Colorado Music Festival 2020

Magical.

Illuminating.

Bold.

2020 Virtual

Peter Oundjian | Music Director

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CONTENTS 2020 SEASON OVERVIEW Letter of Welcome........................................................................ 6 Orchestra by Instrument............................................................10 Center for Musical Arts.............................................................. 12 Peter Oundjian Biography......................................................... 14 Concert Notes............................................................................... 16 Fellows Program.........................................................................50 Legacy Club................................................................................. 52 March-May 2020 Sponsor Spotlights. .................................................................... 53 Editor

Contributors. ................................................................................ 58 Becca Vaclavik Designer

SabrinaSupport Green Your Matters................................................................60 Contributors Jessie Bauters, Pranathi Durgempudi Artist Series Advisory Board Daryl James, President; Gil Berman, Shirley Carnahan, Mike Gallucci, Maryan K. Jaross, Ruth Kahn, Ina Rodriguez-Myer, Gregory Silvus, Ellen Taxman, Ann Yost Music Advisory Board Mikhy Ritter, Chair; Laurie Hathorn, Associate Chair; Sue Baer, Jim Bailey, Gil Berman, Christopher Brauchli, Bob Bunting, Jan Burton, Bob Charles, Paul Eklund, Bill Elliott, Martha Coffin Evans, Jonathan Fox, David Fulker, Grace Gamm, Lloyd Gelman, Doree Hickman, Daryl James, Maria Johnson, Caryl Kassoy, Robert Korenblat, Erma Mantey, Ben Nelson, Joe Negler, Ann Oglesby, Susan Olenwine, Becky Roser, Firuzeh Saidi, Lynn Streeter, Stein Sture, Jeannie Thompson, Jack Walker, Celia Waterhouse This program is published by: The Publishing House, Westminster, CO. Publisher Angie Flachman Johnson This program is published by: The advertising, Publishing House, Westminster, CO. For call 303-428-9529 or email sales@pub-house.com Publisher ColoradoArtsPubs.com Angie Flachman Johnson Director of Sales Tod Cavey Production Manager

Director of Sales Tod Cavey Production Manager Stacey Krull President Wilbur E. Flachman

Colorado Music Festival Virtual 2020 Festival Boulder, CO Thursday evenings June 25–July 30 | 2020

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Visit: coloradomusicfestival.org

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COLORADO MUSIC FESTIVAL THURS

JUN 25 7:30 PM

THURS

JUL 2 7:30 PM

THURS

JUL 9 7:30 PM THURS

JUL 16 7:30 PM THURS

JUL 23 7:30 PM

THURS

JUL 30 7:30 PM

Opening Night: Takács Quartet Peter Oundjian, Music Director Colorado Music Festival Orchestra Takács Quartet The legendary Takács Quartet presents a recently-recorded performance from the Chautauqua Auditorium stage and we salute our extraordinary Festival Orchestra with an archival video of Leonard Bernstein’s Candide Overture from the 2018 season.

Sharon Isbin & Ji Su Jung: Women in Music Colorado Music Festival Orchestra Members Sharon Isbin, guitar Ji Su Jung, marimba The Festival spotlights women in music, including guest artists Sharon Isbin, whom Atlanta Journal has called “the Monet of the classical guitar,” and percussionist Ji Su Jung, a rising star and master of the marimba. This performance also includes Colorado Music Festival Orchestra members playing Copland’s Fanfare for the Common Man and Sousa’s Washington Post March and Stars and Stripes Forever.

Violinist Augustin Hadelich Augustin Hadelich, violin Grammy-winning violinist Augustin Hadelich, an artist of “scarcely believable commitment” (New York Times), joins Music Director Peter Oundjian at his home for an intimate performance of Tárrega’s Spanish-flavored “Memories of the Alhambra,” as well as works by Bach and Ysaÿe.

Pianist Jan Lisiecki Performs Beethoven Jan Lisiecki, piano Music Director Peter Oundjian calls the award-winning Jan Lisiecki “one of the greatest piano talents of all time.” In this unique concert, Lisiecki performs the cadenzas — showstopping passages included to showcase a musician’s talent and style — from Beethoven’s piano concerti.

Brooklyn Rider String Quartet Colorado Music Festival Orchestra Members Brooklyn Rider In this fresh and inventive program, Brooklyn Rider, “four classical musicians performing with the energy of young rock stars jamming on their guitars” (Pittsburgh Post-Gazette), explores the profound healing power of music through dynamic works by composers with a wide array of backgrounds and perspectives. To commemorate the 100th anniversary of the passage of the 19th Amendment, Festival musicians also perform “Fanfare for the Uncommon Woman No. 5 by composer Joan Tower.

Festival Finale: Beethoven 7 Colorado Music Festival Orchestra Members Ivalas Quartet Michelle and Christina Naughton, piano duo We close the 2020 Festival season with two movements from Beethoven’s ambitious and energetic Seventh Symphony, performed by members of the Colorado Music Festival Orchestra, and performances

by Festival Fellows the Ivalas Quartet and pianists Christina and Michelle Naughton.

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WELCOME

Dear Friends, It seems like a lifetime ago when the 2019 Festival Season came to an epic close with Mahler’s Third Symphony.

Mahler may have achieved capturing the essence of nature in this music, but nature was also evident in our physical surroundings. Birds were chirping in the distance and the luminous summer sky weaved through Chautauqua’s historic wooden slats as we sat shoulder to shoulder with friends and loved ones, drinking in every last note in the hope it would sustain us for another year.

In 1904, composer Arnold Schoenberg attended the premiere of the Third Symphony and was compelled to write to Mahler: “I think I have experienced your symphony. I felt the toil for illusions; I felt the pain of one disillusioned; I saw the forces of evil and good contending; I saw a man in a torment of emotion exerting himself to gain inner harmony. I sensed a human being, a drama, truth, the most ruthless truth!”

Mahler himself saw the symphony as a reflection of nature in its totality: elements both powerful and terrifying, the destructive cycles of nature, the imperfections of humanity, the profound beauty, and nature’s ultimate promise of enlightenment. Mahler the man was imperfect, but through the lens of his music he was able to attain a glimpse of his higher self. Whether we are the makers or the observers, music gives us this opportunity.

The Festival, and indeed the world, has undergone many changes since we last gathered. Yet somehow it feels as if the meaning behind all of the music we have performed in concert over the Festival’s 43 years rings truer today. We are still witnessing those forces contending, still waiting through storms for a glance at the brilliant sun, still expressing our joyful desire for all people to be treated as brothers, and still rising like a phoenix from the ashes.

We deliver this Virtual Festival to you to sustain our musical mission and our connection to you in the sincerest hope the beloved members of our orchestra and audiences will congregate again for a triumphant return to the Chautauqua stage in 2021. Until then, I welcome you and thank you for meeting us in the new space we have carved out for our 2020 performances. Please enjoy and share these concerts as our gift to you.

Warmest wishes,

Elizabeth McGuire Executive Director

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ORCHESTRA BY INSTRUMENT VIOLIN

Byron Hitchcock Opera Colorado, Concertmaster

Lisa Vaupel Delaware Symphony, Principal

Borys B. Smolaga Shreveport Symphony Orchestra, Principal

The Robert & Sandy Goldstein Chair

The John & Kathleen Krampf Chair

The Margot & Christopher Brauchli Chair

The Caruthers Family Foundation Chair in Memory of Claire Jucker

Alice Hong Freelance

Jim Wallenberg Toronto Symphony Orchestra

Joseph Meyer, Associate Concertmaster Charlotte Symphony Orchestra, Associate Concertmaster

Ha-Young Kim Delaware Symphony Orchestra, Assistant Principal

Calin Lupanu, Concertmaster Charlotte Symphony Orchestra, Concertmaster

Sunho Kim, Assistant Concertmaster Kansas City Symphony, Assistant Concertmaster Mary Ellen Goree, Principal San Antonio Symphony, Principal Karen Pommerich, Assistant Principal IRIS Orchestra Monica Boboc Charlotte Symphony Orchestra The TK Smith & Constance Holden Chair

Callie Brennan West Virginia Symphony Orchestra, Principal Carol Chung North Carolina Opera, Concertmaster Dominique Corbeil Wichita Symphony Orchestra The Louise & Ferd Grauer Chair

Tessa Gotman Phoenix Symphony The Arlene Gerwin Chair

Oliver Kot Charlotte Symphony Orchestra, Principal Jonathan Kuo Jacksonville Symphony Lenora Leggatt Cleveland Opera, former Concertmaster Chi Li Milwaukee Symphony Orchestra Aimee Toomes Lopez The Mary Ann & Art Rudeseal Chair Ann Okagaito Vancouver Symphony Aromi Park Huntsville Symphony, Principal Jarek Polak Freelance Yinbin Qian Albany Symphony The Marion Thurnauer & Alexander Trifunac Chair

Chelsea Sharpe New World Symphony Ryo Usami President’s Own Marine Chamber Orchestra

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VIOLA DJ Cheek, Guest Principal Jacksonville Symphony, Principal The Christopher B. Mueller & Martha A. Whittaker Chair

Colin Sorgi, Guest Principal Baltimore Symphony Orchestra The Christopher B. Mueller & Martha A. Whittaker Chair

CELLO Zachary Mowitz, Guest Principal Queen Elisabeth Music Chapel, Artist in Residence Clare Bradford, Guest Principal Freelance Abe Feder, Guest Principal Detroit Symphony Orchestra, Assistant Principal

Kimberly Sparr, Assistant Principal Atlantic Chamber Ensemble

Josh Halpern, Guest Principal Freelance

Mark Deatherage Phoenix Symphony, Acting Principal

Sung Chan Chang Hawaii Symphony Orchestra, Associate Principal

Courtney Filner, Principal Southwest Florida Symphony, Principal

Guy Fishman The Handel and Haydn Society, Principal

Elizabeth Jaffe Delaware Symphony, Associate Principal

Morgen Johnson San Antonio Symphony

The Marion Thurnauer & Alexander Trifunac Chair

The Jane Houssiere Chair

Bruce Owen Louisiana Philharmonic Orchestra, Assistant Principal

Aaron Merritt Nu Deco Ensemble, Principal The Harold & Joan Leinbach Chair

The Lee & Palmer Carlin Chair

Valentin Ragusitu Toledo Symphony Orchestra, Principal Yumi Sagiuchi Shultz Bergen Philharmonic Orchestra

David Morrissey Calgary Philharmonic Orchestra Ryan Murphy San Antonio Symphony Lucia Ticho Freelance

BASS Matt Heller, Principal Calgary Philharmonic Orchestra The Linda Shoemaker & Steve Brett Chair

Kirby Nunez, Assistant Principal Dallas Opera Orchestra The Joan & Paul Lavell Chair

David Crowe Boulder Philharmonic Orchestra, Principal Karl Fenner Atlanta Symphony Orchestra Mark Foley Wichita Symphony Orchestra, Principal Paul Macres Louisiana Philharmonic Orchestra Jean Posekany Toledo Symphony Orchestra The Jane Elizabeth Henry Chair

FLUTE Viviana Cumplido Wilson, Principal Phoenix Symphony, Principal

Zachary Hammond, Assistant Principal/English Horn Charleston Symphony Orchestra, Principal Oboe

The Richard & JoAnn Crandall Chair

Laura Dwyer Santa Fe Symphony Orchestra The Norma Ekstrand Chair

OBOE Olav Van Hezewijk, Principal New Haven Symphony Orchestra, Principal

The James Alleman & Barbara Miller Chair

Christopher Dwyer Philadelphia Orchestra

Joshua Lauretig Buffalo Philharmonic Orchestra

The Dianne Barbour & David Coward Chair

CLARINET Louis DeMartino, Principal Hawaii Symphony Orchestra, Principal

Cara Kizer, Guest Horn Freelance

The Hans & Delores Thurnauer Endowed Chair

Ross Snyder Omaha Symphony, Associate Principal

Steve Hanusofski, Assistant Principal/Eb Clarinet Phoenix Symphony, Associate Principal & Bass Clarinet

Megan Evans Edmonton Symphony Orchestra, Assistant Principal

Tyler Hsieh, Guest Bass Clarinet Freelance Aidan Mulldoon Wong, Guest Bass Clarinet Freelance

TRUMPET

BASSOON Glenn Einschlag, Principal Buffalo Philharmonic Orchestra, Principal The Becky Roser & Ron Stewart Chair

Josh Baker, Assistant Principal Florida Orchestra, Principal Adam Trussell, Contrabassoon Houston Symphony, Contrabassoon

Jeffrey Work, Principal Oregon Symphony, Principal The Joan & Paul Lavell Chair

Eric M. Berlin, Assistant Principal Albany Symphony, Principal Derek Lockhart Sarasota Orchestra, Acting Principal Trumpet The Lichter Family Chair in Memory of George Lichter

Bryan Heath, Guest Bass Trombone Louisville Orchestra Adam Rainey, Guest Bass Trombone Kansas City Symphony

TUBA Carson McTeer, Principal West Virginia Symphony Orchestra, Principal

TIMPANI Peter Wilson, Principal Harrisburg Symphony Orchestra, Principal

PERCUSSION Joseph Petrasek, Principal Atlanta Symphony Orchestra, Principal Gerald Scholl, Assistant Principal Percussion/ Assistant Principal Timpani Wichita Symphony Orchestra, Principal The Reid-Collins Chair

Chris McLaurin Freelance The Dick & Jane Stebbins Chair

HARP Andrea Mumm Trammell, Principal Charlotte Symphony Orchestra, Principal

KEYBOARDS Vivienne Spy, Principal San Antonio Symphony

TROMBONE

HORN Catherine Turner, Principal L’Orchestre Symphonique de MontrÊal The Avenir Foundation Endowed Chair

The George A. Matzkanin Chair

Young Kim, Guest Horn St. Louis Symphony Orchestra, Former Replacement Assistant/ Utility Horn

The Blessing Foundation Chair

Regina H. Yost, Assistant Principal/Piccolo Charleston Symphony Orchestra, Assistant Principal

Andrew Karr, Assistant Principal The Florida Orchestra

Donna Parkes, Principal Louisville Orchestra, Principal Michael Hosford, Assistant Principal Greenville Symphony Orchestra, Co-Principal

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PETER OUNDJIAN BIOGRAPHY PETER OUNDJIAN | Music Director Sponsored by Caryl Fuchs Kassoy and David R. Kassoy Recently named conductor emeritus of the Toronto Symphony Orchestra, Peter Oundjian has been hailed as a masterful and dynamic presence in the conducting world. Oundjian has developed a multi-faceted portfolio as a conductor, violinist, professor, and artistic advisor. He has been celebrated for his musicality, an eye towards collaboration, innovative programming, and an engaging personality.

