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2017-2018 Season
Contemporary Dance Premieres
February 16–18 at the Dairy ARTS Center
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BOULDER BALLET
2 0 1 8 Stepping Out
SCHWARZ-BOURNAKI DUO
Thursday, February 8, 7:30pm , Boulder Adventist Church & Saturday, February 10, 2018, 7:30pm, Longmont Museum
New York-based duo featuring cellist Julian Schwarz and pianist Marika Bournaki. In addition to a formidable touring schedule, this duo won the top prize at the 2016 Boulder International Chamber Music Competition, Art of Duo. 156 phenomenal professional musicians from 25 countries competed in this event that received coverage in Steinway’s Listen Magazine and London’s The Strad. Schwarz-Bournaki will perform works by Bach, Beethoven, Brahms, and Bloch.
ETERNAL SPIRIT
Thursday, May 15, 2018, 7:30pm Boulder Adventist Church
Vocal soloists Josefien Stoppelenburg, Abigail Nims, Derek Chester, and Ashraf Sewailam join the BBF Chorus, Chamber Choir, and Orchestra in four great cantatas by J.S. Bach: Christ lag in Todes Banden, Nun komm der Heiden Heiland, Christen ätzet diesen Tag, and Nun ist das Heil und die Kraft.
Tickets and information:
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Contents
With US
Spotlight: Joshua Bell.................................6 Calendar......................................................8 Spotlight: Lila Downs................................20 Faculty Tuesdays Schedule......................22 Artist Series Donors..................................24 TakĂĄcs Society Donors.............................26 Eklund Opera Donors...............................28 CU Presents Personnel............................30
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From Metro to Macky
He’s topped the classical charts seven times. He’s recorded soundtracks for Hollywood blockbusters. And he’s netted three Grammys and the Avery Fisher Prize. How curious, then, that violinist Joshua Bell is perhaps best known for a stunt he pulled inside a metro stop in Washington, D.C. a decade ago. Back in 2007, the famous violinist went incognito in jeans and a baseball cap to busk inside the capital’s L’Enfant Plaza metro station. He played for 45 minutes and made just $32 from passersby. Only one woman recognized him. The story is now legend. It’s been retold in hundreds of church sermons. It’s been analyzed endlessly in news columns and essays. A video of the incident spread like wildfire on the Internet alongside encouragements to slow down and enjoy life’s beautiful moments. “If we can’t take the time out of our lives to stay a moment and listen to one of the best musicians on Earth play some of the best music ever written,” muses a Washington Post reporter, “[and] if the surge of modern life so overpowers us that we are deaf and blind to something like that—then what else are we missing?”
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If there’s ever a time to take a break from the daily grind, it’s whenever Joshua Bell is playing. And luckily for Boulderites, Bell is scheduled to give a one-night-only recital with pianist Sam Haywood on Feb. 9. On the program is Richard Strauss’ lyrical and technically challenging violin sonata and Mozart’s Sonata No. 32 for violin and piano, which the composer himself performed from memory at the premiere. Like Bell’s famous metro performance, the concert also includes a little Schubert: the “Wanderer Fantasy,” which the composer admitted was so difficult that only “the devil may play it.” Leave it to the man who made his Carnegie Hall premiere at the tender age of 17 to make easy work of difficult literature. There’s a reason Bell, whose career spans more than three decades, has become the world’s most famous living violinist. It’s not because he performed in the metro and the video went viral. It’s because he’s an insanely good musician. “Mr. Bell,” says The New York Times, “doesn’t stand in anyone’s shadow.” Friday, Feb. 9, 7:30 p.m. in Macky Auditorium Tickets are limited
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WE MENDED A FAILING
HEART ALIVE
When you have that newlywed glow, everything seems rosy. So when Jean Richter started feeling short of breath, she wasn’t initially concerned. But then her symptoms worsened and her beloved husband, Dave, had to rush her to the Foothills Hospital Emergency Department.
AND KEPT THEIR ROMANCE
Jean was diagnosed with heart failure, a chronic condition that has a 50% survival rate within five years of diagnosis if not treated correctly. Luckily for Jean, Boulder Community Health now offers the only specialized Heart Failure Clinic in Boulder County. Dr. Scott Blois’s expertise with the latest treatment options set Jean on a remarkable journey back to a full active life. “I have a wonderful husband, five incredible daughters and 13 grandkids I adore,” says Jean. “I’m so happy we can hike, travel and have fun together again.” Read Jean’s story at bch.org/healinghearts or call 303-442-2395 for information about Boulder County’s first Heart Failure Clinic.
