CU Presents Magazine Winter 2020, February 8, 2020

ModernMasters: Photo by Amanda Tipton, Costumes by Gene Moore in Paul Taylor’s Airs

TAYLOR & WHEELDON

Boulder Ballet presents Modern Masters featuring company premieres of works by dance icons Paul Taylor and Christopher Wheeldon.

February 21–23 Dairy ARTS Center www.thedairy.org or 303.444.7328

www.boulderballet.org | 303.443.0028

Boulder Bach Festival directors collaborate on a recording of Schubert Sonatas.

Performed on historical instruments by pianist Mina Gajić and violinist Zachary Carrettín.

Pre-order at SonoLuminus.com

THAT MOMENT YOU

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January-March 2020 Editor Becca Vaclavik Designer Sabrina Green Contributors Jessie Bauters, Pranathi Durgempudi Artist Series Advisory Board Daryl James, President; Gil Berman, Shirley Carnahan, Mike Gallucci, Maryan K. Jaross, Ruth Kahn, Ina Rodriguez-Myer, Gregory Silvus, Ellen Taxman, Ann Yost

Contents 08

Upcoming events

12

The radical democracy of A Far Cry

20

Kronos brings the years that changed America to Boulder

22

Third Annual Distinguished Lectureship hosts award-winning leaders of the Sphinx Organization

24

A history—and biology—of Pilobolus

26

Donors and sponsors

30

CU Presents personnel and policies

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

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

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

Find your next performance: cupresents.org · 303-492-8008 @cupresents · #cupresents

President Wilbur E. Flachman For advertising, call 303-428-9529 or email sales@pub-house.com ColoradoArtsPubs.com Photography/Image credits Jay Blakesberg, Yoon S. Byun, CU Boulder Photography, Christopher Duggan, Jennifer Koskinen, Ligature Creative Group, Cheryl Mann, Maike Schulz, Amanda Tipton

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—Remembering Diane Dunn—

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—CU Presents Executive Director Joan McLean Braun 6

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

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Takács Quartet

Takács Quartet Jan. 12-13, Grusin Hall

Pilobolus

Come to your senses.

Artist Series March 2, Macky Auditorium

Cirque Mechanics

42FT – A Menagerie of Mechanical Marvels

Artist Series Jan. 17, Macky Auditorium

Spring Awakening

A musical by Steven Sater and Duncan Sheik

CU Theatre & Dance March 6-15, University Theatre

The Marriage of Figaro

Kronos Quartet

Eklund Opera Program March 13-15, Macky Auditorium

Artist Series March 19, Macky Auditorium

An opera by Wolfgang Amadeus Mozart

8

Music for Change: The 60s, The Years That Changed America

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

A Far Cry Memory

Artist Series Feb. 8, Macky Auditorium

Takács Quartet

Takács Quartet March 8-9, Grusin Hall

Hubbard Street Dance Chicago

Artist Series April 4, Macky Auditorium

Find more performances at cupresents.org Béatrice et Bénédict

Centennial Celebration

Eklund Opera Program April 23-26, Macky Auditorium

CU College of Music April 27, Boettcher Concert Hall

An opera by Hector Berlioz

CU at Boettcher: Verdi’s Requiem

Colorado Shakespeare Festival 2020 season 2020 brings a lineup of grand physical and mental journeys—there will be quests with mythological beasts, empowering coming-of-age tales and striking war stories.

Tickets on sale now at cupresents.org

A Midsummer Night’s Dream Mary Rippon Outdoor Theatre

All’s Well That Ends Well University Theatre (Indoors)

The Odyssey by Homer

Adapted by Mary Zimmerman Mary Rippon Outdoor Theatre

Coriolanus

University Theatre (Indoors)

Pericles

Mary Rippon Outdoor Theatre

Free performances: CU College of Music Faculty Tuesdays Renowned faculty members perform in a weekly concert series featuring guest artists, students and professional colleagues. Most Tuesdays, August-March Student ensembles The University Symphony Orchestra, Thompson Jazz

Studies Program, choirs and other student ensembles thrill audiences with timeless classics and groundbreaking new works.

September-April Join us for a student recital Most weeks, free Student Degree Recitals offer myriad works performed by student soloists.

