BOULDER BALLETand BOULDER PHILHARMONIC ORCHESTRA with the Boulder Children’s Chorale
The Bowen Family Performing Arts Fund
Fri, Nov 23 at 2pm | Sat, Nov 24 at 2pm and 7pm | Sun, Nov 25 at 2pm
Tickets: 303.449.1343 BoulderPhil.org/nutcracker
From London with Love Maestro Nicholas Carthy leads the BBF baroque orchestra from the harpsichord, in a program that will delight the senses with charm, passion, elegance, wit, and adoration. Soloists include cellist Guy Fishman, soprano Szilvia Schranz and mezzo-soprano Claire McCahan. Arias, concertos, and a suite of dances by Purcell and Handel, plus the first known performance of Robert Valentine’s Concerto Grosso in A Major.
Discounted ticket code for 10% off entire purchase: LONDON10 is applicable for online ticket purchases: boulderbachfestival.org/tickets/ No additional fees or taxes when purchasing through our secure website. Phone: (720) 507-5052
February 14, 2019 at 7:30pm
February 16 at 7:30pm
Broomfield Auditorium
Longmont Museum Stewart Auditorium
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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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A new home for music at CU Boulder The College of Music is one of the country’s top public music programs, but current facilities are dated, crowded and disconnected. We are immensely proud of the work we do, and our students and faculty deserve a space that reflects their talent and artistry. By Jessie Bauters Associate Director of Communications, College of Music In January 2019, the college is thrilled to be breaking ground on an expansion project that will add more space to the existing Imig Music Building. This expansion will not only keep our music programs thriving, but it will encourage collaboration and innovation in growing areas like music entrepreneurship, wellness and media and technology.
The concept: A landmark for music in Boulder
Inside, new or renovated performance, rehearsal, studio, learning, staff, wellness and entrepreneurship spaces will help our students and faculty flourish—intellectually, physically,
06
SPOTLIGHT
emotionally and musically. Outside, the proposed plans will dramatically change the exterior of Imig Music, providing a beautiful new gathering place for students, faculty and music lovers with sweeping views of the iconic Flatirons. Brand new rehearsal and recital facilities will provide our students and faculty with the space they need to pursue excellence in performance in ensemble and solo settings, while new classrooms and a state-of-the-art recording studio—along with dedicated suites for the Entrepreneurship Center for Music and Musicians' Wellness Program—will help expand the
definition of artistry for our students, faculty and alumni. Construction is expected to be completed in 2020. While much of the project’s cost is being generously supported by the CU Boulder campus, the College of Music still has work to do! To help us get there, the campus will match every dollar we raise toward the Imig expansion—up to $1.6 million—until Dec. 31, 2018. For more information about the Imig Music Building expansion—and to view the latest renderings of the project—visit colorado.edu/music/expansion.
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’Tis the season to deck the halls in Macky Auditorium
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SPOTLIGHT
Decorating a freshly cut pine the day after Thanksgiving, tuning in for carols on the radio, watching Santa go by in the Macy’s parade— everyone has a moment where they think, “Finally! The holidays are here.”
this December. On Dec. 17, Canadian Brass, one of the most famous brass quintets in the world, will perform “Christmas Time is Here,” as part of the CU Presents Artist Series. It’s a program full of new takes on wellknown holiday classics.
For Director of Bands Donald McKinney, his seasonal reminder is CU’s beloved Holiday Festival in Macky Auditorium.
Canadian Brass—who “put brass music on the map with [its] unbeatable blend of virtuosity, spontaneity and humor” (The Washington Post)—is known for its fun, imaginative and lively musicality. The ensemble’s joie de vivre is perhaps best personified in their
“The holidays are always about the spirit of the season. It’s not so much about a day, but it’s about the spirit of coming together and creating community around a season … What I’ve loved so much since I joined the faculty here at the CU Boulder College of Music is, I come back from Thanksgiving, and then there’s the Holiday Festival.
Donald McKinney conducts musicians and vocalists in the Holiday Festival.
