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Contents
With US
The Artist Series: 80 years ..............6 Calendar ........................................8 Takács Quartet .............................12 Eklund Opera ..............................14 Faculty Tuesdays ........................24 Artist Series donors .....................26 Takács Quartet donors ...............30 Eklund Opera donors ..................32 Personnel lists .............................34
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The Artist Series Celebrates 80 Years 80 Anniversary th
Most performing arts series might celebrate their launch with, well, an arts performance. But CU Boulder, in true Front Range fashion, pioneered a different approach.
When CU’s Artist Series began in February 1937, thousands of Boulderites donned their finery, strolled across the concrete floors of Macky Auditorium and waited expectantly in hard wooden seats not for a classical musician or a dance troupe but for the Rear Admiral Richard E. Byrd, a renowned polar explorer. Through eight decades of events with world-renowned icons, from Isaac Stern to Andres Segovia to the Trapp Family Singers, Byrd remains the only lecturer to ever visit CU Boulder for an Artist Series event. CU Presents Executive Director Joan McLean Braun acknowledges it was a quirky start to the series but fit in well with its founding mission.
Baker, Artur Rubinstein and more. And as Boulder’s population evolved, so did the Artist Series, welcoming ballet ensembles, jazz and most recently world music. “Boulder is a contemporary city that highly values diversity,” Braun says. “People here love an opportunity to learn more about another culture, and immersing yourself in art is such an easy door to cultural understanding.” Braun, a Boulder native, says the most memorable Artist Series concerts she’s seen were those that shed light on a superstar’s fallibility. She still remembers an evening in the late 1990s when mezzo soprano Frederica von Stade forgot the words to an aria and the whole crowd held its breath, waiting to see how she’d recover. She can also recall the tears streaming down some patrons’ faces on the night pianist Leon Fleisher played for the first time since he’d regained the use of his right hand after a battle with focal dystonia.
“The idea behind the Artist Series was to bring culture and the rest of the world to little old Boulder,” Braun says. “This was before anyone had TV and before Highway 36 was anything more than a dirt road. Boulder was very much an isolated college town.”
Today, Boulder isn’t the disconnected hamlet it was in 1937, and in an age where cultural attractions fight for attention with on-demand television, social media streams and countless outdoor pursuits, Braun says she’s grateful locals still find live performances worthwhile 80 years later.
Boulder’s 12,000 civilians and then-fledgling college campus welcomed legends from the music world with open arms, delighting in solo recitals by Dame Janet
"There’s real value in going to a live performance and being in the moment, fully present, with a community of real humans around you.”
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2016-17 Season
80th Anniversary
MOMIX Opus Cactus Back by popular demand! Through daring movement, optical illusions and astounding inventiveness, the dancers of MOMIX create a dreamlike fantasy world. “Opus Cactus” brings the landscape of the Sonoran desert to life with slithering lizards, fire dancers and more. Sunday, Oct. 2, 2016, 7:30 pm Richard Goode Bach and Chopin Place two legendary keyboard composers in the hands of one of the world’s leading pianists and magic is bound to happen. Richard Goode brings tremendous emotional power, depth and expressiveness to the music of Johann Sebastian Bach and Frédéric Chopin. Friday, Oct. 28, 2016, 7:30 pm
The Nile Project
Take in vibrant, joyful and original music combining the traditions of 11 countries up and down Africa’s diverse Nile River basin. This “committed, euphoric international coalition” (The New York Times) of performers transcends language and cultural barriers to unite in harmony. Thursday, Feb. 2, 2017, 7:30 pm
Deborah Voigt Voigt Lessons
Experience the moving story of a world-renowned soprano’s successes and struggles in a performance that’s part recital and part one-woman show. Saturday, Feb. 18, 2017, 7:30 pm
Manhattan Transfer and Take 6 The Summit Spend an unforgettable evening grooving to innovative arrangements of jazz, pop, swing, gospel and R&B songs sung in impeccable harmony. With 20 Grammy Awards between them, the Manhattan Transfer and Take 6 are two of the most legendary groups in a cappella history. Friday, Nov. 11, 2016, 7:30 pm
Yo-Yo Ma
Ukulele Orchestra of Great Britain Christmas Concert Celebrate the holiday season with an octet of singing, strumming players from across the pond! The Ukulele Orchestra of Great Britain delivers a funny, virtuosic, twanging, foot-stomping evening of classic carols and new favorites. Thursday, Dec. 8, 2016, 7:30 pm
Danú The World’s Greatest St. Patrick's Day Celebration Danú brings together virtuosi players on flute, tin whistle, fiddle, accordion, vocals and more for a high-energy performance of ancient Irish music and new repertoire. This fan favorite returns to Boulder for an unforgettable St. Patrick’s Day concert. Saturday, March 4 2017, 7:30 pm
Flamenco Vivo Carlota Santana Poema de Andalucía
James Galway
Transport yourself to romantic southern Spain with an “infectiously joyful” (The New York Times) demonstration of authentic Spanish dance. This energetic performance combines sensual movement, colorful costumes and irresistible Andalusian folk music. Saturday, Jan. 21, 2017, 7:30 pm
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The world’s greatest living cellist gives a once-in-a-lifetime solo recital on the Artist Series. From his partnership with the Silk Road Ensemble to his cross-disciplinary collaborations, Yo-Yo Ma is the only musician who can travel seamlessly between genres and cultures. Wednesday, Feb. 22, 2017, 7:30 pm
“The Man with the Golden Flute” pays a visit to Boulder for a mesmerizing, genre-defying performance. Between his classical credits, his star-studded collaborations and his iconic recordings for “The Lord of the Rings” films, Sir James Galway is the premier flutist of our time. Wednesday, March 22, 2017, 7:30 pm
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The Calidore String Quartet has established an international reputation for its informed, polished and passionate performances. The quartet was appointed to the prestigious roster of the Chamber Music Society of Lincoln Center Two for the 2016-19 seasons, has won grand prizes in virtually every major U.S. chamber music competition, and captured top prizes at the 2012 ARD Munich International String Quartet Competition and Hamburg International Chamber Music Competition.
