CU Presents Magazine Winter 2018, Takács Quartet, March 11-12, 2018

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Global performance. World-class entertainment. You have to be here.

2017-2018 Season


BOULDER BALLET Friday May 18 @ 7:30pm | Saturday May 19 @ 7:30pm | Sunday May 20 @ 2:00pm

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ETERNAL SPIRIT - One Night Only! Thursday, March 15, 7:30pm Boulder Adventist Church

Four Great Cantatas, Four Extraordinary Soloists

Boulder Bach Festival Orchestra, Chorus & Soloists perform J.S. Bach's BWV 4 Christ lag in Todesbanden BWV 50 Nun ist das Heil und die Kraft BWV 61 Nun komm, der Heiden Heiland Josefien Stoppelenburg BWV 63 Christen, ätzet diesen Tag

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LA VENEXIANA - SEASON FINALE One Night Only!

Thursday, May 24, 7:30pm , Boulder Adventist Church BBF presents baroque orchestra, vocal quartet, and soprano Josefien Stoppelenburg, performing exquisite works by Venetian baroque composers, including Antonio Lotti, Giovanni Gabrieli, Tarquinio Merulo, and Vivaldi. Zachary Carrettin and Adam LaMotte (baroque violin), Guy Fishman (baroque cello), Ysmael Reyes (fauto traverso), Mario Aschauer (chamber organ) and other luminaries in the field of early music are joined by Front Range virtuosi in a spellbinding program of seldom-heard masterpieces.

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Contents

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Spotlight: From barrio to barre..................6 Calendar......................................................8 Spotlight: Baroque Briliance....................22 Faculty Tuesdays Schedule......................24 Artist Series Donors..................................26 TakĂĄcs Society Donors.............................30 Eklund Opera Donors...............................32 CU Presents Personnel............................34

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Spotlight From barrio to barre Growing up as a b-boy on the streets of Los Angeles, Victor Quijada never thought of Hip-Hop as an art form.

“That’s just what we were, we were hip-hoppers,” he says. “It wasn’t something we went to the dance studio to do. It was just the way that we moved, the way we talked, the music we listened to, the way we dressed, the way that we expressed ourselves.” Back then, Quijada danced to get attention. A few years later, he enrolled at Los Angeles County High School for the Arts, and he learned about dance’s potential to change the world. “It was a very amazing moment for me to kind of realize that maybe my dancing … could possibly have the power to do more than what I was using it for,” he says. As a young adult, Quijada showed so much artistic potential that no less a figure than Twyla Tharp admitted him to her company—despite his total lack of ballet experience. He spent his early 20s practicing at the barre by day and ducking into clubs by night, wondering whether he could someday merge his two passions. And that’s how, in 2002, RUBBERBANDance was born. “It’s not just a cut-and-paste of ballet vocabulary, hiphop vocabulary or break vocabulary,” says Quijada of his Montreal-based company, which performs mostly his own choreography. “It’s … everything that I’ve known and experienced to this moment.” Quijada’s company admits dancers with wildly different backgrounds, styles and stories. They identify as Latin American, Asian, African American and First Nations. Some, like Quijada, come from the streets, while others are classically trained. The idea, says Quijada, is that everybody’s background is equally valuable to the company—because it lends the troupe a style and stage presence seen nowhere else. “The surprise is in how [Quijada] combines things, and in the weightless, unaccented but deeply virtuosic content and phrasing of his dances,” says the Vancouver Sun. “Here is a true original.” RUBBERBANDance

Saturday, March 24, 7:30 p.m. at Macky Auditorium Tickets $20 and up

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Embracing Artistic Director Victor Quijada’s unusual journey from the streets of Los Angeles to the barre, Montreal-based RUBBERBANDance uses the spontaneity of Hip-Hop, the refinement of ballet and the expressiveness of contemporary dance to create fresh, dynamic works. Saturday, March 24, 2018, 7:30 p.m.

Quicksilver Baroque Ensemble

This game-changing chamber ensemble, “revered like rock stars within the early music scene” (The New York Times), breathes new life into centuries-old sounds with brilliant, historically-informed talent. Quicksilver Baroque’s concert shines a spotlight on hidden gems by Castello, Merula and other long-forgotten 17th-century Italian and German composers. Friday, April 20, 2018, 7:30 p.m.

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UPCOMING CONCERTS Sunday, April 29, 4 p.m. Monday, April 30, 7:30 p.m.

The Grammy Award-winning string quartet has been moving audiences and selling out concerts for three decades at CU Boulder. Their irresistible blend of virtuosic technique and engaging personality has led The Guardian (London) to proclaim, "The Takács Quartet are matchless, their supreme artistry manifest at every level."

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March 16–18, 2018

April 26–29, 2018

The Demon Barber of Fleet Street pays a visit to CU Boulder for the first time ever! Stephen Sondheim’s wildly popular musical transports audiences to Victorian London, where a long-exiled haircutter and a struggling baker conspire for revenge...and delicious meat pies.

THE COMEDY OF ERRORS

In Shakespeare’s unforgettable farce, two pairs of identical twins and a troupe of madcap characters make for one hilarious night of music, magic and mistaken identities.

March 14–18, 2018

The king’s daughter is happily betrothed to a prince—until another man forges a plan to tear them apart for his own benefit. Handel’s searing, emotional tale of obsession and betrayal comes to life on the intimate Music Theatre stage.

THIRD ANNUAL HAIR NEW PLAY FESTIVAL Come see how the next generation of theatre artists views and imagines the world we live in. Each of these exciting, peer-reviewed new plays will receive a staged reading with an audience talkback and discussion with the playwright.

