CU Presents Magazine Winter 2019, November 19, 2019 by The Publishing House

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November-December 2019 Editor Becca Vaclavik Designer Sabrina Green Contributing writers Jessie Bauters, Pranathi Durgempudi Artist Series Advisory Board Daryl James, President; Gil Berman, Shirley Carnahan, Mike Gallucci, Maryan K. Jaross, Ruth Kahn, Ina Rodriguez-Myer, Gregory Silvus, Ellen Taxman, Ann Yost

Contents 06

This December, the holidays are a fiddling family affair

Upcoming events

Beethoven, the avant-gardist

Emphasizing diversity in American music

College of Music looks to the future of music, a century in the making

Donors and sponsors

CU Presents personnel and policies

Music Advisory Board Mikhy Ritter, Chair; Laurie Hathorn, Associate Chair; Sue Baer, Jim Bailey, Gil Berman, Christopher Brauchli, Bob Bunting, Jan Burton, Bob Charles, Paul Eklund, Bill Elliott, Martha Coffin Evans, Jonathan Fox, David Fulker, Grace Gamm, Lloyd Gelman, Doree Hickman, Daryl James, Maria Johnson, Caryl Kassoy, Robert Korenblat, Erma Mantey, Ben Nelson, Joe Negler, Ann Oglesby, Susan Olenwine, Becky Roser, Firuzeh Saidi, Stein Sture, Jeannie Thompson, Jack Walker, Celia Waterhouse

This program is published by: The Publishing House, Westminster, CO. Publisher Angie Flachman Johnson Director of Sales Tod Cavey Production Manager Stacey Krull

CU Presents is the home of performing arts on the beautiful University of Colorado Boulder campus. With hundreds of concerts, plays, recitals and more on our stages each year, there’s something for everyone to enjoy: The Artist Series, which for more than 80 years has welcomed worldrenowned musicians and dance troupes to historic Macky Auditorium. The Colorado Shakespeare Festival, a professional theatre company devoted to the Bard’s works. The Takács Quartet, a world-renowned chamber ensemble in residence at CU Boulder. The CU Performing Arts, offering a broad range of performances from CU’s faculty, students and guest artists: the lavish new and classic works of the Eklund Opera Program, spellbinding performances at the Department of Theatre & Dance, hundreds of free concerts at the College of Music and CU Boulder’s beloved annual Holiday Festival. Find your next performance: cupresents.org · 303-492-8008 @cupresents · #cupresents

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This December, the holidays are a fiddling family affair By Becca Vaclavik Nova Scotia native Natalie MacMaster came from a musical family. She grew up playing the family’s piano, singing Gaelic songs and learning to dance from her mother. Her uncle, Buddy, was an internationally renowned fiddle player. When she was 9, she was gifted her first small fiddle of her own— she says she took to it naturally. Donnell Leahy, too, was raised with musical roots. Along with his 10 siblings, he fronted The Leahy Family (known simply as Leahy now), a folk family band that has been performing internationally since the 1980s. It only makes sense, then, that Natalie and Donnell— now Canada’s reigning couple of celtic music—share that gift with their seven children, too. “It’s like eating your vegetables. We feel it’s important for our kids’ growth that they learn music in some capacity. And they’re all interested because they see everyone else do it. Even our one-and-a-half year old cries for the fiddle when someone else has one and she doesn’t.”

Natalie and Donnell homeschool their children and keep stints away from home brief. It’s not perfect, but the arrangement does have its perks. “All of a sudden there are no beds to make, no garbage to take out, no meals to make, no dishes to clean. No hockey, gymnastics, piano lessons. It’s just you and your family, and we can do whatever we want together.” Boulder audiences will have an opportunity to see Natalie MacMaster and Donnell Leahy (and even some of the MacMaster-Leahy kids) in A Celtic Family Christmas, performing in Macky Auditorium Dec. 17. The program will feature folk arrangements of holiday classics like White Christmas, Twelve Days of Christmas and Up on the House Top. “I have such awesome memories of Boulder,” said MacMaster. “I’ve done so many cool shows there over the years. I love it. I love the people. And it’s all about the people.”

Though the two youngest MacMaster-Leahy’s aren’t currently on tour, the majority of the family travels together as much as possible. To make it work, 6

CU Presents 2019-20 Season · cupresents.org · 303-492-8008

ARTIST SERIES See Natalie MacMaster and Donnell Leahy in Macky Auditorium Dec. 17. Tickets start at $22.

