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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
08
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
More events
Takács Quartet
Holiday Festival
CU Boulder’s Grammy Awardwinning quartet-in-residence is irresistible.
Delight in twinkling lights, seasonal greenery and enchanting, beautiful holiday music.
Oct. 28 and 29 · Nov. 24 and 25* Tickets start at $36
Dec. 7–9 Tickets start at $20
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West Side Story
Great Expectations
Leonard Bernstein’s iconic musical brings “Romeo and Juliet” to the streets of 1950s NYC.
Next to Normal
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Canadian Brass
Christmas Time is Here Monday, Dec. 17, 7:30 p.m. Tickets start at $21
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Dorrance Dance
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Oct. 26–28 Tickets start at $15
A play adapted from the novel by Charles Dickens · Sept. 27–Oct. 7 Tickets start at $16 A musical by Brian Yorkey and Tom Kitt · Oct. 12–21 Tickets start at $20
Hecuba
A world premiere adaptation by Diane Rayor · Nov. 2–11 Tickets start at $20
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Takรกcs Quartet
Haydn, Shostakovich and Schubert Sunday, Sept. 23, 2018 Monday, Sept. 24, 2018
Takács Quartet: Sept. 23 and 24, 2018
Takács Quartet
Haydn, Shostakovich and Schubert Sunday, Sept. 23, 4 p.m. Monday, Sept. 24, 7:30 p.m. Takács Quartet
Edward Dusinberre and Harumi Rhodes, violins Geraldine Walther, viola András Fejér, cello
Guest artists on this program David Requiro, cello
Program String Quartet No. 4 in D Major, Op. 20 I. Allegro di molto II. Un poco adagio affettuoso III. Allegretto alla zingarese IV. Presto scherzando
Franz Joseph Haydn (1732–1809)
String Quartet No. 4 in D Major, Op. 83 I. Allegretto II. Andantino III. Allegretto IV. Allegretto
Dmitri Shostakovich (1906–1975)
Intermission String Quintet in C Major, D. 956 I. Allegro ma non troppo II. Adagio III. Scherzo presto IV. Allegretto
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Franz Schubert (1797–1828)
with David Requiro, cello
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Program Notes by Marc Shulgold
String Quartet No. 4 in D Major, Op. 20 Franz Joseph Haydn (1732–1809)
He may wear the crown as the “father of the string quartet,” but Haydn was not present at its birth. The string quartet was already around, having evolved from the trio sonata, so popular in the baroque era. Haydn clearly loved toying with this bare-bones structure: consider that Op. 20, No. 4 is his 27th! What an enormous breakthrough were the six “sun” quartets of that opus, written in 1772 and published two years later. (The illustration of a sun on a 1779 edition’s cover gives the set its nickname.) More important is the historical context of these remarkable works. As a reaction against the learned style of the baroque, early classical era composers had embraced a thinner, galant musical approach—an idea rejected by numerous influential philosophers and writers, such as Rousseau and Goethe. Instead, they promoted the notion of individuality and expressions of human emotion. Perhaps these new concepts were what guided Haydn to explore new ideas and to envision the four voices in a string quartet as equals, replacing the practice of giving all of the important music to the first (and occasionally second) violin. No further proof of that groundbreaking concept is needed than in the cello’s emergence in this D major quartet. Consider its slow movement, a set of variations in D minor marked “Un poco adagio affettuoso.” The first variation is a duet between second violin and viola, while the third spotlights the cello. It is only in the final variation that the first violin gains our attention. And what of the fading popularity of the gentle minuet? Here it is a deliciously syncopated gypsy tune (alla zingarese). It’s hard to imagine a camp full of gypsies politely dancing a minuet. A close look at the six quartets of Op. 20 reveals more than increased democratic sharing. The ever-popular sonata form (an exposition of two contrasting themes, then a development of those ideas and a recapitulation of the opening tunes) was being examined closely by Haydn. For example, the return of the exposition slides in almost invisibly; here, it is no simple reprise but an expansion, as if the tunes had somehow evolved after the exploration in that middle development section. This is big stuff, concepts that would impact Mozart and all quartet composers who followed him. Historical music indeed. But let’s not forget that this D major quartet unfolds with clarity, accessibility, some very lovely melodies and a good dose of fun. It’s easy to follow Haydn’s manipulation of the work’s initial threenote idea and impossible not to delight in the non-stop antics (and unexpectedly relaxed ending) of the Presto scherzando.