April4 4–8 2018

Let your hair down and let the sun shine in: “Hair” is coming to Boulder! Seize this rare opportunity to celebrate the 50th anniversary of everyone’s favorite tribal loverock musical.

FRESH: SPRING 2018

Enjoy a potential mix of Hip-Hop, aerial, fusion forms and improvised offerings crafted by undergraduate and graduate dance students.

April 27 and 28, 2018

April 13–22, 2018

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TAKÁCS QUARTET March 11–12, 2018


TAKÁCS QUARTET: MARCH 11–12

Program String Quartet No. 21 in D Major, K.575 I. Allegretto II. Andante III. Menuetto: Allegretto IV. Allegretto

Wolfgang Amadeus Mozart (1756–1791)

Guitar Quintet No. 4 in D Major, G. 448 I. Pastorale

Luigi Boccherini (1743–1805)

Quintet for Guitar and String Quartet, Op. 143 II. Andante Mesto

Guitar Quintet No. 4 in D Major, G. 44 IV. Fandango

Mario Castelnuovo-Tedesco (1895–1968)

Luigi Boccherini Nicolò Spera, guitar

INTERMISSION

String Quartet No. 14 in C-sharp minor, Op. 131 Ludwig van Beethoven (1770–1827) I. Adagio ma non troppo e molto espressivo II. Allegro molto vivace III. Allegro moderato—Adagio IV. Andante ma non troppo e molto cantabile—Più mosso—Andante moderato e lusinghiero— Adagio—Allegretto—Adagio, ma non troppo e semplice—Allegretto V. Presto VI. Adagio quasi un poco andante VII. Allegro

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Notes by Marc Shulgold

STRING QUARTET NO. 21 IN D MAJOR, K.575 Wolfgang Amadeus Mozart (1756-1791)

Mozart’s final set of three string quartets carries the nickname “Prussian”—an unfortunate moniker that calls up a frustrating episode late in the composer’s life. The name stems from the misconception that these works, written in 1789 and 1790, were commissioned by Friedrich Wilhelm II, King of Prussia, whose love of music was inherited from his uncle, Frederick the Great. In perhaps an act of wishful thinking, Mozart had written his wife Constanze of this supposed royal request, as he set off for Berlin in April of 1789 with young Prince Karl Lichnovsky, later to become a patron of Beethoven’s. He also shared news of his visit in a letter to his friend Michael Puchberg, requesting a loan and promising the quartets’ payment as collateral. This was a journey borne out of desperation: Mozart was heavily in debt, and he probably hoped that an audience with Friedrich might lead to a commission. That said, there were good reasons for such optimism: A colleague of the composer had relayed to him the king’s love of chamber music in general and the string quartet in particular—along with an apparent interest in Mozart himself. Yet there are no records of a meeting at court, other than perhaps a formal greeting or a brief performance, and no report of any commission from the Prussian monarch. Evidently, the Berlin visit was a failure (it’s revealing that Mozart made no mention of it in any of his subsequent correspondences). Undaunted, upon leaving Berlin he worked laboriously on a projected set of six quartets for the king—finishing the first, K.575 in D, on his way back to Vienna. That work, incidentally, is the only one of the completed three listed with a dedication to Friedrich in the composer’s thematic catalog. Glancing at the scores of the three completed quartets, it appears that Mozart was consciously out to please the monarch, since each piece shows particular attention to the cello, an instrument the king played exceptionally well, having studied with Jean-Pierre Duport, a noted cellist and director of the court’s chamber music. In K.575, the cello is given numerous soloistic opportunities, notably in the Trio section of the Menuetto. (Nothing too difficult for His Majesty, mind you.) Also, notice the frequent use of the cello’s higher range—perhaps inspired by the superior sound of the gorgeous Stradivarius owned by the court. Overall, K.575 demonstrates Mozart’s remarkable ability to maintain a balance among the four voices, keeping things moving with a steady, confident hand as he introduces one lovely melody after another.

TAKÁCS QUARTET: MARCH 11–12

Program Notes

There is a remarkable transparency in Mozart’s writing, even in the ambitious finale, which cleverly hints at a recall of the first movement’s opening theme. How sad that this brilliant work, and the other two completed later, failed to fulfill Mozart’s hopes of financial success. Later, he wrote sadly to his publisher Artaria about the quartets’ eventual sale, “I have now been forced to give away my quartets, that laborious work … for a mere song.” One last irony: They were finally published on Dec. 28, 1791—23 days after Mozart’s death.

A MEDLEY OF GUITAR QUINTETS Luigi Boccherini and Mario Castelnuovo-Tedesco

Yes, it looks odd, mixing a guitar quintet from 1798 with another such work composed some 150 years later. But it won’t sound all that strange, promises guitarist Nicolò Spera. The respected musician, a faculty member at CU Boulder’s College of Music, reports that he suggested the “medley” in a note to Takács violinist Edward Dusinberre: “How would you feel about juxtaposing two great composers from Tuscany, who both loved guitar (but did not play it!), and traveling in time through the Italian quintets with guitar?” Worried that preparing a complete performance of the Quintet by the 20th-century, Italian-born composer Castelnuovo-Tedescso would be too time-consuming, Spera pointed to the slow movement of the Quintet with its “Spanish flavor,” feeling that this would be the perfect calm before the exciting storm of Boccherini’s finale—a rousing, castanet-accompanied Fandango. In fact, the guitarist added, Castelnuovo-Tedesco had earlier written a guitar sonata as an homage to Boccherini. What Spera could have also pointed out is | 303-492-8008 | cupresents.org | Get Soci@cupresents |