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A Broadway Christmas Carol

Pierre-Laurent Aimard, piano

CU Theatre & Dance Nov. 15-Dec. 8, University Theatre

Artist Series Nov. 19, Macky Auditorium

A musical created by Kathy Feininger

Natalie MacMaster and Donnell Leahy

CU College of Music Dec. 6-8, Macky Auditorium

Takács Quartet

Cirque Mechanics

A Celtic Family Christmas

A Far Cry

Pilobolus

Artist Series Feb. 8, Macky Auditorium

Artist Series March 2, Macky Auditorium

Memory

Boulder’s beloved holiday tradition

Beethoven the Avant-gardist

Takács Quartet Jan. 12-13, Grusin Hall

Artist Series Dec. 17, Macky Auditorium

Holiday Festival 2019

Come to your senses.

CU Presents 2019-20 Season · cupresents.org · 303-492-8008

42FT – A Menagerie of Mechanical Marvels

Artist Series Jan. 17, Macky Auditorium

Spring Awakening

A musical by Steven Sater and Duncan Sheik

CU Theatre & Dance March 6-15, University Theatre

Find more performances at cupresents.org Takács Quartet

Takács Quartet March 8-9, Grusin Hall

The Marriage of Figaro An opera by Wolfgang Amadeus Mozart

Eklund Opera Program March 13-15, Macky Auditorium

Holiday Festival by the numbers Free performances: CU College of Music Faculty Tuesdays Renowned faculty members perform in a weekly concert series featuring guest artists, students and professional colleagues. Most Tuesdays, August-March

3 1 ce rm a n P e rf o n s in o um lo c a ti A u d it o ri ky c a M

names since 1945

Student ensembles The University Symphony Orchestra, Thompson Jazz Studies Program, choirs and other student ensembles thrill audiences with timeless classics and groundbreaking new works. September-April Join us for a student recital Most weeks, free Student Degree Recitals offer myriad works performed by student soloists.

300 students

Silent Night most performed since 1945

A Broadway Christmas Carol is presented through special arrangement with Chanticleer Productions, LLP. Spring Awakening is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com

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allows you to hear not the work behind the work of art but its poetry… His performance had extraordinary power and clarity.” A fitting tribute, then, from one visionary to another. The performance promises to be a unique and personal take on Beethoven’s legacy, which Aimard intentionally developed on the cusp of the composer’s 250th birth year. “Beethoven was somebody who was revolutionary and quite shocking in his time—we forget that part of his work, which was essential! But these compositions destabilized the music world. He used the language of his era, but he used it in a new and different way.” ARTIST SERIES

Beethoven, the avant-gardist By Becca Vaclavik Though he is now known as one of the most remarkable classical composers of all time, audiences often forget—or perhaps have never been taught—that Ludwig van Beethoven was quite the subversive artist in his day. “In some ways, we have killed Beethoven, making him too conventional and too monumental,” says pianist PierreLaurent Aimard. “We’ve changed the way we see Beethoven.” In reality? “He always wanted to compose music that looked towards the future.”

On Nov. 19, Aimard will illustrate this point when he performs “Beethoven the Avant-gardist” in Macky Auditorium as part of the CU Presents Artist Series. The evening’s program will juxtapose two of Beethoven’s sonatas against several avant-garde compositions from other artists. In doing so, Aimard hopes to bring to light some surprisingly similar themes and experiments across the works. Aimard, himself a world-renowned talent, is certainly well-equipped to give the lesson. Hailed as “a brilliant musician and an extraordinary visionary” by the Wall Street Journal, Aimard is widely recognized for his unparalleled, powerful technique. Speaking on a past performance, the Chicago Tribune wrote: “Aimard’s prodigious technique

CU Presents 2019-20 Season · cupresents.org · 303-492-8008

See Pierre-Laurent Aimard performing “Beethoven the Avant-gardist” on the piano Nov. 19 in Macky Auditorium. Tickets start at $20. On the program: Messiaen VI. L’alouette-lulu from Catalogue d’oiseaux Beethoven Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2 (“Moonlight”) Messiaen V. La chouette hulotte from Catalogue d’oiseaux Sweelinck Fantasia à 4: Echo d3, SwWV 260 Benjamin Shadowlines Beethoven Piano Sonata No. 28 in A Major, Op. 101

The Nov. 19 Artist Series performance of Pierre-Laurent Aimard, piano is generously sponsored by

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Beethoven the Avant-gardist Tuesday, Nov. 19, 7:30 p.m.

