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Fri, Nov 23 at 2pm | Sat, Nov 24 at 2pm and 7pm | Sun, Nov 25 at 2pm
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Fall 2018 Spotlight: Anna Fusek Page 06 Season Calendar Page 08 Spotlight: Jessica Lang Dance Page 20 Faculty Tuesdays Schedule Page 24 Artist Series Donors Page 26 Takács Society Donors Page 30 Eklund Opera Program Donors Page 32 Personnel and Policies Page 34 Editor Becca Vaclavik Designer Sabrina Green 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. @cupresents cupresents.org · 303-492-8008
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You have to be here. CU Presents hosts more than 500 performing arts events on the University of Colorado Boulder campus each year. For more than 80 years, the Artist Series has brought leading classical performers, renowned jazz and world music groups and acclaimed dance ensembles to CU Boulder’s historic Macky Auditorium. CU Presents also hosts the Eklund Opera Program, chamber concerts with the Grammy-winning Takács Quartet and the beloved annual Holiday Festival. The College of Music offers almost 400 recitals and concerts by faculty, students and guest artists. Each summer, the Colorado Shakespeare Festival stages professional plays in the Mary Rippon Outdoor Theatre and in the indoor University Theatre. Throughout the year, the Department of Theatre & Dance presents almost 100 faculty, student and guest artist performances. Find your next performance at cupresents.org
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Redefining the recorder for American audiences “Hot Cross Buns.” “Mary Had a Little Lamb.” “Pop Goes the Weasel.”
On this promise, Fusek can deliver. As The French Muse Baroque (le magazine de la musique baroque) described a past performance:
For decades, learning how to play a simple soprano recorder has been an integral part of early music education in America. The recorder is easy to play and is a much more affordable option for schools to purchase than, say, 20 pianos.
“Incredible! [It] sent electric shock waves through the evening.”
But it is unfortunate many of us only hear the recorder as performed by a group of fifth graders, says Anna Fusek, a recorder soloist coming to Boulder in November with the Venice Baroque Orchestra (VBO). A high-pitched instrument such as the soprano recorder can’t be appreciated when played en masse. “If 30 people—or only 20 or only 10—are playing the recorder together, it must sound quite terrible. Even if 30 professional recorder players played all on soprano recorders together, it wouldn’t be a pleasure to listen! “It’s a shame, actually, for the instrument … You have to convince people that the recorder could be an instrument they would like to listen to.” But given the chance to hear the recorder played professionally by a soloist, this simple instrument offers sort of a unique experience, ensures Fusek: “If you are lucky, people are surprised by how this little simple piece of wood can sound.” 06
SPOTLIGHT
For Fusek, it’s a joy to present this well-known instrument in a new and surprising light, especially side-by-side with the VBO. “I really enjoy working with this orchestra because it’s so much fun. I started touring with them, I think, 10 years ago, and I learned some parts of music-making from them that weren’t so present before in my life.” When Fusek joins the orchestra in Macky this fall, the soloist’s performance will be just one part of a night of Baroque concertos by Vivaldi and Geminiani. “There’s a super-virtuoso violin concerto, and there is a double concerto with two cellos … Then there is also the recorder. You really get very different sounds and combinations of sounds. It’s very entertaining!”
Hear the Venice Baroque Orchestra with Anna Fusek in Macky Auditorium Friday, Nov. 2, 7:30 p.m. Tickets start at $15.