“For me it kicks off the whole month and the whole season,” he says. McKinney will serve as the festival’s artistic director for the first time this year—Director of Choral Studies Gregory Gentry, the festival’s longstanding artistic director, is on a sabbatical this semester—an honor McKinney says is both daunting and exciting. Audiences will have a chance to experience the iconic festival favorites like carol singalongs and the “Hallelujah” Chorus. But, of course, with a new director come several exciting new selections for the concert, too, including gospel music, jazz and a piece that is near and dear to McKinney’s heart. “‘This Christmastide (Jessye’s Carol)’ is a piece of music most people might not know. But I sang it when I was in choir in college, and I just fell in love with it—I just absolutely adored it. It is so uplifting and so remarkable ... So, when I got the opportunity to do Holiday Festival, I was adamant that I had to have it in the show.” But the Holiday Festival isn’t the only way to celebrate the season at Macky
“It’s a guaranteed fulfilling experience for the audience,” says Canadian Brass hornist Jeff Nelsen. “The arrangers have done some really interesting, deep, thoughtful rearranging of Christmas standards.”
Delight in the twinkling lights, seasonal greenery and beautiful music at the Holiday Festival Dec. 7-9; tickets start at $20.
uniforms: black tuxedos paired with white sneakers. “Christmas Time is Here,” is sure to be a reflection of that joyful and cheery vibe, a perfect fit for audiences looking to shake off Grinchy inclinations and celebrate the holidays with a bit of lighthearted, family-friendly fun. Whatever brings you to Macky in December—be it the Holiday Festival, Canadian Brass or both—the hope is for audiences to leave the auditorium feeling just a bit more merry and bright, says McKinney. “The two words I keep coming back to are festive and uplifting. You walk away thinking ‘I have the holiday spirit now.’ And I want people to feel that the moment they walk away, regardless of what they just listened to.” See Canadian Brass Monday, Dec. 17; tickets start at $21.
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Sarah Chang, violin Julio Elizalde, piano Friday, Nov. 16, 7:30 p.m. Starting at $20
Canadian Brass Christmas Time is Here
Monday, Dec. 17, 7:30 p.m. Starting at $21
Kodo
Tafelmusik
Saturday, Feb. 16, 7:30 p.m. Starting at $23
Monday, March 4, 7:30 p.m. Starting at $15
The Leipzig-Damascus Coffee House
One Earth Tour 2019 Evolution
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Silkroad Ensemble Thursday, Jan. 31, 7:30 p.m. Starting at $21
Batsheva Dance Company “Venezuala” by Ohad Naharin
Wednesday, March 20, 7:30 p.m. Starting at $34
Dorrance Dance
Saturday, April 6, 7:30 p.m. Starting at $20
TakĂĄcs Quartet
Holiday Festival
CU Boulder’s Grammy Award-winning quartet-inresidence is irresistible.
Delight in twinkling lights, seasonal greenery and enchanting, beautiful holiday music.
Nov. 25 and 26* Jan. 13 and 14 Feb. 10 and 11 April 28 and 29
Starting at $36
*featuring special guest Carpe Diem String Quartet. Starting at $20
Friday, Dec. 7, 7:30 p.m. Saturday, Dec. 8, 1 p.m. Saturday, Dec. 8, 4 p.m. Sunday, Dec. 9, 4 p.m.
Starting at $20
More events
Eklund Opera Program
College of Music
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September-April
An opera by Pyotr Ilyich Tchaikovsky
Student Recitals
A play by John Cariani Feb. 7-10, starting at $16
Eugene Onegin March 15-17 Starting at $15
Student Music Ensembles September-April
Almost, Maine Catapult
A BFA dance concert Feb. 7-10, starting at $16
Open Space
Curated by CU Dance Connection Feb. 28-March 3, starting at $16
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Sarah Chang, violin Julio Elizalde, piano Friday, Nov. 16, 2018
Sarah Chang, violin, and Julio Elizalde, piano: Nov. 16, 2018
Opus 3 Artists presents
Sarah Chang, violin Julio Elizalde, piano Friday, Nov. 16, 2018 Exclusive Management for Sarah Chang: Opus 3 Artists 470 Park Avenue South, 9th Floor North New York NY 10016 www.opus3artists.com Sarah Chang records for EMI Classics.