Program

“VI. L’alouette-lulu” from Catalogue d’oiseaux Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2 (“Moonlight”) I. Adagio sostenuto II. Allegretto - Trio III. Presto agitato “V. La chouette hulotte” from Catalogue d’oiseaux

Olivier Messiaen (1908-1992) Ludwig van Beethoven (1770-1827)

Olivier Messiaen

—Intermission— Fantasia cromatica, SwWV 258

Jan Pieterszoon Sweelinck (1562-1621) Shadowlines George Benjamin (b. 1960) Piano Sonata No. 28 in A Major, Op. 101 Ludwig van Beethoven I. Etwas lebhaft, und mit der innigsten Empfindung. (“Somewhat lively, and with innermost sensibility.”) Allegretto, ma non troppo II. Lebhaft, marschmäßig. (“Lively, march-like.”) Vivace alla marcia III. Langsam und sehnsuchtsvoll. (“Slow and longingly.”) Adagio, ma non troppo, con affetto IV. Geschwind, doch nicht zu sehr, und mit Entschlossenheit. (“Swiftly, but not overly, and with determination.”) Allegro

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PLEASE NOTE • Latecomers will be seated at the house manager’s discretion. • Photography and video recordings of any type are strictly prohibited during the performance. • Smoking is not permitted anywhere. CU Boulder is a smoke-free campus! · cupresents.org · 303-492-8008

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Pierre-Laurent Aimard, piano: Nov. 19, 2019

Pierre-Laurent Aimard, piano

Pierre-Laurent Aimard, piano: Nov. 19, 2019

Program notes By Marc Shulgold

Catalogue d’oiseaux Olivier Messiaen (1908-1992)

The French composer Olivier Messiaen loved nature—he was drawn to its wonders, its beauty, and, most of all, its birds and their varied songs. He’d load up a pack and head out on expeditions to listen to and notate the melodies of birds in every province of France. Between 1956 and 1958, he created a Catalogue of Birds, choosing one species from each of 13 provinces. But these are hardly note-for-note transcriptions for piano. Far from it. Using his compositional style employing chord clusters, dramatic pauses and a wide variety of keyboard colors and dynamics, Messiaen aimed to capture each bird’s environment—the landscape, the changing hours and temperatures of the day and how they affected the mood of each piece. Yes, there are bird calls (usually heard as chirps and trills at the upper range of the piano), but they are hardly the focus. Here, we sample two of those pieces: L’alouette-lulu (Woodlark) and La chouette hulotte (Tawny Owl), both dark and mysterious. The 13-part work was premiered in April 1959 by his wife Yvonne Loriod. Fun fact: Loriot is the French word for oriole.

Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2 (“Moonlight”) Ludwig van Beethoven (1770-1827)

Sandwiched between the two Messiaen pieces is a familiar favorite—in its way, as revolutionary and original as the French works surrounding it. Written in 1801 and published the following year, the “Moonlight” sonata is the second of two sonatas designated Op. 27. Each is titled Sonata quasi una fantasia (Sonata in the manner of a fantasia)— a radical departure from conventions of the day. Much to Beethoven’s dismay, the second of the two achieved instant popularity with the Viennese, causing him to grumble about his latest hit, arguing that Op. 27, No. 1 wasn’t too bad either. Those familiar with the traditional structure of a sonata will understand why the composer chose the unusual title: Rather than a fast-slow-fast order, the “Moonlight” begins with an Adagio Sostenuto, unfolding in an unending stream of gentle arpeggios and a simple melody. C-2

· cupresents.org · 303-492-8008

It does suggest a soft, nocturnal feel—one that inspired a poet named Ludwig Rellstab to attach the now-inseparable nickname in his 1832 review. That’s a fair description, until the following two movements erase any visions of the moon over Lake Lucerne (as Rellstab had suggested). The short, skipping Scherzo-like second movement slides away from thoughts of evening romance, and jumps headlong into the furious Presto Agitato, an explosive movement that is pure Beethoven at his most dramatic and unpredictable. Even a second, more relaxed theme can’t hold back the unstoppable energy of those angry, ascending arpeggios. Just as Messiaen wrote his Catalogue for his loving wife Yvonne, Beethoven dedicated this sonata to Countess Giuletta Gucciardi, a 17-year-old student with whom the composer was hopelessly smitten. Another attractive young woman would receive that honor for this evening’s final work, Beethoven’s Sonata No. 28.