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Dee Dee Bridgewater And The Memphis Soulphany
Saturday, Sept. 22, 7:30 p.m. Tickets start at $20
Silkroad Ensemble
Thursday, Jan. 31, 7:30 p.m. Tickets start at $21
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Jessica Lang Dance Friday, Oct. 5, 7:30 p.m. Tickets start at $20
Venice Baroque Orchestra
With Anna Fusek, recorder Friday, Nov. 2, 7:30 p.m. Tickets start at $15
Kodo One Earth Tour 2019
Tafelmusik
Saturday, Feb. 16, 7:30 p.m. Tickets start at $23
Monday, March 4, 7:30 p.m. Tickets start at $15
Evolution
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The Leipzig-Damascus Coffee House
Sarah Chang, violin
Friday, Nov. 16, 7:30 p.m. Tickets start at $20
Batsheva Dance Company Venezuela
Wednesday, March 20, 7:30 p.m. Tickets start at $34
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Next to Normal
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Christmas Time is Here Monday, Dec. 17, 7:30 p.m. Tickets start at $21
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Takรกcs Quartet
Haydn, Bartรณk and Brahms Sunday, Oct. 28, 2018 Monday, Oct. 29, 2018
Takács Quartet: Oct. 28 and 29, 2018
Takács Quartet
Haydn, Bartók and Brahms Sunday, Oct. 28, 4 p.m. Monday, Oct. 29, 7:30 p.m. Takács Quartet
Edward Dusinberre and Harumi Rhodes, violins Geraldine Walther, viola András Fejér, cello
Program String Quartet No. 2 in D minor, Op. 76 I. Allegro II. Andante o più tosto allegretto III. Menuetto. Allegro ma non troppo IV. Vivace assai String Quartet No. 1, Op. 7 I. Lento II. Allegretto III. Introduzione - Allegro vivace
Franz Joseph Haydn (1732-1809)
Béla Bartók (1881-1945)
Intermission String Quartet No. 2 in A minor, Op. 51 I. Allegro II. Romanze III. Allegretto molto moderato e comodo IV. Allegro
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Johannes Brahms (1833-1897)
Program Notes by Marc Shulgold
String Quartet No. 2 in D minor, Op. 76 Franz Joseph Haydn (1732–1809)
You can learn a lot about late 18th-century chamber works by knowing a little about their intended audiences. And a journey through Haydn’s 83 string quartets offers ample proof of how listeners impacted his compositions. During 30 years in the employment of the Esterházy family at their palace not far from Vienna, Haydn had the opportunity to experiment with the unlimited potential of writing for two violins, viola and cello; he also shared his thoughts with young Mozart, who returned the favor in his quartets. But Haydn also knew the tastes of his hosts and crafted music that was intellectually stimulating but not overly difficult for them to follow. And, no doubt, many of those chamber works were intended merely as accompaniment to meals and card games. That long, fruitful relationship ended in 1790, when the composer was released from his Esterházy contract and became a free spirit, so to speak. By then, all of Europe knew of his greatness. The late quartets, of which the six comprising Op. 76 would be his final completed collection, were penned in 1795 and published two years later. They reveal more than a maturity and mastery of the string quartet. They suggest that Haydn was now interested in engaging his listeners (as well as players, many of them homebound amateurs). The second of the six, set in D minor, demands a focus from all in attendance. It’s likely the composer had Mozart in mind with this work, perhaps consciously expanding on the possibilities of Mozart’s own D minor quartet, written in 1783 as one of six dedicated to Haydn. Though it was common that a collection of six quartets would include one not set in a major key, this late work digs deeply into the darkness and mystery of D minor. For reference, consider Mozart’s Piano Concerto No. 20, his Requiem and Bach’s The Art of the Fugue, all set in that imposing key. There’s more than a touch of Bach in the opening movement of Op. 76, No. 2. The first violin offers two pairs of notes, each showing a drop of five tones (A down to D, E down to A), giving the work its nickname of “Quinten” (“Fifths”). Not to worry if you don’t immediately pick up on that interval—you’ll hear it shared by the four players a few dozen times in the opening Allegro, those fifths occasionally turned upside down or overlapping or played in reverse. (Bach would approve.) The second movement, a pleasant theme and variations, bears the wordy title Andante o piu tosto allegretto, meaning that it’s not too slow or too fast. It’s a relatively simple tune, introduced by the first violin over plucked accompaniment, expressed with elegant reserve and charm. It’s quite a contrast to the following Menuetto, a strange, minor-key work that is known as the “Hexen-menuett” (“Witches’ Minuet”), launched with the violins playing a heavy-footed tune in octaves, followed closely note-for-note by the lower strings, also in octaves. This undanceable minuet is contrasted by a smiling D major trio marked with choppy repeated notes. Soon, though, our grins vanish when the stern minuet returns. As one might expect, Haydn can’t help finishing up with a happy, folk-like Vivace cast, almost imperceptibly, in D minor. Here, we’re reminded of Haydn’s Hungarian roots and his irrepressible wit. (Listen for those donkey brays.)