This performance is sponsored by:
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Romanian Folk Dances, Sz. 56 I. Joc cu bâtǎ II. Brâul III. Pê-loc IV. Buciumeana V. Poargǎ româneascǎ VI. Mǎrunţel
Sonata No. 3 in D minor, Op. 108 I. Allegro II. Adagio III. Un poco presto e con sentimento IV. Presto agitato
Béla Bartók (1881-1945)
Johannes Brahms (1833-1897)
Intermission
Sonata in A Major, FWV 8 I. Allegretto ben moderato II. Allegro III. Recitativo-Fantasia: Ben moderato IV. Allegretto poco mosso
César Franck (1822-1890)
· cupresents.org · 303-492-8008
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Sarah Chang, violin, and Julio Elizalde, piano: Nov. 16, 2018
Program
Sarah Chang, violin, and Julio Elizalde, piano: Nov. 16, 2018
Program notes By Marc Shulgold
Romanian Folk Dances, Sz. 56
Béla Bartók (1881-1945) Nationalism was sweeping through Europe at the start of the 20th century—a fervor that served as a main component leading to World War I. For Bartók, however, pride in his Hungarian homeland translated into a passion for its folk music—those honest, unschooled peasant songs and dances that represented the heart and soul of Hungary and surrounding countries. At that time, not much was known about the songs and dances of small, inaccessible villages. So, Bartók became a folklorist and took to the road, fresh from his formal training at the Franz Liszt Academy of Music in Budapest. Soon after graduating in 1903, he began traveling, dragging with him notebooks and a cumbersome wire recorder, convincing rural musicians to play or sing into his recording machine. Over the years, he accumulated 800 cylinders and more than 4,000 songs. Some of those melodies were later reworked into piano suites, though most of his collection simply inspired him to compose in the style of these folk melodies. Along with his fellow folklorist/composer Zoltán Kodály, Bartók traveled all over Eastern Europe—even as far as Turkey and North Africa. His travels from 1910-12 in four regions of Transylvania (now part of central Romania), led to a set of eight folk dances. Completed in 1915 for solo piano, six of them were soon arranged for violin and piano by Bartók's dear friend Zoltán Székely (first violinist of the Hungarian String Quartet). Later, the composer recast them for orchestra. The six, played without break, are titled “Stick Dance,” “Sash Dance,” “In One Place,” “Horn Dance,” “Romanian Polka” and a final fast dance known as a “Mărunțel.” This charming collection of original miniatures forms an unbroken stream of melodies, rhythms and harmonies that stand in stark contrast from the stern, experimental music being composed elsewhere in Europe at the time. Focused squarely on capturing the uninhibited flavor of nearby Romania, the composer did allow his fondness for French impressionist harmonies to appear in some of the dances. The musical language of Eastern European folk music became permanently imbedded in Bartók's works—present even in his final completed piece, the Concerto for Orchestra. For him, the blending of Eastern European folk music with the rules and structures taught in conservatories seemed natural. In a 1931 lecture, the composer stressed that concert hall music was “nothing but a frame placed around the essential element, the peasant melody, which takes its place there like a jewel in its setting.”
Sonata No. 3 in D minor, Op. 108
Johannes Brahms (1833-1897) Whenever summer arrived back in the late 1800s, many well-to-do Viennese escaped the heat and hustle of the city, traveling to the idyllic countryside for some peace and quiet and to commune with nature. Brahms was among them, although his time was hardly given to passively admiring mountains and rivers. In fact, during the summer holidays of 1886-88, in the Swiss town of Hofstetten on the banks of Lake Thun 20 miles south of Bern, he wrote or began writing a number of major chamber works: the C minor piano trio, the second cello sonata, numerous songs and the last two of C-4
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For whatever reason—most likely Brahms' extreme perfectionism—Op. 108 occupied him for the next two summers at Hofstetten. In fact, he “road tested” the sonata at soirées in the fall of 1888, soliciting the opinions of trusted friends. Perhaps buoyed by the positive response (Clara Schumann praised its warmth and emotional depth), Brahms finally submitted the sonata for publication, dedicating it to his longtime champion, the conductor and pianist Hans von Bülow. Listening to this clearly constructed work, it seems puzzling that it would take so long for the composer to finish it. The only one of his sonatas not laid out in three movements, Op. 108 unfolds with an honesty and directness. Each of the four movements unveils its main melodic idea immediately, without a throat-clearing introduction: The Allegro builds around the violin's warm and simple opening motif; the following hymn-like Adagio avoids any touch of sugary sweetness or flowery decoration in offering one of Brahms' most endearing and heartfelt melodies; the playful syncopation of the third movement (labeled Un poco presto e con sentimento) finds the piano and violin chasing each other, never quite catching up until the final measure. Clara Schumann was particularly smitten with this movement, describing it in archly romantic terms: “Like a sweet girl toying charmingly with her lover, a flash of deep passion in the middle, and then flirting again.” The restrained middle movements serve as a perfect set-up for the expansive, passionate outpourings of the final Presto agitato, music so big and orchestral that it's difficult to imagine Brahms would ever feel like tackling a fourth violin sonata. Here he places serious demands on both voices, particularly his keyboard player (perhaps with the virtuoso pianist and dedicatee Bülow in mind). A series of powerful chords at the dramatic beginning sets the tone for an anguished movement that finds only brief moments of relaxation.