Sunday, Aug. 28, 2016, 4:00 pm Monday, Aug. 29, 2016, 7:30 pm Sunday, Oct. 30, 2016, 4:00 pm Monday, Oct. 31, 2016, 7:30 pm Sunday, Feb. 19, 2017, 4:00 pm Monday, Feb. 20, 2017, 7:30 pm Sunday, March 19, 2017, 4:00 pm Monday, March 20, 2017, 7:30 pm The Grammy Award-winning chamber quartet has been selling out concerts for three decades at CU Boulder with an irresistible blend of virtuosic technique and engaging personality.
Die Fledermaus
Johann Strauss, Jr.'s glittering masked ball operetta comes to Macky Auditorium just in time for Halloween. This farcical, lighthearted work follows a group of Viennese friends from boudoir to ballroom to jail as they party the night away dressed in disguise, learning lessons about themselves and each other along the way.
Oct. 21-23, 2016
Sunday, April 30, 2017, 4:00 pm Monday, May 1, 2017, 7:30 pm Calidore String Quartet Sunday, Sept. 25, 2016, 4:00 pm Monday, Sept. 26, 2016, 7:30 pm
The Magic Flute For centuries, Mozart’s Red Hot and Cole timeless fairy tale has inspired children and adults alike all over the world. Like a fantasy adventure film come to life, The Magic Flute blends together whimsical humor and irresistible melodies to tell the gripping story of a prince who must outwit an evil queen to be united with his true love.
March 17-19, 2017
The Servant of Two Masters by Carlo Goldoni Opens Oct. 19 This classic commedia dell'arte tale, written in the 1700s, concerns the terrible complications wrought by the servant Truffaldino when he attends to two different masters at the same time. With the physical energy and extreme farce that only commedia can supply, he pushes physical and emotional limits to appease his masters and his growling stomach. "The Servant of Two Masters" is a tale of love lost, found and mistaken! Comming this Spring The Rocky Horror Show By Richard O'Brien Opens March 3
Peter and the Starcatcher By Rick Elice Opens Apr. 14
A “swellegant” theatrical party celebrating the life and irrepressible wit of Cole Porter, Red Hot & Cole celebrates the great American songwriter who brought style, elegance and sophistication to Broadway and Hollywood, delighting the world with clever rhymes, fresh melodies and a sassy, sexy sensibility.
April 27-30, 2017
Boneless (Dance Series) Opens Oct. 21 Boneless, a pair of dance works by two CU Boulder MFA students, uses richly physical movement to peer beneath the surface of human existence.
Twelfth Night Opens Nov. 4
By William Shakespeare A story of mistaken identities and love at first sight, “Twelfth Night” is the original romantic comedy. CU Boulder’s production, featuring an all-female cast, shines a new light on Shakespeare’s timeless words.
Plus much more! colorado.edu/theatredance/events
Open Space (Dance Series) Opens Nov. 11
In this student-produced and CU Dance Connection-curated series, dance works span a spectrum of styles, inviting and challenging viewers with exciting experimentations.
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For Takács Quartet, Beethoven Beckons
The University of Colorado Boulder’s famously loyal Takács Quartet fans can expect to hear a whole lot of Ludwig van Beethoven this season. CU Boulder’s longtime quartet-in-residence is gearing up for a season of Beethoven’s entire string quartet canon to coincide with the recent release of violinist Edward Dusinberre’s book, Beethoven for a Later Age: Living with the String Quartets. They’ll perform some of the pieces in Boulder and others in a handful of major international cities. “It was just time to perform the cycle again,” says Takács Quartet founder and cellist András Fejér. “It’s always nice to re-immerse yourself in these gorgeous pieces. Thinking about Ed’s book while playing will be the cherry on top.” The Grammy-winning group, often considered one of the finest chamber ensembles in the world, is no stranger to the composer whose unique sound famously bridged the classical and romantic periods. A decade ago, the Takács released a recording of Beethoven’s complete string quartets to unanimous critical acclaim. The New Yorker’s Alex Ross called it “the most richly expressive modern account of this titanic cycle.”
For Fejér, there’s no composer whose music is more moving and endlessly fascinating than Beethoven’s, so it’s no wonder that the quartet returns to his work again and again. “The breadth and the scope of the pieces, starting from his early quartets and finishing with the quartets written after his Ninth Symphony … the emotions, the passion, the way he turns the classical structure on its head … the way he builds themes … it’s all incredible,” Fejér says. “The combination of all these factors makes the Beethoven string quartets some of the most difficult pieces to perform, digest, analyze and synthesize.” When the quartet isn’t tackling Ludwig in the 201617 concert season, they’ll be partnering up with CU Boulder’s many talented, award-winning faculty musicians for pieces both familiar and new to them, including Dohnányi’s Piano Quintet, Schubert’s “Trout” Quintet and selected songs by Brahms. “Every piece we play with our colleagues is exciting because we don’t have the opportunity to play it too many times,” Fejér says. “It’s wonderful to have an outside influence and outside energy taking us places where we wouldn’t normally go as a quartet.” Aug, 28, 2016 to May 1, 2017 | Tickets start at $36
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Eklund Opera’s Festive ‘Fledermaus’ This fall, just in time for Halloween, CU Boulder’s Eklund Opera program is set to bring Johann Strauss, Jr.’s glittering masked ball operetta to Macky Auditorium.
“Operettas were as popular during that time period as they are today,” Holman says. “People loved Die Fledermaus because there was dancing, lots of good jokes, physical humor and colorful sets”—a welcome break from the era’s increasingly serious and dramatic grand operas.