Spring Awakening is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com.

The Odyssey by Homer (Adapted by Mary Zimmerman) is adapted from the translation of The Odyssey by Robert Fitzgerald.

#cupresents · @cupresents

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Celebrating 72 Years!

The radical democracy of A Far Cry

By Becca Vaclavik In the early aughts, a group of chamber music veterans found themselves in Boston attending graduate school at the same time.

Brought together by geography and their shared love of chamber music, they decided to start an ensemble together. But they also wanted to try a new approach.

“There were already so many great string quartets, and we wanted to do something a little different,” says violinist Megumi Stohs Lewis. “So we said, ‘How about a conductorless string orchestra?’”

A conductorless string orchestra: the spirit of a quartet, only magnified, says Stohs Lewis. It was 2007—or “season zero” as the ensemble calls it—and A Far Cry was born.

“We thought it was something that Boston and the world could use and that there might be space for that. It was a big experiment!”

Over 10 years on, the experiment seems to be working. The group shares multiple Grammy nominations; has collaborated with artists like Yo-Yo Ma, Roomful 12

of Teeth, and the Silk Road Ensemble; and has been called “a worldwide phenomenon” (Boston’s WBUR).

Part of that success can be attributed to a system of operating that the Criers call radically democratic. “There are different ways for people to contribute artistically. It’s been cool to see how it makes the group better and how it hones every individual’s skills, too,” says Stohs Lewis.

Each season, a Crier submits program ideas to the larger group, and the group workshops them together. In rehearsals, members take turns serving as section principals, and every piece has a different set of principals who lead the interpretation. Once programs have been workshopped, the Criers vote and decide together what goes on a season or in a touring set.

This season, the elected program for Boulder is called “Memory.”

Yes, they’ll be performing from memory—a trademark of A Far Cry concerts—but Stohs Lewis adds, “There’s also a thread of memories

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

that runs throughout the different pieces. Some of the pieces are nostalgic in nature, or they are pulled from the personal history of the group. One piece will be from season zero; we played it at our very first concert ever.”

The payoff, for both A Far Cry and Boulder audiences, should be extraordinary.

Stohs Lewis says the shared passion for communication can be felt onstage and in a concert hall in a very personal way.

“That’s part of the reason we only play music that everybody has voted for. Because we feel like to share in the most honest way, we have to be 100 percent behind the music we play. We love it, and we want the audience to love it too.”

ARTIST SERIES A Far Cry performs in Macky Auditorium on Feb. 8. Tickets start at $15.

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Memory

Saturday, Feb. 8, 7:30 p.m.

Program Cantus in Memoriam Benjamin Britten

Arvo Pärt (b. 1935)

Serenade No. 6 in D Major, “Serenata Notturna,” K.239 I. Marcia. Maestoso II. Minuetto III. Rondo. Allegretto

Wolfgang Amadeus Mozart (1756-1791)

Introduction and Allegro for Strings, Op. 47

Edward Elgar (1857-1934)

—Intermission— Serenade for Strings in C Major, Op. 48 I. Pezzo in forma di sonatina. Andante non troppo—Allegro moderato II. Valse. Moderato. Tempo di Valse III. Elegia. Larghetto elegiaco IV. Finale (Tema russo). Andante—Allegro con spirito

A FAR CRY is presented by arrangement with Middleton Arts Management.

98B Long Highway, Little Compton, RI 02837

Pyotr Ilyich Tchaikovsky (1840-1893)

PLEASE NOTE • Latecomers will be seated at the house manager’s discretion.

• Photography and video recordings of any type are strictly prohibited during the performance.

• Smoking is not permitted anywhere. CU Boulder is a smoke-free campus! · cupresents.org · 303-492-8008

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A Far Cry: Feb. 8 ,2020

A Far Cry

A Far Cry: Feb. 8 ,2020

Program notes

historically, serenades were pieces performed outside, usually in the evening. Thus, they are quite literally “a little night music.”