Sonata in A Major, FWV 8
César Franck (1822-1890) As warm and ingratiating as this popular sonata is, the music can't hold a candle to the memorable circumstances of its creation and premiere. The Belgium-born composer wrote it in 1886 as a wedding present for his friend, Belgian violinist Eugène Ysaÿe (1858-1931). The sonata was received on the morning of the ceremony, followed by a hurried rehearsal and a performance at the wedding breakfast. Its public premiere took place later that year in a late afternoon concert at the Brussels Museum of Modern Painting—and what a legendary reading it turned out to be. Since the museum forbade any artificial lighting, the violinist and pianist Léontine Bordes-Pène charged into the Franck sonata as daylight faded. Confronted with near-darkness—and a thoroughly engaged audience—Ysaÿe grandly hit his music stand with the bow and ordered that the performance continue, though the players were all but invisible. The young composer Vincent D'Indy, one of Franck's students, observed of this magical occasion, “Music, wondrous and alone, held sovereign sway in the blackness of night.” (Didn't we tell you that the sonata couldn't hold a candle to its premiere?) This work came in the midst of a flurry of important offerings, including the D minor symphony, string quartet and piano quintet—all penned when the composer was in his 60s and near the end of his life. It may seem odd that Franck didn't commit to writing music until 1875, when he was 55. Perhaps his reticence stemmed from the early failure in 1845 of his first major work, · cupresents.org · 303-492-8008
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Sarah Chang, violin, and Julio Elizalde, piano: Nov. 16, 2018
his three violin sonatas. Earlier summers at other pastoral locales produced three of the four symphonies, the violin concerto, second piano concerto and other important orchestral works. That first summer in Thun saw the completion of the second violin sonata, Op. 100 and the beginnings of the following D minor sonata.
Sarah Chang, violin, and Julio Elizalde, piano: Nov. 16, 2018
the oratorio “Ruth.” (His youthful self-image had already been damaged by an overbearing father). Franck's middle years were happily spent teaching and serving as organist in several Paris churches. Though a late bloomer as a composer, he exerted a huge influence over D'Indy and other promising French musicians. The Sonata in A Major served as a vivid example of “cyclical unity,” established earlier by Liszt, in which germs of melodic ideas are introduced and then return, explored and expanded, throughout the piece—a concept also featured in the D minor symphony. The quiet, unassuming phrase that begins the introductory Allegretto acts as a seed for ideas that will bloom in succeeding movements. The ensuing Allegro seems more like an opening movement in its energy and propulsiveness. The third movement, bearing the unusual heading RecitativoFantasia, opens with a violin solo, leading to the piano's recalling of the opening movement's dreamy melody. Franck ends his sonata with an inventive device, a strict canon, in which the violin chases the piano before the two switch roles.