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Takács Quartet: Oct. 28 and 29, 2018
Program Notes
Takács Quartet: Oct. 28 and 29, 2018
String Quartet No. 1, Op. 7 Béla Bartók (1881-1945)
As a young composer of 27, attempting his first go-round with the string quartet, Bartók’s mind was swirling with thoughts of other composers’ music and the search for his own voice—along with the vision of a young lady who had just dumped him. That’s quite a load. All of those factors can be traced in this first of six quartets, a work built on three continuous movements of self-discovery, held together by a few musical threads and memories of the girl that got away. She was a violinist named Stefi Geyer, who so captivated the young composer that he wrote a concerto for her, employing her four-note motif that would soon find its way into the opening violin duet of Op. 7. So crushed was Bartók at her rejection that he penned a piano bagatelle titled “She is Dead” the day her “Dear Béla” letter arrived. The resulting string quartet was identified by the composer’s friend Zoltán Kodály as “a kind of ‘Return to Life’ of one who has reached the brink of the abyss.” It’s worth noting that Bartók married another girl later that year. Of greater importance is the music of this early masterpiece, which reveals the composer’s early influence from Beethoven—whose Op. 131 quartet, played by the Takács last season, shares many structural elements with Op. 7. One can also hear touches of Brahms and Richard Strauss. However, as this music unfolds from its funereal opening—marked by a two-note descending phrase that would serve as the quartet’s unifying feature—it leaves behind those Germanic influences. Instead, it embraces the energy and uniqueness of Bartók’s native Hungary. He had already spent time in the countryside, collecting the folk music he (and Kodály) had sought out among Eastern Europe’s peasant population. Those melodies had yet to reveal themselves consistently in Bartók’s music—but they do so in the quartet’s finale. Are we observing, in one compact work, a composer shedding the voices of his forebears and discovering his own musical personality? It seems that way, as each connected movement of Op. 7 is quicker, livelier and less “Brahmsian” than its predecessor, gaining energy and confidence along the way, finally exploding in an exuberant, Hungarian Allegro. Did he also leave behind all thoughts of Stefi Geyer? Of course not. Consider that the cello offers an introduction to the quartet’s final movement with a reworking of a popular Hungarian song titled “Just One Beautiful Girl in the World.”
String Quartet No. 2 in A minor, Op. 51 Johannes Brahms (1833-1897)
Mozart loved making self-deprecating (and often off-color) comments about the ease with which music flowed from him. You’ll never find such remarks from Brahms, who, after a decade of struggle, at last shook off the imposing specter of Beethoven and completed his magnificent First Symphony. So, it’s no surprise to learn that Brahms’ first two string quartets finally saw the light of day in 1873, when he was 40. And we shouldn’t be shocked to learn that he had numerous attempts at writing a string quartet early on, all of which wound up in the fireplace. Apparently, some of them were completed and ready for performance—until Brahms changed his mind. The shadow of Beethoven once again? While we can only wonder and lament about those discarded efforts, we do have the two quartets of Op. 51—and the knowledge that he found time two years later to complete one more (Op. 67 in B-flat). It’s unwise to make too much of the influence of those earlier masters of the genre, yet a quick glance at the keys in the pair of Op. 51 does suggest a nod to two of his predecessors. The first of that opus is in C minor—a key employed by Beethoven in such impassioned works as the Pathetique and Op. 111 piano sonatas, Third Piano Concerto, Fifth Symphony, Coriolan Overture, etc. Then, it’s possible that Brahms was so impressed and inspired by Schubert’s dark String Quartet in A minor that he cast No. 2 of Op. 51 in that key. Sleuths examining Brahms’ scores have also uncovered a hidden clue of sorts in the opening of the A minor quartet, the first four notes of which are A-F-A-E. Those last three notes represent the musical motif of the composer’s longtime friend and violinist Joseph Joachim (dedicatee of the concerto and double concerto). The letters stand for “frei aber einsam”—free but lonely—and served as the basis of a violin sonata movement Brahms had composed for his friend. As for Brahms, his motif was F-A-F, C-4
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Let’s set aside all those extraneous subjects and discover a brilliant work. For all his discarded attempts at a string quartet, Brahms here instantly emerges as a master of the genre. The opening Allegro flows with confidence from that first tune into a new melody supported by the cello’s “walking bass”—a favorite device of the composer. The gentle Andante is sung sweetly by the first violin, while the other three voices bring a richness to the melody, until an angry new episode briefly breaks the mood. The third movement is a stately tune in A minor (all four are in A Major or minor), sprinkled with his beloved triplets and marked, unexpectedly, Quasi Minuetto, perhaps as a salute to composers of that popular 18th-century dance. More fashionable for his day would have been to produce an exuberant Scherzo—which, in fact, does show up in the energetic middle section. As an enthusiastic student of past masters, it makes sense that Brahms would produce a movement that seems to jump back and forth between an earlier musical era and his own (shades of Bartók’s search for his own voice). The A minor finale is a bouncy piece that rarely stops to catch its breath, even as it changes into the major. Then, a brief pause and, in one final burst, it’s back to A minor for a dizzying coda.
