and Janet Ackermann SUPPORTER Anonymous Albert and Nancy Boggess Fiona and Marv Caruthers Carol and Michael Gallucci Doree and Jerry Hickman Myra Jackson Susan and Jon Lounsbury Heidi and Jerry Lynch Janet and Scott Martin Robert and Sandra McCalmon Judy and Alan Megibow Barbara and Irwin Neulight Jerry and Jamie Orten Mikhy and Michael Ritter Alicia and Juan Rodriguez Lawrence and Ann Thomas CONTRIBUTOR Gil and Nancy Berman Ellen and Dean Boal Norma Ekstrand and Tom Campbell Martha Coffin Evans and Robert Trembly Gregory and Gladeane Lefferdink Harold and Joan Leinbach Robert and Francine Myers Gary and Beth Rauch Stephanie and Alan Rudy Kenneth Pope and Christine Willis 26 |

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MEMBER David Beausang Shirley Carnahan Pauline and Noel Clark Catherine Cloutier Kenneth Dell Fran Evans Leslie and Merrill Glustrom John Graham and Lorin Lear Pamela Leland Judah and Alice Levine Thomas and Gail Madden Paul and Kay McCormick Janet and Hunter McDaniel Tammy Noirot Kim and Rich Plumridge Randall Rutsch Ruth Shanberge in memory of Carol Seideman Mary Ann Shea and Steven Meyrich Courtland and Carolyn Spicer Zoe Stivers Randi and Anthony Stroh Tom and Karen Thibodeau Lloyd Timblin Jr. Geoffrey Tyndall Derek Van Westrum Vince and Caroline Wayland ARTIST SERIES ADVISORY BOARD Gil Berman Rodolfo Betancourt Ellen Boal Joan McLean Braun John Davis Diane Dunn Clay Evans Michael Gallucci Lissy Garrison Laima Haley Daryl James, President Maryan Jaross Ruth Kahn Jerry Orten Louise Pearson Erika Randall Gregory Silvus Ellen Taxman Nicholas Vocatura

CORPORATE SPONSORS: Boulder CPA Group (Formerly Mark H. Carson & Associates, P.C.) Caplan & Earnest Center Copy Boulder, Inc. Frasier Meadows Retirement H.B Woodsongs Hurdle’s Jewelry James & Associates, LLC Roser Visiting Artist Endowment Shaw Construction WESTAF IN-KIND SPONSORS Boulder Weekly Colorado Public Radio The Daily Camera Flowers in Bloom Hotel Boulderado KUNC KUVO Liquor Mart The Pines Catering


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Perfect Taste THE

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dine from our seasonal menu and enjoy an incredible meal in an intimate and casual atmosphere. eclectic american cuisine

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Perfect Taste THE

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Takács Society

The Takács Society is formed by the College of Music and provides the resources critical to supporting the work of the Takács Quartet—to advance their teaching endeavors, provide scholarships that are essential to attracting and retaining exceptionally gifted young artists, and sponsor guest artists in the Takács performance series.

BENEFACTOR Albert and Nancy Boggess Gary and Judith Judd in memory of Fay Shwayder Norma R. Johnson Fund in memory of Fay Shwayder Janet and David Robertson The Takács Quartet SPONSOR Pamela Decker Marion Thurnauer and Alexander Trifunac PATRON Catharine Hawkins Foundation Thomas and Carol Cech Chris and Barbara Christoffersen Carol Lena Kovner Kathleen Sullivan John and Carson Taylor SUPPORTER Anonymous Anne Heinz and Ron Yaron Robert R. Kehoe Walter and Eileen Kintsch Maxine Mark Lise Menn Virginia M. Newton Newton Family Fund, Inc. Neil and Martha Palmer Mikhy and Michael Ritter Susan and David Seitz Lawrence and Ann Thomas James and Lena Wockenfuss

CONTRIBUTOR Virginia and Stanley Boucher William and Alice Bradley Christopher and Margot Brauchli Noel and Pauline Clark Robert and Lenore Damrauer Jon and Liz Hinebauch Harold and Joan Leinbach Nancy and Paul Levitt Patricia and Robert Lisensky Cheryl Stevenson and James Cannon Lynn Streeter Randi and Anthony Stroh Patricia Thompson MEMBER Lois Abbott Maria and Jesse Aweida Ted and Ingrid Becher Marda Buchholz Kevin and Diana Bunnell Patricia Butler Shirley Carnahan Penny Chenery Charlotte Corbridge Joann and Richard Crandall Barbara and Carl Diehl Carolyn and Don Etter Jean and Bob Fischer Marcia Geissinger and Neil Ashby Mary and Lloyd Gelman Steve Goldhaber and Mariana Goldhaber-Vertenstein Dianne and Kenneth Hackett David Hammer Bruce and Kyongguen Johnson Jennifer and Bob Kamper Caryl and David Kassoy

If you would like to name a seat in Grusin Music Hall, please call the College of Music Development Office at 303-735-6070. Make all gifts payable to the University of Colorado Foundation and mail to Takács Society, CU College of Music, 301 UCB, Boulder, CO 80309-0301. For credit card payments, questions or additional information, please call the College of Music Development Office at 303-735-6070.

