September-October 2021
Takács Quartet Sept. 12-13 Cirque Mechanics Oct. 9 La Traviata Oct. 22-24 Takács Quartet Oct. 31-Nov. 1
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September-October 2021
In this issue 06
Consumed by romance: Pop culture’s obsession with “the fallen woman”
08
Upcoming events
10
The Takács Quartet is coming to your living room
18
The life and legendary influence of Brother Ray
20
American Music Research Center explores musical traditions of Pueblo, CO
24
Thank you to our donors
25
Artist Series sponsors
26
Personnel and policies
CU Presents is the home of performing arts on the beautiful University of Colorado Boulder campus. With hundreds of concerts, plays, recitals and more on our stages each year, there’s something for everyone to enjoy.
The Artist Series, which for more than 80 years has welcomed world-renowned musicians and dance troupes to historic Macky Auditorium.
The Colorado Shakespeare Festival, a professional theatre company devoted to the Bard’s works.
The Takács Quartet, a world-renowned chamber ensemble in residence at CU Boulder.
The CU Performing Arts, offering a broad range of both free and ticketed performances from CU faculty, students and guest artists: exciting new and classic works from the College of Music, spellbinding performances at the Department of Theatre & Dance, and CU Boulder's beloved annual Holiday Festival.
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2021-22 Season
Editor: Becca Vaclavik Designer: Sabrina Green Contributors: Eric Hansen, Sabine Kortals Stein Photo/image credits: Jay Blakesberg, CU Boulder Photography, Patrick Campbell, Casey Cass, Ligature Creative, Tom Donoghue, Nicole Maio, Victor Diaz Lamich, Luke Ratray, Rebecca Reid, Larry Rosenberg, Amanda Tipton (Takács Quartet cover and images), Maike Schulz (Artist Series cover image) We honor and acknowledge that the University of Colorado’s four campuses are on the traditional territories and ancestral homelands of the Cheyenne, Arapaho, Ute, Apache, Comanche, Kiowa, Lakota, Pueblo and Shoshone Nations. Further, we acknowledge the 48 contemporary tribal nations historically tied to the lands that comprise what is now called Colorado. Artist Series Advisory Board Daryl James, President; Gil Berman, Shirley Carnahan, Mike Gallucci, Maryan K. Jaross, Ruth Kahn, Gregory Silvus, Ellen Taxman, Ann Yost Music Advisory Board Laurie Hathorn, 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, Mikhy Ritter, Becky Roser, Firuzeh Saidi, Lynn Streeter, Stein Sture, Jeannie Thompson, Jack Walker, Celia Waterhouse
This CU Presents program is published by: The Publishing House, Westminster, CO. Publisher: Angie Flachman Johnson Production Manager: Stacey Krull President Emeritus: Wilbur E. Flachman For advertising, call 303-428-9529 or email sales@pub-house.com. ColoradoArtsPubs.com
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Consumed by romance: Pop culture’s obsession with “the fallen woman” The Eklund Opera Program revisits Verdi’s sweeping masterpiece La Traviata this season. By Becca Vaclavik popular courtesan. Violetta initially leaves behind fame and fortune for Alfredo, but eventually is pressured into abandoning him for his own good. I won’t spoil the ending for you, but it involves plenty of romance, heartbreak and everyone’s favorite turn-of-thecentury silver bullet: consumption, also known as tuberculosis. (More on that later.)