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TAKÁCS QUARTET: MARCH 11–12

Program Notes that Boccherini’s D Major Quintet is itself a pastiche, blending the first two movements of his Quintet, Op. 12 No. 6 (from 1771), and the final linked movements (Grave assai-Fandango) from another Quintet, Op. 40, No. 2 (1788). What’s more, his dozen or so guitar quintets were all arranged from his string quintets. These reworkings (of which only eight survive) came through a request from a Spanish nobleman, offered during Boccherini’s 40 years as a court composer in Madrid. He’d settled in Spain after being encouraged to do so by the Spanish ambassador to Paris, a city where Boccherini and his music had been the hit of the town. The move delighted the composer, who relished the sights and sounds of Spain, incorporating its bird calls, church bells, military bugles and hunting horns into some of his quintets. Now, to the Castelnuovo-Tedesco. His Guitar Quintet emerged from a request by Andrés Segovia, following his 1950 performance in Los Angeles of the composer’s popular Guitar Concerto. The famed guitarist had agreed to appear in a chamber concert series in L.A., but only if his dear friend wrote the music. The composer described the resulting Quintet as being “clear, simple, smooth, (possessing) almost a Schubertlike lyricism.” As for the gentle Andante Mesto heard here, he pointed to a central theme above which he wrote “Souvenir d’Espagne.” That said, there is a touch of Brahms among the subtle touches of Spain.

STRING QUARTET NO. 14 IN C-SHARP MINOR, OP. 131 Ludwig van Beethoven (1770-1827)

By the end of the 18th century, Haydn and Mozart had meticulously uncovered some wondrous possibilities in the string quartet. Yet neither of those giants could have foreseen the formula-busting efforts of Beethoven during his last years on Earth. The so-called “late quartets” bring us into worlds undreamed of—and even among those autumnal masterpieces, Op. 131 stands alone. Written between November 1825 and July 1826, this work brazenly discards the established four-movement structure designed and perfected by Beethoven’s predecessors. Yes, he’d already done that in the five movements of Opp. 130 and 132 (the latter was completed in the summer of 1825). But this was something different: a quartet of seven linked movements resulting in one uninterrupted musical journey. In his typical self-deprecating wit, he sent the work to his publisher with a note that described Op. 131 as “put together from stolen this and that.” He had already completed the three quartets commissioned by the Russian prince Nikolas Galitzin (Opp. 127, 130 and 132), but seemed inspired as he dove back into the genre that would occupy him almost exclusively for the rest of his life. Op. 131, incidentally, is dedicated to Baron Joseph von Stutterheim, a lieutenant field marshal, perhaps as a show of gratitude to Stutterheim for admitting the composer’s nephew Karl into his regiment. This work seemed to be a favorite of Beethoven’s, who was said to be intently engaged during a private readthrough by his dedicated colleagues in the Schuppanzigh Quartet. And he was not alone in his admiration. Schubert requested the work be played as he lay on his deathbed. A friend who was present wrote that “The King of Harmony has sent the King of Song a friendly bidding to the crossing.” Years later, Wagner was even more flowery, writing of the Quartet, “This is the fury of the world’s dance … and above the tumult the indomitable fiddler whirls us on to the abyss.” It might be better to rely on Beethoven’s self-mocking description, for Op. 131 does seem at first hearing to be a collection of separate ideas “of this and that.” A deeper examination, however, reveals an amazing abundance of extraordinary original thoughts and, throughout, a masterful ability to organize those ideas into a comprehensible whole. There are scherzos that bubble with energy and wit, slow sections of heartbreaking profundity and endless moments of sheer technical brilliance that test the musicians’ individual skills and ensemble discipline. And it begins with a slowly unfolding fugue, of all things. At the Quartet’s center, we hear a masterful set of variations on a theme introduced by the two violins, featuring several changes in tempo and time signature. But that’s nothing unusual in Op. 131: There are no fewer than 31 tempo shifts and six principal changes in key. This is music of celestial complexity, and so there’s really no purpose in trying to outline or follow a detailed musical map. One need only travel blissfully through this magical land, a place previously unknown to us until Beethoven showed the way.

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After a distinguished career spanning more than 40 years, founding second violinist of the Takács Quartet Károly Schranz will retire from the Grammywinning chamber ensemble effective May 1, 2018. CU Boulder Assistant Professor of Violin Harumi Rhodes has been appointed the new second violinist. “Károly brought extraordinary abilities to the group,” said the members of the quartet. “We were all inspired by his lively, characterful playing and imaginative approach to music.”

Gold Medal in 2014. Schranz plans to continue an active career as a chamber musician and teacher. The members of the Takács Quartet are delighted to welcome Harumi Rhodes as their new second violinist. “We are thrilled that Harumi has accepted our invitation to join the quartet,” the members of the quartet said. “She is a wonderfully versatile violinist and chamber musician, and we greatly look forward to working with her.” As colleagues at the University of Colorado, the members of the Takács have had many opportunities to play with Rhodes in different combinations. In the summer of 2016, she performed with the quartet at the Ravinia Festival and for Austin Chamber Music.