About the Takács Quartet The Takács Quartet, now entering its 44th 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), Geraldine Walther (viola) and András Fejér (cello) perform 80 concerts a year worldwide. During the 2018-19 season, the ensemble will continue its four annual concerts as associate artists at London's Wigmore Hall. In August 2018, the quartet appeared at the Edinburgh, Snape Proms, Menton and Rheingau festivals. Other European venues later in the season include Berlin, Cologne, Baden-Baden, Bilbao and the Bath Mozartfest. The quartet will perform extensively in the U.S., including two concerts at New York’s Lincoln Center and at the University of Chicago, Princeton and Berkeley. A tour with Garrick Ohlsson will culminate in a recording for Hyperion of the Elgar and Amy Beach piano quintets. The latest Takács CD, to be released in summer 2019, features Dohnányi’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. The quartet has toured 14 cities with the poet Robert Pinsky, collaborates regularly with the Hungarian Folk group Muzsikas, and in 2010 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, · cupresents.org · 303-492-8008
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Takács Quartet: Oct. 28 and 29, 2018
“frei aber froh”—free but happy. Those notes are featured in the opening movement (and closing moments) of the third symphony.
Takács Quartet: Oct. 28 and 29, 2018
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 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 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 second violinist Harumi Rhodes, following Károly Schranz's retirement in April 2018. 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: Oct. 28 and 29, 2018
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Venice Baroque Orchestra Baroque Concertos
Featuring Anna Fusek, recorder; Gianpiero Zanocco, violin; Massimo Raccanelli, cello; and Federico Toffano, cello
Friday, Nov. 2, 7:30 p.m. Macky Auditorium
Starting at $15 at cupresents.org
BOULDER PHILHARMONIC ORCHESTRA MICHAEL BUTTERMAN, MUSIC DIRECTOR
Photo: Timothy Greenfield-Sanders
Midori ORCHESTRA RESIDENCIES PROGRAM
The Boulder Phil & Greater Boulder Youth Orchestras (GBYO) are proud to announce a 2018 residency with Midori, worldrenowned violinist & educator. Midori’s residency is a special program that aims to strengthen the ties of the American youth orchestra to its local adult orchestra, as well as bolster relationships with performers, staff and the community.
RESIDENCY HIGHLIGHTS:
OCT. 31 - NOV. 5―Civic meetings & presentations, workshop, master classes, school visits & a community play-in NOV. 3, 5:30 PM―“Glitter” Gala to benefit the Boulder Phil & GBYO NOV. 4, 7 PM, Macky―Midori plays the Sibelius Violin Concerto with the Boulder Phil NOV. 5, 6 PM, Macky―Midori plays the Mendelssohn Violin Concerto (Mvt. 3) with GBYO, plus a Daniel Kellogg premiere
BoulderPhil.org · GreaterBoulderYO.org
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With Jessica Lang Dance, Julie Fiorenza is exploring uncharted territory “Can you hear me okay?” Julie Fiorenza asks. “Let me know if the connection is bad. We’re kind of in a place that doesn’t have the best Wi-Fi or cell reception.” Fiorenza, founding company member for Jessica Lang Dance (JLD), is based out of New York City. But when we connect she’s calling from Florida, where JLD is in residence at the White Oak Conservation, 17,000 acres of forest and wetlands north of Jacksonville. A refuge for rhinoceroses and cheetahs may seem like an unusual spot for a dance company to set up shop, but it’s all part of Artistic Director and Choreographer Jessica Lang’s collaborative plan, Fiorenza says. “The creation of new works for the company is one of the most exciting things that we do. “Right now on this property, our living style is very communal. It makes us stronger as a company, especially 20
SPOTLIGHT
when we’re creating a new piece, to be somewhat isolated from the distractions of the real world. It helps Jessica get into a creative place and mindset.” Putting together a company of dancers who don’t mind sequestering themselves for days or weeks on end is an intentional act on Lang’s part. According to Fiorenza, who has been dancing with the company since its foundation in 2011, Lang carefully selects dancers not just based on their technical or artistic capabilities but also on how they’ll mesh with the rest of the group. It has to be a cohesive culture fit as well. “Like many small companies, we’re like a family, and that’s been the dynamic since day one.”