A woman sits in a private box in a grand theatre. She’s wearing a red off-the-shoulder gown, her hair in a delicate chignon, her only accessory a striking diamond necklace. As the curtain rises and the sweeping orchestrations begin, she watches the performance with bated breath. Periodically she gasps. She clutches the edge of the box in despair. By the time the last note plays, she finds herself softly crying. Her partner, a tuxedoed gentleman with salt-andpepper hair, looks on as she flashes her million-dollar smile and claps enthusiastically through her tears. 6
2021-22 Season
I am, of course, describing a scene from the iconic 1990 film Pretty Woman, in which Edward Lewis, played by Richard Gere, takes his escort Vivian—Julia Roberts, who needs no introduction—to a performance of La Traviata. For fans in the know, the scene offers a cheeky nod to the audience, as the former work borrows several key details from the latter. La Traviata (and to a lesser extent Pretty Woman) tells the story of an up-and-coming gentleman named Alfredo who falls in love with Violetta, a charming and
If the story sounds familiar, it’s because you’ve most definitely heard it before. La Traviata is an operatic masterpiece, no doubt; but Verdi wasn’t original in regard to the plot. His work was based on a play by Alexandre Dumas; the play itself an adaptation of Dumas’ own novel La Dame aux Camélias. In the decades since, the story has also been adapted into ballets, additional plays, books, musicals, even drag parodies. Perhaps most famous to current readers? Baz Luhrmann’s 2001 jukebox musical Moulin Rouge is a close (but not exact) adaptation of the plot. It begs the question: Why have artists and audiences returned to the story time and again? Perhaps a clue can be found, curiously, in the consumption, says music director Nicholas Carthy: “ It is estimated that tuberculosis was responsible for half the deaths among youth under 25 in the 19th century, and because the disease spread very quickly through crowded urban environments—just the sort (continued on page 11)
Photo: Eklund Opera's production of La Traviata from the 2009-2010 season.
TICKETED PEFORMANCES KEY
Artist Series Takács Quartet CU Performing Arts
Takács Quartet Sept. 12-13 Grusin Music Hall
Dancing on the Edge of Cinema
[un]WRAP
Cirque Mechanics
La Traviata
Saturday, Oct. 9 Macky Auditorium
Oct. 22-24 Macky Auditorium
The Sans Souci Festival
Sept. 24-25 Charlotte York Irey Theatre
Global Citizenship in Transcultural Fusion Dance
Oct. 8-10 Virtual event
Kaidan+
Something strange and spectral
Oct. 29-Nov. 7 University Theatre
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2021-22 Season
Birdhouse Factory
Takács Quartet Oct. 31-Nov. 1 Grusin Music Hall
Climate Cabaret
A cabaret of short plays and songs on climate
Sept. 24-Oct. 3 University Theatre
An opera in Italian by Verdi
Urinetown, the Musical
A musical by Mark Hollmann and Greg Kotis
Nov. 11-14 Macky Auditorium
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Georgia on My Mind
Celebrating the Music of Ray Charles
Parker Quartet Nov. 21-22 Grusin Music Hall
Holiday Festival 2021 Dec. 3-5 Macky Auditorium
The King's Singers Wednesday, Dec. 8 Macky Auditorium
Takács Quartet Jan. 9-10, 2022 Grusin Music Hall
Kronos Quartet
Sunday, Nov. 14 Macky Auditorium
Music for Change
Thursday, Jan. 13, 2022 Macky Auditorium
Free performances: CU Boulder College of Music
Faculty Tuesdays Renowned faculty members perform in a weekly concert series featuring guest artists, students and professional colleagues. Most Tuesdays, August-March
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Join us for a student recital Most weeks, free Student Degree Recitals offer myriad works performed by student soloists. Follow the College of Music @cubouldermusic @musicatcu
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9
The Takács Quartet is coming to your living room By Becca Vaclavik
It’s no secret that securing a seat in Grusin Music Hall to witness the Grammy-winning Takács Quartet perform is one of the hottest tickets in town. It’s a gift to hear CU Boulder’s in-residence quartet play, as the group spends a great deal of its time traveling internationally to perform in the world’s most renowned classical music venues. Each year, subscriptions to the series sell out months in advance. That is, until now. During the COVID-19 campus shutdown, the Takács continued their series for subscribers, recording and streaming each performance into the homes of 10
2021-22 Season
ticket holders. And though inperson performances are set to resume this season, the streams are here to stay. For the first time, CU Presents is opening up digitalonly single ticket access to the beloved series. If you’re looking to dip your toes in the water of chamber music, Takács Quartet digital access presents the perfect opportunity. Harumi Rhodes, second violin, said: “We’re particularly excited about our season’s opening concert. This opening program will include Janacek’s ‘Intimate Letters’—a piece which exposes the raw and nonsensical aspects of feverish love, a passion which
often spins its truths out of its own obsession.” Whether you choose to attend a single performance digitally or you’re a longtime loyalist, Rhodes says it’s simply good to be back. “The Grusin stage here in Boulder is our musical home. More than ever, we can’t wait to share music together again.”