Cantus in Memoriam Benjamin Britten

In the years surrounding the composition of the “Serenata Notturna,” the prolific teenager/ twenty-something Mozart penned a list that reads like the lyrics to the holiday song “The 12 Days of Christmas”: 16 minuets for orchestra, eight minuets for piano, six piano sonatas, five violin concertos, four symphonies, two church sonatas, two masses and an opera. That’s not even half of his output during the decade, for, included are a smattering of divertimentos and serenades— nearly one of each per year.

By Kathryn J Allwine Bacasmot

Arvo Pärt (b. 1935)

Arvo Pärt wrote of Benjamin Britten: “Just before his death I began to appreciate the unusual purity of his music—I had had the impression of the same kind of purity in the ballads of Guillaume de Machaut. And besides, for a long time I had wanted to meet Britten personally—and now it would not come to that.” In observation of that grief, his Cantus opens and closes with composed silence. Then, the bell tolls, sending the divided strings into a sequence of descending A-minor scales imitating at varying speeds, growing and swelling like ripples produced by a pebble dropping into a placid lake; the creative life of one person reaching outward, forever impacting others.

The Estonian Pärt had compositional beginnings in serialism, which earned him an official slap on the wrist from the Soviet government. Later, Pärt’s studies of J.S. Bach and Gregorian chant slowly evolved into a personal compositional style that continues to be at the heart of his oeuvre: tintinnabuli, the ringing sound of bells that alludes to a pitch’s sound wave being mathematically divided into the overtone series, the basis of Western music theory and its harmonic progressions. A single pitch is actually an entire sequence working together—the “fundamental” and its “partials,” to use the lingo (much like the “notes” of flavor that combine to produce a particular taste of wine). Thus, when you hear the fundamental A-natural you also hear the partials from the A scale sounding sympathetically in a pattern: A, E, A, C-sharp, E, etc. The musical universe orbiting a single note.

Serenade No. 6 in D Major, “Serenata Notturna,” K.239 Wolfgang Amadeus Mozart (1756-1791)

What do “Eine Kleine Nachtmusik” and “Serenata Notturna” have in common, other than they both allude to the night? [Insert Jeopardy theme music here.] Answer: They are both serenades.

“Eine Kleine Nachtmusik” is a nickname for the Serenade No. 13 in G Major, K. 525. Fact: C-2

· cupresents.org · 303-492-8008

The real treat of hearing the Serenade No. 6 in D Major (“Serenata Notturna”), K. 239 is that is it not “Eine Kleine Nachtmusik,” (which was written a little over a decade later). With so much Mozart from which to choose, it’s rather astonishing that audiences are somehow always tuned into the same top 40 hits. What can sometimes come across as precious in “Eine Kleine” is elegantly precocious in “Serenata Notturna.”

In 1776, while the United States was declaring its independence, Mozart wrote this piece for strings divided into two groups and timpani. Serenades have a somewhat vague formal structure, but by the classical era the genre had settled in to a comfortable multi-movement form, often kicking off in sonata form and containing at least one movement made up of a minuet and trio. (In this piece it’s the second movement.) The addition of timpani in “Serenata Notturna” adds a kind of humorous gravity to the mostly light and frothy spirit of the string arrangements: it’s the dark to their light, the espresso to the milk foam. The contrast is particularly prevalent in the rondo of the third movement, where the timpani has its own variation before the rondo theme glitteringly nudges back, eventually evaporating serenely into the evening air.

Introduction and Allegro for Strings, Op. 47 Edward Elgar (1857-1934)

If one wanted to supply Elgar’s career with a subtitle, a plausible choice could be, “The Agony and the Ecstasy.” Success did not come quickly or easily for the composer, and those doubts

Then, in 1899, it happened. His Enigma Variations became a hit and changed his career from that point onward. The new fame eventually took him to New England, where he was given an honorary doctorate from Yale University, thanks, in part, to Samuel Sanford, a professor there. Immediately after his return from the United States, Elgar started composing a new piece (dedicated to Sanford) for string quartet and string orchestra.

The format is often seen as a throwback to the concertino and ripieno of the baroque concerto grosso. Diana McVeagh notes that Elgar said he “learnt to write for strings from Handel” (perhaps a catalyst for the idea of a baroque type of set-up), and “knew well that a single voice can be more flexible, more wayward, than a group.” The lyrical theme, introduced by a solo viola line, is said to have been derived from the memory of a Welsh tune the composer heard during a visit.