“It’s very exciting just to know that you’re going into uncharted territory… [and] I get to do it with people who I love and respect.” After White Oak, the company will head to Illinois and eventually take the stage in Boulder. Just like the cities and territories they are touring, each dance piece is radically different from the one before, shares Fiorenza. “Dancing an evening of [Jessica Lang’s] work is like hopping into several different worlds over the course of two hours. For me, it’s artistically very satisfying, and I feel lucky to have the opportunity to share that with audiences all over the world.”
And for Fiorenza, it’s all part of the appeal of collaborating on new works with JLD.
See Jessica Lang Dance in Macky Auditorium Friday, Oct. 5, 7:30 p.m. Tickets start at $20.
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Earn more than a music degree in the foothills of the Rockies.
Innovative programs, diverse musical offerings and collaboration among renowned performers, composers and scholars await at the University of Colorado Boulder College of Music. Discover what’s here at
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Faculty Tuesdays Series Fall 2018
Virtuosity for Two
Poetry and Music
Voice Faculty
Charles Wetherbee, violin
Janet Harriman, harp
Jennifer Bird, soprano
Aug. 28
Violinist Charles Wetherbee and pianist David Korevaar perform together three brilliant and beautiful masterworks: Respighi’s Violin Sonata, Chausson’s Poème and Beethoven’s “Kreutzer” Sonata.
Passacaglie and Fantasie Sept. 4
Nicolò Spera, guitar
For more than four and a half centuries, composers have written passacaglia and fantasie for lute and guitar. Join Ritter Family Classical Guitar Program Director Nicolò Spera for this intimate recital of some of the most beautiful and important examples in the repertoire.
CU Bernstein at 100 with the Jazz Faculty Sept. 11
John Gunther, saxophone
Leonard Bernstein wrote: “Jazz is the ultimate common denominator of the American musical style.” The Thompson Jazz Studies Program faculty presents an eclectic program of standards and originals that celebrate Bernstein’s centenary and his love of jazz.
From Hungary to the Czech Republic Sept. 18
Margaret McDonald, piano
Members of the collaborative piano faculty join together for a round-robin performance of Brahms’ “Hungarian Dances.” Margaret McDonald will also be joined by her string faculty colleagues for Dvořák’s Piano Quintet No. 2.
CU Bernstein at 100: Chamber Music Sept. 25
Andrew Cooperstock, piano
Come celebrate Leonard Bernstein’s chamber music and experience the more personal side of his compositions. Bernstein’s eldest daughter, Jamie, hosts this concert featuring CU music faculty and guests.
Oct. 2
Janet Harriman and the CU Boulder harp studio present “Poetry and Music,” featuring poetry and dance by performing arts curator and choreographer Alya Howe and the U.S. premiere of the three-harp arrangement of Miguel Del Aguila’s “Submerged,” based on a poem by Alfonsina Storni.
Bassoon-O-Rama Oct. 9
Yoshi Ishikawa, bassoon
Bassoonist Yoshi Ishikawa, in collaboration with guest bassoonist Carlo Colombo and members of the CU Bassoon Studio, presents a concert of delightful and rarely performed compositions for solo and multiple bassoons.
George Rochberg Centennial Oct. 16
Christina Jennings, flute
George Rochberg, one of the unique American minds of the last century, composed in an astonishing diversity of voices. Always personal, his compositional style was at first firmly rooted in the atonal and serial movement. Eventually, it shifted toward neo-baroque and highly romantic. University of Michigan violinist Andrew Jennings, a leading expert on Rochberg’s music, joins a group of CU Boulder faculty and friends for a concert celebrating the Rochberg centennial.