Takács Quartet performances are available to purchase and stream up to one week after the live events. Digital tickets start at $20. Access can be purchased at cupresents.org.
Photo: The Takács Quartet. Photo by Amanda Tipton
(continued from page 6) of conditions in which the young lived—it was also seized upon by the moral guardians of the age as a disease of the wanton and those of loose morals. It was said—and this of course needs to be taken with a huge sack of Victorian salt and hypocrisy—that in men the disease heightened artistic creativity, and in women beauty and promiscuity.”
“‘Sempre libera’—Violetta’s astonishing aria—is typical in its Italianate virtuosity, but anything but typical in its dramatic content,” says Carthy. “Verdi is not showing us the decision being made. Given that Violetta has, of necessity to her profession, denied herself the love, warmth and companionship that every human being needs, there can only be one possible outcome; as soon as she lets the possibility of love break through
the wall she has built between her feelings and the outside world, she is lost. “All this we know, and Verdi never tells what we already know. He simply describes the thought process, the self-justification, the illusions that Violetta harbors. It is human life laid bare.”
La Traviata plays in Macky
Auditorium Oct. 22-24. Tickets start at $15. For more information and to purchase tickets, visit cupresents.org.
Photo by Brandon Marshall, Courtesy of Colorado Symphony Association.
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Indeed, the phrase La Traviata itself means “the fallen woman,” a marginally less crass version of its modern counterpart: “the hooker with a heart of gold.” Both phrases denote a character trope that artists and audiences alike have been fascinated by for centuries. To apply a critical lens to the idea, the universal archetype reveals humanity’s complicated feelings toward sex and sexuality in the female body, both historically and now.
Verdi sensed these themes and sought to interrogate them thoroughly. He originally workshopped the opera under the title Violetta: A subject for our own age and gave it a contemporary setting. While those details were scrapped due to local censorship, what remains is a deep dive into the psychology of each character, probing the same juxtapositions of youth, love and sex we do today.
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TAKÁCS QUARTET: SEPT. 12-13, 2021
Takács Quartet Haydn, Janáček and Schubert Sunday, Sept. 12, 4 p.m. Monday, Sept. 13, 7:30 p.m. Grusin Music Hall
This performance is also streamed Sept. 12-20, 2021.
Program String Quartet in F minor, Op. 20 No. 5 Franz Joseph Haydn (1732-1809)
I. Moderato II. Menuet III. Adagio IV. Finale—Fuga a 2 Soggetti
String Quartet No. 2, “Intimate Letters” Leoš Janáček (1854-1928)
I. Andante—Allegro II. Adagio III. Moderato IV. Allegro
—Intermission— String Quartet No. 14 in D minor, “Death and the Maiden” Franz Schubert (1797-1828)
I. Allegro II. Andante con moto III. Scherzo. Allegro molto. IV. Presto
PLEASE NOTE • Masks are required in public indoor spaces on the CU Boulder campus regardless of vaccination status. • Latecomers will be seated at the discretion of the house manager. • Photography and video recordings of any type are strictly prohibited during the performance. • Smoking is not permitted anywhere. CU Boulder is a smoke-free campus! · cupresents.org · 303-492-8008
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TAKÁCS QUARTET: SEPT. 12-13, 2021
Program notes By Marc Shulgold
String Quartet in F minor, Op. 20 No. 5 Franz Joseph Haydn (1732-1809)
Many a musicologist has thrashed about in search of the proper words to describe the significance of Haydn’s Op. 20 string quartets—works that are now viewed as a turning point in the evolution of this most important genre. We’ll leave it to Sir Donald Tovey: “Every page of the six quartets of Op. 20 is of historic and aesthetic importance … There is perhaps no single opus in the history of instrumental music which has achieved so much.” Even Haydn couldn’t disagree. Late in life, during a conversation with his friend Anton Reicha, he gazed back at the importance of 1772, the year of Op. 20’s completion. Referring to that year, according to Reicha, Haydn spoke of how he had begun “a complete course in composition to strengthen himself and his art and to learn its secrets better.” The same year coincided with Haydn’s so-called “Sturm und Drang” period, which produced several dark, storm-driven symphonies. The