The other members of the quartet are Edward Dusinberre, first violin; Geraldine Walther, viola, and András Fejér, cello. “Individually, I have learned a huge amount from Károly and will always be profoundly grateful for the support he gave me after I joined the quartet,” Dusinberre said. “Immersing myself in a life of string quartet playing is a dream come true,” Rhodes said. “I have been a fan Schranz came to Boulder in 1986 when he and the of the Takács Quartet for as long as I can remember. other original members of the quartet, Gábor Takács It is with great excitement that I join Ed, Geri, and Nagy, Gábor Ormai and Fejér, became artists-in- András in taking the quartet’s vision into the future.” residence at the College of Music. In addition to a prolific international performance career, the group Rhodes has been at the College of Music since has developed a deep connection with the College 2015. Before that, she served as head of strings of Music and the Boulder community, performing in and chamber music at Syracuse University and a regularly sold-out concert series and helping guide assistant violin faculty at the Juilliard School. An future musicians through the college’s Graduate avid supporter of contemporary music, Rhodes Quartet Program. “How proud we are to be able to has been actively involved in commissioning and call the members of the Takács Quartet colleagues premiering new works. “It’s a significant testament and friends,” said CU College of Music Dean Robert to the strength of our faculty that the quartet looked Shay. “They’ve contributed in so many ways beyond to one of our own in seeking Károly’s replacement,” their highly popular concert series, steadily guiding Shay said. “Harumi has displayed such tremendous students toward bigger and better things.” talent and thoughtfulness in her solo and chamber performances, while establishing herself as a Schranz has received awards from the Hungarian profoundly committed teacher.” Government of the Knight’s Cross and the Commander’s Cross of the Order of Merit of the Rhodes will join the quartet for the second half of Republic of Hungary. As a member of the Takács its Boulder concerts on April 29 and 30, performing Quartet, he was awarded one Grammy and four Pytor Ilych Tchaikovsky’s “Souvenir de Florence” nominations, several Gramophone Awards, as with CU Boulder colleagues Erika Eckert and David well as other awards of excellence. In 2012, the Requiro. She will be fulfilling all of the quartet’s ensemble became the first associate artists of the engagements from then onwards. Wigmore Hall, receiving the Wigmore’s prestigious | 303-492-8008 | cupresents.org | Get Soci@cupresents |

TAKÁCS QUARTET: MARCH 11–12

FOUNDING TAKÁCS QUARTET VIOLINIST SCHRANZ TO RETIRE

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TAKÁCS QUARTET: MARCH 11–12

Biographies The Takács Quartet, now in its 43rd 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 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, the Takács Quartet performs 80 concerts a year worldwide. In Europe during the 2017–2018 season, in addition to its four annual appearances as Associate Artists at London’s Wigmore Hall, the ensemble returns to Copenhagen, Vienna, Luxembourg, Rotterdam, the Rheingau Festival and the Edinburgh Festival. They perform twice at Carnegie Hall, presenting a new Carl Vine work commissioned for them by Musica Viva Australia, Carnegie Hall and the Seattle Commissioning Club. In 2017, the ensemble joined the summer faculty at the Music Academy of the West in Santa Barbara. They will return to New Zealand and Australia, and they will perform at Tanglewood with pianist Garrick Ohlsson, at the Aspen Festival and in more than 40 other concerts in prestigious North American venues. They will also tour with pianist pianist Marc-André Hamelin. The latest Takács recording, to be released by Hyperion in September 2017, features Dvorák’s viola quintet, Op. 97 (with Lawrence Power) and String Quartet, Op. 105. Last season, the Takács presented complete 6-concert Beethoven quartet cycles in London’s Wigmore Hall, at Princeton, the University of Michigan and at UC Berkeley. Complementing these cycles, Edward Dusinberre’s book, Beethoven for a Later Age: The Journey of a String Quartet, was published in the UK by Faber and Faber and in North America by the University of Chicago Press. The book 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 became the first string quartet to win the Wigmore Hall Medal in May 2014. 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

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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 University in 2014, and again with her at the Royal Conservatory of Music in Toronto in 2015. They first performed Everyman, conceived in close collaboration with Roth himself, at Carnegie Hall in 2007 with Philip Seymour Hoffman. The Quartet is known for such innovative programming: They have toured 14 cities with the poet Robert Pinsky; they collaborate regularly with the Hungarian Folk group Muzsikas; and in 2010 they collaborated with the Colorado Shakespeare Festival and David Lawrence Morse on a drama project that explored the composition of Beethoven’s last quartets. The Takács Quartet’s releases with Hyperion Records include string quartets by Haydn, Schubert, Janáček, Smetana, Debussy and Britten, as well as piano quintets by César Franck and Shostakovich (with Marc-André Hamelin), and viola quintets by Brahms (with Lawrence Power). Future releases for Hyperion include the Dvořák disc with Lawrence Power, the Dohnányi Piano Quintets with Marc-André Hamelin, and piano quintets by Elgar and Amy Beach with Garrick Ohlsson. 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 and play on instruments generously loaned to them by a family foundation. The Quartet has helped develop a string program at CU with a special emphasis on chamber music, where students work in a nurturing environment designed to help them develop their artistry. The Takács is a Visiting Quartet at the Guildhall School of Music and Drama, London. 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