Contrasts, Dreams and Prayers: Two Masterworks Oct. 23
Daniel Silver, clarinet
Clarinetist Daniel Silver presents the Bartók Contrasts and Osvaldo Golijov’s “Dreams and Prayers of Isaac the Blind.” Charles Wetherbee, Margaret Soper Gutierrez, Erika Eckert, David Requiro and David Korevaar join for these two powerful works now considered gems of the chamber music repertoire. The evening promises to enthrall and enchant and is not to be missed!
Music of Henry Purcell Oct. 30
Robert Shay
College of Music Dean Robert Shay presents a concert featuring the music of the great 17th-century English composer Henry Purcell. 24
· cupresents.org · 303-492-8008
Nov. 6
Renowned faculty artists perform with students and colleagues in chamber music recitals featuring world premieres and beloved classics.
From Violin to Harpsichord: J. S. Bach Transcribed Nov. 13
Robert Hill, harpsichord
Johann Sebastian Bach was fond of performing his own solo violin music on a solo keyboard instrument, but most of his own transcriptions are lost. New faculty member Robert Hill has reconstructed some of these transcriptions and will perform them on harpsichord in his debut solo recital at CU Boulder.
Songs of Solitude and Hope Nov. 27
Harumi Rhodes, violin
Violinist Harumi Rhodes and pianist HsiaoLing Lin present a soulful pairing of violin sonatas by Ravel and Elgar. The program concludes with Beethoven’s noble “Archduke” Trio as Rhodes and Lin are joined by András Fejér on cello. Don’t miss an evening inspired by the golden magic of nature and universal songs of solitude and hope.
Without Words Dec. 4
Jennifer Hayghe, piano
Music has always expressed what words cannot. Pianist Jennifer Hayghe showcases Mendelssohn’s famous “Songs Without Words” along with other transcriptions of vocal works for solo piano. Cellist David Requiro joins her in Richard Strauss’ Cello Sonata, the manuscript of which bears a quote from Austrian poet Franz Grillparzer: “Music, the eloquent, is at the same time silent. Keeping quiet about the individual, she gives us the whole universe.” All Faculty Tuesdays concerts take place in Grusin Music Hall and are free and open to the public. More information available at cupresents.org Can’t make it? Watch the online livestream at our website!
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Artist Series Donors
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.
Advisory Board
Diane Dunn Mike Gallucci Laima Haley Daryl James, President Maryan K. Jaross
Gil Berman Rudy Betancourt Joan McLean Braun Shirley Carnahan John Davis
Benefactor ($5,000+) Mary Lamy Paul Bechtner Foundation Greg Silvus
Sponsor ($2,500–$4,999) Anonymous Gil and Nancy Berman Diane and Dick Dunn Daryl and Kay James Louise Pearson and Grant Couch
Patron ($1,000–$2,499)
Janet Ackermann and Scott Wiesner Sue Blessing Joan McLean Braun Mark and Margaret Carson Chris and Barbara Christoffersen Maggie and John McKune Doyen and James Mitchell Toni and Douglas Shaller Evelyn Taylor Ann and Gary Yost
Supporter ($500–$999) Michael and Carol Gallucci Heidi and Charles Lynch Janet and Scott Martin Bob and Sandy McCalmon Judy and Alan Megibow Jane and Cedric Reverand Mikhy and Mike Ritter Alicia and Juan Rodriguez Theodore and Ruth Smith Douglas and Avlona Taylor Larry and Ann Thomas
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Ruth Kahn Andrew Metzroth James Mitchell Jerry Orten Erika Randall
Contributor ($250–$499)
Anonymous Martha Coffin Evans and Robert Trembly Norma Ekstrand and Tom Campbell Tara and Steve Kelly Joan and Harold Leinbach Heather Van Dusen
Courtney Rowe Robert Shay Gregory Silvus Ellen Taxman Ann Yost
Corporate Sponsors
Member ($100–$249)
Maria and Jesse Aweida Barbara Allen Shirley Carnahan Cathy Cloutier Laima and Damon Haley Jo Hill Maryan Jaross Pam Leland Judah and Alice Levine Gail and Thomas Madden Greta Maloney and Bob Palaich Deborah McBride Paul and Kay McCormick Gail and Judy Mock Jacqueline Muller David and Nancy Parker Becky Roser and Ron Stewart Karmen Rossi and Eric Lewis Zoe and Paul Stivers Geoffrey Tyndall Candace and George Williams, Jr.