Oundjian’s fourteen-year tenure as music director of the Toronto Symphony Orchestra has been marked by a reimagining of the TSO’s programming, international stature, audience development, touring and a number of outstanding recordings. Credited for his long association with the orchestra, Oundjian helped establish the TSO as one of the world’s top ensembles and served as a major creative force for the city of Toronto. Oundjian lead the orchestra on several international tours, to Europe and the USA, and he conducted the first performance by a North American orchestra at Reykjavik’s Harpa Hall in 2014.

Oundjian and the TSO’s recording of Vaughan Williams’ Orchestral Works won a JUNO Award for Best Classical Album: Large Ensemble in 2019.

From 2012-2018, Oundjian served as Music Director of the Royal Scottish National Orchestra during which time he implemented the kind of collaborative programming that has become a staple of his directorship. Oundjian led the RSNO on several international tours, including North America, China, and a European festival tour with performances at the Bregenz Festival, the Dresden Festival as well as in Innsbruck, Bergamo, Ljubljana, and others. His final appearance with the orchestra as their Music Director was at the 2018 BBC Proms where he conducted Britten’s epic War Requiem.

Highlights of past seasons include appearances with the Orchestre de la Suisse Romande, the Detroit, Atlanta, Saint Louis, Baltimore, Indianapolis and New Zealand Symphony Orchestras, with visits to Cincinnati and Milwaukee planned for winter 2020. In January 2019 he transitioned from Artistic Advisor to Music Director for the Colorado Music Festival, commencing a five year tenure.

Oundjian has been a visiting professor at Yale University’s School of Music since 1981, and in 2013 was awarded the school’s Sanford Medal for Distinguished Service to Music. A dedicated educator, Oundjian conducted the Yale and Juilliard Symphony Orchestras and the New World Symphony during the 18/19 season.

An outstanding violinist, Oundjian spent fourteen years as the first violinist for the renowned Tokyo String Quartet before he turned his energy towards conducting.

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CONCERT NOTES

THURS JUNE 25 | 7:30PM

Virtual Festival | Opening Night: Takács Quartet This evening’s concert is sponsored by: Glenn H. Korff Foundation Reality Garage ARTISTS Peter Oundjian, Music Director Sponsored by Caryl Fuchs Kassoy and David R. Kassoy Colorado Music Festival Orchestra Takács Quartet PROGRAM Colorado Music Festival Orchestra Leonard Bernstein, Candide Overture — Takács Quartet Franz Schubert, Quartettsatz in C Minor, D 703 Florence Price, String Quartet No. 2 in A Minor II. Andante cantabile Béla Bartók, String Quartet No. 2 II. Allegro molto capriccioso Ludwig van Beethoven, String Quartet in C Major, Op. 59, No. 3 III. Menuetto (Grazioso) IV. Allegro molto DETAILS Grammy Award-winning Takács Quartet opens our virtual Festival with their “chamber music playing of overwhelming intensity” (The Guardian), recorded at the beloved Chautauqua Auditorium. Music Director Peter Oundjian introduces this Boulder-based ensemble, including Takács’ newest member, Emmy Award-winning violist Richard O’Neill.

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ARTIST BIOGRAPHY TAKÁCS QUARTET

The Takács Quartet, now entering its forty-fifth season, is renowned for the vitality of its interpretations. The New York Times recently lauded the ensemble for “revealing the familiar as unfamiliar, making the most traditional of works feel radical once more”, and the Financial Times described a recent concert at the Wigmore Hall: “Even in the most fiendish repertoire these players show no fear, injecting the music with a heady sense of freedom.

At the same time, though, there is an uncompromising attention to detail: neither a note nor a bow-hair is out of place.” Based in Boulder at the University of Colorado, Edward Dusinberre, Harumi Rhodes (violins), Richard O’Neill (viola) and András Fejér (cello) perform eighty concerts a year worldwide.

During the 2019-20 season the ensemble will continue its four annual concerts as Associate Artists at London’s Wigmore Hall. Other European venues include Budapest, Florence, Milan, Amsterdam Concertgebouw, Geneva, Salzburg Mozartwoche, and Prague. The Quartet performs extensively in USA, including a performance at New York’s Mostly Mozart Festival with Jeremy Denk, Bartok Cycles in New York, Berkeley, Vancouver BC, Middlebury College and Washington DC, and performances in Toronto, Atlanta, Portland, Pasadena, Philadelphia, University of Illinois, and Cincinnati, among others. The Takacs will also perform two concerts in Hong Kong and two concerts in Tokyo. A recent tour with Garrick Ohlsson will culminate in a recording for Hyperion of the Elgar and Amy Beach piano quintets. Their next recording, to be released in October of 2019, features Dohnanyi’s two piano quintets and his second string quartet, with pianist Marc-André Hamelin.

In 2014 the Takács became the first string quartet to win the Wigmore Hall Medal. The Medal, inaugurated in 2007, recognizes major international artists who have a strong association with the Hall. Recipients so far include Andras Schiff, Thomas Quasthoff, Menahem Pressler and Dame Felicity Lott. In 2012, Gramophone announced that the Takács was the only string quartet to be inducted into its first Hall of Fame, along with such legendary artists as Jascha Heifetz, Leonard Bernstein and Dame Janet Baker. The ensemble also won the 2011 Award for Chamber Music and Song presented by the Royal Philharmonic Society in London.

The Takács Quartet performed Philip Roth’s Everyman program with Meryl Streep at Princeton in 2014, and again with her at the Royal Conservatory of Music in Toronto in 2015. The program was conceived in close collaboration with Philip Roth. The Quartet is known for such innovative programming. They first performed Everyman at Carnegie Hall in 2007 with Philip Seymour Hoffman.

They have toured 14 cities with the poet Robert Pinsky, collaborate regularly with the Hungarian Folk group Muzsikas, and in 2010 they collaborated with the Colorado Shakespeare Festival and David Lawrence Morse on a drama project that explored the composition of Beethoven’s last quartets. Aspects of the quartet’s interests and history are explored in Edward Dusinberre’s book, Beethoven for a Later Age: The Journey of a String Quartet, which takes the reader inside the life of a string quartet, melding music history and memoir as it explores the circumstances surrounding the composition of Beethoven’s quartets.

The Takács records for Hyperion Records, and their releases for that label include string quartets by Haydn, Schubert, Janáček, Smetana, Debussy and Britten, as well as piano quintets by César Franck and Shostakovich (with Marc-André Hamelin), and viola quintets by Brahms (with Lawrence Power). For their CDs on the Decca/London label, the Quartet has won three Gramophone Awards, a Grammy Award, three Japanese Record Academy Awards, Disc of the Year at the inaugural BBC Music Magazine Awards, and Ensemble Album of the Year at the Classical Brits.

The members of the Takács Quartet are Christoffersen Faculty Fellows at the University of Colorado Boulder. The Quartet has helped to develop a string program with a special emphasis on chamber music, where students work in a nurturing environment designed to help them develop their artistry. Through the university, two of the quartet’s members benefit from the generous loan of instruments from the Drake Instrument Foundation. The members of the Takács are on the faculty at the Music Academy of the West in Santa Barbara, where they run an intensive summer string quartet seminar, and Visiting Fellows at the Guildhall School of Music.

The Takács Quartet was formed in 1975 at the Franz Liszt Academy in Budapest by Gabor Takács-Nagy, Károly Schranz, Gabor Ormai and András Fejér, while all four were students. It first received international attention in 1977, winning First Prize and the Critics’ Prize at the International String Quartet Competition in Evian, France. The Quartet also won the Gold Medal at the 1978 Portsmouth and Bordeaux Competitions and First Prizes at the Budapest International String Quartet Competition in 1978 and the Bratislava Competition in 1981. The Quartet made its North American debut tour in 1982. After several changes of personnel, the most recent addition is violist Richard O’Neill, following Geraldine Walther’s retirement in June, 2020. In 2001 the Takács Quartet was awarded the Order of Merit of the Knight’s Cross of the Republic of Hungary, and in March 2011 each member of the Quartet was awarded the Order of Merit Commander’s Cross by the President of the Republic of Hungary.

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TAKÁCS QUARTET A Violist’s Fondest Wish Comes True

By Marc Shulgold

If at first you don’t succeed, Richard O’Neill learned, just wait 15 or 16 years. That’s how long it took the viola player to get a second chance to become a member of the renowned Takács Quartet.

“I had auditioned back then (in 2005) when I learned there was an opening,” he said. Such vacancies are uncommon among world-class chamber groups. But here was his chance: Roger Tapping, the group’s violist of 10 years was departing. O’Neill understood that his youth would work against him. He was, after all, about half the age of two Takács veterans: cellist András Fejér and violinist Károly Schranz.

“That was pretty intimidating,” he remembered. “I was only in my mid-20s.”

He might have been disappointed at being passed over, but there was consolation in losing out to his idol of the viola, Geraldine Walther, who’d left as principal viola with the San Francisco Symphony. It all came full-circle last year, after Walther’s retirement following 15 years with the Takács led O’Neill, now 41, to audition once again – and be named her successor.

It’s been a long journey for the violist, whose mother, a Korean War orphan, was adopted by Mildred and Michael O’Neill of Sequim, Washington. With Richard’s birth (he was given Yongjae as a middle name), they became his grandparents, helping his developmentally disabled mother mother raise him. He has recently connected with his father.

He grew up in the small agricultural town of Sequim with a loving family that was not particularly immersed in classical music. And yet, for the young boy, a hunger emerged. “As a child, I loved listening to recordings, mostly chamber music, usually played by the Juilliard Quartet.” When he decided to learn an instrument, it’s no surprise that he began with the violin – what kid dreams of being a violist? “I got into a chamber music program in Seattle when I was 12, studying with Alan Iglitzin. I became pretty adept, playing Mendelssohn and others.”

Then fate stepped in. “I wanted to join a local youth orchestra, but there were no spots for another violin. They did need some violas, though.”

Let’s call it love at first sight – physical love: “My arms and upper body were sort of gangly,” O’Neill said. “I found it more comfortable playing (the slightly larger) viola.” Oh sure, he added, there was that wonderfully deep, rich sound he discovered in his new instrument.

That said, he was not about to make a clean break with his first love.

“I adored playing the violin, and for a while I tried to keep up both,” O’Neill said.

Soon he was following his growing fondness for chamber music. “I got together with friends, reading quartets. One of my teachers was encouraging, telling me not to focus only on orchestra auditions. He told me to just go for it, to develop my solo playing.”

In 2000, O’Neill was accepted into the summer music festival at Marlboro, Vermont. There, he met Harumi Rhodes, later to become second violinist with the Takács. Just to remind how small the world of chamber music is, she’s the daughter of Samuel Rhodes, longtime violist with O’Neill’s boyhood idols, the Juilliard Quartet. In fact, the elder Rhodes heard the young violist one-on-one at Marlboro, where O’Neill also sat in with members of the famed Quartet. “I was there to look and to experience,” he said.

That journey would lead him to discover music, pursue it passionately and grow into an admired player, learning from some of the best pedagogues. He would gain invaluable experience, tackling every sort of music that he could grab, whether as soloist, orchestra player or, most of all, as a chamber musician. And it all led up to one glorious moment: “This wish that I had has come true,” he said of his Takács appointment.