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Italian guitarist Nicolò Spera brings to his teaching and performing a unique synthesis of European and American traditions. Spera is one of the few guitarists in the world to perform on both six-string and 10-string guitars, as well as on theorbo. His wide-ranging repertoire includes the extraordinary music of the Franco-Andalusian composer Maurice Ohana. He has given lecture-recitals on the music of Ohana at different institutions and festivals, including the Mediterranean Guitar Festival, Arizona State University, Conservatorio della Svizzera Italiana, Conservatorio Giuseppe Verdi in Milan, San Francisco Conservatory and the University of Surrey for the launch of the International Guitar Research Centre. His CD of Ohana’s complete works for solo guitar (Soundset Recordings), presenting the world première recording of Estelas, was awarded the 5-star “Disco del mese” review by Seicorde, the major Italian classical guitar magazine, and it was described as “a disc of the highest value.” In 2017, the Anglo-Spanish label Contrastes Records presented Spera’s recording of his transcriptions for the 10-string guitar of works by Catalan composers Federico Mompou and Enrique Granados. With Soundset Recordings, Spera has also published his own transcriptions of Bach’s Cello Suites No. 4, 5 and 6 for the 10-string guitar. About this recording, cellist Judith Glyde wrote that “it is a refreshing, captivating perspective on these boundless works, and a breathtaking discovery of an unprecedented sound world.” Spera is equally at home in outreach concerts for the young, master classes for all ages, solo recitals and concerti with orchestra. As a soloist, he has performed with conductors Andrés Cárdenes, Alejandro Gómez Guillén, Cynthia Katsarelis and Leonardo Vordoni. About his performance of Rodrigo’s “Concierto de Aranjuez,” Robin McNeil of Opus Colorado wrote: “I have heard this piece performed several times, and the performance

that Nicolò Spera gave was the best I have ever heard. First of all Spera is a virtuoso guitar player, and second, he is a superb musician.” In 2017, together with violinist Chas Wetherbee and the Boulder Philharmonic Orchestra, he commissioned and performed the world premiere of “Invisible Cities,” a double concerto for guitar, violin, strings and percussion, written by the Welsh composer Steve Goss, who based this work on Italo Calvino’s visionary book. He has won top prizes at several Italian and international competitions and is regularly invited to play in music festivals such as the Strings Music Festival in Steamboat Springs, the Tangents Guitar Series in San Francisco, the Mediterranean Guitar Festival in Italy and the Sauble Beach Festival in Canada. Thanks to his passion for contemporary music, Spera had the privilege of collaborations with composers such as John Drumheller, Ryan Fiegl and the accomplished Italian conductor Simone Fontanelli, giving premières and performances of their guitar works. Together with his CU colleagues, he has also given the US première of Mario Castelnuovo-Tedesco’s “Morning in Iowa” for guitar, banjo, accordion, clarinet, sax, double bass, percussion and narrator, a unique musical fresco based on the homonymous poem by Robert Nathan.

TAKÁCS QUARTET: MARCH 11–12

Quartet Competition in Evian, France. The Quartet also won the Gold Medal at the 1978 Portsmouth and Bordeaux Competitions and First Prizes at the Budapest International String Quartet Competition in 1978 and the Bratislava Competition in 1981. The Quartet made its North American debut tour in 1982. Violinist Edward Dusinberre joined the Quartet in 1993 and violist Roger Tapping in 1995. Violist Geraldine Walther replaced Mr. Tapping in 2005. 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.

A versatile chamber musician, in 2012 Spera cofounded the ensemble Duo Chagall with violinist Jenny Diaz. Previously, he worked on an unusual chamber music project with clarinetist Andrew Dykema, and together they performed the complete guitar and clarinet repertoire by the late romantic Viennese composer Ferdinand Rebay. His most influential teachers are Oscar Ghiglia, Jonathan Leathwood and Lorenzo Micheli. Spera holds degrees from the Claudio Monteverdi Conservatory in Bolzano and the prestigious Accademia Musicale Chigiana in Siena, an artist diploma in guitar performance from the University of Denver and a DMA from the University of Colorado Boulder. In 2011, Spera was appointed to the faculty at the University of Colorado Boulder, where he is assistant professor in the Ritter Family Classical Guitar Program. He is also on the faculty of the International Studies Institute at Palazzo Rucellai in Florence. In 2013, he founded the University of Colorado International Guitar Festival and Competition, an unprecedented event that attracts prestigious guests, guitar performers and students from all over the world.

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Quicksilver Baroque Ensemble April 20 · Macky Auditorium

This game-changing chamber ensemble,”revered like rock stars within the early music scene” (The New York Times), breathes new life into centuries-old sounds with brilliant, historically-informed talent. Quicksilver Baroque’s concert shines a spotlight on hidden gems by Castello, Merula and other long-forgotten 17th-century composers. 303-492-8008 · cupresents.org


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COLORADO MAHLERFEST ORCHESTRA – KENNETH WOODS (conductor), STACEY RISHOI (mezzo-soprano), BRENNEN GUILLORY (tenor) Pre-concert lecture by Maestro Woods one hour before each performance Join us the week of May 14–20 for a chamber concert, masterclass, symposium, and more!

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Spotlight Baroque Brilliance

Photo by Tatiana Daubek

Fake news wasn’t born yesterday. In fact, it’s been around as long as humans have. Nearly 300 years before this hot topic appeared all over TV, newspapers and social media, George Frideric Handel wrote an opera about the consequences of spreading lies. In “Ariodante,” Princess Ginevra resists the advances of the powerful Duke Polinesso—and the duke gets his revenge by telling everyone that the princess has been unfaithful to her true love. “The story is modern and relevant,” says Eklund Opera Director Leigh Holman. “It’s about a young woman who is subjected to public shaming because she rejected a man, and the rumors hurt not only her but also many of those around her. Given the public shaming and revenge that takes place on social media these days, this opera feels surprisingly modern.” “Ariodante,” running April 26-29 in CU Boulder’s Music Theatre, is just one of many chances audiences have to hear baroque brilliance on campus this season. A monthslong early music celebration kicks off in February with a free Faculty Tuesday performance by Elizabeth Farr, who performs some of her favorite harpsichord music from 17th- and