String Quartet No. 4 in D Major, Op. 83 Dmitri Shostakovich (1906–1975)
In 1937, Shostakovich and the music world heaved a collective sigh of relief when the premiere of his “redeeming” Fifth Symphony was greeted with public and governmental praise, thus liberating him from Stalin’s dangerous unhappiness with an earlier opera by the composer. But the Soviet bureaucracy’s continued insistence on “Socialist Realism” did not make life any easier for Shostakovich—in spite of a personal call in February 1949, from Stalin himself, who named the composer as a representative to a world cultural conclave in New York. It was quite a surprise, considering that in February of the previous year, he (and several other brilliant composers) fell victim to a fresh Soviet crackdown that stripped him of teaching positions at conservatories in Moscow and Leningrad, and banned much of his music. Knowing Papa Joe’s mercurial moods, Shostakovich continued to compose in two categories: public works (such as the overtly pro-Stalinist, happily accepted “Song of the Forests”) and music “for the drawer”—potentially dangerous works kept secret until things hopefully eased up. Among those
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Takács Quartet: Sept. 23 and 24, 2018
Program Notes
Takács Quartet: Sept. 23 and 24, 2018
locked away was the fourth string quartet, Op. 83. How tenuous was the composer’s life in those dangerous times? On May 15, 1950, a few months after the work was completed, some friends joined Shostakovich and his wife at a private reading attended by Alexander Kholodilin, head of the Committee for Artistic Affairs’ music division. The Beethoven Quartet played it twice, after which all in attendance agreed it was best to keep Op. 83 in a drawer—where it remained until its first public performance in 1953, the year of Stalin’s death. Hearing this dark, fascinating quartet, we are immediately caught by its striking, perhaps off-putting shift from relaxed harmonies (along with unison passages) to jarring dissonances. But what might have really bothered Kholodilin was Shostakovich’s obvious fondness for Jewish music, heard most clearly in a playful syncopated tune with oom-pah plucked accompaniment in the final Allegretto, which grows out of the previous movement. It’s known that Shostakovich reacted strongly to the horrors inflicted by Germany on Europe’s Jews during the war. But then, there was also something irresistible about the minor-key danceability of Jewish folk songs. In 1948, he’d written a song cycle, “From Jewish Folk Poetry,” that was quickly assigned to “the drawer” when Stalin abandoned his earlier support of Jewish organizations. His latent anti-Semitism suddenly exploded with a wave of damning articles in Pravda and the closing of Yiddish theaters, schools and newspapers. (Ironically, many Russian Jews had joined the Communist Party’s hierarchy as thanks for the army’s role in crushing Hitler.) This turnaround was possibly Stalin’s jealous reaction to the Russian public’s embracing of Golda Meir, and to the creation of Israel in 1948, once he realized that the new nation would not become an ally. The ever-shifting world of Soviet politics must have driven Shostakovich and his colleagues bonkers— and yet he continued to compose. By consciously incorporating a Jewish flavor into his fourth quartet, he must have understood the possible consequences and probably didn’t argue with those suggesting he keep it hidden from view. On its surface, Op. 83 is a restrained work, lasting just 24 minutes and built on the traditional structure of four movements, with three of them titled Allegretto. One hears some of the composer’s trademarks, such as the galloping rhythms in the energetic third movement. There is an undercurrent of quiet anguish and uncertainty, however. Considering the inescapable tension and fatalism of the late 40s and early 50s, it’s no surprise that the endings of three of the four movements evaporate with the instruction to play “morendo” (dying away).