Die Fledermaus, consistently popular with audiences for a century and a half, follows a group of Viennese friends from boudoir to ballroom to jail as they party the night away dressed in disguise, learning lessons about themselves and each other along the way.
Holman says she’s never directed Die Fledermaus before, but she fondly remembers playing Prince Orlofsky in a production of the operetta at the University of Tennessee at Martin. The part of Orlofsky—a nobleman so comically cosmopolitan that no scandal shocks him anymore— is what’s called a trouser role, meant to be sung by a woman playing a man.
“It’s a light, fun piece that anyone can enjoy,” says Eklund Opera Director Leigh Holman, who also directs the production. “It’s perfect for this time of year, right when everyone is getting ready for the holidays, because it feels very festive.” Die Fledermaus premiered in Vienna in 1874, at the height of a prosperous era for the Austrian city. The Hapsburg reign was in full swing, Vienna was nicknamed “the city of dreams,” and its cultural goings-on were the envy of every other city in the Western world. Perhaps that’s why Die Fledermaus was the Hamilton of its time, selling out shows in every city to which it traveled: Its frothy, funny, champagne-soaked plot captured the period zeitgeist so well that the Viennese saw themselves in the characters on stage.
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“In Strauss’ time, the trouser roles would have been considered very risqué and alluring to men in the audience,” Holman says. “Back then, most women were wearing full-length ballgowns, and it would have been exciting to see a woman’s ankles and a very clear outline of her body.” Seeing a woman in pants may not be cause for excitement in 2016, but Die Fledermaus, with its festive atmosphere, famous Straussian waltzes and funny one-liners, is just as thrilling as it was a century and a half ago. Oct. 21-23 in Macky Auditorium | Tickets start at $20
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2016 -17 SEASON OPENING NIGHT: ANDERSON & ROE Oct. 8, 7:30 PM POULENC Concerto For Two Pianos Works by Rachmaninoff & Tchaikovsky
MOZART & BEETHOVEN
Nov. 6, 7 PM MOZART Sinfonia Concertante Edward Dusinberre, violin; Geraldine Walther, viola Works by Adès & Beethoven
NUTCRACKER BALLET Nov. 25-27
A WICKED GOOD CHRISTMAS Dec. 10, 7:30 PM
BRAHMS & HIS WORLD
Jan. 14, 7:30 PM SMYTH Concerto for Violin & Horn Jennifer Frautschi, violin; Eric Ruske, horn Works by Brahms & Schumann
JAKE SHIMABUKURO, UKULELE Feb. 4, 7:30 PM
NATURE & MUSIC
Kennedy Center Kick-Off Concert! Mar. 25, 7:30 PM Mandolin Concerto & Copland’s Appalachian Spring Frequent Flyers® Aerial Dance
SEASON FINALE: PINES OF ROME
Apr. 22, 7:30 PM GOSS Double Concerto (world premiere) Charles Wetherbee, violin; Nicolò Spera, guitar Respighi’s The Pines Of Rome
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TA K Á C S Q U A R T E T — A u g u s t 2 8 - 2 9 , 2 0 1 6
Edward Dusinberre, violin Károly Schranz, violin Geraldine Walther, viola András Fejér, cello
Program The Music of Ludwig van Beethoven (1770-1827)
Quartet in F Major, Op.18 No. 1 Allegro con brio Adagio affettuoso ed appassionato Scherzo, Allegro molto Allegro Quartet in F minor, Op. 95 Allegro con brio Allegretto ma non troppo Allegro assai vivace ma serioso Larghetto espressivo-Allegretto agitato Intermission Quartet in B flat major, Op.130 Adagio ma non troppo-Allegro Presto Andante con moto ma non troppo, poco scherzando Alla tedesca, Allegro assai Cavatina, Adagio molto espressivo Finale, Allegro
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Program Notes By Marc Shulgold
TA K Á C S Q U A R T E T — A u g u s t 2 8 - 2 9 , 2 0 1 6
String Quartet in F, Op. 18, No. 1 On June 1, 1801, Beethoven sent a letter to his dear friend, the violinist Karl Amenda, confessing in strict confidence his increasing deafness (“I beg you to treat the matter of my hearing as a great secret...”). Then, before signing off, he made another request: to resist sharing a string quartet the composer had given him, adding, “...only now have I learned to write quartets as they should be written.” The manuscript in question was a first version of what would become Op. 18, No. 1. That score survives, providing an early glimpse into Beethoven’s quest for perfection. Nearly every bar would be revised, with changes in harmonies, dynamics, rhythms, etc. This comes as no surprise, considering the long and intense labor given to all the String Quartets of Op. 18. The notion of tackling this genre came as early as 1795, on a suggestion from Haydn’s friend and benefactor Count Apponyi. Accepting a quartet commission from Prince Lobkowitz in 1798, Beethoven jumped at the opportunity to display his talents to Vienna and, specifically, to his onetime teacher, the elderly Haydn (who’d received a similar commission from the Prince). Years of labor followed until Beethoven saw fit in 1801 to submit six quartets – that number
Ludwig van Beethoven following the precedent favored by publishers. Begun in early 1799, the F major quartet was actually the second to be composed (following No. 3), but it was given the No. 1 designation based on its immediate attractiveness to potential buyers. It certainly does make a positive first impression with its hushed, unison opening statement. This Allegro and the following movement became quite popular with amateur players - no record exists of its first public performance. The remarkable Adagio is in the powerful key of D minor (the key of Mozart’s Requiem and Beethoven’s Ninth), and it emphatically reveals the composer’s deep soulfulness. According to his pal Amenda, Beethoven was inspired here by the tragic final scene of Shakespeare’s Romeo and Juliet. Its mournful pulsations, broken briefly by a hopeful episode, led to an angry eruption that suggests an acknowledgment of the fate that had befallen Shakespeare’s lovers and, perhaps, lies in wait for Beethoven himself. The brief, witty Scherzo leads to a finale filled with plenty of Haydn-esque bounce, dominated by an endless series of dizzying passages shared equally by all four voices.