18th-century masters. Then, in early April, CU’s Early Music Ensemble tackles a variety of works from the 16th through 18th centuries. And on Friday, April 20, the Artist Series concludes with a visit from Quicksilver Baroque Ensemble. The game-changing chamber group, “revered like rock stars within the early music scene” (The New York Times), is set to perform hidden gems by Castello, Merula and other long-forgotten 17th-century composers. Though baroque music is hundreds of years old, Holman says, “it sounds new to our romantically inclined ears.” Our popular culture, she explains, is inundated with classical music that’s lush and moody—think Rachmaninoff and Debussy—so the sounds of the baroque seem refreshingly light, bright and rhythmic. “The music actually sounds ‘popular,’ in a sense, and I think that’s why it appeals to so many 18- to 30-year-olds,” Holman says. “It has pulsation and movement. It’s as alive as a beating heart.” Early Music Ensemble

Friday, April 6, 4 p.m, Grusin Music Hall · Free

Quicksilver Baroque

Friday, April 20, 7:30 p.m. at Macky Auditorium · Tickets $20 and up

Ariodante

April 26–29 in the Music Theatre · Tickets $20 and up


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Global performance. World-class entertainment. You have to be here.

Faculty Tuesdays 7:30 p.m., Grusin Music Hall � Free and open to the public

MARCH 06 Beethoven for Piano and Violin Dusinberre/Korevaar

Following their 2010 Decca recording of Beethoven’s last two piano and violin sonatas, David Korevaar and Edward Dusinberre continue their exploration of Beethoven in this concert featuring works from earlier in his life, including virtuosic sonatas for violin and piano and the beloved “Spring” sonata.

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Claude Debussy 100 Years Later Cooperstock/Bird/Requiro/Terwilliger

Pianist Andrew Cooperstock and colleagues celebrate the 100th anniversary of French composer Claude Debussy’s death with solo and chamber works that are colorful, rhythmic and both traditional and forward-looking.

20 España en el Corazón

Bird/Chellis/Garland/Cremaschi

Join singers Jennifer Bird, Matthew Chellis and Andrew Garland, as well as pianist Alejandro Cremaschi, on a musical journey to Spain. The program includes zarzuela arias and Spanish songs.

APRIL 03 Double Standards Walter/Casey/Johnson

Douglas Walter, Brian Casey and Robert Johnson perform jazz standards with a twist. We will take classics from the American Songbook—”Body and Soul,” “In a Sentimental Mood,” “All the Things You Are”—and will mix it up with classics of the future such as “Feliz” by Denverite Carmen Sandim or “Three Views of A Secret” by Jaco. A swinging, tune-filled night!

More info at cupresents.org Can’t make it? Watch the online livestream at our website!

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Artist Series

The Artist Series presents performances of fine music and performing arts to which the community would otherwise not have access. The highest quality emerging and internationally recognized artists provide world-class performances and residency activities that enhance the learning environment at the University of Colorado Boulder and the cultural life of the community. The Artist Series includes a variety of presentations from many cultures and traditions.

ARTIST SERIES ADVISORY BOARD Gil Berman Rudy Betancourt Joan McLean Braun Shirley Carnahan

John Davis Diane Dunn Mike Gallucci Laima Haley

BENEFACTOR Paul Bechtner Foundation Mary Lamy Greg Silvus

SPONSOR

Anonymous Gil and Nancy Berman Sue Blessing Diane and Dick Dunn Louise Pearson and Grant Couch Lisa and Tom Price Ellen and Joshua Taxman

PATRON

Anonymous Janet Ackermann and Scott Wiesner Joan McLean Braun Ruth Carmel Kahn Center Copy Boulder, Inc. Chris and Barbara Christoffersen Maggie and John McKune Doyen and James Mitchell Toni and Douglas Shaller

Daryl James, President Maryan K. Jaross Ruth Kahn

Andrew Metzroth James Mitchell Jerry Orten

SUPPORTER Mike and Carol Gallucci Heidi and Charles Lynch Janet and Scott Martin Bob and Sandy McCalmon Judy and Alan Megibow Cedric Reverand Mikhy and Mike Ritter Alicia and Juan Rodriguez Karmen Rossi and Eric Lewis Douglas and Avlona Taylor Evelyn Taylor Ann and Larry Thomas Ann and Gary Yost

CONTRIBUTOR

Anonymous Ellen and Dean Boal Noel and Pauline Clark Martha Coffin Evans and Robert Trembly Norma Ekstrand and Tom Campbell Tara and Steve Kelly Ranelle Lang and Robert Hammond Joan and Harold Leinbach Elizabeth and Gary Rauch Theodore and Ruth Smith Heather Van Dusen

Erika Randall Courtney Rowe Robert Shay

MEMBER

Barbara Allen Maria and Jesse Aweida Shirley Carnahan Cathy Cloutier Lissy Garrison Merrill and Leslie Glustrom John Graham and Lorin Lear Laima and Damon Haley David and Jo Hill Maryan Jaross Pam Leland Gail and Thomas Madden Paul and Kay McCormick Deborah McBride Janet and Hunter McDaniel Gail and Julie Mock Jacqueline Muller Barbara and Irwin Neulight Nancy and David Parker Becky Roser and Ron Stewart Karmen Rossi and Eric Lewis Randall Rutsch Zoe Stivers Lloyd Timblin Geoffrey Tyndall George and Candace Williams Allan and Marta Wolfe

CORPORATE SPONSORS

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Takács Society

The Takács Society, formed by the College of Music, provides the critical resources to support the work of the Takács Quartet—to advance their teaching endeavors, provide scholarships that are essential to attract and retain exceptionally gifted young artists, and sponsor guest artists in the Takács performance series.