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In-kind Sponsors
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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. JOIN US FOR SUNDAY WORSHIP AT 10:30 AM Rev. Matthias Krier, Pastor
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Explore your passions. Reach your goals. Own your journey. evening.colorado.edu • 303.492.5148
Takács Society Donors
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 ($5,000+)
Lyle Bourne and Rita Yaroush Gary and Judith Judd in memory of Fay Shwayder Norma R. Johnson Fund Peg and Chuck Rowe Takács String Quartet
Sponsor ($2,500–$4,999) PJ Decker and B.A. Saperstein Marion Thurnauer and Alexander Trifunac
Patron ($1,000–$2,499)
Pamela Barsam Brown and Stanley Brown Marda Buchholz Tom and Carol Cech Chris and Barbara Christoffersen Mary and Lloyd Gelman Anne Heinz and Ran Yaron Carol Lena Kovner Joel Pokorny Kathleen Sullivan John and Carson Taylor
Supporter ($500–$999)
Bill and Louise Bradley Christopher and Margot Brauchli Patricia Butler Robert Kehoe Eileen and Walter Kintsch Ray and Margot LaPanse Nancy and Paul Levitt Jane Menken and Richard Jessor Virginia Newton Neil and Martha Palmer
Mikhy and Mike Ritter David and Susan Seitz Lawrence and Ann Thomas Patricia Thompson
Contributor ($250–$499) Ellen and Dean Boal Virginia Boucher JoAnn and Richard Crandall Robbie Dunlap Carolyn and Don Etter Ken and Dianne Hackett Bruce and Kyongguen Johnson Carol and Tony Keig Joan and Harold Leinbach Patricia and Robert Lisensky Albert Lundell Lise Menn Andrew Skumanich Alison Craig and Stephen Trainor James and Nurit Wolf
Member ($100–$249)
Phil and Leslie Aaholm Christine Arden and David Newman Neil Ashby and Marcia Geissinger Maria and Jesse Aweida Ingrid Becher Gil and Nancy Berman Kevin and Diana Bunnell Shirley Carnahan Charlotte Corbridge Barbara and Carl Diehl Margret Hamilton and Charles Proudfit Nancy and Keith Hammond Catharine and Richard E. Harris John D. and Ruthanne J. Hibbs
Everett Hilty William Hoffman Margaret and Bob Kamper Caryl and David Kassoy Judah and Alice Levine Heidi and Jerry Lynch Gail and Thomas Madden Professor John McKim Malville and Nancy Malville Annyce Mayer Richard and Marjorie McIntosh Christopher B. Mueller Wayne and Julie Phillips Richard Replin and Elissa Stein Mark Rosenblum JoAn Segal Todd and Gretchen Sliker Grietje Sloan Carol and Arthur Smoot Berkley Tague Barbara Tamplin Arthur and Laurie Travers Leanne and Christopher Walther William Wood Michael Yanowitch Jeffrey Zax
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, call the College of Music Development Office at 303-735-6070.