six quartets of Op. 20 brilliantly mixed that brooding intensity with an elegant lightness and wit, reflecting the aristocratic world of the Esterházy Palace, where the 40-year-old Haydn was employed. In a methodical, evolutionary process traceable through his earlier quartets, a sense of equanimity was established among the four voices of Op. 20. At the time, we should remember, the concept of the string quartet was still very new. In fact, the composer had thought of his earlier Opp. 1 and 9 (first-violin-dominated efforts) as “Divertimenti.” With the publishing of the Op. 20 “Sun” Quartets (so nicknamed because a rising sun decorated their cover), the genre had suddenly grown up. What began as a format for mildly diverting, tuneful little pieces had developed, in Haydn’s hands, into a fertile place for daring experimentation in organizational structure, intricate counterpoint and dramatic intensity. Though the publisher positioned the F-minor quartet second-to-last, Haydn chose to list it first in his catalog, one of three works culminating in a fugue (along with those in A and C major). The presence of those fugues—No. 5 in fact boasts two subjects in that final movement—emphasizes C-2
· cupresents.org · 303-492-8008
the collection’s intriguing mixture of musical tradition and innovation. Equally important was the presence of two quartets in minor keys: No. 5 in F minor and No. 3 in G minor, suggesting that Haydn was moving away from the galante style of composition, which displayed pleasant, courtly elegance and simplicity. The darkness of the F-minor quartet appears immediately in the work’s opening measures with a quiet, haunting tune played by the first violin. Secondary themes flirt with major keys but can’t escape the mournful tone. Even the following Minuet continues this somber mood as it slides between major and minor. It’s curious that the quartet’s slow movement, an Adagio in F major, seems more dance-like as it glides sweetly through a Siciliana (a lilting Italian dance), offering a concerto-like feel as the first violin’s busy embellishments soar above the other players. The concluding fugue is truly a wonder for the ears, with its two subjects seemingly co-existing in a magical, continuous interplay—a look back at baroque composers’ fondness for counterpoint. In fact, the first subject’s five slow notes can be found in such works as Handel’s Messiah.
String Quartet No. 2, “Intimate Letters” Leoš Janáček (1854-1928)
“I’ve begun to write something nice. Our life will be in it.” So wrote the Czech composer Leoš Janáček to the woman who had become his muse. It was 1928, the year of his death—a year that marked the end of an inspired string of operas and chamber works that cemented his place among music’s immortals. We owe that late flurry of creativity to his undying love for an enigmatic figure named Kamilla Stösslová, a married woman 38 years Janáček’s junior, who entered his life in 1917 and never left it. This was hardly a passionate affair, however—in fact, there was scarcely any direct contact between the couple. (He too was married.) Their platonic relationship continued for 11 years, confined to the nearly 730 flowery letters penned by Janáček. Her replies were infrequent and usually perfunctory. The mention of “something nice” in his letter to Stösslová referred to his second string quartet, originally titled “Love Letters” but which he changed to “Intimate Letters.” Those hundreds of correspondences, and the intense music they inspired, might suggest a sad tale of unrequited
Despite the music’s autobiographical subtext, the quartet can mislead the listener into searching in vain for references to specific episodes from this strange and wondrous love story. Yes, he did inform Stösslová that it was his “first composition which sprang from directly experienced feeling.” But in its constant use of melodic snippets, contrasting mood swings, recallings of earlier themes and motifs, the music—completed in only three weeks—is almost overwhelming in its complex and impassioned journey through the mind (and heart) of a love-struck composer. Our reactions to the quartet’s ebbs and flows in fact mirror those of the composer, as he sat in on a run-through by the Moravian Quartet on the evening of June 27, 1928. “Did I write that?” He wrote to Kamilla: “Those cries of joy, but what a strange thing, also cries of terror after a lullaby … Confusion and high-pitched song of victory: ‘You’ve found a woman who was destined for you.’ Oh, it’s a work as if carved out of living flesh.”