BENEFACTOR Albert and Nancy Boggess Lyle Bourne and Rita Yaroush Norma Johnson Fund Gary and Judith Judd in memory of Fay Shwayder Peg and Chuck Rowe

SPONSOR

Marda Buchholz PJ Decker and B.A. Saperstein Carol Lena Kovner Lisa and Thomas Price David and Janet Robertson Takács String Quartet Marion Thurnauer and Alexander Trifunac

PATRON

Pamela Barsam Brown and Stanley Brown Thomas and Carol Cech Chris and Barbara Christoffersen L. Frear Eileen and Walter Kintsch Ray LaPanse Kathleen Sullivan John and Carson Taylor

SUPPORTER

Bill and Louise Bradley Christopher and Margot Brauchli Patricia Butler Anne Heinz and Ran Yaron Gerald and Doree Hickman Kaye Howe Robert Kehoe Paul and Nancy Levitt Jane Menken and Richard Jessor Virginia M. Newton Neil and Martha Palmer Anita and Arthur Polner Mikhy and Mike Ritter Susan and David Seitz Anthony and Randi Stroh Lawrence and Ann Thomas

CONTRIBUTOR

Virginia and Stanley Boucher Noel A. and Pauline A. Clark Alison Craig and Stephen Trainor Richard and JoAnn Crandall Carolyn and Don Etter Steve Goldhaber and Mariana Vertenstein Liz and Jon Hinebauch Bruce and Kyongguen Johnson Joan and Harold Leinbach Patricia and Robert Lisensky Albert and Virginia Lundell Lise Menn Antonia and Timothy Piwonka-Corle M. L. Sandos Lori and Bob Schuyler Andrew Skumanich Helen Stone Berkley Tague Patricia Thompson

MEMBER

Phil and Leslie Aaholm Christine Arden and David Newman Neil Ashby and Marcia Geissinger Maria and Jesse Aweida Ingrid Becher Kevin and Diana Bunnell Shirley Carnahan Penny Chenery Charlotte Corbridge Barbara and Carl Diehl Robbie Dunlap Bob and Jean Fischer Mary and Lloyd Gelman Kenneth and Dianne Hackett David Hammer Keith and Nancy Hammond Catharine and Richard E. Harris Katherine and Stuart Haskins Ruthanne and John D. Hibbs Marian and William Hoffman Margaret and Bob Kamper Caryl and David Kassoy Mireille Key Elizabeth Knoelker Keith Kohnen

Heidi and Jerry Lynch Judy and Harrie Lewis Gail and Thomas Madden Caroline Malde Professor John McKim Malville and Nancy Malville Ralph and Nancy Mann Kim Matthews Peter and Doris McManamon Christopher B. Mueller Joan and Ronald Nordgren Margaret Oakes Wayne and Julie Phillips Charles Proudfit and Margret Hamilton Richard Replin and Elissa Stein Joanna and Mark Rosenblum Becky Roser and Ron Stewart JoAn Segal Ruth M. Shanberge Todd and Gretchen Sliker Grietje Sloan Carol and Arthur Smoot Janice and Charles Squier Barbara Tamplin Arthur and Laurie Travers Leanne and Christopher Walther Lucy Warner James and Nurit Wolf William Wood Mary and Peter Van Etten Betty Van Zandt In loving memory of Norma Johnson, a longtime beloved supporter of the Takács Quartet

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. 30

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Friends of Eklund Opera The Eklund Opera Program is recognized nationwide as one of the finest programs of its kind in the country. Its success is a reflection of outstanding faculty, exceptionally gifted students, professional production standards and, ultimately, the successful placement of students after graduation in the professional world. You are invited to be a part of the tradition of excellence that has come to characterize Eklund Opera. Your support is pivotal to maintaining the stature of this seminal program. To explore the role you can take in supporting Eklund Opera, please contact our Development Office at 303-735-6070.

BENEFACTOR

The Academy Charitable Foundation, Inc. David Allen and Carol DeBaca Stephen Dilts Philip and Yvonne DiStefano Paul and Kristina Eklund Robert Stuart Graham The Louis and Harold Price Foundation

PATRON

Ann Cairns and Larry Bangs Barbara and Chris Christoffersen Michael Dorsey and Carolyn Buck Mary and Lloyd Gelman John Hedderich Albert and Betsy Hand Toni and Douglas Shaller Al and Marty Stormo Wright Family Foundation

SUPPORTER

CONTRIBUTOR

Judith Auer and George Lawrence Judy and Jim Bowers Eleanor Burch DePuy Martha Coffin Evans and Robert Trembly Marilyn and Bruce Fredrickson Ellen and John Gille Bob and Mikee Kapelke Joan and Harold Leinbach Heidi and Jerry Lynch Claudia Boettcher Merthan Ann and Dave Phillips Cynthia and Dave Rosengren M. L. Sandos Cynthia and Paul Schauer Theodore and Ruth Smith Helen Stone Ann and Larry Thomas Ken and Ruth Wright in memory of Mayme Lacy

Donald and Beverly Eklund* Ellen and John Gille Jack Finlaw and Gregory Movesian Kelton Family Foundation* Dennis Peterson Mikhy and Mike Ritter William Stark