Serenade for Strings in C Major, Op. 48

Pyotr Ilyich Tchaikovsky (1840-1893) Tchaikovsky once wrote, “I don’t just like Mozart, I idolize him.” In an era predating recording devices, the only way one could become familiar with hearing the works of a composer was to either attend concerts where the music was being performed, or be wealthy enough to hire people to play it for you at home. So, to broaden public knowledge of his idol, in 1887 Tchaikovsky rearranged four Mozart pieces into the Suite No. 4 in G Major, Op. 61, “Mozartiana”. Seven years earlier, he wrote the Serenade for Strings in C Major, the first movement of which was meant to be reflective of Mozart, whom he thought was “devoid of self-satisfaction and boastfulness...a

genius whose childlike innocence, gentleness of spirit...are scarcely of this earth.”

How appropriate that those sentiments found an outlet in a serenade, a genre richly cultivated by Mozart who transformed them from the musical toss-offs they historically were (often serenades were only performed once and enjoyed casually in the evening, like an audible amuse-bouche) into sublime concert works worthy of repeat performances.

The Serenade for Strings is distinctly Tchaikovsky, yet distilled. Here he leaves aside his occasionally bombastic sensibilities and overt desire for virtuosity in order to showcase his extraordinary gift for lyrical melody, which in this setting sparkles like a rare jewel catching and embracing rays of light. In a letter to his patroness and friend Nadezhada von Meck, he wrote, “It is a heartfelt piece and so, I dare to think, is not lacking in real qualities.”

Observed as “string quintet in texture,” it begins with a lush descending homophonic motif commencing what will be a tense relationship between gravity and anti-gravity via long descending and ascending lines throughout the larger structure of the first three movements.

The effect is a work that breathes with lines working in harmony of movement—which is perhaps why George Balanchine set the work to choreography. The charming Valse of the second movement glimmers all the more next to the noble melancholy of the Élégie, featuring melodies infused with signature Tchaikovsky yearning and striving. The Finale temporarily appears to break the tug between rising and descending in its suspended hovering, like an autumn leaf fluttering in midair right before it is carried away in a flurry of an upward breeze ... or, in this case, a whirlwind of Russian folk melodies, which are in turn abruptly brought to an end with the solemn return of the opening material. It returns only briefly, however, before it dissolves effortlessly in a seamless metamorphosis back into vivacity.

Program notes by Kathryn J Allwine Bacasmot.

Kathryn is a pianist/harpsichordist, musicologist, music and cultural critic, and a freelance writer.

She is a graduate of New England Conservatory and writes program annotations for ensembles nationwide. · cupresents.org · 303-492-8008

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A Far Cry: Feb. 8 ,2020

were exacerbated by insecurities of social class and lack of formal training. (Plans to attend the esteemed Leipzig Conservatory evaporated into nothing because he didn’t have the money.) He felt these shortcomings so acutely that he once responded to an invitation to attend a luncheon in honor of Queen Victoria’s Diamond Jubilee by writing, “You would not wish your board to be disgraced by the presence of a piano-tuner’s son and his wife.” Elgar spent years dabbling in business and teaching, cobbling together a living taking whatever musical engagement he could, all whilst struggling to maintain his own belief that he could “make it” as a composer.

A Far Cry: Feb. 8 ,2020

About the performers

Called a “world-wide phenomenon” by Boston’s WBUR, A Far Cry has nurtured a distinct approach to music making since its founding in 2007. The self-conducted orchestra is a democracy in which decisions are made collectively and leadership rotates among the players (“Criers”). This structure has led to consistently thoughtful, innovative and unpredictable programming — and impactful collaborations with celebrated performers and composers. Over the past year, A Far Cry has risen to the top of Billboard’s Traditional Classical Chart, been named Boston’s best classical ensemble

by The Improper Bostonian, and celebrated two Grammy nominations for its Visions and Variations.

Boston Musical Intelligencer sums up the group: “In its first decade, this conductor-free ensemble has earned and sustained a reputation for topdrawer playing, engrossing programming and outstanding guest artists.”