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· cupresents.org · 303-492-8008
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Friends of Eklund Opera Donors
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 ($5,000+)
Jan Burton Robert S. Graham Albert and Betsy Hand Jake Heggie Ann Oglesby The Academy Charitable Foundation, Inc. The Louis and Harold Price Foundation
Patron ($1,000–$2,499)
Chris and Barbara Christoffersen Stephen Dilts J. Michael Dorsey and Carolyn Buck Krista Marks and Brent Milne Mary and Lloyd Gelman Douglas and Toni Shaller
Supporter ($500–$999)
Judith Auer and George Lawrence Carson-Pfafflin Family Foundation Ellen and John Gille Mark and Julie Laitos Dennis Peterson Theodore and Ruth Smith Al and Marty Stormo Ann and Larry Thomas
Member ($100–$249)
Claudia Boettcher Merthan Charlotte Corbridge John and Lise Cordsen Janet Hanley Ruth and Richard Irvin Dennis and Chris Jackson William and Ann Kellogg Norman Lane Mollie and Nicholas Lee Kathleen and Richard Lehtola Patricia and Robert Lisensky Marian Matheson Annyce Mayer Corinne McKay Marilyn and Robert Peltzer Kim and Rich Plumridge Juan and Alicia Rodriguez Peg and Chuck Rowe Ruth Schoening Carol and Arthur Smoot Linda and Jim Stinson Barbara Tamplin Walter Taylor Jim Topping Gretchen Vanderwerf and Gordon Jones Ann and Gary Yost
Contributor ($250–$499)
Judy and Jim Bowers Barbara Brenton Martha Coffin Evans and Robert Trembly Eleanor DePuy Joan and Harold Leinbach Jerry and Heidi Lynch Ann and Dave Phillips Kim and Rich Plumridge Gail Promboin and Robert Burnham Cynthia and Dave Rosengren Carol and Randall Shinn Pete Wall Ken and Ruth Wright
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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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Policies
Personnel CU Presents
Membership Benefits Coordinator Jeni Webster
Marketing and PR Director Laima Haley
Recording Engineer Kevin Harbison
Executive Director Joan McLean Braun
Macky Auditorium
Operations Director Andrew Metzroth
Director Rudy Betancourt
Associate Director of Communications Jessie Bauters
Asst. Director for Patron Services Matthew Arrington
Marketing Manager Daniel Leonard
Asst. Director for Administration Sara Krumwiede
Public Relations Manager Becca Vaclavik
Asst. Director for Production JP Osnes
Publications Specialist Sabrina Green Graphic Design Assistant Analise Iwanski
Production Managers Richard Barrett Trevor Isetts
Marketing Assistant Conner Sinjem
House Manager Rojana Savoye
Public Relations Assistant Corinne Baud
Asst. House Manager Devin Hegger
Social Content Creator Erika Haase Video Producers Jack Dorfman Madi Smith Web Content Assistant Molly Obermeier Box Office Manager Christin Woolley Box Office Services Manager Michael Casey Box Office Assistants Clare Berndt Elizabeth Collins Indigo Fischer Adrienne Havelka Autumn Pepper Curtis Sellers Financial Manager Michael Johnston
College of Music
Dean, College of Music Robert Shay Associate Dean for Enrollment Management and Undergraduate Studies James Austin Asst. Dean for Concerts and Communications Joan McLean Braun Associate Dean for Graduate Studies Steven Bruns
Director of Strategic Initiatives and Special Asst. to the Dean Alexander George Asst. Dean for Budget and Finance David Mallett
Music Advisory Board Chair Mikhy Ritter
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 Laurie Hathorn Doree Hickman Daryl James Maria Johnson Caryl Kassoy Robert Korenblat Erma Mantey Ben Nelson Joe Negler Susan Olenwine Becky Roser Firuzeh Saidi Stein Sture Jeannie Thompson Jack Walker Celia Waterhouse
Associate Dean for Faculty Affairs and Operations John Davis Asst. Dean for Advancement Courtney Rowe
The University of Colorado is committed to providing equal access to individuals with disabilities. For more information, visit cupresents.org/accessibility
Parking
Paid parking is available in Lot 380 next to Macky, in the Euclid Avenue Autopark, and in Lots 310 and 204. Contact the Box Office or check the CU Presents website for more information.
Photography
Photography and video recordings of any type are strictly prohibited during the performance.
Food
Food is permitted in the seating areas of Macky Auditorium but is prohibited in other campus venues unless otherwise noted.
Smoking
Smoking is not permitted anywhere. CU Boulder is a smoke-free campus!
Ticket Sales
Ticket sales are final; no refunds. 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.
Box Office Info
cupresents.org · 303-492-8008
Photography credits: Alliance Artist Management, Glenn Asakawa, Ascaf, Colin Bell, Felix Broede, Christian Daellenbach, Christopher Duggan, Christopher Jones, Joe Martinez, Ian McMorran, Takashi Okamoto, Sian Richards, Amanda Tipton and Max Whittaker 34
Accessibility
· cupresents.org · 303-492-8008
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