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More opportunities and more experiences came his way. He was accepted onto the ever-expanding roster of the Chamber Music Society of Lincoln Center in New York, and joined the faculty at the Music Academy of the West in Santa Barbara, along with Harumi Rhodes. Want another Takács connection? “There was a viola convention back in 1997 at Austin, Texas,” the violist recalled. “I studied with the great Karen Tuttle there, and I also had lunch with Geri (Walther). She was so warm and maternal to everybody. And what a sense of humor!”

Knowing all this, it seems inevitable that O’Neill would one day join the Takács Quartet. All those connections had to play a role in his being selected, right? “After my audition, I had no idea,” he insisted.

“You never assume anything. When I played, I was very nervous.

How Quartets choose players is such a mystery. Of course, they already knew me and how I worked in chamber groups.” Still, when he received that long-awaited phone call from the Takács, the joy he felt was unmeasurable.

So how has it been, now that he’s a member of the Takács? “Actually, I haven’t begun working them yet,” O”Neill said (our conversation was in early April). “I was supposed to debut with them at a concert in Michigan in June – but that was canceled because of the coronavirus.”

No matter – living the dream is all that matters right now. “I have so enjoyed my career and the way it unfolded. I believe that everything I did has made me a better musician,” O’Neill said. “Years ago, one of my teachers, Paul Neubauer (former principal viola with the New York Philharmonic), asked me what my goal was. I told him I wanted to play music in all of its forms, to be as flexible as possible, to use every opportunity given me to grow as an artist.”

Every step seemed to lead to his appointment with the Takács. “For me, the String Quartet is the perfect genre,” he agreed. “And I’m so looking forward to pursuing that.”

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Thank you to our friends at the Colorado Music Festival for this summer’s inspired festival of virtual classical music!

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CONCERT NOTES

THURS JULY 2 | 7:30PM

Virtual Festival | Sharon Isbin & Ji Su Jung: Women in Music ARTISTS Peter Oundjian, Music Director Sponsored by Caryl Fuchs Kassoy and David R. Kassoy Colorado Music Festival Orchestra Members: Jeffrey Work, Eric Berlin, Derek Lockhart, trumpet; Catherine Turner, Ross Snyder, Megan Evans, horn; Donna Parkes, Michael Hosford, trombone; Bryan Heath, bass trombone; Carson McTeer, tuba; Peter Wilson, timpani; Joseph Petrasek, Gerald Scholl, percussion Sharon Isbin, guitar Ji Su Jung, marimba PROGRAM Colorado Music Festival Orchestra Members Aaron Copland, Fanfare for the Common Man — Sharon Isbin Enrique Granados, Spanish Dance No. 5, “Andaluza” Antonio Lauro, Waltz No. 3, “Natalia” Leo Brouwer, El Decameron Negro “Lovers fleeing through the Valley of the Echoes” Naomi Shemer, Jerusalem of Gold Agustín Barrios Mangoré, Waltz, Op. 8, No. 4 — Ji Su Jung Howard Stevens, Rhythmic Caprice Keith Jarrett, The Köln Concert (Part IIC) — Colorado Music Festival Orchestra Members John Philip Sousa, The Washington Post March, arr. Empire Brass John Philip Sousa, The Stars and Stripes Forever, trans. Arthur Frackenpohl

Rhythmic Caprice by Leigh Howard Stevens, © 1989 Keyboard Percussion Publications Used with permission Sheet music available at www.mostlymarimba.com

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ARTIST BIOGRAPHIES SHARON ISBIN

JISU JUNG

Acclaimed for her extraordinary lyricism, technique and versatility, multiple Grammy Award winner Sharon Isbin was named the 2020 Musical America Worldwide Instrumentalist of the Year, the first guitarist ever to receive the coveted honor in its 59 year award history.

Soloist with over 200 orchestras, Isbin has performed in the world’s finest halls. Winner of the Toronto, Madrid and Munich ARD Competitions, Germany’s Echo Klassikand Guitar Player’s Best Classical Guitarist awards, she performed in Scorsese’s Oscar-winning The Departed, at Ground Zero for the first internationally televised 9/11 memorial, the White House by invitation of President Obama, and as the only classical artist in the 2010 Grammy Awards. The documentary Sharon Isbin: Troubadour, seen by millions on over 200 PBS stations across the U.S. and abroad, won the ASCAP Television Broadcast Award. Recent highlights include a commission for her

by Carnegie Hall, a 21-city Guitar Passions tour with jazz greats Stanley Jordan and Romero Lubambo, sold-out concerts at the Kennedy Center, Kimmel Center, and her most recent Carnegie Hall appearances included collaborations with Sting and in recital with Isabel Leonard.

Isbin’s catalogue of over 30 albums, from Baroque, Spanish/Latin and 20th Century to crossover and jazz-fusion have sold nearly a million copies and reflect her remarkable versatility. Her two latest releases in May 2020 of world premiere recordings of music composed for her are Affinity featuring Chris Brubeck’s acclaimed concerto for guitar and orchestra, and Strings for Peace, with India’s legendary Amjad Ali Khan in a program of ragas for guitar, sarod and tabla. Her 2019 release with the Pacifica Quartet, Souvenirs of Spain & Italy, debuted at #1 on Amazon and #2 on Billboard,and her Grammy-winning Journey to the New World with guests Joan Baez and Mark O’Connor spent 63 consecutive weeks on top Billboard charts. Isbin’s Dreams of a World earned her a Grammy for Best Instrumental Soloist, making her the first classical guitarist to receive the award in 28 years. Her recording of concerti composed for her by Christopher Rouse and Tan Dun was honored with a Grammy, and her Rodrigo Aranjuez with the New York Philharmonic, their only recording with guitar, received a Latin Grammy nomination.

Author of the Classical Guitar Answer Book, Isbin has premiered over 80 works written for her by some of the world’s finest composers, and directs the guitar departments at the Aspen Music Festival and The Juilliard School, which she created in 1989. www.sharonisbin.com

As an advocate for today’s modern solo percussion art, Ji Su Jung has a distinctive voice instantly recognizable for its lyricism and insight. Her breadth of skill carries her with equal ease from the solo marimba medium to multiple percussion solos and European theatrical works.

Born in South Korea, Jung is a rarity in the world of percussion having begun her studies at the age of four. Her exceptional talent was recognized early on and led to recitals and concerto performances at such a young age that she needed a small platform to stand upon just to reach the keyboard of the instrument. That platform was soon left behind as her stature and musical voice matured. Numerous solo performances throughout her native country followed eventually leading her move to the United States in 2011. She completed her undergraduate studies at the Peabody Conservatory of the Johns Hopkins University thanks to a generous grant from The Brookby Foundation in Wisconsin. Jung received her master’s degree from the Yale School of Music.

Her exceptional potential quickly blossomed into a professional musical voice leading her to concerto performances at the Jones Hall for the Performing Arts with the Houston Symphony, the Romanian Orchestra, the Kennedy Center in Washington, D.C., and throughout the United States. Jung was the first prize winner of the 2018 Ima Hogg Competition, as well as the Audience Choice award winner. In 2015, Jung was invited by NPR radio host Fred Childs to be a young artist in residence on his nationally syndicated program, Performance Today. During the week of her residency, she performed many of the seminal pieces in the marimba repertoire introducing the marimba to listeners in every corner of the country. Her concert for children while in Minnesota was highly successful demonstrating Jung’s love for bringing classical music to young audiences. Jung has presented master classes at the Peabody Conservatory, the Curtis Institute, New York University, The Shepherd School of Music at Rice University, and the Beijing Conservatory. In 2015, she was a laureate at the International Marimba Competition in Linz, Austria, that led to her joining an elite roster of solo artists endorsing the Adams line of concert marimbas.

With the rapidly expanding repertoire for percussion with other instruments, Jung has become an active chamber musician alongside of her solo concerts. In 2014, she was chosen through a national audition to be the percussionist at the renowned Yellow Barn Chamber Music Festival. There she played with many of today’s greatest chamber musicians including legendary pianist Gilbert Kalish and Roger Tapping formerly of the Takács String Quartet.

The following year she had the same honor at the Norfolk Chamber Music Festival in Connecticut, where she gave the world premieres of small ensemble pieces by six of today’s finest emerging composers.

Since 2018, Jung has appeared in performances throughout the U.S. and Asia with the Percussion Collective.

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SHARON ISBIN Collaborating to Create a Concerto

By Marc Shulgold

For a while, a few years back, Sharon Isbin’s phone began to ring with regularity – but not from scammers or nosey relatives. On the other end was Chris Brubeck, son of legendary jazz artist Dave Brubeck. And Isbin, one of the world’s leading classical guitarists, welcomed each of those calls.

The two were working closely together on a guitar concerto that Chris was composing for Isbin in 2015 – and this collaboration would result in a stunning, wildly adventurous work titled Affinity. Affinity was released last month can be heard here.

“Chris is one of the loveliest humans I’ve ever met.

He was amazing to collaborate with – always open to suggestion,” the guitarist said in conversation from her New York home. “He’d call and say, ‘Can I drop by?’

Then, he would show up with the music and run it by me.”

This is not the typical work ethic for composers, most of whom prefer to labor alone. But Brubeck is not your typical composer. And Isbin is not your typical guitarist.

He inherited his father’s jazz instincts, becoming an expert on trombone, keyboard and bass. In fact, he and his brother Matt toured with the elder Brubeck for years, before their father’s death in 2012. His interests grew and now extend all over the musical map – which perfectly blends with Isbin’s similarly eclectic tastes.

She’s played innumerable styles, seemingly comfortable in every genre.

The guitarist had come up with the idea of a collaboration after hearing Interplay, a piece that Chris had written for three violinists, each from three musical worlds: Nadja Salerno-Sonnenberg (classical), Regina Carter (jazz) and Eileen Ivers (traditional folk). “That music just stuck with me, and soon after, we talked about a concerto,” she said. The new work was commissioned by the Betsy Russell Fund for New Music, and had its premiere in April, 2016 with Elizabeth Schulze and the Maryland Symphony. It was an immediate hit, leading to an additional seven or eight performances, according to Isbin.

That said, the process of writing Affinity didn’t unfold easily – though the title brightly refers to the similar

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mind-sets of composer and soloist. A particular sticking point for the guitarist was the relaxed middle section of the piece, serving as a welcome respite between the dazzling outer segments of virtuoso playing by soloist and orchestra. For Isbin, that middle part just wasn’t right. And she had no trouble voicing her cool response.

“I just didn’t connect with it,” she said of that section of Brubeck’s original score. “Somehow, over the years, I’ve learned to trust my instincts. I said to him, ‘Would you like to pay homage to your father?’ ” Her suggestion opened things up. Brubeck agreed that this would be an opportunity to remember Dave, whose death he was still mourning, along with the passing of his mother in 2014. In his program notes for the concerto, Chris recalled a peaceful moment while working in the Connecticut studio he had shared with his father: “It was October, and gazing out a window overlooking a stream surrounded by glorious trees, I saw the wind spin a few golden leaves off their branches and they lazily circled down to the water.”

the pairing makes perfect sense. “Really, each of them showcases similar styles. Each connects with listeners on a global scale.”

The guitarist then suggested a closer, more subtle connection between the two concertos. The central section of Brubeck’s work, as we’ve noted, is a quiet homage to the composer’s father. A similar remembrance colors the beautiful slow movement of Rodrigo’s Concierto – a sub-plot unknown to many listeners, and one, it seems, is considered by experts to be a myth. The Adagio, Isbin said, represented Victoria Rodrigo’s grief after her miscarriage.

That occurred in 1939, the year of the work’s completion. Those who believe in that story (including this writer) point to the lovely ending of the Adagio, with its slow, understated, ascending arpeggio, seeming to depict a peaceful journey up to heaven.

That lovely scene reminded him of a song the elder Brubeck had written years before, Autumn in Our Town. Its lyrics, so perfectly matched with the melody’s dreamy descending line, spoke to Chris.

The words set the song’s mood: “The village green is golden now.

Autumn leaves flame and flutter down. October days in golden haze drift through our New England town.”

The resulting arrangement of that tune became, in Isbin’s words, “the soul and heart of the piece. It was truly a union of Chris and his father.”

As it turned out, that was the easy part in the concerto’s creation.

“I spent hours and hours editing the score,” the guitarist recalled.

“I must have spent hundreds of hours just on the first page” – a dazzling display of six-string pyrotechnics exploding right from the first bar. True to the spirit of collaboration, Brubeck was on board with all her changes.

“He said, ‘Whatever works. I knew you would fix things,’ ” she said. “And I did take out large chunks. The original cadenza (a traditional concerto’s unaccompanied show-off section) was unplayable. Actually, we ironed it out about three days before the first performance.”

Audiences’ unfamiliarity with Affinity will no doubt be balanced by the oft-heard melodies of Rodrigo’s inescapable Concierto. For Isbin,

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The stars of tomorrow are on stage today in Boulder.