A Far Cry’s omnivorous approach has led to collaborations with artists such as Yo-Yo Ma, Simone Dinnerstein, Roomful of Teeth, the Silkroad Ensemble, Vijay Iyer and David Krakauer.

A Far Cry’s 13th season in 2019-20 includes nine Boston-area concerts as part of the group’s own series, and a celebration of the conclusion of a 10-year residency at the Isabella Stewart Gardner Museum with three concerts—the last a blowout/collaboration with Boston hip-hop luminary Moe Pope. The orchestra also tours its “Memory” program, with concerts at the University of Colorado, Wake Forest University and a debut performance at the Kennedy Center in March.

Recent tour highlights include two new commissioning projects: Philip Glass’ third piano concerto with soloist Simone Dinnerstein and The Blue Hour, “a gorgeous and remarkably unified work” (Washington Post) written by a collaborative of five leading female composers—Rachel Grimes, Angélica Negrón, Shara Nova, Caroline Shaw and Sarah Kirkland Snider—and featuring Grammywinning singer Luciana Souza.

A Far Cry’s Crier Records launched auspiciously in 2014 with the Grammy-nominated album Dreams and Prayers. The label’s second release, Law of Mosaics, was included on many 2014 Top 10 lists, notably from New Yorker music critic Alex Ross and WQXR’s Q2 Music, which named A Far Cry C-4

· cupresents.org · 303-492-8008

as one of the “Imagination-Grabbing, Trailblazing Artists of 2014.” In 2018, Crier Records released A Far Cry’s Visions and Variations, featuring variations by Britten and Prokofiev, and Ethan Wood’s re-imagining of Mozart’s “Ah vous-diraije Maman.” The album received two Grammy nominations, including one for Best Chamber Music Performance.

The 18 Criers are proud to call Boston home, and maintain strong roots in the city, rehearsing at their storefront music center in Jamaica Plain and fulfilling the role of Chamber Orchestrain-Residence at the Isabella Stewart Gardner Museum. Collaborating with local students through educational partnerships with the New England Conservatory and Project STEP, A Far Cry aims to pass on the spirit of collaboratively empowered music to the next generation.

Violin Alex Fortes Catherine Cosbey Jae Cosmos Lee Janny Joo Jesse Irons Katherine Winterstein Megumi Stohs Lewis Omar Chen Guey Zenas Hsu Viola Ashe Gordon Jason Fisher Sam Kelder Sarah Darling Cello Aristides Rivas Michael Unterman Rafael Popper-Keizer Bass Karl Doty Lizzie Burns Timpani/Bell Chihiro Shibayama

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Kronos brings the years that changed America to Boulder

By Becca Vaclavik During the height of the civil rights movement, scholar Clarence B. Jones served as personal attorney, adviser, and speech writer to Martin Luther King, Jr. In fact, Jones helped draft the original notes that would become King’s iconic “I Have a Dream” speech.

What many don’t know, however, is that the most memorable parts of that speech were completely impromptu. Mahalia Jackson, King’s favorite gospel singer, stood with him on stage.

Near the middle of his speech she called out, “Tell them about the dream, Martin! Tell them about your dream.”

King set Jones’ notes aside, grabbed the lectern and didn’t look down at the prepared speech again. Recalling that pivotal moment years later in interviews, Jones said he turned to the person next to him and said, “These people don’t know it, but they’re about to go to church.”

20

Just a few years ago, David Harrington, violinist and founder of the Kronos Quartet, had the honor of hearing Jones share this anecdote. The story, he says, moved him deeply.

“It’s so inspiring. It’s not only that these amazing people surrounded Martin Luther King, but they were both musicians: Clarence himself was a Julliardschooled musician in his teens. And of course then there was Mahalia Jackson. Here I am hearing this story, and I just couldn’t believe that I never knew this! And that two musicians made this moment happen. And I thought, we’ve got to find a way to celebrate this.”

Harrington discovered that Jones lives in Palo Alto, California (not far from Kronos’ San Francisco base).

Harrington got in touch, and Jones recounted the entire story to both him and composer Zachary Watkins.