Boulder Heart Anderson Medical Center 4743 Arapahoe Ave., Suite 200 in Boulder Medicare accepted @cupresents · cupresents.org · 303-492-8008
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Upcoming Events Béla Fleck
Béla Fleck and Brooklyn Rider
Lila Downs
Joshua Bell
RUBBERBANDance
Don’t miss a rollicking collaborative concert with world-famous, 16-time Grammy-winning banjoist Béla Fleck and Brooklyn Rider, “one of the wonders of contemporary music” (NPR). Slipping seamlessly between bluegrass, jazz and classical, this quintet’s distinctive sound can’t be defined. Saturday, Jan. 20, 2018, 7:30 p.m. With Sam Haywood, piano With dozens of awards and accolades, seven chart-topping albums and nearly three decades of nonstop musical success, no other classical artist can compare to Joshua Bell. The American violinist, a household name worldwide, gives an arresting, one-night-only recital in Boulder. Friday, Feb. 9, 2018, 7:30 p.m.
Ailey II
Named in memory of larger-than-life choreographer Alvin Ailey, the troupe Ailey II is universally renowned for merging the spirit and energy of the country’s best young dance talent with the passion and creative vision of today’s most outstanding emerging choreographers. Saturday, Feb. 17, 2018, 7:30 p.m.
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Boasting a “cantina-classical” (The Washington Post) voice and delightfully eclectic compositions inspired by ancient cultures and her own MexicanAmerican heritage, Lila Downs is a singular performer. Expect elements of jazz, blues and world music to collide in Downs’ seductive, joyful concert. Saturday, March 3, 2018, 7:30 p.m. 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, Feb. 4, 4 p.m. Monday, Feb. 5, 7:30 p.m.
Sunday, March 11, 4 p.m. Monday, March 12, 7:30 p.m. Sunday, April 29, 4 p.m. Monday, April 30, 7:30 p.m. ALTIUS QUARTET Sunday, Jan. 21, 4 p.m. Monday, Jan. 22, 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."
SWEENEY TODD
ARIODANTE
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.
CATAPULT
Four emerging BFA choreographers use original dance to share their knowledge of archetypes, science, philosophy and the natural world.
Feb. 2–4, 2018
WE ARE THE WAKE
2016-17 New Play Festival Winner On a journey to New York’s Hart Island to visit loved ones buried in unmarked mass graves, four women discover secrets, lost souls … and themselves.
Feb. 7–11, 2018
CU Boulder’s graduate string quartet-inresidence, hailed as “rich” and “captivating” by new music website I Care If You Listen, is committed to bringing chamber music to diverse audiences. Taking its name from the Latin word for “higher,” the Altius Quartet injects young energy and passion into music both old and new.
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.
ANIMAL FARM
OPEN SPACE
After disgruntled animals on Mr. Be moved by dance works that Jones’s farm overthrow their human lilt, groove and tumble across leader, all is well … until it isn’t. a spectrum of styles in this student-produced and CU Dance George Orwell’s heartbreaking Connection-curated series. allegorical masterpiece about Feb. 23–25, 2018 revolution and counter-revolution comes to life in the intimate Acting Studio.
Feb. 14–18, 2018
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2 PM and 7:30 PM at Macky Cirque de la Symphonie with music from Harry Potter, Star Wars, Mission Impossible, Titanic and more, plus aerialists, acrobats, and contortionists!