String Quartet in F minor, Op. 95 “Serioso” This is edge-of-your-seat music, filled with compressed tension, large and small surprises and a momentum that cannot be stopped. The work is so big that Mahler arranged it for string orchestra. It was composed in 1810, a lean year, composition-wise: the incidental music to Goethe’s Egmont was the only other major work. Haydn had died the previous year —and in some way, Beethoven seems to be driving a wedge between the recently deceased composer’s elegant, good-natured humor and his own intense, uninhibited, unfolding passion. To introduce this new musical galaxy, he gave Op. 95 the nickname “Serioso,” as if instructing listeners, then and now, to pay strict attention. It was dedicated not to a benevolent prince or count but to Beethoven’s good friend, a court secretary named Nikolaus Zmeskall. The composer held onto this work for four years before allowing his chamber-music champion Ignaz Schuppanzigh to lead a public performance. It would be another two years until publication. Why the delay? We get a hint from a letter Beethoven sent to the English conductor George Smart, in which he explains that Op. 95 “is written for a small circle of connoisseurs and is never to be performed in public.” So much for that idea. The F minor Quartet is the shortest of the 16, lasting around 20 minutes - not an unusual length for Haydn, but certainly a major departure from Beethoven’s three expansive “Razumovsky” Quartets
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Ludwig van Beethoven
from three years earlier. It’s almost as if he created a challenging chemistry experiment: Boil down a huge cauldron of ideas to fit Haydn’s small flask. From the opening measure, this riveting work gets down to business, with an explosive unison roar that makes the start of that Op. 18 work, heard earlier, seem almost kittenish. In typical Beethoven fashion, what unfolds in this stunningly brief Allegro is a series of blasts, silences, sudden mood changes and a rush toward what certainly must be an earth-shaking ending. Guess again. Another surprise comes next in a strange Allegretto that begins with a germ of an idea, a simple descending scale introduced by the cello that later serves as the root of a fugue-like episode. In yet another twist, this music ends not on a comforting home chord but on a supremely uncomfortable one (a diminished seventh, if you must know). This leads directly into an Allegro that seems as anxious and unsettled as that transition chord. Incidentally, this use of an unexpected diminished seventh linking two movements is also employed in an earlier F-minor work, the Piano Sonata No. 23 “Appassionata.” A gentle introduction to the agitated finale provides the perfect palate-cleansing for the listener - and perhaps a much-needed respite for the players. They’ll need some rest, because one of Beethoven’s most rapidfire codas is hiding in the bushes, ready to pounce.
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Ludwig van Beethoven
It’s easy to succumb to the romantic image of the graying Beethoven, now completely deaf, locking himself away from the world to write those final, ethereal string quartets, uninterested in the reception by his contemporaries—somehow knowing that these masterpieces were “music of the future.” Not so. Very much a man of his time, Beethoven remained a practical composer, plugged in to the changing tastes of Vienna’s ever-fickle audiences, its backstabbing music publishers and, as always, his need to simply make a living. Just as payment for his works remained a high priority, so too did the responses from the culture-hungry Viennese. Consider the first public performance of Op. 130 on March 21, 1826, given by the renowned quartet led by Ignaz Schuppanzigh. After the concert, Karl Holz, a violinist in that ensemble and a dedicated confidant, rushed to the tavern where the composer sat alone and reported that Op. 130’s two dance-like movements, the witty Presto and folk-flavored Alla danza tedesca, had been cheered and each encored. “Yes, these delicacies!” Beethoven responded, adding, “Why not the Fugue?” Holz evidently replied that that one didn’t go over so well. “Cattle! Asses!” snapped the composer. Holz answered that listeners to Op. 130 were “inspired, astonished or questioning,” most of them loudly appreciative because of their “awe” of the master. Vienna, it seems, held many faithful music-lovers who consistently embraced the beloved, if often misunderstood, composer. Context is important here; while most of Europe was now favoring pretty tunes by Rossini over Beethoven’s “difficult” late works, he had his fans - among them the Russian Prince Nikolas Galitzin, who, in November of 1822, had asked for “one, two, or three quartets for which labor I will be glad to pay you what you think is proper.” His timing was perfect, since Beethoven had already begun toying with the string quartet, a genre he last visited back in 1810 with Op. 95, heard here earlier. Even with Galitzin’s generous commission, progress on the three quartets was slow; there was still the matter of finishing the Missa Solemnis, Ninth Symphony and
Diabelli Variations. The first quartet, Op. 127, was completed in February of 1825; then came Op. 132 that July, with Op. 130 written between August and November. Two more would follow (Op. 131 and 135) and that was it —sort of. As mentioned, Op. 130 originally ended with an enormous “Great Fugue,” music that has stamped this work with unending controversy. A contemporary Leipzig review labeled the quartet “incomprehensible, like Chinese.” Few who heard the fugue (or played it) could fully fathom its complexities. In April of 1826, the publisher Mathias Artaria cautiously wrote to the composer with a modest idea: to publish the Grosse Fuge separately and tack on a new, less cumbersome finale. It seems impossible for us to believe that the hard-headed, unshakable Beethoven agreed to the plan. But he did. Why? It surely wasn’t the added income Artaria promised (or maybe it was!). Perhaps Beethoven felt that either finale worked just fine. Arguments still rage, some musicologists insisting that the Fugue had been the perfect, logical ending, noting that seeds for it were carefully planted throughout the previous five movements. Others say the sheer density of it overwhelmed what had come before. In any case, this performance closes with the frisky alternate finale, which turned out to be the composer’s last completed piece. Regardless of which ending is employed, here is a work that continues to astonish listeners with its many wonders. The somber opening and the recurring shocks from those sudden, alternating fast-and-slow, loud-and-soft passages in the opening movement are pure Beethoven at his most unpredictable. As noted, there are two scherzo movements, the brief Presto and the hummable Alla danza tedesca (German dance). Those appear alongside two slow movements, the genial Andante and the otherworldly, unforgettable Cavatina – a dreamy, aria-like piece highlighted by a miraculous passage featuring a detached, arrhythmic violin solo over slow, unison triplets, marked beklemmt (oppressive, anguished). The final, folksy functions wonderfully here as a lovely dessert.