Fantasia cromatica, SwWV 258 in dorian mode Jan Pieterszoon Sweelinck (1562-1621)

Jan Pieterszoon Sweelinck was one of Europe’s most respected and influential organists, composers and teachers at the turn of the 17th century. Living his entire life in Amsterdam, where he served as organist in the Oude Kerk (Old Church), Sweelinck welcomed a steady stream of students, mostly from Germany. He also kept busy repairing and restoring organs. This Fantasia cromatica is one of several he composed, and their brilliance and originality inspired composers to try their hand at the new-born concept of a free-flowing Fantasia. (We already heard Beethoven’s take on that concept). Though written for organ, this work is easily transferred to a single-keyboard instrument, such as clavichord, harpsichord or, in this case, the piano. The Dorian Mode reference is to one of several alternative scales used by composers as building blocks for different-sounding music. Sweelinck wrote a number of keyboard works based on the various modes, which are simply eight-note scales rooted in a different step of the do-re-mi scale. Each is played by starting on the designated note (in this case, D) and playing the next seven white keys only. The Dorian is a minor-key mode, and so has a dark, meditative

Shadowlines

George Benjamin (b. 1960) A much-honored English composer, Benjamin has direct ties to another pair of names on tonight’s program. At age 16, he became a composition student of Olivier Messiaen in Paris, later studying piano with the composer’s wife Yvonne Loriod. In an interview with musicologist Thomas May, Benjamin noted Messiaen’s “... Huge impact on me. He was a great force of inspiration, and a wonderfully enthusiastic and generous teacher. Messiaen opened up so many new avenues for me and changed my mind—and my ear, above all.” The other name connected with George Benjamin is tonight’s pianist, Pierre-Laurent Aimard. Shadowlines was written for Aimard in 2001, through a commission from new-music’s devoted patron, Betty Freeman. Aimard premiered these “Six Canonic Preludes for Piano” two years later in London. The composer has described the work as “a sequence of pieces, all canons in different ways.” In its 15 minutes, these half-dozen miniatures unfold without breaks, moving from an improvisatory prologue through four contrasting miniatures and ending with “a simple and gentle epilogue,” as the composer described it. Traditionally, a canon is built on a simple musical line that is often rooted in a single chord, which will be repeatedly re-introduced without variation (as in Row, Row, Row Your Boat). That said, in Benjamin’s piece, the structure of a canon is almost invisible—which perhaps explains the work’s unusual title. For listeners, Shadowlines emerges more as six challenging explorations of a piano’s possibilities. Benjamin visits the keyboard’s upper range in the second prelude; turns untamed and slightly menacing in the third; challenges the pianist’s ability to manage the keyboard’s highest and lowest areas simultaneously in the stormy fourth; and, in an expanded fifth prelude, uses a deep, recurring bass line under music of unexpected intimacy.

Piano Sonata No. 28 in A Major, Op. 101 Ludwig van Beethoven (1770-1827)

“A series of impressions and reveries.” That’s how Beethoven described this work, at least according to his semi-reliable friend Anton Schindler. That does, however, nicely capture the magically subdued, often dreamy flow of Op. 101—a piece often identified as the first keyboard composition of Beethoven’s so-called Late Period. It was sent for publication, though not yet completed, in July 1816, and published the following year, with a dedication to Dorothea Graumann (more on her later). Defying the current popularity of sonatas that started with a bang, here the opening is gentle and filled with emotion, reflecting the composer’s subtitle, “Rather lively, with the warmest feeling.” This seemingly conversational tone, with its slight pauses and changes of direction, shows how Beethoven, now all but totally deaf, was finding new ways to share his deepest feelings through music. A “Lively, restrained march” follows, pointing ahead to much of Schumann’s energetic piano writing. What follows is a yearning Adagio, featuring a lovely reprise of the opening movement’s gentle theme—a surprising touch, but perfectly placed, soon leading directly into the robust final movement. Even here, one senses a determined avoidance of the power and fury found in his earlier sonatas. Another unexpected episode is a formally constructed fugue that, again, appears with a welcome naturalness. Since this work is heard after Benjamin’s “Canonic Preludes,” mention should be made of some subtle canonic writing in Op. 101’s second and fourth movements. Finally, we return to this work’s dedicatee, Dorothea von Ertmann (née Graumann, 17811848), an outstanding pianist, a student of Beethoven’s and, it’s believed, one of his crushes. She’s the subject of an endearing anecdote, in which she was serenaded by her teacher with an hour of improvisation following the death of her only child in 1804. “We will now talk to each other in tones,” Beethoven reportedly told the grieving mother. Significantly, Ertmann went on to become a first-rate interpreter of her dear friend’s compositions. “She grasped intuitively even the most hidden subtleties of Beethoven’s works,” wrote Schindler, “with as much certainty · cupresents.org · 303-492-8008

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Pierre-Laurent Aimard, piano: Nov. 19, 2019

sound that is instantly apparent here in the Fantasia’s opening descending chromatic scale. You can also sample the Dorian’s somber qualities in more recent pieces set in that mode—the Beatles’ Eleanor Rigby, Simon and Garfunkel’s Scarborough Fair and (no joke) Jimi Hendrix’ Purple Haze.