Biographies Sarah Chang, violin
Recognized as one of the foremost violinists of our time, Sarah Chang has performed with the most esteemed orchestras, conductors and accompanists in an international career spanning more than two decades. Since her debut with the New York Philharmonic at the age of 8, Chang has continued to impress audiences with her technical virtuosity and refined emotional depth. Highlights from Chang's recent and upcoming seasons have included performances with North American orchestras such as the New York Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, National Symphony Orchestra, Cleveland Orchestra, and the Boston, Montreal, Houston, Detroit, Toronto, Vancouver, Cincinnati, San Diego and New Jersey symphony orchestras. She has also performed at the Hollywood Bowl and at the Tanglewood, Ravinia and Aspen Music Festivals, among others. With a career that has blossomed internationally, her European engagements have taken her to Austria, France, Germany, Italy, Spain, Switzerland and the United Kingdom, and her engagements in Asia have brought her to audiences in China, Japan, Korea, Malaysia and Singapore, along with Australia and New Zealand. As an accomplished recital and chamber musician, Chang regularly travels the world, performing with artists such as Pinchas Zukerman, Yefim Bronfman, Leif Ove Andsnes, Yo-Yo Ma, Isaac Stern, Wolfgang Sawallisch and members of the Berlin Philharmonic Orchestra. Chang’s most recent recording for EMI Classics—her 20th for the label—featured the Brahms and Bruch violin concertos with Kurt Masur and the Dresdner Philharmonie and was received to excellent critical and popular acclaim. Her recording of Vivaldi’s Four Seasons attracted international commendation, with BBC Music Magazine stating, “She has never made a finer recording.” She has also recorded Prokofiev Violin Concerto No.1 and Shostakovich Violin Concerto No.1 live with the Berliner Philharmonic under the baton of Sir Simon Rattle; Fire and Ice, an album of popular shorter works for violin and orchestra with Placido Domingo conducting the Berliner Philharmonic; the Dvořák Violin Concerto with the London Symphony Orchestra and Sir Colin Davis; as well as several chamber music and sonata discs with artists including pianists Leif Ove Andsnes and Lars Vogt. Along with Pete Sampras, Wynton Marsalis and Tom Brady, Chang has been a featured artist in Movado’s global advertising campaign “The Art of Time.” In 2006, Chang was honored as one C-6
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In 2012, Sarah Chang received the Harvard University Leadership Award, and in 2005, Yale University dedicated a chair in Sprague Hall in her name. For the June 2004 Olympic games, she was given the honor of running with the Olympic Torch in New York, and that same month, became the youngest person ever to receive the Hollywood Bowl's Hall of Fame award. Also in 2004, Chang was awarded the Internazionale Accademia Musicale Chigiana Prize in Siena, Italy. Other previous distinctions include the Avery Fisher Career Grant, Gramophone’s Young Artist of the Year award, Germany’s Echo Schallplattenpreis, Newcomer of the Year honors at the International Classical Music Awards in London, and Korea’s Nan Pa award. In 2011, Chang was named an official Artistic Ambassador by the United States Department of State.
Julio Elizalde, piano
Praised as a musician of “compelling artistry and power” by the Seattle Times, the gifted American pianist Julio Elizalde is a multi-faceted artist who enjoys a versatile career as soloist, chamber musician, artistic administrator, educator and curator. He has performed in many of the major music centers throughout the United States, Europe, Asia and Latin America to popular and critical acclaim. Since 2014, he has served as the artistic director of the Olympic Music Festival near Seattle, Washington. Elizalde has appeared with many of the leading artists of our time. He tours internationally with world-renowned violinists Sarah Chang and Ray Chen and has performed alongside conductors Itzhak Perlman, Teddy Abrams and Anne Manson. He has collaborated with artists such as violinist Pamela Frank, composers Osvaldo Golijov and Stephen Hough, baritone William Sharp and members of the Juilliard, Cleveland, Kronos and Brentano string quartets. Elizalde is a founding member of the New Trio, with violinist Andrew Wan, the coconcertmaster of L'Orchestre symphonique de Montréal, and Patrick Jee, cellist of the New York Philharmonic. The New Trio was the winner of both the Fischoff and Coleman National Chamber Music competitions and is the recipient of the Harvard Musical Association's prestigious Arthur W. Foote Prize. As part of the New Trio, Elizalde has performed for leading American politicians such as President Bill Clinton, secretaries of state Condoleezza Rice and Henry Kissinger, and the late senator Ted Kennedy. He was a featured performer for the soundtrack of the 2013 film Jimmy P, composed by Academy Award-winner Howard Shore. Elizalde is a passionately active educator, having recently served as a visiting professor of piano at the University of Puget Sound in Tacoma, Washington. Since 2011, he has been a member of the faculty at the Manchester Music Festival in Vermont and has given master classes at the San Francisco Conservatory of Music, Lawrence University and the Music Institute of Chicago. He has also appeared at various summer music festivals including Yellow Barn, Taos, Caramoor, Bowdoin, Kneisel Hall and the Music Academy of the West. Elizalde was a juror for the 2012 Fischoff National Chamber Music Competition held at the University of Notre Dame in South Bend, Indiana. Originally from the San Francisco Bay Area, Elizalde received a Bachelor of Music degree with honors from the San Francisco Conservatory of Music, where he studied with Paul Hersh. He holds master’s and doctoral degrees from The Juilliard School in New York City, where he studied with Jerome Lowenthal, Joseph Kalichstein and Robert McDonald. Facebook, Twitter, and Instagram: @JulioThePianist · cupresents.org · 303-492-8008
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Sarah Chang, violin, and Julio Elizalde, piano: Nov. 16, 2018
of 20 Top Women in Newsweek Magazine’s “Women and Leadership: 20 Powerful Women Take Charge” issue. In March 2008, Chang was honored as a Young Global Leader for 2008 by the World Economic Forum (WEF) for her professional achievements, commitment to society and potential in shaping the future of the world.