Please join us after the program for a reception and a chance to meet with members of the Takács Quartet
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C-3
TA K Á C S Q U A R T E T — A u g u s t 2 8 - 2 9 , 2 0 1 6
String Quartet in B flat major, Op. 130
TA K Á C S Q U A R T E T — A u g u s t 2 8 - 2 9 , 2 0 1 6
The Takács Quartet, recognized as one of the world’s great ensembles, plays with a unique blend of drama, warmth and humor, combining four distinct musical personalities to bring fresh insights to the string quartet repertoire. The Takács became the first string quartet to win the Wigmore Hall Medal on May 10, 2014. The medal, inaugurated in 2007, recognizes major international artists who have a strong association with the hall. In 2012, Gramophone announced that the Takács was the only string quartet to be inducted into its first Hall of Fame. The ensemble also won the 2011 Award for Chamber Music and Song presented by the Royal Philharmonic Society in London. Since 1988, the quartet has also made 16 recordings of works by Beethoven, Bartók, Borodin, Brahms, Chausson, Dvořák, Haydn, Mozart, Schubert and Smetana for the Decca label. The ensemble’s recording of the six Bartók string quartets received the 1998 Gramophone Award for chamber music. The ensemble’s other Decca recordings include Dvořák’s String Quartet in E-flat Major, Op. 51 and Piano Quintet in A Major, Op. 81 with pianist Andreas Haefliger; Schubert’s Quartet in G Major and Notturno Piano Trio with Mr. Haefliger; the three Brahms string
C-4
The Takács Quartet quartets and Piano Quintet in F minor with pianist András Schiff; and Mozart’s String Quintets, K. 515 and 516 with Gyorgy Pauk, viola. The members of the Takács Quartet are Christoffersen Faculty Fellows at the University of Colorado Boulder, where the quartet has helped to develop a string program with a special emphasis on chamber music. The quartet’s commitment to teaching is enhanced by summer residencies at the Aspen Music Festival and at the Music Academy of the West, Santa Barbara. They are also Visiting Fellows at the Guildhall School of Music and Drama, London. takacsquartet.com
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A SSISTED L IVING
|
M E M O RY C A R E
Play on!
Program Insert
Yours is an Unfinished Symphony
Enriching Life for the Heroes of Our Society: Seniors with your deposit
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Worshipping • Exploring spirituality weekly in worship, with our Theologian-in-Residence program, Together and on our beautiful indoor labyrinth. Supporting • Supporting the arts with our ensembles-inthe Arts residence, art exhibits in the Sanctuary Gallery, and Arts for Kids’ Souls summer camp. Welcoming EVERYONE • Working for social justice and equality for all.
to a CU Theatrical Production
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Discover Bixby Boulder’s Progressive School Since 1970
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Richard Goode is generously sponsored by:
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ARAPAHOE ANIMAL HOSPITAL
Ars Nova Singers
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In Concert at The Dairy, with Frequent Flyers
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Inspire/Respire: Music in the Air – Nov 18, 19, 20
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Christmas with Ars Nova – December 9, 10, 11
(behind Boulder’s Dinner Theatre)
A Colorado Holiday Tradition
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Music of the Renaissance
Voices & Viols – February 25, 26
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23
Global performance. World-class entertainment. You have to be here.
AUGUST
Sweet Harmony CU Voice Faculty
The CU voice faculty celebrate Shakespeare at CU’s exhibition of Shakespeare’s First Folio at the CU Art Museum by presenting a recital of musical highlights featuring the Bard’s texts, including art songs and opera excerpts in multiple languages by great composers such as Berlioz, Gounod, Strauss, Korngold and Quilter.
SEPTEMBER
Give Me Some Music CU Keyboard Faculty Special Thursday performance
In a concert celebrating the “First Folio! The Book that Gave Us Shakespeare” exhibit, the CU keyboard faculty and guests present music inspired by Shakespeare. The program includes works by Liszt, Mendelssohn and Prokofiev as well as a chamber work by late Professor Emeritus Luis Jorge Gonzalez.
Guitar Rarities
Ritter Family Classical Guitar Faculty An evening of rarely performed chamber music with guitarists Nicolò Spera, Lorenzo Micheli, Matteo Mela and special guests.
Romance & Fireworks!
Woodwinds in Evening
Chas and David present the pairing of Brahms’ Sonata No. 3 with Paul Juon’s Sonata No. 3, a wonderful juxtaposition that shows the influence of the former. Also on the program are three rondos composed by David Korevaar in 1986 and the always exciting “Gypsy Airs” by Pablo de Sarasate.
Join us for “The Wind in Our Sails: An Evening with the CU Woodwind Faculty.” A delightful program features works by Camille Saint-Saëns and Jean Françaix and the sublime “Symphony” by Charles Gounod. Enjoy flute, oboe, clarinet, bassoon and classic works for saxophone. There will be something for everyone … and the person sitting next them too!