Pierre-Laurent Aimard, piano: Nov. 19, 2019

as if they had been written out before her eyes.” In a series of public concerts, she created a renewed excitement for the sonatas that helped continue the composer’s presence in Viennese life. Beethoven’s biographer, Alexander Thayer, noted that Ertmann was considered by “all contemporary authorities” as, “if not the greatest player of these works, at least the greatest of her sex.”

About the performer

Deemed an “extraordinary visionary” by the Washington Post and a pioneer artist renowned for his revelatory insights, Pierre-Laurent Aimard was awarded the prestigious 2017 International Ernst von Siemens Music Prize in recognition of a life devoted to the service of music. Aimard is widely acclaimed as a key figure in the music of our time and has had close collaborations with many leading composers, including György Ligeti, whose complete works for piano he has recorded. He has also worked with Karlheinz Stockhausen, George Benjamin and Pierre Boulez, who appointed Aimard, aged 19, to become the Ensemble intercontemporain’s first solo pianist. Praised by The Guardian as “one of the best Messiaen interpreters around,” Aimard has had a close association to the composer himself and with Yvonne Loriod, with whom he studied at the Paris Conservatoire. Recent seasons have included the release of Messiaen’s opus magnum Catalogue d’oiseaux on Pentatone, which was honoured with multiple awards including the prestigious German music critic’s award “Preis der Deutschen Schallplattenkritik.” Aimard has also performed the world premieres of piano works by Kurtág at Teatro alla Scala; Carter’s last piece Epigrams, which was written for Aimard; Sir Harrison Birtwistle’s works Responses: Sweet disorder and the carefully careless and Keyboard Engine for two pianos, the latter of which received its London premiere in autumn 2019. An innovative curator and uniquely significant interpreter of piano repertoire from every age, Aimard has been invited to direct and perform in a number of residencies, with ground-breaking projects at New York’s Carnegie Hall and Lincoln Center, Konzerthaus Vienna, Elbphilharmonie Hamburg, Alte Oper Frankfurt, Brussels’ Palais des Beaux Arts, Lucerne Festival, Mozarteum Salzburg, Cité de la Musique in Paris, Tanglewood Festival and Edinburgh Festival, and was artistic director of the Aldeburgh Festival from 2009 C-4

· cupresents.org · 303-492-8008

to 2016. He performs throughout the world each season with major orchestras under such conductors as Esa-Pekka Salonen, Peter Eötvös, Sir Simon Rattle and Vladimir Jurowski. Aimard’s 2019-20 program focus, “Beethoven and the Avant-Garde,” is a tour de force of pianistic discoveries that transcends traditional boundaries. In this unique and very personal take on Beethoven’s legacy, developed in response to the composer’s 250th anniversary year, Aimard juxtaposes Viennese Classic with compositions of the avant-garde to reveal surprising crossreferences. This season sees Aimard present the project in concerts as part of Berliner Festspiele at Philharmonie Berlin, Philharmonie de Paris, Tokyo Opera City, Southbank Centre and on tour in the United States. Together with Gürzenich Orchestra and François-Xavier Roth, Aimard tours Europe with their “New Academy Concerts” series, created in the spirit of Beethoven’s Academy soirées in which the legendary modernist, humanist and musical revolutionary presented his own creations to the Viennese public. Aimard takes both Beethoven projects to London as part of his ongoing three-year residency at Southbank Centre. In recital, Aimard pairs the two mightiest and most transcendental piano sonatas in music history: Ives’ “Concord” sonata (which Aimard recorded and for which he received a Grammy award) and Beethoven’s “Hammerklavier” sonata. This season, Aimard is also resident at Casa da Música, performing works by Messiaen and Dufourt, along with Murail’s piano concerto Le Desenchantement du Monde, which he premiered with Bavarian Radio Symphony Orchestra and for which he received the 2017 Gramophone award. He returns to Berliner Philharmoniker, Gewandhausorchester Leipzig, Royal Concertgebouw Orchestra and Orchestre symphonique de Montréal, to mention but a few. Through his professorship at the Hochschule Köln, as well as numerous series of concert lectures and workshops worldwide, Aimard sheds an inspiring light on music of all periods. During the 2008-09 season, he was an associate professor at the College de France, Paris, and he is a member of Bayerische Akademie der Schönen Künste. In 2015, Aimard launched a major online resource called Explore the Score, centered on the performance and teaching of Ligeti’s piano music in collaboration with KlavierFestival Ruhr. pierrelaurentaimard.com