“Jones doesn’t claim to have literally written the speech,” confesses Harrington. “What he says is that he heard Martin Luther King’s voice inside of him— the cadence, and the rhythm, and the intonation of

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

the words. And so he basically recorded what he heard Martin Luther King saying inside of himself.

together in concerts and in public events, especially at this time.”

“And I’ve worked with enough composers over the last 46 years to know that many composers speak about hearing their music that same way.”

Harrington and the rest of Kronos—John Sherba, violin; Hank Dutt, viola; and Sunny Yang, cello—hope the performance leaves Boulder audiences feeling energized by the apt message.

That conversation would inspire Peace Be Till, Watkins’ work about those moments before King’s speech and now the first part of the Kronos Quartet concert, “Music for Change: The 60s, The Years That Changed America.”

Coincidentally, at the same time that Harrington and Jones connected, Kronos was working on another piece, a work by Chicago-based composer Stacy Garrop that featured interviews by broadcaster Studs Terkel with none other than Mahalia Jackson.

The connections kept colliding. Not long after, Kronos was performing for a third-grade class in San Francisco’s public schools. The students had memorized the lyrics to We Shall Overcome by Pete Seeger and Kronos played along for them. Seeger’s song, of course, was something of an anthem for the Civil Rights movement.

“And so we began to have something that felt like it belongs together,” says Harrington. “We are amassing a body of work that I think brings together not only interests that we have, but I think that kind of belong

“I want audiences to be able to separate fact from fiction and understand that each of us has more power than we think. And that everybody’s energy is really important and can be useful.

“If we gather together and use our best thinking, our best ideas, and our most charitable and wide-ranging visions for making the world a better place—a safer place for our kids, and grandkids, and great grandkids—then we’re doing something.”

ARTIST SERIES The Kronos Quartet will perform “Music for Change: The 60s, The Years That Changed America” March 19 in Macky Auditorium. Tickets start at $20.

Photos from left: Martin Luther King Jr. addresses a crowd from the steps of the Lincoln Memorial where he delivered his famous, “I Have a Dream,” speech during the Aug. 28, 1963, march on Washington, D.C., photo sourced from Wikimedia Commons; Clarence B. Jones (keynote speaker) at the Commemoration of the 50th Anniversary of the “I Have a Dream” speech organized by the Canton of Geneva and The Graduate Institute of Geneva with the support of the U.S. Mission and the Pictet Foundation, August 26, 2013 at the WMO offices in Geneva, photo by U.S. Mission Geneva/Eric Bridiers and made available under an Attribution-NoDerivs 2.0 Creative Commons license; Performance by Mahalia Jackson in Concertgebouw, the Netherlands, in 1961, photo by Dave Brinkman and sourced from Nationaal Archief NL/Anefo; Kronos Quartet, photo by Jay Blakesberg.

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Third Annual Distinguished Lectureship hosts awardwinning leaders of the Sphinx Organization

By Pranathi Durgempudi On Tuesday, Feb. 25, the College of Music’s third annual Distinguished Lectureship in Music, Diversity and Inclusion comes to Grusin Music Hall with a lecture by social entrepreneurs and arts leaders Aaron and Afa Dworkin from the award-winning Sphinx Organization. Titled “Throwing the DICE that Fuel Inclusion: A Wager on Diversity, Innovation, Creativity and Entrepreneurship in the Arts,” the Dworkins will dive into the role that diversity and the arts play in society.

“As artists, we can engage with communities and impact communities. We’ll talk about the history of how the Sphinx

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

Organization has been able to do that and how to be a cultural entrepreneur,” Aaron explains.

The Dworkins’ work has been earning accolades for years.

The organization captured the attention of former First Lady Michelle Obama; representatives from the Sphinx were honored at the White House with the 2016 National Arts and Humanities Youth Program Award.

“Ultimately, we all see success when our field, our sector, will reflect the rich diversity inherent in our communities,” Afa says.

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When Chase’s students began to experiment with her directions, they started to literally cling to each other and lean on each other—out of fear, as the story goes—and the classwork developed into a sort of physics-based partnering. The first piece they developed was called “Pilobolus”, named for a lightloving fungus that Jaworski says made sense, given the context.