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Mireille Key Alice and Judah Levine Albert and Virginia Lundell Heidi and Jerry Lynch Kamilla Macar Thomas and Gail Madden Caroline Malde Nancy and John Malville J. Richard and Marjorie McIntosh Peter and Doris McManamon Christopher Mueller and Martha Whittaker Joan Nordgren Alison and Graham Oddie Joanie Oram Julie and Wayne Phillips Arthur and Ina Rifkin Joanna and Mark Rosenblum JoAn Segal Ruth Shanberge in memory of Carol Seideman Todd and Gretchen Sliker Grietje Sloan Carol and Art Smoot Jan and Charles Squier Helen Stone Berkley Tague Laurie and Arthur Travers Mary and Peter Van Etten Betty Van Zandt Thomas VanZandt Christopher and Leanne Walther Nurit and Jim Wolf Bill Wood M. Yanowitch


WATERSHED SCHOOL

.com

College Preparatory Grades 6-12

EDUCATION FOR A SUSTAINABLE FUTURE The Center Stage Club offers online versions of CU Presents Magazine for patrons to read before performances. And, check out upcoming metro-area performing arts events in the calendar.

The World is Our Classroom

Fostering critical thinking, academic excellence and character development through real world learning.

NOW ACCEPTING APPLICATIONS

CenterStageClub.com

1661 Alpine Ave. Boulder, CO 80304 www.watershedschool.org info@watershedschool.org 303.440.7520

The Center Stage Club is produced by Colorado’s Performing Arts Publications

Experience the Experience the Experience the

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303.447.8700 303.447.8700 • • artcleaners.com artcleaners.com | 303.492.8008 | 31


Friends of the Eklund Opera Program E K L U N D

The Eklund Opera Program is recognized nationwide as one of the finest programs of its kind in the country. Its success is a reflection of outstanding faculty, exceptionally gifted students, professional production standards, and, ultimately, the successful placement of students after graduation in the professional world. You are invited to be a part of the tradition of excellence that has come to characterize CU Opera. Your support is pivotal to maintaining the stature of this seminal program. To explore the role you can take in supporting CU Opera, please contact our Development Office at 303-735-6070.

BENEFACTOR Anonymous The Academy Charitable Foundation, Inc. Allen Family Fund Paul Eklund Bob Graham Ann Oglesby SPONSOR Alan and Martha Stormo PATRON Chris and Barbara Christoffersen Albert and Betsy Hand Bob and Mikee Kapelke Ken and Ruth Wright Wright Family Foundation SUPPORTER Anonymous Caulkins Family Foundation John Hedderich Jo and David Hill Mikhy and Mike Ritter Rotary International District # 5450 Lawrence and Ann Thomas CONTRIBUTOR Donna and Ken Barrow Jim and Judith Bowers Robert and Lenore Damrauer Walt and Mary Ruth Duncan Martha Coffin Evans and Robert Trembly David and Janet Hummer Harold and Joan Leinbach Burr Lloyd Dennis Peterson Dave and Ann Phillips Richard and Caroline Van Pelt Peter Wall

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MEMBER Judith Auer and George Lawrence Bob Burnham and Gail Promboin Allene Cash Ben and Gale Chidlaw Wallace and Beryl Clark Sara-Jane and William Cohen Peter and Joan Dawson Richard and Margaret Dillon Lloyd and Mary Gelman Ellen and John Gille Steve Goldhaber and Mariana Goldhaber-Vertenstein Susan Graber Janet Hanley Linda L. Johnson Frank and Marion Kreith Nicholas and Mollie Lee Patricia and Robert Lisensky Heidi and Jerry Lynch Bruce Mackenzie Marian Matheson Byron and Cathy McCalmon Denise McCleary and Paul Von Behren Corinne McKay Richard and Donna Meckley Pat and Bob Meyers Marilyn Newsom Margaret Oakes Robert and Marilyn Peltzer Juan and Alicia Rodriguez Elaine Schnabel Ruth Schoening JoAnn Silverstein and Nevis Cook Helen Stone Daniel Urist

GRANTS Denver Lyric Opera Guild Galen & Ada Belle Spencer Foundation Louis and Harold Price Foundation Roser Visiting Artist Endowment The Schramm Foundation

ABOUT THE EKLUND FAMILY OPERA PROGRAM

Recognizing the importance of the arts and live-vocal performance in an increasingly distracted world, long-time Boulder resident Paul Eklund made a generous gift in October to help establish a $2 million endowment at the CU-Boulder College of Music. Funding from the endowment will help support three opera productions each academic year, the CU New Opera Workshop and an opera-scenes program for new students.

From left, Paul Eklund, Director of Opera Leigh Holman and Dean of the College of Music Robert S. Shay


Gala

presents a

Tar a Performing Arts High School

Benefit

for the purchase and rehabilitation of the historic

NOMAD PLAYHOUSE 1410 Quince Avenue, Boulder

M arch 6 – 8, 2015

The weekend’s events to celebrate the theatre will be an eclectic performing arts lineup including film, dance,

bluegrass, Irish and classical music, theatre and more!