OCTOBER
NOVEMBER
Charles Wetherbee, violin, and David Korevaar, piano
Messiaen & Kellogg
Clarinetist Daniel Silver and friends Please join us for “The Quartet for the End of Time,” one of the most monumental event pieces in all of chamber music. It was composed while Messiaen was held in a prisoner-of-war camp in German-occupied Silesia. The evening begins with faculty composer Daniel Kellogg’s moving “Plainsong.”
Ginastera’s 100th
Pianist Alejandro Cremaschi and friends
Bassoon Exquisite Bassoonist Yoshi Ishikawa and friends
Works by Bill Douglas, Robert Spillman, Willard Elliott and Jean Françaix feature the lyrical and agile voice of the bassoon in chamber settings.
Alberto Ginastera, born 100 years ago, captured the essence of the Argentine gaucho in a highly original and exhilarating musical style. Our celebration includes his chamber music, song cycles and solo piano works.
Harp Recital
Be (bop) Boulder!
Janet Harriman, harp
The Thompson Jazz Faculty The Thompson Jazz Studies Program faculty members perform a selection of original contemporary jazz from their recent recording.
“Acrostic Paraphrase” for solo harp from “Final Alice” by David Del Tredici and “Legs” by Neal Hefti, arranged by B. Rooker and performed by the CU harp studio.
More info at colorado.edu/music
Can’t make it? Watch the online livestream at our website!
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CU Woodwind Faculty
Piano Romance Hsing-ay Hsu, piano
How can piano music express the transcendent state of being loved? Pianist Hsing-ay Hsu explores a few different compositional approaches with the astonishing genius of Schumann, Rachmaninoff and Liszt as part of her ongoing “Four Loves Project” concerts.
A Brass Menagerie
Colorado Symphony Brass Quintet Celebrate an evening of brass chamber music with the Colorado Symphony Brass Quintet. From solo works to various ensemble repertoire, this performance will provide an exciting journey through the many glorious sonorities that make the brass section so popular with composers and audiences alike!
Vienna to Budapest Harumi Rhodes, violin, and David Korevaar, piano
Join Rhodes and Korevaar on a trip from Vienna to Budapest! First stop: Beethoven’s Sonata No. 2. Last stop: Bartok’s Sonata No. 2. And along the way, there’s an exploration of Webern’s visionary Four Pieces for Violin and Piano, Op. 7. It’s an excursion not to be missed, full of fantasy, wonderment and lyricism.
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Creating connections. Honoring lives. Embracing possibilities. You’ve spent a lifetime of becoming the person you are today. And at Frasier, we celebrate this. This is the time to explore your passions and expand your life in any direction you choose. And through your retirement years, our expert continuum of care is here to offer you security and peace of mind. It’s all of this and so much more that make Frasier such an extraordinary place to call home. Frasier offers a full continuum of care, all located on our beautiful 20-acre campus.
Tours are available
Independent Living: 720-562-4440 Assisted Living and Memory Care: 720-562-4462 Health Care (Skilled Nursing): 720-562-4473
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Artist Series
The Artist Series presents performances of fine music and performing arts to which the community would otherwise not have access. The highest quality emerging and internationally recognized artists provide world-class performances and residency activities that enhance the learning environment at the University of Colorado Boulder and the cultural life of the community. The Artist Series includes a variety of presentations from many cultures and traditions.
80th Anniversary
Gil Berman Rudy Betancourt Joan McLean Braun
John Davis Diane Dunn Mike Gallucci
Benefactor
Mark and Margaret Carson Diane and Richard Dunn Paul Bechtner Foundation Greg Silvus and Melanie Miller
Sponsor
Gil and Nancy Berman Mary Lamy Ellen and Joshua Taxman
Patron
Anonymous Joan McLean Braun Chris and Barbara Christoffersen Daryl and Kay James Ruth Carmel Kahn Janet and Scott Martin John F. Mckune Louise Pearson and Grant Couch Daniel and Boyce Sher
Artist Series Advisory Board Lissy Garrison Laima Haley Daryl James, President
Maryan K. Jaross Ruth Kahn Jerry Orten
Supporter
Elmer Altschuler and Melisse Perre-Altschuler Center Copy Boulder, Inc. Lawrence Cohn Martha Coffin Evans and Robert Trembly II Carol and Michael Gallucci Heidi and Jerry Lynch Robert and Sandra McCalmon Judy and Alan Megibow Tiffany Myers and J. M. Steffan Knapp Jerry and Jamie Orten Mikhy and Michael Ritter Theodore and Ruth Smith Lawrence and Ann Brennan Thomas
Contributor
Gregory and Gladeane Lefferdink Susan and Jon Lounsbury John Mantey and Erma Mantey Elizabeth Rauch Alicia and Juan Rodriguez Paul and Luana Rubin Alan and Stephanie Rudy Douglas and Avlona Taylor
Louise Pearson Erika Randall Robert Shay
Gregory Silvus Ellen Taxman Nicholas Vocatura
Member
Anonymous Shirley Carnahan Noel A. and Pauline A. Clark Douglas and Rita Dart Robbie Dunlap Leslie and Merrill Glustrom John Graham and Lorin Lear Damon and Laima Haley Jo and David Hill Matthew and Michele Hoovler Maryan Jaross Caroline and Gary Kounkel Pam Leland Judah and Alice Levine Gail and Thomas Madden Paul and Kay McCormick Gail and Julie Mock Margaret Reagor Randall Kenneth Rutsch Courtland and Carolyn Spicer Zoe Stivers Lloyd Timblin Jr. Geoffrey Tyndall Heather Van Dusen Jack and Sophie Walker
Corporate Sponsors
Boulder CPA Group, Food & Water Watch, Frasier Meadows Retirement, H.B Woodsong's, Hurdle's Jewelry, James & Associates, Shaw Construction, WESTAF
In-kind Sponsors
Boulder Blooms, Camera, Hotel Boulderado, KUVO, Liquor Mart, Savory Cuisines Catering
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Fine Art Associates 1949 Pearl St Boulder CO
Featuring New Work By
Chris Campbell, Scarlett Kanistanaux, and Claire McArdle (303) 413-1000 www.faaboulder.com
Photo: The Great Green, by Joanna Rotkin, Joanna and the Agitators joannaandtheagitators.com
See what you’re missing www.BoulderCountyArtsCalendar.com | 303-492-8008 | cupresents.org | Get Soci@cupresents |
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Takács Society
The Takács Society, formed by the College of Music, provides the critical resources to support the work of the Takács Quartet—to advance their teaching endeavors, provide scholarships that are essential to attract and retain exceptionally gifted young artists, and sponsor guest artists in the Takács performance series.