Charles Wetherbee, violin Cleo Parker Robinson Dance Ensemble Stefan Jackiw, violin Works by Vaughan Williams, Sibelius & Prokofiev
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ALTIUS QUARTET Haydn, Shostakovich and Mendelssohn Jan. 21–22, 2018
ALTIUS QUARTET: JAN. 21–22
Program String Quartet in C Major, Op. 76 No. 3 “Emperor” I. Allegro II. Poco adagio; cantabile III. Menuetto. Allegro IV. Finale. Presto String Quartet No. 8 in C minor, Op. 110 I. Largo II. Allegro molto III. Allegretto IV. Largo V. Largo
Dmitri Shostakovich
INTERMISSION through fog
JP Merz
String Quartet in E minor, Op. 44 No. 2 I. Allegro assai appassionato II. Scherzo: Allegro di molto III. Andante IV. Presto agitato
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Joseph Haydn
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Felix Mendelssohn
Notes by Marc Shulgold
String Quartet in C major, Op. 76, No. 3, “Emperor” Franz Joseph Haydn
You’ve probably heard this Quartet’s second movement before, perhaps sung by a large number of Germans. It is that country’s national anthem, “Deutschlandlied”—its words written in 1841. In the beginning, however, it was simply a two-part melody with four easy-to-follow variations tucked into the third of the six quartets of Op. 76. The set was completed in 1798 by the aging composer, and dedicated to Count Joseph Georg von Erdödy. Haydn’s catchy tune achieved a new life as a celebratory piece, “Gott erhalte Franz den Kaiser” (“God Save Emperor Franz”), presented to Francis II of Austria on his birthday, Feb. 12, 1797. The melody’s inspiration can be traced to Haydn’s two visits to London earlier in the 1790s. There, the composer heard “God Save the King” and was impressed by its patriotic passion. Mindful that Napoleon’s army had threatened Vienna in 1796, Haydn looked at the Quartet movement and realized he had created a stirring piece of music. An ardent nationalist, the composer approached his music-loving friend Baron von Swieten to commission a heartfelt text by Lorenz Haschka, which would celebrate the emperor and serve to inspire his countrymen through a time of crisis. And so it did. Soon after that first royal performance, Viennese theaters were ordered to perform the piece, which added greatly to Haydn’s popularity. In 1847, it became the anthem of Austria’s emperors—replaced in the 1920s by a new melody (once thought composed by Mozart), which became the nation’s official anthem. That switch was likely motivated by the Germans adopting Haydn’s music as their anthem in 1922.
ALTIUS QUARTET: JAN. 21–22
Program Notes
No surprise that, after the 1938 Anschluss, Austrians were forbidden to sing it. Amazing how an elegant little melody can carry so much political baggage and generate so many emotions. Haydn clearly loved the tune, as can be discerned by the respectful way he crafted four straightforward variations, with each restatement of the the tune democratically given to a different player. It is said that, in his last years of failing health, the composer would play the emperor’s anthem on the piano and weep. (After finishing the set of six on Op. 76, Haydn would write only three more quartets.) The movements that surround the famous Poco adagio, cantabile show no signs of experimentation or novel approaches. That’s a departure for Haydn, who all but invented the string quartet, and who infused his 80 works for four strings with increasingly innovative ideas. Not here. In this piece, he seems content to let the Emperor’s noble, uncomplicated anthem set the tone. There’s nothing particularly earth-shaking in the opening Allegro’s smile-inducing main theme (highlighted by a charming drone-accompanied peasant variant), and certainly few surprises in the pleasant Menuetto. The three attention-grabbing minor-key chords that spark the Finale are a bit of a jolt, bringing fresh depth to the work and reminding us of the composer’s earlier dabblings with the histrionics of the slam-bang Sturm und Drang fad.
String Quartet No. 8, Op. 110 Dmitri Shostakovich
Five linked movements in this spine-chilling eighth of Shostakovich’s 15 string quartets seem to depict a journey into the soul of the composer, expressing his private anguish experienced in the tense world of post-war, post-Stalinist Russia. Or is it something else? A musical mystery, perhaps? The work was written in three days in 1960, during a visit to the rebuilding city of Dresden, which had been fire-bombed by the Allies during World War II. That was the same year, it should be noted, that Shostakovich joined the Communist Party and became an administrator in the nation’s Composers Union (known for its strong dislike of anything deemed anti-socialist). The composer proclaimed that the work was written “In memory of victims of fascism and war.” No mention of Stalin or the devastating purge of the composer’s fellow artists. On closer examination, it’s clear that there is more here. What is hidden within the Quartet’s pages are private thoughts that dare not be spoken. Shostakovich, like so many Soviet artists, was forced to keep any anti-government complaints to himself, lest he be publicly humiliated (or worse). We sense a continuous need for his anguish to be given voice in the Quartet, as expressed in the recurring appearance of his four-note, DSCH “signature”: D, E-flat, C and B. Could that | 303-492-8008 | cupresents.org | Get Soci@cupresents |
C-3
ALTIUS QUARTET: JAN. 21–22
Program Notes phrase, heard in other works such as the 10th Symphony, represent a cry of defiance, a reminder of his survival? And what about those terrifying three notes in the Largo, hammered out over a low, sustained tone from the first violin? Some have suggested they represent the feared three knocks on the door from KGB agents, coming to whisk another citizen into custody and oblivion—a very real fear for Shostakovich years earlier, after he had fallen in disfavor with Stalin. If we view this piece as autobiographical, it’s not surprising to hear quotes from his earlier works: the march-like tune from his wildly applauded First Symphony, or the “Jewish” theme from his Second Piano Trio, emerging almost as a scream amid the aggressive Allegro molto. All of these recognizable or hidden snippets remind us of the strange, tragic, enigmatic life of one of the 20th century’s greatest composers. What does this work really mean? Sure, we can spend our energies prying into its secrets and drawing theoretical conclusions. Or we can become immersed in the painfully personal, unstoppable human drama so compactly and brilliantly laid out in this, one of Shostakovich’s greatest works.