String Quartet No. 14 in D minor, “Death and the Maiden” Franz Schubert (1797-1828)
For much of his tragically short life, Schubert was obsessed with death. In later years, this preoccupation intensified due to his unending suffering from the syphilis he apparently contracted in 1822 or 23. In March 1824, he wrote to a friend, “I feel myself to be the most unhappy and wretched creature in the world … Each night I go to bed hoping never to wake again.” That same year witnessed the completion of two inescapably dark chamber works: the String Quartets Nos. 13 and 14, the latter known as “Death and the Maiden”— drawn from Der Tod und das Mädchen, a chilling little poem by Matthias Claudius (1740-1815). Schubert’s setting for voice and piano, published in 1817, seems prophetic, given the devastating illness that later spread through his body. The song’s haunting, repeated long-short-short piano chords would be recast seven years later as the basis for the second movement of the D-minor quartet. Those ominous chords had originally accompanied the Maiden as she pleads with Death:
“Pass me by, ah, pass me by, Cruel man of bones! Janáček described the first movement to Stösslová I am still young – go, dear one as depicting their first meeting at a resort spa in And do not touch me.” the summer of 1917. Two contrasting themes give way to a gentle tune. Notice the prominent solos Death responds with reassuring words: “I am a by the viola throughout, music originally intended friend and come not to punish.” In the quartet, to be played on the 18th century viola d’amore the funeral march serves as the basis for five (the composer loved its name—the “viola of love”). increasingly expansive variations in G minor. The next movement presents a set of variations, The melody’s incessant rhythm was perhaps along with late reminders of the work’s two inspired by the same pulse in the Allegretto of opening melodies. In his letter to Stösslová, the Beethoven’s Seventh Symphony, which at one point composer confessed that the Moderato movement in the quartet expands into a direct quote of the represented his desire that she bear his child. Here, symphony’s familiar long-short-short-long-long. the music changes moods often and dramatically, These brilliantly constructed variations explore every ending suddenly—thus offering a dramatic portrait possibility in the melody, which gains momentum as of his confused and troubled passions. (Yes, his it’s distributed among the four players—including a wife Zdenka, legally separated from the composer, soulful reading by the cello. Schubert then converts was well-aware of her husband’s infidelity.) The the tune from minor to major, thus inserting a ray of concluding rondo revolves around an energetic, hope, before the specter of mortality returns with oom-pah folk dance that returns with increasing the quiet darkness of the Andante’s opening. anguish each time. There are more lyrical, introspective episodes in between, the music The work’s three other movements remain concluding with another unexpectedly sudden steadfastly in D minor. The opening Allegro upswing—as if an acceptance that the affair (and explodes powerfully out of the gate with isolated his life?) would soon end without consummation. chords and climactic build-ups. The stern Scherzo reveals a battle between dark and light, while the · cupresents.org · 303-492-8008
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TAKÁCS QUARTET: SEPT. 12-13, 2021
love. Yet, with only months to live, Janáček was finally able to enjoy the company of his muse, who was at his side at the end. Touchingly, he presented her with the score of that work, his final completed composition.
TAKÁCS QUARTET: SEPT. 12-13, 2021
concluding Presto is a skipping tarantella—albeit a macabre dance of death. Surprisingly, this masterful piece didn’t generate immediate public acceptance. In 1826, the famed violinist (and Beethoven champion) Ignaz Schuppanzigh commented to Schubert on the D-minor quartet: “Brother, this is nothing at all. Let well alone. Stick to your Lieder.”