Benefactor
Albert and Nancy Boggess Lyle Bourne and Rita Yaroush Norma Johnson in memory of Fay Shwayder Gary and Judith Judd in memory of Fay Shwayder Takacs String Quartet
Sponsor
P.J. Decker and B.A. Saperstein Carol Lena Kovner David and Janet Robertson Marion Thurnauer and Alexander Trifunac
Patron
Thomas and Carol Cech Chris and Barbara Christoffersen Lauren Frear John and Carson Taylor
Supporter
Virginia Boucher William and Alice Bradley Patricia Butler Richard Jessor and Jane Menken Robert R. Kehoe Walter and Eileen Kintsch Paul and Nancy Levitt Patricia and Robert Lisensky Maxine Mark Lise Menn Virginia Newton Neil and Martha Palmer Mikhy and Michael Ritter David and Susan Seitz Lawrence and Ann Brennan Thomas
Contributor
Lois Abbott Carolyn and Don Etter Doree and Jerry Hickman Bob and Lori Schuyler Helen Stone Patricia Thompson Laurie and Arthur Travers
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Member
Anonymous Christine Arden and David Newman Neil Ashby and Marcia Geissinger Maria and Jesse Aweida Ingrid Becher Kevin and Diana Bunnell Shirley Carnahan Penny Chenery Noel A. and Pauline A. Clark Charlotte Corbridge Richard and JoAnn Crandall Barbara and Carl Diehl Jean and Bob Fischer Lloyd and Mary Gelman Ken and Dianne Hackett Catharine and Richard E. Harris John and Ruthanne Hibbs Elizabeth and Jonathan Hinebauch William Hoffman Ruth and Richard Irvin Bruce and Kyongguen Johnson Patricia L. Johnson Jennifer and Bob Kamper Mireille Key Alice and Judah Levine
Albert and Virginia Lundell Heidi and Jerry Lynch Gail and Thomas Madden Caroline E. Malde John and Nancy Malville Ralph and Nancy Mann J. Richard and Marjorie McIntosh Peter and Doris McManamon Josef and Sara Michl Christopher B. Mueller and Martha A. Whittaker Joan and Ronald Nordgren Faith and Roy Peterson Julie and Wayne Phillips Antonia and Timothy Piwonka-Corle Joanna and Mark Rosenblum JoAn Segal Todd and Gretchen Sliker Grietje Sloan Carol and Art Smoot Berkley A. Tague Betty Van Zandt Anthony White James and Nurit Wolf Bill Wood Michael Yanowitch
Make all gifts payable to the University of Colorado Foundation and mail to: Takács Society CU College of Music, 301 UCB Boulder, CO 80309-0301 For credit card payments, questions or additional information, please call the College of Music Development Office at 303-735-6070.
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Unearthed:
t r e e
Ancient Life in the Boulder Valley
c o m p a n y
Exclusively at
CU Museum of Natural History
Love your Trees!! • Tree and Shrub Pruning • Insect and Disease Treatments • Tree Removals • Plant Health Diagnostics • Soil Testing and Treatments • Free Property Inspections
cumuseum.colorado.edu
303-554-7035 • www.taddikentree.com
CREATION
Join us for a musical journey. CREATION: Joseph Haydn Creation | October 28 & 29 LOVE & DEATH: Shostakovich Symphony No. 14 | January 20 & 21 TRIUMPH: Beethoven Symphony No. 3, Eroica | April 7 & 8 Fridays in Denver and Saturdays in Boulder
For more information and to purchase tickets, visit
YEAR ANNIVERSARY
ProMusicaColorado.org
love & death
TRIUMPH
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© 2016 Rebecca Ellen Clark
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Friends of Eklund Opera
The Eklund Opera Program is recognized nationwide as one of the finest programs of its kind in the country. Its success is a reflection of outstanding faculty, exceptionally gifted students, professional production standards and, ultimately, the successful placement of students after graduation in the professional world. You are invited to be a part of the tradition of excellence that has come to characterize Eklund Opera. Your support is pivotal to maintaining the stature of this seminal program. To explore the role you can take in supporting Eklund Opera, please contact our Development Office at 303-735-6070.
Benefactor
Contributor
Anonymous David Allen and Carol DeBaca Paul Eklund Robert Stuart Graham Robert Martin The Academy Charitable Foundation, Inc.