In the shadow of the Flatirons, the next generation of music makers is learning from the best at the CU Boulder College of Music.

And you can be there in the audience as they make breakthroughs on stage.

Join us for the future of music at colorado.edu/music

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ASPEN MUSIC

at Home

FESTIVAL AND SCHOOL

JULY 4–AUGUST 23 The Aspen Music Festival and School presents a virtual summer festival free for all to view from the comfort and safety of your home or personal device.

Events include fresh, new live recitals, teaching insights, panel discussions, in-depth seminars, and artists such as pianist Daniil Trifonov, soprano Renée Fleming, cellist Alisa Weilerstein and pianist Inon Barnatan, and more.

FIND INFORMATION AND WATCH AT WWW.ASPENMUSICFESTIVAL.COM

CONCERT NOTES

THURS JULY 9 | 7:30PM

Virtual Festival | Violinist Augustin Hadelich This evening’s concert is sponsored by: James and Lina Toro Beckley in loving memory of Horacio and Livia Toro ARTISTS Peter Oundjian, Music Director Sponsored by Caryl Fuchs Kassoy and David R. Kassoy Augustin Hadelich, violin PROGRAM Johann Sebastian Bach, Sonata No. 1 in G Minor, BWV 1001 III. Siciliana IV. Presto Eugène Ysaÿe, Sonata No. 4 in E Minor II. Sarabande Francisco Tarrega, Recuerdos de la Alhambra DETAILS Grammy-winning violinist Augustin Hadelich, an artist of “scarcely believable commitment” (New York Times), joins Music Director Peter Oundjian at his home for an intimate performance of Tárrega’s Spanish-flavored “Memories of the Alhambra,” as well as works by Bach and Ysaÿe.

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ARTIST BIOGRAPHY AUGUSTIN HADELICH Augustin Hadelich is one of the great violinists of our time. Often referred to by colleagues as a “musician’s musician, he was named Musical America’s 2018 “Instrumentalist of the Year”.

Mr. Hadelich will appear with over 25 North American orchestras in the 2019/2020 season, including the symphony orchestras of Boston, Cleveland, New York, Montréal, Cincinnati, Pittsburgh, Minnesota, Houston, Oregon, Seattle, Toronto, and numerous others.

International highlights of the season include performances with the Philharmonia Orchestra (London), NDR Elbphilharmonie Orchestra (Hamburg), Danish National Symphony, Oslo Philharmonic, Finnish Radio Orchestra, and the Hong Kong Philharmonic, to name a few.

He is also a frequent guest artist with major orchestras in the Far East, South America, Mexico, New Zealand, and Australia.

Augustin Hadelich is the winner of a 2016 Grammy Award for his recording of Dutilleux’s Violin Concerto, L’Arbre des songes, with the Seattle Symphony under Ludovic Morlot (Seattle Symphony MEDIA). Recently signed to Warner Classics, his first release on the label – Paganini’s 24 Caprices – was released in January 2018. His second recording for Warner Classics, the Brahms Concerto (with Mr. Hadelich’s own cadenza) and the Ligeti Concerto (with cadenza composed by Thomas Adès) followed in 2019. A new recording Bohemian Tales, to be released this fall, will include his performance of the Dvořák Violin Concerto with the Bavarian Radio Symphony Orchestra conducted by Jakub Hrůša.

Born in Italy, the son of German parents, Augustin Hadelich is now an American citizen. After winning the Gold Medal at the 2006 International Violin Competition of Indianapolis, concerto and recital appearances on many of the world’s top stages quickly followed. Other distinctions include an Avery Fisher Career Grant (2009); a BorlettiBuitoni Trust Fellowship in the UK (2011); the inaugural Warner Music Prize (2015); as well as an honorary doctorate from the University of Exeter in the UK (2017). Augustin Hadelich plays the violin “Leduc, ex-Szeryng” by Giuseppe Guarneri del Gesù of 1744, generously loaned by a patron through the Tarisio Trust.

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AUGUSTIN HADELICH Hadelich Explores New Possibilities for Performance

By Marc Shulgold As the effects of the Covid-19 virus continue to alter life as we’ve known it, concert halls stand empty around the world, forcing touring musicians to rethink ways of sharing their artistry with audiences.

“I keep looking for how we can present music performances,” the New York-based violinist says. “I’m really more of a traditionalist, so I’m not necessarily searching for something new. But, if I do find something different...”

World-renowned violinist Augustin Hadelich is anxious to move beyond the now-standard approach of recording a sterile Youtube video at home. And he thinks he’s come up with a charming alternative.

After learning of the Festival’s cancellation, Hadelich got in touch with Oundjian, who also resides in the Big Apple. “Peter told me he wanted to do something special, and suggested I visit his house and play some pieces. We both wanted to find a way to make this work.”

Originally scheduled to play the Beethoven Concerto at the Colorado Music Festival this summer, Hadelich will now participate in the CMF’s ambitious virtual festival – but in a relaxed, intimate way.

Interspersed with pre-recorded solo performances recorded at the home of CMF Music Director Peter Oundjian, the two old friends will engage in a bit of spontaneous conversation.

In late May, the two men starred in a video shot in Oundjian’s home, with the violinist’s wife manning two cameras, lights and a microphone. “We saw ourselves taking a leap into the 21st Century,” Hadelich jokes. Still, this was approached as a serious project. “Peter wanted to create a feeling of inviting viewers into his home for some

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music and conversation. But there was a danger in making this look too home-made,” he observes.

The resulting video includes about 25 minutes of solo playing by Hadelich. He’ll perform some Bach – the Siciliana and Presto from the First Sonata – the Sarabande from Belgian violinist/composer Eugène Ysaÿe’s Sonata No. 4, and a true dazzler, guitar great Francisco Tarrega’s Recurerdos de la Alhambra.

Classical guitar fans know that work as a brilliant test of a player’s command of tremolo accompaniment underneath a gentle melody.

In this arrangement by Ruggiero Ricci, those tremolos emerge through the tricky control of the violinist’s bouncing bow.

“Peter was quite intrigued by the piece, and was quite pleased to have me perform it,” Hadelich recalls. A few daring violinists have tackled the Tarrega as an encore, drawing dropped jaws and enthusiastic reactions from concert audiences. Not so in this intimate performance. But that’s life in the age of socially distanced concertizing.

Strange times indeed. “I’ve been at home for three months,” Hadelich says. “I can’t remember the last time I was home for that long. I’ve tried to stay active, but it’s been difficult for me to be so isolated. I’m so looking forward to playing with other musicians once again.”

He’ll have a start at that later this summer, when he travels to Tanglewood in western Massachusetts, for an hour-long recital with pianist Orion Weiss – without an audience. Looking far into the future, April of 2021, the violinist will premiere a new concerto

by Irish composer Donnacha Dennehy, with the Oregon Symphony and, at last, a full concert hall.

For now, his live audience will be his wife and videographer, with hopes that home-based viewers will enjoy his brilliant musicianship and engaging personality. Hadelich understands that necessity is the mother of YouTube videos. “I’m actually starting to get pretty good at working in other formats. But this is not a replacement,” he cautions of his performances sans audiences. “This is not a substitute for the live concert experience. Performers are just finding ways to make this work, keeping the music going until normal life returns.”

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CONCERT NOTES

THURS JULY 16 | 7:30PM

Virtual Festival | Pianist Jan Lisiecki Performs Beethoven This evening’s concert is sponsored by: Boulder CPA Group ARTISTS Peter Oundjian, Music Director Sponsored by Caryl Fuchs Kassoy and David R. Kassoy Jan Lisiecki, piano PROGRAM Cadenzas from: Ludwig van Beethoven, Piano Concerto in C Major, Op. 15 Ludwig van Beethoven, Piano Concerto in B-flat Major, Op. 19 Ludwig van Beethoven, Piano Concerto in C Minor, Op. 37 Ludwig van Beethoven, Piano Concerto in G Major, Op. 58 DETAILS Music Director Peter Oundjian calls the award-winning Jan Lisiecki “one of the greatest piano talents of all time.” In this unique concert, Lisiecki performs the cadenzas — showstopping passages included to showcase a musician’s talent and style — from Beethoven’s piano concerti.

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ARTIST BIOGRAPHY JAN LISIECKI Jan Lisiecki’s interpretations and technique speak to a maturity beyond his age. At 25, the Canadian performs over a hundred yearly concerts worldwide, and has worked closely with conductors such as Antonio Pappano, Yannick NézetSéguin, Daniel Harding, and Claudio Abbado (†).

Following his acclaimed Night Music recitals, 2019 sees Lisiecki present both a new solo recital program and a Beethoven Lieder cycle with Matthias Goerne. Return invitations include Boston Symphony Orchestra, The Philadelphia Orchestra, Filarmonica della Scala, Orchestra dell’Accademia Nazionale di Santa Cecilia, and Orpheus Chamber Orchestra for performances at Carnegie Hall and Elbphilharmonie Hamburg.

Lisiecki has appeared with the New York Philharmonic, San Francisco Symphony, Staatskapelle Dresden, Bavarian Radio Symphony and London Symphony Orchestra.

Having signed an exclusive contract with Deutsche Grammophon at fifteen, Lisiecki’s sixth album for the label sees him leading the Academy of St Martin in the Fields from the piano for all five Beethoven concertos. The September 2019 release, recorded live from Konzerthaus Berlin, is the first within the label’s celebration of the Beethoven Year 2020. In March 2020, Deutsche Grammophon released Beethoven Lieder with baritone Matthias Goerne. Earlier recordings have been awarded with the JUNO Award and ECHO Klassik.

At eighteen, Lisiecki became both the youngest ever recipient of Gramophone’s Young Artist Award and received the Leonard Bernstein Award. He was named UNICEF Ambassador to Canada in 2012.

Photo: ©Christoph Köstlin, Deutsche Grammophon

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JAN LISIECKI A Pianist Shares the Joy of Playing

By Marc Shulgold

Before we visit with this marvelous young musician, let’s get a couple of things out of the way.

First, how to pronounce his name: Jan Lisiecki doesn’t sound anything like it looks. So, let’s say it together: Yon LihSHETT-ski. His parents, as you might have guessed, are Polish, though his family have been longtime residents of Canada.

Next, it’s time to get past the non-stop media blitz from 15 years ago after he burst on the scene as a pre-teen Wunderkind. The words ‘genius’ and ‘prodigy’ followed the boy wherever he performed – which was often.

If you check out some early Youtube videos, the hype was well-deserved. At 10, and as a teen, he was indeed a wonder to behold. Yet in every interview then and now, he quietly but vehemently dismissed those labels. “I just wanted to play the music,” he insists. “I never allowed anyone to call me a prodigy.”

Today, he’s 25 – way beyond the hype.

However, he remains boyishly handsome, modest to a fault and is still engaged in a busy, successful concert career.

In March, we chatted by phone from his parents’ home in Calgary, Alberta, where he’d been holed up due to concert cancellations caused by the coronavirus pandemic. Clearly, he was happy to be resting in the town where he was born. But how did the family arrive in Canada? “We’d moved to Calgary because my Dad loved the mountains,” recalled Lisiecki.

“Both of my parents are horticulturists, very bright people. They encouraged me in all sorts of pursuits. I loved skiing and math, and I started learning piano. But then, it took over my life.”

Studies began early, and proceeded with remarkable speed. “At 5, I began with a local teacher, who soon referred me to her teacher. I stayed with her for seven or eight

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Photo: ©Christoph Köstlin, Deutsche Grammophon

years. By the time I was 15, I had no teacher. I just felt I had moved on. Teachers are there mainly to inspire you.” He enrolled at the University of Toronto, later beginning serious studies with Marc Durand at the University of Montreal. “Marc took me to another level,” the pianist said. “He nurtured my own talents.” Over the next few years, Lisiecki kept his home base in Calgary, flying to Montreal once or twice a month for intensive lessons with Durand, mostly to polish up new additions to his repertoire.

The transition from a clever, adorable boy with an unruly head of blond hair to serious professional musician seemed to unfold with magical ease. “I was very fortunate every step of the way,” he admitted. Soon, there were performances and photo-op appearances with such concert stars as Yo-Yo Ma and Emanuel Ax. And concerts – lots of concerts, including a performance before Queen Elizabeth II and a crowd of 100,000 on Canada Day in 2011.

To all who met Lisiecki, it was clear that he kept his head on straight.

For that, he gives credit to his parents. “They’d always ask me, ‘Are you sure you want to do this?’ They didn’t want me to limit myself.

They understood my passion for playing, but they stressed that I also had to do well in school, to have something in reserve in case a music career didn’t work out. ” But it did. Big time. The pianist’s performing calendar quickly began to fill, now averaging 100 concerts each season. The grind of travel, hotels, rehearsals, concerts, interviews, plus endless meet-andgreets does take its toll, he confessed. “The life of a musician isn’t for everybody. You just have to make it special.”