String Quintet in C Major, D. 956 Franz Schubert (1797–1828)
The life and early death of Schubert have been romanticized to the extreme, painting a portrait of a dying genius all but left alone, cruelly ignored by the thriving world of musical Vienna just outside his door. It’s a lovely myth. The truth is that, even in his final, illness-plagued year of 1828, he was very much a social animal finding generous public admiration for his music. The previous year he had joined the committee of the prestigious Vienna Philharmonic Society. A concert featuring his B-flat trio had received glowing reviews, as had the publication of some songs from “Winterreise.” A concert of his music in March 1828, presented on the first anniversary of Beethoven’s death, was a huge and profitable success. Just as Mozart’s last year had produced a dazzling variety of songs, chamber pieces, operas and more, Schubert wrote unceasingly in several genres, composing a mass, three expansive piano sonatas and a pair of song cycles. Oh yes, and one glorious string quintet—his final chamber work. It now seems incredible that, while his publisher, Heinrich Probst, showed interest in the submitted songs and sonatas, he all but ignored the quintet. Even more remarkable is the fact that this celestial masterpiece remained hidden from the world until a public reading in 1850, to be published at last three years later. It was written in September of that final year and rehearsed the following month (Schubert died on Nov. 19). Other than that, not much is known about what inspired its creation or why it was set on the unusual combination of viola and pairs of violins and cellos. Mozart, one of Schubert’s idols, had written six string quintets that utilized two violas instead of the cellos. Perhaps he liked the idea of a central string trio of violin, viola and cello, with the remaining instruments on either side, providing high and low accompaniments and embellishments (featured prominently in the Adagio). That array of voices
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· cupresents.org · 303-492-8008
The soul of the quintet is found in the following Adagio, launched with an almost invisible melody of serene, motionless beauty—its magical world shattered by an agonizing middle section that seems to express Schubert’s anger at his deteriorating health, due mostly to the effects of syphilis. But observe how the peacefulness of the Adagio returns swiftly and effortlessly. A dance-like Scherzo follows, with another stark contrast emerging in the meditative trio section. Much has been made of the Allegretto finale, which it is too light and frivolous in comparison to its spiritually deep predecessors. Yet, as a welcome dessert from all that had transpired earlier, this gypsy-like frolic works perfectly, briefly stepping aside for yet one more fragrant Schubert melody in the form of a lilting Viennese waltz. None of this can prepare us for those two startling final unison notes: a D flat that falls quickly into the quintet’s home note of C.
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: Sept. 23 and 24, 2018
is used in marvelously inventive ways. After an extended and unsettling introduction, the Allegro leads us into the unforgettable two-voice tune that begins in a unison note and is sung with inventive harmonies first by the cellos, then the violins. A generation later, the Allegro would be universally embraced by music lovers—one of whom had it etched onto his tombstone, so he could have it nearby through eternity.
Takács Quartet: Sept. 23 and 24, 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 TakácsNagy, 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 C-6
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Guest Artists
First Prize winner of the 2008 Naumburg International Violoncello Competition, David Requiro (pronounced re-KEER-oh) is recognized as one of today’s finest American cellists. After winning first prize in both the Washington International and Irving M. Klein International String Competitions, he also captured a top prize at the Gaspar Cassadó International Violoncello Competition in Hachioji, Japan, coupled with the prize for the best performances of works by Cassadó.
Requiro has appeared as soloist with the Tokyo Philharmonic, National Symphony Orchestra, Seattle Symphony and numerous orchestras across North America. His Carnegie Hall debut recital at Weill Hall was followed by a critically acclaimed San Francisco Performances recital at the Herbst Theatre. Soon after making his Kennedy Center debut, Requiro also completed the cycle of Beethoven’s Sonatas for piano and cello at the Phillips Collection in Washington, D.C. Actively involved in contemporary music, he has collaborated with many composers, including Krzysztof Penderecki and Bright Sheng, and gave the Dutch premiere of Pierre Jalbert’s Sonata for cello and piano at the 2010 Amsterdam Cello Biennale. Requiro has performed with the Chamber Music Society of Lincoln Center, Seattle Chamber Music Society and Jupiter Symphony Chamber Players, and is a founding member of the Baumer String Quartet. The Chamber Music Society of Lincoln Center recently appointed Requiro to its prestigious CMS Two residency beginning in 2018. In 2015, Requiro joined the faculty of the University of Colorado Boulder as assistant professor of cello. He has previously served as artist-in-residence at the University of Puget Sound as well as guest lecturer at the University of Michigan. His artist faculty appointments include the Bowdoin International Music Festival, Giverny Chamber Music Festival, Innsbrook Music Festival and Institute, Maui Classical Music Festival and Olympic Music Festival. A native of Oakland, California, Requiro began cello studies at age six and his teachers have included Milly Rosner, Bonnie Hampton, Mark Churchill, Michel Strauss and Richard Aaron.
· cupresents.org · 303-492-8008
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Takács Quartet: Sept. 23 and 24, 2018
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.
Venice Baroque Orchestra With Anna Fusek, recorder Friday, Nov. 2, 7:30 p.m.
Concert hall meets Venetian canals as this ensemble revives Vivaldi and Geminiani. Tickets start at $20 cupresents.org ¡ 303-492-8008
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
colorado.edu/music
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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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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
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