Canadian Brass
Christmas Time is Here Monday, Dec. 17, 7:30 p.m. Macky Auditorium
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SPOTLIGHT
Back in Boulder: Sarah Chang returns to Colorado for a special solo recital
At an age when most young children enter a kindergarten classroom for the first time, Sarah Chang instead found herself attending The Juilliard School for her otherworldly talents as a violinist. Before she turned 6, she had already traded crayons for concertos. Just a few short years later, Boulder audiences were invited to be part of a historic performance, as the 8-year-old child prodigy performed with the Boulder Philharmonic in her first professional orchestra concert.
At such a young age, the commotion of a professional performance and its various players was a fascinating experience. But it was also quite daunting, and not just for Chang. Her parents, music artists themselves, were nervous, too. In fact, it’s one of the first things she remembers about her first time in Boulder. “They were both pacing around in my dressing room before the concert and fretting so much that I had to kick them out of the room and ask them to go pace somewhere else.” But they made it through the event in one piece. And shortly after, Chang went on to debut in a more official capacity with the New York Philharmonic. The rest, as they say, is history. Now, Colorado residents will have the pleasure to hear her perform a rare solo recital in Macky Auditorium on Friday, Nov. 16. In the nearly three decades since her first Boulder performance, Chang has played with virtually all the top orchestras and artists across the globe. But even as an enduring global icon, she finds herself playing in our city time and time again. It’s an area, she says, that holds a special piece of her heart. “[Boulder] gave me one of my very first opportunities when I was literally a child and was just starting out in the music business. I am always grateful to the city and its community.”
Sarah Chang, age 8, performs with the Boulder Philharmonic for the first time.
We asked which local haunts she’ll visit when she’s in town, but unfortunately, there is hardly any time—Boulder is a brief stop on a fast-paced global tour. Following her time here, she’ll spend a single day in California. The day after that? On to Switzerland.
One peek at her Twitter account shows it can a grueling schedule: “[Sometimes] we get offstage around 11 p.m. After signing sessions and photos, that means we sit down for dinner close to midnight … We are literally still eating at 2 a.m.! Then 4 a.m. pickups to the airport for the next city … Honestly, these back to back to back to back flights with concerts every day in a different city aren't as glamorous as one might think.” It helps to have the occasional adventure on the road—paragliding, time spent with friends living in the cities she tours—or to bring along comforts from home. Chang is a dedicated dog-mom and travels with her pup Chewie whenever she can. (He’s a great traveler, she says, though he isn’t joining her for her brief stint in Colorado.) Given her schedule, and the challenges of performing sometimes hundreds of concerts in a year, it is a particular treat local classical music lovers will have the opportunity to hear one of the greatest violinists of all time once again. “I love every single piece on this program! The Bartók is a firecracker of a piece—hugely fun to play; the Brahms is so heartbreakingly beautiful that it has been and will always be one of my favorite works; and the Franck is an absolute masterpiece. “It's a program of stark contrast and colors, and I'm thrilled to be playing my first recital program in Boulder.” See Sarah Chang, violin, and Julio Elizalde, piano, on Friday, Nov. 16 at 7:30 p.m. in Macky Auditorium. Tickets start at $20.