About the performers
The world-renowned Takács Quartet is now entering its 47th season. Edward Dusinberre, violin; Harumi Rhodes, violin; Richard O’Neill, viola; and András Fejér, cello; are excited to bring to fruition several innovative projects for the 2021-22 season. With bandoneon/ accordion virtuoso Julien Labro, the group will perform new works composed for them by Clarice Assad and Bryce Dessner across the U.S. This season also marks the world premiere of Les Six Rencontres, a new quartet written for the Takács by Stephen Hough. The Takács will record this extraordinary work for Hyperion Records, in combination with quartets by Ravel and Dutilleux. During the last year, the Takács marked the arrival of Grammy award-winning violist Richard O’Neill by making two new recordings for Hyperion. Quartets by Fanny Mendelssohn Hensel and Felix Mendelssohn will be released in the Fall 2021, followed in 2022 by Haydn’s Opp. 42, 77 and 103. The Takács Quartet members continue their roles in 2021-22 as Associate Artists at London’s Wigmore Hall, performing four concerts there this season. In addition to many concerts in the U.K., the ensemble will play at prestigious European venues including the Paris Philharmonie, Berlin Konzerthaus, and Teatro Della Pergola, Florence. The Takács will perform throughout North America, including concerts in New York, Boston, Washington, Princeton, Ann Arbor, Berkeley, San Francisco, Philadelphia, Vancouver, Los Angeles, Atlanta, Cleveland and Portland. In June 2020 the Takács Quartet was featured in the BBC television series Being Beethoven. The ensemble’s 2019 album for Hyperion of piano quintets by Amy Beach and Elgar with pianist Garrick Ohlsson won a Presto Classical Recording of the Year. In 2014 the Takács became the first string quartet to be awarded the Wigmore Hall Medal. The Medal, inaugurated in 2007, recognizes major international artists who have a strong association with the Hall. Recipients include Andras Schiff, Thomas Quasthoff, Menahem Pressler and Dame Felicity Lott. In 2012, Gramophone announced that the Takács was the first string quartet to be inducted into its hall of fame, along with legendary artists such as Jascha Heifetz, Leonard Bernstein and Dame Janet Baker. The ensemble also won the 2011 Award for Chamber Music and Song C-4
· cupresents.org · 303-492-8008
presented by the Royal Philharmonic Society in London. The Takács Quartet is known for innovative programming. The ensemble performed a program inspired by Philip Roth’s novel Everyman with Meryl Streep at Princeton in 2014, and again with her at the Royal Conservatory of Music in Toronto in 2015. It first performed Everyman at Carnegie Hall in 2007 with Philip Seymour Hoffman. The group has toured 14 cities with the poet Robert Pinsky, collaborates regularly with the Hungarian Folk group Muzsikas, and in 2010 it collaborated with the Colorado Shakespeare Festival and David Lawrence Morse on a drama project that explored the composition of Beethoven’s last 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), Amy Beach and Elgar (with Garrick Ohlsson), and viola quintets by Brahms and Dvorák (with Lawrence Power). For their albums 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. Full details of all recordings can be found at takacsquartet.com/recordings. Based in Boulder at the University of Colorado, the members of the Takács Quartet are Christoffersen Faculty Fellows. 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 are visiting fellows at the Guildhall School of Music, London. 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. In 2001 the members of the Takács Quartet were awarded the Order of Merit of the Knight’s Cross of the Republic of Hungary, and in March 2011 the Order of Merit Commander’s Cross by the President of the Republic of Hungary.
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The life and legendary influence of Brother Ray This fall, Clint Holmes, Take 6, Nnenna Freelon and Tom Scott bring Ray Charles’ iconic catalog to Macky. By Becca Vaclavik It’s no surprise then, that he left school when he was 15 and began to tour as a professional musician.
Finding his sound
In the years that followed, Charles started to develop a one-of-a-kind sound. Though he was heavily influenced by Nat King Cole, his own style mixed elements of the blues, jazz, country, and— notably—the throaty, vibrant vocals of gospel music. With his breakout hit “I Got a Woman” in 1954, he was dubbed the originator of a brand new genre that combined flavors from all his influences. It wasn’t simply a fusion of what had come before. Ray Charles had birthed soul.
“I was born with music inside me. That’s the only explanation I know.” —Ray Charles Ray Charles Robinson was born in Albany, Georgia, on Sept. 23, 1930. When he was still just a boy, Charles lost his younger brother to a drowning accident, his sight to glaucoma, and eventually his mother, leaving him orphaned. Lest these details seem like the start of a story of how one man’s adversity “made” him who he grew up to be, however, throughout his life Charles remained adamant it was not the case. Speaking to the New York Times, he said: “I was going to do what I was going to do anyway. I played music since I was 3. I could see then—I lost my sight when I was 7. So blindness 18
2021-22 Season
didn't have anything to do with it. It didn't give me anything. And it didn't take nothing.” Indeed, it is undeniable that Charles was gifted with innate musicality. Starting first by playing piano at that tender age of 3, he eventually went on to practice the organ, saxophone, clarinet and trumpet while in attendance at the St. Augustine School of the Blind and Deaf, where he also learned to read music in Braille. By the time he was a preteen, he could write arrangements for 17-piece bands. In a word, he was a genius. Who had perfect pitch.