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Upcoming holiday highlights Holiday Festival Boulderâ&#x20AC;&#x2122;s beloved holiday tradition CU College of Music Dec. 6-8 Starting at $20

A Broadway Christmas Carol

Natalie MacMaster and Donnell Leahy

A musical created by Kathy Feininger CU Theatre & Dance Nov. 15-Dec. 8

A Celtic Family Christmas Artist Series Tuesday, Dec. 17

Starting at $24

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Emphasizing diversity in American music By Pranathi Durgempudi With special collections ranging from colonial era tunebooks and pirate radio to silent film scores and big band works, the American Music Research Center (AMRC) creates an experience far beyond serving as a research center jointly held by the College of Music and the University Libraries. “I think that we are a tremendous resource across campus, beyond the College of Music, that the campus is not yet fully aware of,” Professor of Musicology and AMRC Director Susan Thomas says.

trying to pay particular attention to cross-border and transnational expressions of American musics.”

Under the guidance of Thomas for just one year, the AMRC has made great strides in all areas of its work. “The center has three main pillars. One is providing a research archive for scholars and musicians. The second is to do outreach and build curriculum on American music and history. The third is to support other scholars,” Thomas explains.

Many of the fall semester’s programs reflected this mission. In honor of the 75th anniversary of the United States Supreme Court’s U.S. vs. Korematsu decision (a decision upholding the internment of Japanese Americans during World War II after being challenged by Fred Korematsu), Thomas wanted to commemorate the landmark moment by bringing the No-No Boy Project to the university this fall semester. Other events included a collaboration with Otis Taylor and his Trance Blues Festival, hosting a round table with the Smithsonian’s National Museum of African American History and Culture curator Dwandalyn Reece, a performance featuring Cuban singersongwriter Luis Barbería, a panel conversation called “Black Banjo and Beyond” and more.

“We promote research on American musics, broadly speaking,” she continues. “That could be music from within the United States, but it is also, increasingly, research throughout the Americas. We are really

“They were really interested in thinking about the banjo as an instrument that has a history that ties together the African diaspora and a lot of often whiteidentified genres. It’s an instrument that really shows

CU Presents 2019-20 Season · cupresents.org · 303-492-8008

the complexity of American music history,” Thomas says. Alongside presenting events, the AMRC provides resources to support students with their academic research, especially through accessibility to the center’s vast collections. Recent additions to the AMRC archive include a massive collection of silent film scores donated by CU Boulder alum and director of the Mont Alto Motion Picture Orchestra Rodney Sauer. “Rodney actually credits his interest in silent film to the AMRC’s silent film music holding, which is where he first became aware of that music,” Thomas explains. Inspired by the AMRC’s collection, Sauer began a collection of his own. “Several years ago, he was able to purchase a collection

of silent film music from the Grauman’s Theater chain in Los Angeles from the ‘20s. As far as we know, the theaters had decided they weren’t going to use this film music anymore. They were throwing it out. “Because of the geographic specificity of the collection, it’s an interesting glimpse into what movies sounded like in California in the 1910s and 1920s.” Additionally, the AMRC directly supports students’ day-to-day education by crafting curricula for classes and giving grants to scholars. “We supported four proposals this summer and fall of artists who are working on music from the archive related to former faculty member and composer George Lynn.” Thomas is excited to launch into her goals of expanding outreach

this academic year. “We are uniquely situated to be a bridge between the community and the academic community here on campus.” With the goal of finding a publicfacing space for the AMRC, Thomas further hopes to serve the university and regional community in supporting scholarship and pedagogy. “There’s still a lot of work to be done,” Thomas says. “The thing that has most energized me is the number of partners that have stepped forward since I got here and the collaborations that we’re building, especially with cinema and media studies, libraries, ethnic studies, women's studies, and Native American and indigenous studies. I feel like we can help as much as be helped.”