through fog JP Merz
As a violist myself, I found that this work for the Altius Quartet began as an exploration of my favorite techniques for bowed string instruments. The piece is filled with fluttering harmonics, resonant open strings, glassy or scratchy tones, and folk-style lyrical embellishments. These sounds were shaped into melodies, harmonies and rhythmic figures that emerge and fade from a constantly evolving, hazy texture. I was struggling to settle on a title for this work until I made an anxious, fog-filled drive from Wisconsin to Colorado. The farms, cities, cars and natural landscapes I was driving past were blurry, nebulous and faint. But occasionally, the fog would lift and a clear, striking image would suddenly appear. This work not only evokes the sensory experience of that drive but also touches on the dedication it takes to endure through difficult experiences. For me, “through fog” creates a space to reflect on perseverance and the will to keep moving forward. —JP Merz
String Quartet in E minor, Op. 44, No. 2 Felix Mendelssohn
For nearly all of his life, Mendelssohn seemed to be favored by the gods. Born into a well-to-do Jewish family (his grandfather Moses was a revered philosopher, his father Abraham a wealthy banker), young Felix was educated by private tutors and received intense musical training by only the best pedagogues. His composing began early and showed an immediate talent—reaching a promising pinnacle at age 16 and 17 with the Octet for Strings and Overture to “A Midsummer Night’s Dream.” He grew to be a handsome man of the world, successful at every turn (he was even a gifted sketch artist). He’d been in demand as a pianist, performing all over the continent while composing almost nonstop and serving as conductor of the Gewandhaus Orchestra in Leipzig and as founder/director of the Conservatory in that city. Yes, life was grand for Mendelssohn—and then it got even better. In 1836, he met the girl of his dreams: a beautiful woman of 16 named Cécile Jeanrenaud. The courtship went well and the two agreed to marry. “My head is quite giddy from the events of the day,” he wrote his mother after Cécile accepted his proposal. Both sets of parents approved, and on March 28, 1837, the two were married in Frankfurt, followed by a month-long honeymoon in the Black Forest. It was during this blissful time that Mendelssohn began working on three quartets, published together the following year as Op. 44. The E-minor came first, though the composer would package it as the second of the set. The work’s key, Mendelssohn lovers may recall, is the same as that of his beloved Violin Concerto. Don’t let the minor-key setting fool you: Just as the Concerto avoids any suggestion of sadness, instead brimming with warm feelings, so too does Op. 44, No. 2, unfolding with an energy and confidence that reflects the composer’s contentment. The other two of that opus, in D and E-flat, would be completed in 1838 (the same year as the Violin Concerto). The E-flat, incidentally, was finished a day C-4
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before the birth of Carl Wolfgang Paul, the first of the couple’s five children. Unexpectedly, there would be no more quartets until the fifth and last, Op. 80 in F minor, completed 10 years later and only two months before his sudden death. After a gentle, dark introduction, marked by a little ascending figure, the opening Allegro of the E-minor Quartet takes off, demanding a high degree of ensemble virtuosity that is the hallmark of three of the four movements (most notably in a dizzying Scherzo). The lovely Andante, reminiscent of Mendelssohn’s series of keyboard “Songs Without Words,” serves as the Quartet’s only extended respite from a high-speed journey through the composer’s ever-inventive imagination. Perhaps feeling self-conscious about the sweetness of the Andante, he instructs his musicians to avoid oversentimentalizing the music, instructing them to play without dragging things out (nicht schleppend).