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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 worldclass 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.
Benefactor ($5,000+) Nancy Berman 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 Ellen and Joshua Taxman 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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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 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 Julie 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.
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.
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
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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 G. Peterson Theodore and Ruth Smith Al and Marty Stormo Ann and Larry Thomas 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 Member ($100–$249) Claudia Boettcher Merthan Charlotte Corbridge John and Lise Cordsen Jeanie Davis Janet Hanley Ruth and Richard Irvin Dennis and Chris Jackson William and Ann Kellogg Norman Lane Mollie and Nicholas Lee Patricia and Robert Lisensky Marian Matheson Annyce Mayer Corinne McKay Marilyn and Robert Peltzer Kim and Rich Plumridge List continues on page 36.
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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 Ruth Carmel Kahn Tom and Carol Cech Chris and Barbara Christoffersen Mary and Lloyd Gelman Anne Heinz and Ran Yaron Carol Lena Kovner
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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 Jennifer 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 Maxine Mark Annyce Mayer Richard and Marjorie McIntosh Christopher B. Mueller Margaret Oakes 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
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Ingrid Michaelson Trio presents Songs of the Season with the Colorado Symphohny DEC 3 MON 7:30 A Classical Christmas Conducted by Brett Mitchell DEC 7-8 FRI-SAT 7:30 Ten Tenors — Home for the Holidays with your Colorado Symphony DEC 9 SUN 6:30 A Colorado Christmas DEC 14-16 FRI 7:30 SAT 2:30 & 6:00 SUN 1:00 ■
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HalfNotes Please join us for family-friendly activities 1 hour before the concert.
Celtic Woman: The Best of Christmas Tour DEC 17 MON 7:30 Holiday Brass DEC 19 WED 7:30 Too Hot to Handel DEC 21-22 FRI-SAT 7:30 A Night in Vienna DEC 31 MON 6:30 presenting sponsors
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Personnel CU Presents
Macky Auditorium
Marketing and PR Director Laima Haley
Asst. Director for Patron Services Matthew Arrington
Executive Director Joan McLean Braun
Operations Director Andrew Metzroth Associate Director of Communications Jessie Bauters Marketing Manager Daniel Leonard Public Relations Manager Becca Vaclavik Publications Specialist Sabrina Green Graphic Design Assistant Analise Iwanski Marketing Assistant Maeve Reilly Public Relations Assistant Corinne Baud 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 Membership Benefits Coordinator Jeni Webster Recording Engineer Kevin Harbison
Director Rudy Betancourt
Music Advisory Board
Associate Dean for Enrollment Management and Undergraduate Studies James Austin
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 Mikhy Ritter, Chair Becky Roser Firuzeh Saidi Stein Sture Jeannie Thompson Jack Walker Celia Waterhouse
Asst. Dean for Concerts and Communications Joan McLean Braun
Artist Series Advisory Board
Asst. Director for Administration Sara Krumwiede Asst. Director for Production JP Osnes Production Managers Richard Barrett Trevor Isetts House Managers Rojana Savoye Kelly Gratz Asst. House Manager Devin Hegger
College of Music
Dean, College of Music Robert Shay
Associate Dean for Graduate Studies Steven Bruns Associate Dean for Faculty Affairs and Operations John Davis Asst. Dean for Advancement Courtney Rowe Director of Strategic Initiatives and Special Asst. to the Dean Alexander George Asst. Dean for Budget and Finance David Mallett
Gil Berman Rudy Betancourt Joan McLean Braun Shirley Carnahan John Davis Diane Dunn Mike Gallucci Laima Haley Daryl James, President Maryan K. Jaross Ruth Kahn Andrew Metzroth Jerry Orten Erika Randall Courtney Rowe Robert Shay Gregory Silvus Ellen Taxman Ann Yost
Photography credits: Glenn Asakawa, Ascaf, Colin Bell, Christian Daellenbach, Christopher Duggan, Christopher Jones, Ian McMorran, Takashi Okamoto, Sian Richards, Amanda Tipton and Max Whittaker
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· cupresents.org · 303-492-8008
Accessibility
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
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