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College of Music looks to the future of music, a century in the making By Jessie Bauters If you can feel a certain buzz around the corner of 18th and Euclid on the CU Boulder campus right now, it’s not your imagination. It’s an exciting year for the College of Music. Amid growing commotion over the ever-progressing expansion of the college’s longtime home, Imig Music Building, students, faculty, administration, alumni, donors and community members will celebrate the 100th birthday of the College of Music starting in January 2020. Special events, performances, panel discussions and of course the grand opening of the new wing of Imig will point toward the future while paying homage to the first 100 years of musical artistry at the University of Colorado Boulder. Music at CU started its journey in the first decade of the Boulder campus. Nearly 50 years later, in 1920, the College of Music was created. The new college gave the study of music creation and history a permanent home. It also laid the foundation for an 30

institution whose influence would ripple throughout the music world through the work of graduates such as composer Dave Grusin, jazz artist Tia Fuller and countless others. The Boulder community is invited to join in the celebration of this legacy starting on Tuesday, Jan. 21, with a Centennial kickoff event in Grusin Music Hall. Myriad other events—including the College of Music’s return to Boettcher Concert Hall at the Denver Performing Arts Complex and a world premiere piece by composer Chris Theofanidis—are planned throughout the year to mark the occasion. It’s all leading up to the dedication of the expanded Imig Music Building and an open house at the new facilities next fall. As we look ahead to the future of music, a century in the making, we invite you to join our celebration of the moments—big and small—of the College of Music’s first 100 years. Find more information at colorado.edu/music/centennial.

CU Presents 2019-20 Season · cupresents.org · 303-492-8008

Photo: Wind Symphony members rehearse at the College of Music, c. 1980.

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Thank you to our supporters

Artist Series Benefactor ($5,000+) Janet Ackermann and Scott Wiesner Nancy Berman Dick Dunn Mary Lamy Greg Silvus Sponsor ($2,500-$4,999) Anonymous Louise Pearson and Grant Couch Patron ($1,000-$2,499) Gil and Nancy Berman Sue Blessing Joan McLean Braun Chris and Barbara Christoffersen Lynn Dolby Michael and Carol Gallucci Janet and Scott Martin Maggie and John McKune Toni and Douglas Shaller Stephen Tebo Ann and Gary Yost Supporter ($500-$999) Joan and Harold Leinbach Heidi and Charles Lynch Sara Mann Moore Bob and Sandy McCalmon Judy and Alan Megibow Jane and Cedric Reverand Alicia and Juan Rodriguez

Theodore and Ruth Smith Avlona Taylor Evelyn Taylor Larry and Ann Thomas Contributor ($250-$499) Anonymous Pauline and Noel Clark Martha Coffin Evans and Robert Trembly Rita and Douglas Dart Norma Ekstrand Carol Hampf and Peter Kloepfer Marcia and Christopher Hazlitt Steve and Tara Kelly Gail and Julie Mock Dawna and Frederick Swenson Caroline and Richard Van Pelt Member ($100-$249) Shirley Carnahan Cathy Cloutier Shirley Fischler Judy Gould Suzanne Helburn Jo Hill Dee Marie and Omkar Hill Pam Leland Judah and Alice S. Levine Greta Maloney and Bob Palaich Paul and Kay McCormick Virginia and Peter Strange Lloyd Timblin Geoffrey Tyndall Heather Van Dusen Dorothy and Lee Wadleigh

Friends of Eklund Opera Benefactor ($5,000+) Jan Burton Robert S. Graham Ann Oglesby Al and Marty Stormo The Academy Charitable Foundation, Inc. Patron ($1,000-$2,499) Barbara and Chris Christoffersen J. Michael Dorsey and Carolyn Buck Mary and Lloyd Gelman John Hedderich Toni and Douglas Shaller Supporter ($500-$999) Jeanie Davis in honor of Paul Sr. and Betty Eklund Joan and Harold Leinbach Dennis G. Peterson Becky and Keyan Riley Mikhy and Mike Ritter Evelyn Taylor Larry and Ann Thomas Margaret and Chet Winter Contributor ($250-$499) Judy and Jim Bowers Martha Coffin Evans and Robert Trembly Jerry and Heidi Lynch

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Margaret Oakes Ann and Dave Phillips Marti and Patrick Ritto Cynthia and Dave Rosengren Ruth Schoening Helen Stone Pete Wall Member ($100-$249) Betsy and Richard Armstrong David Babinet Byrne Boys, LLC Sara-Jane and William Cohen Janet Hanley Holly Harrington and Joseph Szwarek Ruth and Richard Irvin Marion Kreith in memory of Michael Kreith Barbara and Bruce Leaf in memory of Janet Clee Marian Matheson Annyce Mayer Cathy and Byron McCalmon Gail Promboin and Robert Burnham Juan and Alicia Rodriguez Theodore and Ruth Smith Carol and Arthur Smoot Linda and Jim Stinson Walter Taylor Three Roses Salon Ann and Gary Yost