Biographies
Altius Quartet is an ensemble determined to further the art of chamber music through performance, education and outreach. Deriving their name from the Olympic motto, “Citius, Altius, Fortius” (Latin for “Faster, Higher, Stronger”), Altius strives to communicate art to a more diverse audience through community engagement and innovative repertoire. Hailed as “rich” and “captivating” by the renowned music blog I Care If You Listen, the Altius Quartet is garnering an international reputation and enrapturing the hearts of audiences through its charisma and dynamism. Having just released its second album, Dmitri Shostakovich’s String Quartets Nos. 7, 8 and 9, the quartet has received critical acclaim from Fanfare Magazine, which describes the recording as “thrilling and enthralling” and the performance “visceral and wrenching.”
renowned Takács Quartet. The quartet has an active performance schedule, including engagements at music festivals, series and universities throughout the United States, including Carnegie Hall, Chamber Music Cincinnati, the Aspen Music Festival, Great Lakes Chamber Music Festival and the Fayetteville Chamber Music Festival. During its tenure at Southern Methodist University, Altius Quartet served as Ensemble-in-Residence working closely with Matt Albert, Emanuel Borok and Andres Diaz. In addition, Altius has worked with and been guided by many of the foremost artists in chamber music, including Donald Weilerstein, Sylvia Rosenberg, James Dunham, the Emerson String Quartet, Pacifica Quartet, Miró Quartet, Shanghai Quartet and Kronos Quartet. In addition, Altius has collaborated with many celebrated artists including Håkan Rosengren, Anton Nel, Andres Diaz, Peter As a grand prize winner in the Classics Alive Young Nágy and Geraldine Walther. Artists Competition, Altius Quartet was awarded management with Executive Director, Jean Altius Quartet is deeply committed to outreach, Schreiber. Altius has also been awarded prizes often performing concerts and teaching master at many internationally respected competitions, classes in public schools and alternative including the 2016 Alice and Eleonore Schoenfeld performing venues, including jazz clubs, bars International String Competition, the 2014 Fischoff and cafes. In 2014, the quartet partnered with the National Chamber Music Competition, the 2014 Aspen Music Festival and School in educational Coltman Chamber Music Competition and the outreach residencies throughout the Roaring 2013 Plowman Chamber Music Competition. In Fork Valley. And since 2016, Altius has worked the spring of 2017, Altius released its debut album alongside Denver Friends of Chamber Music and “Dress Code” on the PARMA label and was highly Arts Longmont performing outreach events for schoolchildren in the Denver-Boulder metro area. praised for its musicianship and versatility. Formed in 2011 at Southern Methodist University Meadows School of the Arts, the quartet has just completed its tenure as Fellowship String Quartetin-Residence at the University of Colorado Boulder, where its four musicians were mentored by the
ALTIUS QUARTET: JAN. 21–22
Program Notes
When not recording or performing, the musicians of the Altius Quartet enjoy experiencing the great outdoors and maintaining a friendly rivalry in their Fantasy Football league.
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CU Boulder’s former graduate string quartet-in-residence, hailed as “rich” and “captivating” by new music website I Care If You Listen, is committed to bringing chamber music to diverse audiences. Taking its name from the Latin word for “higher,” the Altius Quartet injects young energy and passion into music both old and new.
Takács Quartet Feb. 4–5 · Grusin Music Hall
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.” 303-492-8008 · cupresents.org
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March 29 - April 8, 2018 May 24 - June 3, 2018
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Spotlight Photo by Marcela Taboada
Bullets and Chocolate
Several decades ago, a young Mixtec Indian woman left her village behind to sing in the cantinas of Mexico City. It was in one of those famed cantinas that a University of Minnesota professor heard the woman sing and fell head over heels. Today, that improbable couple’s daughter, singer/songwriter Lila Downs, weaves together her parents’ backgrounds in song to produce a sound that’s unlike any other. The Los Angeles Times says she “has a stunning voice [and] a confident multicultural vision.” The New York Times praises her “multiple voices, from an airborne near-falsetto down to a forthright alto and a sultry, emotive contralto.” Even if you haven’t heard the name Lila Downs, you might have heard her sing at the 75th Academy Awards or in the films “Tortilla Soup” and “Real Women Have Curves.” Or maybe you saw her take the stage at the 2017 Latin Grammys between performances by “Despacito” singer Luis Fonsi and “Hamilton” creator Lin-Manuel Miranda. The folk-pop singer is suddenly everywhere, and that’s no surprise. Not only is her classically-trained yet radio-friendly voice one of a kind, but the words she writes, influenced by a 20
childhood of constant travel between Minnesota and Oaxaca, also resonate with today’s Mexican-born DREAMers and workers trying to make ends meet in the U.S. On her 2015 album, “Balas y Chocolate” (“Bullets and Chocolate”), the title track expresses anguish at the violence many rural Mexicans see every day (“There are bullets that go flying throughout the world”) and amazement at those who bravely endure it (“There are no bullets that pierce the strength of this love”). “This album,” says the Financial Times, “looks death and joy—the bullets and chocolates of the title—squarely in the face and accepts both.” Across all her recordings and performances, Downs personifies both bullets and chocolate, taking a hard, piercing look at current social issues yet singing about them in dulcet and festive tones —as if to acknowledge that even in dark times, there’s always something to celebrate. Saturday, March 3, 7:30 p.m. in Macky Auditorium Tickets start at $20
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Click: MCGUCKIN.COM Visit: 2525 ARAPAHOE AVE. BOULDER, CO 80302 Call: (303) 443-1822
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
JANUARY 16 American Celebration
McDonald/Dunn/Jennings/Requiro/Reger
Margaret McDonald will be joined by her faculty colleagues in a program celebrating American music.