Susan Graber Heidi and Jerry Lynch Claudia Boettcher Merthan Dennis Peterson Dave and Ann Phillips R. Alan and Stephanie Rudy Cynthia and Paul Schauer Carol and Randall Shinn Theodore and Ruth Smith Helen Stone Peter Wall
Sponsor
Alan and Martha Stormo
Patron
Grants
Chris and Barbara Christoffersen Lloyd and Mary Gelman Albert and Betsy Hand Gordon and Mitzi Ledingham Krista Marks and Brent Milne
Supporter
Denver Lyric Opera Guild Galen & Ada Belle Spencer Foundation Louis and Harold Price Foundation The Schramm Foundation
Anonymous Norman and Vivian Belmonte Stephen Dilts Martha Coffin Evans and Robert Trembly John Hedderich Bob and Mikee Kapelke Mikhy and Mike Ritter Bob and Lori Schuyler Lawrence and Ann Brennan Thomas Ken and Ruth Wright in memory of Mayme Lacy
Member
Anonymous Judith Auer and George Lawrence Jeanie Davis Walter Duncan Donald and Beverly Eklund Joseph and Beverly Elinoff Alexander R. George and Yi-Ting Hsu Ellen and John Gille Janet Hanley Norman Clark Lane Kenneth L. Levinson and Shauna Titus Levinson Patricia and Robert Lisensky Bruce Mackenzie Michael Magan Marian Matheson Donna Meckley Kathleen and John Ness Robert and Marilyn Peltzer Kim and Richard Plumridge Gail Promboin and Robert Burnham Juan and Alicia Rodriguez Ruth Schoening Carol and Art Smoot
About the Eklund Opera Program
Recognizing the importance of the arts and live vocal performance in an increasingly distracted world, longtime Boulder resident Paul Eklund made a generous gift in October 2014 to help establish a $2 million endowment at the CU-Boulder College of Music. Funding from the endowment helps support three opera productions each academic year, the CU New Opera Workshop and an opera-scenes program for new students. From left: Paul Eklund Leigh Holman, Director of Opera Robert Shay, College of Music Dean
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SERVING UP THE COLORADO LIFESTYLE
Thirst Colorado brings to life the stories of active Coloradans who are passionate about the craft beer,
ThirstColorado.com CONNECT WITH US
Photo: Angie Wright
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Personnel Staff
Joan McLean Braun, Executive Director Laima Haley, Marketing and P.R. Director Jessie Bauters, Assistant Director of Communications and Web Administrator Daniel Leonard, Marketing Manager Jill Kimball, Public Relations Manager Helen Slivinski, Communications Assistant Video Production: Allea Ortega, Jackson Xia Mel Plett, Publications Manager Zachary Barger, Publications Assistant Nick Vocatura, Operations Director Andrew Metzroth, Box Office Manager Michael Casey, Box Office Services Manager Box Office Assistants: Grace Burns, Elise Campbell, Taralynn Dorr, Matthew Farquharson, Adrienne Havelka, Chris Ruiz Kevin Harbison, Recording Engineer Michael Johnston, Financial Manager Jeni Webster, Membership Benefits Coordinator
Macky Auditorium Staff
Rudy Betancourt, Director John Jungerberg, Operations Manager Sara Krumwiede, Assistant Director JP Osnes, Technical Director Rhett Snyder, Assistant Technical Director Rojana Savoye, House Manager Nicole Anderson, Assistant House Manager
College of Music Dean's Cabinet
Robert Shay, Dean James Austin, Associate Dean for U.G. Studies Joan McLean Braun, Assistant Dean for Concerts and Strategic Communications Steven Bruns, Associate Dean for Grad. Studies John Davis, Associate Dean for Faculty Affairs and Operations Lissy Garrison, Assistant Dean for Advancement Alexander George, Executive Assistant to the Dean
College of Music Advisory Board Jim Bailey 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 Susan Olenwine Firuzeh Saidi Jeannie Thompson Jack Walker
Honorary Members:
Dean Boal, Eileen Cline, Donna Erismann and Dave Grusin
Program Editor: Jill Kimball Program Design/Layout: Mel Plett
Patron Info Accessibility and Parking
Macky Auditorium is fully wheelchair accessible; ADA-accessible parking is available nearby. Please call the Box Office as early as possible to make arrangements. Paid parking is available in the Euclid Avenue auto-park, Lot 310 and Lot 204. Contact the Box Office, or check the CU Presents website for more information.
34
CU Presents Box Office cupresents.org 303-492-8008
Photography and video recordings Ticket Sales are final; no refunds. of any type are strictly prohibited during the performance.
Food
is permitted in the seating areas of Macky Auditorium but is prohibited in other campus venues unless otherwise noted.
Smoking is not permitted anywhere. CU-Boulder is a smoke-free campus!
Exchanges are subject to availability and must be made at least one business day prior to the day of performance. Subscribers may exchange tickets for free. Single ticket exchanges are subject to a $3 exchange fee. Upgrade fees may apply in all cases. Please return your tickets to the Box Office prior to the performance if you are unable to use them.
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WHEN YOU SHOP AT CARPET ONE FLOOR & HOME®, YOU’RE AMONG NEIGHBORS. This is our home, too. In addition to backing local businesses, we’re active volunteers in the communities we serve, supporting efforts on behalf of youth sports, animal welfare, the environment and more. To learn about our involvement in the community, visit CarpetOne.com/shop-local.
Your Home Is Our Home.
WE ARE YOUR NEIGHBORS | WE ARE YOUR COACHES | WE ARE YOUR VOLUNTEERS | WE ARE HERE FOR YOU | WE ARE YOUR NEIGHBORS | WE ARE YOUR COACHES | WE ARE YOUR VOLUNTEERS | WE BUY LOCAL FOR A STRONG COMMUNITY ARE HERE FOR YOU | WE ARE YOUR NEIGHBORS | WE ARE YOUR COACHES | WE ARE YOUR VOLUNTEERS | WE ARE HERE FOR YOU | WE ARE YOUR NEIGHBORS | WE ARE YOUR COACHES | WE ARE YOUR ONLY CARPET ONE HAS YOU TOTALLY COVERED. Our experts specialize in flooring. We join with our other stores worldwide to buy at a volume that guarantees the lowest price. And we’re here to assist you with a more personalized shopping experience. That’s the Carpet One difference.
McDonald
6367 Arapahoe Ave. Boulder 303-449-0011 www.carpetone.com Monday-Friday 9:30am-6pm; Saturday 9:30am-5pm; Sunday 11am-4pm