A pianist, let’s remember, is not the sole presence in a concerto performance – the orchestra and, most significantly, the conductor are equal participants. Here, Lisiecki was outspoken in his praise of his conductor, Festival Music Director Peter Oundjian. “I’ve worked with Peter, and he is one of those special people. So kind and gracious. An ideal collaborator.”

Surely, this talented, self-effacing musician has experienced only warm relations with conductors during his busy concert career.

Not necessarily, he replied with a chuckle. “I do have a black list (of conductors he’d rather avoid). It’s not many – I could count them on one hand. But there have been some.”

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CONCERT NOTES

THURS JULY 23 | 7:30PM

Virtual Festival | Brooklyn Rider This evening’s concert is sponsored by: Blue Federal Credit Union ARTISTS Peter Oundjian, Music Director Sponsored by Caryl Fuchs Kassoy and David R. Kassoy Colorado Music Festival Orchestra Members: Jeffrey Work, Eric Berlin, Derek Lockhart, Michael Fedyshyn, trumpet Brooklyn Rider PROGRAM Colorado Music Festival Orchestra Members Joan Tower, Fanfare for the Uncommon Woman No. 5 — Brooklyn Rider Gabriela Lena Frank, Kanto Kechua #2 Reena Esmail, Zeher (Poison) Kinan Azmeh, “Dabke on Martense Street” DETAILS In this fresh and inventive program, Brooklyn Rider, “four classical musicians performing with the energy of young rock stars jamming on their guitars” (Pittsburgh Post-Gazette), explores the profound healing power of music through dynamic works by composers with a wide array of backgrounds and perspectives. To commemorate the 100th anniversary of the passage of the 19th Amendment, Festival musicians also perform Fanfare for the Uncommon Woman No. 5 by composer Joan Tower.

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ARTIST BIOGRAPHY Kyle Sanna, and Brooklyn Rider violinist Colin Jacobsen. Works from that recording were also featured in live performance for Some of a Thousand Words, the ensemble’s recent collaboration with choreographer Brian Brooks and former New York City Ballet prima ballerina Wendy Whelan. They also teamed up with banjoist Béla Fleck — with whom they appeared on two different albums, 2017’s Juno Concerto and 2013’s The Impostor — for concerts in Texas, Oklahoma, Arkansas, Colorado, and Montana. Other recent highlights include partnering with two instrumentalists who are at the forefront of their respective genres, jazz saxophonist Joshua Redman and Irish fiddle master Martin Hayes.

BROOKLYN RIDER

“They are four classical musicians performing with the energy of young rock stars jamming on their guitars, a Beethoven-goes-indie foray into making classical music accessible but also celebrating why it was good in the first place.” – Pittsburgh Post-Gazette Hailed as “the future of chamber music” (Strings), the veteran string quartet Brooklyn Rider presents eclectic repertoire and gripping performances that continue to draw rave reviews from classical, world, and rock critics alike. NPR credits Brooklyn Rider with “recreating the 300-year-old form of string quartet as a vital and creative 21st-century ensemble.”

In fall 2018, Brooklyn Rider released Dreamers on Sony Music Masterworks with celebrated Mexican jazz vocalist Magos Herrera.

The recording includes gems of the Ibero-American songbook as well as pieces written to texts by Octavio Paz, Rubén Darío, and Federico García Lorca — all reimagined by arrangers including Jaques Morelenbaum, Gonzalo Grau, Diego Schissi, Guillermo Klein, and Brooklyn Rider’s own Colin Jacobsen.

In 2017, Brooklyn Rider released Spontaneous Symbols on Johnny Gandelsman’s In a Circle Records label. The album featured new quartet music by Tyondai Braxton, Evan Ziporyn, Paula Matthusen,

In 2016, Brooklyn Rider released an album entitled so many things on Naïve Records with Swedish mezzo-soprano Anne Sofie von Otter, comprising music by Colin Jacobsen, Caroline Shaw, John Adams, Nico Muhly, Björk, Sting, Kate Bush and Elvis Costello, among others. The group toured material from the album and more with von Otter in the U.S. and Europe, including stops at Carnegie Hall and the Opernhaus Zürich. Additionally, Brooklyn Rider performed Philip Glass’s String Quartet #7, furthering a relationship with the iconic American composer which began with 2011’s much-praised Brooklyn Rider Plays Philip Glass and continued with the release of Glass’s most recent quartets on the composer’s Orange Mountain Music label in December 2017.

In 2015, the group celebrated its tenth anniversary with the groundbreaking multi-disciplinary project Brooklyn Rider Almanac, for which it recorded and toured 15 specially commissioned works. Other recording projects include the quartet’s eclectic debut recording in 2008, Passport, followed by Dominant Curve in 2010, Seven Steps in 2012, and A Walking Fire in 2013. In 2016, they released The Fiction Issue with singer-songwriter Gabriel Kahane, with the title that was premiered in 2012 at Carnegie Hall by Kahane, Brooklyn Rider and Shara Worden. A long-standing relationship between Brooklyn Rider and Iranian kamancheh player Kayhan Kalhor resulted in the much-praised 2008 recording, Silent City.

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BROOKLYN RIDER Brooklyn Rider Rides Again

By Marc Shulgold

Brooklyn Rider. What a cool name for a string quartet. And just as the foursome chose a memorable moniker, the 15-year-old group has adopted an aggressive artistic goal.

Violist Nicholas Cords sums it up succinctly: “We want to remove the barriers that some people have about new music.” Through 15 albums and a schedule of 50-60 touring concerts a year, the quartet has turned heads and won a lot of converts to the challenging and exciting world of contemporary chamber music.

Alas, Cords lamented, the coronavirus has caused live concertizing to ground to a halt, resulting in 30 cancellations, including a European tour and a visit to this summer’s Colorado Music Festival.

Though the Festival also fell victim to Covid-19, fear not, lovers of chamber music. Brooklyn Rider is back in the saddle and coming to town. Well, virtually.

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On July 23, the group will perform three works through the magic of internet video. Just as the Takács Quartet opened the virtual Festival by nimbly combining performances with conversation (chatting long-distance with music director Peter Oundjian), Brooklyn Rider plans to follow suit, blending music by Gabriela Lena Frank, Reena Esmail and Kinan Azmeh with informal discussions with the composers and, perhaps, Oundjian. “We’re doing what we can,” Cords says. “These pieces, and the others we were scheduled to play in Boulder (including works by Caroline Shaw, Du Yun and Matana Roberts) are all part of an ongoing project titled Music and Healing.”

In March of this year, the Quartet released a CD titled “Healing Modes,” featuring two of the works scheduled for their virtual Festival concert.

Of particular interest on that July program is a new piece by Azmeh,

heard in its online premiere. The Syrian-born clarinetist has written perhaps the first chamber work to emerge during the pandemic.

“It’s a celebratory piece,” Cords says of Dabke on Martense Street, commissioned by the group. The title refers to a street in Brooklyn that becomes the site of an imaginary block party. The music is an Arabic dance known as a Dabke, popular in the Middle East, honoring love, life and struggle.

The group’s tastes seem to run all over the world map – which creates some delicious challenges for Cords and his colleagues: violinists Johnny Gandelsman and Colin Jacobsen and cellist Michael Nicolas.

“Our repertoire isn’t limited to just one type of music,” the violist stresses. “It’s wide open. In our way, we’re trying to expand the (string quartet) tradition.”

Good things usually happen when the ensemble hooks up with talented music-makers, Cords says. “Once we learn a new piece, we can then develop a relationship with it. There are composers we’ve gotten to know who know our style, so they’ll write to our strengths.

But they’ll often push us into something that we don’t know. The piece by Matana Roberts (borderlands) has a score that looks more like a painting than regular music.”

In these days of pandemic, it seems appropriate that the three works on Brooklyn Rider’s virtual concert have themes related to the group’s interest in music and healing. Azmeh’s celebration of a virusfree street dance shares the program with two pieces by women who had recently recovered from serious illnesses: Kanto Kechua #2 by the Bay Area composer Gabriela Frank, and Zeher (meaning Poison) by southern Californian Reena Esmail, a much-performed purveyor of Indian Hindustani traditions.

The Quartet does play works from earlier centuries. In fact, their original Boulder concert was to conclude with Beethoven’s Opus 132 – included, incidentally, on their “Healing Modes” CD. Mostly, the group remains committed to commissioning, learning, performing and recording music from this century. Even something created in these days of world crisis.

Old or new, every piece receives the players’ full attention, Cords emphasizes. “As a member of any string quartet, you’re an advocate for the music you play. We have had a good success rate with new works. You have to believe that every piece can stand on its own.”

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NOW OPEN

ON HOLD

OPEN TUE - SAT 10AM TO 3PM

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CONCERT NOTES

THURS JULY 30 | 7:30PM

Virtual Festival | Festival Finale: Beethoven 7 This evening’s concert is sponsored by: Gordon and Grace Gamm ARTISTS

Peter Oundjian, Music Director Sponsored by Caryl Fuchs Kassoy and David R. Kassoy Colorado Music Festival Orchestra Members: Andrea Mumm, harp; Calin Lupanu, Monica Boboc, violin; Joseph Meyer, viola; Marlene Ballena, cello; Viviana Cumplido Wilson, flute; Steve Hanusofski, clarinet Ivalas Quartet: Reuben Kebede, Anita Dumar, violin; Aimée McAnulty, viola; Pedro Sánchez, cello Michelle and Christina Naughton Piano Duo Colorado Music Festival Orchestra PROGRAM

Colorado Music Festival Orchestra Members Maurice Ravel, Introduction and Allegro — Ivalas Quartet Joseph Haydn, String Quartet in D Major, Op. 71 No. 2 I. Adagio-Allegro Jessie Montgomery, Strum — Michelle and Christina Naughton Piano Duo Claude Debussy, Menuet from Petite Suite, L. 65 Claude Debussy, En blanc et noir, L. 134 George Walker, Sonata for 2 Pianos (2nd movement) Sergei Rachmaninoff, Suite No. 2 for Two Pianos, Op. 17 II. Valse Conlon Nancarrow, Sonatina (arr. for piano, 4 hands) III. Cantata Profana — Colorado Music Festival Orchestra Ludwig van Beethoven, Symphony No. 7 in A Major, Op. 92 II. Allegretto IV. Allegro con brio

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ARTIST BIOGRAPHY Especially passionate about American 20th century music, Christina and Michelle have immersed themselves in several projects devoted to this theme. “American Postcard”, their second album of their exclusive signing with Warner Classics, showcases a variety of 20th century American compositions and commissions by composers such as John Adams, Aaron Copland, Conlon Nancarrow, and Paul Schoenfield. Additionally, they have premiered several works such as commissions by the LA Phil’s Green Umbrella series, a world premiere of John Adams’ “Roll Over Beethoven” at NYC ’s WQXR Greenespace, a European premiere of Paul Lansky’s “Shapeshifters” with Solistees Europeans Luxembourg, a weeklong chamber music residency with musicians of the New World Symphony, and several concerts devoted to 20th century American music at Germany’s Klavierfestival Ruhr.

CHRISTINA & MICHELLE NAUGHTON

“Indeed, I’m ready to put them on a level with some of the greatest piano duos of our time...They have to be heard to be believed” said the Washington Post of Christina and Michelle Naughton. They have captivated audiences throughout the globe with the unity created by their mystical communication, as reported by the Wall Street Journal, in Christina’s own words, “There are times I forget we are two people playing together”. The Naughtons work as a duo was recently recognized in 2019 as they became the first piano duo to receive the Avery Fisher Career Grant presented by Lincoln Center.

Christina and Michelle Naughton’s career was launched in 2009 with a recital debut at Kennedy Center; and an orchestral debut at the Mann Center with the Philadelphia Orchestra, which led the Philadelphia Inquirer to characterize their playing as “paired to perfection”. Subsequently, they began their careers in Europe and Asia; at Munich’s Herkulesaal and with the Hong Kong Philharmonic respectively. These appearances were met with much critical acclaim, with the Suddeutsche Zeitung proclaiming the Naughtons an “outstanding piano duo” and the Sing Tao Daily responding by the description “Joining two hearts and four hands at two grand pianos, the Naughton sisters created an electrifying and moving musical performance”.

The Naughtons discography features a wide variety of musical styles. Their first album, released on the German label ORFEO in 2012 focuses heavily on traditional Classic and Romantic selections.

It was praised by Der Spiegel Magazine for “stand(ing) out with unique harmony, and sing(ing) out with stylistic confidence, and described by Classics Today as a “Dynamic Duo Debut”. In February of 2016 they debuted on the Warner Classics label with “Visions”, comprised of the music of Messiaen, Bach, and Adams, chosen as “Editor’s Choice” by Gramophone Magazine.