“He started taking these gospel songs and translating them into pop songs,” American author and music critic Anthony DeCurtis said. “He took this music that had been a part of the Black church for generations and put it on the radio.” Over the years, Charles released hit after hit. From “Georgia on My Mind,” to “What'd I Say,” “Hit the Road Jack,” “I Can't Stop Loving You,” and “Hallelujah, I Love Her So,” he cemented himself as a legend, influencing other artists who wrote pop, rock, country, jazz, big band, string orchestras, jazz trios and show tunes. Icons like Aretha Franklin, Stevie Wonder, Billy Joel and Pink Floyd all credited his work as inspiration; his work was covered by the likes of
Photos, from left: Ray Charles at Salle Wilfrid-Pelletier of the Place des Arts at the Festival International de Jazz de Montréal in 2003. Photo by Victor Diaz Lamich via Wikimedia Commons; Ray Charles in one
Elvis and the Beatles. You can still hear his writing on the radio, as it’s often sampled by hip-hop and pop artists like Kanye West.
Using his voice
It would be remiss, however, to suggest that Ray Charles’ cultural impact began and ended with his instruments. Throughout his life, he was vocal about social justice issues. Notably, he rejected Jim Crow laws when touring in the south, refusing to perform in segregated venues, even when it meant being sued for breach of contract. As he once commented in an interview with Terry Gross, “I've never understood how somebody can be against me, and yet let me cook their food for them, feed them. You know, don't make sense does it?” Later in life, he founded the Ray Charles Foundation, whose continued mission is dedicated to providing support in the area of hearing disorders and the empowerment of young people through education.
Continuing his legacy
Though Ray Charles died in 2004 at the age of 73, today’s audiences have the opportunity to spend an evening with the gifts he left behind. On Nov. 14, fellow award-
winning artists Clint Holmes, Take 6, Nnenna Freelon and Tom Scott will perform some of the most popular hits from his catalog. “[This] gives me personally a chance to say thank you to an icon,” said Nnenna Freelon. “Someone who opened a door and made it possible for us all to walk through. He’s history. He’s Americana. And he’s ours—Ray Charles is the quintessential American voice.” It’s a tribute we can assume Charles probably would have loved. “Look, let's face it, good music is good music," he once told the Washington Post. “I don't care if it's Beethoven, Chopin, Rachmaninoff or one of those cylinders that was made almost 100 years ago; effort went into it, and I can appreciate that. Music's been around a long time, and there's going to be music long after Ray Charles is dead. I just want to make my mark, leave something musically good behind. “If it's a big record, that's the frosting on the cake, but music's the main meal.”
Join us in Macky Auditorium on Nov. 14 for Georgia on My Mind: Celebrating the Music of Ray Charles. More information and tickets available at cupresents.org.
of his classic poses at the piano, 1969. Photo by Maurice Seymour via Wikimedia Commons; L to R: Clint Holmes, Nnenna Freelon, and Take 6. Photo by Tom Donoghue.
Awarding Genius
An incomplete list of awards and honors granted to Ray Charles • 8 honorary doctoral degrees • 17 Grammys, from 37 nominations • 6 inductions into various halls of fame • 2 lifetime achievement awards • Presidential Medal for the Arts • Kennedy Center Honors • Hollywood Walk of Fame star • National Medal of the Arts • #10 on the Rolling Stone list of the “100 Greatest Artists of All Time” • #2 on the Rolling Stone list of the “100 Greatest Singers of All Time” From fellow icon Frank Sinatra he earned the nickname “Genius” when Sinatra said Ray Charles was “the only true genius in show business.”
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American Music Research Center explores musical traditions of Pueblo, CO By Eric Hansen
The American Music Research Center (AMRC) at the University of Colorado Boulder’s College of Music is breaking ground with its innovative Soundscapes of the People project, a comprehensive research effort in collaboration with Colorado State University Pueblo (CSUP) and local community stakeholders to document, preserve and engage with diverse musical and cultural influences in and around Pueblo, Colorado. This year-long study will explore ways that musical traditions have served to bridge social, ethnic, urban/rural and religious identities. “Pueblo’s history is the nation’s history,” says AMRC Director and Professor of Musicology Susan Thomas, who leads the ethnomusicology project with CU Boulder Musicology Chair Austin C. Okigbo and Assistant Professor 20
2021-22 Season
Xóchitl Chávez at the University of California, Riverside. “Pueblo is home to multiple underrepresented communities and their musical histories are largely undocumented by traditional institutions,” continues Thomas. “Working directly with community ‘memory keepers’— and documenting their musical experiences and knowledge through oral histories—we aim to address the lack of representation and inclusion in the history of Southern Colorado culture.” Chávez agrees, “Music and sounds—key components of social identity and community-building— have shaped the history, politics and intersecting cultures of Pueblo, particularly since this borderland between the United States and Mexico collided with the industrial revolution.”