MEMBER

Heather and Brian Byrne* Charlotte Corbridge Xan and John Fischer Lissy Garrison* Janet Hanley William and Ann Kellogg Norman Lane Patricia and Robert Lisensky Megan Marino Marian Matheson Cathy and Byron McCalmon Corinne McKay Margaret Oakes Robert and Marilyn Peltzer Kim and Rich Plumridge Gail Promboin and Robert Burnham Alicia and Juan Rodriguez Becky Roser and Ron Stewart Peg and Chuck Rowe Ruth Schoening Carol and Arthur Smoot Linda and Jim Stinson Barbara Tamplin Walter Taylor Gretchen Vanderwerf and Gordon Jones Peter Wall Ann and Gary Yost *Gifts given in honor of Paul Eklund and Kristina Cizmar’s marriage—wishing you many years of happiness!

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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@cupresents · cupresents.org · 303-492-8008


A S S I S T E D L I V I N G | M E M O RY C A R E

L IVE AN INSPIRED LIFE

Honored to Serve the Heroes of our Society: Seniors

May 4-19, 2018

MorningStarSeniorLiving.com

TICKETS:

720.545.1575 l 575 Tantra Drive

Visit ThirstColorado.com to connect to the Colorado lifestyle.

LONGMONTTHEATRE.ORG 303.772.5200

Or, look for Thirst Colorado Magazine at a Boulder location near you!

@cupresents · cupresents.org · 303-492-8008

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Personnel Joan McLean Braun Laima Haley Andrew Metzroth Jessie Bauters Daniel Leonard Jill Kimball Sabrina Green Analise Iwanski Noelle Limbird Maureen Bailey Jack Dorfman Madi Smith Jack Barsch Elise Campbell Michael Casey Indigo Fischer Adrienne Havelka Megan Quilliam Curtis Sellers Karen Van Acker Christin Woolley Michael Johnston Jeni Webster Kevin Harbison

Executive Director Marketing and PR Director Operations Director Associate Director of Communications Marketing Manager Public Relations Manager Publications Specialist Graphic Design Assistant Marketing and PR Coordinator Social Media Content Creator Video Producer Video Producer Website Editor Box Office Manager Box Office Services Manager Box Office Assistant Box Office Assistant Box Office Assistant Box Office Assistant Box Office Assistant Box Office Assistant Financial Manager Membership Benefits Coordinator Recording Engineer

MACKY AUDITORIUM Rudy Betancourt Matthew Arrington Sara Krumwiede JP Osnes Richard Barrett Trevor Isetts Rojana Savoye Devin Hegger

Director Assistant Director for Patron Services Assistant Director for Administration Assistant Director for Production Production Manager Production Manager House Manager Assistant House Manager

EDITORIAL TEAM Jill Kimball Sabrina Green

DEAN'S CABINET Robert Shay James Austin

Joan McLean Braun Steven Bruns John Davis Courtney Rowe Alexander George David Mallett

COLLEGE OF MUSIC ADVISORY BOARD Mikhy Ritter, 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 Susan Olenwine Tom Price Becky Roser Firuzeh Saidi Stein Sture Jeannie Thompson Jack Walker Celia Waterhouse

Program Editor Program Design/Layout

Patron Info Accessibility and Parking

Macky Auditorium is fully wheelchair accessible; ADA-accessible parking is available nearby. Please call the Box Office as early as possible to make arrangements. Paid parking is available in 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. 34

Dean Associate Dean for Enrollment Management and Undergraduate Studies Assistant Dean for Concerts and Communications Associate Dean for Graduate Studies Associate Dean for Faculty Affairs and Operations Interim Assistant Dean for Advancement Executive Assistant to the Dean Assistant Dean for Budget and Finance

CU Presents Box Office cupresents.org � 303-492-8008

Photography and video recordings Ticket Sales are final; no refunds. of any type are strictly prohibited during the performance.

Food is permitted in the seating areas of Macky Auditorium but is prohibited in other campus venues unless otherwise noted. Smoking is not permitted anywhere. CU Boulder is a smoke-free campus!

@cupresents · cupresents.org · 303-492-8008

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.


PEARL STREET MALL | 303.443.1084


B u r g e s s G r o u p a t Co l o r ad o L a n d m ar k , Re a l t o r s i s o n e o f B o u l d e r Co u n t y ’s t o p - p r o d u c i n g r e a l e s t a t e fi r m s . Ca t h e r i n e a n d h e r t e a m h a ve s o l d m a ny o f t h e ar e a ’s m o s t p r e s t i g i o u s p r o p e r t i e s , i n c l u d i n g i c o n i c C h ar l e s H ae r t l i n g h o m e s , e l e g a n t C h a u t au q u a e s c a p e s , s p ac i o u s h o r s e p r o p e r t i e s , a n d g a t e d l a ke c o m m u n i t y e s t a t e s . B u r g e s s G r o u p h a s d e e p l o c a l m ar ke t k n ow l e d g e a n d d r i ve s t ow ar d o n e c l e ar g o a l : p r ov i d i n g t h e h i g h e s t q u a l i t y l u x u r y r e a l e s t a t e s e r v i c e s , w i t h u n p ar a l l e l e d c o n c i e r g e s u p p o r t a n d e x p e r t g u i d a n c e e a c h s t e p o f t h e w ay. Ca l l u s t o d ay fo r a f r e e, n o o b l i g a t i o n c o n s u l t a t i o n . b u r g e s s g r o u p r e a l t y.c o m

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