Christina and Michelle have performed with orchestras including the Philadelphia Orchestra, Atlanta, Baltimore, Detroit, Hawaii, Houston, Minnesota, Nashville, New Jersey, North Carolina, St. Louis, Virginia Symphonies; the Buffalo and Naples Philharmonics, as well as The Mahler Chamber Orchestra, Royal Scottish National Orchestra, St. Petersburg Philharmonic, Royal Flemish Philharmonic (Belgium), l’Orchestre Philharmonique de Strasbourg, the Frankfurter Opern-and Museumsorchester, Hamburg Chorus, Kiel Philharmonic, Norddeutsche Philharmonic Rostock, the Netherlands Philharmonic at the Royal Concertgebouw, The Hong Kong Philharmonic, and New Zealand Symphony.

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FESTIVAL FINALE The Political Beethoven

By Marc Shulgold

The world changed drastically during Beethoven’s life. There were violent revolutions, the rise and fall of Napoleon, the reshaping of Europe, etc. Creative artists took notice of those changes. Some, in fact, helped spur on society’s new ways of looking at their world.

At the center of cultural life in Vienna stood the colossal figure of Beethoven, who watched intently as things were unfolding, hardly an innocent bystander. So, what was his political thinking?

The seeds of that monumental ode to Mankind and its quest for happiness – the Symphony No. 9 – were actually planted years earlier. Friedrich Schiller’s multi- verse “Ode to Joy” made a huge impression on the young composer, who kept a copy of the poem, vowing to one day set it to music. In 1824, a shortened version ended up as the choral finale to the Ninth, thrilling audiences with its plea for togetherness (“All men shall be brothers,” the chorus sings ecstatically).

Let’s look at an earlier composition – his incidental music to the play Egmont, contributed to an 1810 production. The plot of Johann von Goethe’s 1787 work might seem far removed from Viennese life, yet, on the contrary, the story rang true for theater-goers. It tells of a 16th century nobleman named Count Egmont, who became a martyr during the Netherlands’ revolt against the occupying Spanish. Why revive the play in 1810? Those in attendance related strongly to its story, having survived the siege of their city by Napoleon the previous May. At the finale of Goethe’s play, the Count addresses his audience

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directly as he awaits execution, calling on them to fight and, if necessary, to sacrifice their lives. His stirring speech was then followed by Beethoven’s equally inspiring “Victory Symphony.”

Napoleon had already played a major role in the composer’s life.

Beethoven embraced the Frenchman’s early promises to modernize the continent, summarized in the Napoleonic Code, which upgraded the legal system and introduced new liberal ideals. In honor of this great man, Beethoven wrote his “Bonaparte” Symphony. When news reached him that his hero had declared himself Emperor, the composer furiously scratched out the dedication on the work’s title page. Instead, his expansive Third Symphony would be re-titled “Eroica” – heroic.

empire and the ending of an era when political power had been wielded by a handful of kings and emperors. These figures, some of them ruthless, had demanded respect from the masses, who bowed when these sovereigns strolled by.

But Beethoven would have none of that, once famously walking past some nobles without doffing his hat. After all, he was Beethoven! He sensed that the world would always treasure him and his art, while barely recalling the rich and powerful. Of course, he was right.

The downfall of Napoleon in 1815 led to the Congress of Vienna, a gathering of Europe’s heads of state, assembled to redraw boundaries, write treaties, establish trade agreements and generally celebrate the end to years of war. As part of the Congress, those revered leaders were entertained by plays, grand balls and music

by Beethoven. New choral and instrumental works were unveiled, including his Symphony No. 7 (performed as a finale to the Colorado Music Festival’s virtual concerts).

There were other Beethoven works as well – most of them forgettable, some downright embarrassing, their gushing exaltations glorifying the attending heads of state and the greatness of Germany and Vienna. All naivete aside, Beethoven was sincerely voicing his dreams of a new, peaceful Europe.

One more revealing example of his political ideals: Fidelio. Unlike prolific contemporary composers such as Rossini, Ludwig had a heck of a time writing this, his only opera, taking 10 years to complete it. Along the way, he changed its name from Leonore to Fidelio, shortening it, writing four overtures and seemingly straining to write every note.

The story tells us much about the composer’s love of freedom: Florestan was being held prisoner in a dark Spanish dungeon, jailed for his political disagreements with the ruling Prince. His wife, Leonore, disguises herself as a man (Fidelio) and enters the prison seeking work, as step one in her mission to liberate her husband.

Apart from the intense love story – which ends happily – are the dramatic depictions of the unfairly jailed prisoners, who enjoy a brief moment in the prison’s courtyard before receiving forgiveness and freedom from the new Prince.

Beethoven must have felt joy as he witnessed the fall of Napoleon’s

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FESTIVAL FELLOWS The Colorado Music Festival’s Festival Fellows program hosts a total of eight aspiring professional musicians in Boulder, Colorado. Up to four of these Festival Fellows will be selected by the Sphinx Organization, whose goal is to address “the social issue of under-representation of people of color in classical music.” Fellows are invited to perform up to two concerts per week within the ranks of the Festival Orchestra, as well as at various outreach concerts within the community — all while being coached by the Festival’s illustrious, resident guest musicians.

She received her Master’s Degree in 2018 from the New England Conservatory where she was a student of Paul Biss and Miriam Fried.

Joshua Kail, viola

Selected by the Sphinx Organization:

Ivalas Quartet Founded in Ann Arbor in 2016, the Ivalas Quartet is composed of violinists Reuben Kebede and Anita Dumar, violist Aimée McAnulty, and cellist Pedro Sánchez. Ivalas has performed with artists such as the Calidore String Quartet, Imani Winds, Danielle Belen, David Ying, and Patricia Terry-Ross. The quartet has also been heard on WRCJ 90.9 FM’s Classical Brunch series and appeared at the inaugural Detroit Music Weekend. Maintaining their commitment to community engagement, Ivalas has also represented the Sphinx Organization playing for students in Flint and the Metro Detroit area. Recently awarded first prize in the 2019 WDAV Young Artists Chamber Music Competition, the quartet also took first prize 2018 Briggs Chamber Music Competition and was named a semifinalist group at both the M-Prize competition and Concert Artists Guild competition in New York.

Selected through an invitation-only audition process:

Joshua Halpern, cello

Jennifer Liu, violin Violinist Jennifer Liu delights audiences as a performer, teacher, and arts advocate. She began her violin studies at the age of four in Los Angeles with her mother. She moved to New York City at age 15 to study with Itzhak Perlman and Catherine Cho at The Juilliard School. She finished her studies as a proud recipient of the Kovner Fellowship at Juilliard under the tutelage of Sylvia Rosenberg and Donald Weilerstein.

Gergana Haralampieva, violin Gergana Haralampieva is a Bulgarian-American violinist based in New York City. Born into a family of music teachers, Gergana began singing in her father’s children’s choir at the age of three and playing the violin at the age of six. At eleven, she began attending New England Conservatory’s Preparatory School and later the Walnut Hill School for the Arts. She obtained her Bachelor’s Degree at the Curtis Institute of Music, studying with Ida Kavafian and Pamela Frank.

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Joshua Kail, violist, started on the violin at the age of seven.

Through Opus 118’s violin program based in East Harlem, he took violin classes twice a week at his public elementary school, Central Park East II. He later attended Special Music School, which offered a vigorous learning environment for both music and academics. In the fall of 2012, Josh won the concerto competition at Lucy Moses School/Special Music School and performed with an orchestra in 2013 in Merkin Hall under the baton of Nathan Herrington. He continued his studies at Special Music School High School, where he switched to viola and also won the strings category of their competition in his junior year. Josh has participated in numerous music programs and music festivals, including New York Youth Symphony, the Chamber Music Program at NYYS, Greenwood Music Camp, Face the Music, Interlochen, and Juilliard PreCollege, where he studied with Hsin-Yun Huang, Yi-Fang Huang, and Molly Carr. He spent four summers at the Perlman Music Program as a Dusenberry Scholar, where he enjoyed studying with Kirsten Docter and Carol Rodland, while immersing himself in great chamber music with guru Merry Peckham. This past summer he attended Taos School of Music and worked closely with the Borromeo, Shanghai and Brentano String Quartets. He spent the rest of his summer teaching at various festivals. Joshua is a recent semi-finalist of The Stulberg International String Competition. He is a junior at The Juilliard School, under the tutelage of Hsin-Yun Huang and Heidi Castleman.

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Joshua Halpern, cello, is a graduate of the Curtis Institute of Music in Philadelphia and the Shepherd School of Music at Rice University, where his teachers included Carter Brey, Peter Wiley, and Desmond Hoebig. Halpern is a founding member of the Rodin Trio and has collaborated with artists including Itzhak Perlman, Jonathan Biss, Roberto Diaz, Viviane Hagner, and Kim Kashkashian. With Curtis On Tour, he has traveled throughout the United States, Europe, and Latin America. He served as principal cello of the Curtis Symphony Orchestra throughout the 2016-2017 season and as guest principal cello with the Rotterdam Philharmonic in the 2018-2019 season. He has participated in music festivals including the Ravinia Steans Institute, the Perlman Chamber Workshop, the Taos School of Music, La Jolla SummerFest, and Krzyzowa Music. As a teacher, he has presented master classes throughout the United States and South America and has taught at Curtis Summerfest and the Green Mountain Chamber Music Festival. He is a Music For Food Artist.

BOARD OF DIRECTORS AND STAFF COLORADO MUSIC FESTIVAL & CENTER FOR MUSICAL ARTS BOARD OF DIRECTORS

FORMER BOARD PRESIDENTS

STAFF

Anne Beer, President Andrea Berry David Brunel, Treasurer Norma Ekstrand Liza Getches Arlene Gerwin Doree Hickman Caryl Kassoy John E. Krampf, Secretary Paul Lavell Chris Mueller Coates Samuelson Stephen Trainor, Recent Past President Lisa Volk

2019 – Stephen Trainor 2017 – David Brunel 2017 – Ted Lupberger 2015 – Jane Houssiere and Caryl Kassoy 2013 – Jane Houssiere 2012 – Jim Williams 2010 – Victoria Marschner 2008 – TK Smith 2006 – Jack Walker 2004 – Patricia Magette 1998 – Christopher Mueller 1996 – Paul Repetto 1993 – Richard Collins 1990 – Caryl Kassoy 1989 – Dennis Rezendes 1987 – Roger Dewey 1986 – Jane Butcher 1985 – Phyllis Katz 1984 – Edwin Wolff 1982 – John Firor 1979 – Alan Shapley 1977 – Christopher Brauchli

Elizabeth McGuire, Executive Director Kari Bartkus, Bookkeeper Marta Boratgis, Housing Coordinator Nancy Brace, Center for Musical Arts Registrar Larry Brezicka, Artistic Coordinator Emily Burst, Festival Production Manager Louise Christopher, Corporate and Major Gifts Associate Rachel Fetler, Student Services and Operations Associate Alberto Gutierrez, General Manager Joe Hoffarth, Festival Assistant House Manager Cindy Hohman, Marketing Director Brian Jack, Festival House Manager Kathy Kucsan, Co-Founder Center for Musical Arts and Education Director Morgan O’Brien, Development Director Michael Quam, Recording, Audio and Video Engineer Nate Rothenberg, Marketing Coordinator Charles Stokes, Development Associate Lisa Vaupel, Festival Personnel Manager Carrie White, Festival Librarian Michaela Wooldridge, Festival Assistant Production Manager

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LEGACY CLUB If Colorado Music Festival & Center for Musical Arts is an important part of your life, consider joining the Legacy Club by including the Festival and the Center in your estate plan. Many of our Legacy Club members have made long-term commitments by adding a codicil to their existing will or by naming us as a beneficiary of an IRA or insurance policy.

If you have included us in your estate plan, please let us know so we can honor you as a member of our Legacy Club.

We gratefully acknowledge support from: Estate of Jane Beard Estate of Wanee Butler Estate of Allene Mae Odom Cash Estate of Jean Crawford Estate of Dr. Joop de Heer Estate of David Ericson The David R. Ericson Trust Estate of Joanne Flock Estate of Reuben & Ruth Fuchs

Gerald Hickman Memorial Fund Marion Higman Memorial Fund Estate of Madeleine and Hans Holland Curt Johnson Memorial Fund Estate of Patricia L. Johnson William Johnson Memorial Fund Jack Major Memorial Fund Estate of Ted Manning Estate of Dorothy “Happy� Martin

Estate of Edith Morris Estate of Marianne Pfaff Harold Pyle Memorial Fund Daniel Raizman Memorial Fund Maggie Schoechle Memorial Fund Estate of Kay & Alan Shapley Kay & Alan Shapley Memorial Fund Estate of Helen & Peter Weil Estate of Edwin L. Wolff

LEGACY CLUB MEMBERS The following members of the Legacy Club are helping to ensure a healthy future by including Colorado Music Festival and Center for Musical Arts in their estate plans.