Featuring

Joan van Ark in My Life in ‘Logues and Songs, memories of Boulder, Broadway and beyond Pete & Joan Wernick with members of The Long Road Home bluegrass band

TAR A NOM AD GALA

For more information see www.nomadplayhouse.org

| 303.492.8008 | 33


Personnel COLLEGE OF MUSIC ADVISORY BOARD Robert Shay, Dean James R. Austin Chris Brauchli Steve Bruns Bob Bunting Jan Burton John Davis Paul Eklund Bill Elliott Martha Coffin Evans Jonathan Fox David Fulker Grace Gamm Lissy Garrison Lloyd Gelman Doree Hickman David Hummer Daryl James Caryl Kassoy Robert Korenblat Erma Mantey Joe Negler Susan Olenwine Mikhy Ritter, co-chair Becky Roser, co-chair Mark Tezak Jeannie Thompson Jack Walker HONORARY DIRECTORS Dean Boal Bob Charles Eileen Cline Donna Erismann Dave Grusin

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STAFF Joan McLean Braun, Executive Director Nick Vocatura, Operations Director Laima Haley, Marketing Director Clay Evans, Communications Director Daniel C. Leonard, Marketing and Public Relations Coordinator Melinda Plett, Publications Coordinator Karen Schuster, Graphic Designer Rachel Dodson, Emily Scraggs, Amelia Weller, Public Relations Assistants Margaret Romero, Production Assistant Andrew Metzroth, Box Office Manager Michael Casey, Box Office Services Coordinator Ciara Glasheen-Artem, Sydney Bogatz, Starla Doyal, Lucas Munce, Melanie Shaffer, Bradley Steinmeyer, Box Office Assistants Kevin Harbison, Recording Engineer Nancy Quintanilla, Financial Manager Ted Mulcahey, Piano Technician MACKY AUDITORIUM STAFF Rudy Betancourt, Director John Jungerberg, Operations Manager Sara Krumwiede, Assistant Director JP Osnes, Technical Director Rhett Snyder, Assistant Technical Director Rojana Savoye, House Manager Nicole Anderson, Assistant House Manager Program editor: Clay Evans Cover design: Karen Schuster

PATRON INFORMATION • CU Presents venues are fully accessible to patrons using wheelchairs and those with other special needs. Please call the box office as early as possible at 303-4928008 to make arrangements. • Parking is available in the Euclid Avenue Autopark, Lot 310, and Lot 204 for $4 per evening or weekend day. Lot 380 (near Macky) is reserved for VIP members of the Artist Series. Drop-off and handicap parking is available near all venues. For more information about the best parking options for each venue, please call the box office at 303-492-8008. • Food is permitted in seating areas of Macky Auditorium and the Mary Rippon Outdoor Theatre, but prohibited in other campus venues unless otherwise noted. • Photographic and recording devices are prohibited. • All programs, artists and prices are subject to change. • All sales are final; no refunds. Subscribers may exchange tickets for another night or performance with no exchange fee; single-ticket exchanges are subject to a $3 per ticket exchange fee. Exchanges are subject to availability and must be made at least one business day prior to performance; an upgrade fee may apply. • CU presents will hold all events as scheduled unless the CU-Boulder campus is closed due to hazardous weather. We will make every effort to notify patrons of an emergency closure as soon as the situation arises. For detailed information on the Colorado Shakespeare Festival’s rain policy, please visit coloradoshakes.org. • Patrons are encouraged to call CU Presents at 303-492-8008 for information on the suitability of events for children. • Patrons are encouraged to be considerate of those around you and to refrain from wearing strong fragrances. • Can’t use your tickets? Return them to the CU Presents box office as a taxdeductible contribution prior to the beginning of the performance. • The University of Colorado Boulder is a smoke-free campus.


University of Colorado Museum of Natural History STEPS IN STONE, WALKING THROUGH TIME The movements of animals across the landscape are captured in the tracks they leave behind. Some tracks last only a few moments and others become fossils that endure for millions of years. Steps in Stone is a fantastic opportunity to see amazing fossil tracks, many of which have never been on display before, and learn about animals in ancient environments.

1421 P E A R L

b o u l d e r a r t s a n d c r a f t s . com Bowl by Hudson Beach Glass 303-443-3683 Ornaments by Fritz Lauenstein

Open 7 Days a Week. Always Free. Located on CU Main Campus Henderson Bldg., 15th & Broadway. 303-492-6892 cumuseum.colorado.edu


We’re celebrating 15 years as a Colorado company. To us, Colorado is home. But we’ll go to the ends of the earth to bring you the rare and beautiful. So let’s mark this 15th anniversary with something uniquely special. Stop in and see us — Jim and Ron Cherry Creek North : Denver

hwhome.com

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Pearl Street : Boulder

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Landmark : Greenwood Village


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