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Thank you to our supporters Takács Society Benefactor ($5,000+) Gary and Judith Judd in memory of Fay Shwayder Janet and David Robertson Sponsor ($2,500-$4,999) PJ Decker and B.A. Saperstein Carol Lena Kovner Takács String Quartet Marion Thurnauer and Alexander Trifunac Patron ($1,000-$2,499) Pamela Barsam Brown and Stanley Brown Chris and Barbara Christoffersen Dr. Arnold Dunn, PhD Lauren Frear Mary and Lloyd Gelman Vivianne and Joel Pokorny Mikhy and Mike Ritter Lynn Streeter

Supporter ($500-$999) Patricia Butler Carolyn and Don Etter Anne Heinz and Ran Yaron Robert Kehoe Carol and Tony Keig Eileen and Walter Kintsch Joan and Harold Leinbach Patricia and Robert Lisensky Kim Matthews Virginia Newton Neil and Martha Palmer David and Susan Seitz Andrew Skumanich Kathleen Sullivan Lawrence and Ann Thomas Alison Craig and Stephen Trainor Contributor ($250-$499) Phil and Leslie Aaholm Virginia Boucher Pauline and Noel Clark JoAnn and Richard Crandall Robbie Dunlap

Bruce and Kyongguen Johnson Albert T. Lundell Lise Menn Helen Stone Anthony and Randi Stroh Patricia Thompson Caroline and Richard Van Pelt Member ($100-$249) Neil Ashby and Marcia Geissinger Maria and Jesse Aweida Ingrid Becher Diana and Kevin Bunnell Shirley Carnahan Charlotte Corbridge Barbara and Carl Diehl Nancy and Keith Hammond John D. and Ruthanne J. Hibbs Elizabeth and Jonathan Hinebauch William Hoffman Ruth and Richard Irvin Margaret J. Kamper Mireille Key

Keith Kohnen Judah and Alice S. Levine Heidi and Jerry Lynch Carrie Malde Professor John McKim Malville and Nancy Malville Maxine Mark Annyce Mayer Carol and Dennis McGilvray Christine Arden and David Newman Margaret Oakes Faith and Roy Peterson Wayne and Julie Phillips Joanna and Mark Rosenblum JoAn Segal Todd and Gretchen Sliker Grietje Sloan Katherine Van Winkle Betty Van Zandt Lois and Gordon Ward, Jr. Barbara Warner Jeffrey Zax

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Personnel CU Presents

Macky Auditorium

College of Music

Executive Director Joan McLean Braun

Social Content Creator Erika Haase

Director Rudy Betancourt

Dean Robert Shay

Marketing and PR Director Laima Haley

Video Producers Evan Boretz Vanessa Cornejo

Assistant Director for Patron Services Matthew Arrington

Associate Dean for Graduate Studies Margaret Haefner Berg

Box Office Manager Christin Woolley

Assistant Director for Administration Sara Krumwiede

Assistant Dean for Concerts and Communications Joan McLean Braun

Assistant Director for Production JP Osnes

Senior Associate Dean John Davis

Operations Director Andrew Metzroth Associate Director of Communications Jessie Bauters Marketing Manager Daniel Leonard Public Relations Manager Becca Vaclavik Publications Specialist Sabrina Green Digital Communications Assistant Tiara Stephan Marketing Assistant Kearney Newman

Box Office Services Coordinator Adrienne Havelka Box Office Assistants Kaleb Chesnic Elisabeth Collins Alex Herbert Josh Mundt Gabriel Ramos Jenna Samuelson House Manager Rojana Savoye

Production Managers Richard Barrett Trevor Isetts House Manager Kelly Gratz Assistant House Manager Devin Hegger

Recording Engineer Kevin Harbison

Director of Strategic Initiatives and Special Assistant to the Dean Alexander George Assistant Dean for Budget and Finance Carrie Howard Associate Dean for Undergraduate Studies and Enrollment Management Matthew Roeder Assistant Dean for Advancement Courtney Rowe

Public Relations Assistant Pranathi Durgempudi

Policies 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 Parking Garage, 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 some 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. Singleticket 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

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CU Presents 2019-20 Season · cupresents.org · 303-492-8008

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