Jane Allen Anonymous Donor John Bernhard Susan and Larry Boothby Christopher and Margot Brauchli David Brunel Jan Burton Joe Butler Tom Campbell Dennis and Marie Channer JoAnn and Richard Crandall

Roger and Barbara Davidson Kitty and Fred Dawson Pete and Joan Dawson Gale and Sandy Dunlap Gordon Gamm Lloyd and Mary Gelman Doree Hickman Constance Holden Caryl Fuchs Kassoy and David R. Kassoy Joan and Paul Lavell Jane and John Lippmann

Melissa Mahaney Sacha Millstone Kathy and Charles Minter Brian Morgan Christopher B. Mueller Lucretia Paddock Paul Repetto Mark and Christine Ringer Janet Robertson Maryann Ruck Alan Rudy Tim Schoechle

Walter Sharp Nancy J. Simon TK Smith Art Smoot Susan Swaeby Harris Tannenbaum Joyce Thurmer Sophie and Jack Walker Jim and Candy Williams Mary Wolff

In Honor of Anne Beer Larry and Helayne Jones Family Fund

In Honor of Steve Christopher Mike Mickley and Pamela Lambert

In Memory of Eric Poehlmann Eleanor and Harry Poehlmann

In Memory of Kristin Bialick Laurie and Pete Bialick

In Honor of Randy and Gayle Ellis Dorothy Lee

In Memory of Christina Kertesz Ann and William Duncan, Jr. Peter Kertesz

TRIBUTE GIFTS

In Memory of David Brandt Lloyd and Mary Gelman Barbara Martin TK Smith and Constance Holden Lynn Marie Trumble In Memory of John Browning Frances Burton In Memory of Frank Buckley Ellen Buckley In Memory of William Patrick Cullinan Diane Cullinan

In Honor of Gordon Gamm Susan Olenwine and Frank Palermo In Memory of Betsy Hitchcock TK Smith and Constance Holden In Memory of Pat Johnson TK Smith and Constance Holden Sophie and Jack Walker In Honor of Carol Fuchs Kassoy Dr. Richard Cohn and Susan Cooper

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In Honor of Harold Leinbach Lori and Mark McAllister In Honor of Joan Leinbach Lori and Mark McAllister

In Memory of Bill Roberts Irene Roberts In Memory of Nancy Shain Anonymous Donor Ginny and Glenn Reynolds

In Memory of Sandy Letven Susanne and Richard Gerson

In Memory of Kay and Alan Shapley David and Laura Skaggs

In Memory of Hans J. Liebe Roswita Liebe

In Memory of Marcy Shykula Tom Shykula

In Memory of Patricia Magette Jane Allen JoAnn and Richard Crandall

In Memory of Roger Topliff Thomas A. Grengs

In Honor of Susan Olenwine Anonymous Donor

In Memory of Edward Turvey Trudy Turvey In Honor of Kit Van Winkle Katherine Krol

SPONSORS ACADEMY BOULDER Academy Boulder began as a vision…

BOU LDER

Thirty years ago, the owners of Academy were looking for the perfect place in Boulder for their parents to retire to, and not finding what they wanted, decided to create it. Owner Gary Berg would tell you they didn’t know what they were doing, but really, they did, because love and knowing what you want are pretty good organizing principles. They started with a place — the campus of a historic Catholic boarding school, Mount St. Gertrude, in a lovely neighborhood near Chautauqua — and a purpose — to create the best retirement community in Colorado. In 1998, Academy opened its doors, and today is the much-loved home of its 60+ residents. We have learned a lot in 22 years.

We discovered as far as a good life is concerned, no one size fits all. Wellbeing is personal as well as communal, and the values of hospitality, respect and inclusivity matter.

That is the vision, the legacy we hope to bring forward to Academy Mapleton. It is a place designed to support an individual’s lifestyle in all its parts — physical and intellectual, emotional and social – as well as another beautiful spot on earth created for welcome and warmth and well-wishing, where a dynamic culture can be resourced, cultivated, and celebrated for the benefit of all – residents, families, and staff. Throw into the mix an insistence on excellence and attention to detail, welcome to Academy Boulder!

These last months have been difficult for all of us. Academy Boulder along with all of Boulder have come through a hard time together. And together we will continue to move forward, learning what we need to, helping each other as we ought to. We are grateful to be part of such a wonderful community and are excited about our future together.

Academy University Hill | Academy Bella Vista | Academy Mapleton Hill Website: www.theacademyboulder.com | Tel: 303.938.1920

BLUE FEDERAL CREDIT UNION Blue Federal Credit Union is thrilled to partner with the Colorado Music Festival and the Center for Musical Arts to help bring you incredible music played by phenomenal musicians as well as helping in their mission to provide access and education to students who love music. The CMF and the CMA provide wonderful opportunities for those who are inspired by the arts and the opportunities that inspiration provides.

At Blue, our local communities and serving the people who call those communities home, is our passion. For nearly 70 years, we’ve strived to support causes that make each community unique such as the arts, entertainment, education and numerous non-profits. Partnerships like the one we have with CMF & CMA are vital to thriving communities and the people who live, work and play there.

We believe in providing our members with the best customer service, having fun and doing good in our communities. This year, with Covid-19, we all found out what it truly means to come together with our communities. We felt it was up to us to do all we could to better serve our members and those around us. We were able to deliver 700 care packages to first responders, healthcare professionals and even delivery drivers to thank them for their tireless efforts during tough times.

We also helped nine charities in Colorado and Wyoming raise a total of $200k. Blue and the Blue Foundation each donated $100k in order to match those funds. Together we all raised over $400k to directly support those who need it most.

Now that things have slowly start returning to normal, we are excited to share with you that Blue has begun serving three more Colorado communities. Erie, Granby and South Denver. These three branches join our other 14 branches in Colorado and Wyoming to guide you through all of life’s financial journeys. At Blue we are here For You. For Life.

Please visit our website at bluefcu.com or stop by any of our branches!

We hope you thoroughly enjoy the performances and thank you for all your support!

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SPONSORS BOULDER CPA GROUP, P.C. Boulder CPA Group has been serving clients in our local communities since 1991. We specialize in tax planning and preparation for small to medium-sized businesses and individuals. In an exceptionally complex field, we pride ourselves on providing services that are both friendly and personalized. We strive to build strong partnerships with all of our clients as we navigate the intricacies of ever-changing tax laws and regulations. And because life happens and situations change, we are also adept at keeping our clients current and compliant as we guide them through each decision-making process.

With a staff of twenty, including twelve CPA’s, our clients benefit from the combined experience, talents, skills, and continuing education of all of our team members. This synergy allows us to provide practical, tax-smart solutions to help each of our clients achieve their own specific financial goals, whether they apply to individuals, sole proprietors, partnerships, corporations, LLC’s, estates, trusts, or not-for-profit organizations.

We are grateful to live and work in such a beautiful and vibrant area where we are able to support many worthy causes, and we are especially proud of our long history of sponsoring the Colorado Music Festival and Center for Musical Arts! www.bouldercpagroup.com

CARELLI’S OF BOULDER ULTIMATE DINING EXPERIENCE LIKE NO OTHER Carelli’s is the classic American success story. Twenty six years ago Greg Carelli opened an Italian sub sandwich shop in the William’s Village Shopping Center. It was a surprisingly simple recipe that’s the Carelli’s trademark to this day: food made with the freshest and finest-quality ingredients, served with exceptional customer service. Carelli’s popularity has steadily burgeoned through three expansions and two remodels. Today Carelli’s offers an outstanding and authentic experience, in an unpretentious classic Italian atmosphere that is spacious and intimate as well as award winning decor.

Carell’s has been a longtime supporter of the Colorado Music Festival with our fireside party after the Thursday night concerts at Chautauqua. These gatherings offer our outstanding drink menu, and post-concert conversations with fellow concertgoers and Festival musicians.

FRASIER Frasier is a mission-driven, nonprofit retirement community for seniors located on a 20-acre campus in a residential neighborhood of Boulder. We support a thriving and diverse community of more than 350 residents. We are guided by a committed group of trustees and a leadership team rooted in the mission to enhance the lives of seniors. And we foster a culture of giving and philanthropy, ever since opening our doors in 1960.

As we celebrate our 60th Anniversary, we are proud to continue our partnership and support with the Colorado Music Festival and Center for Musical Arts.

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GUILLAUME’S Guillaume is French for “Willem” and was the name of Chef Willem’s grandfather. At Guillaume’s we pride ourselves in using the freshest products available. Chef Willem has earned a reputation for working with clients to accommodate their individual preferences, while adding his studied expertise and European flair to the event to create a memorable culinary experience. We can take care of you at an office luncheon for 10 or a lavish wedding for 300...and of course anything in between.

Chef Willem believes that good food should excite the imagination as well as the palate. Cooking is a fine art that should be practiced to expand one’s horizons and enhance quality of life.

While plenty of restaurants are closed, Guillaume’s will bring the dining experience to you!

Guillaume’s Catering offers high quality, carefully prepared, delicious meals delivered to your doorstep.

Guillaume’s European Catering 720 378 1537 www.theburgundyexperience.com willem@caterboulder.com

GEBHARDT BMW Gebhardt BMW is proud to be a family dealership supporting the Boulder community and beyond for over 45 years.

For the past seven years we have been honored to be a supporter of the Colorado Music Festival.

The “Ultimate Driving Machine” meets the “Ultimate Musical Experience”!

303.665.0599 | WWW.COLORADOMUSICFESTIVAL.ORG

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SPONSORS CHOCOLATERIE STAM Welcome to Chocolaterie Stam, a modern chocolaterie steeped in old-world, Dutch traditions.

Since 1913, our family has been proudly handcrafting exceptional white, milk and dark chocolate bonbons and other indulgent confections for Europe and the U.S. We also have gelato and fullservice espresso at our local shop in Lafayette, CO. Our company’s history is as rich as our chocolate. Our future is hopeful, and we are proud to be sponsors of the Colorado Music Festival & Center for Musical Arts.

STURTZ AND COPELAND Sturtz and Copeland is regularly recognized as the best Florist and Greenhouse in the Boulder area and has maintained a tradition of quality customer service along with a knowledgeable staff always willing to help since 1929.

Along with professional floral arrangements, a wide selection of annuals and perennials, a year round greenhouse stocked with indoor plants.

Sturtz and Copeland has provided the beautiful presentation bouquets for the Colorado Music Festival guest artist for many years and look forward to continuing our support in the future.

SUPERIOR LIQUOR We are proud to be a locally owned and operated retail liquor store, serving our community with low prices and huge selection.

Frequent Customer Program Our unique program rewards your every purchase. Sign up in the store and begin seeing the added savings of our club!

Friendly, Trained Staff Feel at ease working with a staff known for high quality choices at reasonable prices.

Superior Liquor has been actively involved supporting charities and non-profit organizations in our neighborhood since we opened our doors in 2000. We are especially proud of our longtime relationship and support for the Colorado Music Festival & Center for Musical Arts.

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UBS Welcome to UBS – Philanthropy Services Maximize your impact We are a unique, award-winning offering that partners with you and your family to manage your philanthropy and maximize your impact. We provide comprehensive advice, insight experiences, and execution services, and employ an investment-based approach to deliver solutions to pressing social and environmental issues.

Together we can create a better future Building on our 20-year track record and applying an investment-based approach, our global team makes it simpler for families to manage your philanthropy and maximize your impact, locally, nationally and globally.

Community Impact Snapshot To make a lasting impact in today’s world, it’s about more than giving—it’s about giving with purpose. At UBS, we’ve targeted our efforts to drive long-term, sustainable change through our focus on education, entrepreneurship and leveraging the time and talent of our employees through volunteer opportunities in the communities we serve.