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Beethoven! Korevaar
Pianist David Korevaar plays Beethoven sonatas.
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Romance in Italy
Erhard/Dusinberre/Requiro/Hsu/Korevaar
Paul Erhard presents a program of Italian, Finnish and Russian double bass works that are lively, passionate and fun. The recital is built around two duos: Rossini’s Duet for Cello and Double Bass delivers a wonderful spirit and lots of dialogue between the cello and double bass; Bottesini’s Gran Duo, perhaps the most loved duo of all time for violin and double bass (with piano accompaniment), promises virtuoso excitement. The program also includes other beautifully lyrical works.
FEBRUARY 06 Hsiao-Ling Lin and Friends Dusinberre/Kim/Rhodes/Fejér
A Few of My Favorites
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The Joy of Strings!
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Faculty Tuedays Series
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
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España en el Corazón
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.
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 06 Double Standards Walter/Case/Robert
Pianist Hsiao-Ling Lin performs with College of Music friends and colleagues. This program explores the chamber works of nationalism by Grieg, Lutosławski and Dvořák.
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MARCH 06 Beethoven for Piano and Violin
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!
Farr
Harpsichordist Elizabeth Farr presents a recital of some of her favorite repertoire for the instrument, of both majestic and intimate affects. Perhaps audience members will relive some of their favorites, too—and be introduced to new favorites.
CU String Faculty/Griner/Barnhart/Mondzac/Allen/Ajax Quartet
The College of Music String Faculty collaborate with CU students to celebrate the joy of strings with a program of duos, a septet premiere and more.
Bird/Korevaar
Soprano Jennifer Bird and pianist David Korevaar come together to perform exciting chamber music
More info at cupresents.org Can’t make it? Watch the online livestream at our website!
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FEBRUARY 23, 24
Hummel: Piano Concerto No. 3 in B minor, Beethoven: O verture and Incidental Music to Egmont
MARCH 30, 31
Mozart Requiem with the Boulder Chorale
MAY 19, 20
Haydn: Sinfonia Concertante in B-flat major Haydn: Symphony No. 95 in C minor Mozart: Symphony No. 36 in C major
SPECIAL EVENT MAY 4 – THE MUSIC OF STAR WARS Celebrate international “Star Wars Day” with John Williams’ greatest music from the Star Wars films with live orchestra. MACKY AUDITORIUM – 7:30pm
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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 Mark and Margaret Carson 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 Norma Ekstrand and Tom Campbell Tara 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
Maria and Jesse Aweida Shirley Carnahan Cathy Cloutier Lissy Garrison Merrill and Leslie Glustrom John Graham and Lorin Lear David and Jo Hill Pam Leland Gail and Thomas Madden Paul and Kay McCormick 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 Randall Rutsch Zoe Stivers Lloyd Timblin Allan and Marta Wolfe
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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 in memory of Fay Shwayder 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
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 Pamela Barsam Brown and Stanley Brown 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 Helen Stone Berkley Tague Patricia Thompson
MEMBER
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 Arthur and Laurie Travers Leanne and Christopher Walther Lucy Warner James and Nurit Wolf 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. 26
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Global performance. World-class entertainment. You have to be here.
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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 Robert Stuart Graham The Louis and Harold Price Foundation
PATRON
Ann Cairns and Larry Bangs Barbara and Chris Christoffersen 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 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* Jack Finlaw and Gregory Movesian Kelton Family Foundation* Dennis Peterson Mikhy and Mike Ritter William Stark
MEMBER
Heather and Brian Byrne* 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 Ruth Schoening Carol and Arthur Smoot Linda and Jim Stinson 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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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 Kathy Kucsan 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. 30
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
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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!
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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.
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