Okigbo adds, “This project seeks to tell the story of the community and its peoples as a way to highlight their significant, but almost forgotten, contributions to the broader history of Colorado, the American West and United States, in general.” The stories, music and information gathered will eventually be publicly accessible through the University of Colorado Boulder Libraries and Digital Library, and the Colorado State University Pueblo Library. “This collaboration between CU Boulder and CSUP is a ‘first’ for both institutions, and we’re really happy to be working with a local institution to ensure that the interviews and oral histories captured remain fully accessible to the community,” says Thomas. (continued on page 22)
Photo: “Pueblo Musicians” by Anthony Armijo on the wall of the Klamm Shell in Pueblo, Colorado. Photo by Nicole Maio.
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(continued from page 20) Moreover, research results will inform K-12 curricular materials that will be made digitally available through both the AMRC and the Latino History Project—a public history initiative supported by CU Boulder’s School of Education— working with the AMRC to provide Colorado educators and the broader community with more resources for understanding the history and contributions of Latinxs statewide. “Our research team views itself as a facilitator for the community to tell its own story,” concludes Thomas. “We’re delighted to work directly with Pueblo scholars and artists who’ve been committed to this work for years. This kind of collaboration is one way that CU Boulder can take an active role in supporting local communities across our state.”
“As we continually reimagine and redefine our programs and activities to develop the universal musician, the American Music Research Center’s highly collaborative Soundscapes of the People project expands how we think about the role of music and the relevance of music making in shaping the communities we inhabit—statewide and beyond.” —John Davis, Dean, College of Music
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Gail and Michael Shimmin Grietje Sloan Lisa Spalding and Tomozo Yano Helen Stone Kathleen Sullivan Takács String Quartet Larry and Ann Thomas Anne Thomasson Marion Thurnauer and Alex Trifunac Laurie and Arthur Travers Leanne and Christopher Walther Lois and Gordon Ward Robert Wilson Phyllis Wise Lena and James Wockenfuss This list includes Artist Series, Eklund Opera and Takács Quartet donors of $100+ between 7/27/2020-7/26/2021. Every effort has been made to present this list as accurately as possible. If you have any questions, please contact 303492-2869.
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As of Aug. 20, 2021
CU Presents
Macky Auditorium
Executive Director Joan McLean Braun
Director Rudy Betancourt
Marketing and PR Director Laima Haley
Assistant Director for Patron Services Matthew Arrington
Operations Director Andrew Metzroth Director of Communications, College of Music Sabine Kortals Stein Assistant Director of Marketing Daniel Leonard Assistant Director of Public Relations Becca Vaclavik House Manager Rojana Savoye
Assistant Director for Administration Sara Krumwiede Assistant Director for Production Trevor Isetts
Communications Assistant, College of Music Mariefaith Lane Editorial Communications Assistant Sam Bradfield Marketing Communications Assistant Emma St. Lawrence Video Producers Ashwini Anupindi Vanessa Cornejo Jacqueline Sandstedt
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Photography
College of Music Cabinet Dean John Davis Interim Assistant Dean for Advancement Micah Abram Associate Dean for Graduate Studies Margaret Haefner Berg
Box Office Services Coordinator Adrienne Havelka
Assistant Dean for Budget and Finance Carrie Howard
Lead Box Office Assistant Alex Herbert
Executive Assistant to the Dean Lauren Patterson
Recording Engineer Kevin Harbison
Associate Dean for Undergraduate Studies and Enrollment Management Matthew Roeder
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Contact the box office
Production Managers Richard Barrett Chris Evans
Assistant Dean for Concerts and Communications Joan McLean Braun
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Accessibility
2021-22 Season
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