Click below for more information about: Joe Brienza and UBS Philanthropic Services

303.665.0599 | WWW.COLORADOMUSICFESTIVAL.ORG

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CONTRIBUTORS $100,000 +

Chris and Barbara Christoffersen The David R. Ericson Trust Scientific & Cultural Facilities District SeiSolo Foundation

$25,000 - $99,999

Anchor Point Foundation Anne and Henry Beer Boulder Arts Commission The William H. Donner Foundation The Estate of Patricia L. Johnson Caryl Fuchs Kassoy and David R. Kassoy John and Kathleen Krampf Peter and Nadine Oundjian

$10,000 - $24,999

Anonymous Arlene Gerwin Lina and Jim Beckley L. P. Brown Foundation David Brunel and Stacey Steers Lisa Brunner Caruthers Family Foubdation Colorado Creative Industries Gordon and Grace Gamm Louise & Ferd Grauer Innovo Foundation Joan and Paul Lavell Steve and Jayne Miller Ronald Stewart Dick and Jane Stebbins TK Smith and Constance Holden UBS Financial Services Joe Brienza Sophie and Jack Walker

$5,000 - $9,999

Barbara R. Miller and James Alleman Ball Corporation Blue Federal Credit Union Boulder CPA Group Brett Family Foundation Cielo Foundation Jenny and Terry Cloudman The Denver Foundation Gayle and Randy Ellis Gebhardt BMW Andrea J. Grant and Kate Fay Carolyn Grant Jane Elizabeth Henry Doree Hickman Harold and Joan Leinbach T. Scott and Janet Martin George Matzkanin Christopher Mueller Karen and Doug Myers Susan Olenwine and Frank Palermo Pathways to Jazz Redman Foundation

Judith Reid and Richard Collins Rebecca Roser and Ronald Stewart Coates Samuelson Sheila Fortune Foundation Spine West Tebo Properties Joyce Thurmer Marion Thurnauer and Alexander Trifunac Stephen Trainor and Alison Craig Nicky Wolman and David Fulker

$2,500 - $4,999

The Aaron Copland Fund for Music The Academy Janet Ackermann and Scott Wiesner Allegra Marketing Print Mail Terri Ashinhurst and Andrew Wernsdorfer Meghan Bach Sam and Barbara Beeler Neil and Judy Bicknell The Blessing Foundation Boulder Chamber of Commerce Christopher and Margot Brauchli Frances Burton Carson-Pfafflin Family Foundation Lee and Palmer Carlin Chocolaterie Stam Community Foundation Boulder County Grant Couch and Louise Pearson JoAnn and Richard Crandall Norma Ekstrand Jonathan Engelstad Liza Getches Lloyd and Mary Gelman Bob and Sandra Goldstein Laura and Douglas Houston Jane Houssiere IBM International Foundation George Lichter Family Fund The Maihaugen Foundation Elizabeth McGuire Kathy and Charles Minter Eleanor and Harry Poehlmann Reynolds Family Fund Michael and Michele Ritter Rocky Mountain Retina Associates Art Rudeseal and Mary Ann Eliasson The Schramm Foundation Scott’s Roofing Deborah and Wayne Simmons Lynn Streeter Jim and Candy Williams

$1,000 - $2,499

Diane Barbour and David Coward John and Pat Bowen

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Keith Brenner and Betsy Hitchcock Bill Briggs Tom Campbell Steve and Deborah Clem Kathy Kucsan and Julie Colwell Charlotte Corbridge Karen and Louis Diamond Gale and Sandy Dunlap Mrs. Jenny Elkins Melissa Fathman and Matt Pass Frasier Meadows Retirement Community Andy and Audrey Franklin Arnold and Pat Fridland Alexander F.H. Goetz and Katharine Wilson Judy Gould Greg and Judy Greenan Catharine and Dick Harris Ann and Russell Hayes John Hedderich Paul Heffron and Pat Wright Katie and Gay Hendricks, Founders of the Foundation for Conscious Living Howard Herring Kaye Howe Larry and Helayne Jones Family Fund Jo Ann Joselyn Colman and Marcia Kahn Peter Kertesz Kohl’s The City of Lafayette Marcelle Arak and Hal Landem Lockwood Family Foundation Gerald and Marla Meehl Mark and Cynthia Meyer Mike Mickley and Pamela Lambert Mr. and Mrs. Lee W. Mather Jr. Morgan and Fern O’Brien Paul’s Coffee & Tea Margaret and Rodolfo Perez Janet Robertson Cynthia and David Rosengren Alan and Stephanie Rudy Donald and Elizabeth Saunders Daniel and Boyce Sher Michael Shull and Melissa Mahaney Barbara Silverman Don and Nora Singer SkyeTeam James and Leslie Spink Ellen and Josh Taxman Lisa and Steve Volk James and Priscilla Walker James R. Walker, Jr. Phyllis M. Wise Patricia Wright Marylee Zurick

$500 - $999

Thomas Anglewicz John and Staci Barden Jan and Wendell Bell Lori Bergen Penny and Ray Bertrand William and Louise Bradley Joseph and Gleneen Brienza Betsy and Jerry Caplan Steve and Louise Christopher Colorado Chautauqua Association Margot Crowe Diane Cullinan Camilla and Charles Donnelly Frank and Jean Dubofsky Baker Duncan Don Engelstad M.J. and Anne Fenerty O. Lehn and Johannah Franke Hans and Jeri Friedli Marvin and Shirley Gang Virginia Gebhart David and Ann Getches Ben and Kerry Gilbert Albert and Betsy Hand Michael Harm Rollie and Josephine Heath Suzanne Helburn Cindy and Jerrod Hohman Mel and Jane Holzman Suzanne and David Hoover Arnie Jacobson Margaret Elizabeth Jaques Victoria Johns Carolyn and Sam Johnson Linda Jourgensen Gary Kutchey Ray and Margot LaPanse Jim and Brownie Leach Arthur Lieb Jeffrey and Lois Linsky Robert Livingston Thomas C. Madden Timothy Madden Laura Sharpe McCutchen and Roy McCutchen Jacqueline, Andrew, Alexandra, and Juliana McKenna Terry and Judy Minger Jesse Modica Nonprofits Insurance Alliance Anne and Richard Norwood Scott Perlov Heidi Raleya William Roettker Anne Hager Rudy Cynthia Schmidt Kathryn Schmoll Suzanne and Aris Sophocles Mary Kay and William Stoehr Suzanne Stoller James R. Topping Lynn Marie Trumble Gretchen Vander Werf and Gigi Jones

BJ and Walter Vieregg Bernd and Marta Wachter Gordon and Lois Ward Ronald and Judith Wittmann Patty Young Ken and Charlotte Ziebarth

$250 - $499

AMG National Trust Bank Foundation Robert K. and Sydney Anderson Aronson Family Fund Carol and James Bailiff William and Sondra Bechhoefer Frank Berliner and Nancy Kenney Gil Berman Sondra Bland and Robert Spencer Ellen Buckley Susan and Philip Caragol Richard and Linda Carbone Zachary Carrettin and Mina Gajic Cherilynn Cathey Dennis and Marie Channer Trish Chepokas Rev. Robert D. Chew, Sr. Ophelia Chu David and Nonnie Cooper Linda and Marc Crawford Tony Crone Barry E. and Olga Cunningham John C. and Marjorie J. DeFries Kitty DeKieffer Ann and William Duncan, Jr. Leslie Durgin and Sam Fitch Trent Ehrlich Rich and Margie Franklin Susanne and Richard Gerson John and Ellen Gille Wiley and Linda Gillmor Ann Girard and Kay Jones Suzan Grenier Carol Grever and Dale Meyer Nancy Grimes Mark and Lola Grueskin Alberto Gutierrez Wayne and Kiki Harding Sandra and Jeff Hirota Holland & Hart LLP Teddie Keller Amie C. Knox and James P. Kelley Marion Kreith Katherine Krol Lorrie Lesher Roswita Liebe Louise Lindsey Robert and Patricia Lisensky Matt and Lale Lovell Gail J. and Robert B. Loveman Daniel Luecke and Rosemary Wrzos Albert Lundell Mary McClanahan Kenneth and Madeleine McCourt Sandra and Jay Mesinger Middlemist, Crouch & Company CPAs PC

Wendy Miller Roger and Lily Moment Kristin H. Moseley James Neely Virginia Newton Eric Permut Ronald Permut Susan and Steve Perrins Barbara and Scott Reed Paul Repetto and Janet Pyle Tim Riley Luana Rubin Firuzeh and Navid Saidi Gary and Ann Scolnick Beth Shaw Charles Sisk Ruth and Ted Smith Danny Souders Abigail Sperry Mark and Micky Stevenson Evelyn Taylor The Fowler Group at Coldwell Banker The Gornick Fund Sharon Thibodeau Mathias and Veronika Thurmer Matthew and Anita Tummillo Ken Vardell Diane Weller Nancy and John Wittemyer Ruth Wright

$100 - $249

Alcoholics Anonymous Karl Anuta Mary Backlund Ingrid H. Becher Gail and Martin Berliner Andrea and Shawn Berry Laurie and Pete Bialick Howard and Marie Blaney Mary Estill Buchanan Jane Butcher Patricia Butler Jancy Campbell Joan Carter Julie and Robert Cavalier Louise and Steve Christopher Fred Clare George F. Clements Dr. Richard Cohn and Susan Cooper Alexander Conley Patrick Connolly Rev. Dee Cooper Ginny Corsi Robert Craig and Karen Tracy Jeanne Crouch Walt and Meredith Dabberdt Elisabeth David Leanne Davis Donald Deane and Ellen Flannelly James O. Dimmick Alexandra and Paul Dujardin Roger and Carol Dutton Carliss and Jeffrey Erickson

Leslie A. Ewy Raul Chavez Fields Abraham and Roberta Flexer William and Ann Ford Nicholas Forster Janet Fox Patricia Franklin Kim Freymiller Alan Gallagher Bob and Jocelyn Gebhardt Anne Gebhardt O’Brien Miranda A. Glasbergen Joan S. Goddard Mary Margaret Golten David Gorodetzky and Lynne Sanditen Ronald and Janina Gotlin Judith Graham and Jeffrey Zax Alan and Stephanie Greenburg Mary B. Greenwald Elissa and Stanley Guralnick Ken and Dianne Hackett David Haskell and Katherine Lehman Janet E. Hatton Jeannette Hillery Anna Huff Holly and Steve Hultgren Illinois Tool Works Inc. Peter and Dorothy Jackson Kyong and Bruce Johnson Douglas Jones Elaine Kallos Edward R. Kellenberger Pete and Nancy Kelley Al Kemp Kathleen nd Robert Kenney Deborah Kenyon Eileen and Walter Kintsch Frank and Monty Kugeler Scott and Susan Lancashire Gretchen and Harry Leland Heather and Wesley LeMasurier Maureen and Nick Lenssen Dave Leonard Doug Lerner and Fusae Hayashi Jean Lovell Lucinda Low and Daniel Magraw Janet Lowe Ralph and Nancy Mann Barbara Martin Lori and Mark McAllister Byron and Catharine McCalmon Kathleen McCormick Hunter and Janet McDaniel Ruth McHeyser Heather McIntyre John and Glennys McPhilimy Mary McQuiston and Richard Reynolds Judy and Alan Megibow Bonnie Mettler and Eric Lindemann Pamela Millener and R. Wilkey Spease Gretchen Mueller

Linda Muth Dave and Dorothy Myers Bob and Francine Myers Nissi’s Coffeehouse & Bistros Larry E. O’Donnell Sharman D. O’Neill Suzanne B. O’Neill Peter and Kathryn Oakes Christopher and Linda Paris Sally Phillips Jeanne and Jerry Phipps David and Louise Pinkow Gerald and Marilyn Pinsker Gabe Racz and Melanie S. Walker Marion and Fred Ramirez Jeanine Reeves Rita and Norman Riis Ken and Tula Roberge Irene Roberts Herbert and Molly Rothenberg Kate Ruth Terrence Ryan Carol Saunders Kevin Schatzle Lori and Robert Schuyler Claire Seger Joyce Shambaugh Barbara Shecter Tom and Marcy Shykula Jack and Nancy Simpson David and Laura Skaggs Margaret and Archibald Smith Kathryn and Jerry Snyder Paul Solari Po-Li Soong Keith and Susan Spitz Lyndsay Stahl Thomas Steenland Kathy Strand and Eldon Haakinson Barbara M. Tamplin Lloyd Timblin, Jr. Linda Timmons Anne and Mark Turner Lucy Warner Anne Wattenberg Liza Weems Helen and John Whitbeck Daniel Wilkinson Stephen F. Williams U Kyaw and Gandasari Win Wendy and Richard Wolf Marta and Allan Wolfe Lisa Are Wulf Dr. George and Maria Wyshak Barbara and Jack Zable

303.665.0599 | WWW.COLORADOMUSICFESTIVAL.ORG

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YOUR SUPPORT MATTERS

Colorado Music Festival & Center for Musical Arts transform lives through music. Students and audience members are not just moved or enriched by their experiences; they are changed for life.

Whether through the transcendence of a concert performance, the satisfaction of mastering an instrument, or the joy of performing with others, each musical experience is unique and personal. We invite you to experience for yourself!

Photo: Nico Caballero

Our students, musicians and audience members rely on your generosity. Your support keeps Colorado Music Festival growing artistically and as a leader in classical music performance.

Your gift can support any of the following: •Festival Orchestra concert sponsorships underwrite the specific •performances that compel you or your family members •Festival Orchestra musicians. Underwrite a chair in the section of •your choice.

•Solo guest artists, duos, or quartets •Concert series, such as Music Today or Robert Mann Chamber Series •Commissions of new works. Help build the repertoire of tomorrow by •supporting new works by American composers.

•Spring Gala or other special events.

•Legacy Club members support the Festival long into the future through •bequests and other planned gifts.

•Milo Fund provides support to faculty for continuing education •and development.

•Endowment Fund helps ensure the long-term strength and stability •of Colorado Music Festival and Center for Musical Arts.

A gift to Colorado Music Festival & Center for Musical Arts is more than a donation; it is an investment in our vision of a destination festival and educational programming equal to any in the world.

To make a donation online, go to https://coloradomusicfestival.org/support-us/. You may also make a gift by calling or emailing Charles Stokes, stokes@comusic.org, (303) 665-0599 x 107 or by mailing your donation to: Colorado Music Festival, 200 E Baseline Road, Lafayette, CO 80026.

EXCELLENCE

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ACCESS

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