“It’s this tiny little fungus, but it’s strong. It’s one of the fastest accelerating organisms on the planet.

And, it bends and twists and turns and looks for the light, shooting its spores off in far-reaching directions.”

Like the spores, the name stuck.

The group’s reputation, too, rapidly accelerated.

A history—and biology— of Pilobolus

By Becca Vaclavik Not many modern dance companies last beyond 50 years. And not very many outlast their founders.

But Pilobolus, which has toured over 120 pieces of repertoire to more than 65 countries over the past several decades, is positioned to do both.

“To be in a place where we’re on the cusp of all of that is very exciting. It’s very scary at the same time. It feels like a lot of responsibility,” says Renee Jaworski, co-artistic director of the dance company.

Pilobolus began at Dartmouth College in 1971. At the time, Dartmouth had an all-male student body, and Alison Chase, choreographer-in-residence and assistant professor of dance, was one of the only women on campus.

Her classes were mostly taught to students without any experience. As such, her classes were not technique-based. “They were more about using your body to tell stories and create movement using movement that your body innately knows how to do even when you’re a child, like running, jumping, rolling,” says Jaworski.

24

“People started taking notice, and they started to realize that it didn’t look like anything else that was on the dance stages at the time,” says Jaworski. “I think that it was a time where revolution was a big thing.

People were looking out for that, to not conform to what people had seen already was a big thing.”

Fifty years on, the revolution continues.

“Every 10 years or so, Pilobolus has had to reinvent itself in some way. We’re constantly trying to adapt to the world around us.”

For their Boulder performance, titled “Come to your senses,” reinvention looks like videos of vintage science experiments, words spelled in “foot font,” dancers wearing giant eyeballs on their heads, and a dance about fraternity and brotherhood. Some of it is funny and quirky and kinetic; some of it is lyrical and beautiful.

“You experience all these different kinds of feelings when you’re watching live dance that sometimes you don’t understand until a day or two later, or a week or two later, or a year or two later,” shares Jaworski.

“In ‘Come to your senses,’ come and feel the sweat, hear the sounds of the music, of the dancers, pounding. You’ll really watch an entire world unfurl in front of you.”

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

ARTIST SERIES Pilobolus performs “Come to your senses” March 2. Tickets start at $23.

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Thank you to our Membership Society donors

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

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

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

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

Every effort has been made to present this list as accurately as possible; if there is an error or question, please contact 303-492-3054.

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

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

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

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

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

Every effort has been made to present this list as accurately as possible; if there is an error or question, please contact 303-492-3054.

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Personnel CU Presents

Macky Auditorium

College of Music

Executive Director Joan McLean Braun

Social Content Creator Erika Haase

Director Rudy Betancourt

Dean Robert Shay

Marketing and PR Director Laima Haley

Video Producers Evan Boretz Vanessa Cornejo

Assistant Director for Patron Services Matthew Arrington

Associate Dean for Graduate Studies Margaret Haefner Berg

Box Office Manager Christin Woolley

Assistant Director for Administration Sara Krumwiede

Assistant Dean for Concerts and Communications Joan McLean Braun

Assistant Director for Production JP Osnes

Senior Associate Dean John Davis

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

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

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

Recording Engineer Kevin Harbison

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

Public Relations Assistant Pranathi Durgempudi

Policies Accessibility

The University of Colorado is committed to providing equal access to individuals with disabilities. For more information, visit cupresents.org/accessibility.

Parking

Paid parking is available in the Euclid Parking Garage, and in Lots 310 and 204. Contact the box office or check the CU Presents website for more information.

Photography

Photography and video recordings of any type are strictly prohibited during the performance.

Food

Food is permitted in the seating areas of Macky Auditorium but is prohibited in some other campus venues unless otherwise noted.

30

Smoking

Smoking is not permitted anywhere. CU Boulder is a smoke-free campus!

Ticket sales

Ticket sales are final; no refunds. Exchanges are subject to availability and must be made at least one business day prior to the day of performance.

Subscribers may exchange tickets for free. Singleticket exchanges are subject to a $3 exchange fee.

Upgrade fees may apply in all cases.

Please return your tickets to the box office prior to the performance if you are unable to use them.

Box office info

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

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